Not many bands can celebrate an exceptional twenty years career and when it comes to Nightwish there is no doubt that the Finnish indisputable masters of symphonic metal have rightfully achieved this milestone with talent and relentless commitment so here comes a massive world tour during which the band will play many favorite ‘oldies’ accompanied by the release of the compilation of re-mastered songs “Decades”.

You all know that three different vocalists have fronted Nightwish and they are all rightfully present on “Decades” so of course there are the newer songs “The Greatest Show On Earth” and “Élan” with current amazing vocalist Floor Jansen but inevitably the majority of songs feature the unforgettable voice of Tarja Turunen since she was in the band for ten years and contributed to the breakthrough success of songs such as “Sleeping Sun”, “Elvenpath”, “Nemo” and “Wish I Had An Angel” and even the original demo for the song Nightwish is included.

Unfortunately there are many marvelous songs that are not included in this greatest hits but listening to Nightwish is always an amusing experience so for all devoted fans “Decades” is a way to re-discover many beautiful songs and join the band in this nostalgic retrospective journey while newer listeners will enjoy the opportunity to learn more about the band’s previous work.

If you paid attention last year you should have not missed the debut album of Memoriam, the new project featuring ex-Bolt Thrower veterans Karl Willets and Andy Whale. One year later, the band is ready to offer another massive round of old school death metal anthems on the new release “The Silent Vigil”.

“Soulless Parasite” truly holds the raw feelings of death metal unleashing traditional thick guitar riffs & bass lines perfectly supported by massive drumming and Karl’s signature vocal style as the whole instrumentation appears to be very focused on the chosen music pathway fully reminiscing the glorious days of death metal in the midst of a doom tinged atmosphere.

“Nothing Remains” further amplifies the band’s death metal roots as guitars acquire a faster punishing attitude matched by a monolithic rhythmic section that confidently ensures high impact and headbanging friendly dynamics but doesn’t refrain from adding diversity with groovy variations.

“As Bridges Burn” immediately channels doom nuances and feelings of desperation through a series of untamed guitar riffing always supported by an intense rhythmic ensemble that draws strength & inspiration from the mournful depths of death metal especially when the whole instrumentation gains extra speed and consequent menacing quality.

“The New Dark Ages” becomes aptly darker with a monochromatic sonic assault meticulously built by hellish guitar riffing and majestic drums but again there are plenty of almost accessible grooves that occasionally slow down the rhythmic ferocity with some melodic accents but certainly maintain a true death metal essence.

“Weaponised Fear” features heavy doom nuances and darkened atmospheres that enrich the classic raw textures of death metal with the addition of haunting guitar melodies and slightly complex rhythmic variations but once again the band stays true to the expected familiar instrumental dynamics.

Conceptually based on themes of loss and dissolution “The Silent Vigil” reveals a somber contemplative side yet Memoriam is committed to deliver absolutely traditional death metal also using a raw underground style production.
The Silent Vigil

Under the moniker Michael Schenker Fest legendary rock guitarist Michael Schenker releases the latest powerful effort “Resurrection” and for this occasion he has gathered the three M.S.G. singers Gary Barden, Graham Bonnet and Robin McAuley, Doogie White (Michael Schenker’s TEMPLE OF ROCK) as well as musicians Steve Mann (guitars, keyboards), Ted McKenna (drums) and Chris Glen (bass) plus guest appearances from Kirk Hammett, Wayne Findlay and Michael Voss-Schoen are included.

“Heart And Soul” ensures a bombastic beginning unleashing tight old school rock/metal guitar riffs slightly embellished by some subtle symphonic accents while vocals also follow a familiar rocker style and through the solid stomping rhythm Schenker is ready to impress the audience with the expected dosage of elegant shredding and killer guitar acrobatics.

“Warrior” starts slower feeling almost like a standard rock ballad and the whole song does maintain a pleasant melodic essence yet there are also some chunky riffage and battle style big choruses to add rhythmic variations which will ultimately lead to a necessary round of charismatic lead guitar work.

On “Everest” guitar riffs skillfully build more frenetic rhythmic patterns properly bearing classic rock flavors and in general guitars take the expected spotlight delivering multiple compelling licks and solo that will certainly please the listeners.

With a faster tempo “Time Knows When It’s Time” offers some turbulent rhythmic segments but the main melodies diligently follow ‘80s melodic rock templates with the addition of easy big choruses and the whole song ultimately relies on the elegantly precise guitar work.

“Anchors Away” becomes more melancholic with a sumptuous atmospheric background on which guitars and vocals will craft classic catchy melodies with remarkable ‘70s nuances and the polished melodic guitar solo definitely matches such mood.

The instrumental track “Salvation” showcases higher complexity starting with soft atmospheres which introduce a series of highly entertaining guitar melodies that effortlessly express somber emotions as well as classic hard rock flavors as Schenker focuses on his renowned style to deliver impressive progressions.

“The Last Supper” offers another compelling moment with a widely accessible mix of melancholia infused melodies and crunchy guitar riffs that hold a nostalgic ‘80s classic rock mood favoring slower rhythms spiced up by a dazzling guitar solo.

It would be hard to describe this album as groundbreaking but undoubtedly “Resurrection” is an explosive collection of songs designed to please Michael Schenker’s devoted fans and in general classic melodic rock lovers as it contains many catchy classic vibes perfectly executed according to Schenker’s signature fancy style.

Mastermind Tuomas Holopainen and Troy Donockley of Nightwish joined forces with popular Finnish singer Johanna Kurkela to create the new music project Auri and the result of their shared passion for music is the cinematic self-titled debut album.

