Tag: review

November 4, 2018 2018, Amaranthe, Black Metal, Death Metal, Elize Ryd, Folk Metal, Power Metal, Uncategorized 13 Comments

Autumn Harvest Pt II: New Music From Thrawsunblat, Amaranthe, Brainstorm, Wolfheart and More!

The new releases are plentiful throughout October, and fortunately I’ve been better about keeping on top of them this year than I have in the past. Some of these are albums I’ve been looking forward to for most of the year, the new Wolfheart being chief among them. I will admit to being extremely curious about Amaranthe’s Helix, their first post Jake Berg release and debut of new clean singer Nils Molin (of Dynazty fame). Some of you might remember that I wasn’t that keen on their last record Maximalism, which saw Berg’s input and role greatly diminished and as a result led to his departure (which had the silver lining of resulting in a really fun record by Cyhra, his new band with Jesper Stromblad). And of course there’s a new album by Germany’s trad metal stalwarts Brainstorm, a band I’ve been a fan of since way back in the early 2000s during the Metus Mortis / Soul Temptation era. There’s something appropriately fitting about these guys delivering a new record this particular year when I think power metal is in the midst of a sweeping artistic resurgence, a reminder that there are still older bands who have stayed relatively consistent with their style when many of their peers started incorporating hard rock / AOR stylings. But does the new album stack up against the staggering amount of excellent releases by newer power metal bands? I’ll tackle that and other burning questions in the reviews below!

Thrawsunblat – Great Brunswick Forest:

I’ve written about Canada’s Thrawsunblat before, with the band’s 2016’s album Metachthonia landing on that year’s best albums list. Borne out of the incense smoke of Woods of Ypres, former Woods guitarist Joel Violette along with Immortal Bird vocalist Rae Amitay (here on drums) have been quietly releasing amazingly strong blackened folk metal records since 2013, and its been interesting to behold the range of this project, from maritime folk infused charm to blistering black metal fury. Their folk aspect is at once inspired by and very removed from the European folk that we commonly associate with the idea of folk metal, with Violette embracing his native roots of all things Canadian and pushing to the fore folk music of Northeast Canada and in particular the Atlantic coast. I’m only passingly familiar with that kind of music, but I gather that its related to that strain of New Englander lyrical folk song that I’ve found across the years, not quite sea-shanty material but musically joyous all the same. The black metal sieve that Thrawsunblat run this folk music through results in something that is rather unique across the folk metal landscape, one very different from other North American black metal artists that are mostly from the Pacific Northwest.

All that being said about the band’s rich folk influences, Great Brunswick Forest is a surprising album for Violette and Amitay to release right now as a followup to what was a roiling, furious black metal affair in Metachthonia. Picking up where the band left off from the plaintive maritime folk of “Goose River (Mourner’s March)” and the gorgeous gem “Maritime Shores” from the Wanderer album, the new record is an entirely acoustic endeavor, except that it doesn’t behave like the way you’d expect a typical acoustic recording would. That means instead of ballads and forlorn laments, these songs are uptempo,  jaunty affairs, bright and bursting with chiming guitars, lively violins, and a swinging percussive attack. The album starts out with its most representative model of this in “Green Man of East Canada”, a song that owes its lyrical influence directly to folk music, with its tale of two strangers pausing to speak near a darkened wood. Violette is a sharp, nuanced lyricist, and you can tell that he really loves the vein of woodsy Canadian folk that he’s clearly tapping into here, relishing it with every line and stanza; “I’m no stranger to these lands, / Though they’re not my own. / I left with the changed tides /  To call this Brunswick kingdom home”.

Things get more adventurous musically with the aggressively uptempo “Here I Am A Fortress” and the chaotic frenzy heard in “Thus Spoke the Wind”. The former boasts some tremolo-esque acoustic guitar patterns amidst the most traditionally black metal song structure on the album, and the cross pollination of style and instrumental medium is strange to behold at first, but its such a well written song that you become accustomed to the jarring juxtaposition quickly. A key component in making experiments like this one successful is the fiddle playing of one Keegan MC, who is all over this album and really becomes the musical glue and stylistic motif throughout. He has a way of engaging his instrument to create moments of dissonance that support the acoustic tremolo sections and give them a dose of ringing, electric vibrancy. But its Amitay who steals the spotlight in “Thus Spoke…” with her unleashing a battery of what you might term acoustic blast beats during the middle instrumental passage, pushing the way forward for tremolo style acoustic guitar riffs and slicing fiddle blasts to barrel forward in the album’s heaviest, most astonishing section. It was a little chaotic to make heads or tails of at first, but now the song is a favorite of mine, and I always seem to pay attention to that instrumental break.

The absolute show stealer of a song here however is “Via Canadensis”, where I think Violette sneaks in some subtle electric guitar throughout to add some muted crunch to what is a joyful, perfect slice of folk metal. I get a very strong Woods 5 vibe from this song, and musically it wouldn’t have felt out of place on that album where David Gold played around with contrasting musical and lyrical clashes. Lyrically though, this is Violette at his most positive, singing during the refrain “On we go — to the standing stones we’ve yet to raise!”, and that lyric takes on a mythic quality during the nearly a capella mid-song bridge. Similarly, I love the lyrical sentiment and supporting musical sweep that pins together the second half of “Dark Sky Sanctuary”, where Violette delivers his most smooth vocal melody yet in a hooky, Vintersorg-ian chorus. Like the folk metal legend himself, Violette’s vocals are probably going to be hit and miss for some, but frankly most of these songs wouldn’t sound right with another singer, having been attuned to his voice in the writing process. But “Dark Sky Sanctuary” is the exception, as I could hear this slice of folk-pop magic being sung by anyone and everyone, including a female voice (hopefully at some point YouTube will yield a cover version of this). This a magical album, particularly in its arrival at this time of the year when autumn is making its strongest entrance in years. I can’t predict where Violette and Amitay will take Thrawsunblat next, but I’m absolutely over the moon about where they’ve been throughout their career.

Brainstorm – Midnight Ghost:

So we all have our comfort foods right? Mine would be mundane but occasionally essential things like sourdough bread with real butter, soft chocolate chip cookies in bar form like my mom used to make, or whole wheat toast spread with peanut butter and a drizzle of honey with a cup of coffee —- actually this is starting to sound like the ramblings of one that has recently begun another bout of carb kicking (dammit). But thankfully here’s my metal equivalent of comfort food back with a new release to help take the edge off, as Brainstorm has been consistent in familiarity and quality for the better part of two decades now. Its a little over-simplifying to refer to them as meat and potatoes metal, because underneath those chunky riffs and earwormy choruses is a Nevermore-esque progressive technicality. Singer Andy B. Frank is one of the most underrated/overlooked vocalists in metal, capable of an operatic tenor, as well as a gritty, Jon Oliva-esque snarl perfect for the kind of heavier trad that Brainstorm specialize in. They’re a perfect “centering” band, for those times when you feel you’ve gone too far on the avant-garde/blackgaze/ambient/noise/funeral doom end of the metal spectrum or perhaps too far down the Rhapsody/Freedom Call side and need a reminder of metal at its most melodic AND heavy; so you queue up a classic like Soul Temptation or Metus Mortis (or better yet, this still exceptional live set at Wacken 2004 that is the epitome of everything wonderful about our genre) to get yourself right.

Its commendable that Midnight Ghost is the band’s twelfth release, as they’ve been knocking out records at far more regular intervals than most metal bands, at times even delivering two in back to back years. Whats absolutely astonishing however, is that this may very well be the most inspired and accomplished album they’ve ever made, in a recording career that started way back in 1997. Because the core of their sound hasn’t changed over their career, aside from a more welcoming embrace of the choral vocal backed chorus and a touch more symphonic keyboard dressing, I’m speaking to the quality of the songwriting. This is evident in the instant ear-worm gratification of “Ravenous Minds”, as classic a Brainstorm song we’ve ever heard with Frank’s vocals delivered with a sense of empowering belief. He has such staggering strength as a vocalist, singing here with a wildly confident display of his range, from gruff lows to Queensryche-ian highs in that spectacular chorus. At this point, Frank knows the pivot points around his vocals so much that you can hear that awareness reflected in the songwriting, particularly in that everything flows around his crafting of the vocal melodies. You hear it in the string and piano intro to “Revealing the Darkness”, the melody previewing Frank’s epic, arcing vocal during the chorus. Founding guitarists Torsten Ihlenfeld and Milan Loncaric rattle off a machine gun spray of punctuating bursts that are always book ended by a meaty riff to round out a verse section. Its that commitment to heaviness that separates Brainstorm’s dalliances with prog-metal from that of bands such as Dream Theater and Seventh Wonder.

Speaking of other bands, I can’t be the only one who hears a real Iced Earth Horror Show era meets Judas Priest Firepower vibe on “Jeanne Boulet (1764)”, from the aggressive, neo-thrashy attack to the “iter” ending of the lyric in the refrain, its a mash-up of sounds that are pieced together in a very different way for Brainstorm. Its been interesting to hear these influences pop up on this album and bleed through Brainstorm’s normally solid musical wall that they’ve spent a career erecting around themselves. From the moment I first heard them, this was a band that didn’t necessarily wear direct influences on their sleeves, only the general gist of those influences. That they sound more relatable to other German metal bands of all subgenres than say Maiden or Priest or Metallica is a testament to the way they’ve carved out a sonic niche of their own. Frank reminds me more of Mille Petrozza, Rage’s Peavy Wagner and a touch of Hansi Kursch than anything, but even those three singers combined aren’t an accurate representation of his vocals. I can’t believe that I’m getting to say this about his work on Midnight Ghost, but its thrilling to declare that he’s never sounded better. Brainstorm knows what they’re about, and their artistic success depends almost entirely on Frank’s inimitable talents, and its thrilling as a fan to hear them unexpectedly deliver an album this confident and masterful so late in the game. Far from comfort food, this is a meal at that really expensive steakhouse you’ve been waiting and saving for. One of the best albums of the year – write it down.

Amaranthe – Helix:

I won’t even pretend that I wasn’t highly curious about the state of Amaranthe circa 2018 in their post Joacim Lundberg state. Lundberg if you didn’t remember (or preferred not to… you haters) was one of the Swedish sextet’s founding vocalists, their clean male vocalist who had as equally big a hand in the songwriting as guitarist Olof Morck and fellow vocalist Elize Ryd. I first started listening to Amaranthe’s debut out of sheer curiosity in 2011 because you simply could not avoid hearing mention of this band that was cooking up this crazy melo-death/power metal/ pop mash-up. What became clear to me as I veered from somewhat agahst/mildly curious to rather appreciative of their frankly audacious metallic pop, was that Lundberg was a central figure in the formulation of their sound. He described his own contribution to the band’s sound as “melodic Bon Jovi type vocals” and he crafted vocal melodies in that vein that were able to both contrast and complement Ryd’s sugary pop voice. At times he would sing alongside her, in effect providing co-lead vocals that lent a needed earthiness to the melody, while he also had moments where his solo lead vocals would color however briefly the band’s sound with gritty hard rock energy. Of course the band’s two harsh vocal screamers in Andreas Solveström and since 2013 Henrik Englund Wilhelmsson were the melo-death element when Morck’s Soilwork-esque straight to the point riffing was taken into account. It all somehow largely worked, almost improbably so, a kaleidoscope of sound that was difficult to classify yet appealing beyond reason, particularly on 2014’s Massive Addictive.

That balance of elements that made everything gel together was disrupted when Lundberg’s role was gradually diminished on 2016’s Maximalism, the result being a sound that leaned too far in the pop direction and resulted in an album that was oddly disconnected, a jumble of random ideas. In my review for that record, which was written after Lundberg had already left the band, I predicted that his departure would be a huge blow for Amaranthe. When Lundberg resurfaced soon after in Cyhra with ex-In Flames guitarist Jesper Stromblad, their debut was loaded with the same kind of quality vocal melody writing that characterized Lundberg’s work in Amaranthe. It was a fun, strong, and ear-wormy album in a way that was in keeping with Lundberg’s desire to marry those aforementioned Bon Jovi type vocals to melo-death guitars. I mention that because it helps to put into context Amaranthe’s attempt to retreat into the style of the first two and a half (ish) albums, and why that attempt feels unfocused and often empty. That’s not to say that Helix isn’t at times successful, because a song like “Countdown” is every bit the satisfying merger of electro-pop and fuzzy metallic guitars into a direct, focused chorus that is packed as tight as a fun-sized Snickers. And Ryd reaches something approaching inspired on “Dream”, a song that borrows from the tempo and temperature of the quasi-power ballad “Burn With Me” from Massive Addictive, her vocals shining in a duet with new co-vocalist Nils Molin (who’s also in Dynazty, if that name was ringing a bell). Molin is a safe but misguided choice for the band, and that’s not a criticism of Molin as a vocalist, because he’s clearly a talented singer and his work in Dynazty is far better a showcase than what he delivers on Helix. The problem is that his style is all wrong for this band, far more suited to the soaring power metal of his other band and lacking anything resembling an actual rock voice that Lundberg provided.

But elsewhere on the album, its honestly hard to come up with anything resembling a successful example of why I started listening to this band in the first place. Things feel off all over the place —- the lead single “365” is a half baked version of “That Song” from Maximalism, and as controversial as the latter was upon its release, at least it had something interesting going for it with its Queen inspired stomp. With “365” the rhythmic strut never materializes, the vocal melody isn’t nearly as hooky as it should be, and everything just feels like a mess. Similarly unfocused is “Inferno”, which attempts to recreate the sound of the band’s first two albums, but again there’s not enough strength in the vocal melody to make it worth basing a song around it. Molin sticks out in a particularly bad way here, just this out of place voice singing an unconvincing lyric. And look I know, even when Lundgren was in the band Amaranthe’s lyrics hardly ever made sense, but his voice somehow sold what he was singing regardless. The intro verses for songs like the title track and “Breakthrough Starshot” really illustrate why Molin seems so out of place, when he’s forced to sing lyrics that are at best abstractions when he’s used to delivering relatively more literate lyrics in Dynazty. This might improve with his next album with the band, but I get the sense that he doesn’t quite know how to tackle these lyrics, how to get emotionally invested in them and in turn where to place inflection points.

