Hammer King – Poseidon Will Carry Us Home (2018) – I would have never expected that a band lyrically based on hammers and kings would ever go so far, but here we are into the third outing from Hammer King and I’d be lying if I told you that it didn’t have several notable moments laid within. I’m heavily reminded of Hammerfall with the album’s title track and opener, plus it has a rather remarkable solo and that’s always a good note. “The King Is A Deadly Machine” comes off even stronger, with chugging riffs that truly feel like they’ve been channeled from Priest. With another catchy chorus, the band are currently two for two. “Battle Of Wars” features a folk-influence, which once again works well for the band and shows a necessary sense of musical diversity. “7 Days and 7 Kings” comes off a bit lackluster, but I won’t deny the amount of structure laden within it. It’s definitely a more complex number, reminding me a little bit of Avantasia, but the chorus falls a bit flat. “Warriors Of Angelhill” is decent enough, but it doesn’t really strike me all that mightily and simply reminds me a little bit too much of mid-era Hammerfall. I could have sworn I’ve heard the riff melodies in that chorus somewhere before this one, and that’s not necessarily a good thing. “Where The Hammer Hangs” actually brings the album back up to speed, with a punchy, almost thrashy vibe and a notable chorus node. That’s the kind of thing that will get stuck in my head folks, so they’ve succeeded with this one. “Last Rites” can be skipped over.
“Glorious Night Of Glory” feels like a march of sorts, so we’re definitely pushing in the right direction. The chorus doesn’t seem like it would work so well, until you examine the flow it has with the rest of the piece. Like “7 Days and 7 Kings” this piece also seems to show more complexity in songwriting; but this time it doesn’t fall quite so flat. In fact, they were able to get it right and I’ll applaud them for attempting it again. Following that, we have “Locust Plague” is a short little number that seems to excel in it’s speed and guitar acrobatics. “At The Mercy Of The Waves” almost clocks in at the same length as the other thickly structured cuts on this piece, but it really pounds down in the chorus number and merely utilizes it’s extended length for some slight acoustics and a rip-roaring solo. The solos on this record are pretty mighty, so you’re definitely getting a memorable performance with this one. Unexpectedly, the band tried for a much longer cut than even the album’s more structured numbers with “We Sail Cape Horn.” This track clocks in at just a little over seven minutes and makes it’s impact quite clear. Though the beginning of the song is quite a bit slow and merely delays the extreme firepower that we later get, it’s the second part of the song that got stuck in my head. This is definitely where the band perform at their strongest, making them much more than a mere novelty act that just sings about “hammers and kings.” I’m not really sure what to say about “Meatus Majestatis” and am quite sure there’s got to be a dick joke in there somewhere. However, it is performed to quality standards and makes a final pass, even though this feels like a bonus track to me. The record should have ended with “We Sail Cape Horn” in my opinion, because that’s the real epic finisher and closes the disc on a much stronger note. Bands have committed this grave sin for many years though and I suppose I will just overlook Hammer King’s folly here as well.
Ultimately, this is Hammer King’s most musically accomplished album to date. While not as catchy as previous efforts, the record definitely shows them as a heavy hitting power metal act that is definitely worth a listen and will certainly appeal to fans of Hammerfall, Avantasia, Helloween and dozens of power metal acts the world over. Poseidon Will Carry Us Home is definitely one of the best power metal efforts I’ve heard this year and I think you’re going to dig it too. Just in case it fell under the radar for you, now might be a great time to pick it up. There’s just a few shortcomings and songs out of place, but that doesn’t stop it from showing a band continuing to evolve and grow into something even greater than it already is. At this rate, they might even surpass their influences. This king is definitely coming to conquer.
(12 Tracks, 48:00)
8.5/10
Helrunar – Vanitas Vaniatatvm (2018) – Helrunar are a band that have seldom ever disappointed me and hopefully won’t be on Metal Sucks list of “black metal bands that we want to consider fascist, because we have always had a war against the genre to begin with and finally found a platform to destroy it” anytime soon. Performing the album in their native language, this lengthy record somehow manages to pack elements of traditional black metal littered with blast beats in with sharp grooves, slight progressive meanderings and even some acoustic sections. They were also quite fond of instrumentals this time around, which is why we have four of them on the album, two of which actually feature metal – namely the title cut (which is ultimately forgettable) and the slightly more notable “Nachzerer” which does have some speaking bits, but isn’t quite what you’d define as a black metal cut. Aside from that, it has some good melodies. The record is packed with everything that we’ve known and loved from the black metal genre over the years and aside from the unexpected instrumentals (the closer “Der Tag An Dem Das Meer Seine Toten Freigibt” could have been left out entirely) there’s definitely a powerfully melodic frostbitten sense of grim here that we feel honored to promote, once again; hoping that these guys don’t end up on the Metal Sucks watchlist.
