If you know of Sunn 0)))’s catalogue, then much of this album will sound somewhat familiar. There are moments of relentless, bowel-churning drone ala “Flight of The Behemoth”, and also plenty of the soft, astral atmospheres approached in the two White albums. But this record also seems to have a moderate injection of backwoods, southern grit. Some of it due to Densley’s gruff take on “singing” (which works very well, in my opinion), but there seems to be something else there, in the atmosphere itself. Some of the riffing leans toward southern sludge feel, mostly in the second half of the albu. In fact most of this album sounds like some sort of Louisiana black magic incantation. But maybe that’s just me. Regardless, I will say this album is damn interesting. There is a great variety, and all of it works despite the gap in styles and influences. It’s disjointed yet organic, discordant yet sonorous.

Opener “The Obelisk Of Kolob” is a pretty hefty introduction. Rising distortion and feedback until guitar, drums, bass and trombones all crash and rumble in unison. It’s primal and barbaric in intensity, and for some reason gives me the imagry of giant gates being opened slowly. It’s a (relatively) short opener, but marvelously effective.

The title track features a welcome guest apperance from Attila Csihar, and probably resembles Sunn 0)))’s recent work more than the rest of the album. The track doesn’t really fall into any tempo, and the snaking, meandering melody is elusively unsettling. The highlight of this track probably being the vocals, Atilla doing some very gravelly chanting, and Densley in his usual wiskey-drenched howl. I’d also say this track is the most “out there” of all them. Due mostly in part to myriad of unique sounds, shapes and gestures featured in this song.

“Divine” might be my favorite. It probably won’t appeal to the extreme doom/drone audience most of this album gears towards, but it definitely offers some variety and character to the album. It’s a little bluesy, and definitely harkens to Sunn 0)))’s more mellow and atmospheric tracks (“Bass Aliens” immediately came to mind). Densley’s vocals take center stage here as he groans some sort of a drunken lullaby. In the lyrics he tells of a dream where lions eat him and he becomes part of them, “ruling the divine”. Then eagles eat the lions and then crows pick the bones clean. Though it might take getting used to, Densley’s howling vocals are really quite effective.

“V O G” opens with sounds of some sort of middle eastern incantation (the noodling double reed instruments and percussion are what tipped me off to that particular ethnicity). But before long its a southern, quazi-bluesy dirge with plodding drums and guitars. And also a guitar solo, which tops off this swampy/stoner vibe (as well as Densley’s monotonous, chanting vocals). This track doesn’t really offer much, but it does it’s job.

And now after reading the description of “V O G”, I realize that “Her Horse Is Thunder” fits pretty much the same description. Except it doesn’t really have vocals (save some constant and wordless backing vocals), and has this churning organ which adds to the atmosphere nicely. Again, not a bad track, but doesn’t really do much for me.

“Dark Matter” is definitely the climax of this album, ending it with some real intensity. The first half is a quiet and still drone. It’s unsettling and constantly feels like it could explode. Feedback rises as Densley does his chanting, until finally it explodes in chunks of trombone, bass, guitar and organ. This track has a real sense of direction, and makes it one of the album’s best.

So, all in all I’d say this is a winner for any experiemental doom fan. It’s eclectic and pretty well-rounded. In school, I probably would have gotten points off for a conclusion this short. Oh well.

But that doesn’t mean this won’t appeal to any long time traditional metal/thrash fans looking for some rock solid headbang material. If Hellrazor is anything, they are definitely solid. The songwriting, riffs, musicianship and vocals are all effective enough. It is somewhat of a let down to hear every song in the same mood and tempo. Some faster speed metal tracks and maybe some ballad-ish moments would be welcome over the same mid-paced bashing over and over (though its really not intense enough). There are some slight deviations, such as the moodier and less intense “Darker Days” and “The Passing Hour”, which works to a similar effect. The riffing sometimes changes to a syncopated chug, which adds variety, though not nearly enough. The production is pretty good, though I can’t shake this feeling that something is missing. It all sounds so underwhelming.

Vocalist Alan Rueda does a good Matt Barlow and James Hetfield mix. His singing is effective enough, it’s what he’s singing that doesn’t really grip me. I guess its something the whole album is plagued with. Nothing about this really impresses me, it’s just there. The drumming is all very solid, but lacks and sort of “wow” factor. The choruses don’t really do much, they’re just there. The guitar solos, while very well played, don’t really do anything for me. This all adds up to one unfortunate fact: “In The Wild” has very little replay value.

Don’t let my critical griping stop you from checking this out, though. And like I said, none of it’s really BAD, just not really good either. Stand out tracks include the title track, (which does approach that missing element the rest of the album lacks), and slightly more energetic “Ride or Die”. If you’re going to down some beers with friends and chill, then this could deliver a fitting setting. But if you’re looking for a really good album, I’m afraid you’ve come to the wrong place.

This is what it would sound like if Green Jelly and Group X recorded a grind album in 4 hours. I almost don’t want to justify this with a review, but I feel I need to warn the metal community of this lame ass excuse for grind. This is the equivilent of me taking a shit on a canvas and trying to sell it to the Met Museum of Art for 3 million. After listening to this album through twice, I found nothing memorable other than fast drumming with really, REALLY fucking annoying vocals. No riffs caught my ear. No lyrics made me smirk in sadistic delight. The production isn’t even that good. I can’t fathom anyone actually listening to this of their own free will. Seriously, it’s that bad.

The vocals are definitely the worst element. Constant yelling, yelping and howling by at least 2 members at all times. I still have a hard time believing this isn’t a joke. As for the lyrics, they mostly revolve around war, anarchy, drinking, weed, and some political bullshit. If the music wasn’t total garbage I might make an effort to try and understand some of the more esoteric lyrics, but since it is total garbage I really don’t give a shit. There is really nothing else to say other than listen at your own risk. And be prepared to lose a massive amount of brain cells.

By the time “A Reflection Through Orbs” and “Of Time Entombed” were finished, I was lulled into catatonic boredom. Honestly, I can only listen to the same two chords for so long. The only thing keeping me awake were the horrid vocals (horrid in a bad way). I could tell they were going for a sort of otherwordly whispery rasp, but it sounded more like Gollum being tortured at Barad-Dur (though his lower growls are much less annoying). And I do enjoy the texture of the vocals from time to time, like a chilling wind blowing through dead trees. Most of the time they just consist of long, seething groans, which never really serve a purpose other than to remind you that there are vocals (or detract you from the mostly lame songwriting).

