I can remember cruising through my local record store some 20 years ago as a young teenager and blindly purchasing Testaments Souls of Black solely on the cover art.  It was a rewarding purchase to say the least, and so began my admiration for one of heavy metals finest acts. What I now have come to fully appreciate and respect about this band is just how prolific and steadfast they have been over the course of their 30 years existence.  Current Testament annihilates most of their peers. Hell, the past two decades of Testament annihilates most of “The Big Fours” output, and Brotherhood of the Snake is a vicious demonstration of how unstoppable they are.

Not since The Gathering have I been so excited about this band.  They’ve released enough quality material since then sure, but nothing has seized my attention quite like this. Brotherhood of the Snake is a mix of The Gatherings heaviness coupled with classic Practice What You Preach thrash. That’s a winning combo in my book and the title track portrays this right from the start.  The opening riff is so menacing, then Chuck Billy comes in with one of his mighty roars, there is just no denying the sheer prowess of this band.

Brotherhood of the Snake holds some of Testaments fastest material in a long time and may hold some of the fastest material in their catalogue.   Over half of the tracks are full speed ahead.  “Brotherhood of the Snake,” “Stronghold,” “Centuries of Suffering,” “Black Jack,” “Canna Business,” and ending the album on “The Number Game,” there is really no down time on this record, and it’s 45 minute playing time wizzes by.  All ten tracks have a life of their own with great songwriting and hooks. They stick in your head and have you repeating the words. This could be an instant classic. “Seven Seals” is a favorite of mine, telling the story of end times inspired by the book of Revelations, and I’ll put my money down now saying this is one of the best songs the band has ever written. It’s a truly epic piece, with guitar wizardry throughout, and commanding vocal lines that compel you to raise your fist to the sky.

Again, utilizing the thunderous power of Gene Hoglan (The Atomic Clock) we can hear blast beats being used generously and he is a key component in making the unit sound so tight. Peterson and Skolnicks shredding on this record is just masterful and would make any axe-wielder wet their pants in excitement. Personally, it’s been years since an album has compelled me to pick up my guitar and learn the riffs like when I was a teenager. To me that alone makes this a killer album.

Chucks inspiration for the album title came from the story of a secret society started to protect humanity from the oppressions of religion.  The extraterrestrial origin of said society is an in depth story and an interesting read that can be had with a simple google search. Though not a concept album, elements of the narrative are sprinkled throughout the record as well as other biblical and political themes.

Eric Peterson had full writing duties on this record and from interviews I heard, none of the band had heard any of the material before entering the studio. Chuck Billy has been very vocal about his disdain for the making of this album and how it wasn’t enjoyable for them. Fortunately for us, the end result of their studio suffering is a blistering thrash record that cements them, yet again, as an underrated gem in the metal world. It’s records like this that make you venture back into the bands career and revisit albums that you may not have heard in years.  It is records like this that make you want to play your guitar.  It is records like this that make you clinch your fist, throw up the horns, and be proud to be a metal head.

While Orange (2011) was an “anything goes” art/rock affair, Everchild revisits styles and ideas the group handled on Existence (2005). This album is atmospheric, dark, and much more wistful than its predecessor, yet the basic method of progressive rock is still in play. One can easily hear similarities to bands like Porcupine Tree, Opeth, and Riverside.   Searching for eternal childhood and yearning for the past, Everchild is a retrospective release that lingers and unfurls over many listens.  Youth, innocence and reflecting on oneself are enduring themes.

Everchild flows elegantly between songs with enough diversity to keep interest.  Horns can be heard (“The Only Young Ones Left” “Spiders” “Monster”) and piano/keys are littered throughout.  “Escape with the Sun” is a personal favorite with a bluesy guitar riff that leads the song. A standout track for sure. There are no hard hitters on the this album but “Codes” is sonically one of the heavier songs the band has delivered in years, whilst title track “Everchild” displays darker distorted guitars in its finale. Again, nothing really “metal” on this record but a more ominous feel has been embraced much like the ambience of Existence.

Each Dark Suns release has been a forward thinking venture and no album in their discography sounds the same.  However, the one aspect of the band that is always prominent and lets you know you’re definitely listening to Dark Suns is the vocal stylings of Mr. Niko Knappe .  Now purely focused on vocals (his former drum duties now taken by Dominique Ehlert), his voice has been strikingly diverse over their career and he is a grossly underrated singer in my opinion.  His delivery has ranged from doomy death metal to falsetto over the years and his control with soft cleans is amazing. Just check out “The Fountain Garden” and “Torn Wings” for examples of how suspended he sounds in the music.  Everchild effortlessly showcases how beautiful Nikos’ voice really is.  Closing track “Yes, Anastasia” is a reinterpretation of a Tori Amos song that I have not heard before but nevertheless, it’s a dramatic piano driven song with a progressive flare thrown in, and again, vocally it’s amazing.

The band financed the production of Everchild via crowdfunding and the end result is one of the best albums to come out of 2016.  Dark Suns truly is a progressive band and we can only imagine what their next release will sound like. Much like Opeth and Katatonia, Dark Suns is very comfortable in their evolution and arguably they may even be doing it better.

