However, with providence there has been somewhat of a style shift, a shift that most with place rightfully so squarely at the feet of new singer Jani Ala-Hukkala. If you think Amorphis’ change from Pasi Koskinen to Tomi Joutsen sucked, then die hard fans of the band are going to really dislike Providence. The thing is, not only have the vocals changed with Hukkala plying an almost exclusively emotional clean croon (with the occasional more typical roar here and there from former growler and guitarist Markus Myllykangas), the music has become more relaxed and laid back and shares more in common with the likes of Day Without Dawn/The Postman Syndrome/Biclops and City of Ships than the more rumbling, brooding stylings of Cult of Luna and such.

And frankly, the results are pretty mixed. As much as I like Day Without Dawn, they are the exception to the rule due to their dreamy, layered guitar work. And while Providence has many moments of lush shimmering delicate guitars, warm organic layering and a hint of synths, the fact is that it’s barely a metal album and despite its best efforts, never promotes much of reaction except maybe a quick nap. The 10 rangy tracks deliver over an hour of virtually indistinguishable lush acoustics and silky but shaky croons and at their most urgent and dramatic (“In Session”, “Covenant Colours”, “Eastern Era”, “Where the Spirits Tread”), Callisto are a still a mere shell of the crushing, moody intensity of True Nature Unfolds and Noir. That all being said, I did enjoy some moments, notably some of the synth/flute/saxophone injections and some parts provided a nice level of relaxing, introspctive artisty.

So, If you can temper your disappointment that this is the follow up to Noir and you are in the mood for something more contemplative and mellow in your post rock, Providence should provide something a little more laid back and relaxed. But if you are looking for yet another example of mountainously elegant yet crushing post rock, look elsewhere.

Hailing from Finland, Cult is the second album from Medeia, a melodic death metal band that utilize keyboards and a very US sounding canter in their galloping Euro melodies and crunchy tone. Are they metalcore? Not quite-but they stand astride the line much like many American acts drenched in the Gothenburg sound. Either way, Cult is a pretty entertaining album; lots of very energetic, slicing, tightly wound riffs (i.e. “Descension”, “Devouring”) and plenty of stern rumbling (I won’t use the term ‘breakdowns’ though its fits the likes of “The Architect”, “Unholy Communion”, “Ceremonial”) all delivered with Keijo Niinimaa’s (also known as Rotten Sound’s vocalist ‘G’) stern vocal growl and rasp and a thunderous rhythm section that’s highlighted by a very robust production.

Keyboardist Laura Dziadulewicz keeps things superficially Dimmu-y and blackened with some piecemeal but well placed synth tinkling (i.e “Cold Embrace”, “Through Sacrifice”, “Made Flesh Again”, the closing of “The Unseen”) but as much as I enjoy the album, the thing is, I can’t help but think of Bleeding Through or Winds of Plague when I listen to Medeia as opposed to Dark Tranquility or other Gothenburg luminaries. Still though, the band is very tight and they bring the thunder if a direct, compact, 30-minute album (only four tracks barely run over three minutes, with closer “The Unseen” running over 5 minutes) sans clean vocals or any form of acoustics or interlude.

Though hardly original groundbreaking release, and a release I can’t quite determine if its tongue in cheek, synth filled metalcore (admittedly, mostly due to the video) or serious melodic death metal, Cult has some very competent moments and some energetic chops that warrants some attention either way.