Enslaved – E – Album Review

Artist: Enslaved

Album Title: E

Label: Nuclear Blast

Date of Release: 13 October 2017

Someone very close to me was once fascinated by ancient Norse runes, so much so that he studied the alphabet and delved into the history and the myths with real passion. I often think that he was born in the wrong country, at the wrong age. And, when he passed, possibly into the halls of Valhalla, I seriously contemplated having the word ‘brother’ tattooed across my shoulders in runic. And, despite my general cowardice towards pain of any kind, I still toy with the idea nearly a decade on.

My brother would have therefore approved wholeheartedly with the choice of album title for Enslaved’s 14th full-length release, the simple and enigmatically-titled ‘E’.

‘E’ means a lot more than it first appears. Written in a manner that more closely resembles the modern letter ‘M’, it is apparently referring to the rune ‘Ehwaz’. I really enjoy the fact that the runes are drawn to look like what they mean, because ‘Ehwaz’ literally means ‘horse’. Or, more esoterically, it can also mean ‘trust’ or ‘co-operation’. Already, I can see why so many find the runes so interesting and it’s the perfect title for this incredible album.

The opening moments of ‘Storm Son’, set the record off in the perfect manner. Beginning delicately and quietly with the sound of nature, something darker in tone enters and the relative silence is shattered by the confrontational yet strangely warm sound of a Viking Horn alongside the neighing of horses. You think that the song will launch into something heavy and oppressive at this point but, in actual fact, the tentative guitar melody is a thing of understated beauty, with a strangely bright and positive feel to it. The soundscape builds, only to finally betray Enslaved’s extreme metal roots as it nears the three-minute mark.

And even then, the guitars are restrained, as is the strong rhythmic beat, as the clean vocals of new member Håkon Vinje takes centre stage. On that note, there was a lot of concern amongst the faithful when Herbrand Larsen left. However, there is nothing to worry about on that score. Håkon Vinje is a more than worthy replacement, not dissimilar in tone or delivery but individual enough to make his presence felt within the collective. He initially ‘duets’ with hushed choral vocals, into which gruff vocalist Grutle Kjellson dips in and out.

As Kjellson’s raspy notes fade, the song changes tack to deliver a relatively simple yet stunning riff that is accented by some excellent driving bass work and drenched in rich, atmospheric keys to enhance the strong melodic tendencies and epic atmospheres. At this point, I am beginning to posit that ‘Storm Son’ might just be one of Enslaved’s masterpieces.

The song changes direction and pace more than once, finally delivering something heavier, more extreme and uncompromising well into the second act. Even then, it isn’t all-out blast-beats, more a frantic gallop, whilst those rapid staccato riffs from Ivar Bjørnson and Arve Isdal offer a window into the quintet’s dim and distant black metal beginnings. As the track closes with a reprise of the earlier melodic riff, I am firm in my belief that this is a sensational song, definitely one of their very best.

At a little over five minutes in length, ‘The River’s Mouth’ is half the size of its predecessor. However, what it lacks in stature, it makes up for in intensity. Right from the off, the pace is quick, with Kjellson’s unmistakeable gruff snarls present almost immediately. However, I must return to the vocals of Vinje, who soars above the controlled maelstrom of glorious sound beneath him, making the powerful song completely irresistible once it gets under the skin.

It almost goes without saying but it’s worth mentioning that ‘E’ is unlikely to make an instant impact with listeners. Some parts will quickly grab your attention, but the vast majority of the material will require concentration and a certain amount of familiarisation in order to extract everything of value out of it. Over the course of the last two or three albums, maybe even longer, Enslaved have been headed inexorably towards a more progressive incarnation, as they continue to bravely experiment with their personal musical vision. As a result, the grandiose nature of ‘E’ means that the Norwegians have taken another bold journey into the unknown, whilst managing to keep one hand on the tiller of familiarity. As challenging as it is, there’s a sense that you know exactly who this is as it is playing. That, in itself, is an extremely neat trick to pull off, further demonstrating the craftsmanship and skill of Enslaved.

There’s little time for further reflection because ‘Sacred Horse’ storms into life following a deceptively quiet opening. It is blessed with a pulsating pace, with the drums of Cato Bekkevold charging rapidly through the song, even during somewhat quieter moments. The variety on offer is exciting, including a bold 70s-inspired keyboard solo from Vinje and a gloriously ominous and foreboding section where the drums and bass come together to deliver an epic and rousing extended outro that’s subtly built upon and then topped off by the briefest of returns to frantic climes.

I’d pick out my favourite songs if I could, but they are all superb. And as there are only six, I shall continue guilt-free. ‘Axis Of The Worlds’ lightens the mood somewhat despite the abundance of heaviness and gruff vocals. It is hard to explain, but there’s a light, vaguely playful feel to this track, led by the Vinje’s clean voice and folky melodies that come and go, ultimately reasserting themselves after the composition threatens to unravel amid a torrent of competing sounds and noises.

‘Feathers Of Eolh’ is one of the most difficult tracks to work with, thanks to the myriad of mind-boggling time signatures that are employed. And yet, once it clicks, it becomes one of the most rewarding listens on ‘E’. The harsher sections are magnificent, full of lush multi-layered grandiosity. But it is when the foot is taken off the gas and the band descend into more ambient, introspective territory where I get the chills. Here, the bass of Kjellson really comes into its own and the delicate melodies are allowed time and space to breathe. Ultimately though, it is the juxtaposition between the light and the dark that enables this track to make the huge impact that it does.

The final track of ‘E’, an album with a healthy and digestible running time of around 50 minutes, is ‘Hiindsiight’. The opening wistful melody is a joy but after about a minute, all light is expunged and we’re plunged into the suffocating darkness of crushing funeral doom. It only lasts for a short time, but it makes a malevolent and, if it’s possible, a heavier return later in the piece. In between and afterwards, the composition returns to the opening melody but is joined by guest musicians: saxophonist Kjetil Møster and Einar Kvitrafn Selvik (Wardruna) who plays the Talharpa.

I’m not 100% sold on the saxophone inclusion if I’m honest and consistent with my tastes. But regardless, this is a cracking track, full of emotion, layers of rich sound and captivating performances all round. After a few moments in an abyss of noise, the song closes in stunning fashion thanks to yet more fantastic clean vocals and a heart-warming, quietly-delivered choral section which is underpinned by those elegant melodies as it drifts off serenely into calm mist-shrouded waters.

Enslaved are one of those bands that can literally do no wrong. However they decide to evolve their sound, their music always remains of the very highest order. They may have lost a few fans along the way but I’m sure they have gathered many more over the years. And deservedly so, because ‘E’ further cements Enslaved’s credentials as one of the most accomplished, exciting and brave extreme metal bands in the world today.

The Score of Much Metal: 9.5

If you’ve enjoyed this review, you can check out my others from previous years and for 2017 right here:

2015 reviews
2016 reviews

Samael – Hegemony
Vuur – In This Moment We Are Free – Cities
Power Quest – Sixth Dimension
Iris Divine – The Static And The Noise
Daniel Cavanagh – Monochrome
White Moth Black Butterfly – Atone
Jag Panzer – The Deviant Chord
Vulture Industries – Stranger Times
Anubis Gate – Covered In Black
Protean Collective – Collapse
Cradle Of Filth – Cryproriana – The Seductiveness of Decay
TDW & Dreamwalkers Inc. – The Antithetic Affiliation
Caligula’s Horse – In Contact
Nocturnal Rites – Phoenix
Arch Enemy – Will To Power
Threshold – Legends Of The Shires
H.E.A.T – Into The Great Unknown
Dyscarnate – With All Their Might
Subterranean Masquerade – Vagabond
Adagio – Life
Paradise Lost – Medusa
The Haunted – Strength In Numbers
Serious Black – Magic
Leprous – Malina
The Lurking Fear – Out of the Voiceless Grave
Prospekt – The Illuminated Sky
Wintersun – The Forest Seasons
Witherfall – Nocturnes And Requiems
Tuesday The Sky – Drift
Anthriel – Transcendence
Decapitated – Anticult
Cosmograf – The Hay-Man Dreams
Orden Ogan – Gunmen
Iced Earth – Incorruptible
Anathema – The Optimist
Solstafir – Berdreyminn
Dream Evil – Six
Avatarium – Hurricanes And Halos
Ayreon – The Source
Until Rain – Inure
MindMaze – Resolve
God Dethroned – The World Ablaze
Bjorn Riis – Forever Comes To An End
Voyager – Ghost Mile
Big Big Train – Grimspound
Lonely Robot – The Big Dream
Firespawn – The Reprobate
Ancient Ascendant
Pyramaze – Contingent
Shores Of Null – Black Drapes For Tomorrow
Asira – Efference
Hologram Earth – Black Cell Program
Damnations Day – A World Awakens
Memoriam – For The Fallen
Pallbearer – Heartless
Sleepmakeswaves – Made of Breath Only
Ghost Ship Octavius – Ghost Ship Octavius
Vangough – Warpaint
Telepathy – Tempest
Obituary – Obituary
Fen – Winter
Havok – Conformicide
Wolfheart – Tyhjyys
Svart Crown – Abreaction
Nova Collective – The Further Side
Immolation – Atonement
The Mute Gods – Tardigrades Will Inherit The Earth
Ex Deo – The Immortal Wars
Pyogenesis – A Kingdom To Disappear
My Soliloquy – Engines of Gravity
Nailed To Obscurity – King Delusion
Helion Prime – Helion Prime
Battle Beast – Bringer Of Pain
Persefone – Aathma
Soen – Lykaia
Exquirla – Para Quienes Aun Viven
Odd Logic – Effigy
Mors Principium Est – Embers Of A Dying World
Firewind – Immortals
Slyde – Back Again EP
Sepultura – Machine Messiah
Deserted Fear – Dead Shores Rising
Kreator – Gods Of Violence
Borealis – World of Silence MMXVII
Pain of Salvation – In The Passing Light of Day

Anathema – The Optimist – Album Review

Artist: Anathema

Album Title: The Optimist

Label: Kscope

Date of Release: 9 June 2017

Anathema is one of my top 5 bands of all time. As such, their new full-length release, ‘The Optimist’ is easily my most highly anticipated album release of 2017.

Put simply, Anathema are a band that speaks to me. They are a band that seem to know instinctively how to press my buttons and touch me whatever my mood. From euphoric and uplifting, to fragile and poignant, they cover the gamut of emotions, leaving me exhilarated one minute and sombre the next, frequently with tears as my constant and ubiquitous silent companion.

I have always liked Anathema, discovering the Liverpudlians via the magnificent ‘Eternity’, back in 1996 as a teenager. However, it was with 2010’s ‘We’re Here Because We’re Here’ and 2012’s ‘Weather Systems’ that my admiration grew into a full-blown love affair, further cemented by ‘Distant Satellites’ in 2014.

To some extent, timing was everything. ‘We’re Here Because We’re Here’ was born less than two years after the heartbreaking passing of my younger brother. And so, when the song ‘Presence’ delivers the spoken word lines of ‘Life is not the opposite of death. Death is the opposite of birth. Life is eternal’ atop a gorgeously ethereal soundscape, I was floored. I know it sounds nonsensical but I felt like Anathema knew me and had put this into the album just for me to help ease my own inner turmoil.

‘Weather Systems’ was released just two years later. Stronger human beings might have moved on from personal tragedy better than I but truth be told, I was still struggling. As such, when I heard ‘Internal Landscapes’ with another powerful spoken word intro delivered by a man who had suffered a near-death experience, I was hit once again. Was this written for me? Of course not, but the conflicting emotions that it stirred in me made me think so. From despair at my loss to the comfort of gaining a little insight into what my brother might have felt as he slipped from us, this masterpiece within Anathema’s undeniable tour-de-force continues to have a huge and lasting impact.

