Category: Album Reviews 2018

Therion – Beloved Antichrist

The return of symphonic metal titans Therion could have not been more triumphant as Christofer Johnsson has been working meticulously on the magnum opus “Beloved Antichrist” for many years. This is not a typical symphonic metal album as “Beloved Antichrist”, loosely inspired by Vladimir Soloviev’s philosophical Russian novel “Short Tale Of The Antichrist”, is properly structured like a classical opera divided in three acts therefore the listeners will experience the grandeur and passionate performance just like they would in the context of a live opera in an old fashioned theater.  In fact, Christofer plans to create a revolutionary live stage performance as this rock opera is designed to be presented in opera houses. On this exciting music endeavor featuring 30 different vocal roles and a playing time of over three hours, Christofer is joined by all Therion’s members and many utterly amazing vocalists.

The first act begins with “Turn From Heaven” which brings melodic warmth as well as epic vibes with luminous kaleidoscopic orchestral arrangements and solemn choirs while sharp guitar riffs certainly add a traditional metal attitude.

On “Where Will You Go?” guitars maintain a pleasant crunchy riffing that is seamlessly entwined with charismatic operatic vocals & choirs and absolutely lavish orchestrations that will soon acquire mysterious tonalities.

“Signs Are Here” amplifies the spellbinding classical inspiration behind this opera with refined orchestrations that flawlessly shift from graceful atmospheres to excitingly sumptuous moments and the amazing operatic vocals & choirs channel additional symphonic grandeur.

“Bring Her Home” features stunning delicate orchestral tapestries that flawlessly embrace various more metal oriented moments skillfully built by cohesive rhythmic guitar patterns that provide groovy layers on which impeccable female & male operatic duets add stunning dramatic tones.

“Garden Of Peace” is filled with ethereal atmospheric layers and soft guitar harmonies while enchanting operatic duets contribute to enhance a tragic essence typical of a classical live opera.

“Our Destiny” is another magical moment where simply groovy guitar & drums dynamics contribute to create a steady cohesive rock approach while subtle lavish orchestrations feel particularly inspiring depicting a sincere emotional palette enriched by lovely melodic guitars.

The beautiful elegance of the melodic passages of “Nothing But My Name” evokes peaceful soundscapes with impressive sonic clarity, melancholy infused symphonic accents and intense vocal delivery.

The second act starts with “The Arrival Of Apollonius” where otherworldly operatic vocals and intense choirs continue to hold a dominant role softly surrounded by captivating multifaceted orchestrations and even if guitars tend to stay in the background they do provide a strong rhythmic backbone and occasional melodic accents.

On “Night Reborn” guitars take the center stage to deliver a tight ensemble of sharp riffs while diverse operatic vocals featuring male soloists and opulent choirs keep alive a classical vibe surrounded by rich symphonic textures.

“Dagger Of God” begins with lovely sorrowful piano melodies soon accompanied by shimmering melodic guitars and radiant soprano vocals resulting in a deeply melancholic composition.

Grave operatic male vocals on “Temple Of New Jerusalem” solemnly introduce a catchy rhythmic ensemble of familiar rock/metal grooves with mid pace guitar riffs and a flamboyant solo that often display ‘80s vibes.

The magnificent atmospheres of “The Lions Roar” ensure a strong impact also with the contribution of the expected glorious symphonic elements mixed to the metal edge of guitar riffs and superb operatic choirs.

“Behold Antichrist” has a wicked essence matched by a wonderful theatrical vocal approach that definitely enhances the live opera style but also features a series of super catchy guitar riffs & eclectic melodic progressions.

With a gloomy mood “Astral Sophia” features familiar elements of symphonic metal with darkened atmospheric nuances always embellished by delightful soprano vocals and intense guitar riffs enriched by a somber male operatic performance.

The third and final act starts with “Shoot Them Down!” which is evidently influenced by classic ‘80s metal and focuses on easy guitar driven grooves mixed with a wide variety of vibrant classical operatic vocals.

“Beneath The Starry Skies” starts with strong bass lines and wistful atmospheric layers but soon picks up speed to build another round of entertaining mix of metal grooves and classical finesse.

“Burning The Palace” feels almost furious with thunderous drumming and fiery guitar riffs yet the exquisite soprano delivery brings a sophisticated aura and the subtle orchestrations evoke gloomy soundscapes.

