Spectral Lore/Jute Gyte – Helian (2018) – Jute Gyte released yet another recording this year, this time as a split with Spectral Lore. The interesting thing about this album is that they’ve done the same song, or rather; two parts to it. Jute Gyte’s performance here sounds bizarre, about as bizarre as one of those bizarro fiction erotica books by Dr. Tingle that are selling like mad for some reason. Though I would gather that the approach here is far more than “I Discovered A Bitcoin In My Butt” and feels a bit more intelligent, despite what some will see as a merely out of tune performance entirely. Not everyone is going to get Jute Gyte’s weird approach to black metal, and this particular track is just one of those examples. That isn’t to say that the performance isn’t exciting, because it most certainly is – this rendition of “Helian” sounds more like “Hellion” as it reaches it’s later section and that should appeal to a vast majority of listeners looking for the sound of complete and total fucking chaos.
When Spectral Lore taking a much different approach to the track, we are placed into a more atmospheric tone, with slightly jazzy guitars and some howling winds in the background. It’s meant to be taken at a drone level and feels like a sort of dark meditation, until about the halfway point, where is later becomes more of an extreme metal performance. When the track reaches this point, it tends to follow a similar style to Jute Gyte, but far more restrained and a bit more accessible to listeners. I’m not really sure who “did it better” in this case, but there are strengths in both the Jute Gyte and Spectral Lore versions of this track. If you prefer a more outlandish and almost incomprehensible rendition, go with Jute Gyte. If drone with a bite is more your thing, then go with Spectral Lore. I think you’re going to wind up with an interesting observation regardless, but both cuts feel more like science projects than anything else – exercises in music theory that might appeal to the technical crowd more than others. Though that isn’t to say that they’re not unique or interesting, just that they might be a bit much for some of us.
(2 Tracks, 43:00)
7/10
Metaprism – Catalyst To Awakening (2018) – Having just released a few days ago, the sophomore album from UK melodic metal act Metaprism seems to remind me a lot of Amaranthe, which I thought was a bit surprising. Mixing power metal segments with bits of melodeath and female vocals is definitely the same shtick Amaranthe used before the big change into full-on pop metal, most evidenced by the band’s recent album. While female vocals aren’t the only vocal approach used here (we do hear some male clean and harsh vocals as well – again, quite like early Amaranthe) it can often sound like a mixture of Soilwork and Dark Tranquillity with a clean female element – again, like Amaranthe. That isn’t to say that some of of the melodies aren’t inspired, that the heavy sections aren’t bustling with rage and that the record doesn’t carry with it the spirit of melodeath, as it definitely does all of these things and then some. Catalyst To Awakening can even get quite furious at times, which I don’t think a lot of listeners will expect. There are definitely poppy female vocal elements in play, but judging from a few of these cuts, you’re getting a far more intense experience than you’d expect. It sometimes feels like there are four vocalists in the room at times, which can leave little room for air. I learned on my band’s forthcoming that songs need room to breathe, but when you’re going into full-on groove explosions as can appear on this album, such behavior is a bit more tolerable. Especially when these groove moments are followed up with thick solo efforts to differentiate them from becoming too monotonous. The band are set to go on a European tour with Iced Earth (who I’m becoming increasingly concerned about, considering the band’s odd decision to go back and re-record at least three of their old albums) where I think they will become a major standout. If you like a little bit of power metal with a clean male and female vocal approach thrown into your melodeath, then you may want to check these guys out. I think there’s something worth exploring here, and it’s a bit more than I had with my Lacuna Coil days. Not that I never liked the band, but they were never as heavy as I wanted them to be. I found that replacement in an act like Metaprism, which I think could grow to be a household name in the coming months.
