Category: EP review

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Denali – Denali – EP Review

Artist: Denali

Album Title: Denali EP

Label: Independent Release

Date of Release: 1 April 2022

I always get excited when I’m presented with a new band about which I previously knew nothing, and which impresses me. It is even more exciting when the entity is almost completely unknown, and the material you’re listening to would appear to be the first that they have unleashed on the world. It feels like I’ve uncovered a secret and, because I like the music, I become very impatient to publish my thoughts, a bit like I get at Christmas and birthdays when I’m itching to give out presents to see people’s reactions.

The band in question go by the name of Denali, and according to the email I received from them directly, they’re based in Hertfordshire in England. The idea for this band came from guitarist James McGrenery in the summer of 2020 and since then, he has recruited Countless Skies duo Ross King (vocals) and Nathan Robshaw (drums) alongside guitarist Adam C Taylor (Everest Queen) and Cerberus Unchained’s Simon Marston on bass. If I’m being completely honest, it’s the Countless Skies connection that led me to check out this EP more quickly than I otherwise might, but I’m certainly glad I did, because this self-titled release shows genuine promise as well as being a great listen in its own right.

The quintet themselves recommend their music for fans of My Dying Bride, Katatonia, Swallow The Sun and October Tide, describing themselves as “a melodic death-doom metal band which seeks to weave dark narratives into a musical tapestry that balances soul haunting melody and crushing heaviness, to wrap the listener in a cocoon of palpable sorrow.” If it wasn’t for the fact that there’s a decent amount of truth in this, such a description would normally have me laughing hard. As it is, I’m hard-pressed to disagree too much.

The three-track EP has a run-time of nearly half an hour, so adding tis to the description above, you already know what to expect to a certain extent. But what Denali don’t do, is disappoint. It all begins with ‘Catafalque’, the longest of the compositions that extends into double figures, and the opening is ominous, dark, and cinematic. It’s all blown away in an instant by an enormous riff that threatens to shake the foundations of my house. Aided by powerful drumming and solemn orchestration, it is a strong opening statement, but one that disappears almost as soon as it arrives to be replaced by a quiet introspective passage, led by the sounds of a delicate guitar melody and aided nicely by a rich bass. The heaviness does return and it once again thunders with alarming inexorability, slow-paced and churning. Whilst the production might not be as clear as I’d hope, with the cymbals being a little too loud and the guitar leads too quiet for my tastes, you can’t help but fall in love with the gloriously dirty and heavy guitar tones, the elegant melodies that are woven into the fabric of the track, and the deep growls, already familiar to Countless Skies fans. Like any good death doom band, there is plenty of variety across the song, with the tempo shifts, increases in orchestration, sombre guitar leads melodies, quiet passages, and moments of bruising brutality. It all culminates in a thoroughly absorbing listen.

‘Beneath The Waves’ follows, opening with the sounds of waves lapping against the shore. From there, as with the opener, the heaviness lays waste to the quiet beginning, but it does so with style and skill, as the music is both elegantly melodic, mournful, and vaguely progressive in construction, with riffs and notes not quite going where you initially expect. I get frequent shivers and chills as I listen to this song, because it’s so beautiful. Again, what Denali do so well is mix things up, meaning that there is a nice sense of drama along the way, with nine minutes racing past in a flash. I adore the groovy, chunky riffs that emerge at the heart of the song, only to descend into full-on death metal attack. Of the three, this is my favourite track, but it’s like choosing between the first three Metallica albums – an impossible task.

This hugely impressive EP is closed out by ‘Deathless’, which just sees a continuation of the high quality that has gone before it. The bass guitar really comes to the fore within the quieter sections on this song, whilst there’s a darker feel to the synths and atmospheres – It’s less melancholy, and more ominous, enhanced by some unforgiving guitar riffs that again threaten to tear down the Mansion Of Much Metal.

I’m so genuinely psyched about this discovery because I see greatness in their future. Their chosen genre can be an unforgiving one, but what I hear on this self-titled debut EP leads me to believe that Denali could see themselves rubbing shoulders in the not-too-distant future with those bands that have influenced them to this point. Now it’s time to build on this release and show the death/doom world what they can do with a full-length record. I won’t be the only eager one to hear what comes next, I can assure you of that.

The Score of Much Metal: 90%

Check out my other 2022 reviews here:

Centinex – The Pestilence EP

Meshuggah – Immutable

Chapter Of Hate – Bloodsoaked Decadence EP

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Centinex – The Pestilence – EP Review

Artist: Centinex

Album Title: The Pestilence

Label: Agonia Records

Date of Release: 1 April 2022

I’m going to incur the wrath of Centinex mastermind, Martin Schulman with the title of this review, because he has been at pains to refer to ‘The Pestilence’ as an ‘MLP’ rather than an ‘EP’. His reasoning is actually sound, because shorter form records were always known as mini-LPs, with the use of EPs or ‘extended play’ releases coming much later. This slight diversion might seem pointless, but it certainly isn’t, because it acts as a gateway into the mind of Schulman at the present time, and provides an insight into the music on this brand-new four-track release (five, if you buy the CD and avail yourself of the bonus track).

Bridging the gap between their last full-length, ‘Death In Pieces’ and their next, ‘The Pestilence’ is very much an exercise in bringing back the old-school way of doing things, from the compositions themselves, to the way in which they have been recorded and presented to the target audience. Listening to this offering, it is very much like taking a step back in time, but that’s no bad thing. The production is dirty and grimy, but it fits the music perfectly. It is also a vibrant, organic affair within which you can still hear all of the instruments with sufficient clarity to ensure that the music makes the necessary impact across what is, in reality, a brief blast of old-school death metal barbarity. I’m pretty sure that ‘The Pestilence’ was recorded in more of a live studio manner, and you can hear that within the music.

On to the tracks themselves and it’s here that the biggest impact is made. It’s nothing new, it’s nothing particularly surprising. But what it is, is Centinex delivering the kind of music for which they’ve been known throughout their career. And that’s no mean feat when you consider the lengthy hiatus of the band and that the current line-up has only been in place since 2020, releasing only ‘Death In Pieces’ prior to this effort.

