Category: Album Reviews 2018

Riverside – Wasteland

Following the sudden loss of co-founder and guitarist of Piotr Grudziński, Riverside decided to continue as a trio therefore the latest release “Wasteland” marks a new chapter that sounds like a deeply emotional music endeavor with post-apocalyptic visions of the world.

“Acid Rain” immediately stands out for the profoundly somber tonalities embedded in the suspenseful textures of the refined atmospheric arrangements as well as the stellar guitar work which confidently delivers a memorable blend of heavy prog dynamics, crystalline harmonies and heartfelt melodic splendor.

“Vale Of Tears” sounds more energetic with an eclectic rhythmic section featuring solid riffage spiced up by modern keyboards accents and excitingly complex lead guitar work yet the minimalist melodic moments feel like an emotive lullaby.

“The Struggle For Survival” is a truly epic track that never ceases to impress the audience as the band follows an artsy sonic vision offering intricate rhythmic segments and freely experiments in order to craft multifaceted instrumental passages ranging from full throttle progressive dynamics to cinematic atmospheric layers.

The title track is moody & darker starting with a fragile melodic ensemble of elegant piano and smooth arpeggios that surround poignant vocals while later the song will morph into a more progressive entity where guitars offer some intriguing heavier riffs before returning to calmer introspective moments.

“The Night Before” is a minimalist piece that closes the album with immense melancholy courtesy of gorgeous piano melodies and soft sorrowful vocals that will move you to tears.

For Riverside the seventh album “Wasteland” feels like a renaissance as the band aims to express personal struggles and strong emotions through an elaborate ensemble of technical musicianship and darkened melodies.

 https://www.youtube.com/watch?v=001IMO53JwY

Crippled Black Phoenix – Great Escape

Considering that mastermind Justin Greaves has previously gone public about his personal fight against depression the new Crippled Black Phoenix album entitled “Great Escape” is expected to revolve around dark themes and this definitely fits with the band’s alluring music direction.  

“To You I Give” is a cathartic ensemble of soulful guitar melodies, introspective vocals and somber atmospheric layers which instantly set a perennial darkened mood that will shape the several distorted progressive tinged rhythmic crescendos throughout the song.

“Madman” focuses majorly on a sinister cinematic spirit flowing through the visionary electro arrangements that effortlessly create a bewitching groovy momentum amplified by gritty rock tonalities.

On “Times, They Are A Raging” a constant sense of melancholia dictates the painfully dramatic mood that surrounds the dreamy piano melodies and the fervent vocal delivery while the slow tempo simply allows the elegant guitar work to enhance the hypnotizing soundscape that will eventually acquire faster psychedelic dynamics and consequent enigmatic rhythmic variations.

“Slow Motion Breakdown” is an intense instrumental track that spontaneously blends psychedelic/stoner elements and poignant melodies through memorable guitar progressions that often feel like a wild jam in the middle of the desert and acidic tonalities are evident within the exceptionally engaging rhythmic patterns.

“Las Diabolicas” is almost creepy with its inner dystopian mood featuring fuzzy accents and the undiluted rock energy of the guitar riffs & melodies that successfully craft catchy climatic grooves in the midst of obscure spellbinding atmospheres.

While “Great Escape (pt I)” feels profoundly evocative with mystical vibes influencing the fragile atmospheric textures, the enchanting vocal duet and the super slow melancholia infused guitar phrases “Great Escape (pt II)” is instead an eclectic entity that adds progressive twists and intricate haunting melodic splendor with the absolutely stunning guitar work.  

Ultimately “Great Escape” might be considered a challenging album that audaciously explores an impressive array of diverse music subgenres while maintaining a rather unique vision that naturally leads to cinematic & emotional aesthetics as Crippled Black Phoenix craft each song with an outpouring charisma that cannot go unnoticed.

 https://www.youtube.com/watch?v=DuTv7glLu90

 

Architects – Holy Hell

Considered one of the best British metal bands Architects return with the long awaited new record “Holy Hell”, a particularly meaningful album being the first release since the tragic passing of Tom Searle, founding guitarist, principal songwriter and twin brother to drummer Dan.

Combining moments of sheer rhythmic aggression and pensive melodies “Death Is Not Defeat” is full of subtle mournful atmospheres in contrast with borderline desperate vocals and angered guitar driven grooves staying true to classic metalcore style.

The title track begins with lovely orchestral accents and enraged screams are swiftly followed by a well balanced ensemble of heavy & loud guitar riffs, anguished instrumental passages and underlying tormented melodies.

“Damnation” holds a super groovy rhythmic backbone as well as a deeply sorrowful mood which might render the slower elegiac moments more appealing than the crushing guitar riffage and drumming.