Afterglow continues conceptually where The Weight of Oceans ended telling an epic, mythology inspired story of the sea, that is obviously Lovecraftian influenced. Coupled with the bands signature staccato riffing and lumbering doom passages, Afterglow is a dynamic yet familiar sound, expanded into an odyssey unlike anything they’ve produced before.  Opener “Fire and Ocean” perfectly sets the tone for Afterglow forging a dense mood that completely fits the album artwork.  Swift yet somber in its delivery, this track is the shortest on the album at just over six minutes. Things start to get much more expansive and sprawling when “The Grinning Mist” starts.  As suspended as you can feel within these songs, there’s still plenty of head bang inducing riffs to compliment the alluring clean breaks and meditative passages that this album is chock full of. None of the seven tracks particularly stand out from one another as the really all come together wholly as one in the end. On the first few spins I had trouble telling them apart and that’s not a negative criticism at all. This album is dangerously close to a Crimson-like album where it’s just one long song. It’s been a long time since I’ve heard an album fit so perfectly as one whole unit.

The addition of ex-Katatonia drummer Daniel Liljekvist has proven to be a wise choice. Through all the stop go riffage and lush melodies, the album is extremely tight and can hit hard when it needs to. Tobias Netzell has had one of the deepest roars in the genre as of late, and though he still utilizes those doomy deep bellows at times, we find the lead singer now widening his range and going for a higher raspy attack. Similar approach to what Mikael Akerfeldt did with death metal era Opeth, and it pairs with the dynamic of the album flawlessly. The clean sung passages are more apparent than in previous releases but they are used sparingly and placed carefully.

In Mourning’s sound cannot be pigeonholed to simply melodic death metal. That would be cutting them short. Before the album dropped the first taste the band gave us was “Below Rise to the Above.”  This moody song is a great example of the adventurous lengths this band is willing to go to elevate their sound above any simple moniker. They are very much a progressive outfit that has opened themselves up for further exploration in years to come.

It’s a grower for sure. Afterglow is not as immediate as its predecessors. However, it has the strength to last and I feel like I will come back to this release for years to come. Surely to be atop of many yearend lists, a beast has been bestowed upon us and In Mourning have firmly cemented their place as capable storytellers and leaders in the atmospheric/melodic death metal world. Take the journey with Afterglow. You won’t regret it.

“Australis,” sets the tone for Ursa, slowly moving in with waves crashing along a shore at night, and calm clean guitar notes which are soon accompanied by Mr. Orlando’s graceful croons. This song does what most do on the album and continually builds on its atmosphere, adding more layers throughout its duration. The end result is a very dense sound coupled with tremendous songwriting that is sophisticated and elegant.  This pattern continues throughout the album and there isn’t a weak track to be had.  The ocean sounds also appear in numerous tracks as well.

https://vimeo.com/154294542

For me, Ursa is remarkably reminiscent of what I consider to be Novembre’s crowning achievements, Classica and Novembrine Waltz. ”The Rose” and “Easter” are prime examples of this and I read that “Umana” is an old song that was written a long time ago. The way this album reminds me of older material leads me to believe a lot of the songs on this album probably consist of ideas from the past. Ursa would have been a fitting follow up to Novembrine Waltz. Nevertheless, this album is an excellent balance of all that has ever been a part of the bands sound and it gracefully combines them.  The epic “Agathae,” closing in at almost ten minutes long,  is an instrumental tour de Novembre, covering a lot of musical bounds that the band have dabbled in over the years.  This band seethes Italy in their music.  It’s one of the bands defining traits in their progressive doom/death variety.  This album, much like former albums, is bathing in aural cultural influence.

“Annoluce,” featuring Anders Nystrom of Katatonia fame is the albums official single and though the harsher vocals are put aside on this track, Ursa is still loaded with Carmelo’s signature cathartic wail. The more extreme side of the vocal duties seem effortless to him but it’s a welcome part of the band that I hope they don’t abandon. The dynamic that is created between clean to harsh singing is so necessary that I feel that’s why I didn’t love Materia. Plus, let’s face it we all want to scream like Mr. Orlando at some point in our weekly routines.  I’d sure feel better.

Ursa is that good ladies and gentlemen. It’s going to last as one of the best records this year, if not one of the bands best ever, and the musical/metal world is a better place having them in existence.  Please don’t make us wait another decade for more.

Fifteen years since the landmark release Rain without End, what can one expect from a band that calls itself October Tide when only one original member remains? Well, excellent melodic doom/death. Did you expect any less? The only conflict I have, and most old fans will, is the modernization of the sound in comparison to the previous albums. What we have here is sort of run of the mill as far as this style goes but it is obvious that Norrman’s talent and ideas are behind the music and it sets this above most recent doom releases. The seven tracks within A Thin Shell are quality. There is no denying that. However, comparing this album to Rain without End and Grey Dawn is not only inevitable, but it will be its’ downfall with some.

Recruiting the talents Tobias Netzell of In Mourning on vocals, drummer Robin Bergh previously of Amaran, and Jonas Kjellgren of Scar Symmetry and Carnal Forge on bass, this revamp comes with experience. Tobias’s vocal delivery is a standout feature on this album. His deep, deathly bellows, dominate this album with confidence and power. I’ve listened to In Mourning before but not until now did I realize how powerful of a vocalist he is.

Starting things off with “The Custodian of Science” the sense of isolation and depression sets in and won’t let go until you hit eject. Dominating chord structures and soaring harmonies surround this album with trippy mid-sections (Deplorable Request) that unravel over multiple encounters. The flow of the album is pretty remarkable. Each song flows off the last one excellently and helps to hold you in that grey limbo.

