Category: Prog Rock

Imminent Sonic Destruction – The Sun Will Always Set

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

Tim Bowness – Butterfly Mind – Album Review

Artist: Tim Bowness

Album Title: Butterfly Mind

Label: InsideOut Music

Date of Release: 17 June 2022

Cards on the table, I know nothing of the band No-Man and up until I was presented with the opportunity to listen to this record in advance of its release, I’d never clapped ears on any of Tim Bowness’ previous solo material either. You could say then that I’m a true novice, something that will either work in my favour or against me. What you can guarantee though, is that I come to this review with literally no expectations or prior knowledge, as well as a viewpoint that’s unencumbered by any outside influences. Not for the first time, I’m a blank slate.

It’s probably an unnecessary exercise for many but for those who, like me, are less familiar with the work of Tim Bowness, it is worth mentioning that he is joined by a stellar cast of musicians on ‘Butterfly Mind’. Joining the vocalist and multi-instrumentalist throughout this record are Nick Beggs (bass, chapman stick), Brian Hulse (guitars, keyboards, programming), and drummer Richard Jupp. And then there is a whole host of guests that add their talents to a song or two. The list runs into double figures but most eye catching for me are Big Big Train’s Greg Spawton (bass pedals) and Jethro Tull’s Ian Anderson (flute).

My desire to listen to anything and everything this year in particular has paid off numerous times so far, but it can’t always be a successful approach – the law of averages alone will dictate that some of my exploration will result in a dead end, or with an artist failing to ignite the fires within me. Sadly, this is one of them. So why continue with my review? Because I have spent a lot of time listening to ‘Butterfly Mind’ and so I feel I can put together a cogent set of reasons why I don’t personally get hit square in the feels by Tim Bowness’ latest creation, rather than simply dismissing it. It may be that my reasons for failing to connect are the exact reasons why someone else will love it or give it a listen when maybe they otherwise wouldn’t.

After all, an album can be very good and still not be someone’s cup of tea. And ‘Butterfly Mind’ is absolutely a very good album that is full of great material. I’m not deaf to this, and I’d certainly not decry otherwise. But at the end of the day, after careful listening and consideration it’s just not for me. But why?

My normal musical preference is at the heavier end of the spectrum, of that there is no secret. However, I enjoy my fair share of music that’s quieter, more relaxed, or of a different genre entirely. The fact that I adore bands like Big Big Train, Toto, Fleetwood Mac, White Moth Black Butterfly, and any number of gentler prog rock acts go some way to demonstrate this. Therefore, there’s every chance that I’d like this offering from Tim Bowness.

The key factor in my enjoyment of this music is the melodic sensibilities contained within. And that’s the first issue I have personally with ‘Butterfly Mind’. It is a very melodic, warm, and inviting album that sounds a million dollars in terms of the production that envelops the listener like a faithful favourite blanket. But the melodies that feature within the album rarely get me excited or send a tingle down my spine. I nod appreciatively occasionally, but that’s about it.

As a result, I don’t have that emotional connection with the music that others will have. If the melodies don’t resonate strongly with me, I find the listening experience to be a perfunctory one, rather than a truly emotional one. That’s what I find here. It’s a sorrowful sounding album, but without the hooks and melodies to really tug at my heartstrings.

Songs like ‘It’s Easier To Love’ will be massive hits for many, but for me, this track is one that’s a bridge too far. The abundant saxophone is always going to be a problem for me given my prejudices towards the instrument, but regardless, the song is too whimsical, smooth, and bland for my tastes. If it had a killer hook within it, I might think differently, but it doesn’t, and I’m not too displeased when it ends.

The pulsing bass lines within follow up ‘We Feel’ as well as the increased energy injected by some nice guitar tones, embellishments, and sparingly used riffs rouses me a little from my near comatose state. It is one of the more immediate songs on the album, alongside ‘Always The Stranger’, which is a lively and vibrant affair albeit too short and sweet. It features some nice melodic touches that I latch on to, whilst I like the breathy, almost whispered vocals at points.

The vocals of Bowness himself are both a help and a hindrance to my enjoyment. At times, his delivery feels really unique and interesting, whilst at others, I’m less keen on his voice. It’s odd because I’ve rarely had this experience – I either like or dislike a voice outright.

‘Lost Player’ could be an even better track than it is, but it just fails to do anything particularly special or irresistible despite threatening to do so before fizzling out to nothing rather disappointingly. Then there’s ‘Only A Fool’ which is just plain odd, which could be a positive attribute were it not for some of the electronic sounds which I find a little overbearing and jarring. It’s a similar appraisal for ‘Glitter Fades’ which features an electronic beat to accompany the organic drums. It’s here that I find Bowness’ vocals most hard to enjoy, but I fully appreciate that this is me rather than his delivery which will no doubt hit the mark for his loyal fans and fans of this kind of music in particular. And it is a nice song, especially with the onset of some gentle orchestration in the latter stages; it’s just not a composition that I can warm to, as hard as I try.

I really do hope that I have been fair and transparent with this review, and I have given an insight into why I am not as enamoured as many others will be by this record. As I have said many times, almost ad nauseum, ‘Butterfly Mind’ is not a bad album, far from it. Indeed, I wish I liked it more than I do. But I don’t, and that’s a genuine shame because I came to this with genuine interest and an open mind ready to be impressed, to announce to me in glorious technicolour what I’ve been missing over the years. Ultimately, it wasn’t to be, but don’t be put off by my thoughts on this – if you think that this might be something you’ll enjoy, check it out. And if you do, I honestly hope you will have a more positive experience than I’ve had.