“Modern Misery” is another track that revolves around bittersweet feelings and unfulfilled dreams fully expressed by the ethereal melodic breakdowns spontaneously emerging through massive crunchy guitar riffs and vicious screams.

Even if since the beginning “Doomsday” features a generous dosage of catchy guitar riffs and technical edgy rhythms there is a main melodic pattern that tends to amplify the emotional nature of the song with melancholic clean vocal delivery and atmospheric grandeur.

“A Wasted Hymn” brings closure with grief and sorrow as the rhythm slows down dramatically to deliver massive gloomy guitar melodies in the midst of utterly cathartic atmospheric arrangements combining classical inspired momentum and modern electro accents.

Reconfirming the status of metalcore giants “Holy Hell” might be the classic light at the end of the tunnel for Architects and their faithful fans as the band channels strength and sincere emotions healing through the power of music.

 https://www.youtube.com/watch?v=_kC_xaRs9lM

The Order Of Apollyon – Moriah

With a new devoted stable line-up it’s time for The Order Of Apollyon to spread immense darkness and sheer brutality with the third full length “Moriah”.

“The Lies Of Moriah” begins with dismal arpeggios that prepares you for a hellish sonic assault that simply cannot be ignored with a monumental dosage of crushing drums and tight blackened guitar riffing generating asphyxiating rhythmic blasts.

“Rites Of The Immolator” feels even more aggressive as plummeting grooves seem truly unstoppable with solid guitar riffs leading the way to a dark abyss where few grim melodic phrases will eventually surface.

“Grey Father” offers another fiery round of obscure guitar riffs naturally following a breakneck speed yet there are also brief enigmatic atmospheric moments flowing through the extremely heavy rhythmic sections.  

With ominous chants and arcane organ harmonies “Soldat” has a more theatrical mood that will later return with extremely melancholic guitar melodies yet cavernous growls and utterly vicious rhythmic dynamics continue to channel an arcane blackened force.

On “A Monument” there is an underlying grave melodic mood which definitely influences the cold guitar tonalities while the massive rhythmic section tends to maintain steady ruthless grooves.

A renewed creative force and mature songwriting approach are the key elements behind “Moriah” as inspired by primal black/death metal elements The Order Of Apollyon confidently unleash a full blown nightmarish work of music.

 https://www.youtube.com/watch?v=MEQatTlVQJI

Bloodbath – The Arrow Of Satan Is Drawn

Featuring members from Paradise Lost, Katatonia, Opeth and Craft, Sweden’s shadiest death cult Bloodbath is the supergroup that every death metal acolyte dreams of and the long anticipated new album “The Arrow Of Satan Is Drawn”, the second with Old Nick on vocals, promises total sonic annihilation.

“Fleischmann” is simply vicious revolving around the sheer brutality of incessant rhythmic blasts featuring the expected relentless guitar riffing galore and plummeting drums within a claustrophobic mood where the brief darkened guitar melodies represent the only feeble sense of hope.

Straight to the point “Wayward Samaritan” offers loads of fast anthemic death metal grooves with the right dosage of chunky bass lines and ravenous riffage that will eventually slow down just to allow the guitar leads to stand out and Old Nick doesn’t disappoint delivering plenty of hellish growls.

Since the beginning the putrid sonic realm of “Levitator” features merciless monolithic guitar work naturally channeling absolute horror and other terrifying feelings fully amplified by gruesome growls and sinister atmospheric arrangements.

The old school approach of “Deader” is immediately evident as guitars diligently follow a savage rampage, often with breakneck speed, with belligerent riffs leading to a series of purely aggressive rhythmic assaults invigorated by blistering soloing.

Monstrous guitar driven grooves lead the way on “Only The Dead Survive” fueled by a familiar primordial energy that generates ominous blackened rhythmic variations through the expected classic approach with wicked riffing and thunderous drumming.

Despite the title “Chainsaw Lullaby” is definitely not a lullaby but rather sounds like a horror gore/slasher soundtrack as evil screams and infectious guitar riffs confidently build blood splattered grooves that don’t really need excessive speed but definitely benefit from the underlying solemn atmospheric darkness.

If you are in the mood for uncompromising old school death metal you will be delighted by “The Arrow Of Satan Is Drawn” but it should be noted that this time Bloodbath’s music feels a bit more adventurous adding a dramatic momentum to the truly nightmarish soundscape.

 https://www.youtube.com/watch?v=fgsTsfvyLFo

Metal Allegiance – Volume II: Power Drunk Majesty

Featuring metal icons Alex Skolnick, Mike Portnoy, Mark Menghi, David Ellefson and many remarkable guest vocalists, Metal Allegiance is different from other supergroups as in this case the raison d’être is a passionate celebration of heavy metal and comradery in the scene, consequently the second full length “Volume II: Power Drunk Majesty” is the product of real writing/jamming sessions among friends.