“Fragile,” is my favorite track. It’s demanding chord structure reminds me of Paradise Lost at times and as it pounds forward it gives a triumphant impression. This song also seems to have more to offer in dynamics. One thing that puzzles me with this album is just how simplistic some of it is. “Scorned,” is a crushing death/doom track if there ever was one but it’s so boring. To end the record with such a great riff and just play it out for over six minutes is somewhat laggard and lifeless. Maybe I’m missing the point but I can’t shake the feeling that this song in particular could have had so much more.

Ultimately, A Thin Shell will come off sounding like a Swallow the Sun record more than anything. This isn’t quite the breathtaking return that I was hoping for, yet it is a satisfying record that I’ll be spinning for sometime. It will be exciting to see what the future holds for October Tide. Let’s hope they churn out a few more records.

Truthfully, the bands sound hasn’t changed all that much. What we have here is an extension of Quicksilver Clouds‘ gothic moments. If you enjoyed that album, this is basically the same deal without the black metal rasps. I also can’t help but compare a lot of this to Rapture‘s more gothic moments on The Silent Stage.

Most of the songs are simple and to the point. The first track “Entropy,” takes around two minutes before anything really happens. Most of the song is a synth build up with a slight bluesy guitar line. Once the songs gets going it never really leaves its mild, downtrodden pace, and this continues throughout the album. One should enter this album prepared for depressing, slow driven music.

What stands out are the vocals considering the music itself is kind of underwhelming. Henri Koivula delivers most of the melodies that sink into your head and make the bands music worthwhile. Very somber, his delivery catches on over a few listens. “Ignition of the Grey Sky” and “Soft Whispers of the Chemical Sun” have very hypnotic vocal lines. Though most of the extreme vocal delivery is gone, some death vocals can be heard on occasion, sprinkled throughout the CD (“The Great Fleet of Echoes,” “We Have Ways to Hurt You.”)

The Great Fleet of Echoes is mildly symphonic yet slumbering dark goth metal. It doesn’t instantly jump out and grab you, so if you’re into music that needs to seep instead of bang you over the head, then Throes of Dawn‘s fifth album might be worth a perusal or two.

It’s not really Eluveitie‘s fault either. As a fan of the bands previous work, and folk metal in general, it is obvious that the cracks are starting to show in this particular sub-genre. Eluveitie really aren’t helping matters either considering this album is completely saturated with a formulated approach that is anything but exciting, and most of this record sounds like Evocation I with a little electric guitar sprinkled in to satisfy fans. The metal edge just isn’t there, leaving the folk instruments and catchy chorus lines front and center.

There are some good songs on this record though, starting with the title track. When I first starting listening to this record I was kind of excited because this song is really where the band left off two tears ago. However, they blow their Swiss load quickly with that song and the album fades into oblivion after that where most songs get to the chorus within 30 seconds and sound like a Pagan version of Linkin Park.

So, a band I once really enjoyed has become stale and lackluster when compared to the forerunners of the genre like Ensiferum, Suidakra, and Equilibrium. Eluveitie write catchy hard rock music with a lot of hurdy-gurdy and female chorus lines. If that’s your thing then by all means get this, but even in that sub-genre there are better records. I’d like to hear this band just go full on organic acoustic with a darker vibe. I think I could enjoy that more than this half-assed attempt at folk metal.

I wanted to let this record age a little before I wrote this review for several reasons. First off, none of the songs stick initially, and this turns a lot of quick to judge fans away. If you’re looking for The Morning Never Came, look elsewhere. What we have here is a record that will stick with patience. New Moon dwells deep into the bands more somber moments and escalates in the black and gothic territory. Like a wondering lost soul across dreary landscapes, New Moon is hopeless and epic all at the same time.

“Sleepless Swans” is where this record starts to get intensely labyrinthine. The technicality of the bands sound is embedded deep within the minimalistic use of chords. Every down-tempo moment is layered with clean guitar picking that is mystifying and bizarre. “…and Heavens Cried Blood” continues creating semblance, braiding clean guitar beauty, superior chord progressions, and gloomy piano lines.

One of the stranger yet brilliant tracks on this record is “Light on the Lake (Horror pt III).” This song has it all, softly whispered female vocals, epic Finnish guitar harmonies that would make Amorphis cry, and black metal shrieks and blast beats. There’s no other way to describe this song except mystical and dreamy. The entire feel of New Moon is trancelike and abstract. This record rests in a gray area, reaching out for light but never quite makes it.

Mikko Kotamkis’ vocals are executed in different varieties, nothing that we haven’t heard on previous records, but he utilizes his clean vocals more (“Falling World”, “New Moon”) and steps up the black metal shrieks. He seems to evenly distribute these styles throughout, applying all in one song at times.

“Servant Sorrow” is very reminiscent of “Swallow” and “Through Her Silvery Body” from The Morning Never Came and the more I listen to this record I come to the conclusion that the band really hasn’t changed that much. The only thing I consider different from other works is the willingness to expand on ideas.

This is a record to submerge oneself in and absorb. The band has leaned heavily towards beauty and New Moon succeeds in conveying atmosphere like no other. It is apparent that Swallow the Sun like to experiment within their safe zone. Anything too drastic and it wouldn’t be Swallow the Sun. Arguably the bands best record, New Moon continues to unfold and it gets better with each listen.

Dino and Bell are together again, they’ve recruited legendary drummer Gene Hoglan (Death, Dark Angel, Strapping Young Lad, Dethklok, Pitch Black Forecast, and Testament) and boy oh boy does it show! Mechanize is a fierce return to form that will melt your balls and have you shitting blood for weeks. This is, without a doubt, one of the band’s best records and a complete return to what fans have been starving for after all these years. If you’re skeptical, just try on the opener and title track “Mechanize” for size. Surely, someone has died listening to this track. The hole this fucker put in my head has yet to heal and the savageness does not stop on this record.