The Score of Much Metal: 70%

Check out my other 2022 reviews here:

Denouncement Pyre – Forever Burning

Truent – Through The Vale Of Earthly Torment

Wind Rose – Warfront

Kardashev – Liminal Rite

Artificial Brain -Artificial Brain

Seventh Wonder – The Testament

All Things Fallen – Shadow Way

Def Leppard – Diamond Star Halos

Lord Belial – Rapture

Buried Realm – Buried Realm

Stiriah – …Of Light

Remains Of Destruction – New Dawn

Crematory – Inglorious Darkness

IATT – Magnum Opus

Iris Divine – Mercurial

Decapitated – Cancer Culture

Bekmørk – The Path Nocturnal

Septic Flesh – Modern Primitive

Blut Aus Nord – Disharmonium – Undreamable Abysses

Drift Into Black – Earthtorn

Spheric Universe Experience – Back Home

Outshine – The Awakening

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones

Zero Hour – Agenda 21

Scitalis – Doomed Before Time

Morgue Supplier – Inevitability

Visions Of Atlantis – Pirates

Evergrey – A Heartless Portrait (The Orphean Testament)

OU – One

Imminent Sonic Destruction – The Sun Will Always Set

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

Iris Divine – Mercurial – Album Review

Artist: Iris Divine

Album Title: Mercurial

Label: Layered Reality Productions

Date of Release: 20 May 2022

I’m a little late to the party with this record, but I have my reasons. The album in question is ‘Mercurial’, the third full-length album from Virginia-based US progressive metal band and one of the main reasons I’m lagging behind is because the trio never make it easy for me. I’m in no way suggesting that they should make their music easy for reviewers, but every one of Iris Divine’s records that I have reviewed have been tricky to write. Yet again with ‘Mercurial’, I have had to take some serious time to get my thoughts in order and decide what I really think about this record. But I believe I’m finally there, and happy to commit my opinion to writing.

Comprised of the core trio of Navid Rashid (vocals, guitar, programming), Brian Dobbs (bass), and nw drummer Scott Manley, Iris Divine have chosen to explore the subject of human emotions on ‘Mercurial’, delving into quite deep ideas such as how our emotions may limit our perceptions, or change our individual or collective outlook on life. It’s definitely an album to get you thinking, so if you relish lyrics and subject matter that go beyond the basic, then ‘Mercurial’ immediately puts a tick in the box.

What’s so great about this album, is the way I which the music echoes the intelligence of the subject matter. I can now say this with some confidence having been a little on the fence early on in this listening journey. In my defence, I’ve never been the biggest fan of alternative rock and grunge, so when these genres present a significant element to Iris Divine’s music, it takes a bit of getting used to, and I needed some time to warm to it all. But then, with compositions that are equally as influenced by the likes of Rush and Kings X, alongside a flavour all of their own, it was probably only a matter of time before the prog lover in me started to feel the pull of the music and erase any doubts I had at the outset.

In fact, as I sit here now typing this review, I’m not entirely sure how I didn’t enjoy it as much to begin with. There is so much going on within the music that it feels like it should be longer than 39 minutes; the three musicians certainly like to cover a lot of ground within their compositions as the eight tracks here ably demonstrate.

Perhaps the initial reticence was caused by the first song here, ‘Bitter Bride’, because of them all, it is arguably one of the spikiest and confrontational songs I’ve heard from Iris Divine. Kicking off with a jangly sounding riff, powerful rhythms and soundbites of spoken word, it’s something of an intense opening, verging on a cacophonous wall of competing sounds. When it settles into its true rhythm, it becomes much more of a driving, up-tempo piece that introduces a grower of a melody or two in combination with Rashid’s first vocal lines. That said, the clashing sounds return alongside some caustic vocals at points to keep the listener on their toes, and under no illusion that the trio are angry and in confrontational mood. With time though, the energy of the song, as well as the great musicianship overtake all else to ultimately win me over. It will never be my favourite track on ‘Mercurial’, but it’s a grower that I now enjoy.

It doesn’t help either when the opening moments of follow-up track, ‘Silver Tongued Lie’ feature brass embellishments in the form of what I believe are trumpets, giving the song an immediate ska edge. Urgh. However, all is forgiven when I’m hit first with some muscular riffs, and then with some irresistible hooks and melodies within the song’s stunning chorus. I cannot get enough of it, it’s that good, and it acted as the catalyst to force the necessary repeat plays to get to this point. I owe it a debt of gratitude for sure.

The full force of Iris Divine’s progressive tendencies emerge in spades within ‘Thirteen’, a longer track that uses its time wisely to explore a number of different soundscapes within what feels like a darker, more brooding cloak overall. The funky bass playing, incisive but meaty riffs, and dextrous drumming within the extended mid-song instrumental passages all underline the technical credentials of the musicians, whilst the inclusion of numerous shifts in tempo, and bold keys add depth, drama, and intrigue to the song. It’s another composition that has grown on me to the point that I now really like it, and look forward to when it arrives in the running order.

Two songs that were much more instantaneous appear in the form of ‘Sapphire’ and ‘Death By Consensus’ respectively. The former skips along with a really upbeat swagger that’s infectious, as are the melodies that weave in and out of the track. The vocal effects are interesting too, as are the subtle ethnic melodies in the latter stages, both of which add further ingredients to the mix.

‘Death By Consensus’ is an instrumental track, but it’s full of energy from the very first note, seemingly unwilling to pause for breath. Happily though, this is an instrumental that grabs the attention of the listener pretty swiftly thanks to the electric performances from all three members. There are plenty of complex ideas swirling around, but at it’s heart is a slightly more simplistic melodic hard rock vibe that veers into AOR territory thanks to some delicious, warm melodies that put a smile on my face every time I listen. Of course, there are moments of gratuitous soloing by bass, drums, and guitar alike, as well as the odd foray into discordant jazz territory, but it’s never overdone, and it doesn’t get in the way of the song’s overall vibe.

