Spanish symphonic metal act Diabulus In Musica returns with the fourth full length “Dirge For The Archons” which features the familiar and beloved symphonic style that is still trendy and relevant in the metal scene.

“Earthly Illusions” has a majestic catchy groove in perfect symphonic fashion with the right dose of solemn operatic choirs. Crunchy guitar riffs tend to provide a heavy backbone while the dominant melodic features are constantly emphasized by atmospheric or triumphant keyboards.

“Invisible” revolves around emotional melodies well portrayed by Zuberoa Aznárez’s soprano style passionate vocals. Classical operatic choirs and atmospheric keyboards enhance the melancholic nature of this song and add a darkened aura.

“Crimson Gale” has a strong symphonic core that immediately reminds of renowned Dutch band Epica. On this song grandiose operatic choirs and inspired melodic arrangements are always emphasized while guitars seem to gain power and spotlight only when the growls take over to channel a heavier groove.

With a circus freak inspired atmosphere “Ring Around Dark Fairies’ Carousel” is a fun song that feels like a dark lullaby or operetta with some creepy keyboards accents while Aznárez delivers a rather luminous performance.

“Hiding From You” is a soft melodic track where, once again, keyboards arrangements are quite dominant while guitars seem to be pushed in the background except for a brief growls driven heavy moment. With a super catchy radio friendly chorus this song channels the romantic soul of a typical ballad.

“The River Of Loss” is all about pure melancholy channeled by layers of subtle dramatic keyboards, somber operatic choirs and fascinating vocals while the addition of growls doesn’t seem to be a must have.

Despite impeccable performance and execution “Dirge For The Archons” often suffers from lack of unique original ideas but if you’re in the mood for female fronted symphonic metal you might appreciate what Diabulus In Musica has concocted.

Beloved pagan/folk metal band Arkona has re-recorded the debut album “Vozrozhdenie” originally released in 2004. While in the past few years Arkona’s sound has achieved maturity and originality, “Vozrozhdenie” clearly contains the familiar elements that have contributed to the band’s current popularity.

“Kolyada” effortlessly relies on a strong folk rhythmic core featuring alluring flutes while the guitar riffs and drums hold evident extreme metal aspects. Masha delivers brutal growls that are quite unique for this music genre and is also capable of performing charming melodic cleans that add luminous emotions.

“Kdomu Svaroga” features average intense guitar riffing with a fast rhythm but the softly melodic flutes tend to steal the scene and Masha’s clean vocals successfully evoke ancient folk roots.

The title track might be the most fascinating song on this album. While the main music core continues to showcase a smooth blend of folk themes and heavier grooves the highlight can be found in the memorable folk melodic elements focused on magical flutes, atmospheric keyboards and Masha’s charismatic vocals.

“Po Zverinym Tropam” delivers a solemn atmosphere and a catchy mid-paced rhythm that favors Arkona’s folk roots with somber chants and melodic flutes.

“Zov Predkov” has a mysterious aura emphasized by eerie symphonic keyboards layers that introduce the listeners to a furious yet rather gloomy rhythm.

“Vozrozhdenie” is definitely a solid interesting debut album that probably didn’t need a re-recording with fancy production to attract a wider audience.

Renowned RPWL virtuoso guitarist Kalle Wallner returns with his solo project Blind Ego to deliver the long awaited prog oriented third album entitled “Liquid”.

“A Place In The Sun” relies on a modern guitar driven metallic core adorned by dreamy layers of darkened melancholy. There are softer and slower atmospheric passages and a rather catchy chorus featuring a more rough rock attitude while the guitar solos showcase brilliant musicianship and enticing creativity.

“Blackened” features gentle acoustic passages filled with ethereal arpeggios that gradually give way to a widely accessible soft rock melodic theme while the guitar solo adds enjoyable polished prog elements.

On “Tears And Laughter” a blend of crunchy guitar riffing and melodic phrases evoke a somber serenity. The rhythmic section acquires multiple prog rock elements while Wallner performs a charismatic guitar solo with solid technical elements.

“Never Escape The Storm” has an understated melancholic soul perfectly portrayed by a fascinating series of inspired melodic guitar solos characterized by a crispy clean luminous sound. This song showcases a wistful emotional atmosphere enhanced by rather passionate vocals that smoothly shift from fierce, especially in the memorable chorus, to softer tones.

“Quiet Anger” is a mesmerizing prog oriented instrumental featuring blistering guitar riffs, a complex range of slick modern guitar solos and a genuinely energetic groove.

“Liquid” is definitely a versatile album filled with elegant prog and rock elements that could attract a wide diverse audience and would be a pleasant discovery for those who are not familiar with Wallner’s eclectic music style

 

Italian extreme metal act Hierophant’s new album “Mass Grave” is meant to deliver a dark and violent mixture of grindcore and death metal with a dystopian vision.

