Category: Ambient

You can also check out my other reviews from previous years right here:

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Imminent Sonic Destruction – The Sun Will Always Set – Album Review

Artist: Imminent Sonic Destruction

Album Title: The Sun Will Always Set

Label: Independent Release

Date of Release: 15 April 2022

With a name like Imminent Sonic Destruction, you might well expect an intense listening experience, the kind that will blow your ears apart with a ferocity that’s calculated and brutal. To some extent, that’s what you get with this band. However, this only tells half the story as those already familiar with the band will know. Because, whilst there is a great deal of heaviness and brutality within their sound, there’s also an incredible amount of variety too, with echoes or more of many different genres and subgenres of music evident, from progressive metal to djent, and from pastoral prog rock, to groove metal. There’s even room for a bit of classical and, dare I suggest it, a little lighter pop too.

I’m surprised as I listen to ‘The Sun Will Always Set’ the third album of the band’s career, that I’ve not crossed swords with them before. I put it down to circumstance rather than an unwillingness to check them out; every time I’ve had them in mind, something has conspired to prevent a decent listen and therefore a review. Now is the time though, and I have thrown myself eagerly into ‘The Sun Will Always Set’, to find out more.

Formed in Detroit, Michigan in 2011, Imminent Sonic Destruction are about as far removed from their hometown’s most famous export, Motown, as it’s possible to get. Mind you, with such a varied music palette, a brief blast of Motown might not have been that big a surprise to be honest. Ok, so I’m being a little flippant, but I’m being honest when I say that this music is varied. Unusually, the band has remained intact since the beginning, meaning that the 2022 line-up is identical to when they released their debut, ‘Recurring Themes’ back in 2012. As such, you’ll find Bryan Paxton on bass/vocals, Pat DeLeon on the drums, Scott Thompson handling guitars, vocals, piano, and midi pedals, Pete Hopersberger on the keyboards, synths and vocals, with Tony Piccoli on lead vocals and guitar.

This kind of stability has clearly aided the American outfit too, because what I hear on ‘The Sun Will Always Set’ is impressive. I’ll admit that there are a couple of the tracks here that I’m less keen on, but overall, there’s not a great deal to complain about. I’d heard rumblings in the past about the quality of the vocals in places on previous outings, but on that score, things must have improved because again, this isn’t an area that causes me any serious problems. Ok, the clean vocals occasionally struggle when pushed to the limit, but with the variety of the delivery, from clean to growling, to screams, it means that the focus isn’t on one style alone.

I’m pleasantly surprised from the off, thanks to ‘Arise’, the opening track. It starts with a delicate piano and clean female vocals, gently, serenely becoming more cinematic as it develops. The melodies, the strings, and the layers of vocals add depth and gravitas to the piece, meaning that instead of being a throw-way intro, it’s a beautiful beginning.

Within moments though, ‘The Core’ obliterates this gentle introduction with some massively heavy guitar notes and powerful, urgent drumming. The vocals that emerge initially are clean, but then we get a bass bomb and in come the nasty growls that seem more in keeping with the brutal, djenty, metalcore-ish soundscape. The bludgeoning is pretty intense, but there is complexity, as well as differing textures to keep things interesting including a pretty cool lead guitar solo. Despite all this, it’s one of the least impressive tracks on the album in my opinion.

I’m much more a fan of ‘Fledgling’, which feels far more varied and dextrous. From the tinkling of keys to the stop-start djent riffs at the outset, not to mention the more cinematic tones underneath, it presses my buttons much more firmly. And the melodies are much more pronounced, created by some cool lead guitar licks, to a catchy chorus with clean vocals and expansive sound. The track goes off in different directions willingly, with some brilliant technical complexity in the instrumentation, but that big chorus keeps returning, keeping things nicely in check when things threaten to get out of hand.

As good as ‘Fledgling’ undoubtedly is, ‘Nightshade’ has to be my favourite track as I write this review. At over twelve minutes, it’s a bit of a monster, but it’s a brilliant monster. The intro is full-on drama and intensity, with a cool groove materialising, accented by pinched harmonics for which I can be a bit of sucker. I love the bass rumble within this song too, gratified that the very decent production (Nick Hagen, guitarist of fellow US metal band Intransient) gives room for each of the instruments to breathe and be heard. The chorus melody is marvellous, so catchy, and the introduction of acoustic guitars is a very welcome touch. Elsewhere, the band explore overtly Pantera-like grooves, flamboyant musicianship including keyboard and guitar solos, and plenty in between, making it one of the most fun and interesting compositions on the aklbum.

The aforementioned pop-like sensibilities surface within the rather surprising ‘Solitude’, a much gentler track that strangely reminds me a little of Shadow Gallery at points, as well as more recent Devin Townsend. The synths offer a deep resonance, whilst electronic beats supplement those of drummer Pat DeLeon. And the melodies are light, breezy, and oddly soothing. Things do get heavier in the second half, but don’t overrun the melodic intent of this great song.

‘Source’ is another track that I’m slightly less keen on, despite it being a perfectly decent track in it’s own right, but the closing title track ends ‘The Sun Will Always Set’ on a suitably high note. The opening clean guitar notes fill me with joy, as does the ensuing nine-minute passage of music, complete with rich, warm sounds, almost rock-meets-ambient in tone. It demonstrates, once again, that Imminent Sonic Destruction understand dynamics and as heavy as they get, can more than hold their own when things get lighter. The song is a glorious effort, complete with rousing melodies, layers of vocals, and a closing ambient section that could make a grown man cry.

When you add into the equation guest appearances from some notable musicians, including cellist Raphael Weinroth-Browne, guitarist Tony Asta (Battlecross), vocalist Lady Luna (Lady Luna And The Devil), and Dragged Beneath’s vocalist Kevin Wroebel, you begin to realise just how good this band are, and how highly thought-of they are in certain musical circles. And the great thing is, that ‘The Sun Will Always Set’ justifies the high regard in which they are held. Imminent Sonic Destruction have put together a superb record here, one that deserves to see them rise higher and command even more success in the coming years. If you’re a fan of progressive music, then there is definitely something on ‘The Sun Will Always Set’ that is guaranteed to get your pulse racing. Highly recommended.

