Category: Album Reviews

Sepultura – Machine Messiah

After celebrating the 30th anniversary, legendary Brazilian act Sepultura returns with the 14th studio album entitled “Machine Messiah” where the band simply chooses to carry on an extraordinary artistic journey and create music with sincere passion and no compromises.

The title track opens with decadent graceful guitar melodies and Derrick Green delivers spellbinding emotionally charged vocals. In the midst of a darkened and tragic, almost doomish, atmosphere Andreas Kisser’s charismatic guitar solos will become unforgettable.

“I Am The Enemy” is certainly filled with classic thrash fury featuring a super tight combo of crunchy guitar riffs and blasting drums but it also delivers fast blistering guitar leads embellished with melodic accents.

“Phantom Self” has a solid enjoyable thrash groove with a rather catchy chorus but it will immediately stand out for its mystical/esoteric atmospheres effortlessly embodied by flamboyant classical orchestrations that delightfully surround Kisser’s prog influenced brilliant solos.

“Iceberg Dances” is an exciting instrumental that gives you a chance to truly appreciate Sepultura’s mature and talented musicianship. A fast gritty guitar driven rhythm with tribal drumming accents keeps a healthy groove while Kisser’s dynamic guitar work confidently channels an exquisite variety of music styles such as prog and flamenco.

“Sworn Oath” features a compelling dramatic atmosphere sophisticatedly enhanced by highly inspired melodic guitar work and gloomy symphonic arrangements in theatrical fashion while Green’s strong ominous growls emphasize the heavy rhythmic facet of the song.

“Resistant Parasites” channels an easily recognizable old school Sepultura style with vibrant ravenous guitar riffs and a fascinating tribal rhythm. An irresistible fast groove acquires a mesmerizing melodic depth with Kisser’s elegant solos and darkened symphonic orchestrations.

As Sepultura’s music style continues to evolve, “Machine Messiah” still holds dear some elements of the band’s signature thrash essence but it also showcases an eclectic sonic variety that can be fully appreciated even if you are not a devoted fan.

Grave Digger – Healed By Metal

After 36 years in the metal scene German act Grave Digger fearlessly returns with the latest release triumphantly entitled “Healed By Metal” which is really about that infamous headbanging energy and a glorious metal era that we just can’t forget.

The title track is nothing more than a hymn to the golden age of classic metal. As expected, there are loads of crunchy guitar riffs to keep a solid rhythm going, a lovable melodic guitar solo and a pompous chorus that might just feel a bit redundant.

“When Night Falls” kicks off with the right catchy groove built by a fast paced guitar riffing and the rest of the song manages to keep the headbanging and metal brotherhood themes alive.

“Lawbreaker” features the popular 80s motorcycle & leather combo and, again, there is a generous dose of classic metal riffs leading to a rocking guitar solo executed in proper shredding style.

On “The Ten Commandments Of Metal” Chris Boltendahl screams “stay true” and this summarizes the inner spirit of this fun song, another metal anthem that revolves around traditional super groovy guitar riffs.

“Kill Ritual” has a more somber approach with a heavy combo of bass and drums, crunchy metallic guitar riffs and your must have fancy guitar solo with full blown shreds and killer licks.

Without any stylish surprises or wild musical experiments “Healed By Metal” feels stuck in a nostalgic loop as it stays true to Grave Digger’s classic metal recipe that might please almost exclusively their devoted long standing fans.

Meshuggah-The Violent Sleep of Reason

Meshuggah is back with its 8th album, “The violent sleep of reason”, released last October via Nuclear Blast.
Countercurrent the choice to record the album live in the studio, simultaneously with all members, I have to say it works perfectly.
The opener track “Clockworks” is one of the most violent in the album, with its 7:15 minutes takes the listener through a devastating and powerful journey.
“MonstroCity” has a devastating riff , the central part is very interesting with that injection of melody. The best guitar solo is absolutely in “Ivory Tower”.
The album’s lyrical themes are mostly on terrorism, extremist views on ideals and religious dogma.
On the threshold of the 30-year of career the band, even keeping the same line, has produced an impeccable album which can be easily appreciated by the extreme metal lovers.

Sonata Arctica- The Ninth Hour

Sonata Arctica keeps on evolving, album after album the sound changes, and “The ninth hour” proves it. The last work of the Finnish band is going to split the opinion of fans and media, this is not an easy listening album and needs time to be assimilated.

“Closer to an Animal” is the first single extract, this melodic song keeps intact the line that Sonata Arctica has taken with “Unia”. The second single “Life”, from which has been released also a video-clip, is pretty catchy and the keyboards and guitar solos are brilliant.

Tracks like “Fairytale” and “Till Death’s Done us Apart” are powerful musical compositions that remind the old works of the band. The flute gives that something more to “We Are What We Are” a beautiful touching ballad.