One of the only moments I actually enjoyed was the last track (aptly titled “Whisper In The Gloom” [and that’s a pretty fucking cheesy title]), a dirge including only acoustic guitar and wordless vocals (whispery, and actually adds to the atmosphere this time). There are a few good riffs and thoughtful turns in the songwriting, but all in all I was bored to tears. But if you like Xasthur, Leviathan, Blut Aus Nord, Deathspell Omega, ect. then you may dig this. But unless I really missed something, Psychon Vex doesn’t come close to having as much substance as the aformentioned artists.

Though they were clearly leaning towards a classic black metal mentality, this album comes across as something more. First off, it’s much more a Venom type of black metal than anything else. It has a traditional feel to it, but still manages to bring more to the table. The atmosphere is great. Sort of a black and white satanic horror film feel. Dark and gritty with plenty of cheesy keyboards and classic film samples. But don’t get me wrong, it’s cheesy in the best way, the kind that makes you grin and bob your head.

Opener “Prudent To The Thrones of God” totally sprayed me with some acidic blackened death metal venom right away. Vocals are raspy, pissed off and distorted. The production is actually quite good, with plenty of bottom and grit, but still clear and focused (to an extent). It’s clear these guys care about atmosphere above all else. The last minute or so is this great slow churning riff with some misty keyboards over it. And the rest of the album follows suit.

“Obey The Will of Hell” drips with utter vehemence. Slower riffing is no stranger to this outfit, and it works wonders, especially right after some of that fast and frantic stuff. “Lucifer Rise” continues with the foggy horror film atmosphere. It’s ominous and brooding, with some Akercocke like vocals. They take some time too, as this track tops 6 minutes, and the end gets pretty maniacal.

Exorcist samples are no stranger to this album, as “Enochian Tongues” opens with the backwards talking one. This track also shows off Anselmo’s southern roots, but never really breaks the mood. In fact a lot of the riffing has a distinctive southern edge, if only slightly. It works well and just adds more flavor to the mix.

All in all, it’s hard to find anything wrong with this album. It does exactly what it sets out to, so who can complain? I really enjoy this shit, and I’m glad it got to see daylight, if 13 years later.

I did kind of expect something a bit more experimental, just looking a the odd cover (for the genre), and some of the song titles. But what I got was some relentless, riff loving death metal. And these guys love the riffs, let me tell you. One after another, without any solos or breaks. Don’t get me wrong, this album is no snooze fest. With such a bare bones formula, their exceptional riff crafting and songwriting is only made more apparent.

Intro “All in Vain/All in Veins” struck me as pretty lame. A slow, lumbering instrumental that never really caught my ear. Fortunately, “After All” grabbed me with a well conceived structure, and some sweet Witchery-ish melodies and thrashing. I enjoy their use of melody, as it’s not over indulgent or complicated. Just enough to add some flavor to this huge slab of metal serloin. “Descent’s Genesis” sprays you with blast beats and double bass (get used to it). But they change things up with a mature and welcome pace. Plenty of thrash breaks and slow downs to keep you listening. It seems like a common trend to cram as much as you can in a two and a half minute song. Necroblaspheme give you plenty of time to sit and enjoy their admittedly enjoyable riffing. With songs lingering around the 4 minute mark, they really don’t mind hammering out some riffs for a while.

It took until the end of “Thoughts Close At Hand” for me to get mildly bored. But not bored enough to stop listening, which is good becsause closer “Nameless” is one of the stronger tracks. And at just over 36 minutes, the album is a pretty good length. This probably won’t knock off anyone’s socks, but I enjoyed it. Like to headbang? Then get it.

Dirtfedd give us a pretty diverse metalcore album here. Opener “Solute” is sort of a heavier Diecast with a strong frat boy theme. I mean, the chorus is “drink, fight, fuck”. That’s about as frat boy as you can get, and the lyrical content never really strays from this mentality. “Trained To Kill” doesn’t deviate too far, musically. It’s a huge chug fest, really. The production is pretty bottom heavy and meaty, courtesy of Slipknot’s M. Shawn Crahan (the clown, I think).

Third track “Said The Spider To The Fly” is when things change up a bit. The meathead metalcore is put on the back burner and they adopt some nicely done galloping melodeath, ala At The Gates. Vocals change up regularly, which is nice considering his forceful singing voice can sometimes get on my nerves. Death growls are well done, though.

You probably wouldn’t know this band has a full time keyboardist until the short instrumental “Blues”, when he actually takes a few brief but well done solos. The keys add a lot of flavor on the title track. He opts for a vintage organ patch, and the outcome sounds akin to “Baying of The Hounds”.  As the album progresses, keys are more and more present, which is a welcome addition to most of the songs.

All in all, this isn’t a bad record. Like I said, not really my cup of tea but don’t let that stop you. In fact, this album doesn’t have many really weak spots.  Sometimes the songwriting is a little bland and a few tracks go on for too long.  But it’s a relatively well rounded album which shouldn’t dissapoint the fans of this genre.

First off, let’s cut the Meshuggah wannabe/clone/poser bullshit. Staccato, disjointed, poly-rhythmic metal part of their language. Do you blame them for being influenced by one of the most groundbreaking bands in metal? So forget the language and listen to what they’re saying. After hearing opener “Old Days Born Anew” for the first time, it became clear that I was about to be blown away by more than just technical prowess. There’s a moment when their constricted and calculated brand of metal opened up to this spacious, grandiose style (led by Eric Kalsbeek’s superb clean vocals). Fortunately, they recreate this duality all over the album and it never sounds two dimensional, forced or formulaic.

I think the highlight of this album for me is the songwriting. They manage to flow effortlessly through a song and always keep it interesting. They also take their time, which I really respect. Take second track “The Sun’s Architect” for instance. Menacing and seething riffs pummel you until somehow you’re listening to Kalsbeek sing like Michael Buble and you have no idea how you got there. But it’s awesome. And then before you know it, you’re back to being hammered in the chest with chunks of guitar and kick drum.