(11 Tracks, 47:00)
8/10
Morvigor – Tyrant (2018) – I’ve listened to the sophomore from these progressive black/deathers twice already and I can say that it is indeed, quite refreshing. Though not too out of caliber for this kind of music, the band offer more than common-fare black metal, the piano compositions providing a wonderful added touch to the recording. It’s truly blunt to say that the album offers black metal with touches of prog here and there, which keeps many of the songs from flowing in one ear and out the other. In an era where black metal can become rather boring and uninspired, it is good to see a band that has absolutely nothing to do with the frozen north (they’re Dutch) manage to exemplify the genre in such a way that I feel is a necessity. No, Morvigor aren’t doing anything that you haven’t already heard before, but Tyrant is the kind of record that you’ll want to have in your collection among similar albums that you’ve enjoyed in that same style of black metal. If we can even really call it that, because sections of the disc certainly deviate from the norm – yet, I appreciate and welcome those deviations. Again, this is something we need a little bit more of, rather than bands who simply feel that blasts and the same sets of folk inspired tremolos with no real passion behind them (misanthropy for the fucking sake of misanthropy) are rule of law, raw and kvlt. Morvigor might not even classify as kvlt, but they make for a fine listen and manage to channel the spirit of black metal through a less formulaic manner that I found rather pleasant. Again, it’s not anything that we haven’t already heard before, but it’s still worth checking out.
(8 Tracks, 47:00)
8/10
Katarina Gubanova – Replays by Miss Key #1 (2017) – Katarina Gubanova is a pianist, and while we don’t usually cover piano music, we do cover quite a bit of rock and heavy metal. So similar to the string renditions of Tool and Rammstein classics, we now have Guabnova’s first release, a selection of slightly heavier tunes that sound much differently on the keys than they do through the guitars, drums and vocal approaches that we’re used to. Best of all, her compositions sound brilliant and even romantic, which might make for a great night on the town. It’s doubtful that your partner would even know it’s the music of thundering acts like Amon Amarth, Satyricon, Arch Enemy and more that they’ll be absorbing while immersed in good wine and conversation. Amon Amarth’s “Guardians Of Asgard” opens up the album with a rather Wagner feel, flowing downward into a rather melancholy and quite beautiful mid-section. Arch Enemy’s “No More Regrets” which sounds a bit chaotic, despite the amount of melody on display. In a sense, you can almost feel the classical composition behind the Amott’s playing here which works to even further tie extreme metal compositions to that of classical. Satyricon’s “Phoenix” follows a more melancholy vibe, as it is one of their most obtuse tracks, hardly sounding like anything we’d have expected from them. It was my favorite track from that ill-fated previous album though, so at least it’s been done justice here. The next one we have here is Slipknot’s “Vermilion Pt.2” which is definitely one of my favorite tracks from that experimental era of the band. Again, we’re getting a largely brooding feel from this one, yet that can also come off quite calming, depending on the listener. The last one we have here is Volbeat’s “For Evigt” which I found to be the most upbeat of the compositions here. It almost sounds like something you would hear in a children’s show at times, feeling overly jaunty and almost out of place in terms of mood. Replays By Miss Key #1 is an oddly unexpected disc that I find would add a heavy metal edge to all of your fancy dinner parties. Play it at your next big celebration, and I strongly doubt that those unfamiliar with the genre would even be aware of what has been translated here.
“Might I say, these are splendid compositions. Though I don’t recall ever hearing them. Would you know the composer by chance?”
“Oh sure. That’s Katarina Gubanova, and she’s a metalhead.”