The longest track is “White Pearl,Black Oceans Part II”, with its 10 minutes, I had expectations for this song, but unfortunately it is not able to enter the heart as the part I. “Rise a Night” is the most powerfull song and the only one which can be liked from all the fans because it mixes the old sound with the new in a good way.

As I said, this isn’t an easy listening album but it’s wrong judge it just from the first listen, the sound is more slow compared to the previous albums but this is the evolution that Sonata Arctica has started long time ago.
What to say about this album? Performance is excellent, production is sublime and the voice of Tony Kakko has never been so theatrical and communicative before.

Max Navarro- Somewhere South Of Heaven

The Italo-Canadian Max Navarro has released his 4th album “Somewhere South Of Heaven” last March via AW Recordings.
This is the first work after the changes in the line up and with the new label, produced by Nick Mayer and Max Navarro it’s recorded and mixed by Nico Odorico at Angel’s Wings Studios.
The album has a typical american rock sound with a lot of catchy melodies, the voice is particular, a bit hoarse and fits perfectly with the sounds of guitars.
The first single released is “Nine Flares”; a scream introduces a catchy sound, the guitar solo is really good and the refrain stays on head. The Italo-Canadian rocker said about it:”We were undecided between “Nine Flares” and “Sick Sentimental Plans” as opening single, it was a tough choice. At the end we opted for the first, but not to throw good moral messages. Now all teach to live, I’m not going to put me in line to be another who wants to do the usual priest that preaches against the use of drugs. The only interest is in telling the true story of a boy, one of many who don’t have it done. ”
“Sick Sentimental Plans” is the second single and from it has been released also a video-clip.
With only 1:35 of duration “Saturday Night” is an easy listening song in which the guitar becomes virtuous.
Ready for bang your head at the rhythm of “Stay”? With ridden rhythm and catchy melody this track takes your soul into the rock.
A ballad ends the album, “Bad Day” gets inside you to the bones and the passional guitar solo makes it a perfect song.
If I have to image me driving a car during the summer, “Somewhere South Of heaven” is the perfect soundtrack, with its harmonies, rhythms and clear sounds nothing could be better.

Stam1na- Elokuutio

Stam1na is one of the most successful band in Finland, in 20 years of carrer they have achieved almost everything a rock band can achieve in this country. Each of their seven albums have sold gold and the band has played hundreds of mostly sold out shows all over the country.
Their last album named “Elokuutio” has been released on March 18th via Sakara Records, the frontman Antti “Hyrde” Hyyrynen describes the album’s theme as the “digital hell of the unreligious”, It was produced by Janne Joutsenniemi and mixed by Jens Bogren (Opeth, Katatonia, Soilwork, , Moonspell, Kreator, Devin Townsend, Dark Tranquillity, Paradise Lost, Amon Amarth, Symphony X and Sepultura).
Elokuutio stands for eloquence but can also be translated as living cube.
The track that opens the album is “Ikoneklasmia”, which means ‘iconoclasm’, its sound is pretty progressive and the whole song is particular.
A perfect mix between the first and present Stam1na’s style is the song from which the album is named “Elokuutio”, very good studied and elaborate.
“Pienet vihreät miehet” is a typical Stam1na’s song, the sound is an explosion of pure energy, the guitar solo is wonderful.
The first single released is “Kuudet raamit”,which means ‘Six Frames’,from which it was produced a 360 music video directed by Tuomas Petsalo. A speed track with rhythmic changes used impeccably, the refain is pretty chatcy but still badass.
The last song of the album is “Valhe” which begins with an instrumental “triumphant” intro ,the voice is more clean and soft, the instruments are used more virtuously and the keyboards are superbe.
Stam1na did a great work with this album, the band is going on its way in the change experimenting sonority and techniques and album by album their music becomes more solid.
“Elokuutio” is an excellent product, if you still don’t know Stam1na, it’s the time to check out their music starting from this album.

Weeping Silence-Opus IV Oblivion

Weeping Silence is a gothic doom metal band from Malta, their fourth album “Opus IV Oblivion” has been released last October via Massacre Records, recorded and mixed by David Depasquale at Spine Splitter Studio and mastered by Andy Horn at The Red Room Studio.
The enchanting voice of Diane introduce the first track, “Oblivion – Darkness In My Heart Anno XV”, the sound is amazing and the contrast with the growl voice of Dario makes it unique.
I can define “Ivy Thorns Upon The Barrow” catchy even keeping the symphonic-doom line. The emotional song ” Transcending Destiny” goes straight to the soul and the guitar solo is impeccable. The album fades out with the dramatic and theatrical “Gothic Epitaph”.
Listening to “Opus IV Oblivion” is a continuous shiver, the amazing clean singing and growls complement each other and fit perfectly on the instrumental section.
We have also to mention the album artwork by Jan Yrlund, inspired by and based on the tomb art at the St. John’s Cathedral in Malta.
Weeping Silence is a brilliant band and with this full-length they demonstrate to be high in the symphonic-doom scene.