“Day Of Wrath” channels immediately an understated opulence with the flawless operatic splendor of vocals and the refined melodic tapestries created by melancholia infused instrumental passages that can evoke mystical vibes as well as surreal atmospheres.

“My Voyage Carries On” is filled with mesmerizing melodies but also showcases powerful symphonic metal grooves always embellished by stylish instrumental variations and dazzling classical accents.

“Theme Of Antichrist” shines for the baroque allure that influences the whole instrumentation as inflamed metal oriented rhythmic dynamics are carefully mixed with absolutely dramatic vocals and intricate melodic textures ending with monumental choirs.

“Beloved Antichrist” certainly showcases the primary aspects of the creative symphonic metal essence that characterize Therion’s previous releases yet for some listeners it might be too lengthy or not metal enough, indeed it would be challenging to find time to listen often to the entire album, but nobody could ever doubt that mastermind Christofer Johnsson with absolute fervor and rare dedication has crafted what will be remembered as the most majestic album in the history of metal.

Machine Head – Catharsis

Fronted by charismatic vocalist/guitarist Robb Flynn, Machine Head is ready to deliver the ambitious ninth album “Catharsis” which aims to reach a wider audience confidently mixing diverse stylistic elements while keeping an understated fury.

The familiar undiluted rage blasting through “Volatile” will take you back in time as a brutal rhythmic assault is fiercely built by super crunchy guitar riffs and blistering drums that undoubtedly hold a classic Machine Head style and the whole instrumentation marches triumphantly creating all kinds of heavy grooves and belligerent tonalities while the big chorus focuses on pure melodic catchiness.

The title track offers an enigmatic mood that momentarily seems to deviate from the band’s signature style favoring modern atmospheric layers that will introduce an intriguing mixture of luminous melodies and punishing guitar driven grooves creating a somber duality, matched by a combo of soulful clean vocals and venomous growls, which will dominate the song’s structure.

“Beyond The Pale” might start with somber melodies but swiftly gains more aggressive dynamics with loads of entertaining fiery guitar riffing and a steady heavy groove without necessarily sacrificing the song’s inner melodic essence.

“Kaleidoscope” returns to a more enraged approach where guitars lead the way with distorted crunchy tones as well as nu-metal accents enhanced by almost ferocious growls that become strangely accessible in the catchy chorus surrounded by subtle electro/orchestral background layers.

“Hope Begets Hope” features several inspired melodic moments leading to a powerful shredding guitar solo but certainly doesn’t refrain from offering some classic punishing rhythmic patterns that pack massive crunchy guitars and savage screams.

Putting aside any sign of rage “Behind A Mask” is an acoustic piece where guitars acquire an ethereal luminous aura and the vocal harmonies become poignant and absolutely melancholic contributing to the soothing poetic quality of these easy melodies.

Opening with a graceful atmospheric moment “Heavy Lies The Crown” acquires a rather epic feel enhanced by Robb’s theatrical storytelling delivery but soon thick guitars take over with darker aesthetics, occasional venomous groovy dynamics and scorching leads yet the melodic nature of this track remains quite dominant.

With a contemplative atmosphere “Eulogy” relies on soft ambiance echoes, minimalist melodies and emotional depth that at some point will inevitably dwell in a particularly darkened realm with a slightly experimental sonic approach that deliberately deviates from your standard metal track.

Fans of the band’s early discography will recognize similar vicious rhythmic patterns shining throughout “Catharsis” which for many could/should have been a better album but is certainly the result of a desire to explore multiple metal subgenres and overcome standard music rules with absolute freedom.

Tribulation – Down Below

Swedish quartet Tribulation is quickly becoming one of the most intriguing acts in the current metal scene following an unstoppable dark sonic evolution that ultimately and naturally leads to the ghastly shadows and the gothic finesse of the new album “Down Below” which at this point might be labeled as the band’s magnum opus.

Rightfully released as first single “The Lament” could not contain a higher dosage of pure melancholia starting with minimalist moody guitar phrases swiftly followed by an irresistible darkened rock groove where the whole instrumentation acquires wistful vintage tonalities while passionately diabolical growls certainly channel traditional blackened nuances.

