Sólstafir – Endless Twilight Of Co-Dependent Love – Album Review

Artist: Sólstafir

Album Title: Endless Twilight Of Co-Dependent Love

Label: Season Of Mist

Date of Release: 6 November 2020

Back in 2014, when undertaking my now-annual tradition top albums of the year countdown, I awarded ‘Ótta’, the fifth release from Icelandic post rock/metal band Sólstafir the number three spot. It was my first real dalliance with the band and that record simply came from nowhere to blow me away. Indeed, if it hadn’t been for insanely good releases from two of my favourite bands in the same year (Evergrey’s ‘Hymns For The Broken’ and ‘Distant Satellites’ by Anathema), ‘Ótta’ may have bagged the top spot. It was just that good.

Then, in 2017, the quartet released ‘Berdreyminn’, an album that pushed ‘Ótta’ close, but fell just short of surpassing it. Nevertheless, with such a high quality one-two in the bag, I have been waiting eagerly for a follow-up. Finally, in 2020, it has arrived in the form of ‘Endless Twilight Of Co-Dependent Love’.

More than any other year I think, I have found myself liking new releases from bands that I’d previously not cared for, forcing me to firmly re-evaluate my thoughts. With this record, it’s a little bit the opposite. Here is a band that I have really loved for the past couple of releases in particular, but try as I might, I just can’t get overly excited by this new one. Now, before I get all the hate mail thrown at me, allow me to explain. I am in no way saying that ‘Endless Twilight Of Co-Dependent Love’ is a bad or even sub-standard album. It isn’t. The music is unarguably very good, and I suspect that there have been many reviews written that extol the virtues of the Icelandic band.

What I have come to realise quite profoundly as I listen to this album more deeply, is that I like Sólstafir more when they are exploring quieter, generally more melancholy soundscapes. I’m less keen when they veer into more heavy, abrasive realms. Sounds a little counter-intuitive I know, but that’s definitely the case here.

Tracks like the opener, ‘Akkeri’ have some nice ideas with a particularly nice melody buried deep at the heart of the song. But the crash, bang, wallop of fuzzed-up dirty post-rock riffs, and more aggressive vocals that feature so prominently are not hitting the mark for me if I’m being brutally honest. The eerie, quiet, and introspective sections stand out as being far more enjoyable for my tastes. Admittedly, the groove that emerges from one such quiet interlude is rather infectious, as is a vaguely NWOBHM melody that is a surprise. But I soon lose interest as the song marches to its conclusion.

Much could be said for the closing track, ‘Úlfur’ as well as ‘Dionysus’ placed midway through the album. Again, both have some quality running through them as well as plenty of variety in the case of the final song. But I simply don’t derive the same amount of pleasure from either of these as I do from other tracks on ‘Endless Twilight Of Co-Dependent Love’.

I think some of it has to do with the deliberately raw production. It might be the quality of the mp3 promo that I have, but everything sounds a little too fuzzy, echoey and harsh on my poor little ears. Again, many might see this as a positive but not me, I’m afraid.

Give me songs like ‘Drýsill’ any day of the week. Dark, moody, emotional, full of atmosphere, and topped off by some beautiful melodies, this is the Sólstafir that I like the best as it transpires. I feel more of a connection to the music, and am far more engaged and moved by the output. The lead guitar licks are haunting and arresting in equal measure, the bass is gorgeous and understated, whilst the waves of synths are beguiling. And when the song does veer into heavier territory, it remains built around the central, powerful melodies, meaning that they work better from my perspective. In essence, this is a killer song and it once again transports me to a rugged country with which I have a strong affinity.

I still remain in two minds about the unconventional vocals of guitarist Aðalbjörn “Addi” Tryggvason on this record too. At times, I find his delivery to be jarring and obtrusive to my overall enjoyment. However, on tracks like ‘Rökkur’ towards the end, he fits the music so perfectly, it’s insane, even if it isn’t my favourite song to begin with. But the frustration, angst and poignant delicacy is so engrossing, I do get swept up in the emotion of it all as it draws to a close.

‘Til Moldar’, on the other hand is utterly magical and stunningly beautiful. It’s much more ethereal and ambient in tone, with Tryggvason sounding more vulnerable than at any other point. The melodies are captivating, as is the apparent simplicity of the composition, proving that when it comes to Sólstafir, less can be more, very much more.

