Martyria – Self-Titled (2018) – If you’re in the mood for a strong ritualistic atmosphere, then this self-titled debut from Greek performers Martyria is the way to go. This album is quite different from many others that I usually receive from Malignant, as it is not actually an industrial or noise record, reminding me more of something like Dead Can Dance, Qntal and various others that utilize this kind of ceremonial practice into their music. The disc features five tracks, which all seem to flow into each other in order to form a cohesive structure. Digeridoo soon comes into the mix with “Logos” while the only real glimmer of noise/industrial featured on the album takes place in “Nekros.” The background chanting adds a nice effect to what feels like a swirling fog. “Nyx” slightly continues that feeling, though the synths soon find themselves accompanied by tribal drumming, which seems to finish out the piece. The last one we have here is “Eschaton” which again melds windy synths with chant, finishing up the performance in much the same way that it began. Far removed from the vehement and angry structures of acts like The Vomit Arsonist, Martyria offer a much more calming, meditative and deeply ethereal state that I feel is not only uplifting, but also mysterious and magical; as it were. I would definitely recommend this one to fans of the not so abrasive approach offered by metal and traditional industrial – this is the kind of record that certainly causes a state of trance, though blissful I really cannot say.
(5 Tracks, 40:00)
9/10
Doomster Reich – Drug Magick (2018) – Poland’s Doomster Reich are back, now definitely sounding more like the Pentagram similarity found on Metal Archives than ever before. Rasz has even changed his harsh vocal rasp to more of a classic howl, which definitely cements the stoner/doom mood far more than a black metal one. This isn’t an issue for me, because (ex-Architect Of Disease) axeman Markiz really tears it up, especially when the band goes into psychedelic jam sessions. It isn’t there that aren’t any harsh portions to be found on the record, it’s just that this is more of a trippy ode to Lucifer than a blood soaked or corpse painted one, which is fine. I’d drop LSD with the devil a time or two as well. Though it should be noted that this psycehedelia isn’t simply created by the guitars alone. Though they’ve never needed it before, Mlody’s keyboards and sound samples certainly didn’t hurt what might be described as a psychedelic drug trip of the darkest kind. What’s more, is this is the very thing I’d actually pay to see live – because if it involves musicians creating an atmosphere that momentarily takes me out of body, I’m definitely all for it. This record literally becomes so trippy at times that you can lose your head while listening, and in my opinion, this means that the band are doing something right. Bits of extreme metal still pervade here and there, to add a decidedly dark tinge to the performance, but just as I loved their Let Us Fall EP from a few years back, (and I still have some of those covers on my personal playlist) I’ve also managed to fall head over heels in some sort of DMT mixed with mescaline and a side of ke tamine love with this one. This is my second listen, and I’m already hearing wonderful things yet again, which means that these guys might be one of the best acts in Poland right now. As much as I love your work Nergal, it might be time to move aside for this new and slightly more intriguing side of heavy metal. Doom has it’s roots in the golden era, so it might be older than black and death metal, but what Doomster Reich have done with this genre is quite remarkable. This disc was a long time coming, but after a strong debut and two equally strong EP recordings, I’d definitely say that these gentlemen are the verge of a worldwide breakthrough. I just don’t want them to be faced with a name change because of the current state of social justice affairs. I’d honestly punch the first person in the face who calls these guys out for being some kind of neo-nazis because they have “Reich” in their name. I really hope we’re beyond that, but some of these fucking millennials just have to mold the world in their own image. Aside from all of this doom and gloom, we can’t forget that even if all hell breaks lose in the journalistic side of things and people start crying about a name, these guys definitely deserve every little bit of fame they can get. I’ve been covering them for a while now, so I know how potent their releases can be. Just in case you’re someone who wears their feelings on their sleeves and just can’t bear to know that you’re listening to a band who is glorifying Lucifer (thankfully, he doesn’t get enough respect these days) while brandishing the name Doomster Reich, just think of them as the Dr. Pepper band or something. When I was attending school in a very religious setting, I was quite a fan of Greek metal sensation (they’re apparently the biggest rock stars in Greece right now) Rotting Christ. But of course, we couldn’t really use the term much, so we nicknamed them The RC Cola band. One thinks that The Grim Lord will eventually run out of soda-based sugarcoats for popular acts, but as one level of censorship moves into the other, you have to do what you have to do. I honestly don’t care what the guys are called, because they truly make some of the best doom I’ve heard in recent memory and would heavily recommend it. Again. These guys just keep knocking them out of the park and I can’t wait to hear more. Drug Magick is definitely a sign of metal’s continued strength in 2018, and it is definitely one of the grimmest and trippiest doom metal discs that I’ve ever heard. So whether we call them Doomster Reich or Dr. Pepper, it is safe to say that they aren’t going anywhere soon. Or at least, they’d better not!
