Circle Creek – Past Presents Future (2018) – I really wasn’t sure what to expect from this Ep release from Austrian heavy rockers Circle Creek, but I’m glad to say that I was pleased with it. Past Presents Future isn’t a very long stoner rock/metal disc, but it gets it’s point across. “Creatures” is a standard-fare stoner cut with a decent chorus, while “Killing Factories” seems a bit muddy. I really love the opening chugs on “D.R.U.G.S.” but that’s the only part I loved about it. The anger version of “Going Nowhere” really hit with me though, as it’s slightly more accessible and has an extremely memorable earworm. “Owner Of A Million Souls” is decent enough, with a rather potent solo to boot. “Fading Away” truly hits hard though, making me feel that there is some serious potential here. The solo effort is also further pronounced, reminding me a little bit of Godsmack’s better solos. There’s one more cut here to round it out and that would be “Going Nowhere” with Adi Bitran. I will say that I prefer the new version of “Going Nowhere” a bit more to the one with Bitran, however. They brought her in right at the last minute, which kind of feels like an after thought. It’s more than likely that they’ll use this version on their upcoming release The World Is On Fire. They’re also about to re-release their first disc, 2013’s Anger. So if you’re in the mood for German stoner rock with real balls, then you’re going to find something here.
(7 Tracks, 35:00)
6.5/10
Audiotopsy – The Real Now (2018) – I’m not really sure what’s going on here, but the latest effort from Audiotopsy seems to be a rather short EP effort that I didn’t find to be any bit in the least promising. This doesn’t sound like a good direction for the band, as it seems that they may have decided to tone back the progressive moments that made Mudvayne’s music so memorable. At least, that’s what this EP seems to showcase. “Hologram” seems to hit pretty hard, but I can’t help the fact that I’d rather Chad Grey on this one and he’d feel more at home here. The production also isn’t quite up to par with what I’d expect, which isn’t a very good sign for this post-Mudvayne project. I really hate to say this ladies and gents, but with the unfortunate passing of Vinnie Paul; there now seems to be the possibility of an actual Mudvayne reunion, which would hopefully see these compositions a bit more refined. I definitely felt that Audiotopsy’s debut was quite strong, but this one just seems like a step in the wrong direction to me. “Panic On The Airwaves” isn’t making things any better for me, regardless of the fact that the vocal nodes within are quite accessible and radio-friendly. There are some interesting sections to be had on the piece, but unfortunately I have to deal with acoustics and what seems to be a radio-friendly twang before I can get to the more interesting portions of the cut. However, it is the most structurally refined piece thus far. “Fade Away” left me completely confused, particularly due to that annoying effect in the chorus; while “Hurt Down” seems to mix pop rock with a hint of a scream, not unlike Mudvayne’s The New Game although not quite as clean. “What Am I?” seems to follow the same path as “Hologram” but I still prefer the former. “If Only” doesn’t even come off that memorable either, just because there’s so much simplicity and far less structure.
If you want me to be brutally honest, most of The Real Now feels like a demo. It almost seems as if Audiotopsy decided to scrap the promising sound that they had on the first album in favor of something stripped down and accessible. Not that they weren’t accessible before, but the IQ of this record is far lower than that of the last. There were some indeed genius moments to be had with —- but I’m just not hearing them on The Real Now. If you’re looking for the angst of earlier Mudvayne mixed in with more radio-friendly moments, then you may find something here. But there’s no “Internal Primates Forever” or “Severed” to be found here. Not even a “Pharmecopia.” It honestly sounds like a slightly harsher version of The New Game, and I personally enjoyed The New Game because Chad hit all the right notes on that disc. Mudvayne were studying pop music around that time, which flowed directly into the album. However, this disc seems to muddily throw choruses in far too quick and not even give the listener time to absorb most of the offerings provided. There are just eight short tracks, which clock in at just under thirty minutes. That’s normal length for most classic death metal albums, which would actually be held in higher regards than this. The Real Now is a real insult to my intelligence. These guys are far better than this. The self-titled Mudvayne album had some real progressive meat to it, and I was happy to see at least some of that featured on Audiotopsy’s debut. Here, they’ve simply thrown most of that in the garbage. Apparently, people do not like long, introspective cuts that make them think these days and Audiotopsy are reflecting that in their music. So yes, The Real Now seems a fitting title in that respect. Though I enjoyed the first Audiotopsy recording to an extent; this just didn’t do anything for me. If there’s one track that I’d recommend here, it would be “Hologram” and parts of “Panic On The Airwaves.” Good concept, but just a bit too radio-friendly. I thought I was getting some Nickelback or Matchbox Twenty influence with that one. So help me, they’re bent and I don’t think that they’re going to be able to put this album back together.
