Category: Uncategorized

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

Artificial Brain – Artificial Brain – Album Review

Artist: Artificial Brain

Album Title: Artificial Brain

Label: Profound Lore Records

Date of Release: 3 June 2022

I think that it is safe to say that this record has surprised me. I’d heard very little about Artificial Brain prior to being sent this promo opportunity, so I was expecting an album full of brutal and technical death metal, the kind that bulldozes whilst expanding your mind – that sort of thing. What I actually heard, was something quite different to that, and it has been a very pleasant surprise if I’m honest.

Mind you, when I say ‘pleasant’, I can see the band recoiling in horror and revulsion, because I suspect that ‘pleasant’ was not an adjective that the band were seeking to be attached to a review of their self-titled third album. Comprised of guitarists Dan Gargiulo and Oleg Zalman, guitarist/saxophonist Jon Locastro, bass/synth player Samuel Smith, drummer Keith Abrami, and vocalist Will Smith, the sextet play music that is designed to sit far and away from words like ‘pleasant’, and ‘nice’. Their offering is dark, harsh, dissonant, and aggressive, plundering the realms of death and black metal, with strong progressive elements. It has atmosphere oozing from every pore, as well as lashings of sinister, evil-sounding intent.

But, and here’s the thing, Artificial Brain also bring along with them their unwilling friend called ‘melody’. This friend may come kicking and screaming, but once in place, is an integral element of the band’s overall sound. It might be lurking in the copious shadows or interwoven into some downright nasty soundscapes, but it is there within many of the songs. And it is this melodic edge that has meant that this record has gone up massively in my estimations. Additionally, I recoiled when I saw that Jon Locastro is credited as a saxophonist on the press release. I had images of the compositions drowned in awful indulgent sax solos, but this is not the case at all, far from it in fact. As far as I am concerned, this is a major win for ‘Artificial Brain’, and I’ve enjoyed the experience of listening to it, uncovering everything it has to offer throughout.

On that note, this is not an easy album to listen to at the outset. I find the production a little muddy and distant at times to say the least. This may well be deliberate – almost certainly so – but it does detract a little from my experience, because I would have dearly loved a touch more clarity. Added to this, with such convoluted ideas, competing elements, and lots more besides, I didn’t quite know where to listen first. However, with familiarity has come understanding, and it is a less daunting experience now than it was at first.

Not only is the album a self-titled affair, meaning that the band would appear to be extremely proud of their efforts here, but right off the bat, the opening track is also the title track of ‘Artificial Brain’. It might only last for two-and-a-half minutes, but it packs one hell of a punch. A twisted gnarly riff, accented by minimalist bass and drum accompaniment, is joined by the deepest grunt that I’ve heard in some time. It signals the onslaught in the form of blastbeats, sickening bass, and vocals that are so low that they are barely audible above the swirling cacophony. Just when I’m thinking that this isn’t at all for me, in comes an impossibly catchy melody deep in the bowels of the song. I’m caught off guard, not expecting this chink of light in an otherwise thoroughly uncompromising track. I love it, and with more time, I have grown to love the punishing brutality that surrounds it.

It’s a similar story for many of the other nine songs that feature on this record, starting with ‘Glitch Cannon’. It starts off in impenetrable death metal fashion, but when it picks up speed and injects more of a black metal edge, in comes a fleeting but noticeable melody line that acts as the entry point for what is otherwise a dense,

The collision of black and death metal can be heard in gloriously muddy technicolour within ‘Celestial Cyst’, a track that has grown on me enormously over time. Initially, the piercing guitars were uncomfortable but, alongside the bass playing, deep growls, excellent riffs, and changes in pace and intensity, it has become an incredibly addictive composition that intrigues and excites me in equal measure.

Other tracks that are worthy of mention include ‘Tomb Of The Exiled Engineer’ which carries with it the air of the chaotic whilst at the same time being oddly accessible. If anything, this serves as a good description of the album as a whole. On the one hand, it feels impenetrable and hugely challenging thanks to the sheer heaviness and complexity on offer. But after a couple of spins through, the music becomes far less daunting and inaccessible thanks to the incisive songwriting that allows enough melody into the songs to help counteract the impossibly chaotic maelstrom of instrumentation elsewhere.