And then, if that wasn’t enough, along came ‘Distant Satellites’ in 2014. I had the pleasure of meeting and interviewing Daniel and Vincent prior to its release. The guys graciously listened to my babblings as I tried to ineloquently describe the importance of their music to me. To my eternal gratitude, the brothers then gave me the gift of a whole new perspective on ‘The Lost Song, Part 2’. Already an achingly gorgeous song, their words made this composition even more important, further cementing the bond between Anathema, my brother and me.

Given all this history, it is very difficult for me to remain entirely objective where Anathema is concerned. And naturally my expectations will be massive ahead of the release of any new material.

And, to begin with, I struggled with ‘The Optimist’, the eleventh album of the Liverpudlian’s career. Never ones to shy away from experimentation, ‘The Optimist’ is yet another shift in Anathema’s own personal evolution. Whilst the core ingredients of atmosphere, emotional depth and lyrical eloquence are present and correct here, the output framed loosely by alternative/prog rock, has a much darker feel to it in general. There is also a more pronounced use of loops, electronic sounds and percussion that were hinted at within the title track on ‘Distant Satellites’. If I’m honest, whilst I love that specific track, I had my doubts and concerns should Anathema venture further down this musical avenue.

The fact that they have done just that perhaps explains why my initial thoughts on ‘The Optimist’ were not overly favourable. The selfish side of me wanted ten more close variations of ‘The Lost Song Part 2’ or ‘Internal Landscapes’ and I felt disappointed that together, Vincent Cavanagh (vocals, guitars, keys), Daniel Cavanagh (guitars, keys, vocals), John Douglas (acoustic/electronic percussion), Lee Douglas (vocals), Jamie Cavanagh (bass) and Daniel Cardoso (drums/keyboards) hadn’t indulged me.

Credit: Caroline Traitler – http://www.carolinetraitler.net

With the benefit of time and perseverance though, I can now admit that it is not the music on ‘The Optimist’ that was at fault, but my own issues, my own limitations and my selfishness. ‘The Optimist’ is not an instant fix, an immediate score of your favourite musical drug. What it is instead, is a multi-layered, multi-faceted record that demands time and effort on behalf of the listener to unlock its true potential. And when it unlocks…wow!

Interestingly the band have married this latest step forward sonically with a thematic step backwards. In 2001, Anathema released an album called ‘A Fine Day To Exit’ which told the story of a man who wanted to escape his life and the modern world. ‘The Optimist’ reprises this story and in so doing, provides closure to a story that was left unfinished. In typical Anathema style however, the conclusion remains deliberately ambiguous, inviting personal interpretation by the listener.

This thematic decision explains the somewhat strange title of the opening track on ‘The Optimist’, namely ’32.63N 117.14W’. These are in fact the co-ordinates for the beach in San Diego where ‘A Fine Day to Exit’ concludes and which, I assume, adorns the cover of that album, a cover that becomes quite emotional with closer scrutiny. I’ll admit that this is in no way my favourite album in the Anathema back catalogue but I had often thought about that cover and the family photo that sits on the dashboard of the empty car wondering how this story ultimately played out. And now I can.

This opener very much has the feel of a concept album introduction. The sound of waves lapping on the shore, footsteps crunching on the beach, a car engine starting and then station-hopping on the car radio. It is more a scene-setter than a piece of music per se but it then segues rather seamlessly into ‘Leaving It Behind’ and we’re off. And we’re off at some pace, because this is a massively up-tempo, loud and abrasive piece of rock music. The electronic aspect is present from the beginning but with a bit of listening, it really enhances the track, adding an interesting slant to the composition, particularly in the brief atmospheric mid-song break down. As the song develops, the intensity increases as guitars begin to build up into walls of jangly sound whilst the drumming from Cardoso is relentless, ably assisted by bassist Jamie Cavanagh. To my mind, it is the perfect way to introduce an album that has deliberately and consciously been recorded ‘live’ in the studio, because the resulting energy is palpable and thoroughly infectious, pulling the listener along for the heady ride immediately.

As ‘Endless Ways’ begins quietly with just a lone piano and plaintive melody, I’m still catching my breath a little. But as Lee Douglas enters the fray for the first time, accented by some lush orchestration, my attention is well and truly undivided. The melodies and angelic vocals are more reminiscent of the last couple of albums, even if Douglas has parked the vibrato which characterised previous performances. Here, as the song majestically builds from humble beginnings into a powerful and heartfelt outpouring of emotions, Lee demonstrates that she is one of the shining lights in rock music today, whilst Anathema demonstrate that they haven’t lost their mercurial spark, whatever I might have first thought. And yes, you guessed it, the tears flow as I find myself being emotionally nourished by the incredibly important rock in my life that is Anathema.

“Hold on, hold on for dear life
And run, and run all night
For you are loved in endless ways
Stay with me, please believe
I can be your memory

My world will never be the same
And my heart is never going to regret
For you are loved in endless ways
Are loved in endless ways”

This wasn’t written for me, just as previous lyrics weren’t. But they could have been. These words resound with me, they touch me and they comfort me.

More piano introduces the title track, but it is Vincent that initially joins in vocally, joined by Lee at times but only fleetingly. Delicate melodies that are pure Anathema begin to work their charm after a few listens and further orchestration embellishments help to propel the song to a new level of sophistication. The track ebbs and flows, toying with the listener’s moods, but as with its predecessor, there is a subtle build-up towards a crescendo where there’s a hint of a wailing guitar in the vein of songs like ‘Anathema’.

‘San Francisco’ is a bit of an odd one. It is an instrumental that is dominated by a rather repetitive yet strangely beguiling melody, a reprise of sorts of ‘Endless Ways’ if I’m not mistaken. It is then accented by atmospheric synths and electronic sounds which help to set a completely different tone, one that I warm to more and more as time goes by.

In keeping with the concept vibe, the sounds of a train in full flight acts as a pause before ‘Springfield’ is introduced, almost shyly and reluctantly via a quiet and delicate guitar melody which is quickly taken up by the piano. Electronic sounds make a subtle return but it is the insistent rhythmic beat that makes the biggest impression in the early stages, driving the song towards what ultimately becomes an imposing wall of post rock-inspired sound led by urgent guitars and topped off by Lee’s serene voice almost pleading to the heavens. The track then falls away to conclude in a minimalist manner accompanied by the sounds of waves, distant sirens and the whispers of a male voice.

Credit: Caroline Traitler – http://www.carolinetraitler.net

‘Ghosts’ then offers one of the most poignant and immediate melodies on the album which is enhanced by a beautiful string arrangement and a beat that together suggests something reminiscent of a film soundtrack. By contrast, ‘Can’t Let Go’ ups the pace and features arguably Vincent’s strongest performance on the entire record. Once again, drummer Cardoso provides the drive to a track that begins in bold fashion but which builds sublimely through a clever injection of rich and vibrant aural textures.

We return to another snippet of action from the central character before we delve into the murky world of ‘Close Your Eyes’, which evokes images in my mind of a dark and smoky backstreet jazz club. I can appreciate the composition and I don’t dislike it but it is by far and away my least favourite track on the album. The fact that a trumpet plays a significant role no doubt feeds my apathy as I continue to fail to warm to brass of any kind in my music.

Any lingering misgivings are short-lived however as ‘The Optimist’ ends in genuinely commanding fashion courtesy of ‘Wildfires’ and the fittingly-titled epic closer, ‘Back To The Start’.

The former has a dark, eerie tone created by the haunting, echoed vocals of Vincent atop the ubiquitous piano which for large portions of the track delivers something monotone, incessant and deliberately uncomfortable. But it works, as does the controlled explosion of sound before another swift descent into a minimalist, thought-provoking abyss.

The album is then brought to a close by the near 12-minute ‘Back To The Start’ and it is nothing short of magical, the perfect way to round out this impressive body of work. The sound of waves gently lapping onto the beach ushers in an aching and gorgeous melody that, when coupled by some devastatingly honest lyrics, threatens to reduce this grown man to tears yet again. I’m not normally someone who likes choral vocals, especially when they have a vague gospel ‘happy’ feel to them, but here, it just sounds right. Perfect in fact. The combination of voices, orchestration and lyrics as the song builds and ultimately reaches its climax is truly epic and a feeling of barely contained euphoria washes over me, bathing me in a warm glow. It’s all too much, so when the final act of the central character follows, I get tingles, chills and all manner of conflicting emotions.

Once again, Anathema have delivered an album that is more to me than just a collection of beautifully and lovingly-crafted songs. It is an album that lives and breathes. It has a vibrancy, an intense raw honesty and a human depth that many strive to deliver but that very few succeed in achieving. Whether or not it ultimately surpasses the last couple of records in terms of my overall enjoyment, only time will tell. For now though, I am content to lose myself in ‘The Optimist’ via its aural magnificence and the emotional succour that it provides to this fragile and damaged soul.

The Score of Much Metal: 9.5

If you’ve enjoyed this review, you can check out my others from previous years and for 2017 right here:

2015 reviews
2016 reviews

Solstafir – Berdreyminn
Dream Evil – Six
Avatarium – Hurricanes And Halos
Ayreon – The Source
Until Rain – Inure
MindMaze – Resolve
God Dethroned – The World Ablaze
Bjorn Riis – Forever Comes To An End
Voyager – Ghost Mile
Big Big Train – Grimspound
Lonely Robot – The Big Dream
Firespawn – The Reprobate
Ancient Ascendant
Pyramaze – Contingent
Shores Of Null – Black Drapes For Tomorrow
Asira – Efference
Hologram Earth – Black Cell Program
Damnations Day – A World Awakens
Memoriam – For The Fallen
Pallbearer – Heartless
Sleepmakeswaves – Made of Breath Only
Ghost Ship Octavius – Ghost Ship Octavius
Vangough – Warpaint
Telepathy – Tempest
Obituary – Obituary
Fen – Winter
Havok – Conformicide
Wolfheart – Tyhjyys
Svart Crown – Abreaction
Nova Collective – The Further Side
Immolation – Atonement
The Mute Gods – Tardigrades Will Inherit The Earth
Ex Deo – The Immortal Wars
Pyogenesis – A Kingdom To Disappear
My Soliloquy – Engines of Gravity
Nailed To Obscurity – King Delusion
Helion Prime – Helion Prime
Battle Beast – Bringer Of Pain
Persefone – Aathma
Soen – Lykaia
Exquirla – Para Quienes Aun Viven
Odd Logic – Effigy
Mors Principium Est – Embers Of A Dying World
Firewind – Immortals
Slyde – Back Again EP
Sepultura – Machine Messiah
Deserted Fear – Dead Shores Rising
Kreator – Gods Of Violence
Borealis – World of Silence MMXVII
Pain of Salvation – In The Passing Light of Day

Sólstafir – Berdreyminn – Album Review

Artist: Sólstafir

Album Title: Berdreyminn

Label: Season of Mist

Date of Release: 26 May 2017

Being unexpectedly blown away by an album can be one of the best feelings where music is concerned. The rush of adrenaline that courses through your veins when you realise that you have uncovered a new gem in your own personal voyage of musical discovery is intoxicating.

The flip side to this however, is that your expectation levels drastically change from that moment onwards. When you listened to the previous album, you had nothing to lose. No preconceived ideas, no expectations, just a vague hope that the album in question would deliver an enjoyable listening experience. This time around, you know just how good the previous record was. You know what you liked about it and you have spent the intervening period loving the new discovery whilst hoping fervently that the band in question delivers something equally as edifying next time.