Hoglan’s drumming is a welcome addition to the ranks – as he is in any band he plays with. Much more organic and relaxed (no triggers), Gene’s skills cannot be denied and he is a standout factor in what makes this record so intense. Though he does an excellent job in recreating that old-school Fear Factory vibe, it is very clear that Gene is not entirely human, and there are few drummers who can match his precision. It’s a devastating performance, to say the least.

Arguably the heaviest and darkest Fear Factory record to date, Mechanize exhibits less nu-metal aspects and steadily dwells in vicious metal antics, even exposing a rarely-heard thrash side of the band (“Fear Campaign,” “Controlled Demolition”).

The band’s first single “Powershifter” is a fist-pumping, adrenaline-fueled anthem – it’s uplifting and holds Burton’s classic, empowering, clean-sung chorus lines. It is reminiscent of songs from Demanufacture and Obsolete. Burton’s voice is a reliable part of the band’s sound and through the years, no matter what musical direction they’ve taken, he has been steadfast. Fear Factory could not be Fear Factory without Burton C. Bell.

The electronic aspects of Fear Factory are present as usual (Front Line Assembly’s Rhys Fulber, who engineered the soundscapes on Demanufacture, returns as well) but they’re not as front and center as other releases. “Christploitation” carries eerie piano sounds and a creepy vibe. The song’s name should be a dead giveaway for the lyrical content. Burton tackles the concept of god and violently screams lines like “Your god cannot save you!” and “Your god is just a lie!” Nothing we haven’t heard before in metal music, yet it’s just as jarring on this track.

“Design the Enemy” has beautiful hypnotic vocal swells intertwined with machine gun chugs, and the record ends on another beautiful yet disturbing song about death, “Final Exit.” Actually, “Final Exit” is one of the album’s better tunes if you’re into the more melodic moments Fear Factory has put forth over the years like “Descent” and “Invisible Wounds.” This is an excellent closer with military-style drumming and clean guitar picking.

Mechanize is exciting because it’s a record that most of us thought would never come. The attitude is back and a new chapter is about to be written for Fear Factory. After a disappointing last few years, the machine has returned to smash your head in. Welcome back Fear Factory.

Profound Lore is known for dark music. Worm Ouroboros may not be the heavy you’re looking for but this Bay Area underground group creates a thick desolate atmosphere just as disturbing. Lorriane Rath (guitar, vocals, and flute) was the main songwriter for The Gault, and has done work with John Gossard of Weakling and Asunder. The music is slow and dreary with a lot of delayed guitar effects and soft sung female vocals courtesy of Lorriane and Jessica Way (guitar, vocals, and glockenspiel). Fans of bands like Earth, Russian Circles, and the sludge of bands like Mouth of the Architect should enjoy this. In all honesty, it’s very tripped out jazz/lounge music and it sounds like something you’d hear on a David Lynch film. This is very artsy stuff.

First listen through and all the songs meld together. There is no distinct separation or hook. It’s all just stoned out of your mind atmosphere with no real direction. That’s not to say it isn’t good, but there is no structure. It’s very freeform. Relaxing and hypnotic, this self-titled debut unfolds over multiple listens, exposing truly magnificent layers and deep convictions.

Though most of the album is murky and somber, the distortion kicks in (“A Birth, A Death”, “Winter,” “Riverbed,” “Pearls”) broadcasting doom-laden sludge with underlined melody that really reminds me of bands like Mouth of the Architect, Isis, and Red Sparrows.

Not your typical Profound Lore release, yet just as doleful and dark as this type of thing can be. Worm Ouroboros are talented, forward thinking musicians, and it’s going to be interesting to see what direction they take in the future. Though very well done, Worm Ouroboros is going to be a hard sell considering their gentle approach. Sit back with a glass of your favorite wine, have a puff, and lose yourself in this release. I cannot imagine a better way to experience it.

The band has always leaned heavily towards an accessible, dare I say mainstream, sound that sits very well with both extreme metal fans and the rock world. Night is the New Day displays an evenly balanced mixture of heaviness, forward thinking, and melancholy, with some slight electronic moments. The sound on this record is mature and complete with a towering gray aura.

“Forsaker,” opens this CD with an excellent single that bears a dark, heavy atmosphere, accompanied by the bands signature somber verses. The drums hit hard through this song with some scattered timing that brandishes Katatonia’s will to experiment.

“The Longest Year,” brings the despondency. There are moments on this record that are not for the weak hearted. The beginning minute of this song is something I have rewound over and over again. It is beautiful. Along with the angelic guitar playing Jonas Renskse’s voice is a huge part of why Katatonia sound so deep.

From the beginning, Katatonia and Opeth have always played off each other and have had similarities along the way within their music. The association is even more prominent on Night is the New Day (“Idle Blood,” “Departer”) in my opinion. As Opeth progressed with their sound over the years it seems Katatonia has been on the same path. The progressive nature of bands like Porcupine Tree, have become staples in both Opeth and Katatonia’s music and this record is sprinkled throughout with these similarities.

The CD ends with “Departer,” an unbelievably dejected piece that comes close to bringing tears. Krister Linder (Enter the Hunt) gives a beautiful performance as a guest vocalist on the second verse of the song and helps make this an excellent closer. Progressive tinges of Opeth and Porcupine Tree are evident halfway through this song as it breaks for an instrumental interlude.

