Category: Symphonic Metal

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

Battlelore – The Return Of The Shadow – Album Review

Artist: Battlelore

Album Title: The Return Of The Shadow

Label: Napalm Records

Date of Release: 3 June 2022

Am I the only one to get excited when a band returns from an extended hiatus? It is especially exciting when the hiatus began to feel like it might be more of a complete end, with hopes of a return fading with each and every passing year. Having been familiar with Finnish epic symphonic metal band Battlelore since the beginning of their career at the turn of the Millennium, I am delighted to see the band return with a new album some eleven years since their last outing, 2011’s ‘Doombound’. Admittedly the group reformed back in 2016 and have been beavering away since, but still, you never know whether something will materialise until the official announcement is made.

Entitled ‘The Return Of The Shadow’, Battlelore return us to the world of Tolkein in the only way that they know how. This record is actually named after the original title that Tolkein considered giving to the novel that eventually became ‘Fellowship Of The Ring’; this alone should underline the affection and attention to detail that the band demonstrate when it comes to one of the most celebrated fantasy stories of all time.

Somewhat remarkably, especially given that Battlelore is a septet, the same protagonists that featured on their last album are all present and correct this time around too. It means that vocalists Tomi Mykkänen and Kaisa Jouhki are joined by guitarists Jyri Vahvanen and Jussi Rautio, keyboardist/flautist Maria Honkanen, drummer Henri Vahvanen, and bassist Timo Honkanen.

With a line-up that is unchanged, it will cause very little surprise when I confirm that the musical output on ‘The Return of The Shadow’ will be familiar to anyone who has crossed paths, or swords, with Battlelore before. These guys have their modus operandi, and they are sticking to it. Previous albums have varied in terms of their quality and my overall enjoyment has also therefore varied. If I had to pick favourites, I’d suggest that 2003’s ‘Sword’s Song’ and 2008’s ‘The Last Alliance’ would feature. However, I am delighted to confirm that ‘The Return Of The Shadow’ can be added to this list.

What I personally like about Battlelore is, perhaps perversely, what others won’t enjoy quite as much. And that’s the way that the music is heavy and aggressive but also strangely smooth sounding and incredibly inviting. The music is full of growls, muscular riffs, and a strong rhythm section underpins everything, but the keys, ethereal female vocals, and generally mid-tempo pace of the songs creates a warmth and welcoming feel. I’m not sure if this is deliberate or not, but it is something that I find very endearing. I don’t mean to damn the music with faint praise either, because whilst I will often want to be smacked around the head by the music I listen to, I genuinely like the approach that Battlelore take. It’s bombastic and majestic but at the same time not overly cluttered or over-the-top. The fact that there are some wonderfully catchy and engaging melodies littered throughout the songs only adds to my enjoyment and raises this album above others within this genre that seek to over complicate matters without injecting enough memorability.

I didn’t realise that I had been missing Battlelore but, on this evidence, clearly I had.

I had hoped to mix things up a little bit by starting my deeper analysis of this album with a song buried somewhere within its heart. However, Battlelore have other ideas, because they produce a killer song right out of the blocks in the form of opener, ‘Minas Morgul’. The riffs at the start are really nice, and I love the chosen tone. The bass guitar is ever present, whilst the drums deliver fills and a little extravagance around the riffs. When the song opens up, we’re hit with some catchy synths, majestic orchestration, and a nice groove before clean male and female vocals duet over a quieter verse, giving them the space to take centre stage. The chorus is different however, complete with a faster tempo complimented by double pedal drumming and bolder orchestration. Growls appear later on to emphasise the heavier side of the band’s music, but there is no getting away from the fact that this is one catchy, anthemic track. Welcome back, Battlelore.

‘Chambers Of Fire’ is a chunkier beast and is likely to be a hit at summer festivals given its immediacy and no-nonsense, more aggressive attitude, underlined by a much more liberal use of deep growled vocals alongside Kaisa Jouhki’s soft approach. It has more of a folk-influenced melodic core, and I love the way that the second half is a much more delicate affair than the first until the final moments when the opening fist pumping chants return alongside the strong riffing.