Lets not glide past “Breakthrough Starshot” either, this being the sequel that the awful “Electroheart” never needed but we’re unfortunately getting. Its actually miles better than that atrocity ever was, with an actual memorable hook that will reverberate throughout your brain all day. When fellow metal critics sharpen their knives for this band, its because of songs like this, where for some reason Wilhelmsson is screaming out the lyric “My expectation is the accelerated / Another journey to the breakthrough starshot” —- just, WHAT NOW?!  Ryd’s vocal interjection in the hook via her “yeah yeah’s” reminds me of something I’d have heard from a Britney Spears single in the late 90s (and probably did), but that’s not the kind of pop Ryd should be evoking within the context of Amaranthe, who owe more to Euro-pop and EDM than American bubblegum dreck. Perhaps more awful than “…Starshot” however is the weirdly titled “GG6”, where Wilhelmsson takes the lead and delivers the most maddeningly non-nonsensical lyrics you’ll ever hear, complete with a baffling barrage of profanity that just comes across as lazy and dumb. Everything else on the album is just meh, ho-hum paint by numbers attempts at landing a chorus worth remembering; “Iconic” gets the closest but its still lukewarm, and the ballad “Unified” is where we feel Lundberg’s absence the most. Morck is a talented musician and songwriter, but its more clear than ever that Lundberg was the brainchild behind making the band’s vocal melodies work. They’ve lost the magic ingredient that made their weird metallic amalgam work, and that’s probably going to be news to many who think of Ryd or Morck as the heart and soul of this band.

Wolfheart – Constellation of the Black Light:

Wolfheart’s Tuomas Saukkonen has been releasing records at perhaps a nearly unrivaled clip since his Before the Dawn days from the early aughts onwards, at times with various side projects popping up throughout various years. There have been years where he’s released more than one album, and only two years since 2003 where he hasn’t released anything (2005 and 2014, although during the latter he did chair the producer’s role for a Rain of Acid record). That kind of staggering level of artistic productivity has yielded somewhere in the range of 15-16 complete albums and a host of EPs and splits/singles. I got introduced to him through his Black Sun Aeon melodic doom project, and soon after stumbled onto the fact that said project was already over and he’d forged a new band in Wolfheart, who are already at album number four since their inception in 2013. One of the things my MSRcast co-host and I had been raving about last year was the band’s brilliant release Tyhjyys, which was one of the host of folk-metal gems that 2017 unearthed in a nascent revitalization of that subgenre. I shouldn’t have been surprised that we’d get a follow-up so quickly in little over a year, given Saukkonen’s track record, but its still stunning to consider the turnaround time given just how different Constellation of the Black Light is from its predecessor.

Whereas Tyhjyys was a diverse album, full of songs with slower, more moody, shifting tempos and a utilization of silence and space that made songs like “The Flood” so hypnotic, Black Light sees Wolfheart making the leap into a more wintry, primal, furious style of blackened melodic death metal. I know its going to be an on the nose comparison for many reasons, but its their equivalent to Insomnium’s surprisingly aggressive epic Winter’s Gate. This is a level of aggression that Saukkonen has dabbled in before in brief glimpses and the occasional full song, but here he keeps it as his primary weapon, with only shades of Tyhjyys folkiness and quietude used as accents. The opening track epic “Everlasting Fall” uses a mix of both in its intro passages, but erupts into one of the more violent explosions I’ve heard Saukkonen unleash, propelled along by Joonas Kauppinen’s unrelenting blast beats. The song’s emotional pulse is heard in Olli Savolainen’s keyboards, producing a backdrop of sound that is more Porcupine Tree dreamscape than anything owing to orchestral impulses. I can hear a guitar in there mirroring what the keyboards are doing, and I think I caught sight of that two Saturdays ago in October when I caught Wolfheart live on their tour with Mors Principium Est and headliners Carach Angren. Its a ten minute opening piece, which isn’t shocking in this kind of metal anymore, but it is new for Wolfheart, their longest song to date though it certainly doesn’t feel like it. And its actually the most representative song on the record at that, showcasing the range that they’ll explore throughout the rest of the album and preparing us for the neck-snapping brutality that follows on “Breakwater”.

Its might seem surprising at first if you saw the Napalm Records backed lush music video for “Breakwater” being ushered out as the first single for this album, because this is as uncompromising a black metal attack as Wolfheart have concocted. Wildly spiraling tremolo riffing, blast beats, all with Saukkonen veering between death metal brutality and a blackened rasp in his vocal approach. Its not exactly the kind of insta-catchy single that Napalm is known for having its bands release first, but then they must have known what they were getting into before signing the band. This is Wolfheart’s first release for the growing “major” metal label, a sign that they’re moving up in the world a touch, and have the budget required to fly to Iceland with a small film crew and drones to shoot what is a spectacular looking Skyrim tribute. Things will make sense around the time Saukkonen first stumbles upon the waterfall in the video, when the song downshifts into something moodily mid-tempo, yet still shifting and undulating with its melodic guitar lines, ala Insomnium once again. Its on the far more subdued “The Saw” where we finally get a taste of that old Wolfheart sound, with its stop start riff sequences, thick vocal layers and a major key melodicism pouring through the lead guitar melody. I have detected a little impatience on my part when sitting through “Defender”, which isn’t a bad song by any means, being a straightforward melo-death affair, with a head-nodding worthy riff progression, but its lacking in impacts and surprises. It would’ve been the start of a lopsided album were it not for the rejuvenating ability of “Warfare” and the following “Valkyrie” to close out the album.

Those concluding two songs might actually be one long song, because they feel connected in sound and spirit. The latter has one of the more satisfying opening riffs, a percussive rhythmic piece that is the kind of battle call that a band like Suidakra likes to use quite often. That everything suddenly ends on a lone piano delivering a dirge-like melodic fragment is classic Finnish metal to a tee, from not only a melo-death perspective but also from legends like Sentenced, a Finnish calling card if you will. This is a quality, deep dive worthy album that was released at the perfect time because there’s just something extra special about hearing this kind of wintry music during the first breaths of autumn in the air. I got a big dose of cold Finland this past month, seeing no less than five bands from the country within that time frame. The Carach/Mors/Wolfheart gig was everything a great show in a dingy venue could be, shortcuts and all: The bands were traveling light on that tour, packed into one tour bus with notable cuts to band lineups to save on money. Wolfheart ran keyboards through a laptop, Mors ran their absent bassist through another laptop, and well of course Carach Angren could hardly afford to bring a string quartet with them so they too used the laptop. For all I knew it was the same one. That didn’t matter, and Wolfheart were as intense and crushing onstage as this album would have you believe, and well received for a band on their first North American trek. I was a little surprised that they didn’t play anything off Tyhjyys, leaning on two songs apiece from every other album including the new one. The hope is that with Napalm’s promotional engine supporting them, they’ll find their way back here on another few supporting tours. I’ll be there for sure.

Conception – re:conception:

I usually don’t review individual songs or single releases, with few exceptions, and Conception’s first new music in what, twenty-one friggin years certainly qualifies. Their EP is coming out in a few weeks and this single has two pieces of music that will be on that release and one exclusive track, “Feather Moves”. I’ll talk more about the songs at length on the review for the EP in the future but I just wanted to chime in here to talk about the stunning realization that we’re hearing Roy Khan’s vocals once again. Most of you have read that piece I did on Khan many years ago about the giant hole he was leaving behind not only in Kamelot but in progressive / power metal in general with his at the time retirement. The nature of his departure from Kamelot, the cryptic statement he released at the time —- everything really pointed towards a permanent exit, and I just couldn’t help but be a little selfish about it, thinking of all the great lyrics and vocal melodies we were being denied. When news broke that he was heard (literally) in a Norwegian rehearsal studio jamming with his former Conception bandmates, the classic lineup at that, I may or may not have gone into full on denial mode. But with April’s Pledgemusic campaign announcement, everything was confirmed and so was the utter joy at not having to watch another year tick by where Khan’s talents were being utilized.

He simply sounds excellent on these two songs (one instrumental, yeah… I know), his voice rich and full of that ability to inflect incredible amounts of emotion in a single phrase. To Conception’s credit, they’re really picking up where they left off on Flow, with heavily rhythmic, undulating (I sure love that word lately it seems) riff progressions and impassioned songwriting. Tore Østby is shredding all over the place, with little interjections and micro-solos to fill in the vocal gaps, and the rhythm section of bassist Ingar Amlien and drummer Arve Heimdal playing in unconventional, groove oriented, almost poly-rhythmic patterns. But wisely, Khan is left to direct traffic with his vocal melodies, singularly able to shift the tone of a song from dark and stormy to angelic and uplifting as we get to hear on the chorus to “Grand Again”. There’s a filter on his voice in select moments on this song, nothing that’s distracting, in fact it actually adds to the song but I would like to hear something on the EP that really sees him cut loose. His range does not appear to be diminished in the slightest, I’d even say he sounds close to Ghost Opera era Kamelot here. Hopefully the time off did him good in that regard, to lay off the heavy touring and simply rest his vocal chords. There’s folks voicing concerns about the future of Tommy Karevik’s own golden pipes due to Kamelot’s touring schedule, but I think that’s a long way off, being that he’s almost a decade under Khan in age. There’s a morality tale here for career bands, to reconsider making a living from being on the road and go the semi-professional route like our guy Tuomas Saukkonen from Wolfheart. At the end of the day, its about an artistic legacy right?

October 16, 2018 2018, Behemoth, Black Metal, Folk Metal, Seventh Wonder 10 Comments

Autumn Harvest: Major Releases From Behemoth, Seventh Wonder, and Vreid

In the midst of working on a few big features, including but not limited to a very preliminary imagining of what the Best of 2018 list might wind up as (so I’m not, y’know, scrambling in December as usual), I’ve also made sure to listen to a couple new albums from some noteworthy artists that deserve timely reviews. There’s the new Behemoth album, which may very well be one of the most anticipated extreme metal albums ever in terms of pre-release buzz that surrounded it. Then there’s the long (loooong) awaited new album by Seventh Wonder, a band that got pushed to the background a bit when vocalist Tommy Karevik joined Kamelot. This will be the second album with Karevik’s vocals released this year, and intriguingly enough, the new Seventh Wonder was ready to go way back in the spring when Kamelot’s The Shadow Theory forced its release to be pushed back. I know that rankled a lot of Seventh Wonder / Tommy Karevik fans, and I’ll attempt to answer the open question here of was it worth the wait, and frankly, which band made better use of his voice? Finally there’s the new album by Vreid, a band I hadn’t listened to in nearly a decade(!) that we actually discussed briefly on the September MSRcast, but the album was still new to me and I’ve had a lot of time to digest it since. Lets get straight to it then:

Behemoth – I Loved You At Your Darkest:

Its interesting to see the spectrum of reactions to Behemoth’s newest and most daring release to date. That it has the benefit or misfortune (or both) of coming on the heels of their career watershed The Satanist adds an extra dose of intrigue to just how their fans and the greater media reaction at large will be. There was little obvious pressure with The Satanist, I recall very vividly the sentiment being that people were simply so happy that Nergal had come out of his cancer scare and that we were just plain fortunate to have a new Behemoth album at all in the first place. But surprise of surprises, it was a massively successful artistic leap, one applauded by almost everyone (there’s always a few naysayers) for the far more expressive and adventurous musical changes incorporated throughout. Gone was the stifling, suffocating density and overwhelming technical sheen of the Demigod through Evangelion era, replaced by a more organic, breathable sonic production and far more thoughtful and expressive songwriting to match. The adjective “mature” was tossed around a lot, and while its an overused cliche in music criticism, it really did fit in that context, you could sense that something profound had changed about Behemoth and more to the point, Nergal himself. 

We’ll look back on The Satanist the same way we’re starting to look back on Satyricon’s 2013 self-titled album, as the simultaneous end of a defining era for the band and the beginning of a new one. Satyricon’s Deep Calleth Upon Deep was one of the most haunting, rich, and deeply resonant black metal albums in years, and it doubled down on the stripped back, less dense sound of its predecessor, a choice that has changed and morphed the idea of the Satyricon sound in remarkable ways. Ditto for Behemoth with I Loved You At Your Darkest, which bypasses further nudging open the door that The Satanist cracked open by outright kicking it down. This is wildly diverse, loose, freeing album for not only the band’s sound, but in redefining the boundaries of what moods and emotions their music can now encompass. Nergal has clearly allowed the dark folk influences of his side project Me and That Man to flow through in a myriad of ways, but that’s a gross oversimplification. This is a bold, fearlessly expressive listening experience, from the opening children’s choral intro in “Solve” that resurfaces to glorious effect in “God = Dog”, to the almost Enigma-esque Gregorian chant swells that punctuate the refrains in both “Ecclesia Diabolica Catholica” and “Bartzabel”.

The changes aren’t all vocal based either, with the aforementioned “Ecclesia” suddenly dropping into a grey toned acoustic strumming sequence in its outro that right out of the folk metal playbook. There are also much larger swathes of these songs actually constructed with open chord sequences, often with cleanly arpeggiated progressions that are dreamily hypnotic. Its something we noticed Nergal incorporating more on The Satanist, but here he isn’t afraid to build entire tracks around them, “Bartzabel” a vivid example, but its also a big part of the inverse technique employed on “If Crucifixion Was Not Enough”. This is something that seems so obvious when you hear it, but bands have to grow into doing it —- minimizing the usage of blastbeats and waves of tremolo by packing them into shorter, thoughtfully employed bursts, instead of spreading them over everything like too much peanut butter overpowering too little jelly. The unsung hero here is drummer Inferno, who delivers the performance of a lifetime all throughout these twelve songs. His ability to be creative and diverse in his patterns, his choice of fills and the shift in reliance to floor toms and tribal sounding, emotionally charged percussion instead of simply battering our ears with a non-stop assault is the singular most important facet in Nergal’s ability to grow as an extreme metal songwriter and have it sound convincing and vital. One of the best albums of the year and to my tastes, the absolute pinnacle of Behemoth’s career, just stunning.

Vreid – Lifehunger:

Norway’s Vreid began life way back in 2004 after the tragic ending of Windir, and I remember at the time thinking that they were going to continue in the vein of what that band’s recently deceased founder Valfar had started. The first three albums somewhat did, though never really fully embracing the spirit that ran through Windir, something in retrospect we can see largely came from its founding member. I think my interest dropped off sometime after 2007’s I krig, it being the last album I can now remember listening to, and after that I was never reminded to check back in, or maybe I was but decided to skip it (aka the Soilwork effect). Its also perhaps not fair to always judge bands in the grim shadows of their former incarnations. I find myself doing the same with Thrawsunblat, who have a new album coming out later this week, which I’ll undoubtedly start comparing to Woods of Ypres and David Gold’s incredibly soulful songwriting. As is the way with these things, we find ourselves re-discovering artists through word of mouth recommendation, because Lifehunger was a complete surprise to me, sent in my direction via Cary the Metal Geek on our last MSRcast. I was mildly curious as to how we got a promo of this one, and surprise surprise, this album is being released on Season of Mist, the band’s first for the label. What a difference working PR makes!

