Category: Album Reviews 2018

Earthless – Black Heaven

Psychedelic power trio Earthless has already a dedicated fanbase that will inevitably grow with the newest long awaited full length entitled “Black Heaven” which definitely follows a stoner rock music pathway similar to previous albums but with the addition of a lot of vocals, therefore what started as an instrumental band is evolving into an even more intriguing entity.

With the album opener “Gifted By The Wind” Earthless immediately embarks on an impulsive wild jam that will drag the listeners into a psychedelic whirlwind evoking classic rock nuances spiced up by the band’s artistic freedom that allows a strong catchy melodic up-tempo structure accompanied by Isaiah’s rocker style vocal delivery, yet the guitar acrobatics that effortlessly shift from chunky riffing to utterly hypnotizing solos often loaded with wah-wah are the absolute highlight of the song.

Eerie noisy guitars create a suspenseful mood on “End To End” and introduce a power jam focused on the inflamed tonalities of authentic stoner rock mood fueled by spaced out melodic moments and variegated groovy dynamics that always provide the perfect rhythmic backbone for an exciting dosage of trippy experimental guitar solos.

Prepare to be dazed & confused with the trippy sensations brought to you by “Electric Flame” which sets the mood with gritty guitar riffs that gradually build an entertaining groove again accompanied by Isaiah’s confident vocals. The powerful drums & bass backbone also showcases ‘70s classic rock nuances while the multiple outstanding guitar solos focus on channeling full blown psychedelia infused melodies and endless shredding that will make you feel dizzy.

The title track screams classic desert psychedelic rock and takes you back to the trippy old fashioned days with an enticing series of guitar driven grooves full of raw rock riffing and irresistible beats while Isaiah’s lead guitar work is simply impressive and never fails to entertain the listeners with delicious fuzzy momentum and refreshing creative force as he keeps on tearing it up with intense spontaneity and sonic variety that could go on for hours.

Undoubtedly Earthless deserve to be recognized worldwide as Isaiah Mitchell demonstrates his singing abilities and once again proves to be a guitarist of rare talent & creativity in modern times therefore “Black Heaven” is most likely the album that will gather a wider audience and solidify the band’s status in the current music scene.
Black Heaven

On Thorns I Lay – Aegean Sorrow

Back in the ‘90s Greek band On Thorns I Lay offered unforgettable shades of gothic/doom metal and now with a refreshed creative force and indisputable passion the latest effort “Aegean Sorrow” reveals a diverse range of music inspirations.

The title track immediately offers a direct blast of fiery darkness with doom tinged vibes and a prominent melo-death approach that instantly favors dramatic melodic guitars spontaneously entwined with harsher riffs and ominous growls. Through subtle rhythmic fury an enchanting melancholia is fully expressed by soft piano melodies and additional sophisticated gothic style melodic guitar passages & solos resulting in an ever-growing realm of darkness.

“Erevos” definitely offers plenty of magical & memorable melodies and effortlessly evokes a pure poetic mood with darkly refined orchestrations that together with majestic melodic guitars contribute to create a harmonious fluidity that will naturally move the listeners with intensely dramatic, almost heartbreaking, instrumental segments and cathartic emotional quality.

“Olethros Part I” will intrigue the audience with a rather fierce beginning that showcases some extreme metal roots as growls emerge from the darkest depths and guitar riffs become utterly thick and aggressive before leading to a more doom oriented soundscape with slower rhythms and another compelling round of exquisite melancholia infused melodies.

In contrast with the previous track “Olethros Part II” focuses on lavish acoustic instrumental passages flowing through dreamy atmospheres and spiritual vibes that will eventually evolve into a gothic/doom ensemble gaining distortion and darkened aesthetics with spellbinding melodic guitar work.

On “The Final Truth” there are hints of funeral doom as the bleak rhythm tends to maintain super heavy and depressing textures but again many poetic melodic moments built by slowly mournful guitars and charming weeping violins hold a dominant role in the song’s structure that also features highly contemplative segments.