The Score of Much Metal: 89%

Check out my other 2022 reviews here:

Monuments – In Stasis

Soledad – XIII

Viande – L’abime dévore les âmes

Credic – Vermillion Oceans

Postcards From New Zealand – Burn, Witch, Burn

Darkher – The Buried Storm

Treat – The Endgame

Bjørn Riis – Everything To Everyone

Destruction – Diabolical

Et Moriemur – Tamashii No Yama

Angel Nation – Antares

Wolf – Shadowland

Denali – Denali EP

Centinex – The Pestilence EP

Meshuggah – Immutable

Chapter Of Hate – Bloodsoaked Decadence EP

Ancient Settlers – Our Last Eclipse

Tranzat – Ouh La La

Playgrounded – The Death Of Death

Father Befouled – Crowned In Veneficum

Abbath – Dread Reaver

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

Kvaen – The Great Below

Michael Romeo – War Of The Worlds, Part 2

Dark Funeral – We Are The Apocalypse

Carmeria – Advenae

Agathodaimon – The Seven

Moonlight Haze – Animus

Hellbore – Panopticon

Konvent – Call Down The Sun

Idol Of Fear – Trespasser

The Midgard Project – The Great Divide

Threads Of Fate – The Cold Embrace Of The Light

Arkaik – Labyrinth Of Hungry Ghosts

New Horizon – Gate Of The Gods

Cailleach Calling – Dreams Of Fragmentation

You can also check out my other reviews from previous years right here:

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Darkher – The Buried Storm – Album Review

Artist: Darkher

Album Title: The Buried Storm

Label: Prophecy Productions

Date of Release: 15 April 2022

It’s another previously unknown artist that comes under the spotlight in this review, namely UK-based Jayn Maiven who goes by the name of Darkher. Originally conceived as a solo project a decade ago, this sophomore release, ‘The Buried Storm’, sees Darkher now as a duo, with the vocalist, guitarist and bassist being joined full-time by drummer Christopher Smith. Not only that, but this record boasts the inclusion of a decent cast of guest musicians to add their talents to the compositions that have been created from the mind of the main protagonist. The guests include cellists Arianna Mahsayeh, Melanie Chaplin, and Ludwig Swärd, violinist Lambert Segura, and Daniel Land who contributes additional guitars on one track. In addition, both Land and Swärd are credited with background vocals.

Having known none of the above until a couple of weeks ago, I decided to give this record a listen because everything about it intrigued me. From the incredibly evocative cover artwork to the promo material’s description of ‘dark folk doom’, I just felt compelled to take a listen. I wasn’t sure what I’d hear, but I was up for finding out. As it turns out, the material that finds its way onto ‘The Buried Storm’ is as intriguing as I was expecting. Admittedly, bearing in mind the inclusion of the word ‘doom’ in the description, the music isn’t as heavy as I was expecting, but that’s by no way a criticism.

Instead, my ears are assaulted by a much gentler sound for large periods, or at least that’s the impression I got on a superficial level at the beginning. Listen more closely, however, and it becomes far more apparent that Darkher’s music cannot be dismissed as light, fluffy, and whimsical. Yes, there are moments within the forty-one minutes or so that could be given this appraisal, but there’s a far more menacing and brooding vein that runs through the music. I’d probably say that ‘darkly cinematic’ would be a reasonably fair description.

The opening track, ‘Sirens Nocturne’ begins softly and delicately, with the ethereal, soothing voice of Darkher on top of a simple soundscape, ever-increasing in intensity and understated menace. On the one hand, the sounds of the strings could be seen as an enrichment of the composition but, when coupled with that dark undertone and the way the strings are presented, there’s a dark and foreboding feel that runs alongside an unmistakeable poignancy.

The transition into ‘Lowly Weep’ is almost seamless, but within moments, the folk elements can be heard within the deep, resonant strings that sing alongside the fragile vocals. The beat that enters almost imperceptibly, has a rhythmic, almost tribal feel, before disappearing along with all but the most minimalist of sounds. It’s the calm before the storm though, as the first foray into doom territory appears, albeit in understated fashion. Strangely melodic and beautiful, I love the slow unfurling of this track, which shows the breadth of Darkher’s compositional prowess in the process.

It has to be said, at this juncture, that ‘The Buried Storm’ is a remarkably consistent and alluring beast in whatever guise the music finds itself. ‘Unbound’ is a reasonably brief but beautiful piece of work, but that’s a description that could be applied to so much of the material here. ‘Where The Devil Waits’ for example, sees the delicate poignancy of acoustic guitars add to the haunting cinematic tones of the song’s framework, whilst the vocals are some of the most forcefully delivered overall. The deep sounds of the cello are a fabulously rich and resonant touch too.

Even when things get more disturbing in tone, as is the case with ‘Love’s Sudden Death’, the slow, plodding menace has a touch of delicacy and the poetic about it. The result is a slightly disturbing listen, but a beguiling one, with an undeniably hypnotic quality as well.

Without doubt though, my favourite composition has to be the near eight-minute ‘Immortals’. From the beginning, the melodies strike a chord with me, speaking to my very soul it feels. It’s a simple melody, but the best always are. And they are accented with aplomb by touching lyrics delivered with such understated passion from Maiven herself. For fully half of the song, I am held captivated and then, at the midway point, the heaviness begins to build, led by a simple but effective beat from drummer Smith. The cinematic nature of the soundtrack swells but despite threatening to erupt, never quite does. And that intensity and threat that never materialises somehow makes the experience even more powerful. Whilst I’d have loved an explosion towards the death, I can understand why this wasn’t in the gameplan and actually respect Darkher’s personal vision all the more as a result.

‘The Buried Storm’ is, when I think about it, one of those albums that delights and intrigues in equal measure. It isn’t generally the kind of music I will gravitate towards. However, what makes it so interesting and powerful, is the purity of it. There are sections that are heavy and intense, but for the most part, the strength of the music lies in the way that it is so insidiously intense; the darkness of the music, the unpredictability, and the very human volatility that it possesses. And yet, all the while, Darkher keeps things in check and never let it spill over or get the better of them. In a way, it is this that makes the music all the more daunting, and so captivating. I’m impressed and if you have a listen, I’m sure you will be impressed too.