‘In Pestilence’ kicks off with the appropriately titled ‘Armageddon’, ushered into existence by the sound of heavy gunfire before a scorching and heavy riff from Jorgen Kristensen takes over. Accented by bruising drumming from Florian Rehn, it’s a gnarly opening, but impressively aggressive and uncompromising. Henka Andersson’s deep guttural growls sound particularly full of old-school vitriol atop a composition that fuses death metal and thrash together expertly, creating a powerful onslaught. At points, the dirty rumbling bass of Martin Shulman becomes even more prominent, sounding wonderfully depraved as it gurgles menacingly at the bottom end. The sound of days gone by has never sounded so relevant and vital in today’s world.

‘Evil Is Evil’ takes over, but there’s no let-up in the sonic assault. With more of a thrash feel to it, the pace is equally as swift as the opener, even more so in places possibly. The riffs are generally fast-paced, almost verging on black metal territory occasionally, whilst the rhythm section gallops along like a scolded rat, allowing Andersson to gurn over the top of a tumultuous soundscape that eventually opens up to offer something a little more groovy.

My favourite track is, without doubt, ‘Tremble In Fear’. The quick tempo is abandoned in favour of a lumbering, lurching monstrous groove. The bass of Shulman sounds brilliant in the opening section, whilst the blend of slow, chugging riffing, and faster drumming is always a winner for me. This is the kind of song that’s headbanger’s dream, so fat, so chunky, and so groovy, allowing those neck muscles to stretch. As a result, it’s a surprisingly catchy and memorable composition too, raising a sinister grin on my face in the process. Love it!

The final track, CD version aside, is ‘Torture’ which well and truly reverts to type as it’s another blistering death/thrash attack where bass and drums skip along at a fair lick, upon which the guitar riffs can unleash their dark magic.

There’s not a lot more to say at this point, other than look no further than Centinex and ‘The Pestilence’ is your wanting some extreme metal nostalgia, but with a relevant modern edge to it. As I said before, it’s not a million miles away from a sound you’ve heard many times before. But there’s a reason that this music still has a place in the heavy metal underground, and that’s because it’s great. Dirty, depraved, and a lot of fun, be sure to check out this latest release from the hugely consistent and evergreen Centinex.

The Score of Much Metal: 85%

Check out my other 2022 reviews here:

Meshuggah – Immutable

Chapter Of Hate – Bloodsoaked Decadence EP

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Chapter Of Hate – Bloodsoaked Decadence – EP Review

Artist: Chapter Of Hate

Album Title: Bloodsoaked Decadence EP

Label: Independent Release

Date of Release: 24 March 2022

I stumbled across this EP whilst having an email clear-out recently and I’m pleased I did, because it offers a really nice blast of thrashy, groovy heavy metal with a death metal edge that will get the neck muscles moving pretty much from start to finish. The EP goes by the name of ‘Bloodsoaked Decadence’ and it’s brought to us by Norwegian band Chapter Of Hate.

There’s precious little information about them to be found on the Internet, or elsewhere, but I am able to discern that ‘Bloodsoaked Decadence’ is the second EP from Chapter Of Hate, following ‘In Memoriam’ released back in 2016. It really wouldn’t have mattered either way though because all you need to know is that the four tracks on this independently released EP are really rather entertaining.

It’s fair to say, mind you, that there is very little about Chapter Of Hate that’s new or original, but I don’t get the feeling that this is the aim of the band. They seem content with hitting hard with their own preferred style of heavy metal, and they deliver it with a level of professionalism that’s impressive, right down to the production which, to me, is pretty spot on. The guitars have a great chunky bite to them, but the solos that emerge are equally prominent. The drums are sharp, and the bass adds further muscle to the music.

The opening track is entitled ‘The Pressure’ and it rips from the speakers with a satisfying thrash attack, complete with strong riffs, a powerhouse rhythm section and some lead guitar embellishments for good measure. The vocals are nothing out of the ordinary, but they inhabit a nice mid-range and offer a decent bite and venom, somewhere between a shout and singing, as is the way with many thrash acts out there. The lead solos that emerge later on within this high-energy track are suitably fast and furious, whilst the slower grooves that dominate the chorus are really cool, and get me headbanging whether I want to or not.

After a strong start, we move on to ‘Savage’ which immediately displays a groovy Pantera-like swagger. The riffs are slightly slower and when the chorus hits, there’s a greater emphasis on catchy melody. There’s even a Machine Head-esque pinched harmonic or two within a monstrous groovy sectionor later in the piece, just to add something else to the mix, alongside the ubiquitous guitar solos.

The title track starts off quietly in a brooding fashion, but with a nice clean melody, before launching into another thrash-heavy onslaught. Again the pace isn’t the blistering kind that’s often the preserve of the thrash genre, Chapter Of Hate instead preferring to go for a solid, chunky battering. The chorus is another good one with a sing-along feel to it, whilst the solos are more reminiscent of the kind that Metallica have produced of late, with a vague bluesy edge.

The final track of the four is ‘Under A Melting Sun’ and it’s the longest single composition at five-and-a-half minutes. I feel like a bit of a parrot because we’re presented with yet another headbang-worthy thrash anthem, full of groove and muscle. It’s arguably also the most aggressive in terms of the vitriol that’s contained within, especially where the more spiteful vocals are concerned.

As I said earlier, ‘Bloodsoaked Decadence’ brings precious little to the table that’s new or original to them. However, to a certain extent, that doesn’t matter because I find lots to enjoy here from Chapter Of Hate. There’s something comforting and loveable about a band that just present you with huge, uncompromising riffs, lots of groove, and a no-nonsense attitude. Lace it with some melody here and there and what’s not to like. Proof once again that a band don’t have to reinvent the wheel in order to be enjoyed. Recommended.