The timing of this release is perhaps key to my enthusiasm in embracing it as fully as I have, because I’m sitting here writing this on the eve of a cold “northern wind” that’s supposed to blow through the streets of Houston and purify the hot, foul, stale vapors that drape this city like the heaviest wool blanket. If the cover art wasn’t enough to put you in an autumnal mood with its depiction of dead trees and a spooky moonlit silhouette of Death, the intro track “Flowers & Blood” should work, and its acoustic simplicity is a motif that we’ll hear throughout the album, almost like a rustic skeleton that binds all these songs together. But beyond essential folk metal ingredients, what really makes Lifehunger fascinating is the scope of its ambition, that the band chose to write without constraints and to put it bluntly, let themselves get really weird with it. The album opener proper “One Hundred Years” is perhaps the most conventional thing on the album and even it is loaded with passages where countermelodies spring up to disrupt the more familiar blackened folk metal tempo and riff structure. The title track jumps from an ominous marching tempo with almost doom metal inflected repetitive riffing to a furious uptempo attack, only to down shift again in the middle with a rock back-beat and a dirty Darkthrone vibe reminiscent of something off Circle the Wagons. One of my favorites for sheer unpredictability is “The Dead White”, not only for its myriad tempo shifts, but the Reinkaos-era Dissection vibe running throughout. Its a mix of smokey blackened folk with the coiled up energy of melodic death metal that results in a standout track, perhaps the best on the album.

 Vocalist Sture Dingsøyr still has every bit the fierce, biting blackened rasp he did on their earlier records, but its aged into something resembling modern day Satyr in tone, not a bad thing. He’s at his best on my personal favorite track, “Hello Darkness”, where he even attempts some strangled cleans that remind me of In Solitude or Year of the Goat. There’s a near-campy Halloween vibe in the first few minutes here, and normally that stuff might annoy me but I think I was so charmed by hearing it on my first listen through the album that its stuck to me in a good way. Whats even more lovable is the 70s Scorpions Uli-era semi-chimed riff at around the three minute mark. It was so unexpected and feels so out of place on what is largely a bleak album, a moment of warm tones and major chords conjuring up bright nostalgia. It actually sums up the album for me, a listening experience that kept me guessing all the way throughout, yet when Vreid just put their heads down and barrel relatively straight ahead as on “Black Rites in the Black Nights”, I’m not left disappointed. The actual blackened folk here is strong, confident and creatively written in its own right —- the unexpected surprises just add to the depth of the songwriting as a whole. I’ve been away from these guys so long that I can’t definitively say this is their best effort, but its the one I’ve loved the most. Its also somewhat comforting in the light of the nascent folk metal revitalization last year to hear a strong connection to their Windir roots running through Lifehunger, I suspect Valfar would be proud.

Seventh Wonder – Tiara:

There’s something satisfying about getting to evaluate both Tommy Karevik fronted bands’ new releases essentially back to back within the same calendar year. Kamelot released The Shadow Theory in April and we heard the power metal institution run smack into a creative wall, a disappointment considering how artistically successful they were on 2015’s Haven. Without regurgitating what I went into detail in explaining in my reviews for those albums, I think there’s a feeling among the power metal constituency that Kamelot are a little too attached to the darker imagery they’re using these days in a vain attempt to try to capture perhaps a broader audience (and failing spectacularly at it commercially speaking, but that’s another matter). I’ve accused the band of trying to shoe-horn in something I’ve termed faux-heaviness, which The Shadow Theory was loaded with and characterized Haven’s few weak moments. What does that have to do with Karevik’s role as their vocalist? Well, everything. That comes into sharp relief once you hear him back in his ‘home turf’ of the unapologetically heart-on-sleeve prog metal of Seventh Wonder. Karevik’s performances on both his band’s newest albums is a night and day contrast, and since its football Sunday as I’m writing this, I’ll ask aloud: Do you hand off the ball to the running back 40 times a game if you have Tom Brady or Aaron Rodgers at quarterback? You don’t need to be a football expert to know the answer to that question, and you only need to be passingly familiar with Karevik’s work in Seventh Wonder to know that like the legend that he ended up replacing in Kamelot, he understands how to craft vocal melodies and has a range as gorgeously soaring as a Rodger’s hail mary. Put the ball in his hands.

Let’s put the comparison’s aside for a bit though, because there’s also the fact that this is Seventh Wonder’s first album in eight fricken years, a byproduct of Karevik’s limited availability, so that’s enough reason to be excited. This isn’t a band that needed Wintersun or even Blind Guardian-esque timescales between albums to create the next one, there were only at most two year gaps between each of their previous four albums, including the back to back greatness of Mercy Falls and The Great Escape. Seventh Wonder purists were indeed right to be concerned with just how much Karevik’s prolonged abscences and creative responsibilities elsewhere would detract from this band (a lot as it turned out). Fortunately for them, the rest of Seventh Wonder spent the intervening years working on this album as their main musical priority, with Karevik taking part during the breaks from Kamelot related activity. With the luxury of time on their side, they had to ability to compose what turns out to be the most intricate, melodically diverse, and conceptually ambitious concept record of their career. They haven’t strayed from their inherent sonic identity, adhering to their rather uniquely streamlined approach to prog-metal with Andreas Söderin’s 70s prog-rock keyboards almost acting as connective tissue amidst the staccato riffs and rumblings of guitarist Johan Liefvendahl and bassist/co-lyricist Andreas Blomqvist. Despite the majority of the songwriting here being hyper-centered around the vocal melodies, their roles are crucial within the sound of this band, and as on past albums they find various scattered little moments for their own star turns. I’ll be honest though, one of the things I’ve identified as a weakness for this band here and on past records is that I can find myself tuning out during some of their relatively few extended instrumental breaks. Even though they’re not as noodle heavy as Dream Theater, they’re still working from a prog foundation in style, so instead of purposeful sustained riffing, or clearly outlined melodic motifs, the musical beds during the more uptempo/metal tracks work as rhythmic exercises, which is hardly captivating by itself.

With Karevik getting the lions share of the spotlight however, we’re far more attuned to process this album through his vocal melodies, inflection choices, and of course his and Blomqvist’s lyric writing abilities. I’m not going to detail out the concept here, because Google for one and also its just too much to talk about, but its tilted enough towards centering around specific characters and their emotions and that’s plenty of ammo for great lyrics. I’m thinking specifically of album highlight “Tiara’s Song (Farewell Pt 1)”, the most gloriously pop drenched moment here, its chorus something right out of the Ayreon / Avantasia grand gesture oeuvre: “Farewell Tiara, this song is yours / From Sahara to the seven seas it soars”. There’s a really inspired bit of album making in the connective sequel track “Goodnight (Farewell Pt 2), where that chorus is revisited by the mechanic of storytelling itself, with us hearing what appears to be a celebratory nighttime campfire singalong, heard amidst the din of people laughing and conversing while crickets chirp in the trees. Tiara has been selected to be humanity’s savior, and they’re giving her a farewell party, raising glasses to her name. Its a perfect lead in to “Beyond Today (Farewell Pt 3)” where we get to hear directly from the heroine herself, and this is where Karevik is just magic as a lyricist and emotive singer. He can deliver gut-wrenching emotion with vocal inflection and choices in phrasing, and sells us on the very relatable idea that Tiara’s inner dialogue on the eve of her solo journey into outer space to represent all of humanity is preoccupied with very human, very teenage girl thoughts: “I wonder will I ever say / Hey, if you tell me yours, I’ll tell you mine / A perfect stranger in a ticket line / Just like in the movies, will he put his hand in mine?” Its not the first time we’ve been treated to this kind of ultra aware songwriting from Karevik and company, but few bands do it as boldly and fearlessly as Seventh Wonder.

I’ve enjoyed this album more than I thought I would, and I don’t know why I was initially low on expectations… perhaps it was that The Shadow Theory really bummed me out on anything and anyone associated with it. Hearing Karevik in this context however has renewed my confidence that Kamelot really did grab the right guy (certainly Haven was no fluke), but they just have to loosen up a bit and let him be a little closer to the vocalist we’re hearing right here. And to be fair, Karevik has come out recently and talked about why the approach he takes in Kamelot is so different to his Seventh Wonder style, and he made a few interesting points. First that Kamelot write in a different style altogether, which may be debatable given what we know about the earlier records with Roy (they were as theatrical, playful and major key as anything done by Seventh Wonder), and second that he feels uninhibited when composing vocal melodies for Seventh Wonder because he knows he won’t have to tour on those songs for any length of time. The latter is a band that for all purposes is a very popular studio project that occasionally does a festival date or two. Its a bitter pill to swallow in even considering the implication here, that Kamelot’s touring schedule might be affecting just how Karevik approaches his performances in the band. I’m not entirely convinced, because his work on Haven was closer to what we hear on Tiara than The Shadow Theory. Seventh Wonder definitely released the stronger album this year, by a mile even, I’ve enjoyed it immensely, even digging into the concept which usually isn’t my forte. This is just wishful fan-thinking, but I’d hope that hearing the record themselves would light a fire under the rest of Kamelot for the future.

September 17, 2018 2018, Melo-Death, Power Metal, Trad Metal 2 Comments

The Last Reviews of Summer: Cauldron / Omnium Gatherum / Powerwolf / Beyond The Black

More reviews from the dog days of summer, although the season is waning rapidly and good riddance I say, it was a pretty good time for metal releases. I was glad for the slow down that seemed to occur in August, it let me get around to listening to older albums and also to work on non-reviews features that I hope to have out soon for the fun of it. One of the older albums that I dug into listening to was Beast In Black’s 2017’s debut Berserker, and I’d be lying if I wasn’t a little miffed that no one sent me a message asking me why I hadn’t bothered reviewing one of the more outlandish, Euro-swagger filled power metal albums of that year. Its such a fun album, and their Greek vocalist Yannis Papadopoulos is a dynamo, one of the more promising talents in a burgeoning field of new, exciting singers coming up within power metal as a whole. I know that Beast In Black is an offshoot of Battle Beast, but their debut is yet another piece of ammo for my theory that power metal is enjoying a quiet renaissance as of the past two-three years. Anyway, here’s a handful of reviews to round out the summer months, and hopefully I’ll have some non-reviews stuff coming up ahead to give myself and you a break from the treadmill.

 

 

 

Powerwolf – The Sacrament of Sin:

There’s a few ways you can attempt to analyze a new Powerwolf album, and although I’ve only done that once before (for 2015’s Blessed and Possessed) I feel like the best way is to simply compare it to its immediate predecessor. This is because there is no lock on what is the band’s all time best album, even among their sizable fan base. In this Powerwolf share the same dilemma that Sabaton had over time, that the fan favorite songs were spread rather randomly across the entirety of their discography. In the well over half a dozen Sabaton shows I’ve seen, fans went just as nuts for “Ghost Division”, “40:1”, and “Cliffs of Galipoli” as they did for the encore “Primo Victoria”. Now in Sabaton’s case, there has been a recent consensus building/realization that their 2008 album The Art of War has risen in the esteem of the greater metal community at large as one of the best front to back power metal albums of the last decade, as well as one of the most impactful (something that I’d agree with even though I think Carolus Rex and Heroes are more interesting and rich albums). Its natural to compare both these bands, they started out in the same year with their debuts (2005) and have taken a similar career trek to headline status in the European festival scene with a poppy sensibility to their keyboard driven songwriting, a baritone-ish vocalist, and a distinct “shtick” to their image and subject matter. But where Sabaton have at times attempted to innovate, albeit slowly and subtly, Powerwolf might be on the verge of repeating themselves into a Manowar-ish corner.

 

I will say that I’ve enjoyed this particular album a great deal more than Blessed and Possessed, and though that wasn’t a difficult hurdle to clear, its encouraging to see the songwriting bounce back. The obvious single here is “Demons Are A Girl’s Best Friend”, and at least in its verses they try some new things here and there, but in the chorus its strikingly close to “We Are The Wild” off the last album, which itself was a watered down version of “Sacred and Wild” off 2013’s Preachers Of The Night. Its a strong song, though not exactly compelling stuff beyond the candy coated vocal hook, and honestly it was on the border for me with its lyrics, skirting the edge of good taste in keeping with the lycanthropic theme. If you’re going to commit to this concept, as you could honestly say they have been for years, then don’t muck it up by getting cute in your imagery (then again this is the band that once penned “Resurrection By Erection” so maybe I shouldn’t be so surprised or annoyed). I actually enjoyed “Incense & Iron” more, with Attila’s commanding vocal during the verses going in an unexpectedly epic, Blind Guardian-ish place. The chorus may be standard swashbuckling power metal fare, but the Celtic sounds, the martial stomp and swing of the rhythmic approach combine to craft a stirring anthem. I also thought “Where The Wild Wolves Have Gone” was an interesting ballad from a band that isn’t really suited to attempting them, with its Orden Ogan channeling in style and even Attila’s vocals sounding similar to Sebastian Levermann’s.

 

I get why Powerwolf are so beloved over in Europe, but it shouldn’t be a mystery why so many of us stateside power metal fans are a little more detached from the band. Unlike Sabaton who’ve made it their mission to establish a fan base in the States through years and years of relentless touring here both as support and headliners, Powerwolf hasn’t even bothered with us (and according to Glenn Harveston, promoter of ProgPower, they won’t even entertain offers to come over). I get it, why go through the massive expense of even trying when you’re kings in your home turf and are scoring number one albums in Germany? It does however result in some distance in just how much I can find myself invested in the band, because while I personally find Sabaton very interesting as someone who enjoys history, even I can admit that their music is very pop-laden for metal. Powerwolf is just as pop, but the werewolf thing doesn’t do anything for me at all in terms of deepening my interest beyond a surface level of is this catchy or not? Without the benefit of seeing them live, I haven’t had the chance to form a personal connection with the band in lieu of being unable to forge any kind of connection to them as artists. I’ve never seen Therion either, but I love their music so deeply that it can override that absence. Powerwolf doesn’t have the kind of music that can really inspire that level of devotion, and sadly this absence of both the live experience and passion for their music will keep them a distant memory in the minds of most American fans.