The alternative rock/metal influences come to the fore with gusto within ‘Negative Seed’, albeit tempered by overt proggy vibes that are liberally sewn throughout the song. However, the angry spoken lyrics and attitude of the track nearly put me off until the bruising, groovy melodies thundered through the speakers in the second half of the song, pulling me round to their way of thinking yet again.

And that’s the story with the entirety of ‘Mercurial’ too, because, despite some early misgivings about the strength of the alternative and grungy elements, I have been won over. And not just a little bit – I’ve been won over comprehensively. There’s clearly a hugely positive chemistry within the band that shines through a lot of the material and, when coupled with the intelligent song writing, there is an awful lot to enjoy on this record. If you were a fan before, you’ll not be disappointed. And if you weren’t a fan previously, but you like high quality progressive music that’s just a little bit different, I urge you to put this high up on your list to check out. I’m not a betting man, but if I was, I’d be laying down good money that Iris Divine will be gathering a glut of new fans with ‘Mercurial’, and rightly so.

The Score of Much Metal: 90%

Check out my other 2022 reviews here:

Decapitated – Cancer Culture

Bekmørk – The Path Nocturnal

Septic Flesh – Modern Primitive

Blut Aus Nord – Disharmonium – Undreamable Abysses

Drift Into Black – Earthtorn

Spheric Universe Experience – Back Home

Outshine – The Awakening

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones

Zero Hour – Agenda 21

Scitalis – Doomed Before Time

Morgue Supplier – Inevitability

Visions Of Atlantis – Pirates

Evergrey – A Heartless Portrait (The Orphean Testament)

OU – One

Imminent Sonic Destruction – The Sun Will Always Set

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

OU – One – Album Review

Artist: OU

Album Title: One

Label: InsideOut Music

Date of Release: 6 May 2022

There’s a reason I’m slightly late with this review, and that’s because I have had the hardest time deciding what I think about it. ‘It’ is the international debut full-length release from the Chinese progressive rock/metal band called OU. Entitled ‘One’, the album is the creation of four musicians from Beijing, brought together by drummer Anthony Vanacore. He is joined in OU by vocalist Lynn Wu, guitarist Zhang Jing, and bassist Chris Cui who, together, are possibly the very first Chinese-based band to be signed to a record label in the West. That in itself is worthy of some kudos, surely?

But that’s the easy bit, because now, I have to turn my attention to the music that features on ‘One’, and I’m not entirely sure where to begin if I’m honest. On paper, citing influences that range from Devin Townsend to Radiohead to The Gathering, it would seem like a relatively straightforward task, given that I am familiar with each of these named artists. However, press play, and there’s a strong argument to suggest that we’ve been lulled into a false sense of security.

On the one hand, each of these references bears fruit. But this tells only a fraction of the story, because OU sound like no-one else that I’ve ever heard. You can easily add names like Haken, Frank Zappa, and Dream Theater to the list as well as genre descriptors like psychedelic, djent, math rock, and alternative. There’s even a big synth element to much of the music that brings an air of anime to the party. In fact, whilst OU are labelled as a ‘prog’ band, there’s a fairly decent case to be made to refer to the quartet as avant-garde, or jazz metal, simply because I get the sense that anything goes here, and it leads to an intense and original final product.

I think, having grappled with the music a lot over the last little while, that one of the most important elements is the voice and vocal delivery of Lynn Wu. As technical as the music is around her, Wu’s style is such that it feels a bit like a stream of consciousness at times; she goes wherever she wants, whether or not it entirely goes with the music within the confines of the songs. Within some of the tracks, barely a second goes by without her voice being present, even if, on occasion, Wu isn’t even singing any lyrics at all. This is not a criticism at all though, because Wu has a beautifully smooth, ethereal voice that also has a childlike quality to it at times. She can shout and scream with the best of them when the mood takes her too, but generally, her approach is much more reserved, quiet, and mellifluous.

Opening track, ‘Travel 穿’ is big on the odd synth sounds that call to mind the anime and psychedelic stylings, but it’s also a bold and strong song elsewhere. The musicianship of the quartet is incredibly high, with plenty of complexity delivered without seemingly breaking a sweat. The composition is tight and precise, one of the heaviest on ‘One’ with some djent leanings to the guitar sounds, drawing those vague Devin Townsend comparisions. As the song draws to a close, it opens out a little too, offering one of the closest approximations of genuine catchy melody. Admittedly there’s a charm about the song that gets under the skin the more you listen, but it’s the final stages, preceded by some breakneck drumming that is my personal highlight here.

The vocals that accompany what would otherwise be a standard modern prog intro to ‘Farewell 夔’ are, frankly, bizarre, and at odds with the music, leading me to bring up the ‘avant-garde’ tag; there’s nothing straightforward about OU, as this song ably demonstrates. ‘Mountain 山’ is arguably my favourite track on the album, as the prog is strong here, with the occasional Haken-ism, as well as a stand-out performance from bassist Chris Cui who, just like Lynn Wu, never stops, forever embellishing the song with barely a breath taken throughout.

From there, things take a bit of an unexpected turn, with the progressive rock/metal trappings taking more of a back seat as the album continues. ‘Ghost 灵’ is a three-and-a-half-minute quiet, largely instrumental affair, dominated by sombre synths, accented by acoustic guitars and bass notes. Wu does appear later on, with a truly ethereal performance, but it is definitely the bold synths that make the biggest impression. I’m not entirely sure that I like it still.