A book could be written (literally) about Katatonia’s career and achievements. They have stood directly in the face of metal and forced an unconventional sound that has sparked numerous outgrowths over the years. They have never really disappointed and if they keep this momentum up, it is only a matter of time before a larger audience finds out about one of metals best kept secrets. If you are a fan of the band then this CD is a no-brainer. If you have never heard Katatonia before this is an excellent place to start. Night is the New Day will be high upon many year end lists including my own.

Personally, I lost interest with 2007’s In Requiem quickly. It was a year ender for me but as time passed it just didn’t stick. Maybe the more raw allure of 2009’s offering is what I was craving and if you are like me, this will be a year end contender as well. The progressive elements that drenched In Requiem are stripped away to expose primordial doom that were this bands signature. This record is truly darker than most of their offerings and really treks back to the earliest of their discography, minus the death growls.

One of the more accessible songs, opener “As Horizons End” is a typical track that we have come to expect with angelic guitar harmonies over lapping down-tempo chord progressions. The gloomy atmosphere continues and grows stronger as the record progresses with “First Light” being one of the more hopeless tracks on Faith Divides Us, Death Unites Us.

Nick Holmes is definitely striving for that gruff edge more than ever. Compared to his delivery a few years ago, he has definitely pushed for a heavier sound. The clean sung goth vocals are obviously still present and the play between the two are evenly balanced. Though multiple listens are demanded from the listener, this grower delivers some catchy sing along choruses that you will be humming to after a few spins.

The heavy hits hard with “Living with Scars.” This track is damn near a death metal song until it breaks for an epic chorus line with soaring guitar leads. Finally, the CD ends with a very doom-ridden “Last Regret.”

I cannot see how any Paradise Lost fan from back in the day could not like this. Faith Divides Us, Death Unites Us is the best thing since Draconian Times in my opinion. It may not be the bands best work but it’s a welcome dark, heavy release that most have been anxiously awaiting. Welcome back Paradise Lost.

Hailing from Chile, this band takes European death/doom and adds a lot of progressive elements. Initially I was perplexed. Though the band is firmly placed alongside My Dying Bride the song structures and vocal melodies take this beyond just a doom metal moniker and I’ve found dark metal usually fills that void. For one to really build an objective impression of the bands music it will take multiple listens. Timeline Symmetry is hard to digest on the first run through.

Dark indeed, as there isn’t much to lift ones spirit within these nine tracks. Guitarist Igor Leiva Benavides and vocalist Claudio Carrasco Garcia are directly responsible for this downtrodden atmosphere. The guitar riffs range from sorrowful clean tones to slow plodding distortion with some dissonant chords from time to time only to be accented by low gothic vocals and the occasional death guttural. The vocals are where Poema Arcanus need some work. Though Claudio’s delivery is impressive, sometimes it’s a turn off. He does the gothic, vampire whining a little too much. Timeline Symmetry would bite a lot harder if the roles were switched and the death growls were used more.

Another fatal error in the bands songwriting is how drug out some of these songs can be. I am all for long songs if it is necessary and holds attention but there are a few songs on here (“The Average Mans Odyssey”) that should just end while they are ahead. I find myself loving a few tracks and then they just wonder off into oblivion after five minutes or so.

Similarities to bands can be made. The obvious ones are Opeth (“Raven Humankind”) and My Dying Bride, but you can also find a lot of goth influences like Lacrimas Profundere, Charon, and Fields of Nephilim up front and center on this disc.

So in the end Timeline Symmetry is fun and intriguing, yet the band could use some work on their delivery in my opinion. Still, I’ve had this thing playing for over a week and it sticks over time. Definitely a band to watch in the future and fans of dark metal sub-genres should take a listen.

Esoteric is special because of a few things. First, there is the addition of young guitar wiz Johan Reinholdz (Andromeda, Nonexist). This guy is incredibly good. He is basically a virtuoso like Yngwie Malmsteen with a modern style and a taste for the extreme ends of metal. His work with Andromeda alone is credible and he actually contributed to Timeless Departure. So, to hear that Mr. Reinholdz was an official member of Skyfire now made me ecstatic. The change in vocalists is another significant part of Esoteric. Joakim Karlsson isn’t quite the high pitch screamer Henrik Wenngren was but he is a fine vocalist to say the least. Joakims approach is much more hoarse but powerful.

Skyfire’s sound on Esoteric is busy. The first time I put this in I was a little overwhelmed. What we have here is a return to the Timeless Departure days with a big orchestrated sound. The only difference this time around is that it’s darker. The interplay of keyboards and layered guitars is something that takes numerous listens to decipher. It’s more technical than Bodom or Kalmah, which is where a lot of records will fall flat in the songwriting department. However, Skyfire keep it together and deliver some seriously good material. This will be the symphonic album of the year for me.

Speed and melody are key. “Rise and Decay,” and “Under a Pitch Black Sky” are perfect examples of the balance of fast blackened blasts opening up to epic and dramatic choruses. The blast beats are something that is new to the Skyfire camp, at least this many. The further you get into the record the more blasts you hear. The band definitely took a nastier approach on this record.

The keyboards are fantastic. They flutter and weave their way through every inch of this record adding dreamlike qualities. It’s like hearing the band Winds play melodic death metal. Amazing.

