Crafting extreme metal since 1999, Finnish band Shade Empire is ready to release the new multilayered work of music intriguingly entitled “Poetry Of The Ill-Minded”.

“Lecter (Welcome)” begins with somber atmospheric vibes followed by an intense heavier guitars & drums combo that continues to gain speed and energy through a vicious rhythmic crescendo while sumptuous classical inspired arrangements provide dazzling melodies.

On “Wanderer” epic symphonic layers surround a series of tight guitar riffs resulting in a rather catchy ensemble while the addition of flamboyant trumpets brings an experimental edge.

On “Anti-Life Saviour” the band masters the Nordic overwhelming melancholy and the associated desolation as dramatic layered symphonic orchestrations embrace elegant guitar melodies. Despite the fierce vocals there might not be a lot of space for the usual sheer brutality here as the lavish intricate melodic nature of this track and the intense poetic spirals gain the deserved spotlight.

On “Treasure (In Liquid Dreams Of Mirror Universe)” the rich theatrical vibes are further enhanced as guitars and trumpets join forces to create loads of fascinating cathartic melodies and emotions.

The desire to create brutal guitar driven assaults is still very much alive but on “Poetry Of The Ill-Minded” Shade Empire makes the difference with a powerful complex composition that often focuses mainly on harmonious and multifaceted arrangements.

Long standing German gothic rock band End Of Green returns with the latest melancholic collection of songs “Void Estate”.

“Send In The Clowns” features a marvelous emotionally charged catchy chorus that will inevitably get stuck in your mind and a sadness infused mood perfectly expressed by the minimalist yet energetic guitar melodies.

On “Darkside Of The Sun” everything feels immensely bittersweet wondering what could have been but will never happen. Subtly majestic guitars spontaneously acquire a more dark/doom metal edge crafting all kinds of lovely heartfelt melodies while Michelle Darkness on vocals guarantees an overdose of kaleidoscopic melancholia with charismatic gloomy baritone delivery.

“The Door” might feel soft and comfortable as there are plenty of romantic themes flowing throughout the song but it’s that type of love that must always end in desperation. Michelle Darkness continues to channel pain & passion over smooth poignant guitar melodic progressions.

“The Unseen” is all gothic & dark as it opens with Michelle Darkness’s powerful mesmerizing low tones and it’s impossible not to fall in love with the introspective beauty of the sorrowful soothing guitar harmonies.

“Mollodrome” holds that darkness that we keep on longing for and the inner loneliness that becomes to feel quite comfortable. Elegant sorrowful guitar melodies and refined leads create intricate melancholic tapestries while Michelle Darkness delivers touching multifaceted vocals channeling shattered, almost desperate, emotions.

There is a lot of sadness on “City Of Broken Thoughts” but the chorus and delicate arpeggios are simply addictive. Surrounded by spacey dark melodic layers, everything sounds so genuine it makes you feel good or even gives you a pale sense of hope.

“Void Estate” absolutely shines for mature songwriting style, by now End Of Green should be recognized worldwide as a band that truly knows the meaning of darkness and doesn’t refrain from exploring the depths of human emotions.

Anna Murphy, Merlin Sutter and Ivo Henzi have left acclaimed folk metal band Eluveitie but since their music journey is not over they created the new outfit Cellar Darling in less than a year. The long anticipated debut album “This Is The Sound” aims to please the listeners with a blend of classic folk elements and groovy rock/metal dynamics.

“Avalanche” is structured like a mystical mantra holding a rightful dosage of folk oriented harmonious strings and some catchy guitar riffs while Anna’s voice can be spellbinding as well as highly energetic.

“Black Moon” acquires darker shades but retains a catchy melodic metal core with smooth guitar leads and thick bass lines while elegant folk embellishments further enrich the song’s structure.

“Challenge” features intricate melodic tapestries with remarkable folk accents while clean polished guitar leads, passionate bright vocals and luminous atmospheres contribute to create a memorable catchy chorus.

“The Hermit” focuses on guitar driven raw grooves without sacrificing the melodic nature of the song particularly expressed in another triumphant catchy chorus while folk influenced rhythmic passages hold a magical power.

“Fire, Wind & Earth” owes its strength to a skillful combination of memorable rock guitars crescendo, beautifully inspired melodic orchestration and enchanting vocals.

“Hedonia” channels the mesmerizing beauty of nature as the folk mystical spirit is particularly enhanced by dreamy hurdy gurdy and glowing chants.

Leaving behind the past success and music pathway of Eluveitie, with “This Is The Sound” Cellar Darling is exploring new territories in order to construct a truly fresh identity and so far the results are absolutely enjoyable.

2017 ushers the return of Norway’s progressive wizards, Leprous, on their 5th full length album Malina. On this outing, we see the band taking a step further into the direction explored on The Congregation (2015) but expanding upon it tenfold by moving into at once a more cinematic and somehow slightly more accessible sound with dizzying and even spectacular results.