The quieter delivery continues with the seven-minute ‘Euphoria 兴’, although the opening couple of minutes are quite vibrant and fast-paced with acoustic guitars, bass, Wu’s gentle, smooth vocals, and stunning drumming from Anthony Vanacore. However, the longer the song goes on, the more the synths come to dominate, and the more the track starts to slowly unravel, become more and more ominous in tone, as well as more and more minimalist, eventually becoming a full-on ambient affair before fading to nothing.

The juxtaposition between ‘Euphoria 兴’ and ‘Prejudice 豸’ is stark and powerful, as Wu offers some of her most angst-ridden vocals to accompany a blast of all-out heavy prog. However, despite the heaviness, intensity, and the amazing performances of all concerned, the song fails to fully grab me. It’s a decent song, with a lovely clean guitar sequence at the three-quarter mark, but despite this and some killer bass towards the end, the song as a whole is not one that I want to listen to over and over again.

And the same is broadly true of the final two songs, ‘Dark 暗’ and ‘Light 光’. Again, the musicianship is out of the top drawer, but the music fails to fully ignite my enthusiasm. IT may only be a little over 41 minutes in length, but the sheer intensity and complexity of the music begins to wear me down towards the end I think. I’m dying for Lynn Wu to sing what I consider to be a ‘normal’ vocal line just once, but it never materialises which, for me, is a slight disappointment. I guess though, this isn’t the OU way, and neither should it be if they don’t want it to be.

And there we are – after intently listening to ‘One’ for a number of days, I am no closer to being able to say whether or not I like the music on the album. There are a handful of tracks that have begun to work their charms on me, primarily the opening trio, and I have no doubt that with more time, I might get closer to a decision. But I fear that’ll be six months or a year down the line, if I stick with it for that long, truth be told. Do not let my comments distract from the truth about the music though, because on that score, there is nothing but admiration from me. The complexity, the originality, and the sheer focus that is involved to bring this record to fruition is staggering. If you have a more open mind than I have, or you are a musician yourself, I suspect you will lap this album up and consider it to be one of the best things you’ve ever heard. I’m still on the fence though…I can’t decide whether I like it or not and that’s maddening.

The Score of Much Metal: 80%

Check out my other 2022 reviews here:

Imminent Sonic Destruction – The Sun Will Always Set

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

Pure Reason Revolution – Above Cirrus – Album Review

Artist: Pure Reason Revolution

Album Title: Above Cirrus

Label: InsideOut Music

Date of Release: 6 May 2022

The last album by Pure Reason Revolution was the first that I encountered, having missed out on their early career. And, despite not necessarily being the archetypal kind of music that I’d normally gravitate towards, it is fair to say that ‘Eupnea’ made a positive impression upon me. Of it, I wrote:

“And there you have it. Consider me a convert to the Pure Reason Revolution cause. ‘Eupnea’ is an intelligent blend of electronica, progressive rock that is made all the stronger due to some beguiling melodic sensitivity. I like the music more with every listen and I’m now very excited to delve into the band’s past at the earliest opportunity.”

Almost exactly two years later, Pure Reason Revolution have returned with ‘Above Cirrus’ and this time, the core duo of Jon Courtney (guitar, vocals, keys) and Chloe Alper (bass, vocals, keys) have brought with them a new full-time member to extend the band to a trio. I say ‘new’, but the new addition will be a familiar name to long-term fans, as it’s guitarist/vocalist Greg Jong who features as a full member for the first time since the 2005 EP, ‘Cautionary Tales For The Brave’.

Having spent some considerably time digesting ‘Above Cirrus’, it’s almost a cut and paste job from the quote above in many ways. Once again, Pure Reason Revolution have created a record that, on paper, I shouldn’t really take to, too heavily, but they have won me over. And the success of this new album is the combination of fascinating, deep lyrical content, emotion, the variation of styles, powerful melodies, and strong songwriting that means it all comes together in a really enjoyable package. It’s a bit of a grower too, with several songs suddenly, out of nowhere, finding their way into my brain to be hummed or sung when least expected.

Returning to the lyrics for a moment, and once again, the words are inspired by Courtney’s personal thoughts and journeys, with an overall message routed in optimism. ‘Above Cirrus’ isn’t a concept album though, as each song stands on its own, but with a central idea that ‘through the turbulence, we’ll help each other through the darkness.’ I find this to be an appealing central thread, which only serves to add greater strength and poignancy to the music. Even the cover art, which might seem sad on face value, is an extension of the lyrical content, in that the polar bear is suffering, but is adapting, surviving, and in so doing, offers hope.

Moving on to the music itself, and the electronic nature of the Pure Reason Revolution sound is exposed from the very beginning, with a gentle beat sitting beneath a spoken-word sample. From there, a powerful, almost tribal drumbeat kicks in to move the song forward forcefully, before an equally abrasive riff emerges. There’s a strong energy to the song that’s infectious, and even though I’m not totally sold on the heavily effect-laden vocals at points, the mix of layered male and female vocals really shines. It’s a short, sharp track to open the album, but it contains a melodic intent to ensure it’s as memorable as it is striking.

The contrast between the opener and ‘New Kind Of Evil’ is pronounced, as this song begins much more delicately and sedately, with a much greater emphasis on melody from the outset. That said, you can feel the increase in intensity that’s lurking just below the surface, wanting to break loose. The sense of drama that this creates is excellent, as is the central chorus melody which is one of those big earworm affairs. I also love the precise, yet smooth ebb and flow which leads to a bold release just shy of the half-way mark yet recedes just as quickly into calmer waters. The addition of tinkling piano notes is a very welcome addition, nicely juxtaposing the more overt electronic sounds that appear later in the track, as it ends on an authoritative note.