“Awake” is probably one of my favorite tracks off this album. The opening couple of minutes is absolutely astounding to me. Yes, it does sound a lot like Devin Townsend, but I’d consider that a compliment more than anything. And it’s not long before you’re being pummeled with more meaty, syncopated riffs. “Storm Warning” is another highlight, once again proving their mastery of songwriting. The last couple minutes are just bathed in drama, the kind you can’t ignore. “Messengers” is a moody trek through less brutal territory, led mostly by Kalsbeek’s emotional singing. The last track “To Erase A Lifetime” ends the album with true fireworks. They seemed to be saving some of the best stuff for last.

All in all, it’s hard to be dissapointed by this beast. The album definitely has highs and lows (“One Eye For A Thousand” did little that really interested me, despite some cool southern riffing) but the highs are stellar. So give this album a shot. There’s a lot of really good stuff going on.

First off, I gotta say, these guys are pretty damn underrated. Understandable, considering their last release was in 2001. But since then, they’ve established a solid line up, played a ton of shows, and worked on this masterpiece of Irish folk metal. Thanks goes out to Listenable Records for putting this out there. I’ve been enjoying every moment for the past few weeks.

Opener “As Deities Clash” is pure epic grandeur. It’s raw and untamed, but beautiful and fervent. The sound of guitar lead and tin whistle snaking around a galloping riff is just amazing. It’s rare to find metal and folk compliment themselves so well, obviously due to Waylander’s refined and mature songwriting. The folk parts aren’t used as interludes or distractions to make longer songs. They grow out of the songs and are meant to be there, as a tree grows out of the earth. There’s definitely more metal here than anything, but it’s not off balance. The metal is just as folky as the acoustic material, which makes for an organic and refined experience.

Waylander’s brand of metal here is somewhat blackish, but leans into thrash and traditional speed metal territory. They keep things simple, and it only helps them. The whole package here is something special. The production is earthy and raw, but not incoherent. As for the performances, they are very real. Some flubs here and there, but again this only helps aid the atmosphere they seek to convey. So what if the picking or double bass isn’t spot on? It probably wouldn’t sound right in this setting. After all, this is folk metal, and there’s more being said here than just metal with acoustic guitars and tin wistle.

I can’t really pick out individual tracks, since they’re all great work with each other so well. This album is VERY plesantly consistant, with no weak parts of any sort. If you like folk metal, this is a must. I think this is the part where I make a nerdy comment about chainmail and longswords.

Ok, this is Jeff Loomis. Was there ever a question in your mind regarding the quality of his performance? The man shreds with the best of them. Drummer Mark Arrlington (Nevermore 93 – 94) pounds the kit like a champ with attitude to spare. The production is awesome. Meaty but with tons of clarity. The album also has some nice guest appearances. Watchtower’s Ron Jarzombek splits some solos with Loomis on “Jato Unit”. Pat O’Brian of Cannibal Corpse fame also lays down some licks on “Rage Against Disaster”. The album also features well done acoustic guitar and fretless bass work.

But now for the bad news. In my honest opinion, this album sounds just plain empty.  It sounds like a Nevermore album without vocals and more solos. Much of this record runs together and severely fails in grabbing my attention. It’s not due to the performances, as they are top notch. Where this album fails is in the writing. Much of it strikes me as predictable, especially after hearing Loomis pull the same stops in Nevermore. The best riffs on this album are only slightly memorable, and just make me want to pull out Dreaming Neon Black. And the solos? Shred-tastic, but sometimes showing little personality or meaning.

The album does have some softer moments, though, which help break things up. “Azure Haze” starts like a Symphony X interlude ala Divine Wings… or Twilight In Olympus. It turns into a sorrowful ballad, with some of the better soloing on the album. “Cashmere Shiv” comes next, with some brooding stacatto riffing, before branching off into exotic fretless bass territory. I can tell he wanted to create a more rounded album, but it comes off as two dimensional more than anything. Maybe I’m just spoiled by the complex and extravagant instrumental albums of my personal collection. That’s not to say Zero Order Phase isn’t a worthy listen for metal fans. If you like head banging to nasty riffs and polishing your air guitar skills on some sick soloing, then I doubt this will dissapoint.

I think part of the reason this album took so long to sink in was because I read the press release before hearing anything. And to those of you who are truely interested in having a pure experience with this album, stop reading now! Just go out and buy it. Trust me, this is a journey like none other. The press release, though extremely informative, put in some preconceptions which ruined the first couple of listens. But once I could live with this album in my own space and mind, it really started to sink in. The exceptional depth and expanse of What You Don’t Know Is Frontier is very moving. This seems to have a different purpose in comparison to other works of this genre/style. It also rises above genre labels. There’s something spiritual and cosmic about it. Something I can’t even put into words, but have experienced with a few other pieces of music. Thomas Newman’s score to “American Beauty” and the motets of Josquin des Prez come to mind. That’s not to say this album sounds anything like them at all, but the spiritual depth I feel is comparable.

This is more of a symphony in four movements rather than an album. Opening title track is 15 minutes long, and acts like an introduction. Not the stereotypcial introduction, but something with purpose. When I listen to it, I feel this cathartic pain. Like I’m shedding an old skin and preparing for something new. Churning guitars scathe you like sandpaper. A forever droning organ provides this element of suspense. I’m wary to call this “drone” because it doesn’t really have the same effect. The tension is so thick you can’t even move, forever awaiting this prophesized event. It’s so big the universe itself just stops and listens. Yet the track ends without resolution, as if to say waiting is the substance; the emotion to revel in. Honestly, the effectivness of this track is monumental.

“Christopher Columbus” is the second track of this album, and with it leaves the unique tension of the first. You are greeted with a barren expance of low bass rumblings and forever rolling cymbals. A rising static of bass and guitar lulls you into an uneasy meditation. Then drums enter, primal and rising.  Ever so slowly, until the doors to hell are opened. There is much about this track which must be heard to understand. It truely becomes horrific.