The Score of Much Metal: 75%

Check out my other 2022 reviews here:

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Abysmal Dawn – Nightmare Frontier – EP Review

Artist: Abysmal Dawn

Album Title: Nightmare Frontier EP

Label: Season Of Mist

Date of Release: 4 February 2022

It seems that I’ve been slow on the uptake again. Forming nearly twenty years ago, Californian death metal band Abysmal Dawn have released five full-length albums and I’m unable to say that I’ve heard any of them. And, based on the content of this short-but-sweet four track EP, I can’t for the life of me think why I’ve let them pass me by. If you could climb inside my head and see what’s inside, you’d quickly realise that where ‘straight-up’ death metal is concerned, Abysmal Dawn hit my favoured sweet spot.

Comprised of guitarist/vocalist Charles Elliott, guitarist Vito Petroni, bassist Eliseo Garcia, and drummer James Coppolino, Abysmal Dawn get the balance just about spot on for my tastes. It is brutal, but technically very adept, whilst containing just about the perfect amount of melody and groove to keep me interested. In fact, I find the music on this EP really rather addictive, pressing repeat almost at will. And when we’re talking death metal (not melodeath, tech death, or prog death – all of which I more naturally gravitate towards), that’s unusual for me.

Apparently, ‘A Nightmare Slain’ was recorded during the ‘Phylogenesis’ writing process, their fifth full-length, released in 2020. If that’s the case, I need that record in my life as soon as possible. ‘A Nightmare Slain’ comes out of the blocks swinging, with blastbeats and a fast, scything blackened death riff that carries a touch of melody, immediately catching my attention. The intense battery is nicely broken up with different ideas and changes of pace, conjuring thoughts that it is a vaguely progressive track. Fast, ripping solos enter as the track develops too, as well as sections of meaty groove, meaning that every ingredient I like in this form of metal is present and correct.

Track two, ‘Blacken The Sky’ is equally as impressive, whilst having a different overall feel. It’s darker, more foreboding, but equally as extreme and combative. It also carries a melodic edge, again just enough to keep my attention but without sacrificing the aggression and brutality. I love the solos, as well as the clever tempo shifts to maintain a dramatic flair.

Sadly, in terms of new, original material, that’s your lot for ‘Nightmare Frontier’ because the final two tracks are covers. I’m usually a real grump when it comes to bands recording cover versions, because I’d always prefer to hear original material instead. However, in the case of this EP, the Americans can be somewhat forgiven. The first of the covers is a favourite of mine, namely ‘Behind Space’ by In Flames. It was released back in 1994 on the ‘Lunar Strain’ record before being re-recorded, renamed ‘Behind Space ‘99’ and released on the ‘Colony’ album. Those iconic melodies and waltz-like grooves of the original remain, but the Abysmal Dawn guys add their own stamp, making it utterly irresistible, including guest orchestration from Deeds Of Flesh’s Craig Peters to top it all off.

The final track is a significant change of pace, as it’s Abysmal Dawn’s version of ‘Bewitched’ by Candlemass. Not only does it see a slowing of the tempo in what’s a relatively faithful rendition of the original, but it also features clean vocals from Elliott. I wasn’t expecting that, but it works, even if overall, this is my least favourite track on the EP.

And that’s it, really. If you’re already a fan of Abysmal Dawn, you’ll lap this EP up. If, like me, you’ve been an idiot and not checked them out previously, then wrap your ears around ‘Nightmare Frontier’, as it’s the perfect short, sharp introduction to a great death metal band. Damnit, I have another back catalogue to investigate – first world problems, eh?!

The Score of Much Metal: 90%

Check out my other 2022 reviews here:

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Ilium – Quantum Evolution Event – EP Review

Artist: Ilium

Album Title: Quantum Evolution Event EP

Label: Independent Release

Date of Release: 14 January 2021

At the beginning of 2020, I reviewed the eighth album from Australian melodic power metal band Ilium and was really rather taken with it. It made me question the fairness of the music industry too, because to me, there appeared to be no earthly reason why such a good band could still be unsigned to a label. These days, labels aren’t always necessary, but for Ilium to be independently releasing their excellent material after nearly 20 years in the business just seems plain wrong to me. To further hammer home this point, I present to you their latest EP, ‘Quantum Evolution Event’.

In keeping with ‘Carcinogeist’ and the accompanying EP entitled ‘Enviro-Metal’, ‘Quantum Evolution Event’ is a cracking release that can only further enhance the Aussie outfit, and rightly so. As before, Ilium is comprised of founder, guitarist and songwriter Jason Hodges alongside guitarist, bassist and keyboardist Adam Smith. The two musicians are joined once again by guest vocalist Lord Tim, alongside his LORD colleague Tim Yatras on the drums to create what is clearly and demonstrable a forceful quartet.

Comprised of five new tracks, ‘Quantum Evolution Event’ is a relatively brief affair, but it makes a big impact all the while it is playing. Full of intensity, speed, melody, flamboyance, and a host of other ingredients, Ilium manage to enter stage left via the title track in a really hurry, batter the listener with their brand of high energy melodic power metal, and exit stage right via ‘Mothcaste’ in what feels like the blink of an eye. A frenzied, high-octane blink, but a blink nonetheless.

I’ve lost track of the amount of times I’ve pressed play and taken a cheeky listen to this EP. What I haven’t forgotten however, is the effect that this music has on me. I’m energised, I’m invigorated, and I’m left feeling thoroughly entertained and uplifted. To my mind, that’s exactly what this music should do and it achieves it with aplomb.

Beginning with the title track, Ilium waste no time in making an impression. The intro is full-throttle and exuberant led by a fast paced lead guitar melody, ably backed up by some thunderous double-pedal infused drumming and underpinned by a depth provided by some synths. But then, the synths move to the front and centre within a chorus that takes the song in a noticeably different direction. The riffs that accompany the track are crunchy and very satisfying, but most impressive is the ground covered in three-and-a-half short minutes, everything from a soothing AOR-style section to an all-out solo that’s reminiscent of the excesses of a band like Dragonforce. Lord Tim once again delivers a power metal masterclass behind the microphone, fitting the music that surrounds him like the proverbial velvet glove, hitting high notes with ease alongside the lower, more aggressive delivery.