(8 Tracks, 29:00)
5/10
Ashes Of Ares – Well Of Souls (2018) – Ladies and gentlemen, I have to say that I expected a bit more from this second offering from Ashes Of Ares. As much as I love former Iced Earth frontman Matt Barlow’s work during the golden era of that band; I’m just not getting the same sense of notability here. However, I can say that the production problems which plagued the first album have been completely removed and a much crisper; more dignified sense now pounds out from these guys. “Consuming The Mana” showcases a highly technical take at power/thrash here, which I think loses basic song structure and doesn’t flow so well with Barlow’s chorus. These lines are great, phenomenal even – Barlow hasn’t sounded this good since the glory days of Iced Earth, for sure – but I’m just not hearing the kind of band so far that encapsulates them quite as well as Schaeffer and co. Let’s try again with “The Alien” which opens up with a terrific melody line. Ashes Of Ares needs to learn that when they hire a vocalist like Barlow, they need strong melodies to flow with those choruses. When a Barlow chorus is offered, it needs a potent melody behind it. That opening riff is exactly what I’m talking about. It is again offered at 2:18; right before a breathtaking solo. This song could have been so much more, unfortunately. I’m really not sure what these guys were trying to do, but they really could have hit it if they focused less on the technicality. I honestly don’t care so much about all the intriguing things that one can do with the drums, I’m looking for something more to the core of the performance. “Unworthy” seems to further dictate just what I’m talking about, unfortunately showing that some glaring production moments are to be found here as well. This chunky song seems to run off the rails a little as some weird, almost whispered harsh vocal section comes in and ruins a great chorus moment. They do manage to make up for it right towards the end of the song, which once again comes before a great solo moment.
“Soul Searcher” turns back the dials a little, heading more towards the balladic nature of current Iced Earth. Though Despite Barlow’s best efforts on the chorus, I have to wonder what in the living hell the guitarist is up to here. Are you tone deaf? There’s a vocal harmony here and you’re playing these basic melodies? Why, these simple basic melodies? Where’s the melodic hook? There’s no flow. And you know what really would have picked this song up? An additional electric lead riff that flows along with the chorus. The acoustic backing is fine, but it really would have worked better if someone had brought in a strong, passionate lead. That’s what was missing here. This was a strong attempt, but a terrible misfire. “Sun Dragon” gives me hope for the future of the album though, as I’m getting some real Iced Earth vibes from this one. Nice chugs, Barlow with slightly harsh vocal lines that roll into clean harmonies similar to those used on Something Wicked This way Comes or Horror Show. It seems like they might even have the chorus melody up to par this time around. Although slightly regurgitated Iced Earth, this might be the best one I’ve heard from them yet. “Transcending” came next, but felt kind of flat musically, as well. Barlow really hit the notes and decimated the chorus on this one, but the backing again seems just too technically influenced and all of this meandering seems to once again take away from the core of the performance.