You’d think a softer, more mellow track would be a respite from those two monsters, but such is not the case with “A Game In Hell, Hard Work In Heaven”.  This is the most cathartic emotional outpouring I’ve heard in a great long time. Marking a return of that smooth organ, it plays a dirge unlike any other.  The first (and only) occurance of voice in this album is just magical. A woman, siging in what sounds like her native Indian tongue, makes this track a mix between Earth and Dead Can Dance. And it gets HEAVY, aided by this crestfallen recurring melody in the guitars. The track concludes with the only protion of this album I’m not sure about. Believe it or not, it gets fast. Not blast beat fast, but it goes into sort of a polka. Don’t worry, no accordions here, it still uses the same instruments and the same melodic and harmonic material. But regardless, it’s unexpected, and almosts doesn’t match the rest of the album.  Small complaint, though.

And after that emotional outpouring, we conclude the album with a very gruesome track entitled “A Trap For Judges”. It strikes me as a mix between Esoteric, Evoken and Catacombes, at first. The opening 16 minutes or so are this slimmy, contorting doom. It’s nasty and heavy. Riffs often elude to a prettier melody before corroding into something disgusting. Then a moment of stillness as that droning organ holds the same chord for what seems like a welcome eternity. Its sound slowly morphs into something cleaner, and then concludes the album with a solitary epilogue. You find yourself waking up from the strangest, most stirring dream you’ve ever had. And your life is forever changed by it.

I have little else to say about this album. It takes a serious commitment to try any piece together what is going on. But if you want something which reverberates the very landscape of this earth, I reckon this is one of those albums.

This is a very safe album. Nothing is surprising at all, but that’s not really a bad thing. In fact, they do this style very well and with enough conviction to keep me interested. Vocalist Maria Brink didn’t click for me at first, but after a bit into the album I began to like her voice quite a bit. She’s very expressive and shows a fair amount of versitility. Slow ballads like “Into The Light” show tenderness, while ther other times she grows some balls (so to speak) and belts it out like in “The Great Divide”, which includes some pretty nasty screams, also. Guitarists Chris Howorth and Blake Bunzel aren’t slouches, either. Not only technicaly speaking, but their interweaving parts show good taste as well. Bassist Jesse Laundry and drummer Jeff Fabb provide a rock solid foundation, but also find time to shine.

So the album as a whole? Surprisingly well rounded. None of the tracks completely fall into a common formula. Tracks like “Forever”, “Standing In The Rain”, “You Always Believed” and “Violet Skies” do sound pretty similar, especially in the choruses, but they’re catchy as hell so I don’t even care and there are plenty of tracks to offset them. “Her Kiss” and “The Great Divide” boast a good amount of grit, but still manage some epic, wind-in-the-hair choruses. “Lost At Sea” and “Into The Light” reveal a softer side, which if anything manages to add much appreciated variety. Last but not least, “The Dream” concludes the album with a bit of a surprise. I am not lying when I say this song sounds A LOT like Devin Townsend. Think his more chill moments like “Sunday Afternoon” or “Tiny Tears”.

All in all, this album is pretty damn good. A lot better than I would have expected, given my preconceptions of this genre. I’m not going to tell every hardened metal head to check this out, but if you can appreciate some well done and catchy music, then give this a listen. You might be as surprised as I was.

The Man Closing Up is a concept album based on the poetry of Donald Justice, and I feel this album is a good representation of his work. Justice’s poems often assume a special kind of depression. Not a comfortable “woe is me” depression, but something which truely digs into the darkness life often shadows us with. Tracks are only titled Part I through Part V, and I think that helps aid the atmosphere. At its core, this is doom/death, but not at all what that general label implies. I’d say a cross between Khanate, Portal, Gigan and the more intense Kayo Dot moments (“Marathon”, “The Antique” or “Gemini Becoming The Tripod”). It is absolutely mental and gives off only the most loathing of malevolent vibes. At no point in this album is there a steady tempo. In fact, most of the opening track is this spastic, lurching, atonal doom/jazz. I’m inclined to say the majority of it was improvised. Those parts are offset with outbursts of discordant death blasts. This will be enough to turn off 99% of the metal community. But if you still dig it after 3 minutes, keep listening!

Part II shows no deviation from the disjointed and tortured sounds of the first track. Vocals alternate between an Alan Dubin-like yelp (but lower and more demented than pained) and a meaty, low growl. They’re always convincing and compliment the music extremely well. The first four minutes of this track are the most unpredictable mixing of doom and death metal. It’s just completely psychotic, and I really can’t make any sense of it. Then all things come to a stand still as some clean vocals enter, belting “He has no hunger for anything, the man closing up” at an EXTREMELY slow and painful pace. I can’t even describe the effect this last portion has. I have never heard anything like it before. In those last two minutes of torture, I knew this would be a rewarding listen at the very least.

And let me tell you, it was a rewarding listen. I won’t even try an describe the other three parts of this album. It’s useless. There are no words to explain what this band does. They really don’t give you anything to latch on to. No melodies, no riffs, just oppressive sound. It beats you down until you find yourself curled up in the corner, gently weeping. If you are as sadistic as I am, and love the experimental side of extreme metal, then this is a must own album. It takes a lot to make my jaw drop when an album finishes, but Ehnahre’s The Man Closing Up is one fucking profound record.

Opener “Hated Youth” took me by surprise. It’s catchy as hell, that’s for sure. Sort of has an energetic college rock/ pop-punk feel. Vocalist Tryg Littlefield (no, that’s really his name I guess) has a voice which tried my patience. Sometimes trying too hard, I had trouble not being annoyed at times (his performance on “I Can’t Win” is really bad…). But it’s tolerable for the most part. The production is pretty good, as are the performances. Second track “King of Lies” seems even catchier than the opener. If I was 7 or 8 years younger, I’d probably be all over this shit. Good music for the teenage summers of hanging with friends and all the drama that goes along with that time. Unfortunately, third track “Wake Up My Friend” slacks in the song writing department. It seems forced and amaturish, like some garage band trying to make it.

The rest of the tracks have their moments, but generaly rely on the same formula and sound. Anthemic choruses, driving verses, and it’s pretty rocking throughout. Though they have softer moments (“Pictures On The Wall” and “This Sickness”), they’re infrequent, and never become drenched in sappy self-pity. So check this out if it sounds like something you’d like. But I really can’t imagine anybody over 17 truely enjoying this album.