I definitely feel that Battlelore are at their finest when they up the atmospheric and melodic quota within their compositions, and happily, there are several occasions on ‘The Return Of The Shadow’ when they duly oblige, starting with the delectable ‘Orcrist’ that features ethereal, synth-drenched passages led by Jouhki at her delicate best. The melodies are gorgeous, and even when we’re ‘treated’ to a spoken-word section that features the words ‘Goblin cleaver’ (I kid you not), I don’t turn my back in revulsion. It’s a bit cheesy and ham-fisted, but there remains a charm to it, mainly because the chorus is so damn irresistible.

Speaking of catchy, the slightly more up-tempo ‘Homecoming’ also fits the bill, with another strong, memorable chorus. The heavy, chugging riffing within ‘Elvenking’ is marvellous, but it’s accompanied by some simple yet fully effective bass lines from Timo Honkanen that rumble with real authority whilst Maria Honkanen’s flute adds delicate whimsy in clever counterpoint. ‘Mirrormere’ is another great song, featuring some prominent lead guitar lines early on before building a bittersweet feeling thanks to some sombre yet elegant melodies within the chorus. It also benefits from some of the boldest riffing and thunderous drumming by Henri Vahvanen in the mid-section.

For all that though, the star of the show for me sits at the very end of the album. ‘Shadow Of The East’ is simply stunning for a number of reasons. Firstly, I adore the guitars of Jyri Vahvanen and Jussi Rautio – the tone, assisted by the bass, is wonderful, especially when used as sparingly as it is within what is the slowest track of them all. Then there are the melodies that permeate from every pore, delightfully arresting throughout, culminating in a truly epic closing sequence, complete with orchestration, gently building metallic instrumentation, insidious growls, and muscular percussion. I could listen to this quasi ballad over and over again…and I have if truth be told.

You can be the fastest, the most overblown and pompous, the most dextrous, or the loudest. But what Battlelore more than ably demonstrate with this glorious return from the wilderness, is that none of that matters if the songs themselves aren’t engaging and memorable. At times, Battlelore can be loud, they can be fast, and they can be overblown and pompous. However, this is never at the expense of the songs themselves, which are almost entirely positive and thoroughly enjoyable. As I said earlier, some will criticise the band for not being edgy enough, or extreme enough. That’s their prerogative. Me though, I really like this album and I’m delighted to hear new material from Battlelore. Factor in the absolutely fabulous cover artwork and a bonus three-track EP entitled ‘Lost Lands’ as a bonus disc, and I’m making it ever more difficult for you to ignore this release. So don’t.

The Score of Much Metal: 92%

Check out my other 2022 reviews here:

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)

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

Remains Of Destruction – New Dawn – Album Review

Artist: Remains Of Destruction

Album Title: New Dawn

Label: Inverse Records

Date of Release: 27 May 2022

I’m delighted to be able to bring you a review today of a debut album that has managed to catch my ear for plenty of positive reasons. The artist in question goes by the name of Remains Of Destruction, and their first full length offering is entitled ‘New Dawn’. A Finnish sextet, the band came into being in 2019, at the hands of vocalist Jesse Yrjölä, who wanted to create a vehicle to unleash his musical ideas. The band grew steadily, with guitarist/backing vocalist Timo Pelkonen the first to sign up, followed by guitarist/backing vocalist Saalas Ruokangas, drummer Janne Ollikainen, Jaakko Saloranta, and keyboardist Osmo Lassila. With orchestration duties shared between Yrjölä and Ruokangas, Remains Of Destruction was deemed complete and since, have worked hard to bring us ‘New Dawn’.

Whilst the title of the debut is well-placed for the band themselves, in that it offers the musicians a new musical outlet, it is less well-named from the point of view of the final output. I say this because Remains Of Destruction will not blow you away with music that is overly original – this venture does not offer a new dawn musically, so to speak. That said, this band have hugely impressed me nonetheless, because ‘New Dawn’ features a brand of symphonic power metal that ticks many of my required boxes. And, unless I’ve completely lost my touch when it comes to quality control, I believe it’ll tick many others’ boxes too.