(11 Tracks, 62:00)
8/10
Skull Fist – Way Of The Road (2018) – While not all that long, Skull Fist have returned with yet another trip back in time, to the golden age of heavy metal music. The record also packs the same amount of heat and warmth that we’d expect from the good old days, yet contains a raw performance that feels natural in a world so populated with computer dominated recordings. Sometimes that might even make the vocals a bit hard to hear, but back in the early days of metal not everything was crystal clear and you had to work at discerning the vocals. Keep in mind that this was also before the days of extreme metal, where you often really had to work at discerning the vocals. Suffice it to say, these guys managed to give us a few slivers of classic power metal, a few eighties hair anthems and most of all – some tasty riffs. It often becomes apparent in my age that many new bands have forgotten the most basic of measures in this kind of music, and in all of the completely baseless technical wizardry, they’ve forgotten what made this music such a viable option when it first debuted into the mainstream over forty years ago. Trust me, if you’re looking for the sound of actual heavy metal music, the way that grandma used to make it; when you’d turn your speakers up to eleven and shout at the devil while reciting the number of the beast, then this is what Skull Fist deliver. They’ve brought back the classics, without all that hairspray.
(8 Tracks, 37:00)
7/10
Anaal Nathrakh – A New Kind Of Horror (2018) – An extremely short offering here from Anaal Nathrakh, this one didn’t seem to appeal to everyone’s taste. That’s fine though, because the Nu-Metal and groove sensibilities appealed to mind. Even though I’m The Grim Lord, I’m also The Groove Lord and The Synth Lord, so let’s be clear on that. “Obscene As Cancer” reminds me perfectly of the glory days, with the ICS-Vortex inspired clean vocals firmly intact and the rest of the band losing their fucking minds. “The Reek Of Fear” only continues that, with an increased electronic edge. It’s like if Strapping Young Lad were to team up with mid-era Emperor. “Forward!” is one of those many groove influenced cuts that really caught my attention. In fact, this one caught my attention so much that it’s going on my personal playlist. Truly a badass cut that although overuses djent, comes off with more spite and venom than Meshuggah have in years. “New Bethlehem/Mass Death Futures” not only comes across with symphonic death metal in the vein of latter SepticFlesh, but it still features the clean vocals and some absolute insanity on the vocals. The harsh vocals are all over the place here and I love it. If the vocalist sounds like he’s got mental problems (and he certainly does come off that way) then I’m all for it. More insane people need to get into metal instead of guns and we might be able to save the genre and stop mass shootings all at the same time. Such insanity is continued on “The Apocalypse Is You!” which only manages to cement this album as truly rambunctious, one of the best listens I’ve had in a while. If you’ve had a shitty day at work, school, or just in general – then A New Kind Of Horror might be just the kind of therapy you need. With “Via Coactus” these guys aren’t just making black metal more extreme in all facets, they’ve also taken time to throw in a scientific lecture or two. “Mother Of Satan” definitely caught my appeal as well, as it is not only catchy, but completely off the rails. I had to jam it twice after the first listen and that’s rare. “The Horrid Strife” might also feature a lot of djent, but they’ve found a way to make it palatable and that’s worth mentioning. Maybe they overdid it a bit as “Are We Fit For Glory? (The War To End Nothing)” feels like overkill, but to catch my ear with a half an hour album is certainly no small feat. Though A New Kind Of Horror wasn’t everyone’s bag, I certainly dug it and feel that Anaal Nathrakh certainly have made both black metal more uncompromising than it already is and might even be giving mid-era Strapping Young Lad a run for it’s money with this one. I’m not the biggest fan of djent either, but they’ve done it amazing justice here. The Grim Tower highly recommends Anaal Nathrakh’s A New Kind Of Horror.
(10 Tracks, 32:00)
9/10
With The End In Mind – Unraveling; Arising (2018) – With The End In Mind combines post and black metal in a way that might come across as hit or miss from some listeners. The album’s title track and “From The True Source” seem to solidify that, as it opens on a truly light-hearted note. Don’t get me wrong though, because once the disc fills with blast beats and harsh screams, it really starts to bring the thunder. However, I do think that black metal purists might have a bit of a time with just how much like regular post metal this one sounds. It seems to hit Wolves In The Throne Room or even early Krallice territory, but feels a bit bizarre in it’s attempt to capture two completely different musical emotives. The riffs are also quite calming and do not seem to evoke a sense of fear nor dread, making me think I’m relaxing on a Hawaiian island somewhere while a drummer is pounding directly behind me. Although I appreciate this attempt to combine the harmless with the harmful, it seems to neuter the listen altogether. It’s grim and fearsome whenever it chooses to be, but still wants to bask in light melancholy. Though my band have elements of post that we don’t deny, there’s just too much of a sense of happiness here and that even seems to roll off directly into full on post metal as “Anguish Symmetry” dictates. The black metal scowls have even been replaced by a standard post metal grunt, making me feel as though as if these guys wanted to put Neurosis and Emperor into a blender and see what would come out. Though not bad, I’m rather confused at how I’m supposed to feel on this one. Maybe it would come off a bit better if I was high.