This is exactly the position in which I find myself with Sólstafir. In 2014, the Icelandic quartet released ‘Otta’, a magnificent record that made a huge impression on me. It ended up in my top 3 albums of 2014, and I was quoted at the time as saying:

“Sólstafir concentrate on creating intense atmospheres and painting epic vistas in the minds of the listener, many of which bring me close to tears. As I allow this very organic and natural-sounding album wash over me and seep into my psyche, I ache to return to the homeland of Sólstafir, to once again experience the landscape which has been reimagined so beautifully in musical form.”

So naturally, I couldn’t wait to delve into the ruggedrealm of Sólstafir once again, via their follow-up, ‘Berdreyminn’

The other back story of import which adds context to this review is that I have a certain affinity with Iceland. I have visited twice – once to scatter the ashes of my late brother and once to revisit him having allowed him to settle into his new home for a time. The emptiness, the rugged landscapes and the breath-taking beauty that confronts the senses around every new corner; it is a truly special place.

And what Sólstafir have succeeded in doing so eloquently with ‘Otta’ and now this new record, ‘Berdreyminn’, is give voice to the natural splendour of their native land, as depicted in the evocative cover art work courtesy of Adam Burke. Fragile and brittle melodies alongside quiet and calm soundscapes give rise to introspective thought and an appreciation of the beauty of their homeland. But juxtaposed with this are sections of grittier, heavier and more powerful swells and eddies of sound that serve as a timely reminder that the beauty can be deceptive, ready to ensnare those unprepared for the harsher, more unforgiving realities of the oft bleak and barren land.

The production on ‘Berdreyminn’ further enhances the authenticity of the music, allowing it to live and breathe with a vibrancy that a more polished affair might have eradicated. As it is, ‘Berdreyminn’ often has the glorious feel of an untamed, wild beast.

Credit: Hafsteinn Viðar

The music is pretty killer too. It is an impressive and absorbing body of work that is very consistent throughout and works better as a whole. Dip in and out of individual songs if you like but I humbly suggest that by doing so, you run the risk of losing a little of the overall impact of the record. The way in which it has been carefully constructed and ordered is part of the strength of ‘Berdreyminn’, ebbing and flowing, swirling and cascading with confidence and purpose across its not inconsiderable length.

When listening to ‘Berdreyminn’, the blending of post rock with classic rock, metal, psychedelia and ambient sensibilities feels utterly natural and in no way forced. Even when joined by brass, piano and strings, everything fits together perfectly. Take the striking opener ‘Silfur-Refur’ as a perfect example. It begins in a quiet understated and almost haunting manner that calls to mind their compatriots in Sigur Ros before steadily and carefully increasing the volume and intensity until the song explodes and comes truly alive. Led by a truly wonderful rhythm section comprised of bassist Svavar Austmann and the newly-recruited drummer Hallgrímur Jón Hallgrímsson, the track then slows and quietens for a time, thus creating a more pronounced sense of drama as the composition motors to an end via an imposing crescendo of sound, overlaid by the truly unique vocals of Aðalbjörn Tryggvason.

In contrast, ‘Ísafold’ opens with a more retro rock feel thanks to the guitar tones, the various textures and a commanding performance from Austmann, who really lets his bass come to the forefront of proceedings here. This is easily one of the most immediate tracks on the album, as well as the shortest and punchiest at a mere five minutes in length. Whilst it is arguably less atmospheric and emotive, I adore the melodies and the synth drenched, prog-like interlude that cuts in just after the three-minute mark.

‘Hula’ begins with a genuinely eerie and haunting introduction before the soothing sounds of post rock minimalism take over. There’s a latent and barely disguised anguish that threatens to break free but it is kept under wraps for the most part, although Tryggvason cuts loose and screams to the sky almost pleadingly towards the close. The female operatic vocals and choral voices lend the song yet another layer of emotion and atmosphere which sends shivers down my spine.

The chances are that if you like what you are reading thus far, you’ll go on to enjoy the whole of ‘Berdreyminn’, given its remarkable consistency. You’ll love the stark contrasts within ‘Nárós’, a song of two halves almost and no doubt you’ll lap up the initial stripped down sombre beauty of ‘Hvít Sæng’, which drips with emotion before switching to a heavy rock affair led by a relentless driving beat and strong riffs.

‘Ambátt’ feels a touch more progressive in construction, as it never seems to settle at any point for too long. It begins with a breathy, whispered vocal delivery before building across its length via some of the more flamboyant and slightly indulgent instrumentalism on the record. I have really taken to the church organ opening to closer ‘Bláfjall’ too which is somewhat at odds with the more punk-like attitude that joins the fray. And yet, it works, as does the marked increase in intensity and power as the song develops via my favourite heavy chugging riff that stirs the blood.

It’s a close run thing but if my life depended on it however, I think I’d choose ‘Dýrafjörður’ as my personal favourite track. The pace is slowed and there’s a definite Pink Floyd vibe to the guitars of Sæþór Maríus Sæþórsson and Tryggvason which convey a sense of bleakness that can only have been inspired by the band’s surroundings. The piece de resistance is reserved for the finale though, which features some angry-sounding dampened guitar notes that shake the very foundations as they chug alongside a delicate piano-led melody. It doesn’t matter that the lyrics are sung in Icelandic either because Tryggvason can tell a story just by his tone and delivery. And what a story it must be.

In summary, is ‘Berdreyminn’ better than ‘Otta’? Well, it is very close. If anything, I haven’t found myself succumbing to the emotion of the music in quite the same way but I think that this has more to do with my personal state of mind than the music itself. After all, how can one fault music that has such heart, such life and such majesty? More importantly for me though, ‘Berdreyminn’ serves to merely strengthen my deep love and affinity with Sólstafir’s homeland. And for that I am forever thankful.

The Score Of Much Metal: 9.75

If you’ve enjoyed this review, you can check out my others from previous years and for 2017 right here:

2015 reviews
2016 reviews

Dream Evil – Six
Avatarium – Hurricanes And Halos
Ayreon – The Source
Until Rain – Inure
MindMaze – Resolve
God Dethroned – The World Ablaze
Bjorn Riis – Forever Comes To An End
Voyager – Ghost Mile
Big Big Train – Grimspound
Lonely Robot – The Big Dream
Firespawn – The Reprobate
Ancient Ascendant
Pyramaze – Contingent
Shores Of Null – Black Drapes For Tomorrow
Asira – Efference
Hologram Earth – Black Cell Program
Damnations Day – A World Awakens
Memoriam – For The Fallen
Pallbearer – Heartless
Sleepmakeswaves – Made of Breath Only
Ghost Ship Octavius – Ghost Ship Octavius
Vangough – Warpaint
Telepathy – Tempest
Obituary – Obituary
Fen – Winter
Havok – Conformicide
Wolfheart – Tyhjyys
Svart Crown – Abreaction
Nova Collective – The Further Side
Immolation – Atonement
The Mute Gods – Tardigrades Will Inherit The Earth
Ex Deo – The Immortal Wars
Pyogenesis – A Kingdom To Disappear
My Soliloquy – Engines of Gravity
Nailed To Obscurity – King Delusion
Helion Prime – Helion Prime
Battle Beast – Bringer Of Pain
Persefone – Aathma
Soen – Lykaia
Exquirla – Para Quienes Aun Viven
Odd Logic – Effigy
Mors Principium Est – Embers Of A Dying World
Firewind – Immortals
Slyde – Back Again EP
Sepultura – Machine Messiah
Deserted Fear – Dead Shores Rising
Kreator – Gods Of Violence
Borealis – World of Silence MMXVII
Pain of Salvation – In The Passing Light of Day

Dark Tranquillity – Atoma – Album Review

Artist: Dark Tranquillity

Album Title: Atoma

Label: Century Media

Date Of Release: 4 November 2016

It seems fitting that I am releasing this review on the eighth anniversary of my late brother’s passing. It is a horrendously sad time of the year but it is made a little more comforting by being surrounded by an old friend in the form of Sweden’s Dark Tranquillity.

Dark Tranquillity are not just one of my favourite melodic death metal bands, they are one of my all-time favourite bands from any genre or subgenre of music. They were also a big favourite of my brother too. Ever since I first discovered them at University in the late 90s, they have been a constant companion, a band that has brought me joy and satisfaction with a consistency that is more than impressive. Be it on record or in the live arena, they never failed to delight my brother and me and we shared some great times down the years thanks to this band.

I have tried but I can’t think of a single album that I don’t like. Moreover, I can’t actually think of an album which is anything less than excellent, a standard that the Swedes constantly aim for with unerring accuracy.

Dark Tranquillity are rightly attributed with helping to form the genre within which they sit, the ‘New Wave of Swedish Death Metal’ or the ‘Gothenburg sound’ if you prefer. Much like other melodeath bands, they have tinkered with their sound over the years, dabbling with different ideas within their core framework. However, unlike some of their contemporaries and compatriots, they have never taken the experimentation too far. Whether their output has been more catchy or extreme, Dark Tranquillity have always had the knack of delivering the goods.

I’ve always thought about the reason for the success and longevity of Dark Tranquillity and in writing this review, I think I have hit upon an answer; their music always feels genuine, never contrived or forced. The blend of more extreme ingredients with strong, memorable melodies and powerful atmospheres is just about perfect. What’s more, despite plying their trade in the extreme metal world, Dark Tranquillity always manage to convey a high level of sincerity and a genuine warmth, led by the mercurial and enthusiastic Mikael Stanne, which then flows through the rest of the band.

It goes without saying that I have been looking forward to album number eleven for some time. And here we have it, in the form of ‘Atoma’, a release that didn’t have the easiest of births following the somewhat shock departure of guitarist and founding member Martin Henriksson, who realised that after a quarter of a century, he had had enough and didn’t have the drive or desire to carry on.

Nevertheless, the remaining members of vocalist Mikael Stanne, lead guitarist Niklas Sundin, drummer Anders Jivarp, keyboardist Martin Brändström and ‘new’ bassist Anders Iwers have continued, persevered and have delivered yet another truly wonderful chapter in the story of Dark Tranquillity. Lyrically and conceptually, ‘Atoma’ is an album that tackles the world’s current ills through a demonstrably human angle, deliberately steering clear of any political stance. And it’s a powerful and rather emotive narrative, crucially backed up by some of the strongest material of the band’s lengthy career.

Credit: Dirk Behlau

In a nutshell, ‘Atoma’ is just about the perfect blend of the catchiness and immediacy of ‘Haven’ or ‘Character’, the more extreme elements found within ‘We Are The Void’ or ‘Construct’ and the more atmospheric and rich sounds of ‘Projector’, an album which remains a firm favourite to this day. Allow me to elaborate just a touch.

‘Atoma’ kicks off superbly with ‘Encircled’, a track that starts off slowly and deliberately with lashings of atmosphere before picking up pace in positive fashion. The beating heart of the song is very melodic with an instantly likeable chorus, reminding me of the ‘Haven’ era given the catchiness on display. The lead breaks from Sundin are great, whilst Stanne is as caustic as ever with his trademark growl that still maintains some warmth and enables the lyrics to be understood.

The title track begins with an electronic melody before bursting into life. ‘Oh mama, Stanne has brought back his clean vocals’ I exclaim with barely contained joy on a first spin, having sorely missed this ingredient in recent years. The chosen vocal delivery immediately provides a wonderful ‘Projector’ feel, one of my favourite albums from the strong discography. Vocals aside, I also love the contrast between the light and heavy sections, including a pronounced atmospheric minimalist section led by keyboardist Brändström before closing out the song full throttle. The drama is therefore increased at the death and this song just oozes quality from every pore.

