Check out all the live action from Lords Of Acid Sextreme Fest sold out show in Chicago!
We had the opportunity to talk to Maitri and Valor of Christian Death at the Sextreme Fest sold out show in Chicago!
Like ancient alchemists Wolves In The Throne Room experiment with primordial blackened elements and mythical concepts on the latest full length “Thrice Woven” which ultimately becomes an enigmatic entity that feeds off the dark energy of sounds and words.
Opening a mystical portal or the classic Pandora’s box “Born From The Serpent’s Eye” features the relentless asphyxiating dynamics of traditional black metal with the right dosage of tight guitar riffing, furiously blasting drums and distant fiery screams but this aspect never becomes overwhelming as the band intermittently chooses to focus on charismatic folk undertones channeling the energy of a forgotten magical forest with cathartic somber melodies enhanced by the dreamy chants performed by guest vocalist Anna von Hausswolff.
Ritualistic fires and thick mist hide unknown obscure creatures or something simply unnamable on “The Old Ones Are With Us” which stands out for the eerie chilling atmospheres as minimalist arpeggios and darkly dreamlike melodic guitars feel otherworldly intense. In general the wintry doom oriented approach, the hypnotizing atmospheric nuances and the highly heartfelt theatrical narratives/chants featuring Steve Von Till of Neurosis render this track absolutely fascinating and unforgettable.
Conceptually based on Norse mythology “Angrboda” is definitely a complex track where the tale of heartbreak and foreordained destruction is matched by a mixture of mysterious atmospheric keyboards layers and mournful slow melodic guitars that aptly evoke absolutely bleak winter landscapes and perennial obscure tonalities.
“Mother Owl, Father Ocean” is a full blown atmospheric track or simply a transcendent breakdown that emerges as an enticing spiritual piece with Anna’s ethereal vocal delivery and introduces the Cascadian black metal force of “Fires Roar In The Palace Of The Moon” which closes the album lost in an archaic realm of immense darkness with a no frills blackened guitar driven assault always embellished by grandiose yet intensely gloomy atmospheric & melodic segments.
Many will rejoice and inevitably feel attracted to the perilous power of the black metal brutal tunes that Wolves In The Throne Room return to fully embrace but “Thrice Woven” offers much more than that, as the band carefully crafts solemn ominous melodic textures and arcane atmospheres that render this album particularly intriguing.
There might be a real goth rock revival going on this year and Swedish band Then Comes Silence joins the retro rollercoaster flirting with all things dark on the fourth full length “Blood”.
“The Dead Cry For No One” feels moody and extremely gloomy in proper goth fashion with spacey darkened guitar melodies that soon pick up a charming retro groove tied to an extremely catchy chorus. Immediately all these charismatic dark tonalities remind of many unforgettable ‘80s goth rock bands such as Joy Division and Sisters Of Mercy, yet Then Comes Silence does hold a personal identity.
“Strange Kicks” follows the same beloved music pathway packing all possible dark vibes in the groovy guitar riffs and drum beats further enhanced by vocalist/songwriter Alex Svenson’s charming vocal delivery.
“My Bones” feels cold and nightmarish with low whispered vocals and hypnotizing melodic guitars surrounded by absolutely entertaining spooky synth layers and the whole catchy dark rock galore prepares you for the last macabre dance party before a certain downfall.
The theatrical track “Choose Your Poison” will make you space out with an overload of trippy slow guitars and dreamy atmospheric arrangements in a love & death scenario.
“Good Friday’ continues to channel all the vintage goth elements we always loved and generates a steady melodic crescendo with attached profound atmospheric darkness and bittersweet danceable grooves.
“Warm Like Blood” offers loveable decadent atmospheric waves with the right dosage of gloomy romance and vocals acquire a surreal darkened energy in the chorus.
It would be really hard to resist the vintage goth rock / dark wave/post-punk flavors of “Blood” as every lascivious melody here is meant to spellbind the listeners and trap them forever in this darkened nostalgic limbo.
Santa Cruz is back with the new album “Bad Blood Rising” just released by Sakara Records.
The young band from Helsinki is ready to put the stage on fire with their shows starting from Finland and looking forward more gigs around the world in the next months.
We had the opportunity to meet Archie and Middy before their show in Pori and talk about the new album, the life on tour and the plans for 2018.
Swiss post-hardcore veterans Impure Wilhelmina have been a prolific band for 10 years and the emotionally charged new full length “Radiation” aims to surprise the audience pushing music boundaries.
On “Great Falls Beyond Death” a somber mood dominates the song’s themes as loads of diverse guitar melodies embody darkened emotions with smooth gloomy tonalities.
“Sacred Fire” features groovy guitar riffs progressions but the whole instrumentation maintains a rather dark spirit as the main melodic core elegantly evokes a profound sadness that becomes overwhelming during the mellow breakdowns.
“Meaningless Memories” feels like a hymn to absolute melancholia with mournful vocals and refined guitar melodies that maintain a dark rock delivery and in general the guitar work showcases complex dramatic textures with a genuine emotive approach.
“Bones and Heart” offers some modern rock upbeat grooves and energetic rhythmic dynamics where cohesive guitar melodies evoke a brighter hopeful mood.
With renewed intensity “Murderers” returns to a darker sonic realm as guitars incessantly craft particularly gloomy vibes further emphasized by borderline dramatic desperate screams.
As Impure Wilhelmina continues to evolve exploring new sonic territories “Radiation” is the result of a substantial darkened songwriting approach that focuses mainly on melancholy infused intricate melodic textures.
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.
Among modern metal bands, Australian Ne Obliviscaris have proven to be seriously devoted to the creation of complex fascinating music and the latest full length “Urn” showcases a versatile and visionary songwriting that meticulously blends compelling classical passages, ominous blackened accents and technical prog prowess.
“Libera (Part I) – Saturnine Spheres” opens the album with soft classical nuances that naturally evolve into a diverse ensemble of powerful prog tempo variations carefully built by fast precise drumming and intense eclectic guitar work. Ne Obliviscaris bravely explores an incredible range of music styles resulting in a rather unique composition where guitars deliver both crunchy extreme metal influenced riffing and elegantly polished melodies. The violin will always have a significant role throughout the album and here enhances the melodic aesthetics while the mixture of bright clean vocals and enraged growls amplifies the band’s music duality.
It would be simply impossible to resist the classical enchanting beauty of the evocative violin instrumental piece “Libera (Part II) – Ascent Of Burning Moths”. This short yet highly charismatic track complements the previous part I and delivers a tranquil multitude of ethereal decadent tones.
The brilliant theatrical composition of “Intra Venus” showcases again the band’s passionate music approach and undeniable talent. This is another quite complex track featuring multiple changes of scenario as guitars fervently accelerate the rhythm channeling the extreme depth of black metal but also shine for the excellent technical progressions and melodies matched by impeccable wild violin solos.
On “Eyrie” with magnificent classical beauty graceful violin and acoustic phrases evoke a luminous dreamlike atmosphere accompanied by calm soulful vocals. Such peaceful moment is followed by remarkable obscure growls marching through a heavy guitar driven crescendo that create the expected dramatic contrast and the song’s variegated textures continue to unfold with an overdose of tight technical prog riffs and somber magical violin melodies.
The heavier enigmatic moments always enhanced by flawless venomous growls continue to have a large presence on “Urn” but it will be very easy to fall desperately in love with the sophisticated classical violin that constantly adds captivating intensity to each song.
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