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

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

1.   Orphaned Land – Unsung Prophets & Dead Messiahs:

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

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

2.   Visigoth – Conqueror’s Oath:

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

3.   Thrawsunblat – Great Brunswick Forest:

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

4.   Therion – Beloved Antichrist:

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


5.   Hoth – Astral Necromancy:

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

6.   Elvenstorm – The Conjuring:

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

7.   Exlibris – Innertia:

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

8.   Immortal – Northern Chaos Gods:

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

9.   Judicator – The Last Emperor:

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

10.   Dimmu Borgir – Eonian:

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

Songs of Bravery: Orphaned Land’s Unsung Prophets and Dead Messiahs

Like other bands I absolutely love, I find the task of reviewing the new Orphaned Land album a daunting proposition, because there’s so much of my own emotional response I have to consider and somehow weigh before writing something that makes a lick of sense. Its been this way with new music from Maiden, Blind Guardian, Insomnium, etc… and will likely be this way for the upcoming Therion album as well. Its been five years since the band’s last album, the masterful, career-defining All Is One; an album that captured my heart so fully that it dragged me back to my fanboy state that existed with this band well over a decade ago. To quickly recap my personal history with this band (I go into much greater detail in that All Is One review): I was introduced to them and hooked in with 2004’s Mabool, quickly bought up their back catalog, consequentially explored other Middle Eastern/Arabic music (metal and non-metal) because I loved the sounds of it and needed more, and spent over half a decade waiting for a new Orphaned Land album. When that follow up arrived in 2010’s The Never Ending Way of ORwarriOR, I could not get into it and felt greatly disappointed —- whether in myself or towards the band I still can’t really say. Three years later, All Is One was our relationship therapy, an album that was so magnificent in all its aspects that it renewed my enthusiasm for the band tenfold. It made me go back and reconsider ORwarriOR, which I found a new appreciation for even though its still below its predecessor and successor in my overall affection.

 

It was going to be hard for Orphaned Land to follow-up All Is One, it was a watershed release for more than just its musical content too —- being founding guitarist Yossi Sassi’s last album with the band whose sound he had a massive role in pioneering. I thought that was a massive blow to the band’s artistic fortunes for the future, the only potential salvation being that All Is One was also the introduction of guitar wizard Chen Balbus into the lineup. Together he and Yossi traded flashes of brilliance back and forth across that album through inspired songwriting and emotionally expressive playing. When Yossi announced his departure, it was only natural that Chen would move up to fill that creative void and claim a greater share of the songwriting responsibility alongside vocalist Kobi Farhi. In essence, Chen is Yossi’s “replacement”, and newcomer Idan Amsalem is Chen’s replacement, the newer new kid in the band. Fans are always leery of big lineup shifts like these, particularly of integral members like Yossi, but Chen’s continued presence in the lineup gave me a little bit of confidence that they’d be able to make this transition. And make it they have, because after intensively listening to Unsung Prophets and Dead Messiahs on countless repeat spins, the discussion really should be about whether it is leapfrogging All Is One to claim the title of the band’s best album to date.

 

 

I’m taking it as a given that everyone knows what Orphaned Land generally sounds like, its metal merged with Middle-Eastern instrumentation, melodies, and patterns. That’s a simplistic explanation but generally sums it up —- the thing is, a lot of bands can employ those sounds as window dressing and have (not naming any names here!). But Orphaned Land were the first to really do this in not only an authentic way, but in an interconnected way, meaning that it was enmeshed within their songwriting approach and integral to their sonic identity. It was called Oriental Metal by both the band and the metal community around the world, and one of the unique facets of this style of metal as others have gone down its path is that its entirely malleable to different subgenres. So we have the founders in Orphaned Land who for their first four albums merged traditional sounds with progressive death metal; but bands like Melechesh and Odious merged it with black metal; Aeternam are merging it with Gothenburg melodic death metal, and the likes of Myrath and Amaseffer merged with it clean vocal progressive metal with some power metal influences. I bring all this up because Orphaned Land’s sound has changed quite a bit over its past two albums, and its becoming clear to me with Unsung Prophets and Dead Messiahs that the choice of metal subgenre, or harsh or clean vocals doesn’t really matter —- the core of this style of metal is the traditional/ethnic Middle Eastern sound itself.