I love the bass and drum combo courtesy of Jivarp and Iwers that opens up ‘Forward Momentum’, as well as the opening riff and the overall pace of the track. The keys come to the fore to create depth and dark atmosphere, whilst the clean vocals give me goose bumps. The track’s construction is wonderful as it becomes more intense during the chorus, which is memorable yet at the same time, not quite as obvious. With time though, the melodies sink in with devastating effect. The lead guitar solo from Sundin is gorgeous, full of feeling and eloquence. The dark undertones common to Dark Tranquillity are present but they give me a warm glow as I begin to realise that I’m in the presence of something potentially very special in ‘Atoma’.

‘Neutrality’ continues the theme with a quiet opening, before exploding with urgency and a fair ferocity. Indeed, there is more of a savage feel to this song which I like. The pace is quicker, the vocals more venomously spat and the vibe is more in keeping with the last couple of albums, being darker and more extreme. And yet, despite this, the slightly more subtle melodies are present throughout the song, as are the keys. The groove at the three-quarter mark is marvellous, counterpointed by the slightly uncomfortable-sounding off-kilter notes that are entirely deliberate.

A very dark, quiet and contemplative tone starts off ‘Force Of Hand’, complete with ominous, barely audible whispered vocals. This is a more mid-tempo, moody and cerebral composition with a seriously cool groove to it as well as a commanding ebb and flow. The heaviness eventually joins the fray but at a more measured tempo for the most part until the accelerator is pressed and the track suddenly gallops along, led by powerful near blast-beat drumming at times from Jivarp.

‘Faithless by Default’ doesn’t begin in the same quiet manner as many of its predecessors and yet it has the appearance of being a quieter track somehow. It is still heavy and dark when required but it comes across as being a little more refined overall with a sprawling chorus that works its magic after repeated listens. The stars of this particular show are drummer Jivarp and bassist Iwers who catch my ear every time I dive into this song.

Many of you will have already heard ‘The Pitiless’, given that it is also the lead single from the album, released a while back. It is arguably the most extreme track on the record, opening up at a fair lick and maintaining this urgency As such, ‘The Pitiless’ is much more in keeping with the last couple of records. It goes without saying that it displays some melody and indeed becomes more melodic the more time I spend with it. However, the melodic aspects are buried much deeper in the background as the key for the song, I believe, is to create something altogether more furious, dark and disturbing.

A seriously groovy rhythm straight off the bat introduces the listener to ‘Our Proof Of Life’, which is best described as a rich and powerful affair and is arguably my favourite song on the album. Stanne’s clean vocals return and I’m smiling again as a result – I can’t help it. And then, at the half-way mark, the composition turns into the most anthemic of songs, complete with rousing guitar solo and killer melodies. It also flirts astutely with quieter passages before returning to the opening melody for a muscular closure.

‘Clearing Skies’ which offers more huge melodies throughout but, despite the catchy chorus, the band then deftly reverts to something altogether more spiky and confrontational for the verse. The aforementioned chorus offers more in the way of keys and stop-start riffing, creating a more modern sheen in the process, almost vaguely djent albeit fleetingly. But regardless, this atmospheric composition is absurdly addictive.

The guitar tones and the rhythms applied within ‘When The World Screams’ remind me of the earlier days of Dark Tranquillity much more, whilst expertly blending them with accents of ‘Character’ with hugely impressive results.

Credit: Dirk Behlau

I’m beginning to run out of positive adjectives by this point but the quality from the Swedish quintet shows no signs of abating. Penultimate track ‘Merciless Fate’ opens slowly and utilises a slower pace overall. Stanne snarls menacingly to begin with, but then the song opens up nicely as it develops. Led by more clean vocals, the melodies suddenly come to the fore almost shyly and make a huge impact within the context of the song. My hairs stand up on end and whether it is because there is seemingly no let-up in the brilliance of this album, I find myself getting emotional.

‘Atoma’ closes with ‘Caves and Embers’. The intro is strong and dramatic, acceding before long to an up-tempo rhythm overlaid with lashings of atmospheric keys from Brändström. The lead guitar flourishes are flamboyant and whether I’m dreaming it or not, there is a vague sense of hope and positivity within the song. The extended introspective and atmospherically substantial mid-section eventually gives way to an outpouring of power as the song, and indeed the album, drives forcefully to a conclusion.

Just when I thought 2016 couldn’t get any better, up pops Dark Tranquillity to send me into a spin of emotion and elation. As I said at the outset, Dark Tranquillity have always been very important to me. However, what ‘Atoma’ does so wonderfully, is draw all of their key ingredients together into one 12-track album to create a thrill-ride of expertly-crafted, engaging and elegant melodic death metal. My love for Dark Tranquillity has been well and truly cemented and right now, I can’t think of a better band within this particular genre. They helped to create it, they have helped to shape it and now, in 2016, Dark Tranquillity have proved that they are still, unquestionably, the masters of melodic death metal.

The Score Of Much Metal: 9.75

If you’ve enjoyed this review, check out my others via my reviews pages or by clicking the links right here:

Hammerfall – Built To Last
Testament – Brotherhood Of The Snake
Crippled Black Phoenix – Bronze
Riverside – Eye Of The Soundscape
Hanging Garden – Hereafter
Theocracy – Ghost Ship
Arkona – Lunaris
Oddland – Origin
Sonata Arctica – The Ninth Hour
Edensong – Years In The Garden of Years
Meshuggah – The Violent Sleep Of Reason
Alcest – Kodama
Opeth – Sorceress
Negura Bunget – ZI
Epica – The Holographic Principle
Amaranthe – Maximalism
Eye Of Solitude – Cenotaph
Seven Impale – Contrapasso
DGM – The Passage
Pressure Points – False Lights
In The Woods – Pure
Devin Townsend – Transcendence
The Pineapple Thief – Your Wilderness
Evergrey – The Storm Within
Dream The Electric Sleep – Beneath The Dark Wide Sky
Periphery – ‘Periphery III: Select Difficulty’
Karmakanic – Dot
Novena – Secondary Genesis
Witherscape – The Northern Sanctuary
Eric Gillette – The Great Unknown
Tilt – Hinterland
Cosmograf – The Unreasonable Silence
Fates Warning – Theories Of Flight
Wolverine – Machina Viva
Be’lakor – Vessels
Lacuna Coil – Delirium
Big Big Train – Folklore
Airbag – Disconnected
Katatonia – The Fall Of Hearts
Frost* – Falling Satellites
Glorior Belli – Sundown (The Flock That Welcomes)
Habu – Infinite
Grand Magus ‘Sword Songs’
Messenger – Threnodies
Svoid – Storming Voices Of Inner Devotion
Fallujah – Dreamless
In Mourning – Afterglow
Haken – Affinity
Long Distance Calling – Trips
October Tide – Winged Waltz
Odd Logic – Penny For Your Thoughts
Iron Mountain – Unum
Knifeworld – Bottled Out Of Eden
Novembre – Ursa
Beholder – Reflections
Neverworld – Dreamsnatcher
Universal Mind Project – The Jaguar Priest
Thunderstone – Apocalypse Again
InnerWish – Innerwish
Mob Rules – Tales From Beyond
Ghost Bath – Moonlover
Spiritual Beggars – Sunrise To Sundown
Oceans Of Slumber – Winter
Rikard Zander – I Can Do Without Love
Redemption – The Art Of Loss
Headspace – All That You Fear Is Gone
Chris Quirarte – Mending Broken Bridges
Sunburst – Fragments Of Creation
Inglorious – Inglorious
Omnium Gatherum – Grey Heavens
Structural Disorder – Distance
Votum – Ktonik
Fleshgod Apocalypse – King
Rikard Sjoblom – The Unbendable Sleep
Textures – Phenotype
Serenity – Codex Atlanticus
Borknagar – Winter Thrice
The Mute Gods – Do Nothing Till You Hear From Me
Brainstorm – Scary Creatures
Arcade Messiah – II
Phantasma – The Deviant Hearts
Rendezvous Point – Solar Storm
Vanden Plas – Chronicles Of The Immortals: Netherworld II
Antimatter – The Judas Table
Bauda – Sporelights
Waken Eyes – Exodus
Earthside – A Dream In Static
Caligula’s Horse – Bloom
Teramaze – Her Halo
Amorphis – Under The Red Cloud
Spock’s Beard – The Oblivion Particle
Agent Fresco – Destrier
Cattle Decapitation – The Anthropocene Extinction
Between The Buried And Me – Coma Ecliptic
Cradle Of Filth – Hammer Of The Witches
Disarmonia Mundi – Cold Inferno
District 97 – In Vaults
Progoctopus – Transcendence
Big Big Train – Wassail
NightMare World – In The Fullness Of Time
Helloween – My God-Given Right
Triaxis – Zero Hour
Isurus – Logocharya
Arcturus – Arcturian
Kamelot – Haven
Native Construct – Quiet World
Sigh – Graveward
Pantommind – Searching For Eternity
Subterranean Masquerade – The Great Bazaar
Klone – Here Comes The Sun
The Gentle Storm – The Diary
Melechesh – Enki
Enslaved – In Times
Keep Of Kalessin – Epistemology
Lonely Robot – Please Come Home
The Neal Morse Band – The Grand Experiment
Zero Stroke – As The Colours Seep
AudioPlastik – In The Head Of A Maniac
Revolution Saints – Revolution Saints
Mors Principium Est – Dawn of The 5th Era
Arcade Messiah – Arcade Messiah
Triosphere – The Heart Of The Matter
Neonfly – Strangers In Paradise
Knight Area – Hyperdrive
Haken – Restoration
James LaBrie – Impermanent Resonance
Mercenary – Through Our Darkest Days
A.C.T. – Circus Pandemonium
Xerath – III
Big Big Train – English Electric (Part 1)
Thought Chamber – Psykerion
Marcus Jidell – Pictures From A Time Traveller
H.E.A.T – Tearing Down The Walls
Vanden Plas – Chronicles Of The Immortals: Netherworld

Wolverine – Machina Viva – Album Review

Artist: Wolverine

Album Title: Machina Viva

Label: The Laser’s Edge

Date of Release: 8 July 2016

There were hushed rumours soon after the release of the Swedes’ fourth release, the sensationally powerful and emotional ‘Communication Lost’ that there might not be another album from Wolverine. It was a rumour that I prayed would not become reality but, as the years rolled on accompanied by near silence from the band, I began to fear the worst. However, in 2016, my most fervent of hopes have materialised and with them, a new album has emerged from the masters of dark, melancholic progressive music.

The album, Wolverine’s fifth, goes by the name of ‘Machina Viva’ and, if you’d be so kind, I’d like to here and now go on record and say something directly to Messrs Henriksson (keyboards), Jansson (bass), Losbjer (drums), Jonsson (guitars) and Zell (vocals): thank you. From the bottom of my heart, thank you.

You see, for me and many others I’m sure, a world without such beautiful, fragile, challenging and emotional music is unimaginable.

In a strange way, it seems fitting that I’m writing this review now, around the birthday of my late brother. I’m not in the best of emotional states this time each year, but it is albums like this that fit my melancholia perfectly but that also give me the strength to carry on. Forget for just a moment all of the intricacies & progressive nuances that litter Wolverine’s music, there are few artists out there that have the unnerving ability to break hearts with just one note. And Wolverine do it with such style that it’s impossible not to get swept up entirely in the emotion of it all.

Add to this a level of lyricism that delves deep into the shadows of the human psyche to lay bare all the sorrows, regrets and bleak misery to which we, as humans, are susceptible and all of a sudden, you’re confronted with a body of work that is as draining and intense as it is bleak and stunningly beautiful.

