Mausoleum Gate
Into A Dark Divinity
Cruz Del Sur
Offering up another classic dose of doom and heavy metal, we have Finland’s Mausoleum Gate with their sophomore release, Into A Dark Divinity. These guys pride themselves on psychedelic seventies influences, folky acoustics and soaring vocal aesthetics. Keyboards are especially useful throughout the disc, especially when the band wants to prog-jam and turn what would normally be four minute cuts into nearly eleven minute epics, as a piece like “Apophis” showcases. Even opener “Condemned To Darkness” offers a slight dose of smooth jazz, bringing a sort of Pink Floyd landscape to the mix, which will also sound right at home for fans of Camel or King Crimson. These guys very well might just be as proggy as they are committed to old school doom/heavy metal, which is still done justice in shorter tracks like “Burn The Witches At Dawn”, “Solomon’s Key” and “Horns.” Neither of these even approach the five-minute mark, allowing the album’s balladic title cut and prog-jam “Apophis” enough breathing room to stand out amongst the rest. It might have been easier or more expectable for the band to release an entire album of ten minute plus epics, but I’m glad that they didn’t, as it shows the versatility of an act that doesn’t have to reply on it’s space-jammy antics to get your head turning. But a little bit of space jam is nice every now and again. If you’re a fan of heavily keyboard-laden heavy/doom, then I think you’re going to love this, because the keys really seem to be the core element of the performance aside from the shorter cuts, which blaze with their own level of fire. Towards the end, the disc starts to sound a little bit more spatial than it’s demonic cover might enforce, but I do see planets swirling about on said cover as well, so perhaps that’s not too far off.
(6 Tracks, 41:00)
8/10
Hands Of Orlac/The Wandering Midget
Split EP
Cruz Del Sur
Originally an Italian, but now Swedish doom metal act; Hands Of Orlac are the first band up for observation on this little split. The disc starts out with a whopper called “Curse Of The Human Skull” where we are greeted by the melodic harmonies of The Sorceress. She serves up a memorable set of pipes as well, and I kind of mean literally – as she also plays a flute! The flute actually works well for the band, because it adds a slight folk touch to the performance that feels alien in a good way. This isn’t a “folk doom” sort of band, rather they are a traditional doom band with a little something extra. The seventies influences are also very thick on this one, showing that Hands Of Orlac are a definite blast from the past. On the opening cut, we’re also given a rather sorrowful take to the flute which definitely sticks with you. This doesn’t feel happy or joyful, it’s kind of dark and melancholy; which I feel goes perfectly with the music. As the tempos drastically transform to enter a supreme level of creep factor, I find that the performance here is unmistakably horrifying. Rather than the tufts of heat and smoke that we get with several doom bands, I wouldn’t consider Hands Of Orlac to be your run of the mill jam band. Even the slight bits of jam here have a purpose, leading right up into the frightening keys that bring us into the next exhibit. “Per Aspem” a slight node of atmosphere. “From Beyond The Stars” feels a little less creepy and more like a seventies jam. That’s a bit disappointing, but I guess not every track should sound like a horror film. I will say that the vocalizing offered by The Sorceress here (in laymens terms, The “ahh, ahh, ahh, ahh’s”) definitely sticks out, so there’s definite promise here. “Ad Astra” ends their side of the disc with creepy keyboards, not unlike that of Gothic organs. I’m looking to see if Dracula himself might be behind me.