(6 Tracks, 56:00)
9/10
Eisley/Goldy – Blood, Guts and Games (2017) – If you’re like me and absolutely love the sound of eighties hard-driving rock, then you absolutely need to add this one into your collection. The album is rife with thick synths, crazy solos and soaring vocals that sound like they would feel right at home in the end credits of a golden age Norris, Schwarzenegger or Stallone film. The band is a result of a partnership between David Glen Eisley and Craig Goldy, formerly of Dio. It’s also the first that we’ve heard from Eisley since his ’01 solo effort. Unfortunately, that might also be where the disc struggles just a tad, because we can hear a bit of age weathered onto Eisley’s voice and it makes me think that if this project had gotten off the ground a decade or so earlier, we might have had a much different outcome. Though despite the fact that these gentlemen are much older now, the atmosphere of the piece still remains constant. For instance, “The Heart Is A Lonely Hunter” comes on like a kick-ass serenade from an eighties action flick, while “Lies I Can Live With” is the very essence of an eighties ballad. Backing this project is is session drummer Ron Wilsko, who has worked with acts like David Lee Roth and Cher, so he’s definitely got the chops to capture not only the sound of classic rock, but also the eighties feel so necessary for this kind of release. Blood, Guts and Games literally sounds like it was recorded in a completely different period of time, which might cause some to laugh in the face of it’s cheesiness, while others might come to embrace it’s AOR sensibilities. “No More Prayers At Night” also reminds me quite a bit of Dio in his golden age, which is certainly a high water mark in my opinion. It could also be compared to the Sabbath effort Headless Cross which just doesn’t get enough respect as far as I’m concerned. The record is recommended for fans of House Of Lords, Def Leppard, Night Ranger and others, but I personally enjoy Eisley/Goldy a bit more than those aforementioned – yes, even Def Leppard, unless I’m missing out on some killer eighties synth rock tunes. I could definitely play several of these cuts again and again however, especially “No More Prayers At Night” which I’ll have to reiterate – is absolutely killer. If there was a new Nightmare On Elm Street film with an eighties vibe released this year, I could definitely see this track being an accompaniment for it. In my opinion, it just doesn’t get anymore eighties than this. Blood, Guts and Games is definitely worth a listen while you wait for the third season of Stranger Things.
(10 Tracks, 63:00)
8/10
Tribulation – Down Below (2018) – Tribulation are back, so you know that you’re in for a real treat with this one. These guys in my opinion, have never put out a disappointing release and I can say the same about their latest output, Down Below. In fact, it’s already being hailed as one of the best albums of 2018. Now I don’t mean to fanboy here, but… it’s fucking Tribulation, why wouldn’t they have one of the best records of the year. But what makes this new output so great? Well, let me explain.
First we have “The Lament” which seems to meld garage rock with Castlevania-inspired synths and a slight touch of black metal. If you break this one down, you can really hear the rock edge but with the gothic inspired guitar melodies and synth, there’s a completely different quality that makes it stand on it’s own. “Nightbound” continues the atmosphere, keeping things along the same gothic line while also making me think of another video game soundtrack. The most interesting thing about this one, is that it is essentially dark, melodic rock with a decidedly harsh vocal front. In a way, Tribulation made a metal album and in the same note, they didn’t. But it’s still enjoyable. However, “Lady Death” features a bit more crunch and captures that black n’ roll feel that Satyricon pioneered back in ’06. I’d say that on both this cut and “Subterranea” the band captures this feel perfectly. This definitely feels like black metal now, but it’s good that the band just didn’t run head on with this formula and decided to ease into it with the first two tracks. Then we have the ominous atmosphere “Purgatorio” which just comes out of nowhere. This is the creepy composition absorbed from horror films that they’ve watched over the years, and is a welcome regurgitation of that sound and style. If there is an indie horror looking for a creepy introduction piece (trick question, there ALWAYS is) I’m quite sure that this would suit the work. “Cries From The Underworld” adds in a touch of psychedelia, surf-rock, acoustic atmosphere and finishes off with a solo, showing the strengths of this band within the black n’ roll atmosphere that they have exhibited throughout the album. In “Lacrimosa” the tolling of bells can be heard amidst chanting and a rather tasteful lead melody at the forefront. There’s a classical feel here, which I think really lends to the atmosphere of the piece. I didn’t however, expect them to kick it into psychedelic high gear. This jam session moment works for them though, as it rolls right into another unexpected bout of piano and synth. The piece here is actually so lengthy that is can be considered an instrumental cut on it’s own and probably should have been. “The World” comes next with a continued gothic presence, which fills with melody and some notable leads. This is another cut that isn’t quite “metal” per se, but manages to drum up enough of a dark rock or occult rock sense that it just works. Closer “Here Be Dragons” starts out pretty standard-fare for the disc, but it moves into an instrumental jam session complete with wonderful bits of synth and flying guitar solos. In my opinion, this is an impressive way to finish the album, showing once again the strength of this brilliant Swedish act. I don’t have any complaints here, you shouldn’t have any complaints here (and if you do, that’s fine) and ultimately I find the piece to be a find addition to their discography. There’s a reason that Tribulation’s Down Below is considered one of the best albums of the year, so be sure to check it out!
