Category: Album Reviews 2017

Asking Alexandria – Asking Alexandria

In the modern rock/metal scene Asking Alexandria continues to gain popularity and following the reunion with longtime vocalist Danny Worsnop the band is ready to accomplish much more with the eponymous new album.

“Alone In A Room” starts with somber vibes and crispy sound clarity before engaging in an energetic mixture of heartfelt melodic guitars and modern electro synths layers that eventually lead to a big memorable chorus.

“Into The Fire” skillfully blends familiar crushing metalcore guitar driven dynamics and widely accessible melodies while vocals smoothly shift between unrestrained enraged screams and particularly passionate clean delivery surrounded by a flamboyant series of groovy electro arrangements.

“When The Lights Come On” sounds particularly radio friendly focusing on bright easy melodic instrumental passages carrying delicate darkened nuances yet the main vibrant grooves owe their remarkable strength to a super catchy ensemble of electro layers.

On “Vultures” the bands puts aside chunky distortions to deliver an acoustic piece that simply focuses on an impressive vocal performance channeling introspective feelings and enjoyable melancholic tonalities.

Starting with subtle atmospheric quality “Eve” quickly becomes loud and slightly ferocious with cohesive gritty metalcore style guitar riffing and quite angered screams but doesn’t refrain from providing a fair amount of rock catchiness in the smooth chorus.

“I Am One” confidently delivers fierce guitar driven grooves with a bit of punk rebellion attitude while the multi-layered electro arrangements constantly evoke darker dramatic tones and the dazzling atmospheric melodies add stylish diversity.

Overall, on this self-titled effort Asking Alexandria maintain a mainstream approach but seem to have refined their songwriting skills and definitely display great band chemistry resulting in a sincerely passionate work of music.

 

 

Belphegor – Totenritual

Belphegor, Austria’s blasting prophets of blasphemy unleash their latest offering of blood soaked blackened-death metal with Totenritual. Staying the course as they only know how, this album pummels and defiles the listener in the best way possible. Helmuth and the rest of his Satan obsessed cult members aren’t reinventing the wheel here, but rather expanding upon the fertile ground they have spent years tilling and corrupting.

As the successor to The Conjuring, we find new tempos and arrangements further explored here. While there are still blast-beats for days, new skin beater Bloodhammer expands his brutal drumming palate for more variety this time around and it is a welcome change. There are a multitude of tempos, textures with clean guitars, and overall variety in songwriting not seen at this depth previously. While most fans know what they are going to get from Belphegor, there are enough twists and surprises to make this a compelling listen and a strong contribution to their sizeable catalogue.

Abhorrent Decimation – The Pardoner

Hailing from the U.K, Abhorrent Decimation dish out a unique brand of death-core with their debut record, The Pardoner. The most succinct summation of this album would be total sonic nihilism. Each track broods with absolutely devastating mood pieces as either song intros or interludes a la piano, orchestrations, or downtrodden clean guitar riffs. This is juxtaposed by ear drum obliterating dissonant guitar riffs against a maelstrom of double bass drums and blast beats, and red in the face death growls. Even when they hint at melody, the counter part is crushing heaviness. There is no respite to be found throughout the 40 minutes of sheer mood destroying music found here. And I take it, that’s exactly the point. The Pardoner is ugly, depressing, and heavier than a semi truck full of bowling balls. Not for the faint of heart, just the way I like it.

Boris – Dear

In their 25th year of existence Tokyo’s amplifier worshipping experimental metal power trio Boris daringly continues to push traditional music boundaries with rare elegance and the newest effort “Dear” is the product of pure artistic freedom and never refrains from exploring new sounds or alternative rhythmic patterns in order to create unexpected nuances and deviate from the average composition rules.

With a cinematic hypnotizing scenario “Deadsong” inevitably intrigues the audience with heavy funeral doom guitars and mysterious whispers surrounded by drone/atmospheric tones that make you feel lost in outer space as the noise layers gain surreal intensity.