 

 

 

Omnium Gatherum – The Burning Cold:

I think I’ve learned to be a little wary of album previews in general, whether its those atrocious 3 minute spliced together montages of every song on an album to “whet” fans appetites, or even just the actual lyric/music video released ahead of the album’s street date. This is because even if its a full song from the album, its not enough to get an impression about the album’s quality one way or another. Its often counterproductive actually, an easy way to overreact to enthusiasm or get dismissive because of a negative opinion on one song. Recently with the Immortal album, I somewhat duped myself into believing that Demonaz and company had simply gone back to their early era roots, which although partially true was nowhere near a complete rendering of what that album really was. It took almost a solid month of listening to it for me to suss out a far more nuanced take, and I suspect that had I simply never heard the pre-release single of “Northern Chaos Gods” ahead of the album in full, I might not have come to that premature, judgment clouding take. With Omnium Gatherum, I saw the music video for “Gods Go First” way back in early July, and for whatever reason came away feeling rather “meh” about what I heard. That honestly dampened my enthusiasm for this album and although I still managed to keep my curiosity piqued come release day just for sheer reviewing purposes, it was hard to shake the bad taste I still had. I get that not everyone will have this problem, but I might be making a decision to stay away from most of these kind of early previews in the near future (case in point is the new Wolfheart track, haven’t listened to it yet).

 

Fortunately in this case, my early negative impression wasn’t nearly strong enough to work against the very obvious excellence that is Omnium’s eighth album in The Burning Cold. This is a continuation of the crackling artistry heard on 2016’s Grey Heavens, an album that I credited with the band finally finding the right way to manage the density of their musical elements. Vocalist Jukka Pelkonen started to time his vocal passages more effectively to complement the dual lead guitar melodies, to work around them and fill in gaps of sound rather than try to compete with them directly. Keyboardist Aapo Koivisto began to be a more foundational force within the structure of the songs, and as founding guitarist Markus Vanhala is usually the primary songwriter, its a credit to him in knowing that this strategy worked last time and to keep it going. A microcosm of this is heard on “Refining Fire”, where all of those elements come together to ensure that one of the more aggressive moments on the album is also its smartest songwriting wise. I particularly love the spacing around Pelkonen’s vocals during the chorus and the mid-song bridge where an awesome dual lead solo dances over Koivisto’s dreamy, lush soundscapes. Speaking of soundscapes, they’re just getting better and better, take a listen to the mid-song dip in “The Fearless Entity” for proof, with its own divergent melody and sense of melancholy and ache.

 

My previous disliking of “Gods Go First” has largely subsided, its a solid enough track, but it should have never been the single in the first place, that honor should’ve gone to “The Frontline”, as majestic a song Omnium Gatherum have ever written. Its up there with “The Unknowing” from Beyond and “New World Shadows” from well, New World Shadows. This is a gorgeous, thrilling song, built on a Gothenburg inspired sense of swinging melodic motifs ala Whoracle era In Flames, complete with a beautiful acoustic guitar framework keeping things rustic and enchanting underneath. The rhythm guitar attack here is measured and percussive even, aware of itself enough to keep out of the way of the lovely lead melodies, just smart, focused songwriting on display. The emotional outpouring occurs at the 3:22 mark, where Koivisto’s keyboards and the lead guitar join together to cry out a melody that’s simultaneously exulting and heartbreaking. This is why we listen to melodic death metal, because we want shimmering moments of major key goodness here to counterbalance the aggression and intensity —- they both work to make each other more potent. I’ll take stuff like this every day over non-stop blast beats and a never ending tremolo riff. I know I know, everything has its place, but straight up brutality has never produced a song that provokes the kind of emotional response that this song has. I didn’t think it was likely that Omnium would top Grey Heavens, but they’ve eclipsed it, and that’s something to cheer about.

 

 

 

Cauldron – New Gods:

I first caught onto Cauldron when their vocalist/bassist Jason Decay did a guest spot on BangerTV’s Lock Horns Power Metal episode. He wasn’t exactly the right guy for the gig, it should’ve gone to Martin Popoff (who later hosted the Essential Power Metal albums Lock Horns ep and delivered) but I figured anyone willing to stand up and talk about power metal on camera earned the few minutes in checking out his band. I became an immediate fan of their 2016 album In Ruin, a wild, semi lo-fi blast of old school, early 80’s hard rock meets early NWOBHM influenced metal. Sure they were one of the legion of bands that were doing deliberately retro sounding music, and that stuff could have a tendency to get a little too blatantly worshipful at times (Municipal Waste and the like), but like Sweden’s Enforcer and Chicago’s High Spirits, Cauldron found a way to express something vibrant and endearing (if not exactly new) in their music. There was an immaturity running through that album that was a boon, not a drawback, and through it a connection to the bands of that distant era they were pulling their influences from. I hate to get cliched, but this was metal that sounded great in a buddies garage from the stereo in the corner, while beers got drunk and bands and albums got argued over.

 

So when Cauldron leans into that aspect of their personality and sound on their newest, New Gods, I’m all in and enjoying every second of the trio’s still meat and potatoes sound. But this is also the band’s fifth album, and if its vague, amorphous artwork wasn’t a clue, the relatively scaled back accessibility factor is a signal that these guys are interested in maturing their approach a bit (actually if artwork is a guide, then they’ve been eyeing this path on their previous two albums as well, devoid of the Spinal Tap-ian ladies that adorned their first two). The most instantaneous stuff here is excellent, the best of the bunch being “Letting Go”, a slow burning juxtaposition of intense, biting mid-tempo riffage and Decay’s best vocal performance to date. His laid back tone has always reminded me of Chris Black but with a little more heft and roundness, and here he unleashes a memorable major key vocal hook, bright and full of energy. And then there’s “Together As None”, the most unorthodox song in Cauldron’s history to date, coming across as a slice of Dokken meets Def Leppard meets Weezer into some weird timeless pop-metal amalgam. I know its gotten its fair share of flack, but I love it and wish the band would extend further in this direction in the future (or in other strange, unexpected directions).

 

While those two songs were instantaneous and still hold up after countless listens, it took multiple efforts to crack into some of the other stuff here, and I’m not sure if that’s a good or bad thing. I actively disliked “Save the Truth – Syracuse” at first, but came around to it over time, and perhaps its because its such a slow burner (I’m that guy who took forever to love “Holiday” by the Scorpions, it was too slow and repetitive for the longest time, but one day it just smacked me in the face). Its still just a solid, not great song however, with a refrain that is subtly pleasant and reminds me of 80’s hard rock’s penchant for taking itself deathly seriously (that’s a good thing here). I haven’t really made heads or tails of the lyrics here, but it all fits the tone and general vibe of the music, and that’s kind of what I want from Cauldron —- the title of the song suggests a possible storyline or backstory here, but I’m a little hesitant to commit that much mental energy to this band (its not implausible for the future, but c’mon, I’m not listening to Operation: Mindcrime here). Similarly, “Never Be Found” took its time growing on me, but I can’t understand why, its one of the best cuts on the album, a confident rocker with the tastiest (yes!) dual harmony guitar solo I’ve heard this band pull off. But its listless cuts like “Prisoner of the Past”, “Drown”, and the pointless instrumental “Isolation” that throw this album off balance and prevent it from being as fun as In Ruin. Its still a worthwhile listen with some awesome moments, but Cauldron took a step back here, and that’s concerning.

 

 

Beyond the Black – Heart of the Hurricane:

Beyond the Black is the brainchild of vocalist Jennifer Haben, who made her debut (to most of us not in Germany) on Kamelot’s newest album in April on “In Twilight Hours”, a song I deemed the best on the album and a contender for the Song of the Year list. Her vocals on that track in a spiraling duet with Tommy Karevik played a big role in its success, particularly during its dramatic peak towards the end where she delivered an impressive display of range and emotive resonance. It was enough to make me pay attention to news regarding her own band to give them a fair shot, and its interesting enough to point out that Beyond the Black is kind of a growing big deal in Germany already, their previous albums charting quite high there (both this new album and its predecessor were top five on the national chart). They are a German born band with German band members, and its also worth noting that barring Haben the lineup is entirely new for Heart of the Hurricane. I’m not exactly up to date on why the entire band parted ways with Haben after their 2016 album Lost In Forever, but its impressive that Haben was able to cobble together a new lineup in such a short amount of time in the interim. Just as impressive is that this is genuinely a really excellent slice of symphonic pop-metal in the vein of Within Temptation and to a certain extent, the sugary sweetness of Amaranthe sans the electro-beat influences. Let that be your warning, if you enjoy most things about those two bands, feel free to proceed —- everyone else, don’t say I didn’t warn you.

 

The ironic thing is that I’m writing this right as Within Temptation have released their new single with Jacoby Shaddix (yeah that guy) “The Reckoning”, and its as dicey as you’d expect, a transparent attempt at edginess for edginess sake. The band’s roots were in symphonic metal (gothic metal at first for you nitpickers), but as Therion’s own Christofer Johnson has pointed out in recent interviews, there is nothing so unfashionable these days as symphonic metal. With the genre’s bigger names and veterans having moved away from the sound, its left a vacuum for its fans wanting someone to deliver the kind of stuff that they loved on albums like Century Child and The Silent Force. I’d be willing to bet that they’d really love the bulk of the fifteen (!) tracks on Heart of the Hurricane, because Haben and company make no attempt to deviate from the symphonic metal playbook, even excelling at moments due to their dedication to its tropes and cliches. Take album highlight “Song For the Godless”, with its unabashed Eluvietie invoking Celtic/folky motifs, or “Fairytale of Doom” with its almost children’s sing-songy melody that Haben unexpectedly sings right along to. When you’d expect things to get too clever by half and do something different in order to not sound overly cheerful or happy… nope, its full steam straight ahead without a second thought. Call it refreshingly oblivious.

 

Its also worth pointing out that Haben is the perfect vocalist to serve as the vehicle for this stylistic approach, her vocals reminiscent enough of Sharon Den Adel’s nationality neutral delivery to soak up pop hooks and dish out radio-rock appeal. Even the beauty and the beast tropes seem to work just on the pure strength of the songwriting and her skill at delivering compelling melodies, as on “My God Is Dead” where the vocals of I’m assuming the guitarist Chris Hermsdörfer work as a foil, Haben manages to keep us entranced enough to avoid thinking about just how close to hammy his presence made things for a second. So with all this genuine praise about what I’m listening to as the carrot, here’s the sharp, pointy stick: This is not a genuine band in the traditional sense, and is almost certainly a studio project in practice if not in conception as well. I had wondered just how it was possible for Haben to lose her entire band and somehow get a new lineup together within a year and collectively work on new material in such a short time span —- was she the songwriter and just dictated to everyone else? Certainly possible. But no such luck, as a little digging has unearthed a trio of German producers as the songwriters at work here (with Miro Rodenberg working on the album as mastering engineer to boot). I’m not against this in principle, Frontiers Records has developed a cottage industry around these types of releases, but the “band” has certainly loses a little appeal to me as a result. Even Amaranthe is writing their own stuff, for better or worse. Make of this knowledge what you will symphonic metal fans.

 

August 14, 2018 2018, Finland, Immortal, reviews Post a Comment

The Summer Reviews Catch Up Continued

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

 

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

 

 

 

 

Immortal – Northern Chaos Gods:

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

 

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

 

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

 

 

 

 

Necrophobic – Mark of the Necrogram:

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

 

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

 

 

 

 

Kalmah – Palo:

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

 

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

 

 

 

 

Elvenstorm – The Conjuring:

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

 

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

 

 

 

 

Dee Snider – For The Love Of Metal:

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

 

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

 

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

July 12, 2018 2018, reviews 4 Comments

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).

 

 

June 3, 2018 2018, Amorphis, At The Gates, Finland, Melo-Death 4 Comments

Scandinavian Summer: The Return of At The Gates and Amorphis

The two biggest releases in the month of May, I was of course wanting to give them an ample amount of listening time before writing anything and the busy nature of the month (including concerts and one out of town trip!) lent towards the drawn out time frame from their release date till now. I’m glad I waited because I was a little high on one and not so much on the other and its been interesting to see how an extra week or so has leveled off both of those opinions with different insights that came to me later on. With as high profile as these have been I feel like I took my eye off the rest of the release radar for this month and possibly June, so if anyone has any tips on what I should be paying attention to right now please drop me a recommendation in the comments!

 

 

Amorphis – Queen of Time:

I was surprised when Amorphis announced that a new album would be landing in our laps this summer, but quickly realized that its release date would fall just under three years since the September 2015 release of Under The Red Cloud, an album that was so magnificently brilliant it took hold of my album of the year spot. I think that album had so dominated my listening time for a good half a year after first hearing it that it made it feel like it was just released last year-ish. I put the album and indeed the band on a long break after seeing them live later in April 2017, something that needs doing after so intense a period of listening to an album you’re obsessing over along with the band’s entire back catalog as a side effect of that enthusiasm. I learned that lesson way back in the early aughts with Opeth and Blackwater Park, particularly considering how soon Deliverance and Damnation and even Ghost Reveries followed —- I couldn’t so much as look at an Opeth album cover for a good long while (a few years actually). That being said I feel like I had a healthy level of anticipation for this one, optimistic that it would be a good album (remember my Amorphis as the New England Patriots of Finnish metal comparison?… no? Dammit.), but a little skeptical that they’d be able to go the distance towards a masterpiece like they did last time around. I was right on the last part, Queen of Time is certainly nowhere near the level of inspired artistry we heard on Red Cloud, and it can rightly be described as a good, even very good album, but somehow something isn’t clicking with me here and I’m having a hard time figuring out what.

 

One thing is clear after all these many listens, that Amorphis is clearly running with open arms towards the highly melodic side of their sound that they expanded on Red Cloud. That means ample melodies, some bordering on what can perhaps be described as sugary or at the least a little sweet, a load of Tomi Joutsen’s clean vocals, and the bulk of the songs being set in a mid-tempo groove. On “Daughter of Hate” they even balance a ferocious melo-death attack with a laid back jazzy section replete with backbeat on the percussion and that recent mistress heard operating around various parts of Scandinavia, the saxophone. I alternate between being okay with it and other times being largely annoyed by its presence, and this is coming from someone who doesn’t mind the odd bit of sax (I grew up liking INXS for starters and then there’s its star role in Queensryche’s Promised Land to consider). More than that though, I couldn’t get into the almost twee sounding melody propelling “Message In The Amber”, unfortunate because its brutal middle section is entirely worth sitting through the rest of the song for. The placement of various sections within the song seem disjointed as well, lacking anything in the way of needed transitions or cues. This songwriting dysmorphia is also evidenced on “Grain of Sand”, where we hear some good ideas but nothing ever gels or coalesces into a greater whole. There’s something just generally frustrating about how songs like “Wrong Direction” and “The Golden Elk” turned out, because you get the feeling that they could have been excellent had they just locked in on a few things. I love the Arabic strings towards the end of the latter, but they came in far too late and probably should’ve been used more throughout the song, as they are now they strike me as an afterthought.

