On the latest album “The New Eve”, French progressive metal acolytes Spheric Universe Experience attempt to personalize and modernize some of the traditionally acclaimed progressive features. Since this seems to be an experimental release, it is reasonable to encounter some uneasy moments here and there.

“Shut Up” has too many predictable guitar riffs with a pompous sound and an awkward chorus. The main musical theme is a kind of hybrid made of classic metal elements with scattered touches of prog and electro.

The title track has a very modern approach but everything still revolves around this unclear electro/metal hybrid style that feels quite confusing at times. Despite the unnatural vibe, the slower breakdown delivers simple clean vocals and some interesting keyboards/guitar duet in true prog fashion.

“Escape” still holds the classic trademark of progressive metal with a particularly intense guitar work. Yet, the overall atmosphere lingers more towards a modern electro/alternative rock style. The vocals here are way too soft and polished to match the powerfully frenetic rhythm.

“The Day I Died” begins with an obvious sad mood, but it doesn’t last long as the electro beat Orgy style takes over. Despite the effort to smooth the edges and blend all the instruments harmoniously, the song clearly lacks a solid catchy tune.

“Self Abuse” has a more aggressive and frenetic rhythm. Guitars and keyboards work together to build a strong musical core that later gives way to some technical prog solos.

“My Heart On The Cross” is an electro semi ballad filled with synths and softly romantic vocals. The slow atmospheric chorus is stripped of the usual crunchy guitars and results more natural.

In the end, “The New Eve” is written and executed to attempt to conquer a wide audience outside of the strict metal scene but the songwriting doesn’t show a consistent maturity. This album is pervaded by a constant desire for a musical change; Spheric Universe Experience might eventually achieve a more personal distinct sound in the near future.

 

“Naught” by Stolen Babies will inevitably fall in the category of “avant-garde” music just because each and every song here does not showcase any particular music style. In reality, this album revolves around a randomly disorganized array of various musical themes that we all already stumbled upon at some point in our life. Therefore, since the abused elegant definition “avant-garde” refers to a truly active innovation, it would be safe to say that “Naught” doesn’t fit this description.

“Never Come Back” is all about alternative distorted guitars with a groovy grotesque attitude. There are some raspy screams and some hardcore moments that tend to be deliberately dissonant.

“Splatter” has a repetitive funky rhythm that could be considered catchy but not memorable. The accordion is a graceful touch but it ends up getting lost in the mix.

“Second Sleep” still dwells in the cabaret realm but has an icy dark atmosphere. This song seems to flow more naturally in terms of songwriting and execution. There is also a feeble ambiance feeling that effortlessly embraces the rock guitars.

“Behind The Days” is a polka style mini song that serves as intro for the chaotic “Mousefood”. Here Stolen Babies tries to get more aggressive with a faster and tighter rhythmic section. The main musical theme resembles a gloomy circus soundtrack but it gets buried by the instrumental ensemble that creates a lot of sonic confusion.

“Swimming Hole” brings a 1920’s cabaret attitude mixed with a polka dance rhythm and a vintage gramophone sound effect. The vocals have a theatrical/vaudeville delivery that reminds of Emilie Autumn.

It’s hard to take seriously “Birthday Song” with its perennial carnival cacophony, the sloppy ironic vocals and the overwhelming search for unusual interesting sounds.

“Grubbery (Burnt To A Crisp)” has a deliciously vintage sound fully developed through  a sequence of sentimental piano melodies. While the guitars and the vocals keep a creepy atmosphere, there is also a classical jazz rhythm.

Stolen Babies’ attempt to overcome the typical musical boundaries can be easily appreciated throughout the album. Yet, the songs included on “Naught” fail to achieve a musical consistency and often lack a much needed catchy attitude. You could consider “Naught” as a twisted source of temporary entertainment.

 

It’s often hard to keep track of all the prolific metal bands that populate the underground scene. Therefore, it is reasonable to think that few people will stumble on the newest Kingcrow’s release entitled “In Crescendo”. This is a quite straight forward album with a strong progressive attitude highly influenced by Dream Theater and other similar bands.