(5 Tracks, 55:00)
6.5/10
Siorai Geimhreadh – Sitting Patiently (2018) – Absolute insanity seems to ensue from this one, which sounds like a band playing while inside of a giant slime. You know, like from classic RPG titles. Later in the listen, the record seems to bring about a sort of sludge feel and even manages a few experimental takes within the drumming that feel reminiscent of prog metal. I’m not quite sure what exactly is being done with the guitar here, but it’s certainly interesting and I hope that the instrument faired well after the performance. I’m not truly sure if this is a demo, a live performance or just some awkward meandering that got recorded, but it certainly kept me awake as the sun begins to set. The whole album also has a sort of “I think I heard” vibe to it, which makes me question whether or not a heard a strangled saxophone or the sounds of an outright windstorm. The slower second half of the album also seems to puzzle me and I’m not really sure why the sporadity of this recording slowed to a crawl. It’s like being on ecstasy and has a very hard come down. I’m not sure what to think of the entire performance, to be honest – but maybe after some fine tuning there will be an act worth mentioning. For now though, I have literally no idea what this is supposed to be.
(1 Track, 36:00)
3/5
Soen – Lotus (2019) – Definitely one of the band’s strongest efforts yet, there’s a good mix of heavy and light progressive atmospheres to be had. Especially the punishing opener “Opponent” which structurally reminds me a little of Opeth without the harsh vocal efforts, even though some definitely could be utilized in areas, which I was definitely waiting for. “Lascivious” continued that heavy edge, of course accompanied with by far one of the most passionate vocal performances I’ve heard from these guys yet. If you didn’t take notice of Soen after the first few albums, you’ll definitely change your tune when Lotus enters your ears. Tool might even have competition this year with Lotus, if the fabled new album does manage to release this year after all. The title cut itself is rather romantic, with seventies organs and tasty acoustic leads that aren’t too far removed from modern Opeth. But that’s fine, because at least this performance contains some bite. Another segment that I simply have to mention here is the fantastic chorus effort on “Covenant” which strangely began a little like Mister Mister’s “Broken Wings” in it’s electronic opening flair. That should be a great cover cut for Soen, I’m sure they could tear it wide open. That’s how you’re going to feel after this record hits you too. Somebody please make these guys famous with this one, I don’t care what you have to do. He didn’t need that kidney anyway. They need to be on the radio, rather than several of the washed up acts and just rather bland mainstays that I’ve been hearing lately. Soen make music with real depth, substance and passion. That’s missing in all facets of the genre, so you’d be a fool to push this one aside. As always, the Tool, Katatonia and Opeth influences are here, but everything has been pushed to eleven… twelve, actually. Soen proves that a great progressive band can get even better and leaves my mind blown in retrospect. Lotus isn’t just heavy, it’s got soul – and that’s what lacks in more bands than I can count these days.
(54:00)
8/10
Soilwork – Verklighten (2019) – Although it might start out pretty heavy on “Arrival” it’s safe to say that Verklighten is Soilwork’s lightest album yet. That being said, I’m not at all disappointed. Let’s not forget Bjorn Strid’s stardom with The Night Flight Orchestra, easily one of my favorite bands of all time. Considering his work there, it makes perfect sense that he’d be apt to use more clean vocal sections here and they’ve more than paid off for him. Melodic death metal purists might not like this change into less abrasive territory, but at least it comes with a level of taste and character that we’d expect from a band who has only made a scant amount of missteps and never truly released a bad album, all things considered. “Full Moon Shoals” takes a definite break from the assault, but only for a while as it soon rolls up it’s slave to offer up yet another pummeling. The drums are mightily pungent here and the guitars are simply raw and furious, soloing with the kind of frenzy that comes from a band that was rip roaring ready to get out there and record a new one. This isn’t the sound of a band phoning it in or selling out, it’s the sound of an extremely experienced metal act that still manages to prove it’s worth long after setting the mold that countless acts follow today. Then you’ve got that old school approach with “The Nurturing Glance.” Female backing harmonies arrive with Stålfågel as “The Wolves Are Back In Town” continues to meld the two worlds of Soilwork and The Night Flight Orchestra together. I hummed the hell out of this one, personally. I have a scant feeling that you’ll do the same. Though despite the amount of vocal harmonies utilized in this album, I am sure that you’ll find it potent enough to still consider death metal in some mindset and ultimately a wild ride between accessibility and abrasiveness. Verklighten is heavy enough to get your head banging, but it’s melodic enough to have you humming to yourself long after the album has ended. It’s also proof positive that Soilwork aren’t going anywhere and these guys still have a lot to offer, even after twenty years in the game. Very few bands can say the same. Of course, The Grim Tower highly recommends Soilwork’s Verklighten. Why would you think otherwise? I know good music when I hear it and this performance is a prime example of that.
(12 Tracks, 50:00)
9/10