“Let All despair” follows, showing that Ashes of Ares decided to give it another shot at a performing a proper ballad. Fortunately, this one seems to hit. Additionally, the song unbelievably utilizes strong melody lines. Great, now that I know you can play those kinds of riffs, gentlemen; let’s try putting them on the album in areas where they’re actually needed. The sense of prog in this one also works towards the end, for once on the album. “In The Darkness” opens with yet another memorable clean melody. The effort here is quite decent, rolling right into a chorus and an immeasurable solo effort soon after. “Spirit of Man” seems to really hit for me with it’s nice balance of highs and lows. The cut isn’t just heavy, but seems to feature a great deal of theatrics on Barlow’s end. It’s classic Barlow that certainly shows what Ashes Of Ares can do when all pistons are firing. I’m quite pleased with this one and would consider it one of the most noteworthy hits here. “Time Traveler” opens up with an impressively snakelike melody line in which Barlow’s clean harmonies seem to sit just over the top of. This later changes to stylistic progressive thrash, which could be said to be the main issue that I have with this album. Thankfully, a strong chorus does manage to burst through albeit right before another solo moment. The solos are quite extravagant here, but my problem is that the formula has been much the same. Barlow performs one chorus and then there’s a massive solo right afterwards. The choral earworm does certainly work near the end of this one, so I can’t be too upset with it and I’m reminded of Steins;Gate a bit as well, due to the subject matter. “The God Of War” is decent enough, but I’m just not feeling it as much as some of the other cuts. Even Barlow’s chorus here seems a bit flat. The only real intrigue here is in all actuality; the over-the-top technicality. The album ends with the unexpectedly accessible “You Know My Name” which actually seems to feature the backing band at their most competent. The melodies flow in tune with Barlow’s lines and although there is a poppy overtone, it all seems to work the way it should have during most of this recording.
In the end, I find that Ashes of Ares seem to be a bit too technical for their own good and that’s what I find to be a turn-off. These guys don’t seem to be able to differentiate their clean melody lines from the heavier, more technical work and that’s where I see a problem. As I said earlier, the choruses would have flowed much better had they strong leads to back them. A huge example of this was in “Soul Searcher” which could have been made at least 50% better if they had just brought in an electric lead around the mid-point of the song. It never felt like it was going anywhere, which is why “Let All Despair” seemed to hit much harder. I could go on and on, but suffice it to say that this just doesn’t manage to meet my expectations for what this act should and can truly be. If they could just find a way to differentiate the technicality from the melody and really make those goddamned choruses hit, we’d be looking at a truly proficient act. Though right now, it doesn’t matter how on his A-game that Barlow sounds, because the rest of these guys seem to be stumbling and confused. I guess I’ve nearly thrown my hands up at this point and can say with bitter certainty that there just won’t be records with Matthew Barlow on them that are as memorable as anything during prime-era Iced Earth. Even so, the record still has a couple of gems on it and shouldn’t come off as a total disappointment. And yes, I will have to denote the fact that the guitar solos on this record are quite amazing and that’s just enough for me to boost up my review score by a slim margin.
(12 Tracks, 58:00)
6.8/10
Ye Goat Herd Gods – Ashes Shall Be Made Of Them (2018) – Though I got this record a while back for review, I was quite pleased with it and felt that I needed to give it proper coverage. It is worth noting that just before I’d heard this record, I was having a first (and last) time listen to the latest Behemoth release, I Loved You At Your Darkest. Surprisingly, I actually preferred Ashes Shall Be Made Of Them to it, simply because of the fact that every song didn’t sound the same and the melodies were much more refined and coherent. As much as I loved The Satanist, this latest Behemoth felt rather bland to me and Ye Goat Herd Gods fixed that for me.