If this album frequently fails to deliver a unique songwriting, the outstanding execution tends to fill the gap.

“Right Before” is certainly a majestic opener full of lovely prog oriented guitar riffs but, in the end, we are all very familiar with this type of guitar work. Regardless, the melodic catchy side of this track will surely attract the listeners.

The next song is entitled “This Ain’t Another Love Song” but we know that metalheads are always drawn to romantic love songs. This track is extremely catchy and focuses on hyper melodic guitar arpeggios intertwined with blasting prog riffs and entertaining tempo variations.

“The Hatch” has a more atmospheric approach and an emotional dramatic vibe. The guitar work holds a particular intensity as it delightfully mixes multiple styles ranging from classic prog in Queensryche fashion to  rock acoustic rhymes.

“The Drowning Line” showcases another interesting musical concoction built around a very energetic rhythm. Between the wicked tight riffing, the keyboards amenities and the expected tempo changes, there is also space for a memorable chorus and a technically melodic guitar solo.

The title track has a darker mood but it still filled with uplifting attentive prog riffs and variegated keyboards arrangements. This lengthy song is certainly more complex and ambitious in terms of composition. At the same time, all the musical elements seem to fit nicely and build a reasonably natural flow. Obviously, in order to favor the technical showcase of Kingcrow’s progressive musicianship the main musical theme might get lost at times.

“In Crescendo” is a well developed collection of catchy songs that will easily make the band gain a wider audience worldwide.

 

On the new album “Circle”, Amorphis has decided to make everybody happy by delivering just what the fans expect to hear. This is not a gloomy enigmatic album as it includes many rather approachable or “commercial” songs. Certainly, all the tracks still hold the renowned Finnish folk attitude that gave Amorphis a great deal of recognition, but everything is reinterpreted in a softer key.  It seems that the band has chosen a safe musical pathway to please the new and younger acolytes.

“Shades Of Grey” has an extremely promising folk attitude that naturally blends with strong growls and blazing riffs. All the atmospheric harmonies are quite captivating, the chorus is absolutely addictive and the instrumental sections incorporate a wild dreamy mood.

“Mission” is a mellow song with obvious gothic rock roots. In terms of songwriting and sound, everything is structured in a rather simplistic fashion in order to achieve a radio friendly tune. Also, the piano melodies and the soft rhythm are extremely distant from the usual heavier and darker roots. Overall, the song’s style is very close to bands such as Him and To Die For.

“The Wanderer” doesn’t seem to be a memorable track as it follows exactly the musical style of “Mission”. Therefore, it almost feels like an unnecessary repetition even if the absolute catchiness embedded in the chorus and in the guitar work will certainly be appreciated by a certain audience.

Even if “Narrow Path” kicks in with flutes in an undeniably folk fashion, the rest of the song revolves around the same type of simple catchy chorus.

“Hopeless Days” relies on an assortment of fascinating darkly romantic melodies. Again, this song clearly deviates from Amorphis’ earlier releases. Every element is built to please the listener, but the only creative force can be found in the lead guitar work.

“Nightbird’s Song” brings back a more aggressive metal style. The soft atmospheric intro fades gracefully into a more obscure realm made of audacious growls and guitar riffs that could evoke a black metal mood. This song feels more mature and complete in terms of songwriting. The chorus is still catchy with rationally clean vocals and a slower safe rhythm. The true highlight is the soothing and peaceful instrumental breakdown where keyboards and flutes naturally embrace.

The blackened mood of “Enchanted By The Moon” is another pleasant moment. The guitar riffs and the predictable chorus are still on the mellow side, but the main verses hold a particularly gloomy beauty.

In the end, the musical quality of “Circle” is outstanding from a rational point of view, yet I feel that the naïve spontaneity of Amorphis’s earlier releases has completely disappeared and I truly miss it.

