Not all Finnish bands are dark and gothic, in fact Ember Falls can even sound rather happy at times due to the electro dancey blasts and the modern trendy riffs that you will hear all over the band’s glamorous debut album “Welcome To Ember Falls”.

“The Cost Of Doing Business” packs a catchy ensemble of variegated metal/rock elements. Electro elements add a trendy vibe, gritty growls/screams deliver a more aggressive punch while clean vocals and polished guitars maintain a widely accessible melodic core.

On “Of Letting Go” the electro layers are particularly dominant and display a 90s style that gives a pleasant retro mood that culminates in a glossy chorus and a crispy clean melodic guitar solo.

“Freedom” is a mellow ballad style tune embellished with melancholic piano and melodic keyboards arrangements filled with the renowned rock romanticism which is also fully expressed by simple melodic guitars and soft vocals.

“Coe” relies on energetic rhythmic gimmicks resulting in an electro rock combo with enraged screams while metallic guitars make only a brief appearance as they tend to disappear in the background.

“One More Time” has a palpable pop soul with super catchy electro beats and scattered yet solid guitar riffs but the rather mellow chorus might not hold the desired groovy strength that instead can be easily found in the crunchy guitar solo.

It seems quite obvious that Ember Falls is trying hard to become famous in a perennial overcrowded music scene, some people will frown hearing a bunch of radio friendly tricks while others might seriously enjoy the cold melancholy, but with some luck “Welcome To Ember Falls” might truly become the gateway to success.

Underground dark/black metal legends Bethlehem return with a rejuvenated lineup and an ambitious self titled album which celebrates and marks the 25th anniversary of the band. Besides the palpable traditional black metal roots, Bethlehem successfully channels multiple musical influences and an understated experimental force.
“Fickselbomber Panzerplauze” has a savage rhythmic approach at full speed that certainly channels familiar primordial black metal roots surrounded by an oppressive atmosphere while occasional melodic guitar passages that mitigate the mood.
“Kalt’ Ritt in leicht faltiger Leere” delivers some raw blackened guitar riffs that manage to build a solid groove. Besides the traditional anger driven growls, vocalist Onielar delivers desperate screams and cries over super melodic guitars and piano harmonies matching the particularly depressing mood.
“Kynokephale Freuden im Sumpfleben” slows down the rhythm as it relies on a grave atmosphere where a gloomy yet pleasantly melodic guitar work becomes extremely dominant. Bethlehem also adds a groovy dose of blackened rock guitar riffing that temporarily takes away the deeply desolate aura.
“Arg tot frohlockt kein Kind” might focus on a bleak emotional palette but the guitar leads and the mid paced, almost mellow, rhythm seem to erase the previous depressing patina and the extreme metal raw elements as lovely dense melodies bring a post rock catchy glow.
“Wahn schmiedet Sarg” returns to a more aggressive rhythm dominated by tormented growls and screams but there is still space to properly showcase the band’s melodic side with a series of rocking guitar riffing and some slower doom oriented sinister passages.
Bethlehem self titled new album might feel unsettling to the occasional listener due to its bleak visionary nature and its extreme metal themes, nevertheless it also holds an unexpectedly approachable melodic melancholic mood.

Those who are familiar with the successful band No-Man will be excited to know that vocalist/songwriter Tim Bowness is back with a new solo concept album entitled “Lost In The Ghost Light” which lyrically revolves around the memories and reflections of a fictional rock musician in the twilight of his career.

“Worlds Of Yesterday” features luminous atmospheres elegantly rendered with smooth melancholic guitar phrases that hold a pure artistic soul. Tim Bowness focuses on calm precise vocals to accompany a vivid sonic palette filled of graceful keyboards layers.

“Kill The Pain That’s Killing You” delivers an acidic rock rhythm that fluently builds frenetic dynamics with charming guitar audacity while ethereal orchestrations and strings channel a brighter atmosphere.

Focusing on the ethereal atmospheric quality, the title track stands out for the polychromatic dreamy textures created with minimalist keyboards layers and reflective narrative.