The exception to the ‘heavy’ rule I earlier applied can be found with ‘Or’. The quiet piano intro is cool, as is the relaxed vibe that permeates in the opening stages. But the song gradually builds in intensity, and on this occasion, the more jagged sounds work, thanks to the strength of the melodies and the variety that’s injected to prevent the music getting too overbearing. In fact, I have to admit that this song is a bit of an anthem, truth be told.

NeverthelessIt pains me to say it, but some of the magic of Sólstafir seems to have dissipated on ‘Endless Twilight Of Co-Dependent Love’. There are still some tracks that make me remember what it was that beguiled me on their previous two albums. However, it’s a mixed bag that frustrates me as much as it impresses me. When they are hot, Sólstafir can be damn near untouchable. But when they’re not, I’m itching to press the skip button. Still, kudos to the band for continuing to go their own merry way – it means that there isn’t another band out there that sounds like them, something that is sorely lacking these days. Regardless of my review, I highly recommend checking out ‘Endless Twilight Of Co-Dependent Love’ for yourselves because you might love it.

The Score of Much Metal: 79%

Check out my reviews from 2020 right here:

Communic – Hiding From The World

Wolverine – A Darkened Sun

Avandra – Skylighting

Pyramaze – Epitaph

Necrophobic – Dawn Of The Damned

Fates Warning – Long Day Good Night

Draconian – Under A Godless Veil

Mörk Gryning – Hinsides Vrede

DGM – Tragic Separation

Perduratum – Exile’s Anthology

Carcass – Despicable EP

Mors Principium Est – Seven

Cult Of Lilith – Mara

Helion Prime – Question Everything

Soul Secret – Blue Light Cage

Enslaved – Utgard

Dynfari – Myrkurs er þörf

Amaranthe – Manifest

Kataklysm – Unconquered

Structural Disorder – Kingdom Crossing

Skeletal Remains – The Entombment Of Chaos

Prehistoric Animals – The Magical Mystery Machine (Chapter One)

Ihsahn – Pharos

Hinayana – Death Of The Cosmic
Oceans Of Slumber – Oceans Of Slumber
Okyr – Premorbid Intelligence
Manticora – To Live To Kill To Live
Pain Of Salvation – Panther
Vanishing Point – Dead Elysium
Unleash The Archers – Abyss
Veonity – Sorrows
Nyktophobia – What Lasts Forever
Ages – Uncrown
Awake By Design – Awake By Design
Black Crown Initiate – Violent Portraits Of Doomed Escape
Gaerea – Limbo
Buried Realm – Embodiment Of The Divine
Navian – Reset
Selenseas – The Outer Limits
Quantum – The Next Breath Of Air
Ensiferum – Thalassic
Long Distance Calling – How Do We Want To Live?
Airbag – A Day At The Beach
Re-Armed – Ignis Aeternum
Atavist – III: Absolution
Frost* – Others EP
Darker Half – If You Only Knew
Atavistia – The Winter Way
Astralborne – Eternity’s End
Centinex – Death In Pieces
Haken – Virus
Pile Of Priests – Pile Of Priests
Sorcerer – Lamenting Of The Innocent
Lesoir – Mosaic
Temnein – Tales: Of Humanity And Greed
Caligula’s Horse – Rise Radiant
…And Oceans – Cosmic World Mother
Vader – Solitude In Madness
Shrapnel – Palace For The Insane
Sinisthra – The Broad And Beaten Way
Paradise Lost – Obsidian
Naglfar – Cerecloth
Forgotten Tomb – Nihilistic Estrangement
Winterfylleth – The Reckoning Dawn
Firewind – Firewind
An Autumn For Crippled Children – All Fell Silent, Everything Went Quiet
Havok – V
Helfró – Helfró
Victoria K – Essentia
Cryptex – Once Upon A Time
Thy Despair – The Song Of Desolation
Cirith Ungol – Forever Black
Igorrr – Spirituality and Distortion
Nightwish – Human. II: Nature.
Katatonia – City Burials
Wolfheart – Wolves Of Karelia
Asenblut – Die Wilde Jagd
Nicumo – Inertia
The Black Dahlia Murder – Verminous
Omega Infinity – Solar Spectre
Symbolik – Emergence
Pure Reason Revolution – Eupnea
Irist – Order Of The Mind
Testament – Titans Of Creation
Ilium – Carcinogeist
Dawn Of Ouroboros – The Art Of Morphology
Torchia – The Coven
Novena – Eleventh Hour
Ashes Of Life – Seasons Within
Dynazty – The Dark Delight
Sutrah – Aletheia EP
Welicoruss – Siberian Heathen Horde
Myth Of I – Myth Of I
My Dying Bride – The Ghost Of Orion
Infirmum – Walls Of Sorrow
Inno – The Rain Under
Kvaen – The Funeral Pyre
Mindtech – Omnipresence
Dark Fortress – Spectres From The Old World
The Oneira – Injection
Night Crowned – Impius Viam
Dead Serenity – Beginnings EP
The Night Flight Orchestra – Aeromantic
Deadrisen – Deadrisen
Blaze Of Perdition – The Harrowing Of Hearts
Godsticks – Inescapable
Isle Of The Cross – Excelsis
Demons & Wizards – III
Vredehammer – Viperous
H.E.A.T – H.E.A.T II
Psychotic Waltz – The God-Shaped Void
Into The Open – Destination Eternity
Lunarsea – Earthling/Terrestre
Pure Wrath – The Forlorn Soldier EP
Sylosis – Cycle of Suffering
Sepultura – Quadra
Dyscordia – Delete / Rewrite
Godthrymm – Reflections
On Thorns I Lay – Threnos
God Dethroned – Illuminati
Fragment Soul – A Soul Inhabiting Two Bodies
Mariana Semkina – Sleepwalking
Mini Album Reviews: Moloken, The Driftwood Sign & Midnight
Serenity – The Last Knight
Ihsahn – Telemark EP
Temperance – Viridian
Blasphemer – The Sixth Hour
Deathwhite – Grave Image
Marko Hietala – Pyre Of The Black Heart
SWMM – Trail Of The Fallen
Into Pandemonium – Darkest Rise EP
Bonded – Rest In Violence
Serious Black – Suite 226
Darktribe – Voici L’Homme
Brothers Of Metal – Emblas Saga
A Life Divided – Echoes
Thoughts Factory – Elements