(9 Tracks, 47:00)
9/10
Jarun – Sporysz (2017) – If you’re not aware of Jarun, the easiest way to explain their sound is basically, “Poland’s Opeth.” But when I mention Poland’s Opeth, I’m talking about a style closer to the band’s heavier works, like Morningrise, My Arms, Your Hearse and Still Life; which are celebrated among fans and will be influences for decades to come. Though what separates Jarun from being an Opeth clone is their implementation of folk music, which brings out a completely original take on the progressive death metal style. The record also contains more than few light moments of atmosphere to deviate from the death metal bashing, which doesn’t always come with a harsh vocal. The frontman definitely has a fierce rasp, but he will also use a type of aggressive clean vocal to get his point across. Things can also get a bit fiery too, with the brackish opener and title track which comes off bipolar as it switches from a light, calming melody to absolute fucking mayhem. The vocals here are performed in the band’s native, but music in general is quite universal and I can feel the emotion conveyed behind the incredible bursts of rage that open “Powidoki.” But despite the amount of fire unleashed here, there is an amazingly deep soundscape latched in the middle which gives the piece an ethereal feel. Again, Sporysz is a very sporadic sort of album, but it’s also quite classy and done with an attention to taste and song structure. The rest of the disc seems to capture this feel, with a mixture between acoustics, pounding death metal and even some high-pitched vocals that feel like they were taken from power metal. Though the album’s closer “Malowany Ogień” is completely different, taking heavily from post-metal and adding in some saxophone for a nice, unique solo performance that isn’t locked down to guitar. Best of all, the record comes with a wonderful production job which allows for a great sense of clarity throughout. It’s still raw in areas, but that sense of rawness is just the sort of approach that I would want for this kind of album. Intense and at times beautiful, these Polish progressive death metallers have certainly knocked it out of the park with this one. If you’re a fan of Opeth or similar, I would highly recommend picking up this album. It’s the unique take to progressive death metal that we need, and it has enough charm to stand out as something altogether different. Not too shabby, gentlemen.
(6 Tracks, 43:00)
8/10
Phillip H. Anselmo & The Illegals – Choosing Illness As A Virtue (2018) – When Phil and the guys get together, you know that the ending result will be utter fucking mayhem, and that’s what we’re getting here. Though this material shares the bass-heavy crunch of Pantera, it is far from that level and tinges a bit on extreme metal, even grind in some areas. The production is definitely raw, but again – we want it raw. We want this as undercooked as possible, because it gives the performance an organic sound that comes across like a man losing his fucking mind on the mic, while several musicians in the background provide the necessary soundtrack to this level of performed insanity. Interestingly enough, the album doesn’t always follow the same piss and vinegar format as Superjoint Ritual. There are definitely sections where atmosphere and psychedelia is observed, not to mention a hefty level of unhinged technicality. Phil’s vocal approach even heads towards a black metal rasp in areas, which actually comes off quite believable, as does his thick death metal growls, which I was unaware of him even possessing. As the record continues, it goes further into death metal realms, but doesn’t let go of what make’s Phil’s music, Phil’s music – that unchecked aggression. For being one of the coolest and most down to earth dudes I’ve ever met, he sounds like a complete demon here and it works perfectly. Phil always knew when to tune it down for Down, go into classic metal realms for Pantera or to tear up shit with Superjoint, so it doesn’t surprise me when Choosing Mental Illness showcases a completely different animal altogether. This is definitely a dose of southern fried 2018 as far as the metal scene goes and seems to mash together enough technicality and ferocity to make a statement. Again, Phil’s growls are much better than I may have expected and hopefully we’ll hear more of those in the future. While we may never get the Pantera reunion that we’ve always wanted, especially considering the blowback from that incident that happened a few years back; it’s great to see that Phil is making unique and relevant tunes on into the next generation. Yes folks, this album is much heavier than you might expect, and it has far more depth aside from the sludge and grind elements that you’ll hear from the minute you press the play button. Choosing Mental Illness is one of the best albums I’ve heard from Phil since the early days in Pantera, so definitely give it a listen.
(10 Tracks, 46:00)
8/10
Crawl/Leviathan – Split (2018) – Given twelve minutes each, this split between grim atmospheric metallers Crawl and black metal legends Leviathan proves to be a good offering of their talents in 2018. While the songs don’t exactly compliment each other, they do show that both acts are pretty damn strong in their own right, especially considering Wrest and his work in Lurker Of Chalice. Crawl offers up “At The Forge Of Hate” which is, as I stated before; a grim soundscape that sounds like Sunn0 if they had been possessed entirely by demons from the planet Apokalips. It sounds quite rustic and a bit industrial in areas, not unlike something I would receive from Malignant Records. The song doesn’t actually hit into the realms of heaviness right towards the end, but I don’t believe that was Crawl’s goal here. Leviathan however, brings in the heaviness with like a smidgen of atmosphere in the beginning and the rest an all-out black metal onslaught. It’s a bit more depressive and the vocals are bit more DSBM than I would like; though as I kept listening I noticed that Wrest decided to throw in just a little bit more soundscape which we know from Lurker Of Chalice, that he is fully capable of. I’m sure there’s work on those other four unreleased Lurker Of Chalice discs (and I’m going to keep posting about them until he releases them) that will more than likely surpass what Crawl’s done here, especially judging by the re-issued debut just last year. (I say debut, because there are four other albums and yes – I want to hear them.) My only question is why Wrest didn’t submit a more atmospheric piece here instead of a slightly atmospheric Leviathan track. I think it would have flowed much better as a whole, making the disc into a cohesive environment of hopeless darkness and rustic despair. Oh, well.