The Score of Much Metal: 86%

Check out my other 2022 reviews here:

Treat – The Endgame

Bjørn Riis – Everything To Everyone

Destruction – Diabolical

Et Moriemur – Tamashii No Yama

Angel Nation – Antares

Wolf – Shadowland

Denali – Denali EP

Centinex – The Pestilence EP

Meshuggah – Immutable

Chapter Of Hate – Bloodsoaked Decadence EP

Ancient Settlers – Our Last Eclipse

Tranzat – Ouh La La

Playgrounded – The Death Of Death

Father Befouled – Crowned In Veneficum

Abbath – Dread Reaver

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

Kvaen – The Great Below

Michael Romeo – War Of The Worlds, Part 2

Dark Funeral – We Are The Apocalypse

Carmeria – Advenae

Agathodaimon – The Seven

Moonlight Haze – Animus

Hellbore – Panopticon

Konvent – Call Down The Sun

Idol Of Fear – Trespasser

The Midgard Project – The Great Divide

Threads Of Fate – The Cold Embrace Of The Light

Arkaik – Labyrinth Of Hungry Ghosts

New Horizon – Gate Of The Gods

Cailleach Calling – Dreams Of Fragmentation

You can also check out my other reviews from previous years right here:

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

The best albums of 2022 so far…three months in

Where has the time gone? In what feels like the blink of an eye, here we are at the end of the first three months of 2022. A quarter of the year done and dusted already. Mind you, it’s no wonder the time has flown, because I have never been busier with this website. So far, I’ve published no fewer than 75 reviews, right across the spectrum of heavy music, from instrumental post rock, to technical progressive death metal. I’ve never written so many in such a short space of time…ever.

And within the 75, there have been some real belters, albums that have wowed me and made me forget the various woes that I face elsewhere in life. Music, more than ever, has helped to keep me away from a worrying darkness, providing company and succour throughout. And so, just like in years gone by, it’s time to recap on the best that January-March 2022 has served up.

In chronological order, I bring you a round-up of my favourite albums relased so far in 2022. I hope you enjoy!

Toundra

Hex

InsideOut Music

Genre: Instrumental post rock/metal

“Thanks to some inspired songwriting, flawless execution, depth of emotion, and a wealth of beautiful melody, an instrumental post rock/metal album has captured a little piece of my heart. ‘Hex’ by Madrid’s Toundra is the real deal people, do not let it pass you by, I implore you.”

— MoMM —

Lalu

Paint The Sky

Frontiers Music

Genre: Progressive Rock

“Whatever your preference when it comes to progressive music, I absolutely guarantee that there will be plenty for you to enjoy within ‘Paint The Sky’. It has technicality and flamboyance aplenty, but crucially, it is never present at the expense of the songs themselves. With performances out of the top drawer from the band and guests alike, there is literally nothing that I can fault with this album whatsoever. I adore it, and I suspect that you will too. Prepare to hear the first genuine candidate for the best album of 2022, I kid you not.”

— MoMM —

Silent Skies

Nectar

Napalm Records

Genre: Cinematic atmospheric ambient

” It is a record that is lovingly crafted, professionally executed, and stunningly beautiful from start to finish. It may not be the easiest collection of songs to listen to at times, but it is definitely one of the most rewarding thanks to the depth of feeling that the music conveys. In a day and age where more and more music is soulless, cynical, and mass-produced for an ever-more throw-away society, it is heart warming to know that there are musicians out there that still give a damn, and who understand that honesty and emotion should always be important ingredients within music.”

— MoMM —

Vorga

Striving Toward Oblivion

Transcending Obscurity Records

Genre: Atmospheric Black Metal

“A debut record it may be, but ‘Striving Toward Oblivion’ has everything that you could possibly want from an atmospheric and melodic black metal album, including something that cannot be quantified: presence. It is this assured presence and impressive maturity that, when coupled with their musical endeavours, should propel the Germans to greatness, from the deep and dark underground to the stratosphere and beyond, to the farthest reaches of space…”

— MoMM —

Persefone

Metanoia

Napalm Records

Genre: Technical Progressive Death Metal

“Wow, wow, and thrice wow. In a year that has already delivered a handful of great albums within various subgenres, Persefone have come along and thrown down the heaviest of gauntlets to the competition. This band have absolutely everything in their armoury, and they bring it all to the battle on ‘Metanoia’; darkness and vulnerability duel against aggression and rage, but both are kept in check by masterful performances from all corners. “

— MoMM —

Cult Of Luna

The Long Road North

Metal Blade Records

Genre: Post metal

“For the first time, I find myself absolutely enthralled by a Cult Of Luna album. Mind you, if you’re a heavy music fan and you don’t find something on ‘The Long Road North’ to enjoy, you might want to check your pulse. The blend of heaviness, aggression, minimalist exploration, and genuinely memorable melody makes this album a sure-fire winner. “

— MoMM —

Arð

Take Up My Bones

Prophecy Productions

Genre: Funeral Doom Metal

“What an album Mark Deeks, under the banner of Arð, has created. There is almost nothing I’d change about ‘Take Up My Bones’, except maybe the addition of another song or two. But that’s only because I am an ungrateful sod and just want to hear more and more. Trust me when I say that this is one of the most special albums of slow, maudlin funeral doom that I have heard in many a year. “

— MoMM —

Allegaeon

Damnum

Metal Blade Records

Genre: Melodic Technical Death Metal

” ‘Damnum’ is a very ambitious record, but the technical abilities of the quintet mean that the plethora of competing influences don’t end up as a huge cluttered, unfocused mess. On the contrary, once you get your bearings and listen to the album a few times, it all makes sense. It’s an intense ride for sure, but it’s a hugely enjoyable and rewarding ride too, full of interesting twists and turns. I cannot recommend ‘Damnum’ more highly, because Allegaeon are the real deal. If only I’d realised it sooner.”

— MoMM —

Godless Truth

Transcending Obscurity Records

Genre: Technical Death Metal

“The Czech quintet have not only grabbed my attention, but they have also held my attention, quickly turning it into admiration. And now, as I write this review, listening for the umpteenth time, I have a feeling that admiration is turning into love. Strong words, but words that befit such a strong album, one that has managed to blend my love of complexity, brutality and melody into a eminently listenable feast for the ears. “

— MoMM —

Hath

All That Was Promised

Willowtip Records

Genre: Blackened Death Metal

“…there really isn’t a moment wasted anywhere on ‘All That Was Promised’. It truly is a behemoth of a record and I’m already thinking that it’ll take a near miracle for another blackened death metal record to knock Hath off the top spot. Only time will tell of course, but in the meantime, simply sit back and enjoy a truly special disc of the highest quality.”

— MoMM —

Threads Of Fate

The Cold Embrace Of The Light

Layered Reality Productions

Genre: Symphonic Metal

“If all symphonic metal sounded like ‘The Cold Embrace Of The Light’, then there’s every chance that it would be my favourite genre of heavy music. Intelligent, emotional, properly heavy, and with melodic sensibilities to die for, it is impossible not to fall for the considerable charms of Threads Of Fate. I have. And within a couple of spins through, so will you.”