Instant headbanging is mandatory with “The Accuser” featuring vocalist Trevor Strnad of The Black Dahlia Murder as the main aggressively fast rhythmic core is full of ravenous old school guitar riffs, a sincere homage to primal heavy metal, and obviously you can expect a fair dosage of killer intricate solos.

Featuring Bobby Blitz of legendary Overkill with his signature monstrous vocal delivery “Mother Of Sin” has that traditional thrash metal mood that we always need in our lives skillfully built by the intense rhythmic patterns and spiced up by the memorable intriguing guitar solos.

On “King With A Paper Crown” Johan Hegg of Amon Amarth delivers his renowned viking growls and it’s interesting to hear him sing in such a different sonic context but the song really works and actually stands out in the album due to the somber mood and tasteful melodic lead guitar dynamics flowing through the harsh classic heavy metal grooves.

Max Cavalera channels his tribal legacy on “Voodoo Of The Godsend” which has a fiery death metal tinged core but also extremely darkened tonalities and crispy melodic shredding guitar solos leading to an exciting sonic blend that fortunately includes major arcane tribal percussions.

We heard the unmistakable screams by Mark Osegueda on the first Metal Allegiance album and it’s nice to see him back on “Impulse Control” which shines for the glorious guitar work with loads of perfectly executed classic riffage and majestic soloing and the sensational catchy chorus.

“Power Drunk Majesty (Part II)” is a remarkable surprise featuring Floor Jansen of Nightwish as lead vocalist and she renders everything absolutely epic naturally enhancing the song’s melodic aspects with her soulful delivery and dazzling operatic skills plus the guitar solos here are nothing short of magnificent.

We can all agree that Metal Allegiance is an entertaining successful music endeavor in all-star party fashion so it totally makes sense to continue such unique metal experience and “Volume II: Power Drunk Majesty” will definitely please and unite all faithful metalheads around the world.

 https://www.youtube.com/watch?v=AXqhvUVV23I

Mantar – The Modern Art Of Setting Ablaze

The duo behind Mantar, guitarist/vocalist Hanno Klaenhardt and drummer Erinc Sakarya, worked hard to leave an indelible mark in the modern metal scene and the latest release “The Modern Art Of Setting Ablaze” aims to spread further the band’s heavy signature style.

The guitar progressions on “Age Of The Absurd” are evidently inspired by multiple metal subgenres combining super harsh riffage and easier entertaining melodies while vocals sound like ravenous screams constantly channeling raw fury.

While “Seek + Forget” keeps a strong distorted angered mood with blackened hints the rhythm sections slow down a bit to enhance a dramatic melodic depth leading to mellow guitars within a grim pensive breakdown.

On “Taurus” a solid combo of venomous growls and infectious guitar riffs build extra darkened textures as the band aims to deliver a vicious rhythmic assault but also experiments with atmospheric arrangements.

“Obey The Obscene” stands out for the atmospheric impending doom that lingers through the frenetic maze of blackened grooves where guitars skillfully combine gritty riffage and grave melodies.

The sludge doom metal force behind “The Formation Of Night” leads to powerful harsh guitar driven grooves always enhanced by a spiteful vocal delivery and a massive rhythmic backbone that will eventually give way to sorrowful melodies and atmospheric despair.

“The Funeral” aptly takes on an atmospheric mournful approach that will influence the overall mood with scattered slower darkened moments and gloomy synths yet there are still loads of abrasive guitar riffs that generate explosive rhythmic sections.

Just like the title implies “The Modern Art Of Setting Ablaze” is an incendiary effort that at the same time maintains a rebellious rock spirit and a brutal sonic approach, a successful pathway that Mantar passionately continues to follow inspired by the cleansing power of fire.

 https://www.youtube.com/watch?v=nTROA-AkXEE

 

Vulcain – Vinyle

French veterans Vulcain return with the timeless hard rock style of the latest album “Vinyle” which, as you can imagine, is filled with no frills loud anthemic songs.

There are no surprises on the title track as the trio focuses on a solid series of gritty guitar riffs and consequent raw energy, a recipe that aims to keep old school hard rock alive.

Following a similar pathway “Héros” revolves around entertaining guitar riffs, wild rhythmic sections, roaring vocals and the inflamed guitar solo also bears the mark of classic hard rock.

The hard rock intensity of “Darling” ensures another bold round of killer guitar riffing and leads accompanied by aptly raucous vocals resulting in a highly energetic song.

“Décibels” slows down to deliver a borderline rock ballad melodic ensemble featuring acoustic phrases as guitars acquire calmer tonalities but still offer some groovy moments.