In the case of ‘Cryogenic Dreamworld’, the extreme metal onslaught is tempered by passages within the song that are melodic, bordering on the whimsical and gentle, entirely in keeping with the ‘Dreamworld’ portion of its title. It still hammers home the riffs and overall sonic destruction, but Artificial Brain allow listeners to hear another side to their music, a softer side. The same could also be said of the closing track, the wonderfully titled ‘Last Words Of The Wobbling Sun’ thanks to the elegant melodies that join forces with the occasionally discordant, frequently frenetic, and mostly thunderous core of the song. Even when the melodies are a little off kilter, there’s a charm to them that is undeniable, carrying me willingly to the finale of the track indeed, the album.

I must admit that I have been left very impressed by this album, for all manner of reasons. It isn’t perfect, but in a way, this only adds to the charm of the record. I like the deep guttural vocals, I like the chaotic nature of a lot of the material, and I like the technicalities, and the experimentation. But I love the use of melody most of all because it features cleverly, in a way that doesn’t negatively affect the music’s overall aggression or extremity. For all of these things, ‘Artificial Brain’ deserves the plaudits it will receive and demands to be heard by as many fans of extreme music as humanly possible.

The Score of Much Metal: 90%

Check out my other 2022 reviews here:

Seventh Wonder – The Testament

All Things Fallen – Shadow Way

Def Leppard – Diamond Star Halos

Lord Belial – Rapture

Buried Realm – Buried Realm

Stiriah – …Of Light

Remains Of Destruction – New Dawn

Crematory – Inglorious Darkness

IATT – Magnum Opus

Iris Divine – Mercurial

Decapitated – Cancer Culture

Bekmørk – The Path Nocturnal

Septic Flesh – Modern Primitive

Blut Aus Nord – Disharmonium – Undreamable Abysses

Drift Into Black – Earthtorn

Spheric Universe Experience – Back Home

Outshine – The Awakening

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones

Zero Hour – Agenda 21

Scitalis – Doomed Before Time

Morgue Supplier – Inevitability

Visions Of Atlantis – Pirates

Evergrey – A Heartless Portrait (The Orphean Testament)

OU – One

Haunter – Discarnate Ails

Aara – Triade II: Hemera

Pure Reason Revolution – Above Cirrus

Demonical – Mass Destroyer

I Am The Night – While The Gods Are Sleeping

Haunted By Silhouettes – No Man Isle

Delvoid – Swarmlife

LionSoul – A Pledge To Darkness

Watain – The Agony And Ecstasy Of Watain

Dischordia – Triptych

Dragonbreed – Necrohedron

Audrey Horne – Devil’s Bell

Vanum – Legend

Stone Broken – Revelation

Radiant – Written By Life

Skull Fist – Paid In Full

Hurakan – Via Aeturna

Incandescence – Le Coeur De L’Homme

Imminent Sonic Destruction – The Sun Will Always Set

Monuments – In Stasis

Soledad – XIII

Viande – L’abime dévore les âmes

Credic – Vermillion Oceans

Postcards From New Zealand – Burn, Witch, Burn

Darkher – The Buried Storm

Treat – The Endgame

Bjørn Riis – Everything To Everyone

Destruction – Diabolical

Et Moriemur – Tamashii No Yama

Angel Nation – Antares

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

Spheric Universe Experience – Back Home – Album Review

Artist: Spheric Universe Experience

Album Title: Back Home

Label: Uprising! Records

Date of Release: 20 May 2022

The origins of Spheric Universe Experiment date back to before the Millennium, but the ensuing quarter of a decade have not been plain sailing for the French progressive metal outfit. Line-up changes and break-ups have featured amongst other things, meaning that we had to wait until 2005 for a debut album (‘Mental Torments’) Another three records were released subsequently, the last being ‘The New Eve’ in 2012. After a period of touring, a live album, (‘Live In London 2016’), and extensive songwriting, the quintet have finally returned with a new studio album, entitled ‘Back Home’.