To pin down their sound, I’d say Threshold meets Vanden Plas meets Scar Symmetry, with a little Sonata Arctica.  Pretty much the expected symphonic power/prog, but doesn’t suffer from being so easily labeled.  Listening to this album, genres and labels seem irrelevant.  Opener “All Lights Revealed” starts with a contemplating piano (plus synth stings) and Georg Neuhauser’s consistanly amazing vocals over it.  One concern is how expressively he sings, almost giving a rock opera feel.  Some people my find it a bit in excess, but it puts me right at home.  After the intro we find Serentiy’s true color’s exposed: epic, hard hitting melodic metal.  Complete with dramatic orchestra hits, duo guitar harmonized lines, anthemic choruses, layered choir-like vocals.  And it’s all so well done.  Plenty of keyboards are present, but always used to great effect.  Sometimes emphasizing the neo-classical side, but never shying away from a good mono synth solo.   I really need to point out how great these guys are at writing a catchy melody.  Always bathed in this feeling of epic rapture, they seep into your brain and never go away.  Makes me want to don some Renaissance garb and strike poses on top of a mountain.  I love it.   

This album is thoroughly enjoyable from start to finish.  It’s well paced and never managed to bore me.   I do wish they incorperated female vocals and growls more often.  “Fairytales” features Sandra Schleret of Elis while “Rust of Comming Ages” and “Oceans of Ruby” feature some well done (though sparse) growls.  It seems rather odd to use them so sparingly (though I understand the guest apperance).  Other than that, this album falls into place like sitting in an old and worn recliner.  I’ve been had this album playing on my ipod non stop for the past week.  No, it’s not innovative or notably unique.  But they’re better than most bands in this genre.  Pretty much blows Kamelot out of the water.

Opener “Keep Your Tongue From Evil” alternates beatdown metalcore with blast sections, all very well performed.  Aroud the middle things get more interesting with some wild finger tapping, a pretty effective breakdown, and a slow moody ending.  As I said before, this is everything I’d want to hear in music like this.  Here’s the thing, though:  there seems to be more bands doing this exact style either heavier, more technical, faster, or moodier.  I also can’t get past the vocalist.  He’s got a great midrange scream, but sometimes starts the scream in this whiny, emo yelp (sorry, trying to describe this thing is a bitch), then goes into the full scream.  It’s very annoying, especially when he does it all the time.

But if you can get pasted the vocals and only slightly uninspired music, there’s a bunch here to enjoy.  In fact the second track, “A Clown Can Get Away With Murder”, is much more interesting than the first.  There are also tracks like “Elevader To Prypiat”, which is for the most part a soft jazzy strole, but with unexpected bursts of metal.  Interesting to fall asleep with this song playing.  All tracks have their ups and downs, but I’d definitely say there are  more ups.  Time Has Come are pretty creative writers, and their style has definitely grown on me quite a bit.  I can’t say this would be on my playlist regularly, but more due to personal taste rather than the integrity of this band.  If you enjoy this style, waste no time in obtaining White Fuzz.

The impact of this album is very close and personal. It feels almost like they’re performing right in your living room. Vincent’s voice is natural and fragile, singing only to you. The overall effect of this album is slightly akin to Pain of Salvation’s 12:05 and The Gathering’s Sleepy Buildings, but being live albums they are slightly different. Like I said, this album is mostly acoustic, but not entirely. You’ll still find electric bass, e-bow leads (which are beautiful and blend so well with the cello), and a few clean electric guitar parts. But the acoustic instruments certainly dominate this recording. Piano, Cello (masterfully played by Dave Wesling from the Royal Liverpool Philharmonic Orchestra) and acoustic guitars are the foundation of this album. All in all, it creates a beautiful and profound atmosphere.

So, “Fragile Dreams” is the opener. After the first listen through it, I had to go back to the original version so I could remind myself what it sounded like. All the melodies, progressions and rhythms are still mostly the same, but the result is completely different. Honestly, I prefer this version. It doesn’t rock as hard, but it defines elegance. Like I said before (and will say again before this review is over), cello and e-bowed guitar leads should get married. The complexity in harmonics the e-bow creates makes it a pinnacle of expression. Coupled with the expressive playing of Dave Wesling, the end result is breathtaking.

“Leave No Trace” comes next, and takes me back down to earth. First off, I love that song. I love that album. A Fine Day To Exit is probably my favorite Anathema release. But here’s the thing: Aside from adding some warmth (due to the glorious instrumentation and production), I find this track is not far from the original. In fact I almost prefer the original. The repeated “No future, no warning” lyrics towards the end seemed to be more powerful and effective in the original recording. But that’s not a huge complaint. The grace and genious of the song is still intact. Next comes “Inner Silence”. This track is absolutely beautiful. The original version, of course, but this new vision is completely overwhealming. Remember in the original? “When the silence beckons, and the day draws to a close” and BAM everything hits when he says “close”. I love that part, but they don’t do it here. It comes in very gently, slowly building to the end. And the added lyrics “still love you” are repeated until it (and the e-bow, of course) are the only things playing. It’s breathtaking, let me tell you.

The unmistakable “One Last Goodbye”. Among Anathema’s most tragic songs, now we find it even more fragile and brittle on this record. It’s almost like a faint echo of the original recording. A bittersweet reminiscence. It uses no percussion, just piano, acoustic guitar, cello and that ever welcome e-bow emerging towards the end. This is definitely one of the stand out renditions on this album. “Are You There?” is the next cut, and completely takes a new (and welcome) perspective on an already incredible song. Constant througout the song is a folky finger picked acoustic riff (think Andy Mckee). It has a very cloudy, floating feel to it which works so well.  Also a standout track. “Angelica” suffers the a similar fate as “Leave No Trace”. Though still a beautiful track, it sounds pretty much like how the original would except unplugged. Keep in mind I’m being pretty critical, as this is the only complaint I have with this album. Oddly enough, “A Natural Disaster”, again, sounds almost exactly like the album version. There are some subtle changes, yes, but nothing drastic. I think a revision of a track from The Silent Enigma or even Serenades would add some character to this record (as well as giving the band’s creative chops a run for their money). “Temporary Peace”, though still sounding much like the original, is given a lot of dimension just from the added cello. And to change up the pace, “Flying” is given a bit of Mediterranean flair via some spicy tremolo picked acoustic leads.