(2 Tracks, 24:00)
7/10
Deathwhite – For A Black Tomorrow (2018) – Considering how giddy I was over the band’s EP release Solitary Martyr, this official full-length debut from the Pennsylvanian trio wasn’t necessarily as interesting. It just felt like another version of Katatonia and they’ve already penned this style down to a science. Yes, there are slight bits of extremity here and there, but it mostly seems to be a forced backing to what is essentially heavy melancholic rock. Don’t believe me? Check out “Eden” which is harmless enough to feature on modern rock radio. Though that may be the point, and I think I’ve even said similar about a few tracks on the previously released EP. It isn’t that I think Deathwhite aren’t a strong band, but if we really break the vocal style down, we are left with what is essentially pop-rock. That doesn’t mean that it isn’t passionate, nor uplifting in all of it’s melancholic glee, but please don’t expect some kind of ferocious performance in the vein of black metal, regardless of a few tremolo tinges here and there. The disc offers more prog-influence than anything else. It also reaches gothic metal territory, even though no one will unseat Pete Steele and Johan Edlund from my mind there. It even seems to take a tinge from A Perfect Circle, where Maynard James Keenan wasn’t singing over quite as experimental pieces. What really surprises me though, is why an act like this wouldn’t take on a cover of another melancholic pop song. I’d absolutely love to hear them cover The Goo Goo Dolls “Iris” and I’ve no doubt in my mind that they could do it. That would just be a terrific cover for them, it fits the melancholic rock style here perfectly. Fans of acts like Katatonia, A Perfect Circle, Anathema, Soen and Sinocence are recommended to check these guys out, but the performance here just didn’t gel with me the first time around. I honestly think that I’m going to have to let this one soak in a little bit, but with some of the artists I’ve just named in this review, I didn’t have to do that just because of the impact that they left from the very first listen. It is never a good sign when a disc rolls in and out of your ears in the same hour, but that’s what happened here. Of course, I love this kind of music – I’m just not feeling it here. Though in the same breath, I’m not going to knock this for the generation that did not grow up with the bands that I did and I hope that Deathwhite will serve as a gateway into those bands I’ve mentioned. I hope that this review will serve as a gateway to those bands I’ve mentioned. I guess this is a really nice way of saying, “Great show guys, but I’ve heard better.”
(9 Tracks, 43:00)
7/10
Forged In Black – Sinner Sanctorum (2018) – The UK’s Forged In Black have given us a short sampling of their upcoming album, which will be available in September. From these four songs, we can denote a great deal of Candlemass, Sabbath, Maiden and several other acts in the “old guard” that Stoz mentioned in the interview above. Sometimes even some harsh vocals are uttered, which is a definite nuance for the band that I don’t remember hearing on their earlier Fear Reflecting Fear EP. Despite the doom or groove influences uttered, the band still manages to throw in a little bit of prog here and there, which seems to keep the recording fresh. We’re getting a disc that definitely thumps, but has enough class and beauty within the vocal implementation that it just simply works. Also, Tsangarides truly allowed the disc to come across like a golden age classic with a production level that feels right at home with some of metal’s most celebrated albums. There’s a strong Anthrax vibe on the title cut as well, which certainly helps to diversify the performance in a manner that I think properly respects the classics. Though it is true that Forged In Black are playing true heavy metal through and through, it’s nice to see that we’re simply getting more than that from this release. Sinner Sanctorum is the kind of record that we couldn’t have had before the age of extreme metal, and it makes me wonder if the band are attempting to work with death metal on their next release, though certainly constructing it to work well within this classic metal soup that they have prepared so well. The disc is short, but it gives us a fine sample of what these UK heavyweights are capable of doing within this scene and leaves me with a fine sense of hope for the future of heavy metal as a whole.