 

But more often than not, Amorphis flash that brilliance we’ve all fallen in love with, be it on the synth dressed “The Bee” with its lurching, punching Jousten growled verses that stomps and beats its chest emphatically. It’s status as the best song on the album might be challenged by “Heart of the Giant”, an energetic song with a surprising rhythmically structured chorus that seems to swoop in from out of nowhere. Similarly, “Pyres On the Coast” drives a rumbling buildup to a swiftly moving orchestral motif that arrives without warning but is compulsively re-listenable. And I’m of course a fan of the duet here featuring one Anneke van Giersbergen on “Amongst Stars”, although it does by virtue of her vocal tone skirt near that saccharine territory I was talking about before. She’s just such a great foil to Joutsen though that it hardly matters, particularly when the chorus she’s belting out is as lovely as this. The folky whistles on this song I believe might come from Eluveitie’s Chrigel Glanzmann which is a cool little detail, and the addition of them makes it sound like a lost track to van Giersbergen’s collaboration with Arjen in The Gentle Storm. This was a Santeri Kallio penned tune, a perfect example of his preferred songwriting approach with largely uptempo songs built around his bright, harmonious keyboard melodies. He and founding guitarist Esa Holopainen once again split the songwriting duties fairly evenly, with Holopainen’s contributions coming in on the heavier end (a distinction that really was magnified on Red Cloud). I could attempt to draw some kind of conclusion that it seems like my tastes fell more in line with Kallio’s songs on this album, but it was the other way around last time so I’m not sure if there’s anything to really learn from that.

 

What has become clear to me however is that I just don’t find this album as addictive as I was hoping for, to take that full on plunge back into Amorphis’ world once again. It reminds me so much of their 2013 Circle album in that light, where a few songs really stood out and I’d listen to them repeatedly, but the album itself was a trying experience. I think Queen of Time is a stronger album than that one, but only because they’re really running with this whole extreme melodicism thing which is right up my power metal street. I’m not getting down on the band as a result of this however, nor on myself; it was always going to be a tall order to follow up Red Cloud, and I knew that going in. And besides, who can tell what album is going to trigger that kind of intense reaction in any of us? For all I know someone may experience this album as their Amorphis masterpiece and think Red Cloud was a misstep (they’re wrong of course…). Going back to that Patriots analogy for a second, that team made it back to the Super Bowl yet again this past February and seemed likely to cruise to another championship, only to lose to the Eagles and their upstart second string quarterback Nick Foles. So close yet so far and all that. Its hard to win a title, just look at how challenging its been for Lebron James who’s only won 3 out of the how many trips to the NBA Finals? If there’s any band that can deliver another masterpiece at some point in the future its Amorphis, whose discography is void of anything I’d call bad or terrible. Each new album has at least yielded a small handful of classics to throw onto the old playlist, and that’s something to be grateful for as a fan (as a Rockets fan, trust me you gotta find small victories). I’ll be seeing the band live in October, and you better believe I’ll be all in at that show.

 

 

 

 

At The Gates – To Drink From The Night Itself:

This might seem stupidly arbitrary, but I had a good feeling about this newest At The Gates album when I saw the title. Look at it, it practically screams early-90s At The Gates pretension, cue The Red In The Sky Is Ours and With Fear I Kiss The Burning Darkness. When I was first getting introduced to melo-death, those album titles were thrown my way like life preservers by magazines, the scant metal websites around back then and the few metalheads I knew who were already in the know about such things. Those titles were mystical to me, just like Emperor’s Anthems to the Welkin At Dusk, or Darkthrone’s A Blaze In the Northern Sky. I love a lengthy, vague, somewhat mystical album title. Maybe this was me just grabbing for something to be excited about, because I was already on shaky ground confidence wise considering how non-existent my relationship to their 2014 comeback album At War With Reality has been since I first reviewed it. To put it bluntly, I don’t think I listened to it again after finishing writing that review, I just never felt the urge to go back to it. For the purposes of putting this new album in context, I did go back and give it a once over, and my feelings largely remained the same as what I put down in my original review —- there were some decent songs, a few really awesome riffs, and a whole lotta paint by numbers At The Gates… it was the sound of a band trying to sound like what it thought it was supposed to sound like to everyone else. It wouldn’t have been half as glaring had Carcass not had their own glorious return just a year prior with Surgical Steel, a record that was as confident, thoroughly of the moment, and also as forward looking as a comeback album could possibly be. It was such a phenomenal record that five years on Carcass have yet to follow it up, and though I’m sure that At The Gates were proud of At War With Reality, I’m glad they’re not letting it be the last word on a storied career.

 

On To Drink From The Night Itself, At The Gates once again return to the spirit of a band trying to explore the internal limits of their sound. This is an audience challenging album, often times working at tempos that aren’t the breakneck pace of most of At War With Reality or Slaughter of the Soul, some of the most intriguing songs finding other ways than solely speed to project intensity. Take “A Stare Bound In Stone”, an early album highlight where circular riff sequences create a sense of hypnosis, new guitarist Jonas Stålhammar and band vet Martin Larsson playing in mechanical lockstep. The abrupt mid-song lone guitar led drop-out begins a passage of waves and waves of tremolo infused riffing that crash down. My personal favorite is “Palace of Lepers”, particularly for its euphoric, syrupy sweet classic melo-death riff payoff around the three minute mark, and that they let it carry on through the fade out is a nice detail. I could see how a song like “Daggers of Black Haze” might strike some as too slow or meandering seeming, but I think the melody they’re coaxing in that primary riff motif is interesting in its own right, and again with the beautiful mid-song transition (this time at the 2:33 mark), a little classic Gothenburg Scandinavian folk in that acoustic sounding sequence. There’s a real sense of the band attempting to morph or shape the limits of the At The Gates stylistic boundaries, as on “The Colours of the Beast” which is unlike anything we’ve heard them attempt, a staggeringly powerful lumbering riff based monster that rattles the interior cabin of your car if you’re like me listening to it a near full blast.

 

Of course there’s the lone exception to all this new freshness, that being the title track turned music video, and I’ll say right up front that its a fun, adrenaline rocketing tune, the kind of thing that At The Gates is identified with. The only complaint might be that its a little too close to “Blinded By Fear”, as in really frigging close (that riff is just one or two minor adjustments from being a carbon copy —- guitarists help me out here!). The jarring dichotomy between it and the rest of the songs is precisely why the album speaks to the band’s growth here. The former is a slice of past glories more in keeping with At War With Reality, and everything else is a bit of a strange journey into unknown places with only the slightest of head nods to the ancient past of their first two albums. When I listen to “Labyrinth of Tombs” and its interweaving guitar motifs or “Seas of Starvation” with its rumbling bass riffing and epic, elegiac guitar fragments, I hear a side of the band that I’d never expected (the string section blast at the end of “The Mirror Black” being another whoa moment). I will say that there are some production issues going on here that crop up more in some songs than others, particularly with how muffled the drum sound seems to get whenever everything else is pouring on top of it. Tomas Lindberg, as fine of form in gravelly voice as he ever is also gets a little cramped in the mix, with guitars taking a bite out of his fierceness in some critical spots. I am surprised at just how little I noticed Anders Björler’s absence, with the new guy fitting in remarkably well, not surprising I guess given Anders comments on why he decided to leave in the first place. For the rest of the band, they’ve found their footing after a long reunion process, and it finally feels like they’re really, really back.

 

May 14, 2018 2018, Black Metal, Dimmu Borgir, reviews 5 Comments

Mass Darkness: New Music From Dimmu Borgir and Ihsahn!

Dimmu Borgir – Eonian:

So I could go the expected route and start off this review of the new Dimmu Borgir album Eonian by leveling a flurry of criticism at them for taking eight years to release something new. I did it with Therion recently, and in cases like theirs and of course the much discussed Wintersun the criticism can be warranted from a fan’s point of view. But other times its worth pausing to consider just how helpful a long hiatus can be for an artist’s career, not just for the obvious financial reasons of artificially building up interest for lucrative festival appearances and tour offers, but in allowing the creative process to reset and take stock. I know for me there was a feeling that the band had wandered off into the wilderness for their past two releases (something I actually felt started on 2003’s Death Cult Armageddon, despite its many fun moments). Their fascination with heavily orchestrated productions kinda spiraled out of control, and although I think the song “Dimmu Borgir” from 2010’s Abrahadabra was a triumph of dark majesty, the rest of the album was one heck of an overcooked chicken dinner. Eight years has given the band a new perspective on just how they should apply orchestral elements to their sound (judiciously is the answer) and has allowed them to rediscover some of the charm of the signature sonic elements of their classic Enthrone Darkness Triumphant album.

 

While Eonian isn’t quite a return to old school Dimmu Borgir, it hearkens to that spirit in their more streamlined musical approach, particularly in bringing back that old “Mourning Palace” keyboard approach —- you know what I’m talking about, the church organ gone evil. I hear it in the opening strains of the awesome “Interdimensional Summit”, as lean and pointed a single as they’ve ever released, boasting an earworm of a choral vocal hook amidst a bed of sharp, jumpy rhythmic shifts. Galder’s solo here is as gorgeous and memorable as something off a Therion album, and maybe its just my memory getting the better of me, but I can’t recall him doing something quite like it before. Another standout is “Aetheric”, a microcosm of the band’s better merging of symphonic bombast with streamlined leanness. Keyboards pair with lead guitars to create a spellbinding, otherworldly melody while waves of orchestra burst in to raise the tension and give us a little adrenaline kick. There’s a very Satyricon-esque riff at work throughout most of this tune as well, an unexpected though welcome surprise, one that I think actually works well with Dimmu’s overall approach (is dabbling in black n’ roll a potential way for them to lean next time?). The gloriously epic passage here is the 2:25-4:30 stretch, a lengthy but note perfect masterclass in the potential for symphonic metal’s emotional power. From just these two tracks alone, we’re getting work that could be placed alongside the handful of other truly great moments they’ve managed in a lengthy career. And before you think that’s a lot of hyperbole over two songs, the rest of the album holds up just as well, including the much discussed experimental nature of “Council of Wolves and Snakes”, although being a track that took me a few listens to really unlock and understand, I’ve been addicted to its slower, dreamscape invoking passage from the 2:45 mark onwards.

 

What’s striking about this album overall is just how much of a pure joy its been to listen to, something I can only best describe as being a fun listening experience. Its a playful record, both aware of when its invoking old Dimmu in pointed moments and slyly sliding in something unexpected when you aren’t ready for it. They bring back that aforementioned black n’ roll riff to “Lightbringer”, but segue it into a clever mystical keyboard vs tremolo riff sequence, and Shagrath narrates with vocals that haven’t aged a day, full of fierce bite and crisp enunciation. I also think “I Am Sovereign” is one of the more inventive moments on the album, veering from an urgent, regal march built around dizzying orchestral fragments that swirl like fevered dervishes that descend into a primitive thick riffed stop/start punctuation mark. I particularly enjoyed the lyrics on this one, a sort of reverse meditative musing on knowledge and understanding, very cosmic in the way its stated yet using personal language, a tricky thing to do. The band saves their biggest orchestral blast for “Alpha Aeon Omega”, a battering ram of a track, full of rapid, punishing percussion under gushing waves of symphonic swirl and color. Silenoz has notably stated that this time around the symphonic parts were more symphonic, and the black metal parts sounded more black metal, and I think he’s right —- essentially he’s suggesting there’s more definition between the two. That was a lesson hard learned I think from their past few albums where perhaps even the band themselves started to lose track of what kind of song structures they had hidden underneath those walls of noise. What Eonian succeeds in doing is simplifying the merger of these two worlds of sound, getting back to basics in essence (you shouldn’t go into this album expecting the band to reinvent the wheel, they’re doing enough by reinventing themselves).

 

I’m a little surprised that many others aren’t seeing it this way, the album is getting mixed reviews across the board, but then again a band this well known is never going to please everyone, and its been so long since we’ve had new Dimmu Borgir that I suspect most writers/reviewers/ fans don’t even know what they want from a new album by them. That’s the other side of the coin in staying away from new music for so long, that an audience can become disconnected with the band’s overall artistic milieu. Most folks simply aren’t going back and listening to the band’s catalog in preparation for hearing the new album, or revisiting the last album to see where they left off —- and I’m not suggesting that anyone should have (or even that I did… I did not by the way). But it does leave one with only their memories and vague, fleeting impressions of what Dimmu should sound like in their mind’s ear, so I’ve taken the criticism of this album with a huge grain of pink Himalayan salt. One review complained that the album sounded like it had been written over eight years, and that every song seemed so different than the rest that time was the only way that diversity could be explained (is that a criticism even?). Others simply stated that the band was up to their usual tricks of overblown symphonic bombast, opinions that can be immediately discarded since we know that’s just objectively not true. Some even criticized the album for sounding too happy (because apparently major keys in metal equal happiness —- didn’t know that, thanks guys!). Ignore all of the reviews panning this album, give it more time if it hasn’t gelled with you yet, its definitely loaded with some ‘immediate’ moments but its largely built on finesse and detail. Its the most fun I’ve had listening to a Dimmu album since Enthrone Darkness Triumphant and I don’t even blanch at discussing them side by side.