Founder and guitarist Vince Benaim remains in place to lead Spheric Universe Experience into a new chapter of their career. He is joined in 2022 by keyboardist Fred Colombo, bassist John Drai, vocalist Frank Garcia, and drummer Romain Goulon, all of whom are integral members of the Cote d’Azur-based band and feature strongly on this new record.

The title of the album, with its beautiful and striking artwork, has a double meaning. Firstly, and most simply, ‘Back Home’ represents the fact that Spheric Universe Experience have returned with a new album and are in their natural, happy place. But additionally, it also references the album’s central story because in good old fashioned progressive metal style, ‘Back Home’ is a concept album, with a bold and strong sci-fi/space flavour to it. The central characters are, amongst other things, returning to Earth, hence ‘Back Home’.

In the past, if I had a quibble about the music of Spheric Universe Experience, it would have been that I found the music to lack a little in the melody stakes as well as the overall sound of the band. What I mean by this is that the melodies didn’t always stick with me as I would have hoped, sometimes being a little convoluted or fussy. Additionally, I felt that the compositions came across as a little weak sounding, lacking enough grunt or muscle, particularly where the guitars and bass were concerned. As such, despite showing flashes of brilliance, their previous albums narrowly missed out on being essential listening for me. Others will naturally disagree with this, but that’s my opinion. Or it was, because ‘Back Home’ addresses all of these things and in so doing, delivers a truly compelling listening experience that, for me, announces them as one of the genre’s brightest prospects.

Funnily enough, a week or two before I got my hands on this promo, I was thinking that 2022 had so far been a fairly mediocre year for what I would loosely describe as ‘classic’ progressive metal, the kind of music that was spearheaded by the likes of Dream Theater, where strong melodies combine with technicality and impressive virtuosic instrumentation. The kind of progressive metal for which I have a definite soft spot despite not always being the biggest fan of Dream Theater themselves ironically. However, Spheric Universe Experience have come along at just the right time to redress the balance and scratch this particular itch of mine.

What I like about ‘Back Home’ as well as the improved production, is the way in which the Frenchmen manage to blend progressive metal with flashes of power metal speed, and a sense of bombast and flamboyance to enhance the effect of the concept story; in some ways, it has the feeling of a heavy rock opera almost, such is the ambition on display here.

I will be completely consistent with my criticism though and state that ‘Back Home’ is, at 77 minutes, too long. After a decade without new material, it’s not surprising that the band wanted to return with a bang, but the net result is that it’s a tad bloated, and in need of editing in places. To begin with, six of the compositions stretch beyond six-and-a-half minutes, and there are no less than four instrumental pieces within the thirteen tracks that feature on ‘Back Home’. They are not without merit, particularly the opening piece, ‘On Board SUE5-2469’ and ‘Synchronicity’ which is wonderfully cinematic and clever in the way that it reprises melodies heard in the former.

Despite this, when Spheric Universe Experience get it right, they really impress me. Take the double header of ‘Final Fate’ and ‘Where We Belong’ as perfect examples of everything that make Spheric Universe Experience such an exciting band. ‘Final Fate’ opens in true progressive style, all energy, odd time signatures, virtuosity, and power. Immediately, the importance of the synths is clear, lacing the whole thing in atmosphere as well as moments of solo virtuosity, but never entirely overdone. There’s a nice groove to the verses, whilst Frank Garcia impresses as he lets rip over a very melodic chorus; it may simply be the passage of time playing tricks on me, but I never remember the vocals of Spheric being this good before. ‘Where We Belong’ delivers one of the album’s killer choruses but is overall a much more theatrical piece, whilst still producing the chops, riffs, and complexity that will have prog fans grinning from ear to ear. I’m not overly sold on the way the song veers into West End Musical territory in the final couple of minutes, but you can’t fault the ambition for a second. And that chorus will be in your head for weeks, trust me.