(4 Tracks, 27:00)
8/10
Empress – Reminiscence (2018) – A thundering English dose of post-metal coupled with a dash of melody, Empress create a rather frightening, yet shimmering atmosphere that I think will manage to satisfy a large variety of fans in this genre. “The Offering” is slow and pummeling, while “Immer” injects a rather notable hint of blues into the madness. Admittedly, it can become a bit strange when the female chants come in, almost sounding completely out of place entirely – but this seems right at home for this oddly interesting act. This is the Nerousis formula, the early Mastodon formula, the classic post-metal formula in a nutshell, but it seems to have such a sense of depth that it feels like more than the slow tread we are most often given when it comes to this kind of music. These gentlemen went out of their way to give us something that just isn’t fucking normal for the genre in some cases, and I appreciate that. There’s even a slight dose of Krallice right towards the end of “Immer” which I don’t feel would be a natural implementation for several post-metal acts this day and age, especially when the genre is imploding along with djent (thankfully, on that one though) and hopefully deathcore which was the watered down death that we didn’t need. But post-metal is a different story altogether, and when such beautiful leads can be meld into such a stark and defined sense of brutality, then we’re getting a performance that feels more organic and artistic, rather than just another easily consumable product. Perhaps “Immer” and “They Speak Like Trees” are the main standouts, but with such an oblong closing note like “Dawn” it is safe to say that these gentlemen are up to something brilliant.
(5 Tracks, 28:00)
7/10
Scorched – Excavated For Evisceration (2018) – The latest output from Delaware’s Scorched might be a bit short for a full-length, but it definitely manages to get the job done as far as brutal death metal is concerned. Starting with an eerie synth intro (Enter The Cellar) as it rolls directly into well, evisceration – is just what we should expect for these guys. There is a definitely a great deal more Gojira influence than I would have expected amongst all of the technicality that I’m witnessing here, but have no fear, metal purists – as that classic Autopsy and Cannibal Corpse approach to brutal death that you’ve loved for years is still kicking underneath the nuances. The vocal approach is deep and grueling, with the riff melodies hopeless and foreboding (especially where the bass is considered) and the frontman’s impression of a ghoul in “Altar Of Desecration” certainly comes off believable. As the record is peculiarly separated by small bits of synth (which I found entirely odd) so is the death metal performance as a whole. You already know how I feel about instrumental song separation and I find that this is an album that listeners will be forced to press the skip button often during. These synth cuts are often rather tiny too, which makes them sound almost nonsensical in the spite of it all. It would have been much better for Scorched to have taken the best parts from each synth cut and compile them together into one great endnote for the recording. There’s nothing better to end a ferocious death metal disc than to follow up with an eerie atmosphere, sort of like an end credits, if you will. Scorched create solid death metal, but maybe they went a little out of bounds with the large amount of soundclips that separate strong death metal cuts from others. Though there is nothing altogether brilliant or mind-blowing about the disc, I don’t think that fans of hefty brutal death will be upset with it in any respect. It was incredibly satisfying to hear a Chuck Schuldiner impression on the closing cut and band’s moniker though, as that is truly what death metal means to me and I think we have the monument Scream Bloody Gore to thank for decades of grueling death. I can definitely see moments where Scorched want to be something incredible with the throat singing and synth clips, but I don’t think we’re there just yet. Still, something worth keeping your eyes and ears attached to, just don’t physically pull them off.
(11 tracks, 26:00)
7/10
Beldam – Pasung (2018) – Philadelphia’s Beldam have returned with a real crusher in Pasung, which sees the sludgy death/doom trio with their most vehement performance yet. Comparing themselves to acts like Graves At Sea, Crowbar, High On Fire, Coffins, Primitive Man and EyeHateGod (which I’m definitely hearing) this is an album where the vocals are a large part of the performance, feeling like a necessary component to the overall musicianship and not just a selection of vocals and lyrics as a whole. Parts of Pasung are indeed a slow burn, and the disc is also quite raw with amp feedback which mirrors a live performance. There’s an eleven-minute act of drudgery entitled “One From The Stable” which really puts this album into perspective, where the vocal edge there becomes more geared more towards the raspy side of the spectrum, rather than merely relying on death growls as other acts are wont to do. I’m reminded of early Rwake especially with this one as it definitely captures that whole era when the music was a bit more simplistic as a whole and the vocals said more than riffs ever could. That being said, it is good to hear the band experimenting a little more with clean melodies on “Sunken Sorceress” and “Carrion Feast” though, which add at least some color to this otherwise, rather horrifying showcase of emotional brevity. Pasung comes in fierce with no remorse to be found, albeit there are brief respites to be had between frantic bouts of heavy bass drops and scathing vocal approaches. If you’re looking for a listen that offers an unrelenting showcase of anger, frustration, blues and slight melancholy, then you need look no further than this.