 

 

 

 

Ihsahn – Àmr:

If relatively more straightforward, traditionally structured black metal like Dimmu’s is like a dark, bitter beer, then Ihsahn’s more nuanced, progressive approach to the style is more like wine. That’s a terrible, awful comparison, trite and unhelpful overall, but maybe its worth throwing out here now for the few of you who are uninitiated to the solo career of the Emperor brain trust. Knowing personally a few craft beer connoisseurs and a wine expert who could likely give the sommelier test a go, I don’t want to tick anyone off, but wine is generally viewed as something more sophisticated. And having that mindset going into an album like Àmr will help you ready yourself to the odd nature of Ihsahn’s electronic bleeps and blops, his erratic time signatures, and his deconstruction of prototypical song structures. I’ve had an up and down time with his solo works, but I really enjoyed 2016’s relatively linear Arktis., particularly its excellent year end list making single “Mass Darkness”. This new album seems to continue in that spirit, much to my relief, although this time the heaviness and riffs take a backseat to clean vocal melodies, something that really is unexpected given Ihsahn’s publicly stated anxieties about his skill as a pure singer. He’s pushing himself vocally on this album like he’s never done before, his voice at times reminding me of early years Mikael Akerfeldt. Of course his black metal vocals are also present, sounding as distinctive in their ash coated blackened rasp as ever, the opening track “Lend Me The Eyes Of Millennia” being a fairly representative calling card for his overall solo style. Its a furious song, menacing in tone and surreal due to its separation of time signatures via different instruments where dirge strings, tremolo riff passages, and Ihsahn’s bleak vocals are each operating at their own tempos.

 

Yet the heart of Àmr comes out on “Arcana Imperii” where we get treated to Ihsahn’s most convincingly well sung clean vocal to date, arriving in the chorus complete with syrupy harmonies and little embellishments on repeated phrases. Yes I know thats the kind of thing singers do all the time, which is all the more reason why its so striking when its friggin Ihsahn doing it. The music in these sequences is largely devoid of riffing, Ihsahn opting for an openness and spacing between notes, the ambient keyboard work filling in textural gaps. There’s a noticeable Leprous influence on “Sámr”, in its deliberate rhythmic shuffle but also in the airplane takeoff clean vocal he unleashes for the refrain, sounding as lithe and elegant as his brother-in-law Einar. I get a jazzy feel from this cut, something that reminds me of “Evidence” from Faith No More’s King For A Day record (well, if only in shades musically speaking), and its one of those subtle cuts that soon becomes an earworm that lingers long after the album finishes playing. It was on “One Less Enemy” where I started to take notice of drummer Tobias Ørnes Andersen’s amazing work here, and really all over the album; he plays with a progressive ear towards jazzy fills and slightly off-beat patterns, even his decisions on cymbal timing are intriguing. What a bizarre track that one is as well, built largely on a keyboard sound motif that I could only describe as something that could come from a theremin.

 

We get an excellent groove based riff on “In Rites Of Passage”, the album’s other overly black metal laden cut, this time with Ihsahn directly layering clean vocals atop his grim ones. I thought the very UK electronica instrumental tinges midway through were interesting bits of texture simply because they don’t seem all that out of place on an album that is constantly shifting, pulsing, and undulating in ways that metal albums typically don’t. And “Marble Soul” is an example of how despite Ihsahn having made a career out of steering clear of A-B-A-B pop songwriting structures, he is now all these albums later willing to appropriate that structure on a whim to serve a musical idea. This is a catchy track, still unsettling in its abrasive black metal parts, but that’s one smooth, sing-songy chorus (it would find its way to me in the grocery store of all places while I was roaming the aisles listening to a podcast). This is a head space album, one of those records you just put on and absorb without casting judgement as you listen —- its supposed to fill a room the way the best ambient electronic music can, and indeed it shares similarities in palette to that stuff. The details start to surface over time, but for them to appear you have to kind of mentally surrender in a way that we don’t ever do for typical metal records. I keep thinking back to that Bell Witch album from late last year, how it might have unlocked a part of my music listening brain that was previously blocked at times. Maybe a couple years ago I would have had a hard time with this album, impatient for something to happen (right away!). Now I feel almost at peace with the abstract nature of this stuff… that in itself is a trippy feeling.

 

April 22, 2018 2018, Black Metal, Folk Metal, Nightwish, Power Metal, reviews, symphonic metal, Tuomas Holopainen 6 Comments

The Spring 2018 Reviews Cluster

We’ve had a few really solid months in terms of quality metal output, and I’ve been somewhat on top of most things this year which is a change from my usual flailing around. I’ve likely missed something somewhere but given the amount of time already spent listening to music, I don’t think I could cram anymore in. Here’s a few of the things I thought were noteworthy and worth talking briefly about, the ones that didn’t make it in this time might see the light of day next go round. If you really think I’m missing something that needs to be heard by all means let me know in the comments below, I need all the help I can get!

 

 

 

Judicator – The Last Emperor:

Tucson’s Judicator are the latest in a volley of trad/power metal shots fired from the States, and with The Last Emperor they might actually win enough critical acclaim to become a fixture on the scene. Theirs is a decidedly European leaning take on the style, heavily influenced by classic mid-period era Blind Guardian. This shouldn’t come as a surprise once you hear this record, but its worth mentioning that their founding members met at a Blind Guardian show in 2012, and having first hand experience myself at just how magical those shows are in particular, I wonder why more power metal bands haven’t blossomed in their wake. Anyway, at the heart of Judicator are vocalist John Yelland and guitarist Tony Cordisco, both working as primary songwriters together, Cordisco working up the music and Yelland crafting his own vocal melody ideas. Their new album is actually my introduction to the band, arriving typically late to the party (this is album number four for them, three if you consider the first to be what it really is, a demo), I was introduced to them via the accumulated murmurings at the US Power Metal Connection Facebook group and the /r/powermetal subreddit. Everyone seemed to be eagerly anticipating its March 30th release above anything else, so like a kid elbowing his way through a throng watching the news on TV at a storefront window, I had to see what everyone was going on about. Two tracks in and I was immediately sold and bought the album from their Bandcamp a day before its official release.

 

It shouldn’t take long to sell you on it either, the opening title track being a near perfect microcosm of hearing their obvious influences shining through yet also detecting their own personality coming through. Midway through, they abruptly skip away from a very Blind Guardian-esque, layered vocal laden mid-tempo passage to a sudden gear shift into speed metal with group shouted backing vocals, a combination that reminds me of a metalcore approach (albeit without sounding ‘core). I imagine its impossible to write a review about these guys and not mention the influence of the ‘Bards, and while other bands have shown that influence before (Persuader anyone?), the really impressive thing about Judicator is just how that influence manifests itself —- the folky vocal passage towards the end of “Take Up Your Cross”. Yelland isn’t so much a dead ringer for Hansi in tone as he is in approach, something heard in his choice in diction, phrasing, and of course the innate sense of when to layer a vocal with heaps of harmonies. You get to directly hear that contrast on “Spiritual Treason” where Hansi himself shows up for a guest vocal spot, as ringing an endorsement of Judicator as you could envision. Its a fantastic track, epic in scope and feel, and while the two singers complement each other really well, the star here might be the songwriting itself, crisp, bracing and energetically bouncing along (its been awhile  since we’ve heard Hansi in something this lean and mean).

 

Nine Circles published a nice interview with Yelland and Cordisco, one worth checking out if only for the glimpse into the tons of behind the scenes work that American power metal bands have to go through. The insight into this album however yielded a few surprising details, the first being that this is the band’s first album without harsh vocals and ballads both. There are softer dips into folky acoustic territory scattered throughout The Last Emperor, and they sounded so excellent that I wondered why these guys weren’t trying their hand at a longer piece composed in that vein —- I’ll have to dig into their discography to find that then. Its not a knock against this album though, because I get what they were trying to do in maintaining a certain level of energy throughout (somewhat similar to what Visigoth recently accomplished on Conqueror’s Oath). Reading Cordisco’s description of how he approached the songwriting here only reinforces what I felt when hearing the album for the first time, that there’s a real methodical level of thought that went into the songwriting here, even down to tiny details like sudden riff progression changes and the design of hooks (vocal and musical both). This was a real surprise, a knockout album from a band that wasn’t even on my radar until recently. It gives me hope for the future of power metal which seems to be flourishing into a new renaissance recently with the likes of Visigoth, Triosphere, and Unleash the Archers.

 

 

 

Barren Earth – A Complex of Cages:

I’ve had a soft spot for Finland’s Barren Earth ever since being introduced to the project with their 2012 album The Devil’s Resolve (a Metal Pigeon Top Ten that year!), it being an intriguing mix of melancholic melo-death with very 70s prog-rock elements. At the time, Opeth had just undergone their neo-prog transition with the Heritage album and I wasn’t feeling it, so I was all to eager to fly the flag for Barren Earth pulling off the sound I wanted Opeth to be doing. But that’s an oversimplification of what they do, even if the comparison is completely justifiable, and as we heard on 2015’s On Lonely Towers they were forging a unique identity of their own. And that’s important because one of the things that always gets everyone’s attention about the band’s lineup is its supergroup of Finnish metal aura (two parts Moonsorrow, former ex and now current Amorphis, and the Finnish guitarist for Kreator). Since I missed out on reviewing On Lonely Towers, its worth pointing out here that it was their first without Swallow the Sun vocalist Mikko Kotamäki at the helm, and to his credit he was a big part of what made me love their previous album so much. His replacement is Clouds vocalist Jón Aldará, a vocalist whose clean vocals are a little more rich with emotive phrasing, not a bad thing by any means but one of the things I loved about Kotamäki’s cleans is his somewhat emotionally detached, distant approach. It lent an air of mystery to his performances with Barren Earth, whereas Aldará (damn these guys’ accented names!) puts almost the equal and opposite emphasis into emoting, something that tends to diminish its own power if done too often.

 

As far as melo-death vox go however, Aldará is on par with his predecessor, his tone having the right texture (somewhat blackened, nice crunch… what a weird way to describe the human voice). On “Further Down” you get a good balance of both his styles, and its a catchy track too, with a chorus boasting a memorable vocal hook and a nicely written major key guitar sequence that sets everything up. It was the major standout after my first couple listens to the album, and unfortunately, that’s kind of the problem with A Complex of Cages in the grand scheme of things. After a few weeks listening through it, giving it space, coming back to see if anything else would unlock, I’m realizing that its one of those albums that just isn’t sticking. Its a solid album when I’m actively listening to it, but apart from that one track I’m finding it difficult to have anything else stay with me long after I’m done. Now sometimes that’s fine, as was the case with Bell Witch’s Mirror Reaper, but those are outliers, and I remember how much The Devil’s Resolve would linger long after listening to it. Oddly enough the only other track that came close to having some kind of return value was the ten minute epic, “Solitude Pith” for its fantastic ending passage at the 7:40 minute mark. These are the reviews I hate to write the most, because the album’s not bad by any means, and its got interesting moments scattered throughout, but ultimately I feel like I’ve given it a fair amount of time and its failed to make a lasting impression. I’m going to revisit it in a few months and see how it goes.

 

 

 

 

Light The Torch – Revival:

I don’t normally listen to bands like these, but lately I’ve become a supporter of Howard Jones just as a human being, his appearances on the Jasta Podcast being so endearing that I’ve found myself rooting for him. His is an interesting story, not just for his time in Killswitch Engage’s rise to fame but in his battling depression, the brutal physical effects of diabetes type II, as well as crippling social anxiety. His current band has been known as the Devil You Know, but legal problems with their former drummer prompted a name change as an easy out, and so we have Revival, the first album in this mach 2.0 version of the band. The style here is more modern hard rock than metalcore, but sees a meshing of various elements largely due to Jones’ expressive and distinct clean vocals. Curiosity made me start listening to this album, and I started using it as a palette cleanser after so much more involved and complicated music I’ve been constantly listening to (Nightwish comp aside, the rest of the albums in this post are proof of that). Its definitely a simpler brand of heavy music at its fundamental core, focusing on anthemic choruses and vocal melody centered songwriting.

 

The riffs are fairly standard, not a lot of texture to them and sometimes that’s a keen reminder as to why I don’t normally bother too much with this genre of music as a whole, an example being “The God I Deserve”, with its turgid, bland slabs of distortion not really saying much besides filling in the vocal gaps. But lets not get ahead of ourselves here with too much musically focused analysis, because I doubt the people who really love stuff like this are fawning over the guitarists in particular. The attraction here is Jones himself, and on the opener and video track “Die Alone” which boasts about as positive sounding and anthemic (any good synonyms to replace that adjective with?) a slice of groove metal can be, they lean on their greatest strength. Its an addictive hook, and Jones has something inherently likable about his clean vocal approach, capable of being booming and rich at the same time, never losing an ounce of power. His growls are fine, and they add shades of color and complexity that’s badly needed in the face of the straightforward attack of the band, but if he did more of this kind of harmonized type clean singing in Killswitch, I might’ve been more of a fan. He showcases this again on “The Safety of Disbelief”, a strong bit of songwriting with some rather well executed self-reflecting lyrics. The themes here are a more personal slant on what Hatebreed does, a lot of purging of inner turmoil and self doubt, and it works. Not my usual cup of tea but it was a nice change of pace.

 

 

 

 

Nightwish – Decades:

I’m not sure if the more apt critique of Nightwish’s new career spanning retrospective is its utterly bizarre tracklisting, or once again my pointing out just how inane it is for a band to spend money making these compilations in the first place. Granted, the costs of such a project are lower than that of a studio album for the most part —- we’re talking primarily the costs of design packaging here, and presumably Nightwish had already made the arrangements long ago to be allowed to re-release parts of their Spinefarm past back catalog on a newer label arrangement. Whatever the business arrangements, Nightwish made the shrewd decision to promote the hell out of the fact that this was a band curated release, with the tracklisting picked out by Tuomas Holopainen himself and the liner notes as detailed and fan pleasing as you could imagine. So pleased and confident were they that they gave away copies to every single ticket buyer of their recent US tour, a nice little tie-in with the tour bearing the same name. I did scan their social media a bit to see fan responses to the free surprise gift vary from giddy to pleasantly surprised to “This is nice but I don’t own a disc player…”. Well then, the very fundamental issue indeed.

 

I’ll wonder aloud and ask you to join me, “Couldn’t this have been accomplished by simply having the band curate their own Spotify playlist, perhaps with some audio commentary tracks thrown in as a nice bonus? Oh wait, they did that —- Spotify has done a series called “Metal Talks” in which artists do that very thing for their newest release and Nightwish recorded one with Tuomas and Troy Donockley, and I found their commentary incredibly fascinating, Tuomas in particular going into details that few interviews manage to drag out of him. If you consider that Decades release on Spotify itself is in fact a glorified playlist, then its mission accomplished without the need for a physical release of any kind, but Decades was released on CD and vinyl. I don’t have a problem with that, I just hope it was worth it and that they won’t take a bath on it financially. I’ve written about my own internal first world struggle with my physical music collection, and the in past few months we’ve seen new reports about how Best Buy and Target might remove CDs from their stores by the summer (and articles reporting that vinyl and cd sales are beating digital downloads for the first time in years). I guess I admire the spirit behind a physical release like this, but am torn on the question of its necessity (though clearly others would disagree still), a debate largely informed by my own ongoing conflicted feelings regarding physical media.