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

BlogOfMuchMetal – Metal News – 28 March 2017

Today is a biggie – it features some surprising news and confirmation of the release of one of my most anticipated albums of 2017. So, without further ado, here goes…

Anathema – The Optimist
Release date: 9 June 2017

It’s a great day because I can bring you confirmed details of what has to be one of my most eagerly anticipated releases of 2017. Liverpool’s Anathema have announced that their eleventh album will be entitled ‘The Optimist’ and will be released via Kscope on 9th June 2017.

The thought at the forefront of my mind is this: will ‘The Optimist’ be the emotional rollercoaster to match or better its two predecessors? Both ‘Weather Systems’ and ‘Distant Satellites’ had the power and the raw emotion to move me and when I say ‘move me’, I’m not talking a moistening of the eyes. I’m talking full blown bawling my eyes out, tears streaming down my face stuff. I’m not sure there is another band on the planet that has this particular effect on me, which means that Anathema hold a special place in my heart.

Early reports indicate that ‘The Optimist’ does not dive headlong down the electronic road as hinted at within the title track of ‘Distant Satellites’. Instead, plenty of piano and melody is evident as is the ethereal and angelic voice of Lee Douglas. I’m literally bursting to hear this record and I’m nervous at the same time; just the perfect swell of competing emotions that Anathema thrive on.

Threshold – Legends of the Shires
Release date: TBC

I did not see this coming. The shock news broke just yesterday that UK progressive metal stalwarts Threshold have parted company with vocalist Damian Wilson for a second time. Coming back into the fold following the unexpected death of Mac, he was soon part of the impressive furniture so to speak. Involved with the last two, critically acclaimed albums, as well as the debut ‘Wounded Land’, it was never on the cards for Wilson to be replaced, at least as far as us fans were concerned anyway.

Wilson has gone on record to say that the decision wasn’t mutual but that he respects the rest of the band for making this choice. The reason cited by the rest of the band is that they simply wanted to go in a different direction from before.