“Absolutego” features a minimalist slightly more traditional rhythmic backbone further enhanced and embellished by an empowering doom oriented guitar riffing while vocals acquire moody emotional quality marching through the obscure heavy grooves.

“Biotope” offers linear gloomy melodies in the midst of a quite chaotic atmospheric maze and heavily distorted often dissonant guitars in contrast with the vocals’ soothing clarity.

“The Power” easily stands out channeling exquisite retro doom influences with the right dosage of slow and intensely heavy distorted guitars and consequently creating an asphyxiating sense of absolute desolation and an instrumental crescendo of palpable ominous vibes.

“Dystopia – Vanishing Point” crafts untraditional soundscapes that deliver serene sensations with ethereal vocals and minimalist instrumentation yet an ex-novo creative force introduces a change of pace with a series of raw poignant melodies leading to a trippy lengthy guitar solo.

The title track resides in the darkest limbo where dismal noise effects and wild instrumental experimentation work together to create renewed energy and enigmatic sonic textures while vocals become almost desperate with additional dreary emotions.

“Dear” definitely cannot be categorized as music for the masses as it can be quite mysterious or exceptionally avant-garde and Boris will always be capable of triggering sincere reactions in the audience.

Katla – Móðurástin

Named after a majestic active volcano Icelandic duo Katla, featuring ex-Sólstafir drummer and visual artist Guðmundur Óli Pálmason and singer/multi-instrumentalist Einar Thorberg Guðmundsson, has released the stunning debut album “Móðurástin” packed with a remarkable taste for poetry and fascinating darkly atmospheric soundscapes.

Starting with delicate arpeggios “Hyldýpi” belongs to a realm of enchanting darkness as the whole instrumentation gradually acquires heavier dynamics with thick guitars and drums yet maintains a surreal atmospheric quality smoothly entwined with somber passionate vocals.

With significant instrumental clarity “Hvila” features a refined blend of cathartic guitar melodies and classical atmospheric arrangements yet some sophisticated dark metal nuances tend to dominate the song’s structure with vibrant distortions and sharp rhythmic patterns without sacrificing the ethereal inner poetry.

In the beginning “Hreggur” feels rather contemplative with a minimalist sonic approach reminiscent of modern post-rock dynamics that favors slow paced melodies while impeccable poignant vocals gently flow through bewitching atmospheric layers but guitars will eventually acquire a primordial obscure energy with absolutely fierce heavier & faster rhythms.

The title track evokes subtle majestic winter flavors and gains a noticeable primal monolithic force delivering a fair dosage of blackened intensity with tight frenetic rhythmic dynamics skillfully built by obscure guitar riffs and borderline enraged vocals but also features kaleidoscopic glimpses of an immensely darkened scenario.

With understated creative sparks “Dulsmál” is the darkest opus on this album featuring intricate sonic diversity as the band eagerly explores multifaceted music territories.  The dramatic tonalities and the enigmatic solemn beginning introduce a particularly epic series of complex guitar driven rhythmic sections with enticing experimental accents while cinematic dense atmospheric layers contribute to the creation of a gloomy sonic palette further enriched by exquisitely darkened melancholic guitar passages.

It could be because of the long dark winters or the summer’s midnight sun, nevertheless the marvelous bands hailing from Iceland are a force to be reckoned with and listening to “Móðurástin” it becomes clear that Katla is on the right pathway to earn a solid status in the current metal scene.

Electric Wizard – Wizard Bloody Wizard

British doom masters Electric Wizard return with the uncompromising “Wizard Bloody Wizard” fueled by their renowned vintage rock blend and occult theatricals fearlessly deviating from the average modern metal approach to ensure a true raw sound for this collection of ‘hymns to death, drugs, sex and violence’.

The towering guitar riffs of the album opener “See You In Hell” definitely channel creepy retro doom vibes with the right dosage of heaviness and consequently a stomping worth rhythm stripped of unnecessary bombastic effects and instead fueled by monolithic tonalities and fuzzy guitar licks.