Despite highs and lows in the past, On Thorns I Lay return in impeccable shape and “Aegean Sorrow” elegantly balances poetry and primordial darkened metal elements filled of all the profound emotions that their music has explored through all these years.
Aegean Sorrow

Ministry – AmeriKKKant

The return of industrial pioneers Ministry could not be more explosive as with a revamped line up and intense creative force the new album “AmeriKKKant” aims to leave an indelible mark and Al Jourgensen fearlessly delivers a strong message in the midst of the current political chaos and inevitable decline.

“Twilight Zone” could be the right post-apocalyptic soundtrack with loads of creepy, unfortunately familiar, samples layered over a slower borderline dramatic rhythm filled with simple melodies, industrial synths noisy accents and harsher guitar riffs while the southern rock style harmonica doesn’t even feel out of place.

“Victims of a Clown” is definitely self-explanatory as this track aptly showcases a slightly carnivalesque mood enhanced by creepy background sounds but there is a very dominant melodic streak that maintains a rather slow groove running through raw guitar riffs and furious vocals until the emergence of a final more aggressive and faster thrash style blast.

With nightmarish energy “We’re Tired Of It” channels pure untamed industrial metal fury full of enraged screams, courtesy of Burton C. Bell of Fear Factory, and old school speed/thrash guitar driven dynamics clearly showcasing a more violent approach that calls for serious stomping screaming ‘we’re tired of it’ in loop.

On “Wargasm” the industrial aspect is generously amplified with loads of samples & synths that dominate the song’s structure and ultimately create a darkly oppressive mood while guitars surely add a moderate dosage of distorted rage.

“AmeriKKKa” gets slower again to build up a suspenseful mood where the expected overdose of wrath comes from frustrated vocals while guitars offer several entertaining melodic moments as well as rhythmic segments showcasing edgy polychromatic industrial textures and aptly apocalyptic grooves.

The lyrical concept of “AmeriKKKant” is rightfully angered and is certainly matched by the belligerent industrial roots of Ministry’s musical direction therefore this album definitely deals with serious matters yet musically it might be considered one of the most fun albums of the year.
AmeriKKKant [Explicit]

Atala – Labyrinth of Ashmedai

In the subterranean metal scene California based sludge/doom metal trio Atala is already known for the chosen catchy & aggressive music pathway but the latest full length “Labyrinth of Ashmedai” certainly aims to conquer a wider audience.

Instant despair takes over the crunchy guitar riffs of “Grains of Sand” as Atala is clearly attempting to express profound emotions through heavy waves of sludge oriented rhythms and borderline furious vocals that contribute to confidently shape a rather oppressive soundscape.

“Tabernacle Of” immediately channels a desert session attitude featuring a quite spontaneous approach that certainly continues to favor the harsh depths of sludge metal yet the highlights of the song can be found in the rich textures crafted by darkly melodic guitars and emotive vocal delivery.

On “I Am Legion” there is a doom worshipping approach evident in the massive guitar riffs & drumming that can concoct steady thunderous patterns in typical sludge metal fashion while clean vocals tend to evoke an apparent serenity often interrupted by raspy screams.

“Infernal” is an absolutely monumental effort where the band chooses to experiment more with enigmatic atmospheric layers and desert doom aesthetics that naturally channel a darker mood while the instrumental passages do maintain a heavy core there is certainly a desire to create particularly hazy melodic  moments as lead guitars hold a prominent role.

Acolytes of sludge/doom metal will immediately recognize familiar dynamics on “Labyrinth of Ashmedai” as Atala successfully channel the cathartic force of such subgenre while building their own sonic identity.

Thy Antichrist – Wrath Of The Beast

Since 1998 US based Black Metallers Thy Antichrist have worked hard to gain a solid status in the underground scene and they are now ready to conquer more fans with the blackened force of the new album “Wrath Of The Beast”.

“Desolation” begins with soulful melancholy perfectly expressed through Spanish style acoustic harmonies which almost serves as an introspective introduction for a burst of untamed blackened energy fueled by thick guitar riffs and punishing drums inevitably leading to a series of blasphemous grooves.

“Metal to The Bone” certainly dwells in the blackest depths with fierce & fast rhythmic patterns that at times feel absolutely oppressive together with utterly ominous growls yet guitar riffs tend to deviate from the typical black metal formula focusing on stomping thrash dynamics.