One of the most interesting songs on ‘Back Home’ is the multi-faceted ‘Transcending Real Life’. The melodies are deceptively catchy, almost insidiously so actually. But it is the way the musicians are able to incorporate so many ideas into the track that makes it to compelling; funky slap bass, chunky and muscular riffs, gentle 80s-esque keyboard-led sections, and a strong Middle Eastern flavour with the introduction of Arabic-like melodies and vocals in the later stages – they all combine to great effect to fully engross me time and again.

I’m also a sucker for the ballad-like chorus and melodies within ‘Legacy’ which, at times, is also one of the heavier tracks, with some powerful riffs. This juxtaposition is a nice touch and demonstrates the skill of the band in being able to blend different styles together without seemingly a second thought. ‘Defenders Of Light’ is also very worthy of a mention as it kicks off as if it has been set alight, before dropping a fantastically fast and energetic chorus that’s strongly influenced by the power metal genre.

On balance, despite the misgivings about its length, I have to conclude that ‘Back Home’ is a hugely gratifying experience, not least because it signals a long-awaited return from a very talented band. They have left nothing at the door and have thrown the kitchen sink at this record in an attempt to create their strongest material yet. And, when the dust has settled, it is hard to argue to the contrary. With plenty of high-quality performances throughout the band, tons of variety, and a palpable sense of passion at every turn, ‘Back Home’ has to be the best release yet from Spheric Universe Experiment.

The Score of Much Metal: 90%

Check out my other 2022 reviews here:

Outshine – The Awakening

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones

Zero Hour – Agenda 21

Scitalis – Doomed Before Time

Morgue Supplier – Inevitability

Visions Of Atlantis – Pirates

Evergrey – A Heartless Portrait (The Orphean Testament)

OU – One

Haunter – Discarnate Ails

Aara – Triade II: Hemera

Pure Reason Revolution – Above Cirrus

Demonical – Mass Destroyer

I Am The Night – While The Gods Are Sleeping

Haunted By Silhouettes – No Man Isle

Delvoid – Swarmlife

LionSoul – A Pledge To Darkness

Watain – The Agony And Ecstasy Of Watain

Dischordia – Triptych

Dragonbreed – Necrohedron

Audrey Horne – Devil’s Bell

Vanum – Legend

Stone Broken – Revelation

Radiant – Written By Life

Skull Fist – Paid In Full

Hurakan – Via Aeturna

Incandescence – Le Coeur De L’Homme

Imminent Sonic Destruction – The Sun Will Always Set

Monuments – In Stasis

Soledad – XIII

Viande – L’abime dévore les âmes

Credic – Vermillion Oceans

Postcards From New Zealand – Burn, Witch, Burn

Darkher – The Buried Storm

Treat – The Endgame

Bjørn Riis – Everything To Everyone

Destruction – Diabolical

Et Moriemur – Tamashii No Yama

Angel Nation – Antares

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

Tundra – A Darkening Sky – Album Review

Artist: Tundra

Album Title: The Darkening Sky

Label: Corrupted Flesh Records

Date of Release: 4 March 2022

Over the past couple of years, I have confronted many of my musical prejudices head-on, with both positive and negative results. I’m now a fully paid-up member of fan clubs for doom metal, post-rock, post-metal, and I’m beginning to rethink my absolute dislike of brass in heavy music. I’m still not a fan, but recent efforts have made me consider that the inclusion of a trumpet or a saxophone (yes, I’m aware this is technically a wind instrument) isn’t always the hideous car crash that I expect it to be. I’d still prefer a guitar, piano, or even a flute instead, but I’m taking baby steps here. Today, I feel brave enough to tackle another of my heavy music bugbears – the deliberately lo-fi production.

There is much to enjoy within the black metal genre, a genre that spans a very wide surface area depending on your personal definition of this music. On the one hand, we have Cradle Of Filth and Dimmu Borgir. Many may argue that these bands are no longer black metal but that’s a discussion for another day. They offer us a polished, multi-layered, over-the-top sound, full of theatrics and drama. On the other hand, we have what’s considered more ‘trve’, ‘cvlt’ black metal, the music that lurks in the cold, dark woods, often created at the hands of one person, or a small group of musicians that deliberately shun any kind of modernity, or polish to their musical output. To me, a lot of it sounds like it was recorded in a shoe box, creating what I can only describe as a horrible mess of sound; it’s like listening to a wasp trapped in a biscuit tin. As good as the actual compositions might be, the production renders it unlistenable to me a lot of the time. But, have I been missing out? It’s time to find out.

