Category: Album Reviews

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.

Marty Friedman – Wall of Sound

Marty Friedman has been making a bit of a comeback as of late with some new solo material that “keeps up with the times,” so to speak and maintains his signature sound and phrasing. This album is packed with dynamics, melody, and aggression. I had the pleasure of seeing him on tour for this album in Chicago, and I can honestly say, for instrumental prog/shred, He has to have one of the tightest, high energy bands I’ve seen. They play as if they were playing a packed arena. Now let’s get to the album shall we?

Self Pollution: opens the album with some pretty cool riffing. Something that stands out about this album is that although it is a “Guitar Virtuoso” album, it has riffs for days. It’s very focused on composition. This track kind of throws a little bit of everything at you to give you a taste of what’s to come.

Sorrow and Madness: is easily one of my personal favorites. This track is loaded with melody and dynamics. The composition is very moving. And Marty’s signature sound is very apparent here, all those beautiful bends from out of the key that go into the key. Lots of emotion here.

Streetlight: Also packed with incredible dynamics, really shows that in a short period of time tons of versatility and ground is, has, and will be covered on this album.

Whiteworm: is an absolute rocking track, loaded with some flashy playing. It also has some very cool Latin vibes at certain points with the melody and rhythm. It has a very pretty chorus theme with a bit of an 80’s neo classical feel. Definitely a fun track.

Pussy Ghost: kind of changes things up with almost a black metal/death metal set of progressions. It’s a bit darker and atmospheric, but really interesting. It’s harmonically a bit reminiscent of some of the Cacophony material that was released way back.

I won’t give anymore away here, but I will say this. Go listen to this and buy it. It will be worth your time. I also recommend seeing him live, if you get the opportunity because it will be an enjoyable experience.

Cavalera Conspiracy – Psychosis

After the worldwide touring success performing Sepultura’s iconic opus “Roots” Max and Iggor Cavalera, joined by talented guitarist Marc Rizzo, decided to record Cavalera Conspiracy’s new album “Psychosis” which is definitely inspired by their past work in Sepultura but features also a rather entertaining industrial twist.

“Insane” marks an absolutely fierce beginning that sees the band in excellent shape as precise punishing drums and infectious guitar riffs craft a thrash oriented wall of sound while sharp guitar melodies & solo add nightmarish vibes through the claustrophobic rhythmic blasts.

“Terror Tactics” doesn’t take a break as groovy old school thrash rhythmic dynamics trigger subtle nostalgic vibes. Max screams with renewed passion through the deadly marching patterns while chaotic atmospheric accents lead to a tribal riffing style and intriguing guitar work.

On “Spectral War” Iggor’s drumming keeps alive a certain tribal force and while the main rhythmic section maintains a quite heavy attitude there are few interesting industrial influences that generate modern atmospheric tonalities and enigmatic vibes.

Feeling violently dizzy “Judas Pariah” has a traditional death metal essence that requires relentless rhythms, monolithic guitar riffing and vicious growls that follow an almost breakneck speed with immense fury that suddenly yet seamlessly evolves into a more atmospheric somber sonic assault with remarkable haunting nuances.

Despite its chaotic noisy end “Excruciating” initially feels almost comfortable with an overdose of fiery distortion and crushing rhythms meant to generate intensely irrational moshpits and in the midst of this monumental groove Marc delivers a cathartic moody guitar solo that matches the mystical atmospheric background.

Listening to the massive energy behind “Psychosis” you will notice that the Cavalera brothers truly made efforts to deliver music diversity on this album fairly channeling the glorious early years of Sepultura as well as some modern underground metal flavors.

The Tangent – The Slow Rust Of Forgotten Machinery

With a pretty extensive catalogue for the period of time that they’ve been around, The Tangent release quite a lengthy album.

Two Rope Swings: is a little more straightforward, if you can even say that. This track sort of gives you a little bit of everything, setting a nice tone for the rest of the album, to prepare you for what’s to come.

Doctor Livingstone (I Presume): opens with a cool lead synth melody that has a great tone, followed by some tasty lead guitar playing. Lots of tasteful playing going on here that’s very “well thought out.” There’s a big jazz influence that sneaks in all over the place with the chord voicing and phrases. You get hit with tons of dynamics. There’s solo, after solo, after solo, with the parts constantly changing. What more could you ask for?

The Sad Story Of Lead and Astatine: has a very melancholic opening. It sort of pulls everything down. Then it picks up with a bit of quirkiness that leads into more of a smooth jazz type of verse. But… That verse is loaded with some pretty crazy playing. The dual vocals add a really nice feel to this. It fills in some really nice space in the overall mix. I really like that these guys aren’t afraid to show off. There’s no need to hold back and, they know it. There’s a bass solo in here that is absolutely awesome, we’ll just put it that way. These guys all have a lot of clarity in their playing. And again, solo, after solo. There’s even a drum solo. Yes you heard right, a drum solo. And it works very well with the song. Trust me. I won’t give anymore away. You’ll just have to find out the rest for yourself. But if this intrigues you, then you will not be disappointed.