(5 Tracks, 23:00)
8/10
Dinosaur Eyelids – Left Turn On Red (2018) – Immediately after reviewing that Transylvanian Stud record, I was getting a lot of requests for similar sounding projects. This was to be expected, however these bands definitely need the promotion. One such act is Dinosaur Eyelids, hailing from New Jersey. According to the concert flyer that the band enclosed (thanks, guys) their motto is, “We May Never Be Rich, But We Will Always Be Loud.” It’s a good motto for these sludgy doom-rockers, who mostly write fairly short compositions with the exceptions of opener “Day Zero” and “L.A. Lady” which are still farily into the four-minute mark. I found it interesting that the last four cuts on the album never moved past the three-minute mark. I guess this makes it easier for the band to get a greater variety of music in a fifteen to thirty minute set. As far as the sound goes, Kyuss, Floor and perhaps even Helmet seem to have a place here within what I would definitely consider a powerfully warm (the riffs are so fuzzy that you could use the disc as a heater, should yours go out during this winter season) performance that just wants the listener to rock out, more or less. “Basilone Bridge” immediately channels Soundgarden in the first couple of riffs as well, so there’s that. The band’s frontman Evan Staats has a rather glassy voice which I found a bit aggravating when I first jammed the disc from my mobile app, Pulsar – but now that I’m getting another listen to the record on my tuned Skullcandy laptop speakers (hey, don’t talk shit about my Skullcandies) I actually find his vocals to be quite tolerable, even enjoyable. The man definitely has a feel for melody and the lines are delivered with plenty of passion. As for personal influences, the band cites Black Sabbath and Soundgarden as you might expect; but also The Replacements and Ween, of which I’ve never heard. That also might be why the stark change in sound as we get into “Neshanic” and “L.A. Lady” which definitely bring us a different feel that the first couple of pieces. It basically rolls from the heavy territory right into that of alternative rock that I think The Edge down here would play in a heartbeat. Not bad, either. These guys claim to be real rock and roll, which I’ll certainly vouch for. That doesn’t always mean heavy, as ballad “Whiskey” showcases pretty well with acoustics and a harmonica. It is a bit of an unexpected segue, but I can’t blame these guys for deviating from the style of their first three cuts which would have made for a boring and less varied release. That doesn’t surprise me, seeing as Turn Left On Red is the band’s third full-length. Guitarist Patrick McKnight proves his worth in versatility here as well, with a good mix of rock, heavy metal and overall psychedelia that I feel should be on the rock radio right now. According to my press info, most of the focus tracks here are all FCC approved, which means that practically any radio station could play them, and they’d hit pretty hard at that. The problem with our local radio station here in Arkansas, is that they seem to think that the same few hard rock acts played over and over will appeal to people to the effect that they’ll never get bored. If it’s not nineties nostalgia, it’s modern acts like Five Finger Death Punch and Volbeat who get played almost endlessly. Then they have to remind us of Nirvana, Soundgarden and Alice In Chains, while bringing up Linkin Park and Disturbed classics all in the same playlist. As we’re drowning in all of this nostalgia, people are literally forgetting that new music in the rock genre is still being created. Though this could also be the reason why people are changing over to satellite radio, which is little better to be honest – I don’t hear as many obscure acts as I would have liked. With ten or twenty new albums releasing almost every twenty-four hours, there just isn’t enough promotion going around for all of these acts. It’s just an influx of music that no one in their right mind could ever completely cover. That being said, Dinosaur Eyelids definitely have what it takes to rock, even though their fans and certain sections of the music industry are already aware of that. What’s peculiar to me, is why I haven’t heard of them before now?