Now, I’ve saved the best for last. The boys have graced us with a brand new track (which is not listed to be on “Horizons”, the upcomming album). “Unchained (Tales of The Unexpected)” is simply beautiful. A haunting, yearning track, full of tension and grace. This makes me extremely exited for “Horizons”, as every new track I’ve heard has been pure gold. I think a lot of people will consider this an album for fans, but I don’t think that’s true at all. Someone who has never even heard of Anathema could enjoy this album through and through. Despite my few minor gripes, this is a very worthwhile album, and will do well to tide over you who are anxious for the new album.

Honestly though, this is a pretty damn good album, regardless of genre or what I’m “into” this month. This is no bullshit brutal death. Songs range in length between 2 and 4 minutes. The production is meaty and chunky, and the performances are spot on. While not wildly creative, they do a very good job with the songwritting. Each song does what it should.  It’s so easy in this style to let each song sound like the last.  Though they don’t vary greatly, they stay interesting and show a good amount of variety, with a definite direction.

“Napalm God” opens the album with some absolutely vitriolic grind. Blasts are littered throughout this album, and used pretty well. I’m usually not a fan of them, but TWBTT do it with taste, and sparingly enough. “Mutant Slut” comes next and pumps out some pretty scathing thrash riffs. “All Hail The Goat (Lord of Great Mutilation)” slows things down for a classic death metal beat down. Also a good injection of melody, which I wish happened more often on the record. “You Should Be Brutally Slaughtered” boasts a great lead guitar line towards the end. I mean, these guys write some really effective riffs, and though they’re melodic enough, its so striking to hear a soaring line over them. Don’t get me wrong, this in no way ever approaches melodic death territory (if that might worry you). Check out “Reveler In Rot” as well. It reminds me a little of how Bloodbath uses melody.

I must point that they use samples pretty well. I guess they’re all movie samples, but I have no idea from what movies. They’re all very short, and used at the right moment. Sometimes they open a track, but often times they come in as a sweet riff is getting started, or as the pace is changing. For some reason it makes it so much more enjoyable. Especially since the samples are so unintelligable. Mostly just people screaming, gun shots, chicken clucks (I know, what the fuck??). I also really enjoy the song titles. They’re not over the top, but they show that this band doesn’t take themselves too seriously. I mean really, “Mutant Slut”? That just made me smile when I saw it. “Riders On The Mushroomcloud” is another one. They conjure some amusing imagery.

On the downside, I feel this album is severely lacking in guitar solos. “Expecting a Search – Visibly Hiding The Flesh” has a really short one, which really isn’t that good. It’s a small drawback, though it’d be nice to hear some shredding once in a while.  But then again, this is a pretty new band, with only a demo before this album.  Given some time they could be among the best in the genre.  All in all, this is a fun listen. The songs do sometimes blend together, but each is still enjoyable. Those Who Bring The Torture, while not innovative, do everything right. If you enjoy good death metal, you’d enjoy this. ‘Nuff said.

The split opens with two Jesu tracks: “Clear Stream” and “Fall From Grace.” Both are unmistakably Jesu, but softer than most of their material. “Clear Stream” is indescribable. This track hit me pretty hard the first time I heard it. The complex emotions it conjures are extremely profound, but typical for Jesu. Imagine surviving a severe car accident and what you might feel upon reflection of the event. A new found love for your own life and for those closest to you. You’re in turmoil with feelings of regret for taking everything for granted, and you vow to never let that happen again. I’ve been in that situation before, and oddly enough, “Clear Stream” brings back those feelings. “Fall From Grace” is heavier, but more chill. It’s sort of a relaxing song, and something to listen to under a tree. Despite how electronic this song is, it feels organic and natural. These two songs left me feeling relaxed and at peace. But it was only the calm before the storm.

Battle of Mice. If you’ve heard “Day of Nights”, then you know what to expect. Neurosis style metal with the intense, charismatic vocals of Julie Christmas (also from Made Out of Babies). These two bittersweet, brooding and manical tracks are stellar. “The Bishop’s” building introduction is electrified by Christmas’ performance. The whole track seems to be on the verge of emotional breakdown. Though not really as spooky as “A Day of Nights”, they seem to have gained some maturity. “Yellow and Black” seeths and oozes in a doomy/post-metal fashion. The song writing on both tracks (“Yellow and Black” especially) is damn near perfect. Simplistic and effortless, they take their time, but never too much time. After hearing these two tracks, I definitely feel pumped for the new album.

There you have it. A diverse, and very solid split. I have only one complaint. These two bands are so far apart, it’s a little jarring to hear them next to each other like this. I would have loved to see one of the two bands make a compromise in their sound. Though both bands write in a style which works for them (exceptionally so), if Jesu darkened their sound, or Battle of Mice lightened up, I think this split would be even more effective, beyond the individual songs. But don’t let that stop you. Check this out.

Sombres Forêts is a one man black metal band, handled by Annatar, from Quebec. Two other recordings have been released since this (a self-titled demo and Quintessence, both in 2006). If you’re familiar with American black metal (especially the one man projects), then this is no new sound to you. Mid-paced, fuzzy guitars, tortured vocals, you know the drill. It is worth noting that this album feel decisively less “grim” than most other black metal I’m familiar with. I’d even go so far as to say this is Alcest’s counterpart. One you listen to while in a snow covered pine forest, and the other you listen to in a garden, but both speak the same language. Make no mistake, this is an album to listen from start to finish. It’s pretty well rounded, and definitely NOT background music. It almost has a folk/fantasy feel to it, somehow, no doubt due in part to the “snowy hidden grove” artwork. The artwork is great, though, and really helps contribute to the album as a whole package. Its similar to some of the Nest artwork, come to think of it (Trail of The Unwary or the split with Agalloch). I think people take for granted how powerful the image on front of the jewel case can be sometimes. Tell me the artwork for Blackwater Park or Nattens Madrigal didn’t have an impact on the experience.