The first album to venture forth in my latest experiment towards self-growth is ‘The Darkening Sky’ from a band called Tundra. Hailing from Italy, I’m unsure as to the current line-up because the promo doesn’t confirm the protagonists, other than provide the press photo that suggests Tundra are now a duo, as opposed to other websites that reference anywhere between two and four musicians.

What the press release does confirm however, is that ‘The Darkening Sky’, Tundra’s fourth full-length release was actually originally released in 2019 and is now being released on vinyl. No CD, just a digital download if you don’t have a record player…which I don’t. So why am I reviewing this album? The answer is simple: it is the first album with a god-awful production that I’ve not immediately found intolerable. For that I felt Tundra deserved a mention on the website. That and the fact that it serves as a good context builder for future reviews.

That said, it won’t be a long review, as I have other releases that I want to squeeze in too. Billed as a band that will appeal to the likes of early Gorgoroth or Marduk, you will already know roughly what to expect if you take a listen to ‘A Darkening Sky’. A near three-minute instrumental intro kicks off the album in classic black metal style. However, far from it being a waste of time, I rather like the simple melody that sounds like it comes from the bass guitar, all the while becoming more and more enveloped by the eerie sounds of synths.

And then all hell breaks loose with the first ‘proper’ track, which also happens to be the title track. The guitar riffs sound like those classic ‘buzzsaw’ riffs that are the preserve of ‘trve’ black metal, the bass is just about non-existent, and the drums are battered to within an inch of their lives, albeit from a distance, so buried at the back of the mix as they are. The vocals are a tortured high-pitched, acidic shriek, and if I’m honest, I’m beginning to regret this latest experiment of mine. And then, from somewhere out of the mud comes a surprisingly pleasant melody, whilst the aggressive attack starts to have a positive effect. Don’t get me wrong, I’d not often pick this off the shelf to listen to, but it’s not as painful as I was expecting. Under all the fuzz and muffled noise, there’s a song there and it isn’t bad.

The same can be said for a handful of the other songs too. ‘Molested’ zips along at a nice pace, with moments of retrained elegance juxtaposed with some punk-like attitude and riffs to match, even a wailing lead guitar solo late on. The mid-section pause for breath features out of tune guitars, possibly deliberately so, alongside some rather cringeworthy pleading, anguished spoken-word cries for help. Who would have thought that I’d prefer the less decipherable heavy parts?

I also like the opening to ‘Ghostwood’, which sounds like it could have come from an early Cradle Of Filth album such is the melodic swagger that begs to be heard through the hiss of the production. And later on, do I hear a vague Iron Maiden vibe in the melodies that emerge from the murk?

However, all that being said, I’m a little grateful that the album only lasts for a smidge over 33 minutes because this is definitely my limit for music that sounds like this. I haven’t completely hated my latest attempt to enjoy a black metal record that features such a poor production, but it hasn’t given me the epiphany that maybe deep down I was hoping for either. In my opinion (and it is just my personal opinion), what could be a decent album is not far off being ruined by a production that doesn’t even try to let the instruments be heard properly. I get that this is intentional, and that it all adds to the dark atmosphere. But I’m a music fan because I like hearing the music; if I can’t, what’s the point?

The Score of Much Metal: 58%

Check out my other 2022 reviews here:

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Pure Wrath – Hymn To The Woeful Hearts – Album Review

Artist: Pure Wrath

Album Title: Hymn To The Woeful Hearts

Label: Debemur Morti Productions

Date of Release: 18 February 2022

It was back in 2020 that I came face to face with an impressive three-track EP by an outfit by the name of Pure Wrath. The EP was entitled ‘The Forlorn Soldier’ and it was predominantly the work of one man, Indonesian multi-instrumentalist Januaryo Hardy. I described the music on that EP as ‘melodic, atmospheric black metal with a symphonic and blackgaze element’. No wonder I liked it in that case – on paper, this is the kind of music that tends to be right up my street.