In which case, their choice of replacement might raise an eyebrow or two, being none other than Glynn Morgan, their vocalist on ‘Psychedelicatessen’. So, the new direction is actually an old direction it seems. But whatever the situation is, I love Threshold and so I will trust the band and wait to see what happens. It is still unclear whether the upcoming album ‘Legends of the Shires’ will be re-recorded with Morgan on vocals because Wilson has already recorded his parts. And, if so, does this mean a delay for the release. However, Morgan is quoted in the press release as saying ‘I can’t wait to start recording, the new material has me hooked already’. That’s a strong hint as far as I’m concerned, although I shall stop guessing because I’m sure the detail will be confirmed soon enough.

Avataruim – Hurricanes and Halos
Release date: 26 May 2017

I recently brought you confirmed news that Avatarium, one of my favourite doom bands were to bring out a new studio album in 2017. And now, the Swedes have aired live the first song off the album to give us an insight into the content.

Based on ‘Into The Fire/Into The Storm’, ‘Hurricanes and Halos’ threatens to be another strong release from Avatarium. It is tough to gauge 100% on this recording alone but there’s a huge chorus, plenty of bold riffs and that organic 70s feel as well. I’m really looking forward to hearing this in more detail soon.

https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2Favatariumofficial%2Fvideos%2F798941856911099%2F&show_text=0&width=560

Ulver – The Assassination of Julius Caesar
Release date: 7 April 2017

With Ulver, you never quite know what to expect. But then that’s the beauty of truly avant-garde bands; they will confuse, confound and generally befuddle the minds of their followers, trying new things and going in directions that you’d perhaps not expect.

It has been a long time since Norwegian act Ulver bore any true resemblance to their black metal roots and of late, they are even steering clear of rock and metal altogether. Nevertheless, with each passing album, they manage to produce something that keeps me coming back for more. And the same is true here as this track off their upcoming album, ‘The Assassination of Julius Caesar’, is strangely addictive and beguiling. Not my thing at all and yet I’m frequently listening to it. Go figure.

Subterranean Masquerade – TBC
Release date: TBC

I really enjoyed the last album from the progressive metal band Subterranean Masquerade. ‘The Great Bazaar’ featured some highly inventive and original music incorporating elements of 70s prog rock, folk, extreme metal, jazz, symphonic metal and world music along the way. However, the music was pulled together cohesively and with enough melody to keep my interest throughout.

And so I’m delighted to learn that we’re not that far away from a new studio offering. It is now fully recorded and mixed. But not only that, the band has gone on record to say that this is their ‘best sounding album ever’ and ‘most creative’. I know that most bands will say something like this ahead of a new release but even so, if it’s not enough to get fans of progressive music salivating, I don’t know what is.

‘As You Are’ is one of the tracks off the new record apparently, so check it out and see what you think.

Previous updates:

23 March 2017
11 March 2017
5th March 2017
26th February 2017
13th February 2017
3rd February 2017
30th January 2017
21st January 2017

Arcade Messiah – III – Album Review

Artist: Arcade Messiah

Album Title: III

Label: Stereohead Records

Date Of Release: 25 November 2016

Prolific is a word often misused in music circles. If a band releases an album every two or three years then they can sometimes be given the ‘prolific’ tag. In which case, what descriptor can be given to a solo artist that releases three new albums in three consecutive years? The artist in question is John Bassett, he of KingBathMat fame and a familiar name to this Blog, having reviewed each of the two previous albums, the imaginatively-titled ‘I’ and ‘II’ released in 2014 and 2015 respectively.

Then add to the mix the fact that Mr Bassett does everything himself in relation to an album. And by everything, I mean it – the hideously talented chap plays every instrument that features under the Arcade Messiah moniker; drums, guitars, bass, keys…you name it. He also twiddles the knobs in terms of producing the record. And, if that wasn’t enough, over the past year, he has thrown in a complete family relocation to Sligo, Ireland. In terms of productivity and drive then, Bassett puts most of us to shame.

So, here we are in 2016, with ‘III’ just about upon us.

The first thing to mention about ‘III’, is the artwork. The cover is very striking and quite different from the previous two, in that it is an intricate drawing that seems to depict either the human over-industrialisation of the world or makes a comment about how the entire world is now one giant man-made conurbation, pulled together under one identity due to greater technological connectivity. Or maybe it’s neither of these things. Either way, the packaging is bold and enticing, a real draw if like me, you’re a sucker for good artwork. It’s like a magnetic pull.