If I had to pin down his sound, I’d say Xasthur ala To Violate The Oblivious. It definitely sounds black metal, but not harsh at all. Grainy, detatched guitars are layered with some very well done keyboards. They’re haunting and surreal, never overused, but always showing up at the right time. This record is also riddled with these beautiful acoustic guitar passages. Sometimes by themselves as interludes, but sometimes they mix with the distorted guitars and vocals, like ivy clinging to brickwork (“The Forest”). Its just such an organic album, it hardly even feels related to “metal”. This is the sort of music I tend to keep to myself. Its not that I don’t have anyone to share it with, or I don’t want to share it (I obviously do), but it just means so much more to experience this by yourself. I’m sure you all know what I’m talking about. I doub’t anyone’s going to be blasting this out of their car windows. Instead, get some headphones and take this album for a walk.

Opening track “The Work Ethic Myth” had my hope up pretty high.  Its like a mix between Graves At Sea and Pelican.  The lilting, bittersweet melody is really effective.  However, without many turns in the songwritting and just being under 6 minutes, it does try my patience.  Second cut “An Age Imprisoned” introduces that bluesy stuff I was talking about. It’s actually kind of happy.  Reminds me of Jesu a little bit.  Unfortunately that riff only shows up twice in the entire 11 minutes of this track.  The closing 3 minutes are pretty cool, though. A droning, feedback ridden funeral dirge which makes you wonder if it’ll ever end (in a good way).

“Belt of Fire to Guid Me Cloak of Night to Hide Me” didn’t really strike me as anything too special.  Just some more heavy sludge riffing.  There is a nice slow down section in the middle that does well to add vartiation in the songwritting.   “Burning Black Coals And Dark Memories” marks a return of the post-rock influence.  The first half of this track is really quite wonderful.  After a soft, plodding opening, it explodes into a downpour of meloncholly.  Unfortunately, the second half is back to the same ol’ sludge as usual.  Last two tracks “They Stretch Out Their Hands” and “The Road of Many Names” are pretty much the same deal.  No frills, monotonous doom.  Though, the closing to “The Road…” is pretty sweet.  Shrill, staticy feedback rings out and fades as a solitary melody is played on a clean guitar, which also fades in time.  Thought that was a pretty haunting closer.

If you’re just looking for sludgy doom, then look no further.  These guys deliver.  But if you’re looking for something more, don’t bother.  Peasant comes really close to being something special, if they’d only have gone the extra mile.  More blues and MUCH more post-rock influence could have made this a stand out album.  Like a Jambalaya without enough spice, it really doesn’t stand out.  Just the same old sludge, unfortunately (wow, I’ve said that word a lot in this review).

Blue Lambency Downward has taken a sharp left turn in relation to Kayo Dot’s previous albums. Gone are Toby Diver’s raw, emotional vocal performances. There is absolutely no screaming (who can forget the primal rage from “Gemini Becoming The Tripod”?) or pianissimo musings (like in “Wayfarer” or “Immortelle And Paper Caravelle”). Now he sings in tune, but in a very restrained dynamic range. In a way this is quite disappointing. Though it’s always nice to hear anything clean and in tune, there’s not much emotion in his singing. At least not anything that can compare to his prior efforts. The instrumental performance and production has also done a complete turn around. It’s all very clean, precise, polished, and for the most part, restrained. Once again, it’s nice to hear spot on performances with a flawless production, but there’s no emotion in that. I can’t help but feel underwhelmed by all of this.

The dive into abstract, free form jazz has also affected this album a great deal. The two prior records have had moments of sheer beauty scattered throughout, powerful enough to move me to tears. The melodic material and harmonic language on “Blue Lambency Downward” is all very chromatic and almost atonal. This is a subject upon which I could talk for hours, but I’ll keep it brief. In short, such ad hoc use of chromaticism is alien to the human condition. Not only does it go against the learned acculturation every human being of western culture grows up with (due to hundreds of years of musical foundations), but goes against the very basics of music itself: the harmonic series. But I digress, any musician’s choice to go against the grain of the common practice is just that: his choice. So, let’s get a bit more in depth here.

Most notable change with this album is probably the lack of metal. It has more ties to mid 20th century classical, free jazz and progressive rock than anything else. Certainly all residue of previous incarnation, Maudlin of The Well, has faded away. None of this is a bad thing, of course. I would have much preferred to see a continuation of Choirs of The Eye, however. The album opens with the title track: A meandering and vague piece of music that I have trouble identifying with. In fact, after repeated listens (in an attempt to “get” it), I found it annoyed me more than anything. The abstraction of it, Toby Diver’s strange vocal melodies, and just a sense that it goes nowhere, really got on my nerves. But skip it and “Clelia Walking” seems a bit more inviting, for the most part. It opens with clean guitar and a bunch of clarinet mutterings, which seem to go in and out of improvisation. Then it gets heavy, guitars spazzing in fits of discordance. Drummer Charlie Zeleny (of Behold…The Arctopus fame) shows of his exceptionally impressive chops here. This album would have done well to sport more passages like this. “Right Hand Is The One I Want” shows off a lot of jazz influence. It’s dream-like and ambiguous, but in a pleasing way, like drifting between sleep and reality. The second half seems to float in aleatoric free form, lead by Mia’s violin, before returning to the same jazz passage as the first half. Overall, a good track that got my hopes back up. “The Sow Submits” is definitely fresh territory. It’s a strange and quirky instrumental, like Mr. Bungle meets a Persichetti wind ensemble piece. This is where the crystal clear production helps the album most. This track contains so many instruments and electronic buzzes, yet it’s easy to pick out what each is doing. Violin and winds (clarinets and saxophones) mix and mingle in those chromatic, slippery and jazzy melodies.

“The Awkward Wind Wheel” might be the highlight of this album for me. Not only does it show off some Behold…The Arctopus worship in the opening (which is extremely well done, and works great with the instrumentation), but Toby actually sings a sing-able melody here. It’s still quirky and strange, but not unidentifiable. This is the first track of the album that seems to harken back to the beauty and drama of their previous efforts. Definitely the strongest so far. Next is “The Useless Ladder”. Unfortunately, it brings back the annoyance I felt with the opening title track. This, again, is due to the strange and uninspiring vocal melodies (though the last 20 seconds struck me as memorable). Fortunately, its short (only two and a half minutes).