(11 Tracks, 35:00)
7/10
Starsoup – Castles Of Sand (2018) – There was a time when I enjoyed the massive variety of music bound within Starsoup, but Castles Of Sand is more or less where that enjoyment hits a wall and backs up completely. While I do think that the band has finally found their own unique sound, I can’t say that I’m entirely happy with the way in which these tracks were ordered. Yes, there are heavy songs on the disc – about four or five of them. The album even begins with the hard rock and progressive mixture of “The Catcher In The Lie” but then sends us into the alternative rock of “Into The Woods.” That isn’t to say that the solo here isn’t breathtaking, but it’s certainly a little more cheery than I would have expected. “Brother’s Plea” works better at mixing the prog with the overall thump of the band, complete with a beautiful flute section. “Your World Is Dead” starts out light, but seems to add a few touches of guitar based bravado in areas, which works for it. The song is also based on The Dark Tower, which I gleamed almost immediately. “Rumors Of Better Love” sounds like the band took a little from Poison and certainly doesn’t hit for me. “Escapist” is the last heavy cut here with vocals, complete with a strong chorus that works well enough for it. “Winter In Shire” is a puffy little piece that feels like a cross between folk music and a fifties love song. It’s a bit of an odd note, but this is Starsoup, so that is to be expected. Thankfully, we have the majestic epic “Castle” to balance things out, yet it also provides our final heavy note on the disc. Yep, the rest of the album is more or less made up of lighter and more somber or romantic tracks. As I stated, this track is a definite epic and shows the kind of sound and style that I think would really set these guys off into the mainstream. With a powerful guitar and synth performance, this is the very definition of a great instrumental. Though “The World That Has Moved On” is also based on The Dark Tower, it was hardly what I would’ve expected from the band at this point. Or maybe not. Hard to tell. In any case, I can commend the great duet between male and female vocals here and feel that it is a rather strong piece in retrospect. After that though, we are greeted by “Light Up The Stars”, “Moon On The Shore” and “Road To Sunset” which are all lighter cuts. As in, complete removal of thumping bass riffs. From lighthearted radio rock we move into a nearly ambient piano composition and then move into what makes me think of Elton John or The Beatles. If nothing else, Starsoup have proved their diversity on this release, which isn’t bad – it’s just not quite to my taste. Castles Of Sand is definitely more accessible than previous releases, but I’m not exactly digging it as much as I’d like. Again, this is more or less where I hit the wall when it comes to these Russian experimenters and I feel that this a bit of an odd direction for the band. Still, I can’t help but wonder what’s next.
(12 Tracks, 50:00)
7/10
Ignitor – Haunted By Rock N’ Roll (2018) – Hailing from Texas, this long-running traditional metal act (which has had several line-up changes) is now made up of guitarist Robert Williams (Witches Mark) and bassist Billy Dansfiell (Agony Column) yet still features Jason McMaster (Watchtower, Dangerous Toys, exc) on vocals. I’ve always been a fan of McMaster’s vocal performances and this is no different. For a band that have been around for over a decade, there’s no stopping them at this point. It’s interesting that the sound classifies as heavy metal, but the album refers to rock n’ roll, quite like we’d expect from Dio when he fronted Rainbow. That being said, Ignitor are not Rainbow, but they seem to have that essence mixed in with the thrash and hard rock riffs. Williams shows that he can play with the best of them, pumping out several memorable solos when given the chance, especially when we have a song like the title cut where the worlds of rock and heavy metal seem to clash in a way that I found ultimately satisfying. I won’t say that the disc is heavily thrashy, but there are definitely some thrash to be had here, most certainly on the disc’s closer “Hung, Drawn and Quartered.” I also get a heavy Sanctuary vibe from the disc in addition to the obvious latter-era Priest semblances. Basically, if you name it and it was around in the early to late eighties, you can find it here. Haunted By Rock N’ Roll sounds like a tribute to the golden age of metal, and it’s done with so much finesse and attention to detail that I think you’d have to be an idiot to miss out on it. I mean, this is the genuine article – this is what metal is all about in it’s most refined sense. It doesn’t contain harsh vocals, synths, blast beats or breakdowns, but rather works as a wonderful education program to show the younger generation what this music was like during it’s epoch. There isn’t a lackluster song to be had here, which makes it an absolute must for all fans of true heavy metal might. If you want to keep it true, you can’t go wrong with this one. You just can’t.