On “Subterranea” eerie atmospheres and classical piano melodies foreshadow the advent of wicked rhythmic dynamics fueled by blackened & gothic rock influences and surrounded by palpable mysterious gloom as impossibly catchy guitars skillfully craft powerful melodic grooves that definitely hold a vintage rock essence but undoubtedly belong to an occult sonic realm populated by creepy unnamable figures in black.

On “Cries From The Underworld” you can fully appreciate some dominant retro rock textures mixed to classic horror themes that render this track quite accessible as guitars favor melodic aesthetics with refined attitude or a more flamboyant groove while the inner immense creepiness remains a constant element as darkness descends with ruthless honesty through recurring atmospheric layers.

“Lacrimosa” ensures a more aggressive fiercely blackened sonic approach as guitars acquire steady heavier dynamics but also concoct a particularly elegant melodic hymn to decadence with a dreadfully charismatic composition that offers an ensemble of deliciously kaleidoscopic harmonies further enhanced by mystical chants & complex baroque atmospheres.

As if vampyres were dancing under the blood moon “The World” drags the listeners through a perilous spellbinding gothic realm where, once again, guitars lead the show providing hypnotizing retro goth grooves and seductive melodic tapestries always enriched by the blackened grimness of vicious growls.

Right from the beginning “Here Be Dragons” feels like a grim fairytale as it is filled with an artsy mixture of gothic decadence and vintage rock flavors that will remain entwined through a whirlwind of dramatic instrumental passages where a mournful cathartic darkness pervades the super groovy quintessence of eclectic guitars constantly embellished by an exquisite ensemble of classical strings and obscurely elaborate synths resulting in a sumptuously ravishing piece of music.

Listening to “Down Below” you will notice how any attempt to overanalyze and force genre categorization becomes simply futile as like avant-garde meticulous alchemists Tribulation developed an exciting music formula made of dark magic and thrilling grooves perennially full of arcane splendor and ultimately meant to be utterly addictive.

Heidevolk – Vuur Van Verzet

Dutch Pagan metal brotherhood Heidevolk proudly unleashes a new folkish collection of songs on the full length “Vuur Van Verzet” which promises to get you ready for the battlefield.

Like a story of revolt and resistance “Ontwaakt” brings you solemn warrior chants and fierce guitar riffing that build steady rhythmic dynamics but the highlights can be found in the pagan/folk detailed melodic tapestries featuring charming flutes & strings that continuously emerge throughout the song with undeniable magical vibes.

“A Wolf In My Heart” will become a favorite with a blend of crunchy riffage and enchanting violin while the whole tribe of warriors theme becomes extremely palpable in the various fervent chants and guitars also focus on widely accessible polished melodies.

“The Alliance” has a profound Viking essence with battle ready chants accompanying an upbeat riffage & drumming that does acquire some heavier dynamics in the midst of folk acoustic passages and calmer atmospheric nuances provided by violins.

On the inspired instrumental “Het Oneindige Woud” the band puts aside the usual galloping riffs to evoke enchanted soundscapes with the minimalist elegance of violins and acoustic guitars that put together graceful ethereal harmonies bearing a distinct folk spirit.

The ardent epic mood of “Gungnir” revolves around an empowering rhythmic backbone where guitar riffs keep a steady crushing groove embellished by sophisticated violins, subtle symphonic arrangements and fierce vocal delivery as we are still at the verge of a crucial battle.

The charismatic combo of violin and acoustic arpeggios hold a primary role on “Het Juk Der Tijd” creating the right archaic folk atmosphere that will fuel strong guitar riffs as well as more dramatic melodic textures.

While “Vuur Van Verzet” doesn’t deliver particularly sonic innovations it does shine for the passionate folk mood that will immediately take you to the middle of some unknown forest, most likely with bonfire and Vikings, and Heidevolk showcases an empowering cohesive songwriting approach.

Rise Of Avernus – Eigengrau

Australian symphonic doom/death metal band Rise Of Avernus has the potential to become a new favorite in the underground metal scene with the grandiose new release “Eigengrau”.

Emerging from a realm of misery and undiluted darkness “Terminus” opens the album with a remarkable mystical aura beautifully rendered by majestic yet absolutely ominous orchestrations that flawlessly embrace the thunderous grooves built by steady guitar riffing and punishing drums but this track doesn’t exclusively rely on familiar doom textures, even when riffs hold an oppressive heavy power, as dramatic vocals and baroque aesthetics hold a primary role.