http://www.weepingsilence.com/
https://www.facebook.com/weepingsilence

Eartheria- Throes of Time

Eartheria is a young band from Pori, Finland, their music is a mix of fast and melodic metal, inspired by thrash and modern metal.
The band’s first EP called “Throes of Time” has been released on December 2015 and it’s producted by the band itself.
Eartheria to be a fledgling band demonstrates a musical maturity worthy of a successful band and this EP is the proof.
The EP contains 6 tracks, the sound is clean and they did a great job with the recording and mastering. The listening to each song is addictive, the rhythm part is heavy, guitar solos are executed well and the mutable voice runs from growl to scream.
There is nothing to reproach to this EP, we have to keep an eye on Eartheria because I’m sure we will hear more from this band.

 
https://www.facebook.com/eartheriaband

Vorna- Ei valo minua seuraa

Vorna is a pagan metal band from Tampere, Finland. The band’s music has various influences from black metal to folk and rock. Lyrics are written in Finnish and often deal with themes like nature, myths and struggles of mind.
Their second full length, “Ei valo minua seuraa”, has been released on December 2015 via Inverse Records and it’s been a great surprise for me.
This album transports to another dimension, a journey into the deep immersed in the Finnish nature.
The first track “Harmaudesta” with its melancholy sound and the stunning contrast between musical base and voice catches you, and you want to listen it again and again.
One of the best songs from the album is “Jälkemme”,the particular intro remind of a whiff in glass bottles, the rhythm changes with a wild blastbeat and the guitar solo is sublime.
“Vaipunut” is a waterfall of peace and relax, the feeling to be in the middle of the forest is incredible. From the track “Yksin” has been released also a video-clip.
Keyboards create that magic atmosphere, the bass line is interesting, the guitars are just perfect, the drums runs wild with its blastbeat and the voice gives something of unique, the growl mixed with the the clean voice and the female choir, this is a must have album.
46 minutes of inspirational music, if you like bands like Amorphis and Norther you will love this band.

Krisiun – Forged In Fury

I entered the KRISIUN musical camp far too late for my own good, though not through any lack of interest on my end. As a result, I didn’t partake in their rise to Brazilian death metal prominence back at the dawn of the millennium and found myself getting a first-hand account of their approach with the previous outing, “The Great Execution”, and if that was any indication then I’m only missing so much. I did enjoy what the album had to offer, and as far as palette-cleansing metal goes I’ve definitely heard worse, but it still felt a bit flat and only as interesting as their craft could possibly be. That’s more on me than on the band, of course. Still, it had enough going on for me to see where they would continue to tread from there…

From where it stands, “Forged in Fury” reins in a good portion of the group’s original flare and frenzy in favor of a slower and more drawn own method of musical torment. From my own limited engagement with the material it feels like the Kolesne/Camargo clan are still opting for a more simpler take on their particular metal blend, which in itself is fine as this, in turn, leads to a few things to consider; for one, the more mid-paced and chunky “stop-start” segments allow the tracks to breathe better and the collective efforts of the band to be heard versus a blinding windstorm of fire and noise. Even the production isn’t half bad; despite having resident musical trash compactor Erik Rutan again at the helm and dials, everything is clear and able to be heard, if a bit thick with the guitar tone. As a result it’s not an unpleasant album to sit through by any means, though there are only so many moments where it demands your full focus and attention (the fervent immediacy off tracks like ? and “Burning of the Heretic” , for example, offer plenty of flames-clad fun). I mean, you can only run through low B minor scales for so long until it starts to fade into mere background white noise, even if you can’t help it.

But as I’ve said many times before, I’ve heard worse extreme metal out there, so if the worst you can do is be an effective yet inoffensive work of nastiness, then who am I to complain? And truly, I’ve not heard anything off “Forged…” that I would consider terrible by any stretch; at best, it’s quite good where it counts, and at worst it’s somewhat bland. But that said, the flatness and accessibility of the material is both a good and a bad thing, as while it prevents further listens from being such a blur that would leave you exhausted, it also starts to feel increasingly dull the more the album wears on. It’s not so much an overt lack of ideas as it is said provided ideas only fleshed out so much and so far; for my money, a bit more exploration of the material, a more deeper unearthing of it all at hand, would make for a more enveloping listen, and as it stands it only offers so much in that regard before dimming. You KNOW these guys can do better (I mean, look at everything up to “Ageless Venomous”, or even “Bloodshed”), and more often than not you’ll feel that twinge of expectation as this continues plodding on track-by-track and only slightly getting there. But hey, as I said, better to be vanilla than shit.

In the end, I wasn’t all that impressed with “Forged in Fury” but I didn’t dislike it either. I wouldn’t say this is meant to continue the grand tradition of KRISIUN’s obvious supremacy in their given style, but merely just a simple musical treading of the waters. Here’s hoping the next one down the line will do them/us the same amount of justice many have come to expect.