(9 Tracks, 44:00)
9/10
Vexes – Ancient Geometry (2018) – I wasn’t exactly sure what to expect from Vexes, so I was ultimately ready for anything. Though as far as I can tell, the band are utterly obsessed with Deftones and the frontman with Chino Moreno. This isn’t a bad thing, as Vexes more or less channel Deftones through a more modernized core flavor, which will certainly appeal to more modern listeners, as well as current Deftones fans. Yes, if you already dig Deftones and are waiting for a new disc, you can pick this one up now to satiate your cravings. Vexes generally sound like a Deftones cover band, but in the good way. I wouldn’t mind seeing these guys open with the genuine article, and it is good to see that such a memorable act in the Nu-Metal scene as Deftones managed to live on through other artists in this modern scene. Has anyone gotten the record over to Chino yet? I’d honestly be interested in his thoughts towards the disc, and whether or not he considered it a fine tribute or just outright copying. Even if the latter was true, Vexes are not a Chinese bootleg version of Deftones and feel like they’ve actually been able to channel the groove and passion that comes with a landmark Deftones release onto this record. It is kind of funny though, as my press release for this one didn’t even seem to mention Deftones as much as it did experimental. Would’ve been easier to just say, “hey, this one is for Deftones fans!” and leave it at that. What is also interesting, is that the song titles seem like the kind you might find on a Deftones disc, like “Terra”, “Lush”, “Plasticine” and “Meridian Response” among others. The band also throws a rapper (Mikey Caravajal of Islander) into the mix with “No Color” which makes sense, seeing as Deftones certainly incorporated rap with “Back To School.” In all honesty, I’m not going to fault these guys for taking from the Deftones playbook, because (aside from being able to play a drinking game while reading this observation) it’s obvious to me that the material has been done justice, and to be completely fair – not everything here sounds completely identical to the Deftones, just the majority of it. Even so, that to me is hardly an issue. If I were to pick up this one at the store, I’d at least know that I was getting a finely crafted regurgitation of a sound that I already like, along with some new approaches that I wouldn’t have expected and might also enjoy. With a disc that comes in at a clean forty-five minutes, I really don’t think you’re going to be able to find a better representation of this sound and style aside from the genuine article, which won’t be around forever. Give these guys a chance, they’re definitely doing something right.
(10 Tracks, 45:00)
8/10
New Years Day – Diary Of A Creep EP (2018) – Though I’m not a big fan of the female fronted pop-metallers, this is a covers album and I generally enjoy metal covers. Five tracks are on display here from artists like No Doubt, Linkin Park and Pantera, oddly enough. I have quite a bit to say about that one as well, but we’ll get to it in a moment. The first cut here “Disgust Me” is more or less a common-radio rock cut that features a chorus melody I’ve heard before, but can’t quite place it. Maybe it’s because a lot of hard rock acts have used similar chorus line melodies albeit with different lyrics fronting them. I suppose if you’re a disenfranchised young female, you’ll love it. Next we have a cover from New Order, who I am not exactly familiar with, other than the fact that they performed the original “Blue Monday” famously covered by Orgy. The band are here covering “Bizarre Love Triangle” which does happen to have a couple of pretty decent solo cuts and work as a suitable metallic version of the piece. Next we have the Pantera cover, which is – of all the songs they could have covered – “Fucking Hostile.” But I thought the social justice types and feminists were upset with Phil’s white supremacy rantings? In any case, the thrash has been replaced with electronic beats and grooves, which now feature a sharp female scream as the main point. The solo section is pretty strong though, so New Years Day definitely have a solid axeman. It’s weird, to say the very least. Linkin Park’s “Crawling” comes next, this time with a worthy electronic vibe that actually fits the vibe of the song. She does sing the rapped sections though, which is a bit weird – though I will commend the fact that she is able to meld the rapped sections in with her pop singer mentality. I’m not going to beat around the bush, but there is a definitely electro-pop vibe going on in most of these cuts and that isn’t explored on the band’s new track, “Disgust Me” which sounds like common radio hard rock. Garbage’s “Only Happy When It Rains” comes next, and again; I’m not familiar with the original. It’s a suitable cut with a soulful tinge to the vocals which I found to be quite impressive. The last cut here is a cover of No Doubt’s “Don’t Speak” which seems to mix acoustics in with piano, electronic effects and heavy groove riffs. If you wanted a slightly more aggressive version of a track that I thought was perfectly fine in it’s original format – well, here you go. As much as I like the solo here, I still kind of question it’s presence here as well. If nothing else, this EP is a great way for young fans to explore these now classic cuts that make me feel incredibly old; but still have enough magic in them to traverse generations. The whole thing would have been better as a bonus disc for the band’s forthcoming, but here we are.
(6 Tracks, 23:00)
6/10