At the very first listening “The Space Between” will introduce the dreamy themes of this album as a poetic mix of understated symphonic arrangements, modern electro elements, traditional folk instrumentation and sophisticated strings melodies create an artsy sonic background for Johanna’s radiant voice.

The vibrant folk approach of “Skeleton Tree” becomes particularly powerful as multiple traditional instruments create multifaceted rhythmic patterns holding an archaic essence but also undeniably catchy beats that often lead to more melancholic atmospheric moments.

On “Desert Flower” strings hold a prominent role impeccably creating a particularly soft melodic flow constantly enriched by minimalist acoustic passages and a soulful vocal duet, consequently the whole song has a relaxing effect on the listeners feeling like a dreamy soundtrack.

Focusing greatly on Johanna’s wistful vocals “Night 13” initially relies on melancholia infused arpeggios and subtle atmospheric layers but will soon embrace a smooth rhythmic crescendo adorned by magical folk nuances.

The soothing sound of waves surrounds “Aphrodite Rising” as keyboards create intricate atmospheric arrangements bearing a luminous positive energy always amplified by elegant strings & piano melodies that naturally depict delicate soundscapes while harmonious minimalist guitars add easy rhythmic dynamics.

“Underthing Solstice” begins with graceful strings soon joined by traditional folk instrumental passages that enhance the song’s inner melodic finesse yet the main focus is Johanna’s emotive vocal delivery that effortlessly matches the gracefulness of the vibrant violin harmonies.

Tuomas has described Auris’ music style as “Rabbit Hole Music and Celestial Metal” and certainly this matches the cinematic fairytale mood of the whole album which also relies on an enchanting blend of Celtic and folk flavors that always evokes peacefully ethereal soundscapes.
Auri

Psychedelic power trio Earthless has already a dedicated fanbase that will inevitably grow with the newest long awaited full length entitled “Black Heaven” which definitely follows a stoner rock music pathway similar to previous albums but with the addition of a lot of vocals, therefore what started as an instrumental band is evolving into an even more intriguing entity.

With the album opener “Gifted By The Wind” Earthless immediately embarks on an impulsive wild jam that will drag the listeners into a psychedelic whirlwind evoking classic rock nuances spiced up by the band’s artistic freedom that allows a strong catchy melodic up-tempo structure accompanied by Isaiah’s rocker style vocal delivery, yet the guitar acrobatics that effortlessly shift from chunky riffing to utterly hypnotizing solos often loaded with wah-wah are the absolute highlight of the song.

Eerie noisy guitars create a suspenseful mood on “End To End” and introduce a power jam focused on the inflamed tonalities of authentic stoner rock mood fueled by spaced out melodic moments and variegated groovy dynamics that always provide the perfect rhythmic backbone for an exciting dosage of trippy experimental guitar solos.

Prepare to be dazed & confused with the trippy sensations brought to you by “Electric Flame” which sets the mood with gritty guitar riffs that gradually build an entertaining groove again accompanied by Isaiah’s confident vocals. The powerful drums & bass backbone also showcases ‘70s classic rock nuances while the multiple outstanding guitar solos focus on channeling full blown psychedelia infused melodies and endless shredding that will make you feel dizzy.

The title track screams classic desert psychedelic rock and takes you back to the trippy old fashioned days with an enticing series of guitar driven grooves full of raw rock riffing and irresistible beats while Isaiah’s lead guitar work is simply impressive and never fails to entertain the listeners with delicious fuzzy momentum and refreshing creative force as he keeps on tearing it up with intense spontaneity and sonic variety that could go on for hours.

Undoubtedly Earthless deserve to be recognized worldwide as Isaiah Mitchell demonstrates his singing abilities and once again proves to be a guitarist of rare talent & creativity in modern times therefore “Black Heaven” is most likely the album that will gather a wider audience and solidify the band’s status in the current music scene.
Black Heaven

The return of industrial pioneers Ministry could not be more explosive as with a revamped line up and intense creative force the new album “AmeriKKKant” aims to leave an indelible mark and Al Jourgensen fearlessly delivers a strong message in the midst of the current political chaos and inevitable decline.

“Twilight Zone” could be the right post-apocalyptic soundtrack with loads of creepy, unfortunately familiar, samples layered over a slower borderline dramatic rhythm filled with simple melodies, industrial synths noisy accents and harsher guitar riffs while the southern rock style harmonica doesn’t even feel out of place.

“Victims of a Clown” is definitely self-explanatory as this track aptly showcases a slightly carnivalesque mood enhanced by creepy background sounds but there is a very dominant melodic streak that maintains a rather slow groove running through raw guitar riffs and furious vocals until the emergence of a final more aggressive and faster thrash style blast.

With nightmarish energy “We’re Tired Of It” channels pure untamed industrial metal fury full of enraged screams, courtesy of Burton C. Bell of Fear Factory, and old school speed/thrash guitar driven dynamics clearly showcasing a more violent approach that calls for serious stomping screaming ‘we’re tired of it’ in loop.

On “Wargasm” the industrial aspect is generously amplified with loads of samples & synths that dominate the song’s structure and ultimately create a darkly oppressive mood while guitars surely add a moderate dosage of distorted rage.

“AmeriKKKa” gets slower again to build up a suspenseful mood where the expected overdose of wrath comes from frustrated vocals while guitars offer several entertaining melodic moments as well as rhythmic segments showcasing edgy polychromatic industrial textures and aptly apocalyptic grooves.

The lyrical concept of “AmeriKKKant” is rightfully angered and is certainly matched by the belligerent industrial roots of Ministry’s musical direction therefore this album definitely deals with serious matters yet musically it might be considered one of the most fun albums of the year.
AmeriKKKant [Explicit]