Finnish band Kalmah has a lot of history and passion for melodic death metal that mixed with majestic symphonic accents dominates the songwriting style of the latest effort “Palo”.
On “Blood Ran Cold” the major melo-death dynamics are easily recognizable drenched in the beloved Nordic essence that provides the cold heavy tonalities of each instrumental passage as guitars are ready for battle with groovy riffing, fancy soloing and additional melodic splendor surrounded by a fair dosage of graceful orchestrations.
“The Evil Kin” can be rather ferocious when guitars start the song with that irresistible crunchy tone that will influence the primary riffage and symphonic orchestrations offer exquisite darkened & diabolical nuances definitely enhanced by menacing growls yet there is plenty of space dedicated to pleasant melodic crescendos & solos that carry slightly triumphant power metal tonalities.
“Take Me Away” begins with melancholy infused piano melodies and subtle atmospheric layers which will often recur throughout the song’s heavier rhythmic patterns and smoothly introduce a proper Scandinavian melo-death style skillfully built by intense melodic guitars that will reach the rightful acme with polished soothing solos.
With groovy rhythmic textures “Waiting In The Wings” features a frenetic tempo with a particularly strong riffing galore, nevertheless the hellish essence of this song doesn’t sacrifice the more accessible melodic moments that become absolutely entertaining when guitars take the center stage with quite compelling solos and neoclassical accents.
“Erase And Diverge” prepares a heavy sonic assault as thunderous drums and delightfully thick guitar riffing follow an enraging faster tempo showcasing the band’s classic death metal roots accompanied by the expected overdose of massive growls yet despite the primary heavier substance this track still features loads of melodic hooks.
A profound melancholy returns to haunt the melodic essence of “The Stalker” which definitely offers another consistent round of grandiose melodic guitars that will also offer some raw darkened riffing but a slower tempo and a contemplative mood will become a major element with loads of somber arpeggios, soulful guitar acrobatics and refined atmospheric orchestrations.
Despite several line-up changes in their long 26 years career Kalmah returns to the scene with renewed energy and confidence which ultimately leads to the cohesive blend of primordial death metal and symphonic elegance of “Palo”.
Alaskan band 36 Crazyfists has been around since 1994 therefore the mature musicianship and songwriting that characterize the latest full length “Lanterns” is definitely not a surprise and the band has taken the time to focus on particularly sincere lyrics concerning life struggles and depression delivering also a message of hope because there is a light at the end of the tunnel.
The fierce album opener “Death Eater” starts with the right distorted punch as aggressive rhythmic passages and raw screams borrow the typical fury of metalcore/hardcore.
“Better To Burn” keeps a steady balance between easy upbeat melodic textures and soaring guitar driven grooves supported by a rather crunchy rhythmic backbone.
“Where Revenge Ends” is not exactly a standard ballad but the acoustic melodic fluidity and the general instrumental warmth definitely amplifies the vocals’ honest pensive approach.
“Sleepsick” will satisfy your moshpit needs as guitars and bass skillfully build a cohesive often enraged rhythm yet the mellower breakdown is ready to favor a more emotive vocal delivery.
With an accessible mid-paced groove and fervent alt-rock nuances “Laying Hands” revolves around catchy melodic guitar riffs and solo.
The highly somber mood of “Dark Corners” certainly matches its title as the band puts aside any metalcore elements to focus on a soothing series of stripped down melodies that channel a profound catharsis enhanced by emotionally charged vocals.
Listening attentively to “Lanterns” you will find that 36 Crazyfists have chosen to emphasize the emotional aspect of music composition yet they also ensure a fair dosage of heavy grooves.
New band CyHra might be considered a supergroup as it features ex-Amaranthe vocalist Jake E, former In Flames guitarist Jesper Strömblad and bassist Peter Iwers and Alex Landenburg, current drummer of Luca Turilli’s Rhapsody. Therefore the bombastic debut album “Letters To Myself” is really the product of well-known talented musicians that share the same music vision and passion.
“Karma” starts with electro pop vibes followed by recognizable melo-death guitars that keep a somber mood even when the radio friendly chorus leans towards a more positive outlook.
On “Heartrage” Jake E delivers impressively passionate vocals that channel a multitude of bittersweet emotions, especially in the fervent chorus and romantic breakdowns, while guitars skillfully offer a series of memorable melodic hooks.
In the beginning “Here To Save You” feels particularly melancholic with understated arpeggios but soon crunchy guitars lead the scene with groovy tonalities and powerful blasts that culminate with a charismatic shredded solo.
The title track becomes loud and distorted as delightful guitar melodies & riffs take the center stage delivering super catchy grooves while Jake E chooses a more luminous emotionally charged vocal delivery.
“Dark Clarity” features a classic melodic metal approach with a borderline ballad style structure embellished by modern electro/ambiance accents and again the whole music formula relies on some killer polished melodic hooks that inevitably get stuck in your head.
“Black Wings” is another catchy tune that acquires dramatic melodic textures with simple dreamy harmonies amplified by a Jake E’s poignant vocals and a winning combo of lovely melancholic guitar phrases & flamboyant solo.
Like a resurrection or a second chance to show the world that these musicians can join forces to create something spontaneously sincere and emotional, CyHra packs “Letters To Myself” with the energetic spirit of rock/metal and loads of addictive widely accessible melodic hooks.