— MoMM —

Michael Romeo

War Of The Worlds, Part 2

InsideOut Music

Genre: Progressive Metal

“In fact, ‘class’ is what ‘War Of The Worlds, Part 2’ is. From beginning to end, it sparkles and fizzes, delivering track after track of powerful, memorably melodic progressive heavy metal with style and panache. It sounds great too, blessed with a strong, clear production, thus enhancing the music considerably…Those who have high expectations are very unlikely to be disappointed one iota.”

— MoMM —

Kvaen

The Great Below

Black Lion Records

Genre: Blackened Death Metal

“If ‘The Funeral Pyre’ signalled the arrival of Kvaen on the blackened death metal scene, then ‘The Great Below’ is a sure statement from Björnfot that he is going nowhere. In fact, this sophomore release goes one step further, suggesting that Kvaen are not only here to stay, but that they could be one of the forces within the genre to reckon with over the coming years. ‘The Great Below’ is a lithe, spirited affair that is a pleasure to listen to…”

— MoMM —

PreHistoric Animals

The Magical Mystery Machine (Chapter Two)

Glassville Records

Genre: Progressive Rock/Metal

“PreHistoric Animals are a quirky band in many respects, but they are an equally special band. They create music that is very much their own, blending progressive rock with pop as seemingly only they can. And in a reality that’s really quite depressing for many of us, the music these four musicians create is an utter joy, providing an intelligence and beauty that’s sorely lacking elsewhere currently.”

Cailleach Calling – Dreams Of Fragmentation – Album Review

Artist: Cailleach Calling

Album Title: Dreams Of Fragmentation

Label: Debemur Morti Productions

Date of Release: 11 March 2022

The Cailleach is an entity from Gaelic myth, with a literal translation of ‘old woman, hag’. The Cailleach is associated with the creation of the landscape and weather, particularly the stormy, cold weather of winter. There is, apparently, a softer, warmer side to the Cailleach too, that tries to provide care to nature and animals during the winter months. And the reason why I am beginning this review with this lesson in Gaelic myth, is because the Cailleach and the music of Cailleach Calling could not be better bedfellows, as I shall attempt to explain.

Formed around a year ago in the heart of the worldwide pandemic, Cailleach Calling is a trio that features some familiar protagonists amongst the streamlined ranks. The entity was put together in California by the Dawn Of Ouroboros duo of Tony Thomas and Chelsea Murphy. On this record, Thomas handles the guitars, synths, and the bass, whilst Murphy takes care of the vocals. Ukrainian drummer Yurii Kononov rounds out the three-piece. With reasonably average cover artwork, I probably wouldn’t have even checked out ‘Dreams Of Fragmentation’, the debut from Cailleach Calling, had it not been for the Dawn Of Ouroboros connection. Thankfully though, my instincts didn’t let me down on this occasion, and I have been duly rewarded.

Described as ‘atmospheric and progressive black metal’, Cailleach Calling certainly create an interesting final product, a soundscape that bears little or no real resemblance to the visuals on the front cover, which is a photo of a city at night, the lights shining brightly against a star-studded sky. It’s all very intriguing, leading to a sense that, when I press play, I have very little idea of what I’m likely to hear.

As it turns out, I find myself pleasantly surprised.

If anyone read my recent review of Tundra’s ‘A Darkening Sky’, you’ll have read all about my general dislike for deliberately lo-fi production, usually the preserve of the black metal scene. If not, please check it out as it gives some useful context here. And that’s because the only major gripe I have with ‘Dreams Of Fragmentation’ relates to the production. Admittedly it is nowhere near as bad as some of the offerings of some ‘trve’ black metal, but it does disappoint me unfortunately. The music across the four tracks on this record are generally incredibly appealing and interesting – more on them shortly – but the album is cloaked in a very lo-fi production that means that you can’t hear the various instruments in anywhere enough detail. At times, when the synths come into the songs with real force, it’s nigh on impossible to hear anything else because they take over. In general, it all feels a little distant, muffled, and indistinct.

At this point, I will readily accept and recognise that this is almost certainly a deliberate decision taken by the trio of Cailleach Calling. I also understand the reasons for this conscious choice. But that doesn’t stop me from wishing the album had been given a clearer production. Others will almost certainly disagree with me, but this is where I personally stand.

But enough of the quibbles over the production because they should not detract wholly from the music on ‘Dreams Of Fragmentation’, the area in which Cailleach Calling absolutely excel. Four tracks spread across 40 minutes should tell you a lot about this debut. The band isn’t interested in presenting us with easy to digest four- or five-minute blasts of extreme music, oh no. Instead, they have chosen to create four long compositions that take their time to explore their chosen soundscapes. It suits the music perfectly too, because it is most definitely full of atmosphere, almost other-worldly at times, and hypnotic also. The songs are sufficiently varied to maintain the attention of the listener, but they also spend as long as they need to create a certain atmosphere, or invoke a certain feeling, be that something aggressive, or something a great deal calmer. In terms of the latter, Cailleach Calling have cleverly infused their black metal with plenty of serene, beautiful ambient sounds and textures too.

A cacophony of fast riffing, blastbeats, and almost inhuman shrieks and screams confronts us from the very beginning, as Cailleach Calling waste no time in making their presence known. But the aggression is tempered by swirling synths that weave in and out of the almost incessant barrage of black metal aggression, layering the tumult with a sense of cosmic calm and serenity, but also unsettling darkness too. Finally, when the blasts cease, they are replaced by a hypnotic mid-tempo section where the vocals lower to almost subterranean levels. From there, there’s a more pronounced ebb and flow to the pace, whilst the synths come ever more to the front, to bathe the song in their elegant glow. Regardless of the production quality, I find myself drawn into the song, as if I have no power to resist, and the band do that largely through the strong melodies and textures that they create along the way.

By and large, the same blueprint is followed with ‘Bound By Neon’ but, if anything, the melodies are even stronger than on the opener. Not only that, but I find the synths to be even more beguiling and there are sections within the song when the black metal assault completely dies away in favour of an ambience that’s welcoming, almost Riverside-like with the warm guitars plucking away to a vibrant synth-led backdrop.

It is with ‘Cascading Waves’ though, the 15-minute centrepiece, that Cailleach Calling make it utterly impossible for me to do anything other than fall completely under their spell. For nearly two-thirds of the track, there is not a hint of black metal anywhere to be heard, as the trio delve deeply into ambient, minimalist territory. The results are stunning too, as the melodic intent is incredibly strong whilst being highly soothing and meditative too. When Murphy enters, she half sings and half speaks cleanly, and then, clean guitars enter alongside a simple drum beat and I’m in love; the music is just so deep and immersive. The subsequent explosion of black metal venom is all the more violent as it hits like a tsunami without warning. However, cleverly, the pandemonium is still laced with the earlier melodies, lending an air of sophistication where it has absolutely no right to be.