“Ad Infinitum” could not sound colder with loads of eerie atmospheres, classical melancholy infused piano melodies and sumptuous orchestral layers that occasionally give way to a primordial heavier sonic approach and constantly provide a cinematic quality that further enriches the charismatic melodic guitar work.

With a mysterious & ritualistic atmosphere “Gehenna” acquires exquisitely darkened nuances with refined gothic oriented guitar melodies and theatrical clean vocals surrounded by utterly somber and lavish orchestral layers that diligently add a sense of grandeur to the overall eternal gloominess.

“Tempest” maintains a fascinating darkened mood fueled by strong guitar riffs mixed to symphonic splendor and dismal melodies while certain faster rhythmic patterns and ferocious growls dwell in a familiar blackened sonic realm.

Rise Of Avernus closes the album with the understated complexity of “Into Aetherium” which features an initially contemplative approach filled of classical gothic tinged melodies and inspired atmospheric layers before unleashing an overdose of fiery guitar riffs & drums that inevitably evoke the darkest depths of extreme metal while a slower cathartic moment will later favor a gloomy melodic ensemble and epic symphonic accents.

While the harsh extreme metal moments are certainly empowering throughout “Eigengrau” it must be noted that the symphonic arrangements are absolutely stunning and ultimately ensure a charismatic listening experience.

Perfect Beings – Vier

If you can imagine in your minds third-eye what a quintessential classic prog band would sound like filtered through a modern sensibility and perfect production, Perfect Beings is exactly that. Like a train ride crossing the plains of the Prog Rock timeline, Vier traverses this terrain with somewhat mixed results but never derails, leading to an interesting and captivating experience to listeners with a deep attention span.

Vier, German for four and the namesake title of this grand prog experiment is thusly and conveniently split into four separate parts. “Guedra” opens the record with retro drenched Prog worship. This part is most notably influenced by classic Yes. “The Golden Arc” is a bit heavier and mathier, less 70’s inspired overall, but yet positively proggy. “Vibrational” is as the name suggests extremely and essentially all ambient/atmospheric. Rounding off the album is “Anunnaki” which is a summation of all these disparate parts.

Instrumentally speaking, these guys can play and play they do.  “Enter the Center” provides some room for Levin to channel his inner Bill Bruford mixing bells, chimes, and flurries of fills reminiscent of classic “Red” era King Crimson. “The Persimmon Tree” is a keyboard tour de force offering a complex and captivating arrangement of strings, percussion, flute, and of course piano resulting in a haunting and melancholy theme. The vocals are the real highlight of this group as the complex three part harmonies of bands like Yes and Gentle Giant are fully replicated here.

These blokes proudly wear their influences on their sleeves and throughout each song flagrantly wave it in the listeners face. The influence is so uncanny at times it borders on replication of other bands, namely Yes, King Crimson, and even Steven Wilson. While imitation is the best kind of flattery, one must wonder that with as much talent that Perfect Beings clearly possesses, what else they could muster if not so intent on channeling their influences. That said, It’s impossible not to feel a warm sense of nostalgia for all things progressive especially on tracks like “The Blue Lake if Understanding” and “Patience” whose erratic structures offsetting wonderful vocal harmonies, and lush atmospheres would warm the heart of even the most jaded Prog head.

Throughout this almost hour and thirty minute Prog epic, your ear will lean to the familiar as well as the unknown. Take note, this music is not for everyone. Perfect Beings have crafted Vier with the hardcore Progressive rock/metal crowd in mind and they do this without a single shred of apology. If you are a fan of The Beatles, Yes, King Crimson, Genesis, and possibly even John Carpenter, Vier is just what the doctor ordered. This is music for Prog’s sake.

White Wizzard – Infernal Overdrive

White Wizzard’s fourth album “Infernal Overdrive” is an important release for the band as it marks the return of classic members, vocalist Wyatt “Screaming Demon” Anderson and guitarist James J. LaRue,  resulting in a clearly renewed chemistry that fuels the enthusiastic creation of the classic rock/metal anthems on this album.

The title track does feel like a blast from the past with empowering guitar driven grooves that will satisfy any vintage metal lover as the band crafts cohesive thundering rhythmic dynamics that give lead guitars plenty of space to deliver flamboyant solos and enthralling melodic progressions.