It may only last for 37 minutes or thereabouts, but it’s a thoroughly entertaining affair from start to finish. There is little space for excess fat, so the music comes in hard and maintains the energy throughout. I like the way in which the songs are both heavy and symphonic, without either element getting overshadowed along the way. The production is commendable too, allowing both aspects of the music to flourish. I did, however, have an initial concern over the vocals of Yrjölä. Not in terms of his abilities, because he has a perfectly strong voice with good range to sit at the heart of this kind of music. It was more to do with the mix of the album and the way that his voice seems quite loud and high up in the mix. It still raises a question mark in my mind during the first song or two, but I am much more used to it now and I am reasonably content that it doesn’t overly detract from my enjoyment.

What is more important though, is the more I have listened to ‘New Dawn’, the more powerful and memorable it has become. The scene is well set by the barnstorming opening track, ‘Blood Moon’. It opens with a theatrical, symphonic intro with a vague Middle Eastern flavour, before the metallic main body of the song kicks in. When it does, it arrives with a real confidence, the riffs substantial, the rhythm section robust, and the melodies enjoyable, particularly in the hook laden chorus that begs to be sung along to. A flamboyant lead guitar solo, layered, textured keys, and a dash of groove round out an impressive opening, signalling Remains Of Destruction’s arrival on the scene in forceful fashion.

The bass work within the slightly darker and more thunderous title track is really ear catching, whilst the chorus is arguably the absolute best thing to be heard anywhere on this album. It blends the orchestral flamboyance with metallic power, and an almost ballad-like anthemic quality that’s irresistible. Again, I love the fact that the band aren’t afraid to let the solos rip through the songs, and this song is no exception. It is also the song that convinced me about Yrjölä’s vocals, as he gives one hell of a performance here, full of passion and gravitas.

There’s an unmistakeable neo-classical element that shines through ‘Final Light’, not to mention a Kamelot-esque galloping rhythm and keyboard solo. Normally, I baulk at such things, but this solo is delivered with a fair amount of panache and restraint, meaning that it fits the song nicely. The great material keeps coming, with the intro to ‘Mastermind’ a powerhouse of drama and melody, with plenty of orchestral bombast. The foundation of the composition is another great chorus that’s a bit of a grower compared to others on the album, topped off with choral effects for extra gravitas, as well as a brief foray into extreme metal territory complete with deep growled vocals which of course I welcome with open arms.

It may not be my favourite song on the album, but the variety within ‘Mankind’s Bequest’ is impressive, especially given the song’s brevity. In under four minutes, we get a cinematic introduction of huge proportions, modern electronic embellishments, a progressive metal sheen, and some bulldozing classic heavy metal.

The muscular guitar tone found within the majestic ‘Northern Stars’ is great, as is the sheer power that’s nicely juxtaposed with moments of quieter whimsy and atmosphere. And ‘Silvery Fields’ is equally as enjoyable, albeit in a more immediate manner thanks to the strong melodic thread that runs through it, much like many of the songs on this album.

Come to think of it, there are very few moments on ‘New Dawn’ that fail to hit the mark in one way or another. For that, Remains Of Destruction must be warmly commended as such feats are becoming ever more rare these days it seems. ‘New Dawn’ could be longer, and it could have been a little more original at times, but it is hard to argue with a record that delivers this kind of entertainment with such consistency. Sometimes, that’s enough, and in the case of Remains Of Destruction, their brand of melodic symphonic power metal is more than enough to keep my head nodding and an appreciative smile on my face. Don’t dawdle, get on it and check these Finns out as soon as possible.

The Score of Much Metal: 88%

Check out my other 2022 reviews here:

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)

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

Visions Of Atlantis – Pirates – Album Review

Artist: Visions Of Atlantis

Album Title: Pirates

Label: Napalm Records

Date of Release: 13 May 2022

As you’re all fully aware, symphonic metal isn’t generally ago-to style of metal for me, but I’m always keen to be proven wrong, so I will always check out new albums within the genre to see if my general opinion can be changed. The latest band to try their hand at impressing me are Visions Of Atlantis, an entity with which I am familiar of course, but whose output has not yet found its way into my ever-increasing CD collection. Streaming? What’s that?