‘Hymn To The Woeful Hearts’ is the follow-up to that EP, the third full-length of Hardy’s career under the Pure Wrath moniker. To be more precise, this is a companion piece to the EP, a continuation of the themes and lyrical content which are actually incredibly raw, angry, and poignant. Given the stark and emotive cover artwork, the darkness that pervades this record is of very little surprise at all. In Hardy’s own words:

“The record serves as a dedication to a mother and survivor of the 1965 Indonesian genocide whose son was kidnapped, tortured and brutally beheaded. For more than fifty years she had to pretend everything was normal through every second of her sorrow, living under the shadow of the still-powerful perpetrators.”

Musically, ‘Hymn To The Woeful Hearts’ also takes up the baton of ‘The Forlorn Soldier’ by delivering six generally lengthy compositions of melodic yet aggressive, atmospheric black metal through which, a vein of melancholy runs unashamedly. Once again, Hardy is joined by drummer Yurii Kononov and pianist/cellist Dice Midyanti, thus ensuring a consistency of approach across the board. It means that anyone who heard ‘The Forlorn Soldier’ and enjoyed the experience will be in for a similarly positive listening experience here.

As if to underline my observation about the melancholy vein that runs through Pure Wrath’s music, the opening track, ‘The Cloak Of Disquiet’ opens with a rather solemn and poignant intro comprised of a lone cello and gentle acoustic guitars, atop what appears to be the quiet crackle of flames. The melody introduced at the outset is then reprised by the lead guitar as blastbeats, and cold, fast riffing, muscle their way to the forefront of the song. This is pure black metal territory; frosty and uncompromising but with a layer of majestic melody weaved in, accented by atmospheric synths along the way. The track ebbs and flows really nicely too, allowing moments of calm and quiet introspection to douse the aggression and increase the melancholy. The addition of a short spoken-word passage that I presume represents the mother in the story adds extra gravitas to what is a very classy opening composition.

As with previous efforts, the production is a touch lo-fi, with a harsh, gritty edge that harkens back to the late 90s. It actually suits the music well, although I have no idea if it deliberate on the part of Hardy and friends. Personally, I’d have liked a bit more bottom end to get the bass to feature more prominently, but otherwise it serves the music reasonably well.

My personal favourite track has to be ‘Footprints Of The Lost Child’, the longest piece on the record, clocking in at nearly ten minutes. After a typically brutal opening couple of minutes, there’s a noticeable increase in keys and it signals the introduction of a scintillating melodic passage, where the pace slows to a mid-tempo and then choral-like clean vocals enhance the whole solemn atmosphere with real aplomb. Again, the transitions between fast and slow are slick and smooth, never clunky or contrived. Acoustic guitars emerge from a heavier section, out of the shadow of a distorted guitar note that’s allowed to ring out and fade away. Joined by piano and cello, it is easily the more moving sequence on ‘Hymn To The Woeful Hearts’, even if I wish it was allowed to remain in place for longer. No matter though, because the ending has a wonderfully bitter-sweet nature to it; part crescendo, part incessant angry violence. It is simply stunning and has the power to capture even the most woeful of hearts.

Elsewhere, the surprisingly elegant, yet darkly foreboding ‘Years Of Silence’ is another quality affair. The synths are all over this one, whilst the drumming is an utterly relentless battery. Even when the lead guitar serves up a really nice poignant melody, as a piano tinkles, Kononov barely lets up his aggressive assault.

The final song is also the title track. An introspective and rather emotional instrumental, there is nothing ‘metal’ about it, and it ends things on an interesting note in my opinion. It features an additional guest guitar contribution from Nick Kushnir and, whilst genuinely sad in tone, it also strikes me on repeated listens and musings, as if there’s an element of warmth and hope about it, as if planting the first seeds of fleeting positivity in an impossibly raw and unimaginable reality.