Okay, so “Ancient Hell” managed to cut off that ending solo, but I’ll deal with it. Of course, there was more to it than that, which was offered in it’s death/doom stylings. Thick, marching grooves were offered in “Arduous March” which also came with a punchy chorus and a passionately delivered vocal style. A strong solo is also featured. And if that wasn’t enough of a solo, then I got another one with “Bones Of Humanity.” Because who says that you can’t open a song with a solo? Already, this is more interesting to me than the latest Behemoth disc. Maybe the drums aren’t as mighty, but it’s a far more exciting album to listen to. “The Dreaming City” reminds me a little of early Amon Amarth, as I’m hit with a barrage of melody and melancholy at the same time. I miss that about Amon Amarth, so it’s good to see Ye Goat Herd Gods bringing that same feel here. “Helldriver” does just that, with a blackened/thrash feel that comes in hard and goes out easy. That might be the biggest problem I have with it though, as the track could have really benefitted from a solo. “I Am Reborn” begins at a drudgingly slow pace, but it quickly rolls into classic black metal and manages to impress me quite a bit. Throwing in a tasteful, almost romantic solo in there out of nowhere also intrigues me. “Remember Me” also delivers that familiar early Amon Amarth feel and lyrically it almost sounds like a love song. That’s not a bad thing though as there is nothing wrong with positive messages in heavy metal music. “Ribspreader” seems to also feature that same early Amon Amarth feel, so I guess I’ll just have to state that fans of Once Sent From The Golden Hall or perhaps even some of their latter, more melancholy numbers might find something to like here. “Shade Of Astaroth” continues this atmosphere, with what I would consider to be the most bombastic and realized form of it. The final cut here is “Skål” which finishes this dreary pummeler with what I’d consider to be a relatively strong effort.
Ultimately, I’m quite pleased with the passion in vocal delivery here and was far more impressed with it than what I’ve heard from several other acts over the past couple of weeks. There’s just something about a realized vocal approach that outweighs the gurgles, shrieks and growls that I hear daily. I should also note that this isn’t the proper track order and apparently my tracks were not numbered correctly, which seems to have caused some error. (Sighs) In any case, the correct order for the album begins with “Ribspreader” and ends with “The Dreaming City” which I feel definitely fits. I would be fine with a closer in either “The Dreaming City” or “Shade Of Astaroth” as both seem to be capable of filling that area. I will add though, that I feel “Shade Of Astaroth” is a bit more grandiose in that respect and would be a much better closer. Even so, I am not taking an issue with the finale in “The Dreaming City.” All of this aside, I definitely feel that Ye Goat Herd Gods’ mixture of black, death and melancholic doom is one of the most striking packages I’ve heard this year. This music came out of nowhere and hit me instantly. That’s because the frontman here is not just going through the damn motions. To all of the other frontmen out there in metal music, I care more about your performances when it sounds like you actually give a shit. I know that seems harsh, but I hear so many guys just going through the motions. Where is your passion? Your spirit? Where’s the soul of the performance? Make me feel your words, because then you’ll have reached me on a far deeper level. Ashes Shall Be Made Of Them is definitely worth checking out and I’d certainly recommend it.
(10 Tracks, 43:00)
8.5/10
Broken Down – Drop Dead Entertainment (2018) – Drop Dead Entertainer is the first full-length album from Broken Dawn, who previously gave me an EP for review a fe years back. This record is unfortunately a bit daunting, and has arguably enough material for two releases. What’s more, is that the eighteen tracks here are all quite lengthy and not even close to the kind of grind that you might expect for a record with eighteen tracks. The best of this record could have definitely been captured with just nine pieces, leaving the rest for future releases. Musically, it sounds far more refined than the previous effort as a mixture of metal, electronic dance and other elements like blues (Room 42) will find their way into the mix. I’m somewhat reminded of Fear Factory and Solefald, especially in the clean vocal department. It feels like the clean vocals are just one octave off from being memorable, with some hits and some definite off-key moments that made me shiver just a bit. The harsh vocals on the other hand are great, and work very well in the mix. My only real problem here would be some of the cleans, as I think that either a vocal coach needs to be hired or perhaps another clean singer entirely. As I said, I’m definitely getting that Solefald feel in the clean vocals, but it’s not quite there yet – I’m not hearing the kind of ear candy that I remember from albums like, In Harmonia Universali. That being noted, the effort is definitely there and I can discern that in this slightly stripped down effort. I think that the main issue here would be in the amount of tracks offered and a more strict process could have been utilized in leaving some of the less prominent tracks on the cutting room floor. A simple thirty-five to forty minute release would have been fine, just to denote the obvious progress that Brown Down have made from the EP release. I would definitely consider Broken Down an act worth keeping my eye on however, as there is definitely promise to be had within what I feel is a slightly incomplete structure that is merely missing one piece that would equal out to greatness.