‘Phantoms’, another shorter composition, is arguably my least favourite on the album, but I do like the more pronounced electronics that feature alongside more male/female duetted vocals. It’s then superseded by one of the very best songs on ‘Above Cirrus’, that of ‘Cruel Deliverance’. It’s a slower, more introspective piece, but it contains the most gorgeous of melodies, the one more than any other that I find myself singing in my head at three in the morning, or whilst out with the dog on the park. Ironically, for one with the moniker of ‘The Man Of Much Metal’, this is also the most mainstream sounding, and least ‘heavy’ of all of the seven compositions on the record. But a great melody is a great melody, and it’s this that speaks to me above everything else. Mind you, the mid-song minimalist, cinematic section is inspired too.

At a touch over ten minutes, ‘Scream Sideways’ is the longest single composition, but it uses the time wisely, exploring a myriad of textures and soundscapes, from gentle, ethereal minimalism to driving prog rock, and from bold, experimental electronic vistas to spiky, aggressive post rock walls of sound. Once again though, despite the variations on offer, the song writing is such that the whole thing feels homogenous, tied together by some subtle melodies along the way.

And to close, we have ‘Lucid’ that is a beguiling track, full of great musicianship, from all members of the band, not to mention further memorable melodic intent. Even the brief inclusion of a saxophone barely dulls my enjoyment of the song, a song that once again shows the expertise in building drama and tension through passages of light and shade, of quiet contemplation, and all-out explosions of near-metallic strength.

On balance, as much as I enjoyed ‘Eupnea’, I can only conclude that I find myself enjoying ‘Above Cirrus’ even more. I’m not sure I can put my finger on quite why, but once the dust has settled and I am able to observe things from a distance, I get the feeling that it will ultimately come down to the strength and potency of the melodies. ‘Above Cirrus’ continues where ‘Eupnea’ left off, but also ups the ante and, in so doing, provides forty-five minutes of genuine musical pleasure. I heartily recommend ‘Above Cirrus’ to anyone with a liking for intelligent, melodic, electronic-infused progressive rock.

The Score of Much Metal: 89%

Check out my other 2022 reviews here:

Imminent Sonic Destruction – The Sun Will Always Set

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

Delvoid – Swarmlife – Album Review

Artist: Delvoid

Album Title: Swarmlife

Label: Banditt Media

Date of Release: 29 April 2022

Another new name to me, Delvoid are an interesting discovery, and one well worth bringing to your attention with a manofmuchmetal.com review. From the Norwegian capital, Oslo, or just outside, Delvoid have been in existence since 2008, and the quartet define themselves as alternative rock that “consists of noisy sound walls, vulnerable melodies, and mammoth-sized riffs.” They go on to say that they “…chase the same white whale as Tool and Sigur Ros, but add their own flavour of psychedelia and minimalism to the hunt.”

What is unusual is that I can definitely hear the references they make, but more so with Tool than Sigur Ros if I’m honest. The music does have plenty of quiet, subtle moments, but Sigur Ros are not the first name I think of when I’m listening to this record. Apparently, this third album is slightly different from previous efforts in that it dials up the psychedelia and the prog elements in favour of the more orchestral approach used previously and specifically with their last release, 2015’s ‘Serene’.

If I could use one word to describe ‘Swarmlife’ overall, it would have to be ‘frustrating’. Some of this record is sublime, whilst other parts don’t quite hit my sweet spot as forcefully. At nearly an hour in length, but comprised of just six tracks, this is an album where the band take their time to build up tension, allow the music to ebb and flow, and explore different sounds and textures along the way. But, it has to be said that some of the compositions are better than others for my tastes, leading to vast expanses of music that I wouldn’t necessarily skip, but which can have a tendency to drag a little as I await the parts of the record that I really like.

My slight disappointment is felt all the more keenly because ‘Swarmlife’ starts off so well. ‘Techtree’ is a ten-minute opening force of nature that shows what Delvoid are capable of when at their very best. Beginning slowly and tentatively, it takes a while for the song to build, but the tension is palpable, as you know something is awaiting just around the corner – or at least you hope it is. There’s a repetitive nature to the music as it gently increases the intensity, exploding after well after two minutes to reveal a lovely melodic guitar riff courtesy of Erik J. Halbakken and Alex M. Delver. In the blink of an eye, it is gone, replaced by vocals, bass, and drums, but when it returns after a period of excellently created introspection, it makes one hell of an impact; the melody is superb, the emotion equally so, as it tears at the heartstrings and sends shivers down my spine. Progressive this track certainly is, but there are big post-rock influences in the latter stages, where walls of guitar driven sound create a hugely impressive force against which it is hard not to succumb.

I’m less enamoured with the follow-up ‘Urras’, which is altogether less melodic, but much angrier, spikier, and caustic, led by the anguished screams and shouts of vocalist Alex M. Delver. Admittedly, after several spins, the understated catchiness of the music does start to make inroads, whilst the impressive musicianship becomes ever more evident, especially the drumming of Espen Th. Granseth, and the dancing bass of Magnus Andersen. And when Delver delivers his clean, melodious tones, he has an undeniably good voice.

I could cut and paste much of the previous paragraph for ‘Out Of Labour’. At over ten minutes, it covers a lot of ground musically, with much to admire, not least the conviction with which the lyrics are delivered and the top-drawer musicianship. But crucially, I don’t love it because, for me, there is a lack of killer melody within the composition, leading it to be the least effective track on the record as far as I am concerned.