“Hymn Of Perdition” opens with a bleak atmosphere and a sense of impending doom followed by visceral fast guitar riffing, blasting drums and desperate growls that add loads of chaotic anger.

The title track has a gloomy heavy doom soul with guitar riffs that actually convey a subtle melody and a slower rhythm but certainly brutal heavy elements are still dominant.

“In Decay” delivers a real accessible groove with undisputable heaviness built by a more structured range of guitar riffs and more precise drumming while a bleak hopelessness continues to dictate the mood.

“Sentenced To Death” features old school death metal elements even if the tempo is considerably slowed down in proper doom fashion and the heavy guitar riffs create a rather asphyxiating atmosphere with a dynamic moshpit friendly groove.

“Hierophant” is filled with uncompromising brutality with super fast guitar riffs while a brief breathable breakdown cannot bring relief in the perennial noisy chaos that feels too monotonous.

Hierophant seems to focus mainly on the creation of a rampage of brutal extreme songs and “Mass Grave” might not offer much more than that in terms of songwriting and creative force.

Progressive American act Barishi returns with the new album “Blood From The Lion’s Mouth” delivering an adventurous dark piece of music that could help the band gain more interest in the crowded metal scene.

“Grave Of The Creator” has a deeply heavy music core with enraged screams, super crunchy guitar riffing and fast paced drumming. In the midst of an asphyxiating gloom you will find several prog influenced passages that effortlessly create more luminous melodies.

The title track has a more intense prog soul with a calmer rhythm in contrast with the monotone screams. Melodic guitar phrases keep a genuine harmony embellished by a dreamy yet dark atmosphere.

“Death Moves In Silence” features peaceful harmonies and a perennial melancholic atmosphere perfectly portrayed by jazzy-sludge guitars. In general, the rhythm is noticeably slowed down to emphasize the thick bass lines and the melodic guitar work.

“Bonesetter” starts with vintage psychedelic accents followed by some heavier guitar riffs yet there is a rather melodic music theme filled with nostalgic vibes.

With “Blood From The Lion’s Mouth” Barishi showcases intriguing songwriting skills and attention for creative details yet the darkened inner nature of this album might be truly appreciated by an underground audience.

American metalcore band Attila returns with a new album entitled “CHAOS” delivering a rough collection of songs that features nu metal elements with loads of synths and rap style vocals all mixed in a rather chaotic structure.

“Ignite” should and could have been a strong opener but the raw guitar riffs just cannot build a necessary catchy groove. Synths and occasional lead guitars provide a faint melody while the vocals randomly evoke death and nu metal style.

“Public Apology” brings together harsh guitar riffs and electro style synths while rapped verses convey anger and frustration but nothing truly stands out.

“Moshpit” features EDM star Ookay so it relies mainly on a modern electro dancey vibe that could attract a young crowd.

“Legend” delivers a more catchy rhythm with evident deathcore accents while the chorus tries hard to produce a radio friendly melodic mood.

“King” features a super polished guitar solo, a more listenable range of crunchy guitar riffs and groovy moshpit friendly chorus but again nothing seems groundbreaking.

“CHAOS” certainly tries to be alternative, edgy and aggressive but the creative force is barely visible and somewhat weak because the mere mixture of angry metal and rap might not be enough to produce a genuinely creative music piece.

Mighty Swedish metallers Hammerfall return with the latest release “Built To Last” which promises to deliver a straight forward collection of songs in proper classic metal style.

“Bring It!” is filled with loads of traditional guitar riffing that build the usual mid tempo groove while rocker style vocals with the perfect amount of high pitch vibrato and pompous chorus conveying glorious warriors lifestyle.

“Hammer High” follows the same epic theme with even more warrior style chorus/chants followed by a consistent melodic catchy rhythm with a generous dose of power metal style energy and the melodic clarity of the guitar solos.

“The Sacred Vow” starts with a rather sad acoustic moment but soon the rhythm gains speed and acquires the expected power metal triumphant tone that reaches its natural acme in a flamboyant guitar solo.

The title track contains all the beloved classic metal features that one can possibly imagine. Besides a highly melodic core with polished guitar riffs, luminous shredding solo and passionate soft breakdown, there is the expected redundant catchy chorus that evokes the usual battlefield and forgotten legendary glory.

“Second To None” features some ballad style sentimental keyboards arrangements with baroque accents and an emotional atmosphere but there is also space to show great musicianship with a charismatic and more modern guitar solo.

“Built To Last” is all about steel and glory without any astonishingly original elements, therefore it would mainly appeal to a specific devoted classic melodic metal crowd.