The final track, ‘Mercurial Inversion’ returns to the black metal battery from the start but if I’m not much mistaken, it happens to contain some of the most immediate material on the album, as well as some of the most abrasive content. The opening couple of minutes deliver no respite from the onslaught, but nearing the halfway point, the pace changes to a more infectious slower tempo, complete with lead guitar melodies that catch the ear from the very first listen.

In what feels like no time at all, 40 minutes has disappeared and I’m at the end of another spin through of this album. And that’s the biggest compliment that I can give ‘Dreams Of Fragmentation’, the thoroughly impressive debut from Cailleach Calling. An album like this can sometimes be a complete drag, where it feels very much as if time stands still. Not so here, and what’s more, when I reach the end, I want to press play again and dive in once more. Yes, the production could be better for my personal tastes, but once I got used to it, I realised that it really doesn’t detract too much from my overall enjoyment. Instead, I find myself listening intently, uncovering new things or simply allowing myself to drown in the brutal yet beautiful music that Cailleach Calling have created here. Highly recommended.

The Score of Much Metal: 89%

Check out my other 2022 reviews here:

You can also check out my other reviews from previous years right here:

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Sylvaine – Nova – Album Review

Artist: Sylvaine

Album Title: Nova

Label: Season Of Mist

Date of Release: 4 March 2022

Whenever Season Of Mist drop a promo into my lap, I find it rude not to dive straight in for a listen, even if it is for an artist about which I previously knew very little. They are a label I tend to trust quite highly, for quality alone, even if I don’t like everyone on their roster. And so, when I received notification that I’d been sent the latest album from Sylvaine, an artist to whom I’m ashamed to admit I’d never given any prior notice, I quickly set about having a listen to see if I was interested in offering a review. The fact that you are now reading this, should give you all the insight you need into the effect that first listen had on me.

Being a reasonably big fan of blackgaze, it is a little troubling to my fragile ego that Sylvaine have evaded my radar for so long. Mind you, there are only so many hours in a day, and when this site is a solo affair, undertaken around a full-time career, two children, a dog, and a million boring adult responsibilities, it’s perhaps not surprising that some artists fall through the cracks along the way. Suffice to say though, having soothed my bruised ego, I won’t be making the same mistake again with Sylvaine if album number four, ‘Nova’ is any indication.

It may not be an accurate statement, but it feels to me that black metal and the subgenres that orbit around it contain a lot more solo, one-person entities than other areas within heavy music. Indeed, as I have found out, Sylvaine is another example, formed by multi-instrumentalist Sylvaine (born Kathrine Shepard). The French/Norwegian artist handles guitar duties as well as all vocals, bass, synths and arrangements in the studio, only entrusting the drums to another, in the form of Dorian Mansiaux.

‘Nova’ is an album that is very much cut from the cloth of blackgaze and will certainly appeal to those that enjoy the sounds of the likes of Deafheaven, Alcest, and others. But what sets Sylvaine apart from these other artists within the genre is the way that she uses her voice to such great effect; her soft, ethereal tones provide a delicacy to the material both at its quietest and heaviest, meaning that so much of the music greets the listener with a warmth and smoothness that’s utterly intoxicating. Additionally, the all-out aggressive attack that blackgaze can provide, is kept in check for large periods, making a much more striking impact when they do finally explode into life. And when they do, Sylvaine delivers a startlingly venomous, anguished shriek to accompany the aggression.

But it is also the way in which Sylvaine explores other sounds and textures that’s very intriguing on ‘Nova’, meaning that it is likely to have a wider crossover appeal I would suggest. Take the opening title track as the perfect example. If you didn’t know anything about this artist before hitting play, you would literally have no idea about the blackgaze roots. It is an exquisite composition, comprised mainly of layers of a capella vocals that create a choir-like sound that’s then gently embellished with subtle synths as the track develops. The melodies grow stronger and more poignant the more times you listen, revealing subtleties that were hidden at first, such as the piercing high notes that suddenly cut through with astonishing clarity. There’s a sadness to the music that suggests that ‘Nova’ is unlikely to be a happy affair, but blackgaze? Nope.

The stark contrast with ‘Mono No Aware’ blows away any misunderstanding however, as it kicks off in heavy fashion, with fast riffing, agonising high-pitched screams, and some really interesting and powerful drumming from Dorian Mansiaux, particularly towards the end of the song. But as I was alluding to earlier, Sylvaine’s clean vocals are never far away, and neither are the elegant melodies that are present even when the music is at its most extreme and hard-hitting. There’s also a great use of dynamics across the near ten-minute piece, with light and shade used masterfully to keep the listener’s attention from wandering, always wondering what’s coming next. How is it possible that I am listening to this record and feeling soothed as I listen? But I am, and it continues across the entirety of the record.

I also love the fact that not all the songs are long drawn-out affairs either, giving a nice pacing and flow to the album in my opinion. In fact, of the six songs, or seven if you include the bonus track at the end, four clock in at under six minutes, with two of these actually falling comfortably under five. The best of these, for my tastes currently, is the stunning ‘Nowhere, Still Somewhere’ which is driven forth by my favourite melody on the album, and which exclusively utilises Sylvaine’s gorgeous wistful vocal tones, again layered to perfection to add depth and richness to a composition that’s as immediate as any song that I’ve heard from this genre in a while.

‘Fortapt’ is the album’s central behemoth, stretching to nearly twelve minutes in length. And yet, it never feels this long. The intro is dreamlike, with synths, clean guitars and delicate vocals working their not inconsiderable magic. From there, much like ‘Mono No Aware’ earlier, it weaves and dances in many directions, occasionally surprising me with a sudden blast of aggressive black metal intensity or a violent shriek. At times, the spectre of post-rock seeps into the composition, but it’s certainly not a negative thing at all, further underlining that ‘Nova’ is definitely no one-dimensional affair.

I cannot complete this review without a mention of ‘Everything Must Come To An End’, because it’s another spellbinding piece of music. Welcoming guest musicians in the form of SAOR’s Lambert Segura on the violin, and cellist Patrick Urban, it carries with it yet another fascinating sonic identity. I detect a vague echo of ‘Mandylion’ era The Gathering at times, but the change at the two-minute mark turns it into one of the most emotional and poignant experiences; the melody is solemn but also light and airy, complimented by Sylvaine’s vocals in a similar vein. And with the introduction of the strings, the composition takes on an even greater beauty and melancholy. I have lost count of the number of times I have had this track on repeat, and I never tire of its abundant charms.