 

Anyway, lets talk songs, because for die-hard fans I can easily imagine Decades being a flawed tracklisting, and its not well chosen for newcomers as well. I know Tuomas calls “The Greatest Show on Earth” his best work ever, that 24 minute long monolith that closed out their last album and is his Richard Dawkins narrated dream come true. To me and many others, it was the first one of his epics that didn’t seem quite gelled together, suffering from severe bloat in many passages and not enough in the way of strong motifs to keep me coming back (the spoken word was a chore as well). I’d actually argue that “Song of Myself” or or especially “Meadows of Heaven” were more apt choices as far as modern epics go, both hitting a particular core facet of Nightwish mythology in a more compact, memorable way. The tracklisting is in reverse chronological order, and as we travel through the recent albums, I wonder about the “Amaranthe” inclusion (surely one of the weaker songs of Dark Passion Play), and the lack of “The Crow, the Owl and the Dove” (some of Tuomas’ finest lyrics). The other chief glaring omission is “Everdream”, one of the band’s most beloved and iconic Tarja era gems, a song as central to Nightwish fans as “Nemo” or “Ghost Love Score” (both rightfully represented here). Only two songs from Century Child seems a bit strange, and I guess everyone could nitpick on what older songs should have made the cut but the ones they picked seem fine to me. Its just an unsatisfying overview in general however. I honestly wouldn’t recommend it to anyone in lieu of just directing them to a single studio album alone. It worked for the rest of us, it’ll work for them.

 

 

 

 

Primordial – Exile Amongst The Ruins:

I’ve had a meandering relationship with this band, really liking them upon my first introduction with the ever more incredible The Gathering Wilderness, their classic 2005 Celtic folk metal masterpiece. That enthusiasm ebbed and flowed over the years with their subsequent albums until 2014’s Where Greater Men Have Fallen, an album that saw them up the aggression level just enough to shake up their sound. A friend of mine who also likes them recently observed that he would forget about Primordial for years until the next album came around, where he’d pay attention to it, until he’d likely forget about it once again. It didn’t mean he didn’t enjoy those albums, but that for some undefinable reason, Primordial couldn’t stick with him the way other bands did. I think I’m in the same boat, because even though ‘Greater Men’ was a Metal Pigeon Top Ten Album in 2014, I haven’t really gone back and given it a proper listen through until now when prepping for this review. I’m coming into Exile Amongst The Ruins with that in the back of my mind, maybe even allowing it to amplify my expectations for an album in an unfair way by raising the bar too high. If the last album was a top ten list maker yet not something I’ve revisited out of pure enjoyment, then this one has to be something truly special right?

 

Well yes and no, because I certainly know that I’ll be adding a few gems from this one to my iPod (lately I’ve cobbled together my own ‘best of’ Primordial playlist in hopes of keeping the flame burning so to speak). The first one being “To Hell or the Hangman” which is a tightly wound ball of energy on a vibrating string of a guitar figure, propelled forward like a bullet train. Alan Averill’s ever wild, unrestrained vocals here are delivered like he’s standing on a rocky Irish cliff side, arms wide open while singing into gale force winds. Its the very definition of a kinetic song, and a vivid portrait of Primordial at their best, especially in the way it evokes that Celtic spirit without actually resorting to cultural cliches (ie a lot of bagpipes, fiddles, and over the top Celtic melodies). Then there’s “Stolen Years”, where a deceptively laid back succession of floating, lazy guitar chords create a hazy atmosphere, broken through by an overlaid guitar figure a few notes higher. At the 2:45 mark the build up unfurls into a slow motion crashing wave, all the emotional weight behind the guitar melodies only furthered by Averill’s incredibly moving vocal. There are other good moments scattered throughout, but there’s also a lot of times where you’re waiting for something to happen, to materialize into a memorable passage (this band doesn’t really do hooks) or instrumental sequence and it just never gets there. They don’t entirely derail what is a relatively good album, loose and lively in a way they haven’t been in years, but it also results in a feeling that everything is a little too unfocused.

 

 

 

 

Oceans of Slumber – The Banished Heart:

This is about a month late, but I thought since they’re fellow Houstonians and perhaps the biggest metal export from our city to date I’d give The Banished Heart an extended period of listening time. I’m glad I did because the first thing I heard from the album was the album opener and first single/video “The Decay of Disregard” and it just wasn’t working for me for whatever reason. To be honest, it still is one of the weaker tracks here and certainly a puzzling choice for the album opener, the slow, sludgy parts in the middle a little too meandering for my tastes. On the flip side, their choice for the title track as the second video release was spot on, despite its nine minute plus running time. This is Oceans of Slumber at their best, Cammie Gilbert pushing her vocals to their utmost emotional wrangling effectiveness, the usage of delicate, sad, and downright haunting piano courtesy of drummer Dobber Beverly in the middle passage reinforces the gravity of Gilbert’s heartbroken lyrics. At the 5:10 mark, he plays a figure that is pure Blackwater Park era Opeth in spirit, a beautiful melody awash in nostalgia and regret, and I find that I’m realizing he’s as much a talent on piano as he is with his always interesting percussion patterns. The song opens ups after that with the introduction of synth driven strings and an inspired bit of heavenly choral vocal effects helping to propel what is Gilbert’s watershed vocal performance. This was the first Oceans of Slumber tune I really could say I loved, even considering everything from Winter, and they even nailed the video for it, its visual aesthetic nicely understated, Texan in setting (those endless fields!), and darkly dramatic when it had to be.

 

On the heavier end of the spectrum, there’s a highlight in “A Path to Broken Stars” with its triplet infused riffs and intense sense of urgency. Gilbert has gotten better at learning how to develop her vocal patterns to mesh better with the heavier aspect of the bands’ sound, something that Winter needed. Here she doesn’t try to match the riffs rhythmically, being content to sing in a higher register at an entirely slower tempo, an old symphonic metal trick but it works for a reason. This is also a different shade of her vocal ability, something that could be classified as a little more ethereal, and it really works for her. What you don’t get so much throughout the album are her more bluesy inflected vocal stylings, but I think the songwriting helped to dictate the direction on that, and perhaps she and the band have simply grown into a new sound. Not everything is perfect here, there’s some songs that could use a little trimming, some where they don’t make enough use of a particularly impactful riff (thinking specifically of “Fleeting Vigilance”, and I wasn’t particularly taken with the closing cover tune “The Wayfaring Stranger”. I’ve heard countless versions of it before, its a pretty common folk song (Cash did it), but the digital effects and the telephone vocals here seems like distractions from what could’ve been a really fine recording. Oh well, the band’s gelled more and gotten better and they’re on the right track, that’s a good path to be on.

 

 

 

 

Panopticon – The Scars of Man on the Once Nameless Wilderness I and II:

Quietly in the middle of March, a new double album was released by Panopticon, better described as a project rather than a band given its solitary member, one Austin Lunn. Sort of like a Kentuckian equivalent to Vintersorg, I’ve been an admirer of his albums for awhile now, particularly 2015’s Autumn Eternal and the groundbreaking 2012 release Kentucky. If you’re not familiar, in a nutshell Lunn fuses Appalachia folk/bluegrass with blistering, second wave inspired Norwegian black metal. Now in truth, sometimes these aren’t pure fusions as they are juxtaposing individual tracks featuring each alongside the other, but its been interesting to see him continually strive throughout his discography to actually musical infuse his black metal strains with overtones of American folk. He might have finally nailed it though, because in the week I’ve been listening to this album, I’ve never been as captivated, intrigued, and flat out entranced by Panopticon as I am here. This album blindsided the heck out of me too, not even realizing it was released until I saw an update by the folks at No Clean Singing mentioning how Lunn wasn’t making it available ahead of time for reviewing purposes (the reason being that Autumn Eternal was leaked beforehand in a severely degraded quality and that rightfully pissed him off —- no problem with me by the way though, I rarely if ever get reviews up before an album has been released).

 

The consequence of such an odd album release approach is that this one is flying under a few radars, but I expect that will change as the mid-year best of lists some places publish get posted, in addition to old fashioned word of mouth. The instrumental folk intro of “Watch the Lights Fade” is a perfect mood setter, but in the blistering fury of “En Hvit Ravns Død” we get our first glimpse of how he’s integrating the two worlds of his soundscapes. The middle interlude of sad, discordant country violins and the sounds of forest creatures create a rustic ambiance throughout, and on “Blåtimen” and “Sheep in Wolves Clothing” Lunn uses overlaid lead guitar to create folky countermelodies set against the piles of tremolo riffs burning underneath. What he really excels at is using understated, minor key American folk as the tapestry for all the connective bits where the black metal is held at bay, and stepping back from this album in particular I’ve started to realize that it represents the very heart of his sound. The black metal ebbs and flows, and on disc two here it goes away completely. Its not meant to be the center of attention anymore like it once was, and I get the feeling that this is the kind of album that Lunn has been striving towards all this time. The rustic folk/alt-country of the second disc is gonna be an acquired taste for some, but I really enjoy it personally; it reminds me of Uncle Tupelo both in its lyrical perspective of down and out rural America but also in its lo-fi production wash. This is an album you owe it to yourselves to experience personally, too much for a simple review like this to convey. A magnum opus.

 

April 13, 2018 2018, Roy Khan, Thomas Youngblood 21 Comments

Kamelot Meets Frasier: The Shadow Theory

Kamelot The Shadow TheoryOne of the year’s biggest releases, at least in the prog/power metal world, The Shadow Theory is Kamelot’s third album in the Tommy Karevik era, and their twelfth overall. It was on their third album Siége Perilous where they first introduced the much loved Roy Khan as their vocalist, but it wasn’t until its follow-up (The aptly named The Fourth Legacy) where Khan’s inclusion as a co-songwriter finally created the Kamelot magic we all love. The Khan/Thomas Youngblood songwriting duo wouldn’t suffer the expected sophomore slump either, delivering in succession albums that ranged from excellent (Karma, Ghost Opera) to downright masterful (Epica, The Black Halo). Similarly, Karevik’s first album with the band mirrored Khan’s nearly non-existent songwriting presence on Siége Perilous, as Silverthorn was an awkward, clunky affair that really could’ve used more of the new guy’s input. But just like Khan’s true unveiling on The Fourth Legacy, Karevik’s ground floor role in crafting the songs for his sophomore effort in Haven resulted in the band’s strongest album in a decade. I mention this emergent symmetry not only to point out just how much time I have on my hands to think about such things, but also to sketch out just where my expectation level was for The Shadow Theory.

 

Now I know what some of you are thinking, that this symmetry only works if you consider Haven on par with The Fourth Legacy, and truth be told Haven suffered from a few noticeable flaws, despite its largely excellent collection of songs. I wrote about this at length in my original review for that album, but the gist of it was that the band sounded inspired and reinvigorated when their songwriting leaned into Karevik’s ability to sing in higher registers. The songs that ended up being duds were the few that seemed to lack  major key melodies and power metal lift, and seemed to lean more towards an approach that I referred to as “faux-heaviness”. I’m thinking specifically of cuts like “Liar Liar (Wasteland Monarchy)” and the dreadful, industrial tinged “Revolution” (my nominee for most disappointing Kamelot song of all time). But fears that maybe the album hadn’t aged well were dispelled when I was playing it in the weeks leading up to the release of The Shadow Theory, if anything, these recent spins have reinforced my belief that its one of the band’s strongest albums. Two weak songs aren’t enough to dislodge that status, but I might have been naive in thinking that they were simply vestiges of the downtuned, minor-key driven later Roy Khan era that Youngblood and keyboardist Oliver Palotai had gotten used to writing in.

 

 

Kamelot 2018What I’m realizing after the umpteenth listen through this new album is that Karevik’s mighty vocal power and ability to sing sustained vocals in a higher register weren’t quite enough to completely shake those darker tendencies from Kamelot’s songwriting approach. Not only does The Shadow Theory not hit the same major key heights as Haven, but it doesn’t hit the same sustained emotional heights either as a result. My theory last time around was based around the possibility that Youngblood and Palotai were in the process of breaking out of songwriting tendencies that were built up over time that naturally resulted in darker albums —- their way of adjusting to Khan’s increasing preference (and controversial speculation here, his declining range) for a lower to middle register vocal approach. But I think I may have overlooked something else entirely that smacked me in the face when I went back recently to read/watch a bunch of interviews with Youngblood. He said in response to several questions over those interviews that the band moved away from their more mythological/fantastical lyrical imagery because they found it limiting over time. In interviews for the new album, he was keen to discuss the Carl Jung based conceptual angle behind The Shadow Theory, relating it to the state of the world at present and how we relate to it (ie social media, etc). In one interview he even defended the band’s name, acknowledging the Arthurian mythology influence, but effectively brushing past it by suggesting the band had moved on topically (and that basically its just a brand name).

 

While those comments might hurt the heart of many an old school Kamelot devotee, I can see where he’s coming from. Its fair that the band would want to gradually evolve away from those types of lyrics, imagery, and concepts. I’d argue their first foray into really dark territory occurred as long ago as 2005 on the second half of their Faustian concept with The Black Halo, a darker, less playful affair than Epica, but perhaps more intense and haunting as a result. But even on those records, they framed the darkness in a literary landscape that put its characters in a relatively fantastical and mythic setting and time period. Even Silverthorn was set in the 19th century amidst the intrigue of a wealthy family (if the “Sacrimony” video was anything to go by), its gorgeous ballad “Song For Jolee” referring to a “…princess captured in a wooden frame”. The lyrics on some of the best songs on Haven also invoked this kind of old world, fantasy-steeped imagery, “Fallen Star” pleading to “the kings and the queens of the dawn”;  “End of Innocence” sees Karevik invoke Prince Charming with “A kiss on the lips / Turned the toad to a prince”. There’s more examples, but my point is that this kind of romantic, melodramatic, renaissance tinged imagery has continued despite the change in album art from royal purple hand drawn covers to more modern, metallic gray sci-fi inspired artwork; its a fundamental part of the band’s DNA, a part of their genetic code that pushes them towards rich melodicism, soaring choruses, and a sense of high drama.