(6 Tracks, 48:00)
8/10
Oceans Of Slumber – The Banished Heart (2018) – Texas extreme progressive metal act Oceans Of Slumber have returned with their latest effort, The Banished Heart. I originally reviewed the band for New Noise Magazine, though I am not quite sure why I am not getting any real responses from them and feel that I’ve been ghosted altogether. So here we are. In any case, I wasn’t sure if the band were even going to get this one off the ground, due to some issues that drummer Dobber brought up online a few months ago. None of those are important to this review, but made me unsure as to whether or not the band were going to be able to release another album on a label as prestigiously known as Century Media. Alas, the label did decide to give them another go and they’ve definitely delivered a record much in the same vein as Winter, which shows that they’re not struggling to find a sound and have cemented it within realms of progressive death and haunting doom. The harsh vocals are also utilized more on this album, but not so much that it takes away from the haunting journey that this album is. What I found most interesting about this album is that it does feature several upbeat portions and drum blasts that help to increase the overall metallic edge and give it a sense of heaviness that will certainly appeal to a large group of heads throughout the world. The record certainly has it’s pop qualities, quite like something from The Gathering, Nightwish or Theatre Of Tragedy and it doesn’t even need to be referenced that Cammie Gilbert continues to sing her ass off with such a display of emotional passion that words cannot literally express it. It was difficult for me to listen to this record, as it felt that there was a real sense of pain and tragedy being communicated here, albeit slightly peppered by dazzling guitar solos and unexpected death metal blitzes.
Now I know that there are many of you who might feel that Keegan Kelly (who was the sole vocalist on debut Aetherial, so track that down if you’re curious – it deserves a reissue) deserves more lines here, but just relax as there are sections of bravado unleashed throughout cuts like “At Dawn” that will make the listener wonder if they’re even listening to the same band that began with single and album opener “The Decay Of Disregard.” I suppose the easiest way to describe this album is Mandylion mixed in with a slightly heavier version of Almost A Dance. As I expressed on Winter, this sophomore release is far heavier than you’d ever expect it to be, though it also contains some rather symphonic moments as experienced in the title track which can almost get to Disney levels of theatric. Interestingly, some industrial elements pop up on the disc too, so it is quite a mixed bag. An unexpected synth atmosphere entitled “The Watcher” serves as an instrumental break for the recording, recalling a score from Blade Runner in it’s neon-flavored futurism. Interestingly enough, the label was able to pick out some of the record’s best pieces for use as singles, which includes the monument “No Color, No Light” with Evergrey’s Tom S. Englund featured as a guest vocalist. This does not come as a surprise to me because he simply loved the band’s last effort and I figured that recording this piece was simply going to be a no-brainer for him. The band actually had a rather extensive tour with Evergrey as well, which helped them rise in popularity. Englund really took the band under his wing and I think they have a definite sheen now because of that.
Lastly, I want to talk about “Wayfaring Stranger” which is definitely one of the best, and certainly most haunting pieces on the recording. It’s safe to say that it is a completely different style for the band, with an electro-synth sense that feels completely removed from the rest of the album. Though it seems like something more akin to a side-project, it is definitely a powerful, moving folk-piece and seems like it may be used in an advertisement for a television program or possibly become an all-out theme song for a television program. It may even be featured in a television program. When I hear this, I think of television and movies and know how marketable that companies will find this particular track. I also think that it will stand alone as a single, even though it wasn’t exactly marketed that way. Whatever the case, The Banished Heart is proof positive that Oceans Of Slumber are continuing to further experiment and hone their already elegant craft, and that they aren’t going anywhere. I said it last time, and I’ll say it this time as well – if this album doesn’t perform well, then I will have lost faith not only in the heavy metal scene, but throughout the whole of mankind. By far, this is one of the classiest approaches I’ve heard in the genre and people really need to get out there and support it. I hope that larger retailers will carry it too, because this should be charting, it should be getting awards, it should be making rock viable in the United States again. The Banished Heart has substance, which is what so much music lacks these days, completely regardless of genre. To support it, means that you are a person of taste and want to see more tasteful approaches in the music industry, rather than the half-hearted approaches that we see all too often. There is an emotional beauty here that I just don’t think any other act will be able to capture for the rest of the year, which is why I also consider this album to be one of the best in 2018. Get your hands on it now.
(11 Tracks, 66:00)
10/10
Anvil – Pounding The Pavement (2018) – Anvil are back and as the name implies, they’re pounding the pavement once again. Though just like the band’s previous effort, they’re still rolling strong. “Bitch In The Box” is a great Accept influenced opener, with a little bit more thrash injection to be found in “Ego.” A more structured flow appears in “Doing What I Want” even though the pounding doom with a hint of prog that makes up “Smash Your Face” is much more interesting in my opinion. The album also includes a instrumental shredding session in it’s title track, in addition to a lengthy and somewhat grandiose number in “Nanook Of The North.” As we continue on, we’re hit with more catchy metal numbers like “Black Smoke”, “World Of Tomorrow” and bonus cut “Don’t Tell Me” which all seem to showcase Pounding The Pavement as real competition for the traditional heavy metal scene. I know that people haven’t always gravitated towards Anvil, but with this one, I feel that they have managed to pull something very special and true to form out of their hats. I would definitely recommend this one and am starting to consider Anvil a real heavy metal powerhouse right now. People might have written them off a few years back, but now might be time to take these Canadian metal veterans seriously. Yes, I really mean that. Along with Priest’s Firepower, Anvil’s Pounding The Pavement seems to continue an oncoming trend of killer traditional heavy metal. Are we ready for it?