The next act I have here is The Wandering Midget, a Finnish doom act that have been around since ’05. They seem to have rebranded themselves this year after going on a temporary hiatus in ’13 with what Metal Archives seems to consider a strong offering (93%) in ’12’s From The Meadows Of Opium Dreams. As the track begins, we are treated to some trippy effects and a horrific scowl, which are more than likely products from band mastermind Samuel Wormius (Battlegoat, Outlaw, Rautavaris). Thomas Grenier performs the bass and some backing vocals as well, though his boulder-like bass riffs cannot be mistaken and are literally as heavy as hell. Doubling that with the drum efforts of Jonathan Sprenger (Outlaw) we’ve got a rather strong act here. Wormius unleashes his guitar in more than a few areas, as he really belts it out (vocally) on this nearly twenty-minute cut. As you might expect, this is also the only cut on the split from The Wandering Midget and I’m perfectly fine with that. It delivers everything that we need to know about The Wandering Midget, like how amazing they are – for starters. Obviously, this is more towards the level of Candlemass or Cathedral than the seventies influences of the previous act, but these influences are done justice. The cut features gothic organs as well, though it manages to let loose so much firepower that the end result is uncanny – it’s just good doom, and it doesn’t take a rocket scientist nor two or three detailed paragraphs to spell that out for you. Do you like doom? Do you especially like doom when it sounds like good old traditional doom, free of nuances? Then you’ll love this band. It’s as simple as that.
(5 Tracks 40:00)
Hands Of Orlac 7/10
The Wandering Midget 7/10
Total Score: 7/10
Argus
From Fields Of Fire
Cruz Del Sur
Pennsylvanian heavy/doom metallers Argus need no introduction and their previous album, Beyond The Martyrs (2013) still ranks with a 94% on Metal Archives (4 Reviews). So with that high of score, why wouldn’t From Fields Of Fire be astonishing to the senses? Spoiler Alert: I think the disc is actually even better than their last, even though it ranks with a 91% (1 Review) on Metal Archives. Though from what I’ve heard, I may have to give this one an even higher rank that that of a 94%. So what am I getting at here? Is this a perfect album? Well, in my eyes, it certainly seems to be that way. Though before we get to that, let us rundown a few changes.
First of all, this is the first band without previous the band’s previous frontman and founding member, Erik Johnson. In his place we have Justin Campbell (ex-Come Summer, ex-RATM2) and Dave Watson (ex-Grave Desire, ex-Icarus Witch) on guitar duties, to which they both perform beautifully. There is no single shortage of great riff melodies to be found here, and Butch Balich still belts it out with the very best of them. And I do mean the VERY BEST of them. The man can not only sing, but he can sing doom metal in such a memorable manner that you just can’t help but notice. Though we knew this already. As far as the solos are concerned, this album is chock full of them, even though a few sections might be cut too soon for my tastes. Though it’s their approach to progressive riffing (which reminds me quite a bit of Slough Feg) that really seems to fill that hole for me. As I said, Argus create memorable riffs on this album and that isn’t something you hear all that often in modern metal. I like riff bands, bands that actually go out of the way to write songs, rather than to copy something that has already been done and put their stamp on it. Sure, once can say that doom is the oldest genre in the game, but it’s still one of the most important; regardless of how much technicality and death metal that you’d like to throw together. It is worth noting that a few unexpected tremolos are featured towards the end of opener “Devils Of Your Time.” This is not an approach that I’ve heard often in doom metal, especially the traditional type. That being said, parts of “Infinite Lives, Infinite Doors” can sound like rather thumping power metal, so there are a great deal of unexpected influences in play here. I’m actually reminded of Brainstorm due the potent, thrashy thump. Add a breathtaking solo to that, and I’m already sold. But wait, there’s more!
The album also features two incredible cuts one right after another in the form of “Hour of Longing” and the immeasurable “No Right To Grieve” which I’d consider to be an absolute monument of emotional grandiosity. I was going to Pallbearer for doom album of the year again, seeing as they had made another this year; but I wasn’t all that pleased with it, finding Argus completely crushed them this time around. Balich’s vocals are nearly inhuman on these cuts, bringing a sense of true emotional passion that comes off unlike very few acts in this genre. After hearing “No Right To Grieve” it more or less has already solidified in your mind that this album is an incredible effort and worthy of being considered one of the best heavy metal albums of the year. In my book, it most definitely is. If not for the memorable riffs, then for the memorable guitar solos. If not for the memorable guitar solos, then for memorable vocal performances. There are so many great moments in this album, and I daresay that I believe it will floor you. I will say that aside from the moments of tremolo and slight power metal thump, it doesn’t reinvent the genre; but I don’t believe that Argus set out to do that. However, it manages to showcase one of the single best doom metal performances that I’ve ever heard and I’d have to recommend it simply for that. It’s quite easy to see why The Grim Tower highly recommends Argus’s From Fields Of Fire. I highly doubt this year, that you will find a doom metal disc with more potency and emotional prowess than this one.