Anyway, I’m sure you already know all this, but the Austrian symphonic metal band have been through a number of changes over the past few years which has seen many musicians come and go, leaving only one original member standing, namely the drummer, Thomas Caser. Into the ranks has come female vocalist Clémentine Delauney, although she has been present for the better part of a decade now, featuring on the last three records. Caser and Delauney have been more recently joined by guitarist Christian Douscha, bassist Herbert Glos, and male vocalist Michele Guaitoli (Temperance).

I may not be as familiar as others who are reading this review, but it feels to me that ‘Pirates’ marks a bit of a change for the band. For a start, if Visions Of Atlantis had delivered an album of this quality previously, I’d have definitely remembered it; I’m actually very pleasantly surprised by the music that I hear on this new record. Then there’s the press release that had me raising an eyebrow when first I read it. Delauney is quoted as saying:

“We embrace who we are and we can state it in the eyes of everyone that we are Pirates now – we have always been, but now we are confident in our identity and we want to show it to the world”

Ok. Pirates? Really? The thing is, much as I feared for the material at the outset bearing this quote in mind, the end product is not a gimmick. It is not music that can only be enjoyed at a festival whilst hideously drunk with your mates and discarded at all other times – there are other bands for that, and we know who they are. Instead, the music on ‘Pirates’ might have a lyrical context that explores themes around the album’s title, but the music is deadly serious and is actually of a high standard overall.

Naturally, where symphonic metal with a female singer is concerned, there will be immediate comparisons drawn to Nightwish, arguably the most well-known and most revered of them all within the genre. And yes, there are some similarities to be heard; it’s a little inevitable in some respects. However, equally important are the echoes of bands like Kamelot, and Amaranthe, and even the likes of Serenity. The latter is hardly surprising given Delauney’s links to another Austrian powerhouse of the metal scene. What all this shows though, is that Visions Of Atlantis have not just decided to become a clone; instead, they have taken inspiration from a reasonably wide range of music within the metal sphere in order to create something that they feel is the right fit for them. The end result was never going to have me shouting about absolute originality, but the music is certainly entertaining and sufficiently interesting to pique my interest.

That wasn’t my first impression though, as an initial spin had me thinking that it was all rather bland. But, as I have invested more time with it, my opinion has slowly changed. At nearly an hour in length and featuring twelve individual tracks, there are a couple of occasions where things go a little off the boil, which isn’t overly surprising I suppose. For the most part though, the charm and quality of the music has begun to make inroads.

The opener, ‘Pirates Will Return’ begins with a dark, brooding intro that fittingly emerges from the depths, and begs the question of who is responsible for the synths and keys, because no-one is apparently credited for it in the promo material as far as I can see. This conundrum aside, the song soon settles into an up-tempo, hard-rocking affair, Delauney immediately making her mark with an assured performance that begins with a clean, attitude-laden ‘rock’ delivery, quickly switching into a more operatic style to change things up. When Michele Guaitoli, the track then takes on a greater power metal feel with strong, fast-paced drumming driving the song along. The chorus is a little whimsical, complete with choral vocals, but eventually it starts to get stuck in my head. However, it is the quieter, darker instrumental sections that work best for me as they provide some nice drama along the way.

By contrast, ‘Melancholy Angel’ is a much shorter, punchier track that features some very welcoming and catchy melodies, designed to have maximum impact right from the word ‘go’. Guest musician Ben Metzner makes his presence known at the outset of ‘Master The Hurricane’ with a flute-led introduction, before we’re led on a full-on symphonic metal tour-de-force, the likes of which both Nightwish and Epica would likely be proud of. The light and shade is compelling, from delicate, introspective moments, right through to outrageous bombast, creating one of the best cuts on the album and delivering one of the most arresting choruses for my personal tastes in the process. If you’re like me, you’ll be singing along with gusto by the third spin, maybe sooner.

And therein lies one of the strengths of ‘Pirates’, namely the variety. Too often, I find symphonic metal, for all its over-the-top grandiosity, can end up feeling one-dimensional due to a lack of variety. That’s not generally the case here at all, with a good mix of approaches to keep the attention of listeners throughout.

‘Clocks’ is the Amaranthe-inspired instant hit of saccharine modern melodic metal, but with the compelling duo of Delauney and Guaitoli at the helm instead, doing a fabulous job together. Then there’s ‘Wild Elysium’ that I adore as it does a fantastic job of resurrecting the very best Khan-era Kamelot material, albeit with both female and male vocals as wel as even more prominent orchestration.