“Storm The Shores” is an easy crowd pleaser as recognizable NWOBHM elements hold a particularly dominant role in the song’s structure with powerful crunchy guitar riffs & bass lines keeping a straight forward groove enriched by thrilling vocals and vibrant guitar solos.

“Chasing Dragons” has a versatile nature leaning towards nostalgia infused melodies elegantly crafted by traditional yet absolutely kaleidoscopic guitar work that here truly shines, often with fancy shredding, through multiple rhythmic segments while vocals performed in classic rock fashion acquire profound emotional quality.

Starting with soulful acoustic passages “Voyage Of The Wolf Raiders” immediately showcases a melancholic depth that will continue to return within several softer moments yet classic NWOBHM dynamics inevitably take the lead intensely influencing the groovy guitar riffing and solos which feel always quite entertaining being characterized by a fiery creative force.

“The Illusion’s Tears” feels like a fervent nostalgic power ballad as it is filled with stylish heartfelt guitar melodic progressions often displaying luminous polished tonalities as well as wilder prog variations surrounded by a rather somber atmosphere flawlessly matched by a sincerely emotional vocal delivery.

Undoubtedly White Wizzard stay true to a vintage music formula comprised of high pitch vocals and killer guitar work and “Infernal Overdrive” constantly draws inspiration from unforgettable ‘70s-‘80s rock/metal flavors showcasing authentic passion.

Phil Campbell And The Bastard Sons – The Age Of Absurdity

Everybody knows and appreciate the work of Motörhead guitarist Phil Campbell so the new sensational band Phil Campbell And The Bastard Sons featuring his sons Todd Campbell on guitar, Dane Campbell on drums, Tyla Campbell on bass, and vocalist Neil Starr is certainly destined to get a lot of attention with the upcoming debut album “The Age Of Absurdity”.

While old fashioned rock ‘n roll style is palpable on “Ringleader” this is not just a revival song as there is so much more to be enjoyed with addictive guitar driven grooves that also have a rebel metal attitude particularly evident in the explosive fancy guitar solos and the often frenetic rhythm.

“Skin And Bones” is filled with the perfect dosage of raw rock dynamics as all these deliciously groovy guitar riffs must be played loud to fully enjoy their vibrant energy and the compelling guitar solo skillfully embellishes the whole catchy rhythm.

Keeping alive a true rock legacy “Gipsy Kiss” is another super groovy track with an entertaining fast paced ensemble of guitar riffs that once again channel a versatile delightful rock mood with the help of crunchy bass lines and powerful drumming.

“Dark Days” will easily become a favorite with a lovely bluesy essence packed in each slow burning melody and Southern rock style harmonica while the main guitar riffs & solo flawlessly craft additional rock grooves bearing a subtle melancholy.

“Step Into The Fire” features another round of utterly entertaining upbeat rock grooves while lead guitars add extra powerful dynamics as well as flamboyant quality and the vocals certainly hold a proper wild rocker attitude.

“Into The Dark” becomes exquisitely melodic channeling a profound melancholy through refined guitar work and a rather brilliant solo as a significantly slower borderline ballad approach is enhanced by recurring bluesy harmonies and a more emotional vocal delivery.

Those who are looking for passionate hard rock will immediately fall in love with the outpouring rocker charisma of “The Age Of Absurdity” as Phil Campbell And The Bastard Sons already have plenty of thrilling ideas and talented musicianship to craft exciting memorable songs.

Harakiri For The Sky – Arson

If in the beginning Austrian Harakiri For The Sky was just a studio project recently this intriguing band has expanded to a live lineup and there is definitely a buzz around the brand new opus “Arson” which passionately delivers a trendy post – black metal sonic ensemble.

“Fire, Walk With Me” immediately draws attention with soulful atmospheric melodies that seamlessly introduce a wilder guitar driven groove which certainly evokes melancholic soundscapes but also a rather blackened influence in the heavier instrumental passages accompanied by fierce screams. Without necessarily sounding too aggressive or depressing, the band delivers a fair dosage of extreme metal roots yet the melodic textures and softly atmospheric passages are characterized by darkly catchy tonalities.