“Distant Summers” will conquer all with its magical atmosphere effortlessly crafted by strings and flutes with a meticulous attention for every stylistic detail. With an intense wistful mood filled of exquisite sorrowful vibes this song reaches a spontaneous emotional acme.

Filled with sophisticated orchestral harmonies and an enchanting overdose of nostalgia “Lost In The Ghost Light” has a mellow prog rock soul that would easily attract a wide audience and all music connoisseurs.

Belgian experimental band Emptiness returns with the new enigmatic album “Not For Music” proudly produced by Jeordie White aka Twiggy Ramirez from Marylin Manson.

“Meat Heart” features dramatically inspired atmospheric waves followed by cryptic guitar riffs with subtle remnants of old school black metal while everything is inevitably surrounded by a cold mysterious aura.

“Your Skin Won’t Hide You” has some vague shoegaze elements with a darkened ambient mood and scattered dissonant harmonies that might sound discouraging at the very first listening but in reality the main music core holds plenty of comforting decadent melodies.
“Digging The Sky” channels the ethereal nature typical of the shoegaze trend with dominant minimalist arpeggios but the filtered whispered growls evoke a primordial darkness that cannot be easily dismissed. Distorted guitar riffs build a temporary energetic groove followed by more fragile atmospheric passages.

“Let It Fall” has a more aggressive approach that channels subdued black metal roots, electro elements trigger a blast of dissonant and dizzy musicality while dramatic whispered narratives are surrounded by introvert hallucinatory ambiance layers.

With “Not For Music” Emptiness showcases no desire to create music for the masses and successfully concocts an obscure soundscape which might easily leave the listeners fascinated or perplexed.

Thrash revival keeps on going strong and in the midst of all this endless nostalgia another thrash legend Overkill returns with the new album “The Grinding Wheel” demonstrating that thrash metal is very much alive and relevant in the current music scene.

“Mean Green Killing Machine” features the expected dynamic thrash groove with a somber melodic breakdown and Bobby ‘Blitz’ Ellsworth proves to be in excellent shape effortlessly delivering his signature angry screams just like he did in the glorious 80s. Just like being stuck in a time warp  Overkill relentlessly unleash the most gritty range of guitar riffs supported by amazing thick bass lines that efficiently keep the groove going.

“Our Finest Hour” is all about crunchy guitar riffs that never fail to build a traditional catchy thrash rhythm and a shredding guitar solo adds the necessary dose of harmonies while Ellsworth delivers exquisitely vicious screams.

“Shine On” holds the unique energy of a healthy thrash rhythm with classic guitar riffs and another wild shredding solo while a super melodic breakdown channels pure melancholy with soothing arpeggios and calmer clean vocals.

“Let’s All Go To Hades” feels like fun bar song with its rebel irresistible guitar driven groove and despite the evident lack of incredibly creative special effects the crunchy guitar riffing is highly enjoyable.

The title track stands out for its unexpected style variety successfully blending an old school ensemble of thrash riffs and blasting drums with a more melodic progressive sound. The slowed down tempo enhances the darkened solemn atmosphere particularly enriched by sober choirs and charming moody guitar work.

Overall, “The Grinding Wheel” might not be the flawless masterpiece that Overkill’s long standing fans expected to hear but it is certainly an entertaining thrash album that showcases a remarkably sincere energy.

 

German thrash icons Kreator are back in great shape with the brand new full length “Gods Of Violence” which never fails to channel the band’s musical legacy with a strong collection of guitar driven thrash anthems and scattered classic metal influences.

“World War Now” relies on a fast bombastic ensemble of tight guitar riffs to deliver a thrash wall of sound. Beside some inspiring melodic breakdowns there might no be exceptionally creative elements but the lead guitar passages and solo are compelling enough to keep the listeners interested.

“Satan Is Real” maintains the expected thrash spirit with powerfully groovy guitar riffs. While the chorus tries to be as catchy as possible the highlight can be found in the crispy melodic guitar solo licks and shreds.