Bearing in mind that Ilium only have five tracks to get their point across, it’s great to be able to report that barely a moment is wasted. The pace and ferocity is maintained into ‘Tsetse’ which has a more progressive air about it without delving too far into this genre. At it’s heart, it’s a hybrid of classic NWOBHM and European power metal, complete with chunky, no-nonsense riffing, wailing neo-classical guitar leads, galloping rhythms, and a strong chorus to tie everything together.

‘Undergods’ follows and is very reminiscent of early Edguy, with Lord Tim sounding similar to Tobias Sammet at points within the song. Whether it’s deliberate or coincidence, it’s a happy result, one that only serves to enhance the Teutonic flavour of the song. Helloween references are also present, alongside a touch of Primal Fear in the potent riffing that dominates at points. The chorus is a more expansive beast too, providing a more epic, majestic feel to the track overall.

I love the cinematic intro to ‘Hostile Sky’, although I wish it lasted longer. Mind you, when it gives way to wailing twin lead guitar harmonies, it’s hard to not be quickly won over. The pace is noticeably slowed to a more mid-tempo stomp but again, the synths come to the fore to enhance the melodic nature of this rather lovely song. The hooks are strong as I have discovered over the past week or two.

The final song is entitled ‘Mothcaste’ and it ends the release on a high thanks to yet another very strong performance from all concerned. More lead guitar histrionics, more ballsy riffs, more immediate melody, a deeper, grittier vocal delivery from Lord Tim, and a relentless galloping rhythm laid out in tandem by drums and bass – it’s all here and it serves to more than satisfy my appetite for this kind of music.

Had ‘Quantum Evolution Event’ been a full-blown album, then we may be talking about an early contender for my end-of-year ‘best of’ list. As it is, this is ‘just’ an EP, although saying that feels like it is marginalising a really rather excellent release regardless. Human nature dictates that we always want more of a good thing and that’s exactly my feeling towards Ilium and this latest release of theirs. It may be a twenty-minute EP, but ‘Quantum Evolution Event’ is a huge success that needs to be checked out by anyone who takes their melodic power metal seriously. Two great power metal releases in the first week of 2022? I’m starting to like this year already!

The Score of Much Metal: 91%

Check out my other 2022 reviews here:

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Insomnium – Argent Moon – EP Review

Artist: Insomnium

Album Title: Argent Moon EP

Label: Century Media Records

Date of Release: 17 September 2021

I find it quite amusing that neither of my favourite two melodic death metal bands at the current time hail from Sweden. After all, it was the Swedes that invented the genre. But no. Both Omnium Gatherum and Insomnium are Finnish. And, for my money, they are the best two proponents of melodic death metal in the here and now. Others push them close – I’m thinking Dark Tranquillity and At The Gates – but there’s something about the two Finnish bands that draws me in more than any others.

In 2019, Insomnium released the exquisite ‘Heart Like A Grave’, the follow-up to the highly acclaimed ‘Winter’s Gate’. Suddenly, the world at large woke up to the quintet’s charms and looked forward to hearing the band in the live arena in support of such a powerful record. But then the pandemic came along to scupper everyone’s plans. Not wishing to waste their time, Insomnium, like many other bands out there in the same predicament, instead turned their attention to creating some new music. The result is a four-track EP entitled ‘Argent Moon’, containing 23 minutes of brand-new material to help soften the blow of cancelled tours the world over.

And guess what? It has worked. I was a little underwhelmed at first, but I can put that down to fatigue, or simply not listening properly because when you let yourself really listen, you get swept up in the beautifully heavy soundtrack on offer.

The EP begins with ‘The Conjurer’ and with it, the soft, soothing sounds of acoustic guitar melodies bathe the ears in a warm, comforting glow. Subtle piano notes accompany the guitars, whilst a firm drum beat pushes it’s way into the mix. You can sense the song wanting to blossom and so it does. The acoustic guitars still strum pleasantly whilst an electric guitar sings mournfully and so beautifully, soaring into the sky with elegance. I love the gruff vocals; so powerful, so full of menace, yet perfectly in keeping with more punchy, resonant riffing. The song extends to over seven minutes, but it feels like two, as it is such a captivating experience. The track ebbs and flows effortlessly, from brutal passages to serene interludes where the acoustic guitars once again take centre stage.

Next up is ‘The Reticent’, a much shorter composition than its predecessor, but no less impactful for it. Again, it’s a quiet opening, allowing the track to build slowly but purposefully. The drums act like a heartbeat alongside the rumbling bass. And then in comes a clean vocal to offer something a little different. The buzz word for this review is ‘elegant’, because that’s exactly what Insomnium have delivered here – elegance. The flow from soft to heavy adds a palpable sense of drama to the overwhelming sense of sorrow that oozes from every melodic pore so beautifully.

The remaining two tracks, by and large, follow the same kind of blueprint – mind you, when the blueprint is this good, why change it eh? If anything, ‘The Antagonist’ lives up to its name very cleverly by being a more relaxed track for much of the time, only to explode at points to really hammer home the heaviness that Insomnium are capable of creating. The juxtaposition just serves to accentuate each side of the band more clearly, and of all the songs, this was the one that had to grow on me the most.

The final composition, ‘The Wanderer’ is a very poignant affair, once again beginning with some vibrant acoustic guitars atop a pulsing bass and bold drum beat. More clean vocals emerge, whilst there are a few spoken-word sections too. As the song progresses, the band make much more use of orchestration to add even more sophistication to proceedings, if such a thing was even possible. As well as adding sophistication, the sound of gentle strings in the mix help to ratchet up the emotional side of the song, leaving the listener with a bittersweet experience that just makes me want to press play and listen again, so I can discover it all over again.