Where Delvoid really shine for me, is when they explore their melodic sensibilities more keenly. ‘Collapsist’ is another lengthy track that ebbs and flows fluently, from heavy, clashing outbursts, to incredibly deft and gentle minimalism. Throughout the song though, the melodies are stronger, better defined, and therefore make a much bigger impression on me. That said, the real magic doesn’t appear until beyond the six-minute mark, when all pretence at heaviness is cast aside and the final three or four minutes are a poignant and stunning exercise in ambience and emotion. Remember those Sigur Ros references? Well, this is where they are heard and felt most strongly, complete with echoed, ethereal vocals that only add to the overall impact.

One of only two tracks under double figures, ‘Third Body’ provides flashes of brilliance within it. The melodies are a slow-burn affair, but in order to take the contrasts between light and shade that little step further than before, the band introduce some judiciously placed growls. It’s something I’d actually like to hear more of from Delvoid in future I must admit, as the growls are properly deep and menacing.

As it turns out, ‘Swarmlife’ is bookended by the best two tracks, with the magnificent ‘The Master’s House’ closing things out. At over thirteen minutes in length, it’s the longest of the six songs, but the delicate opening is gorgeous, and is allowed to take its time to slowly, carefully build, recede, and then unfurl through a wonderfully groovy riff. Not so much an explosion, as a robust increase in power and sonic authority. As is the Delvoid way, the ebb and flow to the song is great, creating some captivating textures along the way. In the second half of the song, some of the most stunning melodies emerge, to end the record on a genuinely warm, entertaining, and serene note, albeit a rather bittersweet one as the track unwinds into ambient territory, and slowly recedes to nothing.

I feel, in retrospect that maybe the word ‘frustrating’ may have been a touch harsh on Delvoid and ‘Swarmlife’. When you stop and analyse it, there are so many positive attributes to this record, that to deride it based on one and a half songs that don’t hit the mark as strongly as the rest, seems unfair. So instead, what I will say is that ‘Swarmlife’ is a very commendable progressive, alternative rock/metal album that suggests to me that they have a big future ahead of them. More melody, more growls, but more of the same in terms of technicality, contrasts, and emotion next time please gentlemen. Grant me these wishes, and we may be on to a bona-fide album of the year contender.

The Score of Much Metal: 80%

Check out my other 2022 reviews here:

Imminent Sonic Destruction – The Sun Will Always Set

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

Soledad – XIII – Album Review

Artist: Soledad

Album Title: XIII

Label: Independent Release

Date of Release: 15 April 2022

I’m so excited about bringing this review to you, for a number of reasons. Firstly, it is a new discovery for me, and those are always exciting. Secondly, this new discovery came from a friend and fellow music journalist, demonstrating that we always try to work together and support each other for the benefit of the music and the bands/artists themselves. Thirdly, this is a self-produced record, deliberately so, in order for the band to stay as independent as possible. I like everything about this, so I couldn’t wait to record my thoughts in this review and get the word out there.

The band in question go by the name of Soledad, and depending on how you look at it, this is either their debut or their sophomore release. Soledad, you see, was born in 2016 by Lola Damblant-Soler and the first recording, ‘Catharsis’ was a solo affair. This record, entitled ‘XIII’, is the first for Soledad as a band in the traditional sense. Joining Lola are a trio of musicians that include guitarists Matthieu Colas and Theo Pinte, and drummer Julien Giet. Lola herself continues to contribute vocals, guitars, and keys, as well as being the primary songwriter for Soledad.

The description that they offer of themselves is sure to get many of you salivating from the outset, as they proudly reference bands like Haken, Leprous, Neal Morse, and Muse in the process. The words ‘pop’ and ‘romantic music’ make an appearance to create an intriguing and exciting prospect. What’s even better, though, is that the music does live up to the hype. In fact, whilst there is merit in the description above, I’d also add A.C.T. in there too, as well as mentioning genres like ‘West End Musical’, ‘classical’, and ‘djent’. It’s a heady concoction and as we all know, throwing a million things into the melting pot does not always work. In the case of Soledad though, the majority of the music works, meaning that ‘XIII’ is a very impressive creation indeed.

What it also means is that it’s a typically difficult album to review in a succinct fashion because of the sheer amount of variety at play. In which case, strap yourselves in and get ready for what’s to come.

The record begins with ‘Hanging Over Me’, a track that has a very A.C.T. art rock feel to it. It starts with piano and vocals, the former delicate but rich, and the voice smooth and almost hushed, whispered. The melody is beautiful, and things only get better with the introduction of drums, bass and guitar, taking the composition into all kinds of directions, from pop, to prog rock, to West End Musical. But at it’s heart is a wonderful energy, so stirring, and elegant. It also has a slightly bittersweet feel to it, with a sense of overriding positivity pushing through despite the album’s dissection of themes of doubt and uncertainty.

After this rousing intro piece, I wasn’t quite ready for ‘Hex’ and its incredibly muscular djent-like riffs, reminiscent of more recent Haken. There are a few harsh vocals in the background too, for added aggression, before guest vocalist Suzie Lou makes a bold appearance. I love the overt progressive nature of the riffing and the complex structures, as well as the way the heaviness recedes on a sixpence to be replaced by sounds of nature accompanied by much more minimal sounds. As the track develops, there are so many layers to uncover, so many ideas going on, but it sounds absolutely spot on, and not overdone or contrived in any way.

The opening harsh mechanical sounds that usher in ‘Migraine’ are entirely in keeping with the song’s title, as are the punishing, thumping drums that mete out a simple but effective early beat. This song features the talents of Hassan Hajdi, and it is the sudden shift into melodic territory that captures my full attention. The juxtaposition between uncomfortable sounds and embellishments, and all-out serene melody, accented by layers of vocals, is inspired, justifying it’s place as one of my favourites on the album. The meandering lead guitar solo is another great touch, showing dexterity and feel to sit alongside some chunky, heavy riffs.