With some stoner vibes and a simply obsessive chorus “Necromania” keeps on dragging heavy rhythmic patterns that carry significant occult rock elements as retro fuzzy guitar riffs steadily contribute to evoke an ominous mood and add extra depth with groovy leads.

On “Hear The Sirens Scream” you can literally feel the mythological hypnotizing power of the sirens in the midst of this doom riffing loop that could just go on forever unchanged. It seems like there are no clear signs of enthusiasm or energy yet the intentionally unrefined gritty guitar riffs & solo and the genuine funeral boogie stripped of typical modern studio magic completely spellbind the listeners.

The doom wonderland of “Mourning Of The Magician” definitely showcases the expected overdose of recurring heavy guitar riffs creating a perilous loop that might trigger sudden dizziness as Electric Wizard’s signature music formula acquires a full blown psychedelic rock-esque aura resulting in a trippy sonic alchemy that will hypnotize any audience with massive slow burning rhythmic patterns. It must be noted that the extensive length of this track contributes to the creation of a magical black hole where charismatic guitars indisputably lead the scene crafting detailed melodies and delivering stoner rock feedback/effects to enrich the main heavy grooves.

The all –analogue recording drastically amplifies the exquisitely crushing vintage doom & rock mood that characterizes “Wizard Bloody Wizard” as, coming from a doomed alternative dimension, Electric Wizard deliberately returns to an authentic primal sound.

The Hirsch Effekt – Eskapist

German progressive band The Hirsch Effekt has released the rather complex new album “Eskapist” which is the result of a confident technical approach and a desire to explore multifaceted music styles.

“Lifnej” immediately challenges the average listener with an aggressive sonic rampage that bears dissonant tonalities in the complex guitar work which constantly  follows rather chaotic rhythmic patterns borrowing hardcore style fury and prog metal technical variety but also features some surprisingly calmer introspective moments.

On “Xenophotopia” the band continues an experimental voyage where guitars tend to display eclectic prog metal dynamics that naturally shift from overwhelming complexity to soothing melodic textures surrounded by peaceful atmospheric arrangements leading to a flamboyant polished solo.

“Natans” reprises that sense of harmonious peace with subtle atmospheric layers and emotive vocal delivery swiftly followed by lovely guitar progressions, this time characterized by luminous crispy tones, which continue to demonstrate the band’s technical talent.  Yet, staying true to a thirst for the unexpected, a change of scenario interrupts what was an apparent calm to give way to a series of tight harsh guitar riffing and faster rhythmic sections.

In the beginning “Berceuse” doesn’t necessarily try to surprise the audience as the band focuses on a catchy chorus and easier guitar melodies, still executed in prog metal fashion, that follow compelling tempo variations and syncopate rhythms.

With somber atmospheric nuances “Inukshuk” puts aside any major music experiment to focus on a softer often surreal melodic composition channeling an emotional sonic palette.

“Lysios” could be a stand-alone opus as it involves massive music variety and is also the darkest track on this album. The modern blend of obscure synths and crunchy guitar riffs & bass lines showcases a particularly heavy approach further enhanced by harsh vocals/screams and later hostile hardcore style rhythmic patterns are suddenly interrupted by an extravagant jazz intrusion that occasionally will continue to contaminate the whole aggressive metal momentum.

There is so much going on “Eskapist” in terms of both songwriting and style and undoubtedly The Hirsch Effekt showcases a high degree of creativity mixed to skilled musicianship resulting in a rather unique & edgy experimental music approach that fearlessly and deliberately pushes boundaries.

Altarage – Endinghent

In a world where everybody wants to become a famous rockstar Spanish death metallers Altarage beg to differ keeping total anonymity and proclaiming a nihilist approach (towards music or life in general?) that feels extremely palpable on the crushing newest release “Endinghent” .

“Incessant Magma” glorifies an immense sense of cold darkness that inevitably infuses each guitar riff and drum blast while distant pitch black atmospheric echoes render the whole instrumentation quite surreal.