You wanted evidence to back up my statement that Insomnium are one of the two best melodic death metal bands currently in operation? Well, ladies and gentlemen, doubters the lot of you, I present to you Markus Hirvonen (drums), Ville Friman (guitars), Niilo Sevänen (vocals, bass), Markus Vanhala (guitars) and Jani Liimatainen (guitars, vocals), collectively Insomnium, alongside their latest creation, ‘Argent Moon’. It’s the third recording in a row to deliver a truly scintillating performance from a band at the very top of their game. And on this evidence, it’s hard to imagine what wonders will come next.

The Score of Much Metal: 90%

Dessiderium – Aria

Cynic – Ascension Codes

NorthTale – Eternal Flame

Obscura – A Valediction

Nightland – The Great Nothing

MØL – Diorama

Be’lakor – Coherence

Hollow – Tower

Doedsvangr – Serpents Ov Old

Athemon – Athemon

Eclipse – Wired

Swallow The Sun – Moonflowers

Dream Theater – A View From The Top Of The World

Nestor – Kids In A Ghost Town

Beast In Black – Dark Connection

Thulcandra – A Dying Wish

Omnium Gatherum – Origin

Insomnium – Argent Moon EP

Kryptan – Kryptan EP

Archspire – Bleed The Future

Awake By Design – Unfaded EP

Cradle Of Filth – Existence Is Futile

Seven Spires – Gods Of Debauchery

Sleep Token – This Place Will Become Your Tomb

Necrofier – Prophecies Of Eternal Darkness

Ex Deo – The Thirteen Years Of Nero

Carcass – Torn Arteries

Aeon Zen – Transversal

Enslaved – Caravans To The Outer Worlds

A Dying Planet – When The Skies Are Grey

Leprous – Aphelion

Night Crowned – Hädanfärd

Brainstorm – Wall Of Skulls

At The Gates – The Nightmare Of Being

Rivers Of Nihil – The Work

Fractal Universe – The Impassable Horizon

Darkthrone – Eternal Hails

Thy Catafalque – Vadak

Terra Odium – Ne Plus Ultra

Hiraes – Solitary

Eye Of Purgatory – The Lighthouse

Crowne – Kings In The North

Desaster – Churches Without Saints

Helloween – Helloween

Fear Factory – Aggression Continuum

Wooden Veins – In Finitude

Plaguestorm – Purifying Fire

Drift Into Black – Patterns Of Light

Alluvial – Sarcoma

White Moth Black Butterfly – The Cost Of Dreaming – Album Review

Silver Lake by Esa Holopainen

Bloodbound – Creatures From The Dark Realm

Nahaya – Vital Alchemy

Frost* – Day And Age

Obsolete Theory – Downfall

Vola – Witness

Acolyte – Entropy

Dordeduh – Har

Subterranean Masquerade – Mountain Fever

Seth – La Morsure Du Christ

The Circle – Metamorphosis

Nordjevel – Fenriir

Vreid – Wild North West

Temtris – Ritual Warfare

Astrakhan – A Slow Ride Towards Death

Akiavel – Vae Victis

Gojira – Fortitude

Hideous Divinity – LV-426

Benthos – II

Evile – Hell Unleashed

Ninkharsag – The Dread March Of Solemn Gods

Bodom After Midnight – Paint The Sky With Blood

Morrigu – In Turbulence

Mother Of All – Age Of The Solipsist

Throne – Pestilent Dawn

Sweet Oblivion (Geoff Tate) – Relentless

Exanimis – Marionnettiste

Dvne – Etemen Ænka

Cannibal Corpse – Violence Unimagined

Arion – Vultures Die Alone

Maestitium – Tale Of The Endless

Wode – Burn In Many Mirrors

Everdawn – Cleopatra

Unflesh – Inhumation

Mourning Dawn – Dead End Euphoria

Wheel – Resident Human

Wythersake – Antiquity

Odd Dimension – The Blue Dawn

Metalite – A Virtual World

Cryptosis – Bionic Swarm

Ghosts Of Atlantis – 3.6.2.4

Memoriam – To The End

Aversed – Impermanent

Secret Sphere – Lifeblood

Enforced – Kill Grid

Liquid Tension Experiment – LTE3

Turbulence – Frontal

Iotunn – Access All Worlds

Warrior Path – The Mad King

Stortregn – Impermanence

Mariana’s Rest – Fata Morgana

Orden Ogan – Final Days

Witherfall – Curse Of Autumn

Plague Weaver – Ascendant Blasphemy

Ephemerald – Between The Glimpses Of Hope

Paranorm – Empyrean

Einherjer – North Star

Epica – Omega

Humanity’s Last Breath – Välde

Simulacrum – Genesis

Forhist – Forhist

Evergrey – Escape Of The Phoenix

Empyrium – Über den Sternen

Moonspell – Hermitage

Infernalizer – The Ugly Truth

Temperance – Melodies Of Green And Blue EP

Malice Divine – Malice Divine

Revulsion – Revulsion

Demon King – The Final Tyranny EP

Dragony – Viribus Unitis

Soen – Imperial

Angelus Apatrida – Angelus Apatrida

Oceana – The Pattern

Therion – Leviathan

Tribulation – Where The Gloom Becomes Sound

Asphyx – Necroceros

W.E.T. – Retransmission

Labyrinth – Welcome To The Absurd Circus

TDW – The Days The Clock Stopped

Need – Norchestrion: A Song For The End

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Kryptan – Kryptan – EP Review

Artist: Kryptan

Album Title: Kryptan

Label: Debemur Morti Productions

Date of Release: 23 July 2021

From the mind of ex-Katatonia and October Tide musician Mattias Norrman, comes a new entity by the name of Kryptan. And, given my love of Katatonia, and my appreciation for October Tide, I am delighted to be in a position to have heard the self-titled EP, or ‘mini-album’ as the record label describe it, and offer you my thoughts on it. I may be several months late to this particular party, but I still feel it is important to keep the spotlight on this band.