Skyfire are criminally underrated. Even if this is a sound that has been attempted before, Esoteric carries its own character and marks one hell of a return for a band that has been in hiding for too long. Unfortunately, this won’t make it on too many peoples year end list. I for one am going to keep it as a strong contender. Great fucking album.

Besides the bands love for the juice, their love for classic hard rock and prog rock is undeniable as well. As soon as you put this self-titled release in the first thing that comes to mind is Rush, Yes, and even the Rolling Stones and Metallica, all presented in a modern, cumbersome approach. With a description like that you’d think this is the best thing to hit the scene since squeeze mayo. For a debut, self-released CD this isn’t bad, but there is room for improvement. The most exciting thing to me is the guitar solos, which are definitely stellar along with the bass playing.

The progressive nature of the band definitely stands out with odd time and vocal changes. Bill Moore (PhD and assistant professor at UCLA I might add) has a wide vocal variety ranging from the gruffness of James Hetfield to the wide open styles of Geddy Lee. The band is tight and everything is put together pretty decent with some catchy songs that have good hooks and fetching chorus lines. The technicality is by no means at the level of the masters mentioned earlier, but for a debut effort this is pretty unique. It surely isn’t something I hear a lot of bands trying to do this day in age, yet this is a totally accessible sound that has radio potential.

Final Gravity took me by surprise with their sound. At first I was turned off, particularly because I just like my music heavier, but the end result emerges as something that fans of melodic hard rock/metal will definitely like. Take a gander at Final Gravity’s debut and hear for yourself.

Oh, and shit I almost forgot…DRINK BEER!!

By: Shane Wolfensberger
www.finalgravityband.com

Korpiklaani have been around for sometime now and they do what they love. Play the jig (metal style) and drink until you can’t see straight. Taking the same path as humpa deathstars Finntroll and folk speeders Obtest, Korpiklaani are a reliable entity sure to put a smile on your face at some point through their discography. Karkelo (or party) is another fine example of what obviously would make for a killer live show, just not sure if I can drive around and listen to this days on end.

Opener “Vodka” is pretty fun stuff though. I can imagine myself having a few and dancing the jig to this bad boy. Lyrically, the chants of “VODKA!” and the catchy chorus of hangovers and glassy eyes will seem cheesy yet make everything seem OK at the same time. Along with “Bring Us Pints of Beer” these are the only two English lyric songs on the album. For the rest of the album you’ll have to brush up on your Finnish.

Most of the faster songs sound the same but Korpiklaani break for some slower moments (“Mettanpeiton” “Valtiaalle”, “Uniaika”) which help break the record up so it doesn’t sound repetitive. The band definitely can write catchy melodies and hold interest.

Karkelo is happy, upbeat metal, with accordion and violin, the same as the rest of their records. If you’re looking for a pub atmosphere and a good time, by all means pick this up. Take the band and Karkelo for what it is. Don’t take it too seriously. Have a few pints and enjoy.

Some may feel the band lost a bit of brutality with 2007’s Come Death, but I see it as a tightening up and refining of their sound. The band is punishing as ever but with a sense of songwriting and fetching grooves that make this bands music memorable. Catchy is an understatement.

On Souls of Damnation we hear an even more melodic Blood Red Throne. Guitar harmonies push this release towards a melodic death sound more than ever (“Harme,”) yet the brutality and demon speed of past releases is there ( “Throne of Damnation.”). The bulk of the album is a gala of thrashing riff mania accompanied with very audible bass rumbling and popping. The bass is an undeniable factor in Blood Red Thrones music. It stands out so much that it only adds to the bands tightness.

Second album for vocalist Vald and his delivery is some of the better you will hear in today’s death metal vocalists. Deep gutturals and nasty blackened screeches fill this record and lyrics are heard very clearly.

The solo work on this record is very melodic and well-written. A lot of the soloing takes this music from barbaric, dark feeling, to triumphant and epic. You’ll find the doors blown wide open when the solos kick in and the song takes on an entire new feel. The last song “Ten Steps of Purgatory” is a perfect example of this and the record ends on a very Gothenburg melodic death note.

The fact is, Blood Red Throne are doing nothing new here, yet Souls of Damnation is a damn near perfect blend of melody and ass kickery. This is one of the better releases in death metal this year. I applaud a band like this for stepping away from the uncompromising beating and showing a little flare. This is a record that fans from all sub-genres can enjoy.

A few songs show promise for future releases (“Saline Oasis,” and “Fallen”) with colorful intros and dynamics that set them apart from the rest of the album. The problem is once the songs get going they are simplistic and forgettable. The cover of Katatonias “Murder” is probably the best song on the record. That doesn’t say much for a six song debut. The band wears their influences on their sleeve, yet they don’t seem to hold up to the quality of their peers.

Vocally, we have a mix of Byzantine style grunts and deeper death bellows. Most of the deeper gutturals are only used in spots. In all honesty, the vocals sound forced and the singers voice sounds like it’s on the verge of cracking. The deeper gutturals definitely compliment the music better.

Most off the material here is just sub-par. For an unsigned act they have a lot of growing to do and we could hear good things from the band in the future. Even for an underground doom enthusiast like myself, Futility need some work. Check it out and judge for yourself.

This record reeks of old school blackened melodic death metal and is played with veteran competence, which should come as no surprise as this band is made up of members of Entombed and Dismember. The album leans heavily toward the black metal side of things a la Dissection, Gates of Ishtar (remember them?), and Emperor, with blasts and tremolo picking, intertwined within death metal essence, and nostalgic Scandinavian harmonies. The blasphemous nature of In the Light of Darkness is displayed immediately with “Retribution in Blood” as lead man Micke Jansson screeches “take the blood of the lamb, bleed for me!” Very nice.