(12 Tracks, 45:00)
8/10
Magnum – Lost On The Road To Eternity (2018) – Another old staple that keeps on kicking is the UK’s Magnum. Believe it or not, this is their twentieth album, and it is just as strong as anything they’ve done prior. As a matter of fact, number twenty is looking pretty good for these Brits! “Peaches and Cream” opens the disc on a catchy number, and it continues the catchiness right into what is sure to be a crowd favorite in “Show Me Your Hands.” Now at first, I felt the track was a little corny, but it’s a great sing-along and that sells singles and records quite easily. I thought “Storm Baby” was going to be a ballad, which would have been perfectly fine – but it actually kicked up steam into something with a harder rock vibe. I will say that despite the obvious AOR and keyboard synths pervading throughout the disc, it seems to have a more rocking atmosphere throughout and almost encroaches upon traditional heavy metal in some instances. In fact, even Avantasia/Edguy frontman Tobias Sammet joins in on the disc’s title track, for a definite dose of heavy metal royalty. That being said, Lost On The Road To Eternity is absolutely not a pummeler, a thrasher a pounder or any other sort of term you would use to describe a heavy disc. But what we’re getting here is a synth-heavy eighties rocker with some real heft, a true sense of purpose and an overall continuation of the work that the band have shown proficiency in for decades. Magnum are still at it after all this time, which is remarkable in hindsight alone. That being said, many might look at this review and say, “Well, who are Magnum?” and this record would be a wonderful place in which to discover that and work their way backwards. I haven’t heard every disc from these guys, but everything I have heard as of late seems to suit my palette – and not surprisingly, Lost On The Road To Eternity seems to be no different. I’m already looking forward to your twenty-first disc, gentlemen. The wheels are on fire and there’s no need to slow down.
(11 Tracks, 67:00)
8/10
Bloodshot Dawn – Reanimation (2018) – A record that released to mixed reviews and was dogged heavily on Metal Archives, I myself have mixed feelings about the disc. First of all, the frontman wanted to go for a much different approach to vocals which feels like they’re injecting an unnecessary hardcore gut punch into what was relatively intriguing melodic death metal. In order to fit in with the continuing post-core technical death metal trend, it would seem that these guys have almost overhauled their sound completely, except for melodic leads here and there that briefly recall the brilliance of that Swedish melodeath scene and make me want to relive it – more than this album, to be honest. It is a record that comes across overly technical, but does manage to have a few interesting sections here and there which are peppered by the Arch Enemy influenced (or I should say Micahel Amott influenced) leads and solo sections. There are also some rather hefty grooves that I don’t mind, even though by the second or third song, the barks from the frontman have already gotten on my nerves. I know of a few people who would stop the listen more or less immediately after they’d heard this kind of vocal being attempted, and even though I respect the band’s attention to detail in the vein of melody, there are so many Japanese melodic death metal acts that I would rather jam over this, like Veiled In Scarlet. Bloodshot Dawn just feels like modern extreme metal to me, and it doesn’t really carry anything with it that wasn’t crafted to appeal to the new generation. As an older listener, I do recognize these melody lines and hope that they’ll inspire a new generation of metal fans to pick up some of those old melodeath classics – or add them to their spotify playlists, as I have seen them do often. In an age where the kids chew through albums like myself and a box of Mike & Ike’s (despite my rather small frame) it often makes me wonder what kind of tunes will roll out of their social media conditioned and mobile app powered minds. That could very well be a reason for the surge in extremely fast and technical music, which has given everyone on the planet something akin to ADHD. I have to be honest though, the guys are giving it their very best here in the studio and I do find some of this to be a rather dazzling storm that quickly passes overhead with the kind of speed I’d have expected on a Dragonforce album. Coupled with the groove sections and melodies I noted earlier, it’s actually worth a listen for fans that may have put it off based on bad reviews. Though chances are that you weren’t waiting on me to tell you to check out a disc that’s been out for three months already, were you?
(12 Tracks, 44:00)
7/10
Borealis – The Offering (2018) – I once wrote these Canadians off as a Evergrey knock-off, but it would seem that with this sophomore effort, Borealis are shaping up to be something truly noteworthy. I think the real reason for that might very well be their frontman Matt Martinelli, who is a dead-ringer for a young Tom Englund. That being said, Martinelli seems to bring his own approach to the chorus lines here, which hit fast, hard and heavy enough to get implanted upon your consciousness from the first listen. It’s just that kind of album and a real sing-along at that. I can’t sing like either Tom Englund or Matt Martinelli, but the record certainly makes me want to try emulating such wonderful performances. Also, I like that Martinelli doesn’t oversing on the disc quite like many of the singers on Fox’s version of American Idol or NBC’s The Voice. That being said, I really wish that I could say something about the rest of the band, but the synths are too low in the mix and nearly non-existent, while the drums pound and the leads are almost completely destroyed by the vocal mix. I mean, I know that singing along with Martinelli is the reason that I would go out and by this album, but the fact of the matter is that aside from some solos here and there, the record doesn’t offer much more in lieu of guitar work. Yes, while Martinelli and Ken Fobert are both killing it as far as the guitar solos are concerned; aside from a handful of melodies, there’s just not much else to be had. You sing along with the vocals, you pull out your air-guitar and you do that from song to song until the disc reaches it’s climax.