In short, ‘Nova’ is a veritable treasure trove of musical delights, both extreme and delicate in nature. It may be billed as a blackgaze album but in truth, it is so much more than that. It takes the listener down many paths, all of which are enticing for any number of reasons, exploring a range of human emotions along the way. I have thoroughly enjoyed my personal journey through this wonderful album, and I suspect it will be on frequent rotation in the Mansion Of Much Metal for months to come – it certainly deserves to be.

The Score of Much Metal: 90%

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2019 reviews
2018 reviews
2017 reviews
2016 reviews
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Oh Hiroshima – Myriad – Album Review

Artist: Oh Hiroshima

Album Title: Myriad

Label: Napalm Records

Date of Release: 4 March 2022

During the near decade that I have run manofmuchmetal.com, I have had to face many of my long-held prejudices and reassess plenty of my likes and dislikes from a musical perspective. In the intervening years, I have now accepted and fully embraced the fact that I do really enjoy doom metal, and straight-up death metal, even giving in to the notion that music doesn’t have to have a big, sparkly production in order to entertain. I’ve still not fully come around to the ‘wasp in a biscuit tin’ lo-fi sounds that are the preserve of underground black metal, and I still have a hard time accepting that brass instruments and the saxophone have any place in heavy music, but I’m making progress, allowing my mind to open up more and more with each passing day. These changes in my stubborn mindset are leading to so many more wonderful listening experiences that I wouldn’t otherwise have enjoyed; so much so that I’m definitely going to continue to explore as much music as I can.

The latest realisation with which I am now firmly grappling has to do with another previous swear word in the Mansion Of Much Metal: ‘post’. For a long time, I have always seen the word ‘post’ hyphenated with the likes of ‘black metal’, ‘rock’ and ‘metal’, and immediately taken a step back. There are always exceptions to any rule, and I have entertained a few. But since the turn of the year, I have been faced with too many exceptions for my views against the ‘post’ descriptor to hold much credibility anymore. Toundra, Nordic Giants, and even Cult Of Luna have already struck a chord with me in 2022, receiving positive reviews. Yes, even Cult Of Luna. I know, right?

It’s entirely possible then, that I actually do like music where the word ‘post’ features in the description. The tipping point was a few days ago when I decided to give the latest album from Oh Hiroshima a listen. Naturally, this was my first foray into their particular world and within moments, I was absolutely certain that I was going to like this album. And so it has transpired over the ensuing days, even though it tests another of those aforementioned prejudices of mine – brass.

‘Myriad’ is the fourth full-length release from the Swedish post-rock/metal entity Oh Hiroshima, but it sees the light of day following a difficult period that saw one third of the trio departing the band. In early 2021, bassist Simon Forsberg’s departure saw Oh Hiroshima reduced to the duo of Jakob Hemström (Guitars, vocals, bass) and drummer Oskar Nilsson. I can’t comment on the past for obvious reasons, but all I can say is that the two remaining musicians have created an album that is fantastic.

The opening few moments of ‘Nour’ are dark, unsettling, thoroughly dirty, almost post-apocalyptic, and completely in keeping with what I’d expect from a post-rock band with a name like Oh Hiroshima. The vocals that emerge however, I was not expecting, as they have a Gothic, darkwave feel to them. Joined by a simple beat, I felt very confused on my first spin. Then, out of nowhere, we’re treated to a melancholy melody that’s immediately arresting. What’s more, the melody is created by a solemn trumpet…and I like it. It seems fitting somehow. From there, the song erupts into a wall of sound, albeit melodic and epic-sounding at the same time. The ebb and flow sees the duo plunder more dark dystopian tones, but it remains beautifully compelling thanks to anguished lead guitar notes and the reintroduction of the sad brass notes as an echo in the distance almost.

It is clear as ‘Myriad’ develops that atmosphere, emotion, and melody are high on the Oh Hiroshima agenda, as these facets combine time after time across the all-too-short record. Spanning around 40 minutes across seven songs, I’d have loved to hear even more music from these two, such is its quality.

The vocals from Jakob Hemström are much smoother, almost dreamlike on ‘Veil Of Certainty’, the longest composition on offer, falling just short of seven minutes. Again, the ebb and flow is marvellous, from moments of minimalism where just a throbbing bass duets with an energetic drumbeat, to all-out explosions of sound, it is both hard-hitting and ambient, confrontational and warmly melodic. The competing elements create a great sense of drama and tension in what is largely an instrumental affair, but one that is ultimately very rewarding given time and attention.

I adore the brooding intro of ‘All Things Pass’ that introduces keys to great effect. The melodic intent is present from the outset, building gradually as the song builds elegantly around it, only to fall entirely, to be replaced with vocals and synths only. There’s a modern Katatonia vibe deep within the bowels of the track which is probably entirely coincidental, but it gives you an idea of the dark vibes at play here. But it is also one of the most immediately catchy and engaging of all the songs too creating an interesting dichotomy in the process, especially as the brass makes a brief reappearance later on, without detracting one iota from my enjoyment. Who’d have thought it!

The tone within ‘Ascension’ is far more ambient and chilled, but it carries with it a strange atmosphere, neither entirely sad nor happy – it’s a bittersweet slow burning song that offers much more insight into the more delicate nuances of the Oh Hiroshima sound on this record. Hemström’s vocals are more prominent than at any time previously and it highlights what a great voice he has, almost dreamlike, and the ideal counterpoint to the gently building but always ethereal sounds within this particular track.

The brass of trumpets and trombone feature within the excellent ‘Humane’, which sees heavily affected vocals, and bold, rich bass notes surrounded by a gradual build-up of intensity until a controlled explosion takes place towards the end. However, in the album’s latter stages, it is to ‘Tundra’ that I find myself most drawn. I like the heaviness of the track, coupled with the oppressive darkness and the complimentary melodic sensibilities, all of which combine to create another superb composition.

Not only have Oh Hiroshima managed to put to bed any notion that I don’t really like ‘post-rock’ or ‘post-metal’, they have also given me cause to reconsider my blanket dislike of brass in heavy music too. But more importantly, the duo have managed to do so in a way that has provided me with great enjoyment over the past week or so. When the last delicate notes of ‘Hidden Chamber’ fade away, all I want to do is hit ‘play’ again and immerse myself in the rich sonic tapestry of ‘Myriad’ once more. Where power, emotion, melody, and drama combine, great music can be found, regardless of the instrumentation or the genre descriptor. Look no further than ‘Myriad’ by Oh Hiroshima for the perfect example of this sentiment.