 

This new album is Orphaned Land’s grandest, deepest, and richest embrace of that sound, so widely and deeply does it cover and infuse every single song from front to back. You couldn’t honestly say that about an album like Mabool, or especially The Neverending Way of ORwarriOR —- go back and listen to those records, there are large swathes of those songs where what you’re predominantly hearing are slamming prog-metal riff passages and Kobi’s scream-growled death vocals. Sure the Middle-Eastern elements are there, but they sometimes recede to the background or they ebb and flow in and out of places in songs. I remember thinking that my one wish for the Mabool album was that the band could’ve thrown in more songs along the lines of “Norra El Norra”, those perfect, symbiotic fusions of cultural folk influences and metal. I longed for another “Sapari” on ORwarriOR, and though I’ve come to enjoy that album over time, there are still large chunks of it where I feel its lacking that special element that makes Orphaned Land (and Oriental Metal) so unique. The band headed in the right direction with All Is One, an album where they increased the melody by relying more on Arabic strings to drive most of the songwriting, pairing it with a power metal inspired turn towards choir vocal backed choruses. But here on Unsung Prophets, Kobi and company have finally dived headfirst into the pool of Middle Eastern sounds —- it infuses every song in intertwined melodic patterns and motifs.

 

 

 

 

The first visible ripples of that headfirst dive appear in the opening seconds of the album, where a sonorous female voice wordlessly expresses some undefinable emotion, ushered in by graceful violins. Those strings coalesce with a dramatic flourish and we’re off, their Arabic melodies leading the way on “The Cave”, leaving gaps for Balbus and Amsalem’s guitars and bouzouki. Back again are Kobi’s scream/growled melo-death vocals, and not just on this track but all over this album (they were relegated to a single song, “Fail”, on All Is One), and I find their reintroduction to the band’s sound refreshing. It has the effect to keep us off-balance with sudden bursts of heaviness and aggression in the songwriting to accompany him. A chief criticism of All Is One was its static tempo all throughout —- and while I don’t agree that it was a detriment to the songwriting quality on that album, I can understand why others might have. So the pinball bouncing around of tempos, melodic shifts and unpredictable rhythmic patterns on Unsung Prophets must be an absolute delight for anyone who felt that way. I guess another way of looking at it is that All Is One was imbued with a strong prog-power influence in its major key melodicism and reliance on vocal melodies, and here they’ve reintroduced some of the melo-death back into the formula while still carrying over the power metal esque love of dense orchestral arrangements.

 

Proof of that melo-death resurgence is heard in “We Do Not Resist”, arguably the heaviest song they’ve done in years, one that starts off with door kicking-in riffs with perhaps the fiercest growling vocals I’ve ever heard Kobi deliver. Once again however, that strong choral vocal influence from the last album stirs again for the chorus with a largely female backing cast singing the refrain. Its instrumental final half minute sets the stage for one of the prettiest songs on the album, “In Propaganda”, where traditional sounds lead the way in favor of electric guitars —- bouzouki melodies and crying violins usher us in, and we find Kobi showcasing the delicate, upper register of his voice that is really lovely. The mid song uptempo rhythmic shift is also traditionally inspired, something about it has an echo of Greek folk music, like the kind of excitable moments you’d hear at some kind of celebration. That’s an underused term for this band’s music, that it sounds celebratory, even if the lyrics are counter indicative of that sentiment. I’m speaking from experience a bit —- I’ve been to many a Muslim and Hindu wedding, or Diwali celebration, even the odd party at those kinds of households, and sometimes Orphaned Land’s music reminds me of standing outside with all the other guys, drinking a beer or chai (or both!) and hearing traditional music drift out from somewhere inside.