As I listen, the word ‘claustrophobic’ frequently pops into my head but in a positive way, as there’s almost no let-up in the intensity of the music, the atmospheres and the extremely powerful and thought-provoking lyrics. In fact, listening to Wolverine is more than just listening to music; it is an all-encompassing experience, at its most fulfilling if you give yourself entirely over to it. And yet, somehow, the music also offers a cathartic and highly rewarding journey too.

In keeping with Wolverine’s bold and daring approach, ‘Machine Viva’ opens with the longest and arguably the most challenging composition entitled ‘The Bedlam Overture’. With a duration of over 14 minutes, it is a brave move but it pays off handsomely. It is a truly epic piece of music that ebbs and flows majestically, from quiet and contemplative to all-out power and seemingly everything in between. Featuring a guest guitar solo from former member Per Broddesson, it is also a real slow-burner that takes time to work its magic but given repeated listens, it blossoms into something genuinely very special.

‘Machina’ by contrast, is a lot shorter and is driven by an urgent beat led by the great drumming of Marcus Losbjer that rarely lets up throughout the song. The melodies build with grace and elegance and eventually, a key change allows the track to explode with real force before an abrupt conclusion that sees the song just die, as if falling from a cliff into the silent darkness below.

The sounds of a lone, lightly distorted guitar join forces with vocalist Stefan Zell to deliver a sublime piece of music in the form of ‘Pile Of Ash’. The guitar work from Jonsson is understated but beautifully executed, full of expression and poignancy. Zell’s vocals are thoroughly captivating; exhibiting a vulnerability that sends shivers down my spine. It is almost as if Zell is on the verge of tears in places, such is the passion with which he delivers the desperately sad lyrics. And then, to top things off, simple heavier guitar notes fade in and out brilliantly to increase the drama within the song.

‘Our Last Goodbye’ begins with an ominous synth texture courtesy of Henriksson, one that reminds me of an oppressive cinematic experience. It is quickly joined by a doleful French horn that fits the mood perfectly despite my normal aversion to brass of any kind. The beat that enters the fray is clever, subtle and understated yet it drives the track along at a nice pace. The melodies are gorgeous, and there are no words to express how exquisite the occasional lead guitar melodies are. The chorus is graceful and elegant but as memorable as it is, it is the lyrics that catch my ear as the music heightens its intensity. Apparently inspired by the divorce of Zell from the mother of his children, it is striking, but no less meaningful whatever may be the source of our own personal travails.

“Tonight I’ll be there by my window
Watching the people below
So many stories of sorrow
So many endings to know
How come that I feel so alone,
and that all that I see is my pain”

Talk about shivers, chills and goosebumps. I can just imagine the scene as I listen and can easily relate to similar times in my life where I’ve done the same and had very similar thoughts. What a sensational piece of music.

‘Pledge’ ups the ante a little in terms of heaviness and the opening riff is prog metal nectar; intelligent and idiosyncratic but engaging nonetheless. The song eventually opens up into a great highly charged chorus where Zell almost sounds angry. What Wolverine do so well is manage to mix things up within the compositions and so here, the abrasiveness is quickly but smoothly interspersed with much more subtly-nuanced music where multi-layered textures inject moments of calm reflection and plenty more in terms of atmosphere.

‘When The Night Comes’ is arguably the most immediate and vaguely up-beat song on the album. It begins with a vibrant acoustic guitar before building surreptitiously into quite a heavy composition. I love the bass of Jansson on this track as well as the chorus which is hook-laden with a punishingly powerful guitar and drum combo for emphasis. There are another couple of gorgeous lead guitar solos, the second of which is a monster and the addition of string instruments adds real depth and sophistication to proceedings, not to mention a poignancy that’s hard to express.

Next up is ‘Nemesis’ which begins with a piano melody and more ubiquitous passionate vocals. The bass again is superb, afforded a clarity within the mix which is so strong that it is worthy of mention in its own right. The track is arguably one of the most overtly progressive, flirting with a myriad of different and intriguing sounds, time signatures and textures throughout, including an imposing keyboard solo and more killer lead guitar work. And yet it is held together by a really wonderful melody that only rears its head a couple of times but is all the more impactful as a result.

And then, aside from a re-worked version of ‘Pile Of Ash’ with a cello in place of the guitar, the album closes with ‘Sheds’. Oh. My. Goodness. Almost exclusively a vocal and keyboard track with flashes of other instrumentation at times within it, it actually physically makes me break down and cry. The choral vocal effects and deep, rich organ-like synth tones simply add more power and emotion to Zell’s already spellbindingly melancholic delivery. And when the piano and a subtly distorted guitar offer their melodies accompanied by a heartbeat like beat, that’s it. I’m done. Overcome with emotion, I generally sit, gazing into space with tears flowing down my cheeks.
There’s not a lot more I can say to be honest, so I won’t. I’ll just press play again and revel in some properly intelligent and intoxicating music that despite its heart-breaking overtones is a sheer magical delight from start to finish.

The Score Of Much Metal: 9.75

If you’ve enjoyed this review, check out my others right here:

Be’lakor – Vessels
Lacuna Coil – Delirium
Big Big Train – Folklore
Airbag – Disconnected
Katatonia – The Fall Of Hearts
Frost* – Falling Satellites
Glorior Belli – Sundown (The Flock That Welcomes)
Habu – Infinite
Grand Magus ‘Sword Songs’
Messenger – Threnodies
Svoid – Storming Voices Of Inner Devotion
Fallujah – Dreamless
In Mourning – Afterglow
Haken – Affinity
Long Distance Calling – Trips
October Tide – Winged Waltz
Odd Logic – Penny For Your Thoughts
Iron Mountain – Unum
Knifeworld – Bottled Out Of Eden
Novembre – Ursa
Beholder – Reflections
Neverworld – Dreamsnatcher
Universal Mind Project – The Jaguar Priest
Thunderstone – Apocalypse Again
InnerWish – Innerwish
Mob Rules – Tales From Beyond
Ghost Bath – Moonlover
Spiritual Beggars – Sunrise To Sundown
Oceans Of Slumber – Winter
Rikard Zander – I Can Do Without Love
Redemption – The Art Of Loss
Headspace – All That You Fear Is Gone
Chris Quirarte – Mending Broken Bridges
Sunburst – Fragments Of Creation
Inglorious – Inglorious
Omnium Gatherum – Grey Heavens
Structural Disorder – Distance
Votum – Ktonik
Fleshgod Apocalypse – King
Rikard Sjoblom – The Unbendable Sleep
Textures – Phenotype
Serenity – Codex Atlanticus
Borknagar – Winter Thrice
The Mute Gods – Do Nothing Till You Hear From Me
Brainstorm – Scary Creatures
Arcade Messiah – II
Phantasma – The Deviant Hearts
Rendezvous Point – Solar Storm
Vanden Plas – Chronicles Of The Immortals: Netherworld II
Antimatter – The Judas Table
Bauda – Sporelights
Waken Eyes – Exodus
Earthside – A Dream In Static
Caligula’s Horse – Bloom
Teramaze – Her Halo
Amorphis – Under The Red Cloud
Spock’s Beard – The Oblivion Particle
Agent Fresco – Destrier
Cattle Decapitation – The Anthropocene Extinction
Between The Buried And Me – Coma Ecliptic
Cradle Of Filth – Hammer Of The Witches
Disarmonia Mundi – Cold Inferno
District 97 – In Vaults
Progoctopus – Transcendence
Big Big Train – Wassail
NightMare World – In The Fullness Of Time
Helloween – My God-Given Right
Triaxis – Zero Hour
Isurus – Logocharya
Arcturus – Arcturian
Kamelot – Haven
Native Construct – Quiet World
Sigh – Graveward
Pantommind – Searching For Eternity
Subterranean Masquerade – The Great Bazaar
Klone – Here Comes The Sun
The Gentle Storm – The Diary
Melechesh – Enki
Enslaved – In Times
Keep Of Kalessin – Epistemology
Lonely Robot – Please Come Home
The Neal Morse Band – The Grand Experiment
Zero Stroke – As The Colours Seep
AudioPlastik – In The Head Of A Maniac
Revolution Saints – Revolution Saints
Mors Principium Est – Dawn of The 5th Era
Arcade Messiah – Arcade Messiah
Triosphere – The Heart Of The Matter
Neonfly – Strangers In Paradise
Knight Area – Hyperdrive
Haken – Restoration
James LaBrie – Impermanent Resonance
Mercenary – Through Our Darkest Days
A.C.T. – Circus Pandemonium
Xerath – III
Big Big Train – English Electric (Part 1)
Thought Chamber – Psykerion
Marcus Jidell – Pictures From A Time Traveller
H.E.A.T – Tearing Down The Walls
Vanden Plas – Chronicles Of The Immortals: Netherworld

Katatonia – The Fall Of Hearts – Album Review

Artist: Katatonia

Album Title: The Fall Of Hearts

Label: Peaceville Records

Date of Release: 20 May 2016

How does one remain objective and dispassionate when reviewing a band as special as Katatonia? As long-term readers will know all-too well, the Swedish masters of dark metal are one of my all-time favourite bands. Just take a look at the banner photo at the top of the page.

Not only is their music of the highest calibre, it is also one of the strongest links between my late brother and I. You see, he had great music taste and it was he that got me to see the light about Katatonia many years ago. Subsequently, whenever I hear Jonas Renkse’s delectably emotive voice or that unmistakeable guitar tone of Anders ‘Blakkheim’ Nystrom, my little brother’s face looms large in my mind every time, usually accompanied by a smile and the odd tear. For that alone, I owe Katatonia a debt of thanks.

But every new Katatonia album is now a bitter-sweet time for me. On the one hand, I cannot wait to hear what this remarkable band have come up with. On the other, I wish fervently that I could share the experience with my sibling. There have been moments where I’ve briefly forgotten the reality that surrounds me and I have instinctively gone to contact him to share my excitement. The sinking, gut-wrenching feeling that follows is unlike nothing else on Earth but thanks in part to Katatonia’s music, I am provided the strength and courage to plough on.

It is a maudlin and very personal opening to a review, for which I implore you to forgive me. But as difficult as it is to write, I hope that it provides some much-needed context about this band and I and helps to explain why I agonise over reviews like this.

Credit: Ester Segarra

But here we are and, in short, it is almost impossible for me to not laud ‘The Fall Of Hearts’ as one of the very best releases in the band’s 25-year career. I have weighed it up thoroughly as I’ve lain on the sofa late at night, almost every night, soaking up the music on offer here within album number ten.

To be honest, I wasn’t sure how Katatonia would sound in 2016. After a tremendously stable line-up for many years, the last couple has seen a surprising number of personnel changes. Not only did the Norrman brothers depart together, but Fredrik Norrman’s six-string replacement, Per ‘Sodomizer’ Eriksson has also left. And let’s not forget drummer Daniel Lijlekvist who also jumped ship recently. All of this means that the current line-up sees vocalist Jonas Renkse and Anders Nyström joined by bassist Niklas Sandin and newcomers Daniel Moilanen on drums and guitarist Roger Öjersson (Tiamat). It is still a little odd for the time being looking at the band photos but that pales into insignificance when you take a listen to ‘The Fall Of Hearts’. It is fair to say that the new additions are significant and extremely positive, both fitting into the established dynamic whilst offering their own unique signature sounds and styles.

New members or not, over the years, Katatonia have never been afraid to grow and change, from their blackened death/doom beginnings, through their slightly more nu-metal tinged ‘Viva Emptiness’ to the more overtly progressive output on ‘Dead End Kings’. And yet, whilst Katatonia 2016 is a very different beast to twenty-five years ago, each album has brought change whilst remaining true to the core of the Katatonia sound. ‘The Fall Of Hearts’ is no different in that respect either; it is instantly and unequivocally Katatonia. In many ways it is the natural successor to ‘Dead End Kings’, increasing the progressive leanings, meaning that arguably, it is also their most varied and ambitious recording to date.