Musically, I must be honest and say that there are very few surprises to the core approach of Arcade Messiah on ‘III’. It is in no way a blatant repeat of what’s gone before, but if you’re a fan of the Arcade Messiah already, you’ll not be left disappointed or disoriented with ‘III’. It is more of a honing of the sound, a more refined and confident outing than its two predecessors and it hits hard.

Heavy riffs, strong rhythms and walls of sound are the cornerstones of the output, sprinkled with liberal amounts of post-rock, stoner rock, subtle progressive rock/metal tendencies and more ambient sounds and textures.

As you may already be realising, ‘III’ is a very intense ride, one that feels like it is an assault on your senses from every conceivable angle. I’m also genuinely surprised how heavy the output is, in much the same way as I was with the previous two albums. For some reason, I always do a double-take when I hear the album for the first time but in a positive way.

I’ve gone on record many times to profess my usual apathy towards instrumental albums. However, as is the increasingly strong trend, Arcade Messiah is the exception that proves the rule. Once again my attention is fully kept throughout, meaning that the album offers enough variety and delivers something which more than sufficiently fires my enthusiasm. Once or twice may have been a fluke but given it’s the same story with album number three, I can only conclude that Bassett is a very adept song writer, able to convey much using a medium that can, on occasion, be restrictive and inhibiting. After all, a good vocalist can be worth their weight in gold.

Speaking of singers, the one stand-out difference with ‘III’ is the inclusion of some vocals this time around. It isn’t often and it’s not for any protracted length of time. However, Bassett’s voice does make an appearance on an Arcade Messiah album for what I believe is the first time.

Opening track, the aurally huge ‘Revolver’ contains a smattering of lyrics and the song is made all the more interesting and nuanced because of it. It’s another layer to add to an already multi-layered track where the guitars bludgeon with an immensely powerful riff, where the rhythms swirl and roil to great effect and where there’s just enough melody to seep through the otherwise impenetrable wall of sound to get a hook or two into your consciousness. In fact, for all its bruising power, it is the more subtle lead guitar embellishments that give ‘Revolver’ that little bit of extra magic.

If anything, ‘Citadel’ is even more brutal on the ears. Right from the off, a down-tuned and sludgy doom riff crawls along with the finesse of a drugged rhino whilst around it, the layers are built up cleverly to create a truly dense and almost daunting listen. Again the melodies are sparingly used and subtle but nevertheless beguiling after repeated spins. The shift in dynamics at the mid-point is a masterstroke, allowing a brief respite and the chance for a more minimalist, post-rock soundscape to be explored where the bass is truly king.

Sitting at the centre of this impressive six-track album is ‘Deliverance’, the longest track on the record. I love the moody, almost cinematic intro where beauty and restraint take the place of the more in-your-face elements. The tones and textures created are wonderful, at once both bold and refined. Naturally, the composition doesn’t spend its entire 10-minute length exploring the same landscape; it builds, albeit slowly and majestically, to finally explode at the mid-way point with another giant riff and an outpouring of pent up exuberance. The pace changes tack noticeably, speeding up and slowing down to add to the drama and tension alongside the competing heavier and quieter passages that litter this ambitious, most progressively-structured piece of music. The voice of Bassett returns as well but is nothing more than another interesting ingredient, being highly sampled and almost buried within the music as it is.

‘Life Clock’ further removes the foot from the monstrous riff pedal, instead exploring much more introspective and gentle realms. And yet, I feel no real respite from the intensity as this remains a thought-provoking and densely-layered track that has a brutally heavy sting in the tail.

By contrast, ‘Black Tree’ is a doom metal-influenced work that contains arguably the heaviest and best riff on the entire album. It is so heavy, it makes me smile in spite of myself. And yet, the heaviness is interspersed and accented by moments of relative quiet that are really gorgeous and melodically-infused, something that’s carried into the more extreme movements within the composition really cleverly.

It is then left to ‘Sanctuary’ to close ‘III’ which it does in a slightly surprising manner. To my ears, the central melody is more pronounced as it steers its way through a much more relaxed and atmospheric post-rock aural landscape, ultimately conveying a sense of positivity and optimism that is all the more conspicuous given what has come before. And yet the moods explored within this vaguely wistful piece are entirely in keeping with the album as a whole.