I’m less keen overall about the ballads that appear in the form of ‘Freedom’ and ‘Heal The Scars’ because they are a bit too gentle and twee for me, but the more energetic compositions in between redress the balance, such as the surprisingly muscular and heavy ‘Legion Of The Seas’, or the poignant and rousing ‘I Will Be Gone’ with bagpipes and flute embellishments from Metzner. Rather than sound gimmicky, the flutes and bagpipes instead add a sense of authenticity to the material that I never thought would be the case if I’m being totally honest – it just shows that when handled correctly, just about anything can work within a metallic framework…almost.

All-in-all, I can’t be anything other than positive towards ‘Pirates’, the eighth record of Vision Of Atlantis’ career. It’s not completely perfect, but it is a much more impressive affair than I anticipated when I decided to check it out for the first time. Kudos for this has to go to Clémentine Delauney and Michele Guaitoli who, alongside producer Felix Heldt were instrumental in the writing of this record. But all of the band deserve credit because ‘Pirates’ is an assured, powerful, and slick album that provides some genuinely entertaining and enjoyable symphonic metal. It’s not often I utter these words, that’s for sure, so Visions Of Atlantis should take a well-earned bow for forcing me to say such positive things.

The Score of Much Metal: 87%

Check out my other 2022 reviews here:

Evergrey – A Heartless Portrait (The Orphean Testament)

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

Angel Nation – Antares – Album Review

Artist: Angel Nation

Album Title: Antares

Label: Inner Wound Recordings

Date of Release: 8 April 2022

I have mentioned it before, but I am always scouting around, looking for great melodic metal bands because this genre can, when done properly, offer a shot of saccharine goodness that’s hard to ignore. When I find myself listening to more and more extreme metal releases, it’s good to have a change every now and then; as they say, a change is as good as a rest. Plus, in any case, I’ve always had a soft spot for heavy music that’s big on melody. I don’t always see melody as a diluter of heaviness and aggression – in the right circumstances, it can enhance the power and impact of the music. I can think of many examples where this rings true, across the various genres of heavy metal. The latest melodic metal album to hit my radar, is this, ‘Antares’ by Angel Nation.

I decided to check this record out, mainly because it finds itself on the Inner Wound Recordings roster, a label that has released some cool albums in the past. That and the fact that it’s released soon and I’m in the zone where I want to check out as much new music as humanly possible at the moment. Oh, and the singer for Angel Nation is Elina Siirala who is also part of Leave’s Eyes. It all added up to a situation where curiosity got the better of me.

According to the old saying, ‘curiosity killed the cat’ and unfortunately my curiosity has led me close to a similar fate here. Ok, I’m being incredibly sensationalist, but it is fair to say that ‘Antares’, the third full-length album from Angel Nation, has left me feeling decidedly underwhelmed and disappointed.

The band’s line-up sees the classically trained Siirala joined by guitarist George ‘GT’ Stergiou, bassist Julia B Cadau, and drummer Lucas Williamson. Together, they deliver forty-one or so minutes of glossy melodic metal with a symphonic element spread across ten individual tracks. I’ve been bitten before by making a snap decision on a first spin, only to find that my first impression was way too harsh; in fact, it happens more often than not, meaning that I will never, ever review a release after just one or two spins. In the case of ‘Antares’, I am sad to report that subsequent listens have not appreciably altered my opinion of this record. For all the gloss and polish, I find the whole thing quite dull and unmemorable. I have heard a thousand bands of this ilk over the years, and there is literally nothing here that is either unique or edgy.

With so much music and so many bands ploughing the melodic metal furrow, I want something that is going to wow me. I want the musical equivalent of the car you drew when you were eight years old; the car that came complete with guns, wings, and luminous paintwork. What Angel Nation give us is more like a beige 1980’s Volvo I’m afraid. Or at least, that’s my opinion anyway, because given the popularity of bands like this, Angel Nation will probably draw a significant audience to make me look completely out of step with public opinion. Not for the first time, it must be said.