When I reviewed ‘The Forlorn Soldier’ a couple of years back, I queried whether the music might lack enough variety and therefore suffer in the long-player format. Admittedly, ‘Hymn To The Woeful Hearts’ is only another 14 or so minutes longer, but Januaryo Hardy has answered me perfectly – there is no lack of variety here, no real moments where I switch off and disengage; from the first minute to the last, I listen intently and with real enjoyment. The music might not be the most original, the best produced, or the most immediately appealing release of 2022. However, it is most definitely and unequivocally worth every moment of your time, should atmospheric black metal even remotely be your thing.

The Score of Much Metal: 90%

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Dagoba – By Night – Album Review

Artist: Dagoba

Album Title: By Night

Label: Napalm Records

Date of Release: 18 February 2022

Never having listened to a single second of any of Dagoba’s previous seven albums, this review could have gone in any number of directions. However, the fact that I am offering my thoughts on it, should tell you that album number eight is not a car crash as far as I’m concerned. Billed for much of their existence as a modern industrial groove metal band, I wasn’t entirely sure what to expect from ‘By Night’, especially given the unashamedly 80s-inspired cover art, complete with a wolf and a Ferrari Testarossa, arguably the ugliest of the creations from Lamborghini’s inferior competition. With controversy like that to kick things off, how on Earth will my review of ‘By Night’ pan out?

Formed back in 1997, it would appear from this record, that the French quartet are on a mission to try new things and take their music in a different direction. As I span ‘By Night’ for the first time, my overriding thought was, ‘this is not at all what I was expecting to hear’. As the album came to a close, I even remarked on social media that I wasn’t sure whether I liked the music or not. I therefore decided to go in for a second listen. And it was on this second run through that I started to warm to the material. As I sit here now, I can state that I’m not enamoured by everything that Dagoba dish up here. But crucially, my overriding impression of it is positive.

Tentative electronic sounds creep out of the speakers with the introduction of ‘Neons’. As the music continues, it builds, creating a dark, futuristic soundscape upon which the guitars of Richard De Mello eventually emerge to increase the intensity, albeit in a measured fashion rather than all-out heavy attack. It’s an interesting start.

Another futuristic electronic sound ushers in ‘The Hunt’. With a solid beat from drummer Theo Gendron, pulsing bass work from Kawa, and a chunky riff, laced by repeated electronic sounds, this is more in the vein of what I was perhaps expecting, given the modern, industrial sheen. And then in comes vocalist Shawter, who is arguably the strongest weapon in the Dagoba armoury; at least on the showing here at least. Initially growling with real venom, he is a commanding presence at the front and centre of the track, and indeed many other songs on ‘By Night’ too. It’s a catchy composition that blends the heaviness with plenty of groove until the midpoint, at which point the song injects a very melodic section, with the introduction of clean vocals and a lessening in the aggression. I wasn’t expecting that, but I really like it, I must admit.

Up next is ‘Sunfall’, another track that starts off with menace and a really dark vibe. However, the chorus is full-on modern melodic metal, as Shawter unleashes a clean croon with a gritty edge and an impressive range, hitting high notes with seeming ease. In between the hook-laden chorus are growls, stop-start riffing, and a pleasant quota of metallic intent. As always, the keys play a prominent part in the song, delivering that modern sheen, and a softening of some of the harsher edges. This is possibly my favourite track as it stands right now, as those melodies are pretty irresistible.

By contrast, ‘Bellflower Drive’, whilst undeniably heavy, has a much more heavy ‘pop’ metal feel to it, not dissimilar to the likes of Amaranthe, but with Shawter providing the various vocal styles all by himself which is an impressive feat. I do like the cinematic orchestral closing segment too, I must admit; it’s a nice touch.

Another high point includes ‘On The Run’ which takes the pop metal stylings of the previous track and runs off with them into the distance. Benefitting from the addition of a female vocalist who isn’t credited anywhere that I can find on the Interweb, it is a glossy, immediate track, more in the vein of a ballad in terms of the slower, more measured tempo and the sprawling chorus. And that chorus is rather beautiful as well as incredibly catchy and addictive. I also like the addition of the piano notes in the introspective intro as well as later within the track.