(9 Tracks, 54:00)
10/10
Aurelio Voltaire
Heart-Shaped Wound
Projekt Records
Aurelio Voltaire has been releasing increasingly more mature work as of late, which is solidified at this level with Heart Shaped Wound. The album is actually billed as a sequel of sorts to Boo Hoo! which was one of the first Aurelio Voltaire albums that I had heard growing up during those “New Sound Of Goth” days. That record however, was a bit more melancholy and not quite as upbeat as this one, which is certainly not a bad thing. I’d definitely consider The Cure meets Sisters Of Mercy sound more than fitting, with several memorable cuts to be found within it’s hour-long playing time. We begin with the surf-rock of “The Projectionist” in which the violins handle the mood quite well. It’s a bit of a dancey track, with a meaningful metaphor in the lyrical matter. “Human Nature” actually feels touched by a little bit of early U2 or REM. The new wave styled guitars bring a decidedly different approach to what we know from the artist, albeit in a satisfying way. “Leaves In The Stream” continues the guitar-influenced sound, with an opening solo that makes me questionably wonder… “Is he actually going to go heavy during this one?” While there is definitely distortion used in the track, it retains a jazzy nature as it incorporates a male/female duet and some unexpected metal riffs. Yes, I am being honest here, those are metal riffs. The symphonics in the background also help the mood of this piece, seeming like a Baroque era meld of vaudeville and heavy metal. I never would have expected a heavy song from Aurelio Voltaire, but it works. This is definitely a standout for me.
The mood changes with “Butterfly” which brings in another male/female vocal duet. It’s a slightly melancholy, yet rather beautiful piece. The piano flows well with the violin and light pianos, making me think of an early ’60s rock piece. “In Disguise” brings back that signature Aurelio Voltaire sound, as gypsy-folk combines with carnival synths to show us that despite all of these unexpected changes, this is still the same Voltaire we knew before he added the “Aurelio” to his name. Without a doubt, this is not only his signature sound, but truly signature Aurelio Voltaire. We could go all of the way back to The Devil’s Bris for this one. Next we have, “The Ones Who’ve Hurt You” which is a rather dark and passionate ballad. Voltaire’s approach here is nothing short of heart-wrenching, it can at often times be a bit difficult to listen to, especially for those who can identify with the lyrics. The next one is actually a cover of the classic “Hallelujah” which I would have never expected from this guy in a hundred years. I think some of the lyrics might be a bit different though. Oh, yeah. They’re definitely different. A background choir is actually utilized here, along with a church organ; so it is meant to sound a little authentic. But that’s not the real shocker, as “The Necropolis Of Former Lovers” doesn’t even sound like Aurelio Voltaire at all. This is about the closest that he’s gotten to emulating The Smiths or The Cure, especially in those synths and dreamy riffs. What’s more, is that there is a slightly different mix of this track located at the very end as a bonus. The emulation is however perfect, and it stands as one of Aurelio Voltaire’s best moments.
“The Folly Of Love” is a piece that utilizes it’s jazz and acoustic goth rock elements perfectly. Lyrically, it’s a beast. I think that many of us can relate to this one, myself included. The horns and saxophones are equally as beastly, crafting yet another real hit. This one’s going on my playlist for sure. The last song here is called “A Romantic Guy” which I’d consider to be rather jaunty. The lyrical matter is also something I identify with, having been with some of the kinds of people mentioned in the song. Nope, I don’t have time for that shit either. The bonus mix of “The Necropolis Of Former Lovers” definitely creates more of a foreboding nature to the piece, though it keeps airy. This is considered the “Midnight Mausoleum Mix” and I’d certainly consider it that. I daresay that the vocal performance sounds even better in this mix, and it is in by no means a cast-off.