“Spearheaderon” feels like an ominous sonic spiral with recognizable blackened rhythmic patterns that become simply breathless even when guitars slow down to increase malevolent tonalities.

“Rift” might be the most dissonant tune you ever listened to as for a while guitars simply follow a sort of imaginary rhythm that knows no boundaries. When a more listenable blend of murky atmospheres and cascading heavy guitars takes over Altarage diligently guides the listeners through a darkened asphyxiating sonic realm.

“Barrier” is devoted to arcane darkness with tormented vocals straight from the expected blackened abyss lost in time and space while guitars gallop fiercely until slower hypnotizing doom oriented phrases depict a desolate obscure world.

The secretive musicians behind Altarage certainly fulfill their desire to keep an enigmatic music vision delivering immense brutality with cacophonic accents and while extreme metal acolytes will be intrigued by “Endinghent” others might not fully comprehend it.

Red Moon Architect – Return Of The Black Butterflies

Coming from Kouvola, the ‘largest lighted cemetery’ in Finland, funeral doom band Red Moon Architect depicts desolate soundscapes through the extremely melancholic music blend of the latest effort “Return Of The Black Butterflies”.

The album opens with the theatrical atmospheric intro “The Haunt” gently followed by the first track “Tormented” which introduces the chosen doom bleak themes that will recur in all the other songs. Additional depth is provided by Anni Viljanen’s luminous vocals gracefully floating through poetic melodic passages in contrast with the lugubrious growls and the heavier guitar riffing.

Like a hymn to all that is dark the title track features extreme funeral doom nuances with painfully slow cathartic distortions over subtle atmospheric layers soon followed by a cold mixture of mid paced guitar riffs and mournful melodies.

Probably the most complex track on the album “NDE” feels like the neverending darkness of long winter nights focusing on contemplative and depressing atmospheres that introduce heavier rhythmic sections bearing slow doom textures. Through the lingering dramatic arrangements and classical piano Anni’s elegant vocals evoke a profound melancholy effortlessly amplified by heartfelt melodic guitars.

Lovers of pure darkness and gloomy melodies will certainly feel drawn to the doom tonalities of “Return Of The Black Butterflies” as Red Moon Architect confidently create a harmonious darkened music piece.

Annihilator – For The Demented

Canadian metallers Annihilator are simply unstoppable holding a solid influential status in the metal scene since 1989 and writer/guitarist/vocalist Jeff Waters has joined forces with bassist Rich Hinks to deliver some new explosive thrash melodic anthems in the latest effort “For The Demented”.

“Twisted Lobotomy” is a quite energetic album opener that unleashes a fast borderline aggressive sonic assault with vibrant traditional thrash vibes skillfully embedded in the prominent thick guitar riffing and bass lines that relentlessly build moshpit friendly grooves rightfully followed by a majestic shredding galore.

It’s a creepy wonderland when the title track kicks in with sinister and melancholic feelings as loads of crispy melodic guitars introduce a more frenetic thrash infused rhythmic backbone yet the entertaining vocal delivery and the fierce guitar riffs hold absolutely catchy vibes.

“Pieces Of You” is almost a ballad since passionate vocals and sincere darkened melodic guitars take the center stage yet ‘this is not a love song’ even if the whole instrumentation concocts plenty of lovable harmonies and emotions.

“Phantom Asylum” acquires obscure atmospheres and aptly channels chaotic insanity through style/tempo variations shifting from proper thrash rhythmic dynamics to slower melodic moments evidently enhanced by another grandiose dosage of shredding guitars.

“Altering The Altar” features some subtle atmospheric arrangements but its rambunctious primordial core is unmistakable fueled by straightforward old school thrash groovy patterns amplified by impressive lead guitar work.

Overall, metal veterans Annihilator definitely demonstrate interesting songwriting ideas and a healthy creative force behind the conception of “For The Demented” and let’s not forget that is the 16th album in the career of such influential band.