Credit where it’s due though, and it’s fair to say that the production of ‘Antares’ is strong and seeks to get the very best out of the material on offer. For example, the heavy, imposing guitar sound that appears within the opener ‘Seraph’ has me pricking my ears, hopeful that what’s to follow will be suitably entertaining. It isn’t a bad song all round, with an up-tempo drive, a bit of muscle, and Siirala’s smooth vocal tones. Unfortunately, the chorus is only ok, thus failing to propel the opener into the stratosphere, despite a spirited lead guitar solo by Stergiou.

‘We Are Fire’ kicks off at a fair lick, the Euro power metal overtones clear for all to hear. The verses are bathed in rich synths, whilst the chorus sees the rhythm section galloping nicely, alongside arguably one of the strongest choruses on the album it has to be said. The over-the-top power metal excess also makes an appearance elsewhere, most notably at the beginning of ‘Face To Face With The Merciless’. Frustratingly, the early promise recedes as the song instead heads off in a mid-tempo stomping direction that lacks a killer punch.

However, tracks like ‘Life Is A War’ are where I lose almost all of my interest. Admittedly, the guitars sound nicely aggressive, but the increased drama and theatrical nature only serves to turn the song into a muddled mess. The odd flute sounds and attempt at a more progressive approach just strikes me as clunky, almost discordant. Not even bursts of double pedal drumming can resurrect a song that I just cannot warm to whatsoever.

Albums like this will always have a softer ballad and, if done correctly, can add another welcome dimension. ‘Way Back Home’ is Angel Nation’s gratuitous ballad and it’s just as you’d expect. Siirala’s classical tones croon above a rich, cinematic soundscape that’s part Disney, part West End Musical. With a killer hook, irresistible melody, or something magical, it could have been so good. But as nice as it is, that’s it – it’s just ‘nice’.

I have given ‘Antares’ by Angel Nation a mote than fair crack of the whip, but I just don’t gel with it. It feels so generic, that it could be the work of just about anyone within this genre of music. As I stated earlier, I’m fully prepared to be in the minority. But I have to be honest and say that this record simply leaves me cold and rather bored. I can’t like everything, after all.

The Score of Much Metal: 65%

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.”

Carmeria – Advenae – Album Review

Artist: Carmeria

Album Title: Advenae

Label: Independent Release

Date of Release: 18 March 2022

Not for the first time this week, I bring you a review of a symphonic metal album. This one is from a brand new Australian band, Carmeria, and entitled ‘Advenae’, this release represents their debut full-length release. It also demonstrates the breadth of music that can be encompassed within the ‘symphonic’ descriptor. Earlier in the week, the symphonic metal featured a female vocalist and more of a pop/power metal sheen. Carmeria by contrast, offer more of a Gothic feel, alongside a heavier, and more varied approach overall. There’s a greater use of growled vocals as well as a smidge of progressive intent too.

Carmeria is a quintet that’s currently comprised of vocalist Jordan Von Grae, guitarist Jerry Zahija, bassist Emma Louise Nagy, keyboardist Miska Bobrov, and drummer Lachlan Blackwood. Apparently, ‘Advenae’ is the fruit borne out of six years of hard work for the band, a band that cite the likes of Nightwish, HIM, and Hans Zimmer as influences on their music.

From the very first listen, I would also add Kamelot to the list of influences, because to my ears, Jordan Von Grae sounds remarkably similar to Roy Khan; he has those rich tones and smooth delivery, as well as a similar intonation, making the resemblance quite uncanny at times. Interestingly though, the similarities become less prominent as the album develops, almost as if the band and Von Grae start to grow into their own skin a lot more in the latter stages.

In order to review ‘Advenae’ accurately, I feel the need to paint a picture. Imagine, if you will, two tall hills in the countryside, between which nestles a deep valley. This record is the musical equivalent of the image you have in your mind. It starts off very positively at the top of one of these hills and ends strongly at the summit of the other. However, for me, the band lose their way a little somewhere in the middle, deep in that heavily shaded valley. Every time I have listened, I have got into the record, only to lose a bit of interest, and then rediscover my enthusiasm towards the end. Some of this has to do with the fact that ‘Advenae’ runs for over an hour and, in order to remain consistent, I firmly believe that this is a touch too long. Some further editing would have been prudent to create a more succinct affair that packs a greater punch.