While the main core of “A World Burnt To Ashes” favors abundantly blackened nuances there are always elegant melodic lead guitars gaining the spotlight through the unstoppable rhythmic fury built by ferocious riffing & drumming and the soothing vibes of acoustic guitars will appear again in the final part of the song.

On “Nightmares” acoustic arpeggios return to evoke pure melancholy and undiluted darkness as the band introduces a more melodic approach effortlessly mixed with bolder rhythmic segments that continue to channel arcane black metal roots.

“Walking Through The Soul” feels quite accessible with its palpable melancholia deeply influencing every instrumental passage as tempo often slows down dramatically to favor a particularly darkened ensemble of guitar melodies and theatrically desperate growls.

The primordial obscurity of traditional black metal is very much alive on “Wrath Of The Beast” yet this album has a lot more to offer as Thy Antichrist are capable of fearlessly experimenting further with multifaceted styles rather than being another standard black metal act in the currently crowded metal scene.

 

Cabal – Mark Of Rot

Hailing from Denmark emerging band Cabal is ready to conquer acolytes with the incredibly crushing debut full length “Mark Of Rot”.

“False Light” could not sound more oppressive with a hostile approach executed in deathcore style as crunchy guitar riffs call for immediate moshpit amplified by intensely dark atmospheric layers and fierce screams.

Featuring guest-vocalists CJ McMahon of Thy Art Is Murder “Nothingness” begins with arcane synths nuances that will introduce a series of punishing rhythmic patterns keeping a steady sense of oppression and infinite despair further enhanced by utterly furious vocals

“Whispers” continues to channel a profound darkness that gains intensity due to the bold brutality fiercely embedded in the merciless growls and the rhythmic backbone which features modern djent progressions and blurry ambiance breakdowns.

Featuring Filip Danielsson of Humanity’s Last Breath “The Darkest Embrace” offers an enigmatic darkened beginning before fully embracing the expected rhythmic fury that might seem unstoppable focusing almost exclusively on harsh guitar riffs while subtly grandiose synths in the background maintain a creepy atmosphere.

The title track represents a less predictable sonic endeavor as the whole instrumentation is constantly surrounded by massive ominous synths that will efficiently spread haunting sounds and evocative obscurity among the vicious guitar driven grooves providing extra depth and diverse perspectives.

Undoubtedly Cabal successfully maintains an uneasy brutal sonic assault from beginning to end but “Mark Of Rot” also surprises the listeners with the creation of avant-garde atmospheric soundscapes.

Hooded Menace – Ossuarium Silhouettes Unhallowed

Finnish doom cultists Hooded Menace demonstrate to be truly dedicated to authentic extreme doom metal on the latest effort “Ossuarium Silhouettes Unhallowed”, a work of music aptly devoted to the darkest shades of this timeless genre.

The lengthy album opener “Sempiternal Grotesqueries” bears the mark of traditional ‘90s funeral doom as guitars craft impeccably melancholic melodies recurring through the heavier rhythmic maze built by fierce riffing & drumming while monumental growls contribute to amplify the harsh aspects of this track but melodic guitars will gain the spotlight again delivering familiar & beloved gothic allure especially palpable in the solos.

“In Eerie Deliverance” certainly stays true to the title as a haunting atmosphere permeates the powerful rhythmic patterns with a generous dosage of heavy riffs embellished by weeping harmonies and ethereal female vocals that will carry a feeble luminous essence while additional melodic guitar work continue to evoke pure doom desolation.

Like a monochromatic funeral march “Cathedral of Labyrinthine Darkness” is filled with slow super heavy rhythmic segments perfectly represented also by massive thick bass lines as the whole instrumentation channels maximum obscurity but melodic guitars are always present to create moments of understated gothic finesse.

Starting with a forlorn series of gothic tinged arpeggios “Charnel Reflections” fully embraces an eerie mood with exquisite melodic concoctions drenched in utter misery & melancholy as classic doom dictates keeping a balanced mix of dreadfully thick riffage and contemplative harmonies that will always evoke pleasantly darkened nuances.

From beginning to end “Ossuarium Silhouettes Unhallowed” dwells in a realm of unfiltered darkness where Hooded Menace meticulously weaves perennial gloomy melodies and bursts of death metal aggression.