First off, it is a huge album. At nearly 70 minutes in length and spread over 12 tracks, you certainly get value for money and any concern that Katatonia may have been lacking inspiration or drive coming into this recording is immediately expunged. Come on, this is Katatonia after all and so, if anything, it’s exactly the opposite, as if the quintet has come out of the blocks with all guns blazing to prove that the recent instability has not impacted on the band in anything other than a positive manner.

To prove this point, the album opens with ‘Takeover’ and immediately, the Jens Bogren (Fascination Street Studios) and Karl Daniel Lidén mix cannot go unmentioned. The clarity with which all of the instruments can be heard has to be witnessed to be believed, providing each and every song with the polish that it so richly deserves.

‘Takeover’ is an exquisitely-crafted piece of music that sums up Katatonia perfectly for me. The bleakness, the serenity and the feelings of darkness, loneliness, despair and anger are all encapsulated here, in an opening track that’s nothing short of magnificent.

It ebbs and flows majestically from a relatively quiet beginning to all-out full throttle attack mode complete with thunderous double-pedal drumming from Moilanen, powerful riffs from Nyström and Öjersson that call to mind those found on ‘The Great Cold Distance’ and a muscular guitar solo, something that’s still slightly unusual for Katatonia, although most welcome.

Jonas Renkse is one of my favourite vocalists in any kind of musical genre and his delivery within the chorus drips with his trademark sincerity and emotion that is entirely believable. He works in tandem with the layers of keys and a mournful, haunting guitar line to utterly devastating effect. Frankly, it floors me every time. What’s more, the song has an epic and distinctly progressive feel to it and, at seven minutes long, it is one of the longest compositions that Katatonia have penned for quite some time.

However, ‘Takeover’ is not the only longer track on ‘The Fall Of Hearts’. The intricately wrought and distinctly progressive ‘Serac’ is even longer, albeit only marginally. Heavy and urgent riffs catch the ear quickly, as does an overall tone that harks back to the very early days in my opinion. ‘Residual’ also pushes the seven-minute barrier very close, creating a sprawling composition that subtly works its way into my affections after a slow start. Ushered in by modern sampled sounds, the track eventually opens up into something more melodic and thoroughly engaging.

By contrast, tracks two and three, ‘Serein’ and ‘Old Heart Falls’ are much punchier and, if there is such a thing, more like typical, classic Katatonia. The former begins with a dark and dense atmosphere that is present throughout, complimented by a great dampened guitar. But it soon explodes with a panache that is captivating and a strong melodic , hard-rocking vibe that hints at Amorphis in tone . I love the way the song drops away at around the midpoint to allow the bass to shine. However, the melody quickly returns, the lead guitar again warms the heart, the head nods and a smile splits my face.

‘Old Heart Falls’ is the lead single, the first song to be released to the waiting public and it is another faultless piece of music. It blends together seamlessly the ‘Last Fair Deal Gone Down’ era with the textures and tones explored on ‘Dead End Kings’. It’s more of a slow-burner as it builds gradually, hinting at a release of the floodgates. When it arrives, it is elegant, monstrous and highly addictive, with a hook to die for. I have been told off by an exasperated partner for singing and humming this track almost incessantly, it’s that addictive. Little bro, you would have lapped this one up, I know you would; I can just sense it.

‘The Fall Of Hearts’ then offers a genuine change of pace, if not tone, with ‘Decima’. It is here that the first real effects of the recent acoustic unplugged ‘Dethrowned and Uncrowned’ album and live shows can be heard. The band suggested that they might take inspiration from this venture as far as future song writing was concerned and here it is in all its glory. Soothing, almost whimsical and with a folk tinge, it is an intimate affair that allows Renkse to come fully to the fore against a backdrop of acoustic guitars, subtle woodwind instrumentation and a demonstrably more laid back tone. As always, the lyrics are very moving and there’s a beguiling fragility that tugs at the heartstrings. Do the tears make an appearance? What do you think?!

On the theme of ‘Dethroned and Uncrowned’, the latter cuts of ‘Shifts’ and ‘Pale Flag’ require a mention. Katatonia have never been afraid to drop the pace and up the sensitivity on previous releases, but on both of these tracks, this ingredient feels just a little more pronounced somehow. ‘Shifts’ floats into being to the eerie sounds of an old air raid siren which returns at times throughout the piece. It’s a spine-tingling addition, accentuating that dark bleakness and sense of pervading melancholy. ‘Pale Flag’ on the other hand, reintroduces the folky influences within a rather minimalist framework that threatens to open into something huge but tantalisingly never does.

As if to underline the ambition of ‘The Fall Of Hearts’, ‘Sanction’ offers an entirely different proposition. There’s no quiet, atmospheric or suspense-filled intro; instead, it blasts from the speakers with a savage aggression that is more in keeping with death and doom metal, again harking back to the old days. The choral vocal effects inject a menacing and epic Gothic sheen and, in spite of an intelligent, more introspective mid-section that plays with the overall dynamics, it is a generally confrontational and venomous affair. And the last note that fades on a wave of distortion is absolutely killer, trust me.

Credit: Ester Segarra

The naked aggression that marks ‘Sanction’ makes another welcome appearance within the awesome ‘The Night Subscriber’. Sandin’s bass is prominent during an intro that also benefits from a ton of lush, majestic orchestration but is quickly disposed of in favour of a heavy-as-hell swirling, churning and hypnotic riff. The juxtaposition between the sensitive, nuanced vocals and the bruising metallic soundscapes is inspired. However, when joined with the beautiful orchestration, the result is a metaphorical unfurling of Katatonia’s musical wings, soaring on the currents of epic splendour and in complete command of their collective craft.

In another clever twist, the amazing ‘The Last Song Before The Fade’ includes a tremendous groove and a bouncy rhythm, almost waltz-like in places. The sense of drama is increased by an almost ubiquitous change of pace as the song develops, morphing into a sumptuous yet moody, atmospheric breakdown, before a bluesy lead guitar break adds further flavour and texture to an already strong piece of music.

The climax of ‘The Fall Of Hearts’ is realised through ‘Passer’, which happens to be one of the most multi-faceted songs on the record. It begins in urgent fashion where fast, aggressive drumming duels with a gorgeous lead guitar before plummeting into an abyss, from all to nothing. It rebuilds via a reticent, almost out-of-tune piano before sparking back into life with blast-beats, riffs that nod towards djent, exuberate and lavish guitars and a vocal melody that can be heard but constantly fights with its imposing surroundings.

And then it’s all over. I feel emotionally drained yet elated as it dawns on me that I have just spent an hour in the presence of greatness. Is it their best release ever? It’s too early to say for sure. However, it has had a huge impact on me, just like every release before it. As far as I’m concerned, music is all about the here and now though – how it makes you feel as you listen, how it makes you think and whether or not it gives you strength or a sense of comfort. Right now, ‘The Fall Of Hearts’ calls to me, it speaks to me on a myriad of different levels and I feel stronger and more enriched by it. And that’s more than enough for me right now.

Majestic and peerless, where there is darkness, Katatonia is your master, so allow your heart to fall to them.

The Score Of Much Metal: 10

If you’ve enjoyed this review, check out my others right here:

Frost* – Falling Satellites
Glorior Belli – Sundown (The Flock That Welcomes)
Habu – Infinite
Grand Magus ‘Sword Songs’
Messenger – Threnodies
Svoid – Storming Voices Of Inner Devotion
Fallujah – Dreamless
In Mourning – Afterglow
Haken – Affinity
Long Distance Calling – Trips
October Tide – Winged Waltz
Odd Logic – Penny For Your Thoughts
Iron Mountain – Unum
Knifeworld – Bottled Out Of Eden
Novembre – Ursa
Beholder – Reflections
Neverworld – Dreamsnatcher
Universal Mind Project – The Jaguar Priest
Thunderstone – Apocalypse Again
InnerWish – Innerwish
Mob Rules – Tales From Beyond
Ghost Bath – Moonlover
Spiritual Beggars – Sunrise To Sundown
Oceans Of Slumber – Winter
Rikard Zander – I Can Do Without Love
Redemption – The Art Of Loss
Headspace – All That You Fear Is Gone
Chris Quirarte – Mending Broken Bridges
Sunburst – Fragments Of Creation
Inglorious – Inglorious
Omnium Gatherum – Grey Heavens
Structural Disorder – Distance
Votum – Ktonik
Fleshgod Apocalypse – King
Rikard Sjoblom – The Unbendable Sleep
Textures – Phenotype
Serenity – Codex Atlanticus
Borknagar – Winter Thrice
The Mute Gods – Do Nothing Till You Hear From Me
Brainstorm – Scary Creatures
Arcade Messiah – II
Phantasma – The Deviant Hearts
Rendezvous Point – Solar Storm
Vanden Plas – Chronicles Of The Immortals: Netherworld II
Antimatter – The Judas Table
Bauda – Sporelights
Waken Eyes – Exodus
Earthside – A Dream In Static
Caligula’s Horse – Bloom
Teramaze – Her Halo
Amorphis – Under The Red Cloud
Spock’s Beard – The Oblivion Particle
Agent Fresco – Destrier
Cattle Decapitation – The Anthropocene Extinction
Between The Buried And Me – Coma Ecliptic
Cradle Of Filth – Hammer Of The Witches
Disarmonia Mundi – Cold Inferno
District 97 – In Vaults
Progoctopus – Transcendence
Big Big Train – Wassail
NightMare World – In The Fullness Of Time
Helloween – My God-Given Right
Triaxis – Zero Hour
Isurus – Logocharya
Arcturus – Arcturian
Kamelot – Haven
Native Construct – Quiet World
Sigh – Graveward
Pantommind – Searching For Eternity
Subterranean Masquerade – The Great Bazaar
Klone – Here Comes The Sun
The Gentle Storm – The Diary
Melechesh – Enki
Enslaved – In Times
Keep Of Kalessin – Epistemology
Lonely Robot – Please Come Home
The Neal Morse Band – The Grand Experiment
Zero Stroke – As The Colours Seep
AudioPlastik – In The Head Of A Maniac
Revolution Saints – Revolution Saints
Mors Principium Est – Dawn of The 5th Era
Arcade Messiah – Arcade Messiah
Triosphere – The Heart Of The Matter
Neonfly – Strangers In Paradise
Knight Area – Hyperdrive
Haken – Restoration
James LaBrie – Impermanent Resonance
Mercenary – Through Our Darkest Days
A.C.T. – Circus Pandemonium
Xerath – III
Big Big Train – English Electric (Part 1)
Thought Chamber – Psykerion
Marcus Jidell – Pictures From A Time Traveller
H.E.A.T – Tearing Down The Walls
Vanden Plas – Chronicles Of The Immortals: Netherworld

Frost* – Falling Satellites – Album Review

Artist: Frost*

Album Title: Falling Satellites

Label: InsideOut Music

Date Of Release: 27 May 2016

I’m a late convert to the Frost* cause, but better late than never as the old saying goes. Last year, I had the pleasure of reviewing Lonely Robot, the debut album under that moniker from John Mitchell, he of Arena and It Bites fame as well as Frost*. It also featured Frost*’s Jem Godfrey in a guest roll in places on what is a glorious record, my number 13 of 2015 and a firm favourite still.