And there you have it. ‘III’ is, for possibly the third year in a row, the best instrumental album of the year. It is bold, challenging, confrontational, and hugely rewarding; it’s a credit to the Arcade Messiah name. In fact, it is quite possibly my favourite release to ever feature the incredible talents of John Bassett. Yes, it is that good.

The Score Of Much Metal: 8.75

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

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

Grand Magus – Sword Songs – Album Review

Artist: Grand Magus

Album Title: Sword Songs

Label: Nuclear Blast Records

Date Of Release: 13 May 2016

If you’ve clicked on the link to read a review of the latest Grand Magus album that compares and contrasts ‘Sword Songs’ with the seven albums that have gone before it, you may have to search elsewhere. This is because for some reason, the Man Of Much Metal has never before delved into the world of Grand Magus. I’m not the biggest doom metal aficionado in the world and so I just presumed that the Swedes would not be for me. As such, I come to this review colder than a polar bear in a snowstorm.

I know nothing of the history of Grand Magus, I know nothing of their back catalogue and I know nothing of the baggage that surrounds them, namely which of their albums fans think is the best, which is worst and why. However, this ends here and now. Abruptly. You see, I have made a catastrophic error. I only have ‘Sword Songs’ to go on but I’m well and truly smitten, certainly smitten enough to dive headlong into their fifteen years’ worth of material.

It is true that the words ‘doom’ and ‘stoner’ loom large over many descriptions of Grand Magus. However, as I have discovered, the trio of musicians might have begun life in this fashion but are an entirely different beast, offering so much more in the process.

The first thing that gave this album the thumbs up was the title of the opening track. The guys don’t even know me, but to name it after my firstborn daughter, rather than the Norse Goddess, is a lovely touch. They even spelled ‘Freja’ correctly.

But seriously, within a few moments of ‘Freja’s Choice’, it was clear that I was going to very much enjoy this record. In 2016, Grand Magus are what I can only describe as a ‘proper heavy metal band’. They blend classic rock and metal with elements of doom, NOWBHM and power metal to create a properly addictive does of heavy music. It’s the perfect blend of non-nonsense riffing, big choruses and fists-in-the-air sing-along anthems. But then, one look at a front cover that’s adorned with an eagle clutching a broadsword in its talons and you could probably have guessed the content of this record.

Credit: unknown

In Janne ‘JB’ Christoffersson, Grand Magus are blessed with a vocalist who is just about everything you’d want from a metal front man. His voice is powerful, with a gravelly texture and he actually injects a surprising amount of melody into his delivery. It’s the perfect voice for a set of huge Scandinavian battle hymns. The fact that he then delivers massive riff after riff, as well as the occasional stirring solo means that he is well and truly a force to be reckoned with. I just love the guy’s guitar tone. The melodic leads are authoritative whilst the bottom end is a beefy distortion-fuelled joy.

Behind him are bassist Fox Skinner and drummer Ludwig ‘Ludde’ Witt, both of whom come together to drive the songs forward with power and precision. The drums are nothing short of thunderous and the clarity afforded the bass in the mix means that it rumbles satisfyingly throughout, occasionally coming to the fore and shaking the earth’s core in the process.

‘Sword Songs’ is comprised of nine tracks and weighs in at just over half an hour. That might sound a little on the short side and yes, I’d agree it is. But then no-one ever complained about the length of Slayer’s ‘Reign In Blood’ or At The Gates’ ‘Slaughter Of The Soul’; they’re still lauded as classics in spite of the fact that they’re not endowed with the greatest of lengths. I’m not saying that ‘Sword Songs’ will definitely reach this lofty status but I am saying that this record is chock full of absolutely superb heavy metal that I can’t stop playing.

‘Freja’s Choice’ opens the album in no-nonsense fashion with a huge riff and some drums designed to waken the Norse Gods. It’s an unabashed call to arms that has an early Sabbath vibe in places, meaning that it’s a powerhouse of a song.

You can’t escape the Manowar echoes within ‘Varangian’, thanks to the mid-tempo stomp of the main riff as well as the pomp and sense of the epic that the chorus brings with it. I can imagine this being a huge hit on the live circuits, although truth be told, the same could be said for pretty much the entire album.