 

 

I had wondered if there would be an instrumental drop off after Yossi left the band, he was such a talent on a multi-instrumentalist scale, but thankfully the band has diversified their supporting musicians cast and still employs all the sounds you’d expect them too. I’m not good at picking individual tones out to identify each instrument correctly, but surely all of them are present on “All Knowing Eye”, a four minute journey into a lush Steven Wilson-esque soundscape, hypnotic melodies, and once again Kobi knocking it out of the park with a memorable vocal hook. He’s captivating again on the old traditional Hebrew vocal sung “Yedidi”, and its always interesting just how seamlessly the band’s amplified interpretations of these old religious/cultural songs fit in with their original material. The song that surprisingly might be the gem of the album is the nine minute plus epic “Chains Fall to Gravity”, a breathtakingly beautiful piece of music in construction and execution. Its not just the heart-wrenching violin melodies that grab you here, but the surging, hair-raising choral vocal bridge build up: “Go forth and be all you can be…”. The strange thing about this song is just how admittedly disjointed it really is if you break it down to its constituent parts. I’m not sure why it works so well, but its one of the most captivating things Orphaned Land has ever recorded, this album’s “The Beloved’s Cry” or “Brother”.

 

A close second favorite is the lead-off single “Like Orpheus”, which features the one and only Hansi Kursch on guest vocals. First, what a treat to have both these singers on the same song, but this track has really grown on me from my initial listen to it where I came away uncertain of what to think. Its hook is deceptively buried, revealing itself through its gossamer thread violin melodies that weave around Hansi’s distinctive tones in the chorus. It took a little courage for the band to trust such a crucial fragment of a song to a guest vocalist, but you’ve got to credit them for seeming to know that Hansi would be a great fit. If you haven’t seen the music video for this one, check it out below —- not only is it shrewd of the band to remove themselves from it entirely, but its message of unity through music is a hard one to pull off without feeling canned or corny. Great actors, a simple concept and focused yet simple cinematography go a long way (so many metal bands and video directors could learn from its example methinks). Moving on, I could see some people getting impatient with the lack of metal on “Poets of Prophetic Messianism”, but if you consider it in context within the tracklisting, it works well as a change of pace semi-instrumental. Particularly so when its followed by the up-tempo, groove-riffed “Left Behind”, a candidate for a single release with its ear-wormy hook and awesome acoustic rhythmic shuffle. I love the choice to deliver half the verse with the choral vocals, its one of those little details that keeps this album sounding fresh and exciting even on my umpteenth playthrough.

 

 

[youtube https://www.youtube.com/watch?v=hurWzo01FpM&w=560&h=315]

 

 

If you got to “My Brothers Keeper” and all of a sudden began to suspect that Unsung Prophets had some kind of conceptual streak running through it, you weren’t alone. Its not just that Kobi’s almost spoken word vocals here immediately draw attention to it (and to his credit, he pulls them off convincingly where so many others would sound terrible), but in examining lyrics like “I have to go back / To save these shades, souls with faded hearts, brothers of my pain” I immediately began to think about a larger picture at work here. Indeed this is a conceptual album, as Kobi has discussed at great length in the various interviews surrounding its release, one that’s inspired by Plato’s Allegory of the Cave, something those of you who’ve read The Republic might remember. I won’t go into its conceptual details here, but you can gather just by looking at the tracklisting that these songs follow the journey of the freed person in that allegory (Kobi provides a pretty good overview of the concept if you’re interested). Normally I’ve tended to avoid looking too deeply into the band’s overarching concepts, preferring to enjoy individual songs on a musical and lyrical level as my own personal interpretation I suppose. But I think this is the most intriguing, in depth, and frighteningly relevant concept Kobi has ever worked with, and it clearly brought out the best in him on a lyrical level.

 

The album finishes strong, with “Take My Hand” and “Only the Dead Have Seen then End of War”, the latter serving as a visceral reminder of just how good bassist Uri Zelcha and percussionist Matan Shmuely are at being an inspired, vibrantly unconventional rhythm section. The closing cut “The Manifest – Epilogue” isn’t technically part of the concept but is somewhat thematically linked, being a tribute to the assassinated revolutionary Chilean singer Victor Jara (if you were at any point a U2 fan like myself, you’ll remember his name being dropped in “One Tree Hill”). What a strikingly beautiful way to end an album that is really battling it out with All Is One as my favorite of all their records. For all that I loved about that album’s exuberant simplicity and joyous outpouring of melody, I love that Orphaned Land have delivered an album that really speaks to the darker mood of the world right now. But with this band, there’s always hope, and so at the 3:05 mark, where the choir vocalists get one final moment in the sun, their voices surge to sing in Spanish a sentiment that I honestly think Orphaned Land have earned unto themselves —- “Songs of bravery, will always be new songs, forever.”

 

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