Additionally, I would also suggest that the album contains too much by way of slower, ballad-like material. A couple of the songs are genuinely great, but others are not so strong as far as I’m concerned. And this tends to ruin the flow somewhat. And finally, whilst not poor by any stretch of the imagination, the production feels a tad weak in places and a bit harsh on my ageing ears.

But enough of the negativity, because there is a lot of positivity that requires exploring.

When I said the album begins well, I meant it. The opening intro is also the title track and this is where those Hans Zimmer references make perfect sense, such is the opulent and cinematic bombast that this scene-setter boasts. ‘Morningstar’ follows and it’s full-on symphonic metal meets Gothic rock before it quietens to allow Von Grae to take centre stage. Given the vocal approach, there’s definitely a Kamelot sheen, but this is extinguished with the introduction of a ridiculously catchy chorus. The song skips along at a fair pace, becoming rather infectious after a while, and it’s a positive start to the record.

The positivity continues courtesy of ‘Carpe Noctem’. Starting quietly, it soon bursts into life with barely caged orchestral bombast, bringing in some snarling growls and another immediate earworm within the chorus that you can’t help but like. The opening to ‘En Rapture’ is classic ‘Once’ era Nightwish, before taking a left turn into greater Gothic territory. It’s another strong song overall with a lovely Maiden-esque melodic section just after the half-way mark, but its conclusion signals the beginning of the descent into the heavily shaded valley.

‘Relinquished’ is the first of a handful of slower songs and, although it isn’t a bad song, it lacks a bit of the punch and effervescence of the previous material. Follow-up ‘To Lead The Blind’ feels a little more theatrical, but doesn’t increase the pace or intensity an awful lot, certainly in the first half of the song, whilst the melodies don’t resonate with me anywhere near as effectively as earlier tracks did. It’s more of the same with ‘Celestia’. It’s another slow, melancholy ballad that features some gentle acoustic guitar strumming and a vibrant bass. The second half explodes but again, it again misses the mark with me, featuring melodies that are far too whimsical and folky for my tastes.

Happily, however, the final three tracks see Carmeria ascending the second hill and with it, they recapture my attention. ‘Veil Of Sanctitude’ is an opulent composition that opens up into a huge anthemic chorus with a hint of pop to it; you could almost see the band sitting on stools in a line like a boyband as they deliver this one. But it’s catchy as hell and impossible not to like, as is the meandering, musical wailing solo that emerges.

The piano intro to ‘Halo’, is great, especially the way that the orchestration builds around it to create a bedrock upon which the band then build with their more metallic instrumentation. The song itself is another slower number, almost waltz-like, but the melodies are beautiful here, creating an elegant sounding song that provides maximum impact in the process.

At well over eleven minutes long, closer ‘Eternity’ is an ambitious way to end this debut release. However, it is a very interesting composition and, in the main, well worth its extended length. There is enough variation and depth to keep things interesting throughout, with the re-emergence of growls and heavier riffs alongside the layers of orchestration. I like the heavier sound and wish they’d made more of this element of their sound elsewhere. And I really like the melodies that are reintroduced at select points of the track, keeping the lengthy song cohesive, not to mention ear catching as well. It’s actually a very impressive ending to ‘Advenae’. There is much to like on this debut record from the Australians, but there are also some less impressive moments. Personally speaking, I hope that there will be a second album and, if it does materialise, I also hope that the music is heavier, with less ballads, and also pushes more in the direction of the closing epic. If they do this, they will, at least as far as I’m concerned, be on to a winner.

The Score of Much Metal: 79%

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2019 reviews
2018 reviews
2017 reviews
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Moonlight Haze – Animus – Album Review

Artist: Moonlight Haze

Album Title: Animus

Label: Scarlet Records

Date of Release: 18 March 2022

When it comes to symphonic heavy metal, I can be a picky chap. I’ve not been much of a fan of any of Nightwish’s last few records, even with the incredible Floor Jansen on vocals, and Epica’s most recent is the first in a while that I’ve thoroughly enjoyed. And I’ve never really been a fan of Within Temptation at any point. Cutting to the chase, this kind of heavy music has to be right out of the top drawer, and right in my wheelhouse for me to give it the time of day. Take ‘Gods Of Debauchery’ by Seven Spires as an example. But I never cease my search for the next band to capture my imagination, as this review will attest.