 

 

It’s hard to believe that a brilliant band such as Antimatter has yet to acquire the unanimous recognition it rightfully deserves. After some years of silence, the latest release “Fear Of A Unique Identity” confirms the extraordinary talent of songwriter and mastermind Mick Moss. It’s useless to try to categorize the music style of a versatile band such as Antimatter, therefore it would be better to enjoy listening to “Fear Of A Unique Identity” without any prejudice.

“Paranova” has a slow pace mixed to a groovy rhythm with an addictive chorus. The highlight of this track is represented by the poetic keyboards arrangement that create a quite emotional uplifting mood.

“Monochrome” has a well balanced trip hop/ambient musical core. The overall atmosphere is very gloomy and sorrowful, yet there is a captivating catchiness embedded in the main melody and chorus.

The title track has an introvert approach with soft vocals and delicate piano melodies. The vocal duet adds romantic melancholic undertones while the guitar work brings a dynamic twist in alternative rock fashion. The same guitar style is very dominant on the musically multifaceted “Uniformed And Black”.

“Firewalking” is a melancholic anthem with an obvious psychedelic core, bittersweet distorted guitar licks, a heartfelt vocal performance and an experimental keyboards arrangement. Despite the length and the overwhelming misery, this song tends to get stuck in your head easily.

“Here Come The Men” could be mistaken for a simplistic song, but it is the highlight of the album as it definitely holds a great musical depth. The harmonious arpeggios and the extremely passionate vocals feel like a tender lullaby while the overall atmosphere tends to be darkly nostalgic.

“A Place In The Sun” is a delicate sad song that relies on a grief-stricken sequence of arpeggios adorned by peaceful sounds of nature. The addition of soothing violins creates the atmosphere of a desolate landscape.

In the end, “Fear Of A Unique Identity” is a consistently fascinating effort, not as depressing as it might appear at the very first listening, and it truly shines for the exquisite attention for details both in terms of songwriting and execution.

 

Just because Zak Stevens has been, and still is, one of the most talented vocalists on the scene it’s hard to resist any song featuring his voice.  Zak’s exciting come back with Circle II Circle’s latest release entitled “Seasons Will Fall” will definitely attract the wide hard rock/metal fanbase.

“Diamond Blade” is the classic metal song par excellence. Crispy old school guitar riffs dominate the song theme always enriched by the expected fancy energizing licks. The melodic core doesn’t offer special effects or any kind of innovation, but it certainly holds a genuine strength.

“Without A Sound” is a slower track with an extremely simple structure. Nothing here is particularly challenging, but it’s still easy to fall in love with a straight forward rock song.

“Epiphany” makes you think of Savatage’s hit “Edge Of Thorns” immediately. So, obviously, this is a majestic well written tune despite the slight lack of originality. There is everything you could possibly need: the melancholic piano intro, the blasting guitar riffs and the impeccable passion of Zak Stevens’ vocals.

“Dreams That Never Die” is a more complex track that genuinely embraces multiple musical facets. The guitar solos are an excellent example of mature musicianship and talent. Zak’s vocals shift through different ranges and embellish any given musical layer. It’s impossible not to be drawn towards the magnificent choral moment in the style of Savatage’s masterpiece “Chance”.

The title track has a very attractive vintage epic attitude with loads of solid riffing and tight rhythm. The guitar work is simply amazing throughout the song filling the atmosphere with multiple intoxicating technical solos. Each instrument plays a clear part in the creation of a series of highly harmonious and comforting melodies.

“Sweet Despair” is your “must have” romantic rock ballad. Nobody wants to really admit it, but this type of effortless heartbreaking melodies attracts a great number of listeners. Here you can find the super soft acoustic moment and the mid pace exceptional guitar solo. Of course, Zak’s vocals are the true highlight of the song.

Because you all want more, Circle II Circle gladly delivers the piano version “must have” rock ballad entitled “Only Yesterday”. The sad romantic melodies are obviously redundant, but nobody could ever resist Zak’s delightfully flawless delivery.