This record isn’t terribly fast. It lies within a pocket of groove (“In the Light of Darkness” and “Enemy of the Sun”) with plenty of abstract drumming courtesy of Peter Stjärnvind. Blast beats are forthright yet tempo changes happen numerous times to advance these songs from damnable to triumphant (“The Unconquered One.”)

The balance between beautiful melodies and downright demonic scale work from Johan Bohlin is sharp as it creates something special for Unanimated. This band reminds me of a blackened version of early In Flames. At one point, they are blasting pure black furry, and the next thing you hear are harmonized melodies harking back to the Jester Race. There really hasn’t been a band that could balance the two so well since the late Dissection.

Bottom line- old school fans will eat this puppy up. The awesome thing about In the Light of Darkness is just how nostalgic it is. I haven’t heard stuff like this in years. Well done Unanimated.

The main issue is the band sounds more like Opeth now than ever, sometimes too much. Compared to what Tears of Mortal Solitude delivered, this record is somewhat predictable. However, I should calm my underground radical views because this record is really pretty good and fans of mystical extreme metal should check this out.

Forest Stream always relied heavily on keyboards to create a gray and damp atmosphere. That is still present and it is one of the main reasons this band can set their sound apart. Take opener “The Crown of Winter,” with its somber and mystical intro. The cold Winter-like atmosphere this creates continues throughout. The bands name couldn’t be more proper because their signature atmosphere makes you think of a cold damp forest.

As I said before this record is different than their debut in many ways. Clean vocals are one thing, interchanged with deep death/doom bellows. Another thing is the furious symphonic black metal that can be heard (“Bless You to Die”, and “The Seventh Symphony of Satan”) very reminiscent of Dimmu Borgir. For a band that used to portray nature in a beautiful depressing way, the evil black metal thing doesn’t seem right.

It is great to see Forest Stream back in action, but this isn’t the gem their first record was. Unfortunately, it pains me to say the band needs some work. Sounding this much like Opeth and Dimmu isn’t going to cut it. Interesting stuff, but I’d recommend taking a glance at their first record.

Armed with quality production and tight musical craft, Eryn Non Dae sounds as if they are completely comfortable with their skills. Interbreeding off rhythms ala Meshuggah, artsy industrial experimentation similar to Sybreed, and the down-tuned brutality of Gojira, Hydra Lernaia holds plenty illuminations. Chaotic and disordered at times, there is even a Dillinger Escape Plan type of sound happening.

Though there are lots of comparisons to be made, Hydra Lernaia holds utterly confusing material. No matter how many times I listen to this I cannot remember a single thing. I mean even though this is good stuff there are so many different patterns going on I can’t even begin to reference a song. It’s just not very catchy and that alone is a huge downfall. The songs have no real structure to them and they sound similar throughout the disc. It is awesome stuff but these French fuckers need to focus on writing songs and let up on the spastic jibberish. “Blistering Hate” has some stellar groove and this is the type of song that I wish continued throughout the record. When it comes right down to it, bands like Meshuggah just have a knack for creating memorable song structures, even over all the chaos. I think Eryn Non Dae has some incredible shit but taking some notes from the masters wouldn’t hurt.

On the other hand, the aura surrounding this record maybe exactly what it should. The urgency and edginess of it portrays many different human emotions and per the bands bio on Metal Blade, that’s exactly what they are going for. Along with all the spazz there are genuinely dark atmospheric moments that are dissonant as Neurosis. What does stand out is the drumming. Julien Rufie is a serious beast behind the kit. Watch out for this guy in the future because for a debut performance this is intense.

Hydra Lernaia is worth your time. It just isn’t without its flaws. Welcome to the fold, Eryn Non Dae. Look forward to hearing more.

By: Shane Wolfnsberger

http://end.1.free.fr/

Since 2007’s The Novella Reservoir, not a whole lot has changed. The band is still aiming for a deeper aggression and abandoning their slow plodding riffs from earlier in their career. Before, November’s Doom sounded afflicted and lamentable and was one of the few American acts to grasp the sound of the European doom masters My Dying Bride, Paradise Lost, and Anathema. What the band has harnessed in recent years is more bold and resilient, demanding attention, yet keeping a firm melodic base, and never completely abandoning their roots.

The opener and title track “Into Night’s Requiem Infernal,” is a no-frills death metal driver that is reminiscent of Bloodbath. Things progress and the records abstract nature starts to show on “A Eulogy for the Living Lost.” Energetic and brutal “Lazarus Regret” slams right back into the death metal a la Edge of Sanity and marks one of the angriest songs the band has ever done. Honestly, this record in general is the most furious thing I think the band has done.

Guitarist Larry Roberts shines on Into Nights Requiem Infernal with solos unlike anything we have heard from the band before. Tastefully written and executed, fret work like this is icing on the cake. The guitar work shines throughout this disc with excellent song structures, breaking from distortion to clean numerous times, and allowing Paul Kuhr to utilize is immense vocal abilities as he switches from death gutturals to clean tones. Paul is a powerful and underestimated vocalist.

“When Desperation Fills the Void” is a classic sorrowful ballad with clean vocals that we have come to expect from this band and ends this record on a crushing death doom note. The last minute of this record is well worth the listen.