To bring Kryptan to life last year, guitarist/bassist/keyboardist Norrman enlisted the help of fellow October Tide bandmate, vocalist Alexander Högbom and Wretched Fate drummer Samuel Karlstrand. Together, the trio have created an intriguing and entertaining four tracks that seek to plunder the sound of yesteryear. To be more precise, Kryptan have summoned the spectre of the 90s’ Scandinavian black metal scene. It’s a style that has never truly gone away, albeit with varying levels of success depending on the outfit concerned. And I have to say that, despite the singularly uninspiring artwork that adorns this EP, Kryptan have managed to create one of the most promising homages to this style of music I’ve heard in a while.

Handling all the guitars and bass himself, Mattias Norrman sounds really rather inspired, creating a succession of arresting and authentic riffs across the four compositions. From slower, more doom-laden sounds, to some genuinely cold, sharp and frosty fast-picked riffs, it’s as if Norrman was born to play this kind of music, positively revelling in the opportunity to indulge in a passion that has lain dormant at the expense of other priorities. He is also responsible for the swathes of synths that bathe the music in eerie atmospheres.

What it means is that this debut self-titled EP is irresistible, boding extremely well for the ensuing full-length debut that we’re reliably informed is in the process of being created right now. It’s a mouth-watering prospect, and I’ll be sure to keep my eyes and ears peeled on news of progress.

But back to this EP and it doesn’t take long for Kryptan to hit their stride and demonstrate just why they could be a force to be reckoned with. ‘A Giant Leap For Whoredom’ is the slightly odd name given to the opening composition, but from the very first second, we’re hit with a fast, but icy fast-picked lead guitar line, that’s quickly joined by frantic blastbeats, deeper riffs, and an audible bass that rumbles with authority at the bottom end of the music. The tortured, gritty growls and snarls of Alexander Högbom are the perfect accompaniment to the bitter, raw soundscape that surrounds him. The pace is rapid for the most part, but there are sections where the music slows to inject more by way of dark atmosphere as well as a smidgen of doomy groove. The riffs and guitar lead lines are catchy enough in themselves, but when a greater emphasis is placed on the synths in the latter stages, the melodic intent increases wonderfully, albeit not too much.

I’m reminded of Emperor at their early best at the beginning of ‘Bedårande Barn’, thanks to a great fast-picked lead guitar line that’s both catchy and strangely malevolent. Overall, this is a slower track that introduces greater atmosphere and sense of cloying doom, enhanced by the layers of synths that seek to suffocate and entice. That said, the frantic tempos are evident at points when required. As the track draws to a close, the tempo slows again and the guitar work comes to the fore, a slower reprise of that early lead line; it’s intelligent, undeniably catchy, and gets right under my skin.

Norrman’s doom influences are writ large at the beginning of ‘Blessed Be The Glue’, thanks largely to an intro that features the sounds of church bells which duet with the synths. The quality is impressively consistent, as the trio deliver another composition that lives long in the memory, thanks to clever changes of pace, from brisk black metal to chunkier doom-style riffs, complete with a few pinched harmonics and moments of Gothic-like keyboard-led sinister minimalism. Vocalist Alexander Högbom also plays around with some gruff spoken-word delivery in the centre of the track, which only adds to the intrigue and sense of theatre as far as I’m concerned.

The final composition to feature on this release is the charmingly-titled ‘Burn The Priest’. Kryptan do not significantly deviate from their chosen modus operandi, but neither should they. It’s another cracking track that blends ferocity with a strange, almost compelling hypnotic quality, generally created at the hands of Mattias Norrman with his guitar playing. If anything though, this might just be the most overtly melodic of the four songs, especially later in the song as thunderous drumming supports yet another compelling but ice-cold lead guitar line.

I almost gave this release a miss because of the uninspiring artwork that adorns this self-titled debut EP. Thankfully, I did end up investigating it, because if I hadn’t, I’d have been much the poorer for it. Kryptan create quality black metal that sounds vital and interesting, whilst also harkening shamelessly back to a previous time, a time when Scandinavia was utterly peerless when it came to extreme metal, particularly of the black metal variety. If you haven’t already, check this out and join me in impatiently waiting for a full-length debut.