To start, all the hallmark angular/syncopated guitar riffs, minimalist keyboard layers/textures, and of course bombastic polyrhythmic drum parts are in no short supply on this record. However, the main differentiation found this time around must be the slightly less overtly heavy tone via “drier” and less distorted guitars. There is barely any tremolo picking or “chugging” parts but in all honesty, it’s not really missed, and is certainly not radically different than what was featured on The Congregation. Leprous has always been able to sound devastatingly heavy without restoring to the atypical guitar techniques employed by 99% of other bands. Rather, the dense layers that evolve over the course of each song, coupled with the voicings from the keyboard parts and bass make Malina just as heavy as their previous efforts albeit in a different and refreshing way.

The album moves and evolves in a much quicker rate compared to The Congregation. With slightly more focused song structures, the tunes never meander enough to become dull or redundant. We are given the tasty bits with enough frequency to keep us satiated yet always hungry for more. There is an immediacy found in Malina’s material that was somewhat lacking on the previous album that is more akin to earlier albums like Tall Poppy Syndrome or Bilateral. Surely Baard Kolstad’s drum parts help in this regard, as he resorts to less tom driven beats to more traditional grooves this time around. The only lull has to be, oddly enough, the title track “Malina.” The minimalist approach here is taken to its extreme, ultimately leading to an anticlimactic resolution, leaving the tune feeling a little flat. Especially in comparison to the amazing follow up track “The weight of Disaster” that simply oozes classic Leprous.

Inar Solberg’s vocals have always been a strong point within the band hierarchy and unbelievably this album sees his performance elevated to even higher levels. Here we see his vocals often taking center focus, with layers of harmonies often capable of giving you goose flesh. Tracks like “From the Flame” with its shouted pop like chorus, catchy “woah oh oh’s” on “Leashes”, and countless other moments really showcase the vocal dexterity of Inar’s vocals. But no other song exhibits the vocal prowess more apparently than on “The Last Milestone.” This track is emotionally devastating: Against a chamber music cushion, Ignar’s soprano vocals soar to operatic heights, collapsing and cascading upon harmonies with himself. Even without the actual band present, this is arguably the heaviest track on the album.

A lot has been made at the slightly less “heavy” and accessibility of Malina. While in certain places on this record that may hold true however, this is still incredibly complex, dense, dark, and deeply emotional music. Rest easy, these guys aren’t going to be opening for Coldplay anytime soon. That said, hopefully this record will expand their ever-growing fan base as a band of this caliber certainly should be more well renowned. Current fans of the band and those who enjoy music with substance that can challenge the listener should take heart to this record. While I originally thought Malina should be a self-titled album signifying a new direction, at its core this record is what Leprous has been and what they always will be: Brilliant progressive music.

One of the most awaited releases this year is certainly “Will To Power”, the brand new full length by Swedish melodic death metallers Arch Enemy. Acclaimed guitarist Jeff Loomis joins the band and Alissa White-Gluz confidently takes the center stage throughout the album delivering absolutely intense growls that match the songwriting fluidity and the quite somber mood.

“The Race” relies on a heavy & fast high impact guitar driven rhythmic core and modern day brutality yet the guitar solos skillfully deliver charismatic licks and polished melodic accents.

“The World Is Yours” keeps a fierce death metal core with the expected tight guitar riffing galore and massive growls but the Arch Enemy signature melodic style often holds the spotlight with a generous dose of elegantly smooth guitar melodies and introspective atmospheres.

“The Eagle Flies Alone” could become a powerful hit song as the rhythm slows down with melancholic moments and focuses mainly on super catchy melodies. Once again, Alissa’s growls hold a distinct raw energy while guitars and keyboards continue to add extra atmospheric quality and moody harmonies.

Melancholic arpeggios and soothing sparkling guitar leads are the main center of attention on the emotional track “Reason To Believe” while Alissa demonstrates more versatility delivering sorrowful clean vocals as well as aggressive screams & growls.

“Dreams Of Retribution” offers another round of poignant guitar melodies and subtle melancholy infused atmospheres followed by modern heavier rhythmic blasts adorned by theatrical orchestrations and charismatic guitar solos.

“A Fight I Must Win” closes the album with triumphant energetic guitar work but also shines for the absolutely catchy chorus enhanced by slightly dramatic atmospheric layers and lavish symphonic arrangements.

“Will To Power” is not meant to conquer the listeners with a predictable overdose of brutal metal anthems as Arch Enemy rather decides to focus on the creation of exciting melodic hooks and a stylish music essence that can easily attract a variegated audience.

French black metallers Merrimack worked for five years to create the new album “Omegaphilia”. At the very first listening you will find that Merrimack is not really interested in astonishing special effects or otherworldly creativity bursts but rather focuses on channeling the overwhelming obscurity of traditional black metal.

“Cauterizing Cosmos” is a cold introvert black metal anthem that feels almost diabolical and mystical with its inner endless darkness built by a series of repetitive guitar riffs and tormented growls.

“The Falsified Son” doesn’t deviate from the wintry atmospheres and tremolo crescendo typical of old school black metal as the slower guitar driven agonizing moments evoke absolute decay.