From there, we are led to ‘Fading Sight’ which has a much more whimsical feel to it, with plucked strings creating the opening delicate sounds alongside Lola’s soft voice. The final minute or so features a heavier soundtrack, but the opening melody continues unhindered by the weight of strong riffs – if anything, it is only enhanced and firmly supported by them.

By contrast, ‘Shelter I’, featuring guitarist Jeremy Bares, has a much more modern feel to it, coupled with a lush classical-infused slow waltz tempo. Strong but reserved djenty riffing plays an important part, bringing those Haken references to the fore. The incongruous slide guitar sounds from Bares actually work in a strange way as this composition highlights the greater art-rock drama and theatrics that are very much a part of the Soledad sound.

Having only described five of the eleven tracks thus far, I feel I need to change tack to prevent you all falling into a coma. However, it’s so difficult to do so because there’s still so much to discuss. ‘Shelter II’ is another favourite, with bucket loads of over-the-top pomposity and strong performances from all corners of the band. To me, this is the sound of the lovechild created by an illicit rendezvous between early Haken, A.C.T., and even Queen at their most outrageous. The central chorus melody is an utter delight and bathes the entire song in its warm glow.

The title track sounds like I’m walking past a nightclub in the early hours, with the electronic beats just about audible through the tightly closed doors. But then we’re whisked away on a metallic carpet, across aural soundscapes that are really rather diverse and ambitious. I can certainly hear the Leprous vibes, but again, there’s so much going on that it’s hard to pinpoint just one reference. By the time you become familiar with the path upon which you’re treading, Soledad take you elsewhere. None more unexpected than the all-out classical interlude at the heart of this song, that makes you feel like you’ve stumbled into a performance of ‘Swan Lake’ and then back to the prog metal via a Disney soundtrack. I love it, and you’ll be hard-pressed not to, I guarantee it, as the commitment to their art is so palpable at this point.

One of the most arresting and heart-breaking melodies appears within the stunning ‘The Spell’. Again, piano and vocals take the lead here, embellished lovingly by strings until the heaviness descends in the latter stages to add extra gravitas to that opening melody that so captivates me. ‘Remedy’ continues the excellence, with more effortless skill and powerful songwriting, before the album’s longest track arrives in the form of ‘Remembrance’. As you might expect, it dances all over the place with delight, taking us from dark and foreboding, to light and playful in the blink of an eye. Again, the chuggy riffs and muscular rhythms are well-placed and underline just how properly heavy Soledad can be when the mood fully takes them. But such is Lola’s voice that everything is laced with a smooth, effortless visage. And the sheer power and beauty of the final three or so minutes is utterly spellbinding, the way it ebbs and flows, building the tension, only to release just as I hoped it would with a flurry of dexterity, particularly the drums.

‘XIII’ is a 58-minute record and yet it really doesn’t feel like it’s that long. Before you know it, you’re listening to the concluding track, ‘Amnesia’, a song that cleverly reintroduces melodies and ideas heard at earlier points on the album. But here, the melodies feel even more expansive and emotive, pulling many of the album’s strands together neatly in the process. And that final guitar solo is nothing but sheer musical nectar. I’m so glad I was introduced to Soledad, because the French quartet have impressed me immensely with their ambitious, bold, eclectic, and slightly eccentric musical vision. I really hope that this review has whetted your appetite, because if not, I’ll be gutted. Not only because I’ll have clearly lost my touch as a reviewer, but also because it might mean that a truly marvellous record will have slipped past you. Please don’t let that happen – listen to ‘XIII’ and, I hope, prepare to be entertained and captivated like I have been. This is easily one of the best progressive records of 2022 so far.

The Score of Much Metal: 95%

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

Bjørn Riis – Everything To Everyone – Album Review

Artist: Bjørn Riis

Album Title: Everything To Everyone

Label: Karisma Records

Date of Release: 8 April 2022

If you are looking for an album to get the heart really pounding, the blood pumping, and those neck muscles moving, then this is not going to be the album for you. But then, many of you already knew that, didn’t you? Bjørn Riis is best-known as the co-founder and guitarist with Norwegian progressive rock band Airbag, but ‘Everything To Everyone’ is already Riis’ fourth solo full-length album. And, if you’re familiar with the music of Airbag, or any of Riis’ solo material to date, then you’ll already have a fair idea of what to expect here.

And what you get here on ‘Everything To Everyone’ is a collection of six songs that span around fifty minutes, and which provide nourishment for the soul rather than any kind of heavy attack on the senses. The music, as is Bjørn Riis’ way, will more likely put an arm around you, or feel like a warm blanket; it’s melodic, it’s progressive, and it’s also minimalist, allowing atmosphere and emotional depth into the material, making the listener think and feel things at the same time. Having surrounded myself with some uncompromising extreme metal of late, ‘Everything To Everyone’ is a welcome respite from the chaos, and I welcome its soothing tones eagerly.

Bjørn Riis himself undertakes a fair amount of the instrumentation, not to mention the entirety of the songwriting. But he’s joined by an impressive cast of guest musicians to help bring this album to fruition. Featured here are Henrik Bergan Fossum (Airbag), Kristian Hultgren (Wobbler), Simen Valldal Johannessen (Oak), Ole Michael Bjørndal (Caligonaut), Mimmi Tamba, Per Øydir, Vegard Kleftås Sleipnes and Anders Møller.

What I particularly like about ‘Everything To Everyone’ is its flow, meaning that it comes together very nicely as a whole, even though each song is very much distinct from the others. I also like the way in which Riis has provided a mix of shorter and longer songs here; sometimes an album of just longer tracks can become a little tedious or bloated. But on this record, we get the songs that extend well into double figures, but they rub shoulders with other songs that are only for or five minutes. Naturally an album like this is best enjoyed in one sitting, but there are other options for you if time is tight, or you need a quicker blast of music.