The fact that “Seasons Will Fall” brings back a wide array of classic metal features will inevitably limit its reception to a specific type of audience. It’s not surprising to find a great deal of Savatage’s influence all over the album. Yet, this is certainly a consistently serious effort with a spotless execution even if it might feel too redundant at times. Regardless of the degree of originality, listening to “Seasons Will Fall” gives you the absolute pleasure to enjoy once again Zak Stevens’ grand vocal performance.

 

Vreid’s sixth full length release entitled “Welcome Farewell” features a charismatic fusion of raw black metal and traditional rock n’ roll. While the band always personalizes and reinterprets some old school metal favorite elemens, a more melodic approach is dominant throughout the album. Considering the wide range of musical facets explored on “Welcome Farewell” it would be safe to say that Vreid is trying to reach a wider audience.

“The Ramble” stands out for its excellent somber atmosphere. The songwriting is smooth and attentive, the raspy vocals fit the mood perfectly and the guitar riffs have a captivating melodic delivery.

“Way Of The Serpent” has an evident black metal approach filled with aggressive guitar riffs layered on a fast and furious rhythm section. Later on, there are still plenty of softer melodies to render everything more accessible.

The title track shines for its melodic nature and groovy rhythm, but also offers plenty of gloomy tunes and violently heavy guitar riffs. The song’s structure is quite traditional, yet at the same time it displays a unique musical intensity especially in the lead guitar work.

“The Reap” has a dark rock n’ roll aura enhanced by dramatically melancholic guitar melodies performed in Scandinavian fashion. This is probably the catchiest song on the album due to the extremely melodic core and the highly reduced speed.

“Sights Of Old” begins with slow and mellow harmonies and a heavy doomish mood. When the drums kick in, everything becomes black and almost claustrophobic. Yet, in the end the lead guitar brings always charming lighter melodies and purifying clean arpeggios. This track offers several style variations designed to keep the listeners entertained, therefore it is the most interesting track in terms of songwriting.

The slight gothic attitude and the dark low toned vocals make “Black Waves” another pleasant moment that deserves a thorough listening.

“Welcome Farewell” represents a further step towards the rightful achievement of a prominent position in the realm of underground metal. This is a strong and intensely mature album that would easily please all metal lovers.

If you are a long term fan of Corrosion Of Conformity, you should be familiar with the band’s debut album “Eye For An Eye” originally released in 1984. I have mixed feelings about reissues of old albums as they often bring back the early years lack of maturity or they just don’t fit anymore with the band’s current musical vision. It is immediately noticeable that “Eye For An Eye” is very distant from what Corrosion Of Conformity has been releasing recently. This album includes the EP “Six Songs With Mike Singing”, so you get a total of twenty six songs. These songs are supposed to be remastered but the sound is still extremely rough and dirty. It’s hard to distinguish one song from another as the guitar riffs are repetitive and somehow irrational, but I guess that’s what early crossover hardcore thrash was supposed to be. So, there is a lot of explosive energy, angry vocals, rebellious attitude, lack of musical structure and sloppy sounds that certainly might appeal to a specific crowd while others would get bored quite easily.

“Eye For An Eye” is nothing more than a collector item strictly dedicated to Corrosion Of Conformity’s fanbase.

Tiamat’s long awaited come back entitled “The Scarred People” is certainly characterized by that exquisite darkness that has become a seminal trademark for the band. Tiamat’s music style has been evolving deeply since the breakthrough release of the album “Wildhoney” back in 1994, but even now you can still perceive those hallucinogenic/psychedelic rock elements that brought the rightfully deserved fame. Since then, Johan Edlund has fully embraced the darkness of gothic rock and has reinvented Tiamat’s music style over and over. It just seems reasonable that a talented musician such as Edlund desires to explore different musical facets rather than to play it safe with the same old songs to keep people happy.

The title track flows naturally and easily revolving around a simple, yet fundamental, groovy tune. The musical core is undeniably melodic stripped of any traditional metal elements and closer to old school darkwave. The addition of atmospheric keyboards enriches the sound and Edlund’s vocals are exquisitely dark as expected.