The Score of Much Metal: 91%

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2019 reviews
2018 reviews
2017 reviews
2016 reviews
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Nordic Giants – Symbiosis – Album Review

Artist: Nordic Giants

Album Title: Symbiosis

Label: Independent Release

Date of Release: 4 February 2022

You’ve got to love a musical entity that’s shrouded in mystery, haven’t you? I mean, it adds to the aura that surrounds the music, and to an extent, stops the focus being on the people. You can therefore concentrate on the audible output 100%. Well, that’s the theory anyway. It doesn’t always work, as the constant speculation around who is or isn’t involved can sometimes get in the way of more important things. Nevertheless, whatever the pros and cons, it is a path that Nordic Giants have taken. Formed well over a decade ago, we still only know that Nordic Giants is a duo, who go by the names of Rôka and Löki. All else is just unconfirmed conjecture.

What isn’t unconfirmed conjecture, and what’s beyond doubt is that musically, Nordic Giants have crafted something rather special here. ‘Symbiosis’ is their sophomore studio long-player, following their debut ‘A Sèance of Dark Delusions’ and their subsequent documentary/soundtrack project entitled ‘Amplify Human Vibration’. Neither of these I am familiar with, but having now immersed myself in the work of Nordic Giants for the past week or two, I plan to change that very soon indeed.

I find it difficult to describe accurately the musical output on ‘Symbiosis’ because it encompasses many different ideas and genres. At the most basic, the music could be referred to as ambient post-rock I suppose, but when you then listen to the compositions on this album, you quickly realise that such a description feels too bland and one-dimensional. There are elements of classical music, cinematic film scores, pop, electronic, and a whole lot more besides. And all these elements collide in a glorious fusion that ultimately leads to a record that delights, comforts, entertains, and most importantly, has the power to make you feel. I cannot deny that I haven’t always found the music as easy to listen to as I would like, because some of its tenderness, and fragility has hit me hard, bringing me to tears along the way. But I’d prefer that than listen to something that leaves me unmoved and cold.

Interestingly, the record does not get off to the most auspicious start thanks to the discordant sound of wailing brass for a few seconds within the slow, dark opening of ‘Philosophy Of Mind’. Spoken word samples talking about what we do or do not know about the universe, as well as the power of the human mind quickly catch my attention, however. And the way that the composition builds is rather impressive, unfolding into an arresting piece of music that has rich piano notes and melodies at its heart. The drumming is both laid back and bold as the track ebbs and flows expertly, building up the tension as it goes. Initially not overly enamoured with the chosen central melodies, I have grown to love them; how could I not, as they swirl and eddy as the energy increases, and with it, the closest you get to a wall of sound from this duo. Instead, the urgency dies away yet again, toying cleverly with the listener. Strange electronic sounds emerge late on, giving the song an entirely new texture, as the spoken word samples return before a gloriously uplifting, almost euphoric section closes the track on a positive note.

‘Anamorphia’ follows and it’s a fairly different beast, although it maintains many of the elements of the opener, especially at the outset. The piano, once again, plays a central role, moving into jazz territory at the midway point. Delicate synths lace the piece with depth and richness of sound, whilst the ensuing build-up of power and potency is an utter delight, the melodies instantly gratifying and deeply emotional as it turns out.

If I thought that the first two tracks were good, ‘Hjem’ is even better. Translated simply as ‘Home’, it is one of the most stunningly beautiful and emotional songs I have heard for quite a while. In places it is not dissimilar to the works of Sigur Ros and their ilk, but the aching beauty in the melodies coupled with the minimalist, ambient soundscapes mean that I don’t think straight; the gorgeous piano notes, subtle guitar picking, and layers of serene synths captivate and suddenly my vision is blurred. Before I know it, tears are flowing freely as I sit in the dark, deep in thought, thought that’s both joyous and melancholy.

‘Faceless’ features the vocal talents of Alex Hedley, an English indie-folk musician predominantly. I’ll admit I wasn’t sold on his gravelly voice initially as it sounded like it could break at any moment. However, I was wrong. The explosive chorus that almost erupts out of extended introspective verses are magnificent, dripping with naked emotion, guitars wailing to the heavens in unison with Hedley’s powerful, pleading voice.

A second guest vocalist makes an appearance later in the album, namely Freyja, who adds her delicate ethereal vocals to ‘Spheres’. Again, like elsewhere, the minimalist approach carries a majestic and deeply powerful air, the melodies tugging at the heartstrings with ease. The drumming is slightly more pronounced, creating a bold backbone, but the swathes of synths and tinkling piano notes are the focal point for me, complimenting Freyja’s dreamy vocals perfectly.

‘Spires Of Ascendency’ is almost the twin to ‘Hjem’, a composition that is incredibly poignant and moving despite its apparent, overall simplicity. And the album comes to a close via the longer ‘Infinity’ which, just like its immediate predecessor insists on reintroducing an element of brass to its soundscape. However, also in keeping with ‘Spires Of Ascendency’ before it, the composition does not overly suffer from the inclusion of brass. Yes, I’d have preferred it not to appear, but you cannot question the quality of the track. I adore the opening sequence with its use of interesting sci-fi-like electronics, the way it compliments and enhances the more organic sounds that gradually appear as it develops. I feel like a broken record, but again, the melodies are strong and particularly bittersweet, building to an arresting and entirely fitting crescendo to see out ‘Symbiosis’, both cinematic and dramatic in equal measure, almost a final explosive outpouring of emotion upon which to end.

‘Symbiosis’ has definitely surprised me but in a very positive way indeed. When you’re suffering a deep personal melancholy, it might not be the very best idea to listen to music as emotional as this is. However, after a first impactful listen, I found myself magnetically drawn to the music, almost seeking it out so that I could deliberately let it move me. On that level, ‘Symbiosis’ has proven to be a rather cathartic listen as well as quite a profound one. I have since found out that Nordic Giants are playing a show relatively locally, so it would appear that I will be making a trip to see them. I suspect that live, this music will take on a whole new meaning and be even more moving. I’m braced and ready because I have to experience this beautiful music up close and personal.