For all of the other positives within this record, there are two that stand out for me. The first is the melodic nature of the music, which aids with that feeling of familiarity and warmth, not to mention the richness of sound and the emotional aspect of the music. The second positive is Riis’ guitar playing, especially his lead solos. Often compared to David Gilmour, Riis is blessed with an ability to make the electric guitar literally sing. His notes are precise, his touch deft, and his solos have the power to hypnotise and break hearts at a hundred paces. Happily, ‘Everything To Everyone’ features both of these positives and therefore I am brought back time and again to immerse myself in the music.

Onto the tracks themselves, and there’s a lot to unpack within them, even if, on a first listen, everything feels quite smooth and simple. It’s a skill of Riis that he’s able to fool us like this, because once you get into the music, it’s surprisingly involved.

The album begins with the instrumental piece, ‘Run’, and I’m initially surprised by the energy that’s courses through it. The intro is dramatic, with a throbbing bass building up tension alongside an insistent, repetitive piano motif. From there, we’re plunged into 70s retro-rock territory which I wasn’t expecting if I’m honest. The song is actually book-ended by this vivacious 70s drive, with the middle portion much more recognisable as the work of Riis. The music falls away to almost nothing and we’re left hanging until slowly, the synths grow and an acoustic strumming enters. Gentle piano notes add another layer, as do some simple bass notes upon which a melodic acoustic guitar solo grabs me by the heart and fills me with warmth.

Up next is the eleven-minute ‘Lay Me Down’ which begins incredibly delicately. Riis sings with gentle emotion, later joined by the silky voice of Mimmi Tamba to inject something different and arresting to the composition. The soundscape is beautiful, only to give way to a heavier guitar riff to briefly punctuate the serenity effectively. Then in comes the first of many soulful, and emotional guitar leads from Riis, and I’m transported to another place – a place of stunning beauty from which I wish there was no escape. The increase in urgency leading up to the halfway mark also shows that Riis can rock out if he feels the need. The remainder of the song sees another slow burn build from minimalism to something more immersive, where Riis’ guitar is again the central focal point.

To be honest, the album doesn’t deviate too far away from this blueprint for the remaining four songs, but then you’d not really want it to, because why fix something if it isn’t broken? But far from broken, this album is dripping in understated class. I really like the swathes of synths that come out to play in the early stages of ‘Every Second Every Hour’, the longest composition on the album at over thirteen minutes in length. I like the way that it ebbs and flows with effortless grace, the acoustic guitars offering a lovely texture, alongside the layers of keys, the cleverly placed lead guitar embellishments, and Riis’ voice that is heavily effect-laden at times. Occasionally, we’re treated to a more muscular riff, but it’s the exception rather than the rule, but their inclusion adds to the drama throughout what is a gorgeous track.

A bold electronic beat is used to signal the arrival of ‘Descending’, an evocative and introspective instrumental piece that explodes with pent-up power in the second half. That leaves us with the title track to see us out, and it does so with some of the most poignant and immediate melodies on the record. The lyrics are moving, delivered by Riis and Mimmi Tamba again, giving them extra gravitas in the process. It’s a bittersweet closer in that it’s both sad and oddly uplifting at the same time, with a sense of hope lurking in the background.

All that I can say at this juncture is that ‘Everything To Everyone’ is another great body of work from Bjørn Riis, one of the most accomplished songwriters and talented guitarists currently plying their trade within the progressive rock sphere at the current time. The only criticism that could be levelled at Riis is that you already know pretty much what you’re going to hear when you press play. But when the music contains this much beauty, soul, and finesse, it’s hardly a criticism. Instead, I recommend you pour yourself a glass of wine, dim the lights and allow the magic of Bjørn Riis’ music to wash over you. You won’t regret it.

The Score of Much Metal: 90%

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

The best albums of 2022 so far…three months in

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

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

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

Toundra

Hex

InsideOut Music

Genre: Instrumental post rock/metal

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

— MoMM —

Lalu

Paint The Sky

Frontiers Music

Genre: Progressive Rock

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

— MoMM —

Silent Skies

Nectar

Napalm Records

Genre: Cinematic atmospheric ambient

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

— MoMM —

Vorga

Striving Toward Oblivion

Transcending Obscurity Records

Genre: Atmospheric Black Metal

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

— MoMM —

Persefone

Metanoia

Napalm Records

Genre: Technical Progressive Death Metal

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

— MoMM —

Cult Of Luna

The Long Road North

Metal Blade Records

Genre: Post metal

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

— MoMM —

Arð

Take Up My Bones

Prophecy Productions

Genre: Funeral Doom Metal

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

— MoMM —

Allegaeon

Damnum

Metal Blade Records

Genre: Melodic Technical Death Metal

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

— MoMM —

Godless Truth

Transcending Obscurity Records

Genre: Technical Death Metal

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

— MoMM —

Hath

All That Was Promised

Willowtip Records

Genre: Blackened Death Metal

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

— MoMM —

Threads Of Fate

The Cold Embrace Of The Light

Layered Reality Productions

Genre: Symphonic Metal

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

— MoMM —

Michael Romeo

War Of The Worlds, Part 2

InsideOut Music

Genre: Progressive Metal

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

— MoMM —

Kvaen

The Great Below

Black Lion Records

Genre: Blackened Death Metal

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

— MoMM —

PreHistoric Animals

The Magical Mystery Machine (Chapter Two)

Glassville Records

Genre: Progressive Rock/Metal

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