“Totalitarian Terror” has a more aggressive rhythmic backbone supported by Mille Petrozza’s raspy vocals. There is an intense thrash revival vibe but effortless full blown shredding lead guitars always bring an appealing dose of melodic classic metal.

The title track offers a soothing intro of melodic somber arpeggios and the main musical theme soon acquires a faster transcendent thrash mood that reaches its natural acme in the catchy old school chorus. Again, with tempo variations and highly enjoyable shredding, lead guitars gain a rather dominant role delivering super groovy melodic accents.

“Army Of Storms” relies on a no frills borderline brutal thrash rhythm that later tends to sacrifice its inner audacity with a generous dose of classic metal melodies. While Petrozza on vocals tries to channel some arcane fury the rhythm slows down as the guitar solo continues to enhance the melodic aspect and polish any rough edges.

“Death Becomes My Light” kicks off with a dramatic melancholic atmosphere and brief clean vocals but soon picks up a catchy mid paced rhythm that puts aside any expected thrash brutality. This track might sound almost mellow to a traditional thrash crowd but certainly holds a palpable inner energy constructed in classic metal fashion and the remarkable guitar work full of grandiose shredding will attract a wider audience.

Even if “Gods Of Violence” contains some average fillers it will be easily appreciated by Kreator’s faithful fanbase as after decades the band is not slowing down and mostly remains true to the infamous thrash style.

German symphonic metal act Xandria continues to gain worldwide interest and after intense touring is ready to unleash a majestic collection of songs that will definitely satisfy all fans with the brand new album “Theater Of Dimensions”.

“Where The Heart Is Home” focuses on dramatic atmospheres with elegant orchestral layers and operatic choirs while Dianne van Giersbergen delivers classical soprano vocals with extraordinary intensity. Thick guitar riffing offers a solid heavy rhythmic backbone further embellished by a polished melodic guitar solo.

The ballad “Forsaken Love” enhances the impressive emotive qualities of Dianne van Giersbergen’s voice which rightfully becomes the star of the show while melodic guitars and orchestration provide a luminous musical background.

“Call Of Destiny” has a typical catchy power/symphonic groove that certainly reminds of earlier Nightwish’s style. There are plenty of enjoyable orchestral layers with baroque accents to spice up the popular music recipe and crispy guitar leads add a modern compelling touch.

“We Are Murderers (We All)” opens with a mysterious aura followed by the heaviest ensemble of guitar riffs on the album. Operatic choirs never fail to channel an epic tonality and guest vocalist Björn Strid of Soilwork delivers extra heavy vibes. In the chorus Xandria doesn’t forget to add a fair dose of emotional catchiness but the almost thrash chaotic raw groove represents a more memorable moment.

“When The Walls Came Down (Heartache Was Born)” features a somber atmosphere with heavy doom oriented guitar riffs and solemn operatic choirs. The overall decadent melodies are particularly palpable in the lead guitar work and classical orchestrations but also successfully portrayed by Dianne van Giersbergen technical and poignant vocals.

Featuring Ross Thompson of Van Canto as guest vocalist “Ship Of Doom” has an immediate theatrical mood with scattered folk accents but the symphonic theme fairly acquires additional strength with sober orchestrations and vivid choirs.

“A Theater Of Dimensions” is the most daring and diverse track as it feels like a proper metal operetta featuring a multifaceted songwriting that emphasizes a cinematic theatrical style without forgetting all the beloved elements of symphonic metal. Once again Dianne van Giersbergen proves to be the perfect singer for Xandria delivering a stellar vocal performance that smoothly embraces multiples styles while guest vocalist Henning Basse of Firewind provides additional powerful vocals. This song successfully blends dramatic tones, dazzling vocal harmonies reminiscent of “Chance” by legendary Savatage, artsy theatrical narratives and grandiose melodic guitar work in perfect symphonic metal fashion.

“Theater Of Dimensions” is a widely enjoyable album and Xandria takes another step forward managing to stay true to the chosen musical pathway but also showing more inspiring songwriting and impressively mature musicianship