‘Forged In Iron – Crowned In Steel’ is a personal favourite. It begins quietly with a hint of Iron Maiden before another killer riff strides in, complete with galloping bass. However, it’s the ‘Viking Metal’ chorus that does it for me. It’s so damn macho that I can feel my beard and chest hair growing faster just by listening to it. Glorious.
‘Master Of The Land’ contains some of the heaviest and best riffs on the entire record, real headbang-inducing fare whereas ‘Last One To Fall’ is slightly faster-paced with a definite power metal sheen to it in the chorus and a churning groove-laden behemoth riff that comes out of nowhere but is almost hypnotic.

There’s barely a weak moment on the record and fittingly ‘Every Day There’s A Battle To Fight’ closes the album in fabulous fashion. Another favourite, it is the closest that Grand Magus get to a ballad but the melodies are just delicious and the guitar tones within the chorus are just about perfect, setting off some kind of primeval response in me.

Above all, what I love most about ‘Sword Songs’ and Grand Magus is the honesty of the music, the sense of fun and enjoyment that comes across in the songs. It would have been easy to allow a few more ‘modern’ metal trappings into their sound but they have remained steadfast against that particular tide. Yes, they may have veered away from their early doom influences but their integrity towards the classic heavy metal ethos is hugely refreshing. If you want to remind yourself of what attracted you to heavy metal in the first place, ‘Sword Songs’ is the place to start.

The Score Of Much Metal: 8.75

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

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

Spiritual Beggars – Sunrise To Sundown – Album Review

Artist: Spiritual Beggars

Album Title: Sunrise To Sundown

Label: Inside Out Records

Date of Release: 18 March 2016

If you’re looking for a musical experience to surprise you and offer something completely different from what has gone before, I wouldn’t recommend Spiritual Beggars to you. Theirs is not a blueprint that seeks to challenge listeners or toy too much with the status quo. However, it is almost certainly for these very reasons that Spiritual Beggars are so popular and enjoy an ever-growing cult-like fan base. That and the musicians involved, of course. Oh, and the consistent quality of the music doesn’t do any harm either.

Spiritual Beggars were formed over 20 years ago by Arch Enemy six-stringer Michael Amott and in 2016 is joined by an impressive cast, namely vocalist Apollo Papathanasio (ex-Firewind), bassist Sharlee D’Angelo (Arch Enemy), keyboardist Per Wiberg (ex-Opeth) and drummer Ludwig Witt (Grand Magus). It is a pretty stable line-up too, with only D’Angelo and Apollo joining since the turn of the milennium. And even for newest member Apollo, ‘Sunrise To Sundown’ represents his third outing behind the mic.

In those 20-plus years, Spiritual Beggars have managed to put out eight records, with ‘Sunrise To Sundown’ being the ninth. Not a bad feat when you consider that Spiritual Beggars is not the main day job for Amott. It clearly speaks volumes for the love and affection the guitarist, and indeed all the musicians, have for this band and the music that Spiritual Beggars produces.

On that score, what you get with Spiritual Beggars is an undeniable homage to the 70s, albeit with a nod or two to the modern day. The order of the day here is therefore another hefty slice of vintage heavy stoner rock with plenty of blues and psychedelic overtones. On paper, this kind of music isn’t something that I’d normally gravitate towards but ever since developing a soft spot for fourth album ‘Ad Astra’ several years ago, I always like to delve into what Spiritual Beggars have to offer.

Photo credit: Masa Noda

I must admit that I wasn’t the biggest fan of the altogether more sludgy sound of this album’s predecessor, ‘Earth Blues’ but with ‘Sunrise To Sundown’, the band appear to be back on track somewhat and I really enjoy the output of this record.

Those familiar with Arch Enemy will instantly recognize the tones of Michael Amott’s guitar, even in this setting as opposed to the more melodeath trappings of Arch Enemy. As you might expect, Spiritual Beggars is not the vehicle for his blistering lead breaks and intense shredding. However, it is the perfect place for some great mid-tempo, chunky riffs and some soulful and melodic lead embellishments. On that score, ‘Sunrise To Sundown’ scores highly with several tracks offering something tasty in those departments. ‘Hard Road’ instantly springs to mind as the natural example, as it features a wonderfully satisfying central riff and some really rich lead guitar work including one of the more self-indulgent lead solos on the album.