“Winter Dawn” has a lovely gothic framework enhanced by catchy and more metal guitar riffs. Certainly, Edlund’s vocals are always the center of attention with that amazingly decadent yet soothing delivery.

“Radiant Star” still dwells in the realm of darkness but it is also filled with sugar coated melodies and a memorable soothing guitar solo characterized by a flawless clean sound.

“The Sun Also Rises” follows the same guitar driven hyper melodic theme with the addition of a slightly more dramatic vibe.

“Before Another Wilbury Dies” is an instrumental track with a more modern alternative rock approach that revolves around groovy guitar melodies.

“Love Terrorists” has a very energetic structure that blends genuinely with highly atmospheric synths and super gloomy vocals. Again, the focus is the lead guitar work which is effortlessly comforting and impeccably melodic.

The peaceful sound of rain introduces the listener to the dark danceable groovy guitar riffs of “Thunder & Lightning”.  The super catchy chorus, the easy melodies and the brilliant crispy guitar solo make this track particularly accessible and memorable.

“The Red Of The Morning Sun” is a treat for those who are stuck in the past and deeply miss the harmonious perfection of “Wildhoney”. Edlund’s vocals are passionately impeccable, there is a lovely gothic theme made of emotional semi acoustic arpeggios while enlightening distorted melodies and majestic keyboards dominate the chorus. This track simply has everything you might possibly need.

“The Scarred People” is a comprehensive mix of a wide array of music genres reinterpreted in perfect gothic fashion that might not be an anthem of innovation but it’s certainly a pleasantly mature artistic effort. I would recommend “The Scarred People” to those listeners willing to simply enjoy it rather than analyze it and compare it to the older releases.

 

Regardless of the music quality, famous beloved bands like Kamelot will always manage to keep the fanbase happily satisfied. The latest release “Silverthorn” is a safe album that proposes again the band’s winning recipe without astonishing surprises. The amazing and creative guitar work is the true strength of “Silverthorn” but, unfortunately, the repetitive power metal tunes tend to weaken the album as a whole.

“Manus Dei” is a very exciting intro in perfect symphonic style with the inevitable operatic chorus. Yet, as soon as “Sacrimony (Angel Of Afterlife)” begins, the songwriting and the melodies become too redundant and pompous.  There is a lot going on here both in terms of style changes and instrumental sounds but too often all these elements are in conflict resulting in an unnatural musical flow. At the same time, the vocals and the guitar riffs at the very beginning are sublime while they become very predictable on the chorus. All the musical complexity showcased on this song certainly proves Kamelot’s mature musicianship but it becomes a confusing melting pot.

“Ashes To Ashes”, despite the clichéd title, brings some hope with a series of interesting prog metal sequences.  Yet, the pop power metal chorus is somehow unnecessary and clashes with the intensely creative prog guitar/keyboards tunes.

‘Torn” has an epic tapestry with a pleasant mid paced rhythm and majestic guitar solos, but the recurring overrated happy power metal attitude decreases the early excitement for this song.

“Song For Jolee” is the must have super soft romantic ballad. The vocals are melancholic and passionate as expected and the main piano melodies are quite charming.

“Veritas” shines for its violin intro followed by polished energetic guitar riffs. The keyboards layers are subtle but fundamental, the grandiose operatic chorus perfectly fits the epic atmosphere and the vocals are eclectic enough to keep the song interesting.

The title track simply follows the general music theme of “Silverthorn”. The guitars and keyboards are perfectly entwined and the breakdown has a folk taste but it seems a bit awkward.

“Prodigal Son” is the most appealing track on the album. It has a dark aura that spreads from the mystic organ driven intro enhanced by the inspiring flawless vocals. The Gregorian chant style is certainly an elegant addition that flows quite naturally within the more vigorous metal theme. The guitar work here is truly outstanding and creates a captivating concoction of styles that range from traditional metal to modern symphonic/power metal.

Once again, it seems that Kamelot has decided to stay true to its long term musical legacy. Therefore, the band’s fans will appreciate this strategic move while the others will look somewhere else for something more exciting and innovative.