Into the Nights Requiem Infernal is a very good album. There is so much to like about this bands discography that I can only say it is better than The Novella Reservoir. Fans of the band will not be disappointed. If you have never taken the time to listen to Novembers Doom this is a great time to start.

Tall Poppy Syndrome maybe the bands first real leap, but the band members are no stranger to the Norwegian metal community. Lead vocalist/keyboardist Einar Solberg was hired for Emperors 2006/2007 reunion shows, and the entire band has recently played as Ihsahn’s live band -a baffling task I’m sure. So obviously, Leprous know their way around their instruments and it shows on this release.

Though, firmly nestled within the more progressive elements of metal/rock music, experimentation is upfront and personal on Tall Poppy Syndrome. Honestly, Leprous are completely original. There certainly is no single sub-genre to place them in and though similar to bands like Opeth, Winds, and Porcupine Tree, their sound has its own aura with song structures and chord progressions completely different than the aforementioned acts. Diving into swing/lounge/jazz/classical/death metal/black metal/ and prog, you’d think a band like this would be all over the place and hard to grasp. Nothing could be further from the truth as hooks are used in a variety of spots and their abilities never get the best of them.

Piano inhabits a lot of this record and is done in a fluttery classical style at time similar to Winds. Other times it brings a lounge vibe to the music and on occasion synths remit fantastic atmosphere.

My only gripe with Leprous at the moment lies within their vocal delivery. Einar Solbergs voice is very clean and delicate. He has a higher pitched voice, which is nothing strange when it comes to progressive music, and it is definitely not a bad voice, but it is somewhat irritating to me and doesn’t fit right at times. When the band actually plunges into death metal or black metal rasps it sounds so much better. Maybe it’s just my taste but one thing that keeps me from really loving this band is his vocals. On the other hand, if they were to utilize the extreme vocals all the time, I fear they would sound too much like Opeth or Ihsahn. So, the band actually sets themselves apart from numerous acts with their unique sound.

Tall Poppy Syndrome is complex music to describe. Leprous are the real deal for people who enjoy experimentation and progressive metal. All I can say is give this record a spin. This is certainly an excellent debut album and we should be prepared to hear great things from this band in the future.

The medical/gore/grind/death metal thing is what it is. If that’s your cup of tea then General Surgery’s Corpus In Extremis is probably going to make you wet your pants with bloody cream pies. This record is brutal as it gets, complete with lyrical concepts of hellish and grotesque operations gone array. The band has even covered their bodies in fake blood to make your listening experience more enjoyable. How ingenious of them.

Obviously, I could care less about this record. However, General Surgery are not the only band on the planet doing this thing, and no matter how uninspiring this may be to me, it is one of the better examples of the new era Symphonies of Sickness. Once again, if shit splattered gore grind is your thing then look no further.

New vocalist Erik Sahlstrom creates some disgusting gutturals with over dubbed layers happening from time to time to create terminal brutality. “Necronomics,” wastes no time blasting complete savagery clocking in less than fifty seconds. Groove is firmly in place throughout Corpus In Extremis and careens closely to Swedish roots of Entombed and Dismember.

Blast beats are done tastefully and placed where they need to be, allowing plenty of time for songs to be catchy at points. For this style of music, Corpus In Extremis displays some good song structures and will get the job done whether the song is thirty six seconds or five minutes. Solos are done in the shred as many notes as possible style and whammy bars drop bombs from time to time. Fun stuff for a high octane experience.

So, General Surgery succeed with Corpus In Extremis in creating something truly unoriginal yet affective for its purpose. For those looking for the uttermost gruesome music and could care less about originality, this thing is for you.

Ex Deo consists of the entire Kataklysm line-up and Jonathan Leduc (Blackguard) on keyboards. The idea was the brainchild of Iacono and the sound created is best described as epic death metal/melodic death metal. Luckily, the band was able to pull off a quality album that is significantly different than anything Kataklysm has done and actually is more interesting and varied. The only thing reminiscent of Kataklysm at all is Iacono’s vocals at times and the guitar tone.

“Romulus” germinates this album with epic keys similar to that in a movie as the song slowly pounds it way into battle. Keys play a big part in the music but they are only used to thicken atmosphere. Most of the accents are horn or chant sounds. Samples can be heard as well. A lot of what is going on within the atmosphere of Romulus is similar to that of Nile or Behemoth with the Egyptian and ancient tones. Harmonized guitars flourish through this album as well as excellent solo work. Just about every tune on this record carries a health solo. Even Karl Sanders (Nile) stops by for a solo on “The Final War (Battle of Actium).”

Vocally, Maurizio has a distinguishable tone with his deep death bellows and shrieking highs, though he has striven to change his delivery by yelling (very clearly) his cries. Obviously, the man knows his history when it comes to the concept because lyrically this is a very interesting album and I imagine it took some time to put this bad boy together. Romulus is like the soundtrack to Gladiator or 300. I must say, I am impressed with the vocals more than anything.

Other guest appearances include Negral (Behemoth) on “Storm the Gates of Alesia” and Obsidian C (Keep of Kalessin) adds another layer of riffs to “Cruor Nostri Abbas.” None of this is noticeable if you weren’t listening for it.

Bottom line- this is a very solid release for fans of doomy, triumphant, melodic death like Amon Amarth and select Kataklysm but also for the fans of “war/battle metal” like Turisas, Thyfing, and Ensiferum. The impressive thing is the atmosphere and quality songwriting. I doubt this will be on anyone’s year end lists but it sure is a great CD worth attention.