To these ears, this record also ups the ante in terms of the choruses, with several offering huge hooks and powerful melodies to get the aural party started. The opening title track is utterly addictive for example, as is ‘What Doesn’t Kill You’, which underlines the power and rich tones of vocalist Apollo, without doubt the ideal fit for this band.

Having opened this review by suggesting that Spiritual Beggars thrives on familiarity, I will suggest somewhat perversely that ‘Sunrise To Sundown’ actually offers listeners a little more than normal in terms of inter-record variety. This could, in part, be down to the stop-start nature of the recording in between other priorities and the fact that more members of the band stepped up to write the material on the album, most notably drummer Witt.

Whatever the reason, the result is that ‘Lonely Freedom’ has a much more dreamlike, ethereal feel, ‘Still Hunter’ really hones in on the blues influences and the mid-section to ‘No Man’s Land’ is pure 70s prog where the guitars take a back seat to allow the keyboards and effect-laden vocals to take centre stage. ‘I Turn To Stone’, however, is one of the more ear-catching tracks as it has a more pronounced rhythmic spine dominated by the drums, exuding with it an altogether darker tone.

Fundamentally, I enjoy ‘Sunrise To Sundown’ a lot more than I was expecting, to the point where I am returning to it much more frequently than I ever anticipated. In short, Spiritual Beggars have created an album that harks back to a classic era of rock music but at the same time have blended it with a modern richness and vibrancy which is a pleasure to listen to.

The Score Of Much Metal: 8.0

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

Oceans Of Slumber – Winter
Rikard Zander – I Can Do Without Love
Redemption – The Art Of Loss
Headspace – All That You Fear Is Gone
Chris Quirarte – Mending Broken Bridges
Sunburst – Fragments Of Creation
Inglorious – Inglorious
Omnium Gatherum – Grey Heavens
Structural Disorder – Distance
Votum – Ktonik
Fleshgod Apocalypse – King
Rikard Sjoblom – The Unbendable Sleep
Textures – Phenotype
Serenity – Codex Atlanticus
Borknagar – Winter Thrice
The Mute Gods – Do Nothing Till You Hear From Me
Brainstorm – Scary Creatures
Arcade Messiah – II
Phantasma – The Deviant Hearts
Rendezvous Point – Solar Storm
Vanden Plas – Chronicles Of The Immortals: Netherworld II
Antimatter – The Judas Table
Bauda – Sporelights
Waken Eyes – Exodus
Earthside – A Dream In Static
Caligula’s Horse – Bloom
Teramaze – Her Halo
Amorphis – Under The Red Cloud
Spock’s Beard – The Oblivion Particle
Agent Fresco – Destrier
Cattle Decapitation – The Anthropocene Extinction
Between The Buried And Me – Coma Ecliptic
Cradle Of Filth – Hammer Of The Witches
Disarmonia Mundi – Cold Inferno
District 97 – In Vaults
Progoctopus – Transcendence
Big Big Train – Wassail
NightMare World – In The Fullness Of Time
Helloween – My God-Given Right
Triaxis – Zero Hour
Isurus – Logocharya
Arcturus – Arcturian
Kamelot – Haven
Native Construct – Quiet World
Sigh – Graveward
Pantommind – Searching For Eternity
Subterranean Masquerade – The Great Bazaar
Klone – Here Comes The Sun
The Gentle Storm – The Diary
Melechesh – Enki
Enslaved – In Times
Keep Of Kalessin – Epistemology
Lonely Robot – Please Come Home
The Neal Morse Band – The Grand Experiment
Zero Stroke – As The Colours Seep
AudioPlastik – In The Head Of A Maniac
Revolution Saints – Revolution Saints
Mors Principium Est – Dawn of The 5th Era
Arcade Messiah – Arcade Messiah
Triosphere – The Heart Of The Matter
Neonfly – Strangers In Paradise
Knight Area – Hyperdrive
Haken – Restoration
James LaBrie – Impermanent Resonance
Mercenary – Through Our Darkest Days
A.C.T. – Circus Pandemonium
Xerath – III
Big Big Train – English Electric (Part 1)
Thought Chamber – Psykerion
Marcus Jidell – Pictures From A Time Traveller
H.E.A.T – Tearing Down The Walls
Vanden Plas – Chronicles Of The Immortals: Netherworld