“Apophatic Weaponry” delivers a bleak tortured guitar sound but also some slower almost comfortable melodic passages even if the usual hopeless abyss is always a dominant theme.

“Cesspool Coronation” continues to hold the usual blackened monochromatic dynamics but some guitar leads carry a pale flickering light with mournful melodies and in the midst of an impenetrable darkness French spoken words sound rather poetic.

“Omegaphilia” is fueled by massive blackened furious strength and Merrimack proves to be passionately devoted to the darkest essence of black metal.

Many know and appreciate the work of German talented musician Schwadorf in The Vision Bleak and Empyrium. With his solo project Sun Of The Sleepless Schwadorf is ready to introduce the audience to a new music adventure with the full length “To The Elements”, a captivating atmospheric and poetic black metal opus.

“Motions” can be crushing and pitiless with the monolithic dynamics of somber fast riffing & drumming yet preserves a darkened natural beauty and a taste for winter within bleak atmospheric soundscapes

“Where In My Childhood Lived a Witch” might be the most intriguing track with its bloody gothic soul, a particularly enjoyable overdose of fluid melodic guitars and a certain overwhelming darkness that feels like a trustworthy companion through this musical journey.

“In The Realm Of The Bark” can be harsh and destructive with breathless rhythms and full blown tremolo reminiscent of primordial black metal. If the darkness feels utterly monochromatic the multidimensional atmospheric/melodic arrangements break a dark spell but there is no easy escape from the fierce blackened cold.

Profound melancholy and obscurity take over “Phoenix Rise” with freezing rhythmic blasts yet this track also focuses on exquisite melodic layers that carry a rich gothic tinged nostalgia as poignant soft acoustic harmonies arise with austere sincerity.

On “To The Elements” the cold poetry and harmonies are rather evident as Schwadorf diligently crafts a dramatic and fragile sonic equilibrium that must be preserved and savored.

After seven years, Limbonic Art returns, essentially as Daemon’s solo project, with the full length “Spectre Abysm” which promises to unleash a solemn raw black metal assault.

“Ethereal Traveller” is dominated by an endless inescapable shroud of darkness, next to the raw brutal black metal core loads of theatrical overly dramatic chants and atmospheres must be fueled and inspired by darkened nightmares.

“Omega Doom” is breathless like drowning in a spiritual black hole as blackened guitar riffs feel unstoppable and hopeless while a black symphonic aura reminds that we are all destined to suffer and decay.

Channeling obscure and diabolical rituals “Disciplina Arcani” might feel impossibly cold and bleak with profoundly mystical atmospheres and ominous whispers that soon acquire plenty of dismal rhythmic urgency as guitar riffs accelerate to reach the nearest abyss.

“Through The Vast Profundity Obscure” fills the air with more ritualistic vibes finely expressed in a guitar riffing inflamed rampage that never fails to concoct a sonic maelstrom surrounded by omnipresent darkness.

Nothing feels extraordinarily innovative on “Spectre Abysm” but it must be noted that Limbonic Art fiercely delivers a properly majestic black metal effort and a ferociously chaotic vortex.

Self proclaimed “Shock Metal” band, Hollywood’s Salem’s Lott return with new three song e.p. “Mask of Morality.” Fusing all things metal from 80’s glam, Traditional Metal, and even black metal all with the over the top image of X Japan.

“Enigma” starts things off with a flurry of double bass domination and intricate Iced Earth meets melodeath riffing. “When heaven comes down” shows what this band does best; catchy anthemic quasi 80’s inspired metal, which follows suit on the closing track “You can’t hide from the beast inside.” While their image may be a turn off to some, metal fans across wide swaths of the scene should find something to enjoy on “Mask of Morality” and it’s surely a sign of great things to come from this over the top group.

The New York giants are at it again with another crushing release. Staying true to their brutal, yet technical sound. From front, to back… This album does not let up. Clarity Through Deprivation Starts off in normal Suffocation form keeping fans happy. Polished yet heavy and raw at the same time. Then it gets heavy and groovy through the halfway mark, and ends with a atmospheric whammy bar solo.

Your Last Breaths has a really fast pedal point main riff that just screams tech metal. There’s some slight middle eastern influenced riffing that helps transition into some chunky dissonant riffing. It gets followed by a pretty chaotic solo that fits in perfectly. Definitely a wicked track.

The Violation has a ton of wicked solos. Some of the best on the album. The song has choppy feel that manages to keep a continuous flow.

Of The Dark Light.  I imagine this tune absolutely crushing the audience in a live setting. Listen to it, and you’ll see what I mean.

Some Things Should Be Left Alone really should not be left alone. This track is packed with mean riffing. It has some cool haunting progressions that remind me of the late 90s era of death metal. A Nile meets Morbid Angel feel. It honestly sound like what you would expect from a death metal giant such as Suffocation. These guys really stick to their roots.

Caught Between Two Worlds is my favorite track on here, I’ll leave it at that.