If you want me to be perfectly honest, listeners are getting slightly technical (you know, djent here and there) and slightly progressive (in the vein of an act like Scar Symmetry, minus the death metal bits) melodic power metal with slight punches here and there. Again, it isn’t a bad performance, but know that what you’re getting here sounds a bit pretentious in it’s level of synth-orchestral pomp glitter. What’s more, is that they even cut off some solo sections (The end of “River” for example) which has always been a pet peeve of mine. That means that listeners will have to see the band live in order to hear the entire song. But I digress. In the end, there’s nothing ultimately wrong with the performance and I’m sure that you’ll jam it out and love it just the same as you would any of their previous recordings. They didn’t make a rap metal disc or experiment with polka this time around, so we can be thankful for that. Borealis aren’t really giving us anything that we haven’t already heard before, but with a performance like this, you won’t find me complaining all that much about it. In fact, many of my issues here were slight nitpicking and just a little bit of bitching on my part. Simply put, Borealis continue to do what they do best here on their fourth outing; which I think fans of melodic metal are going to jump up and down for. But instead of doing that, they should probably run down to their nearest record shop and pick up a copy of the album for themselves.
(12 Tracks, 61:00)
8/10
Necrophobic – Mark Of The Necrogram (2018) – The first time I listened to this record, it was when I had been in a terrible mood over an incident at work. It was just the kind of thing that I needed to drown out the world however, and many boxes were stacked that day. During my menial labor though, I began to think of all the great acts that we have to thank for this sound, like Dissection… whom were still around at the time and couldn’t have been an inspiration. I suppose it’s time for The Grim Lord to start checking out early Necrophobic albums (this is my first) because I was so blown away by this effort, and I greatly look forward to that now as yet another reason to continue living. In any case, Necrophobic really blew the roof off with this thing, giving me that iconic blackened death metal sound that still feels tied up in thrash where it breathes best, rather than becoming a technical nightmare with no real sense of purpose. What’s more, is that frontman Anders Strokirk has the same style of harsh vocal that I loved so much from Henri Sattler, Jens Rydén and Jon Nödtveidt, which to me feels like the definition of a harsh vocal, the very thing that you’d expect to hear from an actual demon if you’d summoned it to appear before you. I want vocalists to sound like demons in this kind of metal and on this record, Strokirk manages that perfectly. He doesn’t go into cleans, death growls or some sort of silly gut-punch approach that you’ll hear on many other discs that only pretend to sound evil. Even if the material here is based on horror films, at least it dresses the part and makes me smile with sadistic glee. As we may expect from the guitar selections here, an obvious hardened black metal edge is uttered, coupled with a mountain of memorable melodies and solo efforts that seem to recall horror film soundtracks as well as middle eastern folk music – two distinct sounds that meld surprisingly well together. I will say that I find it very hard to hear Sebastian Ramstedt and Johan Bergebäck’s guitar riffs at times, even though that could be my speaker tuning and may not affect your listen. Please keep in mind that the guys wanted to keep it raw on this album, so there’s still a little bit of a classic nineties feel that is going to resonate more with older listeners than it will the new breed. Chances are that if you didn’t get into the new Bloodshot Dawn that I covered a few days ago, this is going to be your thing. There is definitely a little bit of modernism here and there to be found, though not much – and that’s a good thing. Again, if these guys went into the technical and core-laden nonsense that has overpowered metal in the last number of years, I’d have probably jumped off a cliff. There’s one quite close to my place too, so don’t tempt me. I think it can be said simply, that if you love Dissection, Thulcandra, God Dethroned, Naglfar and several similar acts that I live for when it comes to this genre (I still don’t know how these guys ever skipped my mind, though clearly I have some research yet to do) then you’re going to love this record as well.
A Metal Archives reviewer who typed up more paragraphs than I have socks (and I have a lot of socks) uttered that he thought it was “just another Necrophobic album” and ultimately gave it an 85% over there. Well, I quite liked this album a bit more than that and feel it is one of my personal favorite discs of the year. A record like this offers the kind of performance that I can put on any time that I need therapy. Though I don’t recommend it as music affects us all differently; I find that Necrophobic embody enough rage and malice to serve as a potent stress and anxiety reliever, which equals out to a better sleep session and ultimately more alertness during the drudgery of the next day. Yes, I have a very stressful day job, but Mark Of The Necrogram is wonderful medication to help with that. In addition to that unsuspected notion, the record also kicks a metric ton of ass – just as I’d expect for traditional black/death (not war metal) which we really need to appreciate more as a society. Definitely one of the best genres in heavy metal for me, and it’s one of the reasons that The Grim Tower exists in the first place. Go buy this album, The Grim Lord commands it!
(10 Tracks, 49:00)
9/10