Moonlight Haze hail from Northern Italy and were founded in 2018 by vocalist Chiara Tricarico and drummer Giulio Capone. Not ones to let the grass grow under their feet, they recruited three further musicians, and have released two albums already, 2019’s ‘Da Rerum Naturna’ and ‘Lunaris’ a year later. ‘Animus’ is the title of their latest full-length as they continue their quest for greater exposure and recognition in the symphonic metal world. And, if I am qualified to make such a call, I’d say that ‘Animus’ offers the quintet a decent chance at boosting their fanbase.

What Moonlight Haze offer is a very listenable and upbeat style of melodic symphonic metal, with a demonstrable power metal edge. It is a nicely crafted affair, with plenty of compositions that have immediacy, and deliver a potent shot of saccharine ear candy in the process. And, in Chiara Tricarico, Moonlight Haze are blessed with a frontwoman that has a powerful voice that commands some attention right from the very beginning. Versatility is her friend and whilst her occasional growls are not the best, I like the fact that she isn’t afraid to deliver them alongside both lower and higher-pitched, more melodic singing.

Unfortunately, what lets Moonlight Haze down, in my opinion, is the production and the lack of originality. With two guitarists, I definitely wanted the songs to sound heavier, certainly to have more metallic bite. Unfortunately, the symphonic arrangements tend to dominate the songs, leaving Marco Falanga and Alberto Melinato’s riffs rather diluted in the mix. It is an age-old problem within this genre, and it frustrates me because I really do want some aggression in the music, even if it still takes a back seat to other elements. The rhythm section of bassist Alessandro Jacobi and drummer Giulio Capone do their best to drive the material along and create a firm spine to the music, but the guitars do suffer and that disappoints me most of all. There’s a lack of a cutting edge, or music to grab hold of my attention.

In terms of the originality, I don’t think I’m being unkind to question Moonlight Haze’s identity here. I’ve said many times that originality is not everything, especially when the end product is very enjoyable. But in this case, the band sound a little derivative and don’t stand out from the crowd very much. What it means is that a lot of the material on ‘Animus’ is reasonably forgettable. Not necessarily while the album is playing, but certainly afterwards, I forget large swathes of what I’ve just listened to. For all the melody at play within the eleven tracks, the Italians rarely hit me with an instant earworm, or a chorus to beg me to return to. It’s all very ‘nice’, but nothing overly exciting.

As I said before though, my thoughts are unlikely to meet with universal approval and I may end up being in the vast minority. There is a definite market for music like this and those who have a weakness for it, will no doubt embrace it with open arms. And, if I’m being totally fair, there are a few songs here that are stronger than the others and deserve a little mention within this review.

For a start, there’s the up-tempo ‘Midnight Haze’ that sits mid-album and benefits from one of the strongest rhythms on the album, as well as a catchy chorus that has more of an impact upon me as most others. ‘It’s Insane’ is an undeniably spritely affair, with lashings of symphonics to counteract the unashamedly pop-metal veneer. And arguably, ‘Kintsugi’ feels like the most it has the most gravitas, being a free-flowing composition with a very catchy chorus alongside a touch more variety and bombast, not to mention a more-than-decent lead guitar solo. And finally, there’s the title track that is a little rougher around the edges by virtue of Tricarico’s raspy growls, but also sufficiently bombastic thanks, in particular, to the inclusion of layers of choral vocals.

I really don’t want to come across as being too negative when ‘Animus’ is such a slick, polished, and upbeat affair. It’s just that I wanted it to stand out from the crowd more, to offer some kind of edge, or try to introduce something new, however small it might be. Sadly, it doesn’t really do any of these things. As such, it is perfectly ‘nice’, but it is also far too safe and ‘beige’ for my tastes. If this sounds like your kind of music, all power to you, and I hope you check out Moonlight Haze accordingly because you’re bound to find an album very much to your liking.

The Score of Much Metal: 71%

Check out my other 2022 reviews here:

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