Legendary Bay Area quintet Testament returns with the brand new full length “Brotherhood Of The Snake” featuring heavy majestic songwriting that never fails to summon the band’s unmistakable signature style.

The title track features a powerful healthy thrash groove built with great bass dynamics and crunchy guitar riffs. The chorus is highly addictive with a vintage attitude and effortlessly complements the energetic music core which is further embellished by memorable guitar solos.

“The Pale King” doesn’t disappoint with a somber blasting dose of perfectly calibrated bass and drums. Eric Peterson and Alex Skolnick deliver indisputably charming guitar work that will conquer any listener while Chuck Billy’s vocals shift smoothly from ravenous grasps to a more melodic catchy chorus.

“Stronghold” will be easily remembered for its venomous groovy chorus and the relentless guitar driven groove that would please any wild headbanger. Again the guitar work is as impressive as expected featuring a generous dose of beloved full blown shredding while the rhythm section evokes some nostalgic thrash elements.

On “Seven Seals” the unforgotten glory of thrash metal is again channeled and celebrated but feels absolutely relevant. Skolnick continues to add savory guitar accents conveying a highly melodic theme that, supported by a crispy rhythmic section, reaches its expected acme in the super catchy chorus.

“Neptune’s Spear” flows with an uncompromised thrash groove filled with genuine melodic elements and the true highlights can be easily found in the intoxicating dynamic guitar work featuring a stunning neoclassical influenced guitar solo.

“The Number Game” has a cinematic approach delivering a great range of crunching guitar riffs well supported by a super energetic bass and drums combo in proper thrash fashion. Billy’s enraged vocals keep that intense energy alive without any hesitation and another grandiose round of virtuoso style guitar solos will inevitably steal the scene.

With “Brotherhood Of The Snake” Testament returns in excellent shape and stays true to the infamous Bay Area thrash legacy but also delivers a refreshing creative energy that reconfirms the band’s seminal status in the metal scene.

Pennsylvania-based blackened noise occultists T.O.M.B has released a brand new album entitled “Fury Nocturnus” which consists of a collection of cryptic hypnotic tracks with remarkable ambiance, black metal and industrial influences. It’s difficult to categorize T.O.M.B’s musical direction which certainly showcases a deep fascination for the occult and the obscure and far from being a radio friendly album “Fury Nocturnus” will certainly intimidate and confuse the average listeners.

“Awake” confirms that you will not find traditionally structured songs on this album. The noise reigns and persists without any melody to guide you through an exasperating atmosphere.

“Darkness” has an extremely obscure sound filled with monochromatic noise effects and desperate screams.

In “Glorious Triumphant” some industrial elements become somewhat recognizable and there is a faint sense of rhythm.

“Belial” continues this bizarre sound experimentation but you can almost distinguish the ghastly presence of what used to be called melody in the distance.

“Ignite The Torch Again” brings to life raw elements of old school black metal but it still feels like a ritualistic experiment that cannot be fully comprehended.

“Oblivion Dawn” continues to portray a peculiar noisy soundscape with some doom influenced guitars in the background.

The title track features confusing chants that evoke ancient occult rituals with a strong sense of desolation and a heavily sinister atmosphere.

Due to its peculiar enigmatic nature “Fury Nocturnus” might appeal only to a restricted underground audience.

Swedish act Civil War returns with the new album “The Last Full Measure” delivering a melodic mixture of classic heavy metal and epic power metal.

“Road To Victory” channels typical warrior anthems with dated triumphant keyboards and polished guitars. Sadly nothing stands out as the songwriting seems quite stale and the guitar driven groove doesn’t hold enough strength.

“Deliverance” follows the same musical direction, even if the guitar riffs are rather catchy we all heard this type of songs before. There is an obvious traditional guitars/keyboards combo and at least this track features a more genuinely catchy groove.

“A Tale That Should Never Be Told” delivers an atmospheric symphonic approach with almost mystical choirs and majestic music theme.

“Gladiator” offers a tighter faster rhythm with some crunchy guitar riffs in the mix. The recurring battlefield glory is particularly dominant and the guitar solo adds some dynamic elements.

The title track tries to gain strength with solemn atmospheric keyboards and certainly the lead guitar work is more detailed and interesting but in the end the overall mood is not as impressive as it should be.

“Aftermath” is the usual ballad borderline romantic with super clean melodic guitars but the vocals don’t seem to hold the necessary dose of pure passion.

“The Last Full Measure” tries to be as catchy as possible but unfortunately really suffers from an evident lack of originality in terms of songwriting and since each song feels too predictable it would be enjoyable only for an average unsophisticated crowd.