 

 

Kamelot 2018Thematically and to a certain degree lyrically, The Shadow Theory sees the band attempting to try something entirely new by framing the album in a very modern, nearly science-fiction setting. In some sense its their music catching up to the visual style we’ve seen in some of their recent music videos, and its certainly reflected heavily in the dystopian drenched video for the first single “Phantom Divine (Shadow Empire)”. Its a wise choice for a single as its one of the album’s best cuts, a spiritual cousin to previous storming album openers in “March of Mephisto”/”The Great Pandemonium”, and like those songs it uses strong imagery rooted in the band’s DNA to offset its larger, more abstract lyrical matter: “…In ambrosial grace / No applause for the old pantomime…”. Its a small thing to fixate on perhaps, given just how bracing this song is from a purely symphonic power metal perspective, but its also the introduction to The Shadow Theory’s far more modern lyrical concerns. The Jungian Shadow is a complex and in depth topic, worthy of being used as the basis for a thematic album (important to note that this is not a traditional concept album), but Kamelot very much use our modern day, real life problems of social media anxiety, technologically induced disassociation, negative group think, and media manipulation as the vehicle for exploring these ideas.

 

When they are able to strike a balance between this modern setting and the old world Kamelot DNA, they strike gold, as on “Ravenlight”, a song where Karevik sounds as close to Khan as he possibly can (perhaps a byproduct of said DNA…?). His lyrics during the verses are pure classic Kamelot, “Silent tears / In a sea of sorrow / If only God would talk to me / And promise me tomorrow”, and reinforced by beautiful imagery in the refrain, “In Ravenlight, you came to me / From silence rose, a symphony / of coming winters white”. Its a dark song, but it reminds me of the balance they were able to strike on the best moments on Poetry For The Poisoned, matching that darkness with decadent caramel drizzles of bright melody. We hear more of this on “Vespertine (My Crimson Bride)”, an epic symphonic ushered romp that sounds refreshingly like something from the Karma era, propelled by dueling vocal and string melodies that careen gracefully through the air. Karevik’s lyrics here are gorgeous, painting the portrait of a sunlit memory breaking through the oppressive hazy darkness, “Come day, come night, my crimson bride / Is dancing on the fields of gold”. I love this song, its regal and resplendent and reminds me of all the reasons I originally fell under this band’s spell.

 

 

Beyond the Black's Jennifer HabenPerhaps nowhere does the sunlight breakthrough more than on the glorious duet sung ballad “In Twilight Hours”, one that should be in serious consideration for our hypothetical top five Kamelot ballads discussion. Karevik delivers an impassioned vocal, and he’s matched in kind by Beyond The Black’s Jennifer Haben whose own vocals are the perfect balance of ethereal and earthy, resulting in a crystalline quality to her phrasing. Its a majestic song, centered around a cinematic, fully-arcing chorus crafted almost solely around their conjoined vocal melody —- but the emotional build up in the verses is perhaps more impressive, utilizing Palotai’s understated, sombre piano fragments and a sense of quiet, hushed dynamics that Kamelot have made a history of owning (recalling immediately classic ballads “Wander” and “On The Coldest Winter Night”). When Youngblood finally crashes in with his vocal melody echoing guitar solo, its almost cathartic in its emotional weight, the guitarist proving once again that his understanding of restraint and release is central to Kamelot’s musical power. I also really enjoyed “Stories Unheard”, a unique track that while not as magnetic as its peers described above, certainly has something charming working for it, a combination of its many disparate elements —- the music box emulating intro is immediately intriguing, keeping our attention long enough for the chorus to wallop us.

 

Then there’s the flip side, and its far more problematic here than on Haven, where the band leans into a darker musical approach, one where the melodies don’t get the spotlight, shunted aside for pure metallic aggression. I’ve said this before, but heavy riffs and pinch harmonics aren’t why we listen to this band —- there’s loads of other bands who do that well, but few can match Kamelot at their own strength. We get a dose of this aggression in “Kevlar Skin”, and it makes for an underwhelming song, with a hook that never seems to take off under the weight of its awkward melodic angle and lack of adequate build up in the verses or via a bridge. I’m not wild on the lyrics either, the imagery very sci-fi inspired, which in itself isn’t a bad thing but I just think the choice of diction limits the direction this vocal melody can head in. I might be the only one harping on these things and many of you might disagree, but I’m sensing a correlation here. Similarly on “Mindfall Remedy”, we’re blasted to a load of quasi-industrial sound effects that don’t do much for the actual song, which is already hampered by an underwhelming, under cooked refrain. Its the kind of chorus that certainly sounds like its supposed to be a chorus, yet lacks anything in the way of a discernible hook. The metalcore vocals courtesy of Lauren Hart (Once Human) are just texture at this point, although she did a fine job on “Phantom Divine”. I do sometimes wonder if the band ever realizes how transparent their decision to use female vocalists for every guest vocal spot is getting…

 

 

Tommy KarevikI really wanted to enjoy “The Proud and the Broken”, and in brief flashes I do, but overall it fails to move me as the apparent epic of the album. I’m not sure what the problem is here beyond the lack of a more definable vocal melody, because it has an interesting intro and fine middle instrumental passage (just one of those songs that doesn’t quite gel perhaps). I did notice the thematic similarities between it and Orphaned Land’s “Take My Hand” off their recent Unsung Prophets and Dead Messiahs album, not in exact diction, but in the spirit of what its lyrics are trying to say. Entirely coincidental of course, but its interesting how one song works so well and the other falls flat due to not making all the requisite emotional connections (lyrical and musical). We’ll skip the pointless closing instrumental “Ministrium (Shadow Key)”, only pausing to wonder why anyone felt that this was a better inclusion than the relatively decent bonus track “The Last Day of Sunlight” (which is noteworthy for its utterly bizarre musical hook during the verses and a chorus boasting a really nice Karevik moment). The other lackluster cuts were “Amnesiac” and “Burns to Embrace”; the former ruined by an anemic chorus and a wash of industrial sound effect nonsense, the latter by a lack of an actual melody of any kind in the verses (what the hell guys?).

 

Those lackluster moments are scattered pretty evenly across the tracklisting, and it ends up creating a picture of a really spotty listening experience. I sometimes wonder if an album is better off being a bit lopsided, with half excellent material and the other half ho-hum… does that leaves a better impression on us as fans rather than something like this, where its like eating an under cooked pancake? The moments I enjoyed on this album will find their way to my iPod’s Kamelot playlist of course, but I’m disappointed that they’ve taken a step back with The Shadow Theory. This is just one die-hard fan’s opinion, but I really think they need to reevaluate their overall stylistic approach and do something to shake things up. It could be seen as nitpicking on my part, but I’ve seen quite a few people comment that this album is more of the same, sort of a Haven part two. As I’ve pointed out, the band’s DNA is still intact, but they keep trying to edge in this direction where they’re pulling away from their roots, and at a certain point that’s more harmful then helpful (particularly when its been happening for four albums in a row now). I’d love to see Kamelot do an about face and embrace that older spirit that defined their glory era, though I know Youngblood has expressed no interest in doing so. Kamelot’s darker direction and the resultant songwriting seems to be lacking the firepower to keep things interesting for a full album. Take a page from Priest and look to the past for inspiration, this is metal after all, its okay to do that.
March 23, 2018 2018, Judas Priest, Trad Metal, Uncategorized 2 Comments

Judas Priest: The Impact of Firepower

Judas Priest - FirepowerThere’s so many moments on Judas Priest’s Firepower that caused me to break into gleeful cackling, my surprise at what I was hearing having no other reasonable way to manifest itself when listening to the album alone in my car. In lieu of grabbing someone by the arm and shaking them profusely, or shouting a variety of expletives as adjectives to verbalize my bubbling thoughts, my growing enthusiasm manifested itself in absurd ways. My first time listening to it was when driving one evening to the MSRcast recording studio, and the moment that really set me off was “Guardians”, whose epic, isolated piano intro was harmonized by multi-tracked guitars in a wave of epic euphoria building majesty. Its pure, heroic melody recurs in the song it immediately feeds into, the soaring eagle that is “Rising From Ruins”, together the two songs forming as glorious a one-two punch as anything in the Priest catalog, recalling instantly the storied “Electric Eye/Hellion” pairing. I throw around the term inspired a lot on this blog (among many other adjectives I’m sure), but on the “Guardians/Rising From Ruins” duo, Priest tapped into that rare magic that exemplifies the unique ability of metal to convey emotions that are wholly foreign to other styles of music —- feelings of urgency, desperation, and conviction channeled through a funnel of raw power. Upon first hearing the pair, my mind was blown, and I spent the long drive-thru wait in the ritual pre-podcast-recording Starbucks run playing them on repeat. It took every bit of maturity and calm not to babble incoherently about it when I arrived at the studio, but if you heard the last MSRcast, you’ll hear bits of that leaking through.

 

By now the consensus is agreed that Firepower is a first rate Judas Priest album, with some claiming its their best since Painkiller, something I won’t disagree with in spirit. The overwhelming sentiment that I’ve detected being expressed among metal fans, bloggers, and journalists everywhere however is one of genuine astonishment, for what I suspect is largely credited towards the manner in which Priest pulled this off. Its not just an excellent album, its perhaps the best sounding recording in their catalog, the production team of old school Tom Allom (he helmed the production for British Steel thru Ram It Down) and modern metal recording guru Andy Sneap honing in on a sonic sweet spot that is vital, bracing, muscular, and crisp. For all the praise I heaped on Redeemer of Souls for Ritchie Faulkner’s revitalization of the Priest songwriting unit, the one knock against it I could agree to was its somewhat muddled, murky production. Its predecessors Nostradamus and Angel of Retribution were no better, both lumbering with this strange mix of weird reverb and flabby ambience that dulled riffs where they needed to be razor sharp. Halford would sometimes be pushed back farther in the mix than he needed to be, and it made him sound his age in moments. In general they suffered from what Maiden has been hamstrung by in continuing to work with Kevin Shirley, the sense that their albums could sound better if they simply remembered what they were supposed to sound like.

 

 

Production Team Tom Allom, Andy Sneap with Glen Tipton and Ritchie Faulkner It stuns me to say this, but Firepower may be a better album in terms of songwriting and production combined than any post-reunion Maiden album has been. Regarding production alone, perhaps Brave New World is its only near match, but I wonder if that’s due to how vibrant and lively it sounded relative to the dire thud of Virtual XI and The X Factor? Throughout their career arcs, its been natural for many to compare the two bands, and I’ve tried to avoid doing that myself, but with Firepower the comparison screams for examination: Maybe Maiden need to rattle their own cage with a shake up at the producer spot —- and although the first name I’d advise would be Andy Sneap himself, its could be a variety of people (Roy Z for instance…). Of course we wouldn’t even be discussing this if Ritchie Faulkner hadn’t worked out as a talented songwriter in replacing KK Downing, terrific production job or not. We’re paying attention because these new Priest songs have been sharper, hook-ier, meatier, and downright more Priest-ish than ever before because of his outsider perspective and his innate ability to use that to direct the band’s focus. I know they’ve been saying in interviews that Glenn had a lot to do with this album, and I do believe them, but in regarding the difference between Nostradamus’ two pretty decent songs and Redeemer of Souls being such a terrific front to back album, Faulkner was the not so secret weapon.

 

So back to Firepower, where you’d be forgiven for thinking “No Surrender” sounded like a prime-80s era Priest hidden treasure —- it has that electric sonic energy, the Big City Night/Restless and Wild street swagger, and Halford’s vocals are commanding. Or that the mid-song rhythm guitar breakdown in “Lightning to Strike” at the 2:25 mark that hearkens back to the polished thrash metal of Painkiller and late 80s Slayer. Sometimes everything works in such perfect lockstep its like imagining the interplay of drum patterns and riffs as some well oiled engine, as on the repeating verse riff sequence in “Never the Heroes”. It instantly conjures up the image of that iconic Tipton/Downing stage performance move, the classic synchronized back and forth movement set to the rhythm of the almighty riff. Throughout my years as a metal fan online, I’ve seen some snarky comments made here and there making fun of that stage move, to which I say, “Clear the hall!”. The Priest-ian riff-synch move is a heavy metal live show classic, an oft-neglected joyful ritual (Hammerfall are keeping the faith!), and to hear the band knocking out new material that will conjure up that stage move again with full on conviction is a gift to us as metal fans. Cherish it dammit!

 

 

Rob Halford 2018I see no weak tracks here, not in the middle when things could naturally get toned down a bit (they’ve wisely placed the “Guardians”/”Rising From Ruins” combo in the center of the tracklisting), and certainly not towards the end where one of the most vicious cuts Priest has written in decades is unleashed in “Traitors Gate”. I love the tempo acceleration in Halford’s vocal delivery during the opening of the chorus (“…out of the dark / into the light…”), and the major key melodicism of the instrumental section towards the end, which is as unexpected here as it was during the break in “Ram It Down”. Halford has rarely sounded this fierce, so absolutely brutal and withering —- its a little crazy to think he’s sounding this awesome this late in the game. While the bulk of the credit goes to the metal god himself, you’ve got to again look to the Allom/Sneap production team in finding a way to make Halford sound younger than he’s sounded, well… maybe ever. And then there’s the haunting, doomy ballad “Sea of Red”, speaking about the carnage of war with the gravity it demands, almost hearkening to Maiden’s relatively recent “For the Greater Good of God” with its acoustic strummed intro bed. Its old school in spirit though, bringing up memories of Coverdale era Purple’s “Soldier of Fortune”, while simultaneously mirroring the album closing duty and spirit of “Beginning of the End” from Redeemer, another Sabbathy ballad.

 

 

Judas Priest 2018Its by now been a week or two since this album was released, and while the press has properly conveyed just how earthshaking a release this is and the band seems to know it too, I wonder if we’re still some months or years away from truly defining its impact on the band’s ultimate legacy. No longer can it be written that Painkiller was the last high point, that the band limped on through the Ripper years and when Halford rejoined, they staggered on with some semi-decent records before calling it a day. I’ll hammer this point again and again, that Ritchie Faulkner rejuvenated the Judas Priest songwriting machine and with his tenure in the lineup, they’ve released two knock out albums back to back including this one which is downright intimidating in its blistering attack. Its a case not only for the greatest concluding chapter a legacy metal (or rock) band has ever had on a creative level (Maiden’s post-reunion commercial success is hard to match), but also for the argument that new blood in long running bands can work to maximize the potential of a legacy sound. Fellow Brits Cradle of Filth enjoyed similar creative renewal with their past two efforts with new six stringers in the band, and its been a marvel to behold. Draw whatever conclusions you may from this, but its been a revelation as a fan of so many bands that have changed members and lost certain core songwriting teams. It begs the question: Who’s next up?

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