The Score of Much Metal: 88%

Dessiderium – Aria

Cynic – Ascension Codes

NorthTale – Eternal Flame

Obscura – A Valediction

Nightland – The Great Nothing

MØL – Diorama

Be’lakor – Coherence

Hollow – Tower

Doedsvangr – Serpents Ov Old

Athemon – Athemon

Eclipse – Wired

Swallow The Sun – Moonflowers

Dream Theater – A View From The Top Of The World

Nestor – Kids In A Ghost Town

Beast In Black – Dark Connection

Thulcandra – A Dying Wish

Omnium Gatherum – Origin

Insomnium – Argent Moon EP

Kryptan – Kryptan EP

Archspire – Bleed The Future

Awake By Design – Unfaded EP

Cradle Of Filth – Existence Is Futile

Seven Spires – Gods Of Debauchery

Sleep Token – This Place Will Become Your Tomb

Necrofier – Prophecies Of Eternal Darkness

Ex Deo – The Thirteen Years Of Nero

Carcass – Torn Arteries

Aeon Zen – Transversal

Enslaved – Caravans To The Outer Worlds

A Dying Planet – When The Skies Are Grey

Leprous – Aphelion

Night Crowned – Hädanfärd

Brainstorm – Wall Of Skulls

At The Gates – The Nightmare Of Being

Rivers Of Nihil – The Work

Fractal Universe – The Impassable Horizon

Darkthrone – Eternal Hails

Thy Catafalque – Vadak

Terra Odium – Ne Plus Ultra

Hiraes – Solitary

Eye Of Purgatory – The Lighthouse

Crowne – Kings In The North

Desaster – Churches Without Saints

Helloween – Helloween

Fear Factory – Aggression Continuum

Wooden Veins – In Finitude

Plaguestorm – Purifying Fire

Drift Into Black – Patterns Of Light

Alluvial – Sarcoma

White Moth Black Butterfly – The Cost Of Dreaming – Album Review

Silver Lake by Esa Holopainen

Bloodbound – Creatures From The Dark Realm

Nahaya – Vital Alchemy

Frost* – Day And Age

Obsolete Theory – Downfall

Vola – Witness

Acolyte – Entropy

Dordeduh – Har

Subterranean Masquerade – Mountain Fever

Seth – La Morsure Du Christ

The Circle – Metamorphosis

Nordjevel – Fenriir

Vreid – Wild North West

Temtris – Ritual Warfare

Astrakhan – A Slow Ride Towards Death

Akiavel – Vae Victis

Gojira – Fortitude

Hideous Divinity – LV-426

Benthos – II

Evile – Hell Unleashed

Ninkharsag – The Dread March Of Solemn Gods

Bodom After Midnight – Paint The Sky With Blood

Morrigu – In Turbulence

Mother Of All – Age Of The Solipsist

Throne – Pestilent Dawn

Sweet Oblivion (Geoff Tate) – Relentless

Exanimis – Marionnettiste

Dvne – Etemen Ænka

Cannibal Corpse – Violence Unimagined

Arion – Vultures Die Alone

Maestitium – Tale Of The Endless

Wode – Burn In Many Mirrors

Everdawn – Cleopatra

Unflesh – Inhumation

Mourning Dawn – Dead End Euphoria

Wheel – Resident Human

Wythersake – Antiquity

Odd Dimension – The Blue Dawn

Metalite – A Virtual World

Cryptosis – Bionic Swarm

Ghosts Of Atlantis – 3.6.2.4

Memoriam – To The End

Aversed – Impermanent

Secret Sphere – Lifeblood

Enforced – Kill Grid

Liquid Tension Experiment – LTE3

Turbulence – Frontal

Iotunn – Access All Worlds

Warrior Path – The Mad King

Stortregn – Impermanence

Mariana’s Rest – Fata Morgana

Orden Ogan – Final Days

Witherfall – Curse Of Autumn

Plague Weaver – Ascendant Blasphemy

Ephemerald – Between The Glimpses Of Hope

Paranorm – Empyrean

Einherjer – North Star

Epica – Omega

Humanity’s Last Breath – Välde

Simulacrum – Genesis

Forhist – Forhist

Evergrey – Escape Of The Phoenix

Empyrium – Über den Sternen

Moonspell – Hermitage

Infernalizer – The Ugly Truth

Temperance – Melodies Of Green And Blue EP

Malice Divine – Malice Divine

Revulsion – Revulsion

Demon King – The Final Tyranny EP

Dragony – Viribus Unitis

Soen – Imperial

Angelus Apatrida – Angelus Apatrida

Oceana – The Pattern

Therion – Leviathan

Tribulation – Where The Gloom Becomes Sound

Asphyx – Necroceros

W.E.T. – Retransmission

Labyrinth – Welcome To The Absurd Circus

TDW – The Days The Clock Stopped

Need – Norchestrion: A Song For The End

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Awake By Design – Unfaded – EP Review

Artist: Awake By Design

Album Title: Unfaded

Label: Independent Release

Date of Release: 29 October 2021

UK melodic metal band Awake By Design impressed me last year with their self-titled third full length studio release, offering a heavy and satisfying slab of memorable music in the process. As such, it was a no-brainer when I was contacted by the band, asking if I’d be interested in reviewing their newest recording.

The recording in question is a six-track EP but the most interesting thing about it is that it is a largely acoustic affair. Lots of bands have gone down this route in the past, but for a band so reliant on chunky riffing and swathes of atmospheric keys, I was incredibly intrigued to discover whether their music could translate adequately into the acoustic environment.

Despite being much more stripped back and minimal, as acoustic tracks generally are, I have to say that this experiment has come off pretty well. The best part of the EP is the fact that the band have penned no less than three brand new songs, written specifically for this endeavour and for an acoustic setting.

‘Tomorrow’s End’ kicks things off and it is immediately apparent that vocalist Adrian Powell is the focal point, at least initially. The guitar work of Luke Smith and Toby Stewart is precise and clear, but Powell dominates from his first words, hitting some powerful notes with passion and emotion. As the song develops, we do hear some subtle keys, as well as an electric guitar solo, as the entire band come together to great effect.

The bass playing at the beginning of ‘Shadowlight’ courtesy of David Favill is really ear-catching, as is the central chorus melody that feels like it gets bigger and better with every passing listen. I like the blast of the moody and intense electric guitar solo too, a well-placed reminder, should one be required, of the more metal credentials of this impressive band.

The title track is definitely my favourite of the three newly-written tracks. The opening acoustic melodies carry with them a solemnity, but one that is beautiful and incredibly poignant. Again, Powell excels behind the microphone, but the minimalism that runs through the track, alongside those mournful guitar notes is beguiling.

Despite the strength of the new songs, particularly the title track, I have to concede that my favourite song on ‘Unfaded’ is the re-worked version of ‘The Coming Tide’, the opening track from the quintet’s aforementioned third album. Of the original, I wrote:

“…the album kicks off with ‘The Coming Tide’, a cracking track that encompasses everything I like about this genre of music. It is satisfyingly heavy, aided by some chunky riffs from Luke Smith and returning guitarist Toby Stewart, pounding drumming from new recruit Chris Threlfall, and some cool bass lines from David Favill that rumble under the surface with style. The song is instantly catchy and memorable thanks to a great chorus, whilst I must commend vocalist Adrian Powell on a commanding performance behind the microphone; full of emotion and with the ideal range for this kind of music, the guy is the perfect fit as far as I’m concerned.”

I still love it and it remains a favourite even in its more minimalist guise. That said, it is the most opulent of all of the tracks on ‘Unfaded’, as it features the most overt keyboards, and there are a few more nods to their normal electric selves. The song also features the guest vocal talents of Faye Brooks, who is a very welcome addition to the composition, one that ably demonstrates what a tight and talented unit this band really is.