Eïs – Stillstand und Heimkehr

German atmospheric black metal act Eïs returns to spread pure melancholy with the cold poetry of the new EP “Stillstand und Heimkehr”.

“An den schwarz besandeten Gestaden” begins with the soft sound of waves and distant piano melodies channeling immense melancholia and sadness but within a peaceful scenario that will soon evolve into monumental icy raw guitar riffing executed in old school black metal fashion. Growls express desperate emotions matching the profound darkness that permeates the whole instrumentation until a pale light emerges in the slow contemplative breakdown filled with ethereal melodies.

On “Stillstand und Heimkehr” guitars still dwell in a realm of darkness but provide a quite catchy yet absolutely gloomy melodic ensemble that maintains a fascinating poetic mood until a heavier blackened shroud of frost takes over to deliver more obscure tonalities with faster drumming and feverish guitar riffs.

“Stillstand und Heimkehr” definitely stands out for the sincere intimate emotional quality that Eïs fully expresses through blasts of traditional undiluted black metal anger and darkened atmospheric nuances.

Novareign – Legends

Southern California’s progressive power metal outfit Novareign is ready to impress the listeners with the untamed energy and over-the-top shredding of the debut album “Legends”.

“Beyond the Cold” certainly gives you an idea of the mature musicianship of this band as the song relies on majestic riffage, fast monumental rhythmic patterns and clean high pitch vocal delivery typical of classic power metal yet dramatic melodies also hold a primary role leading to all kinds of flamboyant shredding in the fancy guitar solos.

“Heavy Heart” is filled of powerful guitar driven grooves executed in proper power metal fashion as polished guitars march confidently throughout the song keeping a heavy approach and will eventually reach a glorious acme with multiple sensational guitar solos which evoke more melodic themes.

With increased complexity “Skyline” stands out for the stellar guitar work featuring elegant neoclassical shredding while triumphant tight riffs and big catchy choruses continue to stay true to a familiar power metal pathway yet everything is rendered more interesting by eclectic tempo variations and additional compelling guitar leads.

Still dwelling in a realm of warriors and myths “Black As The Dead Of Night” gains more speed as massive drums and guitar riffs ensure high impact energy with steady fierce rhythmic patterns yet several enthralling guitar solos bearing prog oriented technical accents tend to steal the spotlight.

The title track holds entertaining variety with odd time signature but thick bass lines and bold drumming continue to maintain power metal oriented grooves while guitars once again aim to impress with technical skills and thrilling intricate solos.

It would be farfetched to define Novareign’s music style highly innovative as renowned bands like Dragonforce and Angra definitely are a great influence nevertheless the epic energetic vibes of “Legends” cannot be ignored and will easily conquer the hearts of power metal acolytes also with its fantasy inspired themes.

Eye of Solitude/Marche Funébre – Eye of Solitude/Marche Funébre

The new split album featuring two lengthy tracks by England’s Eye of Solitude and Belgium’s Marche Funèbre perfectly represents two facets of sorrow and two sides of underground extreme doom metal.

On “Collapse” Eye Of Solitude dwells in an impossibly obscure sonic realm starting with surreal calm atmospheric soundscapes evoking a pale sense of serenity but also intense desolation. When heavy guitar riffs take the lead with grave tonalities you will recognize the painfully slow mournfulness typical of doom metal which is definitely amplified by deep growls while scattered melodic guitars seem to shimmer through the overwhelming darkness with understated elegance eventually leading to atmospheric moments of contemplative tranquility.

Marche Funèbre’s track “Darkness” stays true to its title as since the very beginning soft guitars & bass lines channel exquisitely darkened vibes enhanced by dramatic vocals. Soon rhythmic dynamics will acquire heavier gritty textures that still hold an inner melancholic melodic soul matched by a mix of raging growls and soulful clean vocals. As the song naturally evolves, guitars slow down significantly to evoke the slow burning heaviness and gloom of traditional doom metal before returning to a poetic ensemble of enchanting melodic arpeggios swiftly followed by a final crushing burst of faster & energetic grooves.

While what these two songs have in common certainly can be found in the darkest depths of traditional extreme doom metal, true lovers of this timeless genre will appreciate the diverse style approach offered of Eye Of Solitude and Marche Funèbre.