Aurelio Voltaire decided to pull off something completely different and out of character this time around, opting for something that feels less like what we’d expect and more like those that inspired him. The end result is nothing short of memorable, even though it could be an arguable emulation. Even so, Heart Shaped Wound may very well be one of the best album I’ve heard from the man since Almost Human. The approach to heartbreak here is far more mature, and I guess looking at it through the eyes of an older man really seemed a bit more identifiable for me. I saw myself in a great deal of the lyrics here, which is one reason I am seriously considering a silicone doll as are many other men, as I’ve seen from recent eBay purchases. Hell, eBay even has an entire section dedicated to these things now, for men and women too, of course. Not all of us WILL find love. That’s the clincher. No matter how many people say, “Oh, you’ll find the right person eventually” that is actually nothing more than wishful thinking. It’s like if someone said, “Oh, I’m sure you’ll be a millionaire someday.” Obviously, that just doesn’t happen either. You have to think about it like this: How much of other people’s shit can you actually deal with on a daily basis? I hear constantly about couples that fight all the time, yet are still together for the kids. I hear constantly about women going through custody battles and men who just leave abruptly with no intention of ever being a father to the woman they knocked up. Also keep in mind that you never know who it is that you’re really dating or are in love with, and personalities change like the wind. I’ve known couples that have been together for a decade and then split because their personalities changed so much. Robots are obviously the next venture for human relations, so I suspect that much of the reality that we’ve observed regarding this subject will change entirely. Unless we end up fighting them for out survival, as that is ALWAYS a possibility. In any case, definitely pick up Aurelio Voltaire’s Heart-Shaped Wound as it is one of the best releases he’s ever made in my opinion. Though it isn’t silly, it is passionate – which is an area in which the man has always been proficient.
(11 Tracks, 54:00)
9/10
Ben Blutzukker
Riptide
Independent/Self-Released
A mixture of black, death and thrash metal, Ben Blutzukkker’s latest EP is recommended for fans of Abbath, Snowy Shaw and Satyricon, all artists which I’ve enjoyed. The EP actually comes in a weird bonus format aside from download, stream and CD – a mini LEGO figure. This guy looks pretty cool too, and he comes with a guitar. Interesting marketing gimmicks aside, there’s definitely a classic black metal feel to the music here and I think that fans of latter Celtic Frost/Tryptikon are going to find something here in the vocal approach. The album’s title cut features a slew of fierce groove thumps, fronted by Blutzukker’s harsh vocal rasp. His rasp actually feels closer to that of Satyr, in that you can actually understand it. I’m also reminded a bit of early Venom and the new Venom Inc, which I’ve been jamming as of late. There are some slight changes in tempo here, which are appreciated between the tufts of groove. “Stab by Stab” is also groove-laden, which makes me consider this record more of a groove-black performance, which doesn’t upset me any bit in the least. Parts of this track really gelled with me, especially the chorus riffs, which set the whole thing off. It lumbers a bit, but that’s the point. The next one we have is “Six Sec Sex” which is an Illwill cover. There’s a light moment of air in the piece, which I wouldn’t haven’t expected. Some solos are also brought to form here, which is always appreciated. “Bloodlust” is another slow-kill, though it does have some strong melodies here and there before the drumming starts to change slightly to offer a bit more thunder. “Loose Ends” sounds like an odd mix of Mega Man melodies and black metal, which has me a bit confused. Towards the end however, it starts to really gain some fire. I wish the whole record could have had that going for it.
I have to be honest. While there are several great ideas utilized here, Riptide seems to drone and lumber a bit more than it needs to. Though I understand the influences that went into this, I was never the hugest fan of Tryptikon or latter era Celtic Frost, which is what I often think of as I was listening to the disc. As a matter of fact, it droned so much that I found myself slightly flipping through a track or two during the second listen. Suffice it to say, that while Ben Blutzukker does have some potential, this record was just not my cup of tea. So perhaps you’ll find something in it.
(5 Tracks, 20:00)
6/10