(18 Tracks, 65:00)
7/10
Convent Guilt – Diamond Cut Diamond (2018) – What we have here is a classic throwback to the glory days of heavy metal. Convent Guilt come in with an extremely warm and almost live sound, not unlike what you’d hear from them onstage. There’s a sense of raw, organic heavy metal here that sounds straight out of the eighties and fans of Manilla Road, Satan and Hell will find something here to jam for sure. English metal was definitely a huge part of this experience and you can feel the very roots of the genre in full force. But not only that, as the guitar work is very much in the same line with Satan’s careful attention to detail and adds up to a record that is fully cohesive and keeps you entertained. I like the fact that I’m getting more than the same old verse/chorus riffing that I’ve heard in bands aplenty, and even if it is a bit raw and unpolished in some sections – at least it’s genuine. These guys aren’t going to win any awards, but they’re definitely having a good time jamming in a classic style that is in danger of being wiped out altogether by edgier new generations. If this is what you call butt rock, then you may want to pick up an encyclopedia of metal, because Convent Guilt are performing the kind of tunes that the entire legacy of this genre was built upon. Even if it’s not the best as far as the vocal approach is concerned, the spirit is there and that’s what counts as far as I’m concerned. Diamond Cut Diamond probably won’t be the best classic metal throwback in your collection this year, but it definitely accomplishes that which it set itself out to do. We need more bands like this, because in all of the tech/death monstrosity that consumes the scene as of late, there’s a real lack of the classics. But I guess that’s dad rock to people who were born at the turn of the millennium. Oh, well. What can you do?
(7 Tracks, 36:00)
7/10
Septagon – Apocalyptic Rhymes (2018) – Another dose of power/thrash is upon us from Septagon and it comes off rather strong, just as with the previous. I will say that opener “The End” is a bit too long for me and I’d rather the disc just kicked into gear with “The Weight Of The World.” Being that Septagon are an act that pride themselves on melding slightly technical elements in with their formula, listeners will catch those from time to time; but not quite as frequent on this disc, where a decidedly old school approach is far more prominent. For example, the solo section in “Home Sweet Hell” is not quite the most technical thing you’ve ever heard as it is actually a rather simplistic repetition of the same sets of riff melodies, but it works. The title cut also features the same nose to the grind approach in soloing, which certainly accentuates the piece. I will say that some of the cuts seem to be a bit too punchy in areas and the frontman has to speed his own vocal lines up to match what is a rather fast-paced style of musicianship. He certainly can accomplish this task though and manages to stay in the proper key throughout, which I find greatly admirable. Even though the title cut seems a bit raw in some instances, he’s definitely hitting it hard. This is the kind of thing that you can’t doctor, I think he’d be able to hit those notes on stage just as well and it would be worth attending a Septagon show just to see that. Of course, not forgetting the incredible guitarmanship in this act. My only disappointment is that there aren’t any real thrash epics to be had here, and although album closer “Sunset Blood” is well over the seven minute mark and features what I might consider to be an awesome set of ending nodes, the song is generally more of a ballad. There’s never a spot on the disc where a tour-de-force is performed and considering the skill set for this band, I’m shaking my head in disbelief. Septagon are capable of great things and they showcase that here, but I’d like to see more muscle from these guys. Push it a step further, as this performance assures me that you can. Aside from that slight qualm, I do not think that fans of power metal and thrash would be disappointed with such a solid and promising effort as this one. I just hope that Septagon will make the next one a real monument.