As soon as “You Are The Scars” begins you can feel the vivid melancholy embedded in each piano or guitar melody which follows a cold blackened rhythmic pattern that occasionally slows down to favor additional painfully desolate melodic dynamics where guitars showcase remarkable surreal shoegaze oriented details.

Lavish arpeggios and understated eerie atmospheres on “Heroin Waltz” evoke dreadful emotions followed by a series of frenetic blackened grooves amplified by borderline desperate screams dwelling in a quite dark sonic realm yet guitars craft mellower refined melodies that bring wistful luminous nuances.

“Tomb Omnia” continues to emphasize a poetic darkness as le mal de vivre becomes extremely palpable in the elegant melodic cascades meticulously crafted by vibrant guitars and groovy passages but the more dramatic blackened elements definitely maintain a crucial role.

“Voidgazer” is filled with an exquisite sense of profound melancholia as a soothing melodic beginning is smoothly followed by intense darkened guitar riffing and the intricate melodic slightly avant-garde guitar work confidently steals the spotlight throughout the song but feels especially enthralling in the slower contemplative moments.

With “Arson” Harakiri For The Sky aims to fascinate the listeners with a whimsical blend of ethereal shoegaze/post-rock harmonies and primordial blackened dynamics resulting in the creation of a modern emotionally charged collection of songs.

Orphaned Land – Unsung Prophets And Dead Messiahs

Known as pioneers of Oriental metal Orphaned Land have recently celebrated their 25th anniversary and the latest epic endeavor “Unsung Prophets And Dead Messiahs”, conceptually based on Plato’s allegory of the cave and the noticeable pattern of revolutionary figures being assassinated through history, is another proof of the band’s unique music pathway and charismatic songwriting style.

The grandiose album opener “The Cave” starts with softly contemplative atmospheres swiftly followed by rich Middle Eastern flavors that constantly influence the opulent melodic textures and the majestic orchestrations. Sharp guitar riffs provide groovy rhythmic patterns that support vicious primordial growls but the intricate blend of stylish melodies and sumptuous orchestral arrangements definitely hold a more dominant role accompanied by solemn choirs and Kobi Farhi’s heartfelt clean vocal delivery.

On “We Do Not Resist” the anger towards the global sociopolitical situation and human ignorance becomes extremely palpable as relentless growls and thick inflamed guitar driven grooves dominate the song’s structure yet there are more peaceful moments provided by enticing Oriental harmonies & atmospheric accents.

“In Propaganda” stands out for the stylish luminous acoustic guitar work heightened by triumphant choirs and magnificent orchestrations evoking particularly enchanting Oriental harmonies and effortlessly flowing through softer rhythmic passages or the occasional crunchy riffage.

Featuring a remarkable guitar solo performed by guest guitarist Steve Hackett “Chains Fall To Gravity” acquires softer pensive tonalities offering a memorable blend of poignant atmospheric layers and eclectic prog rock moments following flamboyant tempo variations while the whole instrumentation is always surrounded by charming Oriental melodic passages.

The intriguing vocal duet featuring guest vocalist Hansi Kürsch of Blind Guardian and the sophisticated melodic guitar progressions amplify the theatrical & symphonic vibes of “Like Orpheus” which was released as first single and certainly represents some primary elements of the band’s signature style flawlessly blending Middle Eastern cultural heritage and modern prog oriented guitar work.

“My Brother’s Keeper” holds a purely melancholic essence enhanced by subtle atmospheric layers and lavish orchestrations but also showcases an enticing series of guitar prog style dynamics shifting from tight riffing to shimmering melodies and Kobi’s spoken verses acquire a dramatic delivery adding emotional depth while unrestrained growls carry a profound fury.

Featuring guest vocalist Tomas Lindberg of At The Gates “Only The Dead Have Seen The End of War” is characterized by mystical atmospheres continuously embellished by Middle Eastern harmonies as well as dazzling orchestrations but also a deeper darkened essence evokes inexorable madness and pervades the more aggressive rhythmic patterns built by a noticeably heavier ensemble of guitar riffs & drumming.

“Unsung Prophets And Dead Messiahs” is definitely a protest album where music becomes a way to spread an important message uniting people all over the world and with extraordinary craftsmanship, attention for details and authentic passion Orphaned Land deliver a truly enthralling opus that will certainly become a must have for their faithful fans.