Given the clientele involved in that excellent album, I had to go and re-visit Frost* properly. I had bought their two albums a few years ago during a difficult time of my life following the passing of my younger brother. The only music I could face listening to was neo-prog for some reason and so I bought anything and everything connected even loosely with this genre. Frost* was one of those purchases but given my mental state and the amount of records I bought in an effort to bring me a little musical comfort, I was never able to give them the attention that they deserved. Fast forward a few years and Lonely Robot quickly changed this. Soon, both ‘Milliontown’ (2004) and ‘Experiments In Mass Appeal’ (2008) became more regularly acquainted with my stereo.

It is fortuitous timing because here we are a year later with a brand new Frost* album, their first in around eight years since the release of the aforementioned ‘Experiments…’

To begin with, on a first cursory listen, I wasn’t sure about ‘Falling Satellites’. It is such a varied and unusual album in many ways that I wasn’t really sure what to make of it. However, like many great albums, a little perseverance was the key to unlocking the charms of this rather impressive release.

It is no surprise that the music on this album is imbued with a genuine pop sheen and, on occasions dare I say it, a commercial edge. For those not in the know, Frost* mastermind Jem Godfrey has arguably had more success in his music career as a pop music songwriter, working with the likes of Take That’s Gary Barlow and writing ditties for Holly Valance, Atomic Kitten and Shane Ward amongst others. So, when tracks like ‘Towerblock’ feature electronic beats and sound effects that wouldn’t sound out of place on a mainstream radio station for the younger generation, it’s not a complete surprise. Neither is ‘Closer To The Sun’ with its electronic beat and ambient pop-meets-prog serenity. As it develops, it actually reminds me a little of ‘Distant Satellites’ by Anathema in terms of feel and construction.

Nevertheless, the backbone of ‘Falling Satellites’ is most definitely progressive rock, albeit smothered in layer upon layer of Godfrey’s unique synths and keys. And this is a very good thing indeed. Anyone familiar with Frost*’s previous work will immediately recognise the daring sounds and textures employed on this album. Godfrey is a master at creating depth and a richness that simply cannot be ignored and which makes the compositions sound huge, almost cinematic in places and dripping in majestic drama. From the subtle to the bombastic, it’s all covered here.

Credit: unknown

As always, the guitar work of John Mitchell is a delight. Crystal clear lead solos, crisp riffs and emotional phrasings are all present and correct as you’d expect from such a seasoned pro with the six-string instrument. He isn’t too bad as the lead vocalist either, following the departure of Dec Burke.

Speaking of emotion, one thing I wasn’t expecting from ‘Falling Satellites’ was the sheer amount of poignant and sensitive material that it delivers. The opening introductory piece is a dark, foreboding and dramatic piece that is in the running for being one of my favourite pieces of music from 2016 so far. It may only be 90 seconds long but the combination of stirring synths and ethereal, almost pleading vocals sends shivers up and down my spine.

The aforementioned ‘Towerblock’ is, aside from the random electronics, another moving composition. The opening bleak and sombre tones are built on as the track develops, culminating in a big intense melody, a barely-controlled explosion of sounds and gritty melancholy lyrics that also hint at hope and determination. Then there’s ‘Lights Out’ which, featuring some wonderfully tender female vocals and quiet minimalist music underneath is a compelling, goosebump-inducing listen.

‘Hypoventilate’ creates another majestic, cinematic soundscape, whilst closer ‘Last Day’ is primarily a piano and vocal piece that is again rather emotive, rounding out the record impressively.

If, however, you’re after some excellently-crafted progressive rock on top of all this, you’re in luck. ‘Numbers’ is a great up-tempo track with strong melodies, great vocals and it powers along, led by a driving rhythm section. The ludicrously clear and strong production lends the drums of Craig Blundell a really sharp punch and the intricate and dextrous bass work courtesy of Nathan King is allowed to shine rather than end up lost in a muddy mix.

‘Heartstrings’ is an absolutely belting song that showcases Frost* at their very best. The chorus is huge, the musicianship is out of the very top drawer and the track effortlessly ebbs and flows with a serene grace one moment and all-out power the next, all wrapped up with an honesty and sincerity that allows the listener to buy into the music one hundred per cent. Mind you, if I’m being completely honest, I think ‘Signs’ might be even better. I love the It Bites-esque opening which explodes into a huge chorus that sinks its hooks in nice and deep to go along with yet more equally deep lyrics.

For my money, I’d have to say that ‘Falling Satellites’ could just be Frost*’s best album to date. It has a little of just about everything that I want in my progressive rock; it’s well-written, excellently performed and is just a little bit odd and quirky too. In a year that has delivered plenty of quality already and threatens to continue the trend to the year end, ‘Falling Satellites’ has really caught my attention and thoroughly deserves to be in contention for a spot in my end of year ‘best of’ list.

The Score Of Much Metal: 9.25

If you’ve enjoyed this review, check out my others right here:

Glorior Belli – Sundown (The Flock That Welcomes)
Habu – Infinite
Grand Magus ‘Sword Songs’
Messenger – Threnodies
Svoid – Storming Voices Of Inner Devotion
Fallujah – Dreamless
In Mourning – Afterglow
Haken – Affinity
Long Distance Calling – Trips
October Tide – Winged Waltz
Odd Logic – Penny For Your Thoughts
Iron Mountain – Unum
Knifeworld – Bottled Out Of Eden
Novembre – Ursa
Beholder – Reflections
Neverworld – Dreamsnatcher
Universal Mind Project – The Jaguar Priest
Thunderstone – Apocalypse Again
InnerWish – Innerwish
Mob Rules – Tales From Beyond
Ghost Bath – Moonlover
Spiritual Beggars – Sunrise To Sundown
Oceans Of Slumber – Winter
Rikard Zander – I Can Do Without Love
Redemption – The Art Of Loss
Headspace – All That You Fear Is Gone
Chris Quirarte – Mending Broken Bridges
Sunburst – Fragments Of Creation
Inglorious – Inglorious
Omnium Gatherum – Grey Heavens
Structural Disorder – Distance
Votum – Ktonik
Fleshgod Apocalypse – King
Rikard Sjoblom – The Unbendable Sleep
Textures – Phenotype
Serenity – Codex Atlanticus
Borknagar – Winter Thrice
The Mute Gods – Do Nothing Till You Hear From Me
Brainstorm – Scary Creatures
Arcade Messiah – II
Phantasma – The Deviant Hearts
Rendezvous Point – Solar Storm
Vanden Plas – Chronicles Of The Immortals: Netherworld II
Antimatter – The Judas Table
Bauda – Sporelights
Waken Eyes – Exodus
Earthside – A Dream In Static
Caligula’s Horse – Bloom
Teramaze – Her Halo
Amorphis – Under The Red Cloud
Spock’s Beard – The Oblivion Particle
Agent Fresco – Destrier
Cattle Decapitation – The Anthropocene Extinction
Between The Buried And Me – Coma Ecliptic
Cradle Of Filth – Hammer Of The Witches
Disarmonia Mundi – Cold Inferno
District 97 – In Vaults
Progoctopus – Transcendence
Big Big Train – Wassail
NightMare World – In The Fullness Of Time
Helloween – My God-Given Right
Triaxis – Zero Hour
Isurus – Logocharya
Arcturus – Arcturian
Kamelot – Haven
Native Construct – Quiet World
Sigh – Graveward
Pantommind – Searching For Eternity
Subterranean Masquerade – The Great Bazaar
Klone – Here Comes The Sun
The Gentle Storm – The Diary
Melechesh – Enki
Enslaved – In Times
Keep Of Kalessin – Epistemology
Lonely Robot – Please Come Home
The Neal Morse Band – The Grand Experiment
Zero Stroke – As The Colours Seep
AudioPlastik – In The Head Of A Maniac
Revolution Saints – Revolution Saints
Mors Principium Est – Dawn of The 5th Era
Arcade Messiah – Arcade Messiah
Triosphere – The Heart Of The Matter
Neonfly – Strangers In Paradise
Knight Area – Hyperdrive
Haken – Restoration
James LaBrie – Impermanent Resonance
Mercenary – Through Our Darkest Days
A.C.T. – Circus Pandemonium
Xerath – III
Big Big Train – English Electric (Part 1)
Thought Chamber – Psykerion
Marcus Jidell – Pictures From A Time Traveller
H.E.A.T – Tearing Down The Walls
Vanden Plas – Chronicles Of The Immortals: Netherworld

Albums that changed my life: Cradle Of Filth – ‘Vempire’

For the next instalment of my ‘Albums that Changed My Life’ series, I’m moving to around the mid 90’s. In the timeline of my life, this puts me at my mid-teens and it ushers in a whole new world music-wise. By now, my music addiction had taken full hold and I was spending all the money that I made from my weekend job on rock and metal albums galore. However, in a strange twist of fate, it was my late brother, two years my junior who was the catalyst for one of my best discoveries and subsequent love affairs.

The band? Cradle Of Filth. The album? Well, I’m going to cheat and mention two: ‘Vempire’ (or ‘Dark Faerytales In Phallustein’) and its successor ‘Dusk…And Her Embrace’.

I don’t know why a 14 year-old decided to buy ‘Vempire’ out of the blue like he did. Maybe it was the naked women on the front cover? More likely it was because of the overt ‘parental guidance’ sticker that it had plastered on the front cover. Ever one to push boundaries, he probably looked at the sticker and the imagery and thought in his wicked way that this was the perfect album to buy. Whatever the reasoning, he bought it and the rest is history.

When I heard the album for the first time, I recoiled in horror. I can laugh about it now but at the time, I was still someone who was still feeling his way into the metal world. As such, I loved many of the usual suspects like Guns ‘N’ Roses, mid-era Metallica, Def Leppard and Iron Maiden. However, Cradle Of Filth was an entirely different proposition. It seemed like the most extreme music on the planet and I wasn’t sure I liked it.

Incessant lightning fast double-pedal drumming, frenetic evil-sounding riffs, sinister atmospherics from abundant keyboards and those high-pitched screamed vocals…this was the stuff of nightmares. And whilst I wasn’t sure that I liked it, I felt compelled to listen. I was drawn in and became fascinated with the sounds that Cradle Of Filth created.

Finding out that the band was local to me only increased the fascination. I was amazed that such a band could reside in such a sleepy place in Suffolk so far away from the bright lights of any of the big cities. And yet here they were. As it transpires, band mastermind and lead vocalist Dani Filth now lives only about 500 metres from where I grew up in my family home and where my parents still live. This is possibly as spooky as some of the band’s music.

The early key to my love of this record was, ironically, the instrumental track ‘She Mourns A Lengthening Shadow’. It was a very melodic piece of keyboard and synth driven classical-sounding music. If a band could write something so beautiful, I reasoned that the rest of the music couldn’t be that bad. As it turns out I was right because littered within the relentless machine-gun rhythms, staccato riffs and high-pitched screams, there is an awful lot of melody to be heard. Not only did the music contain great melodies but a surprising amount of groove and head-bang worthy material as well.

Take the mid-section of ‘The Rape And Ruin Of Angels’ as a prime example of the melodic sensibilities of Cradle of Filth. The track quietens and is dominated by a lovely bass rumble before the keys and guitars kick in with devastating effect. It is akin to an oasis of beauty within the desert of extremity and the huge juxtaposition works brilliantly, creating drama and the necessary hooks to keep the listener returning time and again.

To this day however, ‘Queen Of Winter, Throned’ remains the stand-out track on this mini-album from 1996. At over ten minutes, the track has a genuinely epic feel and it darts from one segment to the next throughout its significant length. As the track advances, it also builds. The tension increases and so does the speed until you’re hit with one hell of a crescendo. It is actually very melodic and groovy, dominated by a mid-tempo riff, flamboyant drumming and layers of synths that take the atmospherics to a whole new level.