Last, but not least, is the album’s longest track, “Symmetrical Arizona”. Opening with a slow (and long) introduction, featuring some work from the winds, a guitar solo (the only one on the album) and a short violin solo. Then it goes a little bit post rock-ish. Toby once again sings something sing-able, and the violins and winds add to the lilting melancholly of this section, which leads into brooding groove and escalates until the hell’s fermata at the end.

Phew. So that’s Blue Lambency Downward in a nutshell. In a few closing notes, I’d first like to say that, even as I’m writing this, I feel this album growing on me. It’s certainly the most challenging Kayo Dot album thus far, especially when I’m hoping for a return to the style of earlier material. Yes, there were a few things I wished would be on this album (more metal, and Diver’s beatnik-like speaking passages which were so identifiable), but it’s good in its own right. In conclusion, I think all fans of progressive and avant-garde music owe it to themselves to check this out. I’ve given it 6 or 7 good listens, and I’m still working on unraveling it. Trust me, its worth the effort.

Perhaps the most immediate difference is the production. Though not as meaty or bottom heavy as past albums, it’s more focused. The drums (played by new member, Joe Fletcher), though still cavernous in typical doom fashion, are clear and precise. He shows off some impressive chops, most notably in the death metal onslaught of “Caucus of Mind”. The vocals are also more upfront. As opposed to previous efforts, which sometimes required straining to hear, now all you must do it lie back and let Greg Chandler’s growls and rasps corrode your ear drums. The clearer production also lets the subtle electronic nuances be heard with little trouble. On The Pernicious Enigma, the soundscape was often clouded with buzzes and whirls, and sometimes felt as though all the instruments were fighting to be heard. Though it was a desirable effect in its own right, the clarity of this release is certainly welcome. That’s not to say the electronics are dumbed down. They’re refined, to deal out an even greater effect, embellishing transitions in the brilliant songwriting, and sometimes creating those often needed ambient moments of fog.

Speaking of songwriting, this is definitely their most mature and well thought out release to date. Listening to this album start to finish is a harrowing experience, but only due to the extreme emotional content. Though pretty slow for most of the album (it is doom, after all), and some moments that are almost still, it always feels like the music is going somewhere. The Maniacal Vale ebbs and flows like the universe itself: slowly and without end. A continuous thread of constant change. Moments of beauty gradually morph into tumultuous aggression, like watching a storm slowly build, run its course and then die. They seem to have taken just a little from post-rock. Listen to the slow building introduction to “Circle” and tell me that doesn’t sound like Godspeed You! Black Emperor. They’ve also added some very useful accelerandi. Listen to any of the build ups in “Beneath This Face”, “Caucus of Mind”, or “Silence”. Esoteric prove that speed can mean so much more when built up from a deathly slow tempo. There are some amazingly beautiful and majestic melodies scattered throughout, as well as some truly crushing moments (which I sometimes feel could have used a little more bottom heavy production, though only a minor thought). Not to mention the few, but powerful, guitar solos. Check out “Caucus of Mind” or “The Order of Destiny” for those gems.

I could try and give a track by track run down of this album, but it would take forever, and I don’t think much could be gained from it. That would be somewhat like trying to describe a Salvador Dali painting, in that you must actually experience it. If you’re a fan of any kind of doom, you owe it to yourself to get this album. Even if you once thought the more extreme side wasn’t for you, I’d be willing to bet this might change your mind. The Maniacal Vale will surely be on a lot of year end lists. It’ll be at the top of mine.

The imagery Wold seeks to conjure with Stratification is something of a hellish snowstorm. Not a snowstorm you’d envision while listening to Agalloch, but something infinitely harsher. This takes you beneath the bowels of hell, to the underbelly of the universe itself, a barren wasteland of swirling shards of ice. There is no emotion in this, not even despair. Lying naked as the storm rips you apart, even the hope for death fades into nothingness. This album opens with the title track (an instrumental), which wastes no time in conveying its true nature. It contains no drums or vocals, just guitar, distorted into abstraction. It resembles a harsh and howling wind more than anything else. But then, to my dismay, the second track (“Sleigh Ride”) actually has something of a “riff” to it. I use the word “riff” lightly, as I don’t think anyone would want to headbang to this. It sounds almost as if you’re in the grained static between distant radio stations. Except one is playing Khanate and the other is playing Satanic Warmaster. And that’s more or less how the rest of the album works.

I do feel there is more to this beneath the surface, however. For instance, at the end of “White Winter Wanderer”, the eternal static fades out, revealing something more tangible beneath it (if only for a few short seconds). Upon repeated listens, I found that the looping riff revealed at the end was being played through the entire song. Too bad it’s barely audible. Tracks “Frost Crystal Symmetry”, “Nine Paths” and “Nine Creeks” all sounded pretty much the same to me, at first. But again, repeated listens revealed a bit more to it. In the opening seconds of these tracks, the gritty layers of chaos come in one by one, showing you each and then overlapping to create an even harsher whole. Deceptively, it gives you a lot to listen for. The album’s second instrumental track, “Wintertime”, sounds something like a rocket ship blasting off with heavily processed sleigh bells over it. “The Frozen Field” stands out from the rest of the album, as it’s the only track containing just drums and vocals. It comes across as a nightmarish Native American ritual. The final track, “Auld Tree”, seems to be the most hellish of them all. In the opening seconds, a riff not too unlike something you’d hear from Sunn0))) exposes itself, before the chaos overcomes it in the next few seconds. It continues just as the rest of them before fading out into something that, again, sounds like heavily processed sleigh bells. I could be imagining it, as it’s easy to hear strange things amidst the insanity of this album. Maybe that’s the beauty of it.

Even for an extremely open minded music enthusiast, such as myself, it’s still easy to listen to something with closed ears. My initial reaction to Wold was unfair, albeit valid in its own right. Fortress Crookedjaw and Obey (the duo who make up Wold) must have known they’d receive reactions just like mine. To create music such as this, knowing 99.9% of the world population will shun you, is certainly an admirable effort. That being said, I will never listen to Wold again. But give them a try and you might find you reside in that special 0.1%.