For longer-term fans of Awake By Design, ‘Falling On Me’ will be familiar, appearing as it did on the band’s 2015 sophomore release, ‘Carve The Sun’. Benefitting from some gloriously rich piano-playing, a strong but not overbearing rhythm section, as well as crisp, early In Flames-esque acoustic guitars, it is a really nicely crafted composition.

‘Unfaded’ ends with a cover of the classic Scorpions track, ‘Wind Of Change’. Although I must profess to not be the biggest fan of the original, there’s no denying the quality of this version, particularly impressive as it’s their first recorded cover version. Whilst I would have probably preferred another new track or re-worked version of another Awake By Design song, it nevertheless ends the EP in a strong fashion.

I came into this review not quite knowing what to expect and carried with me a little early scepticism. Almost all of this has been blown away like pollen in the breeze, because Awake By Design have demonstrably proven that their ability far extends beyond muscular prog-tinged melodic metal; ‘Unfaded’ shows a softer side, a more nuanced side, but no less entertaining in many ways. That said, I do look forward to a new, more conventional Awake By Design full-length in due course.

The Score of Much Metal: 80%

Dessiderium – Aria

Cynic – Ascension Codes

NorthTale – Eternal Flame

Obscura – A Valediction

Nightland – The Great Nothing

MØL – Diorama

Be’lakor – Coherence

Hollow – Tower

Doedsvangr – Serpents Ov Old

Athemon – Athemon

Eclipse – Wired

Swallow The Sun – Moonflowers

Dream Theater – A View From The Top Of The World

Nestor – Kids In A Ghost Town

Beast In Black – Dark Connection

Thulcandra – A Dying Wish

Omnium Gatherum – Origin

Insomnium – Argent Moon EP

Kryptan – Kryptan EP

Archspire – Bleed The Future

Awake By Design – Unfaded EP

Cradle Of Filth – Existence Is Futile

Seven Spires – Gods Of Debauchery

Sleep Token – This Place Will Become Your Tomb

Necrofier – Prophecies Of Eternal Darkness

Ex Deo – The Thirteen Years Of Nero

Carcass – Torn Arteries

Aeon Zen – Transversal

Enslaved – Caravans To The Outer Worlds

A Dying Planet – When The Skies Are Grey

Leprous – Aphelion

Night Crowned – Hädanfärd

Brainstorm – Wall Of Skulls

At The Gates – The Nightmare Of Being

Rivers Of Nihil – The Work

Fractal Universe – The Impassable Horizon

Darkthrone – Eternal Hails

Thy Catafalque – Vadak

Terra Odium – Ne Plus Ultra

Hiraes – Solitary

Eye Of Purgatory – The Lighthouse

Crowne – Kings In The North

Desaster – Churches Without Saints

Helloween – Helloween

Fear Factory – Aggression Continuum

Wooden Veins – In Finitude

Plaguestorm – Purifying Fire

Drift Into Black – Patterns Of Light

Alluvial – Sarcoma

White Moth Black Butterfly – The Cost Of Dreaming – Album Review

Silver Lake by Esa Holopainen

Bloodbound – Creatures From The Dark Realm

Nahaya – Vital Alchemy

Frost* – Day And Age

Obsolete Theory – Downfall

Vola – Witness

Acolyte – Entropy

Dordeduh – Har

Subterranean Masquerade – Mountain Fever

Seth – La Morsure Du Christ

The Circle – Metamorphosis

Nordjevel – Fenriir

Vreid – Wild North West

Temtris – Ritual Warfare

Astrakhan – A Slow Ride Towards Death

Akiavel – Vae Victis

Gojira – Fortitude

Hideous Divinity – LV-426

Benthos – II

Evile – Hell Unleashed

Ninkharsag – The Dread March Of Solemn Gods

Bodom After Midnight – Paint The Sky With Blood

Morrigu – In Turbulence

Mother Of All – Age Of The Solipsist

Throne – Pestilent Dawn

Sweet Oblivion (Geoff Tate) – Relentless

Exanimis – Marionnettiste

Dvne – Etemen Ænka

Cannibal Corpse – Violence Unimagined

Arion – Vultures Die Alone

Maestitium – Tale Of The Endless

Wode – Burn In Many Mirrors

Everdawn – Cleopatra

Unflesh – Inhumation

Mourning Dawn – Dead End Euphoria

Wheel – Resident Human

Wythersake – Antiquity

Odd Dimension – The Blue Dawn

Metalite – A Virtual World

Cryptosis – Bionic Swarm

Ghosts Of Atlantis – 3.6.2.4

Memoriam – To The End

Aversed – Impermanent

Secret Sphere – Lifeblood

Enforced – Kill Grid

Liquid Tension Experiment – LTE3

Turbulence – Frontal

Iotunn – Access All Worlds

Warrior Path – The Mad King

Stortregn – Impermanence

Mariana’s Rest – Fata Morgana

Orden Ogan – Final Days

Witherfall – Curse Of Autumn

Plague Weaver – Ascendant Blasphemy

Ephemerald – Between The Glimpses Of Hope

Paranorm – Empyrean

Einherjer – North Star

Epica – Omega

Humanity’s Last Breath – Välde

Simulacrum – Genesis

Forhist – Forhist

Evergrey – Escape Of The Phoenix

Empyrium – Über den Sternen

Moonspell – Hermitage

Infernalizer – The Ugly Truth

Temperance – Melodies Of Green And Blue EP

Malice Divine – Malice Divine

Revulsion – Revulsion

Demon King – The Final Tyranny EP

Dragony – Viribus Unitis

Soen – Imperial

Angelus Apatrida – Angelus Apatrida

Oceana – The Pattern

Therion – Leviathan

Tribulation – Where The Gloom Becomes Sound

Asphyx – Necroceros

W.E.T. – Retransmission

Labyrinth – Welcome To The Absurd Circus

TDW – The Days The Clock Stopped

Need – Norchestrion: A Song For The End

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