This was, as it later transpired, the track that inspired my brother to take up drumming and to later play in several local metal bands. He explained to me that it was the way in which Nick Barker was able to keep up the relentless pace and precision for so long and to up his game in the final moments of the song that captured his imagination and his utmost respect.

Years later, it was fitting that Mr Barker was to visit my brother in the hospice in the days before he passed away, helping him to set up his electronic drum kit and encouraging him to play a few beats. To be honest, this act of kindness had even more of an impact on us all than the album itself back in the day.

For all these reasons, ‘Vempire’ or ‘Dark Faerytales In Phallustein’ is a very special album in my collection and will forever remain so.

At the beginning of this article, I mentioned two Cradle Of Filth albums. In the next instalment of this series, I’ll take a look at the magnificent ‘Dusk…And Her Embrace’

Check out my other posts in this series:

Skid Row – ‘Slave To The Grind’

Album of the Year 2014 – Number 2

Today is the penultimate day in my epic labour of love otherwise known as my ‘Album of the Year 2014′ countdown. If you’ve joined this lengthy and in-depth series late, you can find links to the rest of my Top 20 at the bottom of this post – please feel free to check them out should you wish to do so.

But now to my silver metal choice, the album that has taken the Number 2 spot for 2014:

Anathema
‘Distant Satellites’
Kscope

Winners in 2012 with the stellar ‘Weather Systems’, Anathema make a return to my end of year countdown in 2014 in the number two spot with ‘distant satellites’. Even though it was released relatively early in the year, I knew that it would feature extremely highly in my end of year round-up. Indeed, I knew then that it was a special record and that it would take something utterly breathtaking to keep it out of the top few positions. It is simply that good.

Over the last couple of albums, Anathema have managed to achieve what very few other bands are capable of: move me to a point where I’m reduced to a gibbering wreck. The music that this Liverpudlian sextet create is unlike any other artist out there and the results are spine-tingling, heart-wrenching and full of a depth that’s difficult to put into words. I was lucky enough to interview Vincent and Daniel Cavanagh in person this year and was able to get a bit more of an insight into what makes them tick as musicians. The experience was every bit as emotional as their music, thanks to some frank and brutal honesty on both sides. It’s one of the stand-out moments of my year.

Credit: Scarlet Page

The net result is that I now find ‘distant satellites’ even more emotional than ever before. The lyrics make more sense, the themes and ideas come to the fore more and the intent behind the material has become clearer. Here is a band that are at the very top of their game, are utterly confident in their abilities but who also maintain a very human fragility that helps to imbue their music with an honest and brittle beauty that defies words.

And yet, there is no other album released in 2014 that has divided opinion quite so much. There are those who believe that ‘distant satellites’ is every bit as good as the previous two releases and, as such, is a majestic work of art. Then there are others who have been disappointed with the result, who suggest that the album sounds too samey and devoid of original ideas. I cannot for the life of me fathom the argument of the latter because ‘distant satellites’, despite being deliberately more stripped-back, is a rich, vibrant affair that plays host to a wonderful collection of compositions, with the final few songs even throwing fans something of a curveball.

I will be the first to admit that the final three tracks took me by surprise and, to be honest, took their time to work their magic on me. However, given the time and attention that they deserve, they are firm favourites. In fact, the title track is one of my favourite Anathema tracks full stop. Beginning with these compositions first then, the trio begins with ‘Firelight’, an ambient synth-led instrumental that is subtly beautiful in its own right but which acts as something of a buffer between the indie-rock stylings of ‘You’re Not Alone’ and the title track. On first listen, ‘distant satellites’ sounded a little shocking. Dominated by more rich synths, a piano and electronic drum beat, it initially comes across as an ambient dance track rather than a rock song. At the half-way point, ‘real’ drums enter the fray and the track begins to make more sense as a whole, creating those stark juxtapositions that work when realised so cleverly. Throughout, the central melody is fantastic as well, making a real impact alongside Vincent’s distinct vocals. And to close this fascinating trio and indeed the album, is the Sigur Ros-esque ambient post rock magnificence of ‘Take Shelter’, a composition that is filled with emotion but which creates something of an uplifting, euphoric finale.

But what of the opening and mid-section compositions? ‘distant satellites’ opens in similar fashion to its predecessor by offering an intrinsically-linked pair of songs. In this case, it’s ‘The Lost Song (Part 1)’ and ‘The Lost Song (Part 2)’ and they are magnificent. ‘Part 1’ is the more up-tempo, urgent and heavy of the two led by Vincent’s vocals, whereas ‘Part 2′ is dominated by Lee Douglas’ serene voice atop goose bump-inducing melodies and lyrics that combine to bring me to tears. And I don’t mean a solitary tear down the cheek, I mean floods of tears. During the interview, I was given an insight into what appeared at first glance to be an insignificant lyric. It turns out that with Anathema, nothing is insignificant. Now when I hear it and I understand the meaning behind it, it warms my heart, fills it with love and then breaks it all at once.

Elsewhere, ‘Ariel’ is another stunning song of epic depth and meaning, whilst ‘Anathema’ harks back to the band’s early, more Gothic metal days, thanks to a superb lead electric guitar solo which stops me in my tracks each and every time. It really is music that makes you stop whatever you’re doing and listen.

So why is ‘distant satellites’ not at the top of my list in 2014 I hear you cry? It’s here that I must be brutally honest. At its best, ‘distant satellites’ is better than ‘Weather Systems’ but whereas ‘Weather Systems’ was perfect from the first note to the last, there are a couple of tracks that I fail to warm too 100% on ‘distant satellites’. I’m not a big fan of ‘You’re Not Alone’ for example. Additionally, and arguably more significantly for me personally, there’s another issue. Such is the emotional depth of this record, I find that there are times when I cannot bring myself to listen to it. When the lyrics speak to me so clearly and force me to re-live past tragedies, it’s not always easy. Most of the time, I love the album and find it a very positive and cathartic experience. Indeed, I have taken this record to my heart and will forever love it. However, occasionally, very rarely, ‘distant satellites’ is too tough to listen to. But these are my failings, not those of Anathema. As such, ‘distant satellites’ is utterly sensational and damn-near peerless.

Check out the other posts in this series:

Album of the Year 2014 – Number 3
Album of the Year 2014 – Number 4
Album of the Year 2014 – Number 5
Album of the Year 2014 – Number 6
Album of the Year 2014 – Number 7
Album of the Year 2014 – Number 8
Album of the Year 2014 – Number 9
Album of the Year 2014 – Number 10
Album of the Year 2014 – Number 11
Album of the Year 2014 – Number 12
Album of the Year 2014 – Number 13
Album of the Year 2014 – Number 14
Album of the Year 2014 – Number 15
Album of the Year 2014 – Number 16
Album of the Year 2014 – Number 17
Album of the Year 2014 – Number 18
Album of the Year 2014 – Number 19
Album of the Year 2014 – Number 20

And if you’re interested, my similar countdowns from previous years can be accessed here:

Top 20 of 2012
Album of the Year 2013

Album of the Year 2014 – Number 3

It’s getting serious now as I enter the final three albums in my 2014 top 20 countdown, the bronze, silver and gold positions. Needless to say that all three bands coming up have released fabulous albums, worthy of any accolade coming their way.

Remember, every post in this series can be accessed at the bottom of this post along with the full series’ from 2012 and 2013.

But enough of that, here’s Number 3 for 2014…

Sólstafir
‘Otta’
Season Of Mist

Iceland. In my opinion, one of the most magical countries on Earth and, given the size of the population, a musical powerhouse. When my brother passed away in 2008, my family and I started a search for a perfect resting place for some of his ashes. His love of rugged landscapes, mountains and the wilderness led us inexorably towards Iceland. None of us had visited before and when we arrived in 2009, we were not prepared for the impact it would have on us. Breathtakingly beautiful, it felt right and there was no hesitation in leaving part of him behind in a tranquil spot near the Gulfoss waterfall in the shadow of mountains and glaciers.

My parents and I returned to Iceland earlier this year to revisit my brother and once again, the island worked its magic. We were only there for three full days but by the end, I simply did not want to leave. I would move there tomorrow given half a chance.

You may be wondering why I’m saying all this on a post about my third favourite album of the year. The answer is that it provides some much needed context so that when I say that ‘Otta’ feels to me like the sound of Iceland, the importance of this statement can be fully understood.

Very few bands manage to convey a sense of their surroundings so eloquently but by heavens, with ‘Otta’, Icelanders Sólstafir are one such band. The quartet have come a long way from their more extreme days and the post-rock inspired ‘Otta’ has to be considered to be their masterpiece to date.

Picture by: Guðný Lára Thorarensen

We already knew it but music does not have to be technically complex in order to be engaging, enjoyable and full of depth. Compositionally, this is not the most overtly complicated music from a technical standpoint but regardless of this, to write music as good as this is not easy. On this record, Sólstafir concentrate on creating intense atmospheres and painting epic vistas in the minds of the listener, many of which bring me close to tears. As I allow this very organic and natural-sounding album wash over me and seep into my psyche, I ache to return to the homeland of Sólstafir, to once again experience the landscape which has been reimagined so beautifully in musical form. The striking artwork will give you a clue and more of an understanding of what to expect.

Unlike Sólstafir’s previous album, ‘Svartir Sandar’, ‘Otta’ is contained on just the one disc. As such, it’s a more honed affair. Admittedly the eight tracks still last for nearly an hour collectively with a good half of the compositions reaching well beyond the seven-minute mark. Importantly though, the perception as you listen is of a much shorter album, so effectively does it pull you in and delight you at every majestic turn.

The album opens in impressive fashion with ‘Lagnaetti’ and maintains the quality until the last note dies away. The opener begins in quiet, relatively sombre fashion but builds throughout its length into something more urgent and powerful. However, all the while it is held together by a really engaging melody line.

What transports this album into the higher echelons is the melodic sensibility at play here. The title track begins with an ambient feel but once again builds around a central melody which is stunningly beautiful but also rather unique given that it is brought to life by a banjo.

In the centre of the album sit the more truncated and, arguably, more immediately accessible trio of ‘Rismal’, ‘Dagmal’ and ‘Middegi’, each of which could teach a thing or two to sections of the post-rock fraternity about how to write material that is both catchy and full of integrity whilst still managing to once again convey an impressive soundscape in the process.

‘Non’, ‘Midaftann’ and ‘Nattmal’ complete the album in equally spectacular fashion. ‘Nattmal’ is the longest and most challenging composition on ‘Otta’ whilst ‘Midaftann’ is simply gorgeous, dominated as it is by a lone piano, thereby lending the track a more introspective feel.

I think the opening couple of paragraphs will help you understand just how much I love ‘Otta’ and, more importantly, why. However, this album from Sólstafir is just so brilliant and engaging that anyone who likes powerful guitar-based music should derive an awful lot of satisfaction from listening to it. It is an honest, vibrant and poignant album that I have taken it to my heart. And I bet I’m not the only one. Sensational.

Check out the other posts in this series:

Album of the Year 2014 – Number 4
Album of the Year 2014 – Number 5
Album of the Year 2014 – Number 6
Album of the Year 2014 – Number 7
Album of the Year 2014 – Number 8
Album of the Year 2014 – Number 9
Album of the Year 2014 – Number 10
Album of the Year 2014 – Number 11
Album of the Year 2014 – Number 12
Album of the Year 2014 – Number 13
Album of the Year 2014 – Number 14
Album of the Year 2014 – Number 15
Album of the Year 2014 – Number 16
Album of the Year 2014 – Number 17
Album of the Year 2014 – Number 18
Album of the Year 2014 – Number 19
Album of the Year 2014 – Number 20

And if you’re interested, my similar countdowns from previous years can be accessed here:

Top 20 of 2012
Album of the Year 2013