The Score of Much Metal: 90%

Check out my other 2022 reviews here:

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2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Silent Skies – Nectar – Album Review

Artist: Silent Skies

Album Title: Nectar

Label: Napalm Records

Date of Release: 2022

I desperately wanted to dislike this album.

This might sound like an odd revelation with which to commence an album review, but it’s true. Ever since I started manofmuchmetal.com, I have made no secret of my love for Evergrey, happily stating that I am a fanboy. There’s no getting away from it, it’s the truth. It has led to accusations from certain quarters that maybe I’m not as objective as I could be when Evergrey, or any of the musicians involved with that band are concerned. Given that Silent Skies is the musical adventure created by the duo of Vikram Shankar (Redemption) and Evergrey’s vocalist/guitarist/songwriter, Tom S. Englund, this review of their sophomore album, ‘Nectar’, would present me with the perfect opportunity to demonstrate objectivity by giving a less than favourable review if I didn’t honestly like it. So, in many ways, I desperately wanted to dislike it.

Unfortunately for me and for those lingering questions about my objectivity, I have to be completely honest; ‘Nectar’ is a stunning release. It features Vikram Shankar and Tom Englund, as a duo, creating atmospheric, cinematic, and minimalist soundscapes. So how on Earth could it not be good? Vikram Shankar is a musician like no other; he has that devastating ability to be both technically gifted and incredibly sensitive, especially when playing the piano, imbuing everything he plays with emotion and feeling. And then there’s Tom Englund who is blessed with a voice that’s unique and powerful, carrying with it an equal amount of emotion as his partner in Silent Skies. Laying down his guitar, Tom has the opportunity here to plough one hundred per cent of his efforts into his singing, which he seems to relish based on the end result.

At this point, I will be totally honest with you all and declare that as good as ‘Nectar’ is, I have found much of it very difficult to listen to. As always, and in keeping with the debut, ‘Satellites’, Tom and Vikram have not shied away from creating a record that’s incredibly raw, laced with human fragility and at times, brutal honesty. It is an intensely emotional listen at the best of times, but when you’re suffering with your own demons, the intensity and emotion can almost be too much to bear. Especially so when some of the lyrical content feels like it was plucked from my own mind and given voice. Take ‘Taper’ for example:

“Sometimes my presence won’t hold,

I feel like I can’t breathe,

feels like I’ve lost control.

‘Cause my heart is too old,

but my soul is too young.

It’s getting harder and harder,

and I can’t hold on much longer.

I feel this heart’s too cold,

yet the world is much colder,

and it’s getting harder,

I can’t hold on much longer.”

These words pierce my heart every single time I hear them. This is me. It’s so me. And were it not for my family and my little girls, I wonder whether I’d have the strength to hold on any longer. But I will. For them. In a way, the fact that this sentiment is also coming from a third party, it gives me some measure of comfort, knowing that maybe I’m not alone.

But it’s not just the words of this song that move me to tears, it’s the lyrics combined with the minimalist soundscape created by Vikram Shankar, a blend of piano notes, subtle electronics and sorrowful strings towards the end. The melodies are simple, delicate, and beautiful, given flight by the most talented and dedicated of musicians.

Another hauntingly difficult song to listen to for me is ‘Let It Hurt’. As the title suggests, Englund almost pleads in anguish when he sings the line “Let it hurt, let the pain come…” within arguably the most moving and utterly beguiling of choruses to feature on ‘Nectar’. Given the melodies and the sentiment expressed across the album as a whole, this is no mean feat. But Tom gives a breathtaking performance, full of poise, delicacy and emotion, once again singing words that have been spinning around my head for days, weeks, and months.

It’s not all doom and gloom however, as tracks like ‘Neverending’ and ‘The One’ ably demonstrate. The former, which builds from humble beginnings to unfurl with rousing cinematic splendour contains the positive sentiment that’s ‘but I believe that better days will come’. The latter, led by another delicate and tender piano melody, actually sees Tom opening up and singing about someone special, an open love letter of sorts.

“I know now that I’ll never feel alone again,

‘cause through the darkness I felt the sun,

and when I sensed that I’d never be on my own again,

that’s when I knew you were the one”

Ironically, when your own deep well of sadness comes from the fact that you have lost that special person in your own life, ‘The One’ is almost as deeply emotional a listen as ‘Taper’. I’m only halfway through the album and yet I have been put through the ringer. And that’s without even mentioning the opening track, ‘Fallen From Heart’, which is every bit as gorgeous as what follows, setting the tone perfectly in the process.

But onwards I stride and ‘Leaving’ is my immediate prize. It is a much bolder and more dramatic cinematic composition, featuring a greater use of electronics alongside strings and piano. It is also one of my personal favourites thanks to the combination of drama and a really strong melodic hook within the chorus that gives me shivers.

‘Cold’ follows and it continues along the path of its predecessor in that it is a more cinematic piece, albeit dark and foreboding in tone. It is also one of the very best performances from Englund; his delivery is captivating, lacing the song with a plethora of differing emotions; frustration, despondency, longing, and even hope all feature within this striking composition.

As we near the end of ‘Nectar’, I love the way that the song ‘Closer’ draws to a conclusion. It’s a wonderful composition throughout, but it’s the last time you get to hear Englund sing on the album. As such, it’s a very clever and fitting touch the way that the instrumentation slowly ebbs away so that the last thing you hear before the track finishes is Tom’s words, and nothing else. It’s small touches like this that demonstrate the attention to detail, the love, and the care that has so clearly gone into creating this album.

And so it is left to Vikram to see out ‘Nectar’ with the title track. In typical Shankar fashion, the touch is deft, the feeling is palpable, and we’re treated to a final instrumental that perfectly sums up the pianist’s skill in saying so much, so eloquently, with so few notes and with effortless grace. That last point is utterly deceptive, however; it may appear effortless, but nothing could be further from the truth in reality, every note pored over in minute detail to get it just right.

As I said at the outset, I so wanted to dislike ‘Nectar’. But I cannot. It is a record that is lovingly crafted, professionally executed, and stunningly beautiful from start to finish. It may not be the easiest collection of songs to listen to at times, but it is definitely one of the most rewarding thanks to the depth of feeling that the music conveys. In a day and age where more and more music is soulless, cynical, and mass-produced for an ever-more throw-away society, it is heart warming to know that there are musicians out there that still give a damn, and who understand that honesty and emotion should always be important ingredients within music. On that score, there are few better than Silent Skies who, with ‘Nectar’, have perhaps made me realise that I need to add music to the list of reasons, alongside my family and my daughters, as to why I should hold on to life as long as possible.

The Score of Much Metal: 97%

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