(10 Tracks, 42:00)
8/10
Sacral Rage – Beyond Celestial Echoes (2018) – Sacral Rage offer an astonishing display with this release, which I will state is ten times better than this review can possibly demonstrate. Not only can the frontman hit those Halford highs, but the overall amount of attention to detail, texture and musicianship makes this album really pop. It starts out kind of synthy with “Progenitor” and might even attempt to convince you that you’re jamming another album. Though the fact of the matter is that the high-flying stunts achieved here will make your head spin. Not only are the vocals theatric, but the massive amount of structures that I’m being hit with are at times mind-boggling. Beyond Celestial Echoes is probably not the kind of album that you’ll soak in from the first listen because of it’s abstract nature, but prog-heads and fans of traditional heavy metal should come to terms on this one. Well, almost. I will admit that this disc can be a bit more spacey than some may prefer, and the fact that there’s a great deal of acting in the vocal sections can also be a bit much for listeners looking for a classic heavy metal experience. However, if you’re looking to get your ears melted and to have your brain explode partially during the experience; then you’ve definitely come to the right place. Though you might consider Sacral Rage to be similar to Voivod, I actually feel that they have a bit more balls and even remind me a little of classic Anthrax. This is the kind of firepower that will make them stand-out from their Voivod worshipping peers, as well as the aforementioned decision to take the vocals in a far more theatrical and sporadic sense. I’ve never been the biggest Voivod fan and because of what I always considered to be a very sub-par sound, I haven’t been the biggest on progressive thrash metal. Though with a record like Beyond Celestial Echoes, I can certainly find life in the genre and would additionally recommend this to all fans of it. I’m certainly happy with this record and don’t even feel that “Progenitor” and “Onwards To Nucleus” are distracting elements. There’s just so much of a meal to be had within the tapestries of this release, that if you’re not full by the end of it; I have no idea what to recommend to you. Sacral Rage are only getting better with every record and this is proof positive of that. The band went all out with closer “The Glass” which gave me that fifteen minute tour-de-force I was expecting with Septagon. Oh, well. As long as someone’s giving me an amazingly grandiose metal epic this time around; I’m not worried so much about the band’s moniker. The Grim Tower highly recommends Sacral Rage’s Beyond Celestial Echoes as it is definitely a blast from another dimension, and that’s putting it lightly.
(8 Tracks, 48:00)
9/10
Lethean – The Waters Of Death (2018) – This was actually the first album that my doll ears heard after arriving at my destination. It was great to be out of that box, I’ll tell you that. To be honest, I really don’t know an awful lot about metal music, but Grim tells me that this is a kind of doom metal. The vocals are quite beautiful, I think – she’s quite audible and can be heard pretty well over the other instruments. Definitely a great voice there. But Grim also tells me that the band is steeped in progressive rock, which I’m no doubt going to get a lesson on later. He says that the mixture of progressive rock and doom metal, coupled with such a strong and passionate (and I’ll agree) female vocal approach is what will make this band stand out pretty well. I’d definitely like to hear something like this on the radio. When I was in various airports and postal areas, I heard everything from pop to country and ultimately nothing that really took my interest. The melodies are beautiful, I would move my head along with them, but it seems to wobble a bit and I’d rather it not fall off. That happened while I was trying to read a book and it sucked. I had no choice but to stare at the upside down words. In any case, I was really pleased with this one and compared to a lot of crap I’ve heard lately; at least I can understand it. Some of the stuff he plays, it’s not even good for doll ears. I don’t know how long pig can stomach it. Grim tells me that the band here has an operatic vocal effect like that of Nightwish and combine it heavily with well-crafted progressive atmospheres that although sound rough, make for a warm and pleasant feeling altogether. I don’t have any idea what he means by that, but I guess I can agree? In any case, I think you’ll like this one whether you’re a human or a doll and I have to respect the hard work that they put into it. Grim says it’s also a bit similar to SubRosa, so if you dig them then you’re going to love this one too. I just like the fact that I can listen to this one while I’m typing the review. It’s really beautiful to be honest, but it also has a nice kick to it. Whoever Lethean are, they definitely have a special place in my plastic heart and I hope that long pig with real hearts will find something in it too. Grim says that this is some of the best progressive doom that he’s ever heard and says that we have to recommend it on The Grim Tower, so check out The Waters Of Death. You’ll be glad that you did. He says it’s surprising that the band never made it on any top ten lists, because there’s more than just “promising” stuff here. This is a real cut above several of the promising bands that he’s reviewed in the past. Lethean seem to have their formula down and that’s proven strongly with this outing. It can only go up from here.
(6 Tracks, 43:00)
9.5/10