In proper seasoned rocker fashion the lead guitar work on “Contrôle” delights the listeners with fiery licks and shredding galore marching confidently throughout the song.

“Motör” is about having good time, partying with friends and headbanging to the traditional groovy rampage spontaneously built by tight galloping guitar riffs and powerful drumming.

Vulcain proudly carry the torch for ‘80s hard rock and “Vinyle” diligently follows the footsteps of legendary bands like Motorhead & AC/DC with genuine passion and an explosive instrumental work.

 https://www.youtube.com/watch?v=TdyL-veGSD8

The Sea Within – The Sea Within

The concept of the “supergroup” is not new and in the progressive rock/metal circles this holds even more truth. The Sea Within are certainly no exception! The pedigree from guitarist and singer-songwriter Roine Stolt, keyboardist Tom Brislin (Kaipa, The Flower Kings), bassist Jonas Reingold (The Flower Kings, Tangent), guitarist & vocalist Daniel Gildenlöw (Pain of Salvation), and drummer phenomenon Marco Minnemann (The Aristocrats, Steven Wilson, Joe Satriani) is in the upper echelon of Prog rock royalty. With such high profile musicians are The Sea Within capable of crafting Prog Greatness or Prog Mediocrity? Let’s find out.

The album starts off with an impressive opener “Ashes of Dawn” that harkens influences from Pain of Salvation’s more recent work peppered with both bombastic and tasteful drumming courtesy of Drumming phenom Marco Minnemann. Out of nowhere a quite passionate saxophone solo by guest player Rob Townsend culminates into a Prog-Chops fest that appropriately announces the band has arrived and demands your attention.

“An eye for an eye” is where things start to take a change with a more overt 70’s influence that one would guess would surely be the work of Roine Stolt. Things in the later half of the track take on a few different layers with a jazz-ish piano trio part that’s more Chick Corea than Dream Theater.

“Goodbye” proves an inconvenient and somewhat jarring change of pace with the track featuring vocals via Casey McPherson. A great and tasteful singer in his own right, but after twenty plus minutes of vocals by Daniel Gildenlöw the change in vocals was almost too drastic. I was completely distracted and pulled out of the atmosphere by this decision. At only 4 minutes this track is tossed in almost as an afterthought, quickly getting out of the way for instrumental track “Sea Without” serving as a sort of bombastic intro to Beatles-esque “Broken Chord.” Honestly those two tracks could easily have been one epic Prog song!

And that is the predicament that The Sea Within finds itself. It seems to struggle to find its own identity through its mixture of 70’s drenched Progressive worship of bands like Genesis and Yes mixed with a healthy dose of Modern sensibilities like Pain of Salvation, Black Bozo, and even Big Big Train. At times beautiful, other times fun and even a bit silly, The Sea Within’s debut is most worthy of taking the time to dig into. While it could stand to shave off about twenty minutes of play time in hopes of being a bit more concise, the record is sure to find a rabid fan base. For a debut record of a self proclaimed supergroup, it will certainly not disappoint fans of these high caliber musicians.

 https://www.youtube.com/watch?v=nIAQZiSPAHM

Burning Witches – Hexenhammer

While Swiss all female metallers Burning Witches are still considered newcomers in the metal scene their music style is profoundly influenced by old school heavy metal as you can easily tell listening to the brand new album “Hexenhammer”.

On “Executed” the frenetic bombastic rhythm is clearly inspired by decades of classic heavy metal with dominant lead guitars delivering the perfect dosage of shredding to spice up the steady crushing grooves as well as melancholic melodic phrases.

“Lords Of War” tends to slow down a bit in order to sound more catchy and slightly ‘happier’,especially during the triumphant chorus, but this doesn’t sacrifice the powerful sonic formula further enhanced by high pitch vocals and flamboyant guitar work.

The mood gets darker on “Dead Ender” as somber tones characterize the steady riffage and consequent mid paced grooves while guitar leads once again stand out with enjoyable melodic accents.

The title track continues to channel classic ‘80s heavy metal and in fact revolves around the catchy & rough guitar driven grooves adorned by intense vocals, solemn warrior style backing vocals and smooth melodic guitars.

“Maneater” has a proper witchy mood fueled by wicked vocals with devilish high pitch while guitars are busy maintaining classic heavy grooves that reach the expected acme with wilder soloing.

It takes courage to cover an unforgettable metal anthem like “Holy Diver” but here Burning Witches deliver a solid version with genuine passion and a flattering cool vocal performance.

It’s nice to see more women in the modern metal scene and on the energetic release “Hexenhammer” Burning Witches proudly represent a timeless genre that will always gather acolytes worldwide.

 https://www.youtube.com/watch?v=1OCmwMFKDlE