If I’m being honest, I feel that the second half of the album is a little less interesting to my ears than the first half. That might be because the first half has some really strong moments rather than the second half being substandard. However, I do find my interest waning in the latter stages until I’m greeted by penultimate song ‘The Last Crossing’ which reintroduces the energy and urgency of earlier songs, as well as lacing it with another huge chorus that sounds great as it transitions into one of the biggest, chunkiest riffs heard anywhere on the album.

To bookend the record, closer ‘Stellar’ is another electronic-led instrumental that’s all about creating another dark, foreboding, cinematic soundscape. It’s a nice if a little unremarkable ending to ‘By Night’; I’d have preferred another punchy metal song to end on, but that’s perhaps just me. All in all, I find myself far more impressed and entertained by Dagoba’s latest effort than I expected after my first exposure to it. Whether hardcore older fans will like it remains to be seen, but I like it and there is something about it that draws me in each and every time. It isn’t perfect, and it’s not the kind of metal that I’d choose to listen to on a daily basis if I’m honest. However, if you’re looking for a professional, well put together slab of modern melodic metal that is keen to experiment with different sounds and ideas, then ‘By Night’ should definitely be on your radar.

The Score of Much Metal: 82%

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Arð – Take Up My Bones – Album Review

Artist: Arð

Album Title: Take Up My Bones

Label: Prophecy Productions

Date of Release: 18 February 2022

It has been quite a while since I was able to wallow self-indulgently in some melodic funeral-paced doom metal. However, Arð provide more than ample ammunition to allow me to do just that, and it’s a very welcome change of pace right now, one that I hadn’t realised I was missing until I spun this disc for the first time a couple of weeks ago. Since then, it has been a regular companion for me.

Arð is actually the creation of Mark Deeks, the keyboardist and co-vocalist of Winterfylleth. However, Deeks is much more than that; he’s a musical director, arranger, piano coach, conductor, and best-selling author, not to mention the holder of a PhD in Philosophy, focusing particularly on the topic of ‘National Identity in Northern and Eastern European Heavy Metal’.

Meaning ‘Native Land’ in the dialect of the Anglian Kingdom of Northumbria, Arð explores the relics of the famous Northumbrian Saint Cuthbert who lived between 634-687 A.D. on ‘Take Up My Bones’. The accompanying press release goes into much greater detail about the history of an area in the north of England that was originally much larger, encompassing much of what is now southern Scotland. However, as this is ostensibly a music review, as fascinating as the topic is to a fellow history fan, I will move on and allow you to delve into the ancient stories and myths that surround Saint Cuthbert at your leisure.

In bringing his musical vision to life, Deeks handles the vocals, rhythm guitars, bass, piano, and keyboards himself. As such, Arð is very much a solo project. However, Deeks has enlisted the help of others along the way including Dan Capp of Wolcensmen who takes care of all lead guitar, acoustic guitar, and back vocal duties, alongside drummer Callum Cox of Atavist and cellist Jo Quail.

Oh, and as a quick aside, certain record labels take note: Prophecy Productions are releasing this album in a range of formats, with no expense spared to ensure that the final product matches the music within…if only the same could be said of others, who seem more intent on world domination, than true value for money.

A word of caution at this point though: as I have found out the hard way, ‘Take Up My Bones’ is probably not a wise choice if you’re feeling a little glum. This is music that, unless you are made of stone, will have the power to move you. The combination of melancholy atmosphere, sedate pace, sorrowful melodies, and beautifully executed musicianship means that it can pierce even the toughest of skin and surround the listener with intensely maudlin emotion. Do not take this as a negative, as I’d not want anything different from music of this kind; that’s exactly the effect it should have. The power to touch people and their emotions is a powerful skill, one that only adds another rich layer to the music itself.

On that note, ‘Take Up My Bones’ begins with a bit of a bang, as the album lurches into existence via a heavy, lamenting riff, full of bittersweet melody and serene beauty despite the crushing nature of the guitars. The choral vocals that enter to enhance what was already an arresting intro are sublime, echoing the religious overtones of the central character within the story of the album. Suddenly however, the heaviness departs to be replaced by minimalist piano notes, sparing drums and a sorrowful cello, upon which Deeks talks with quiet, precise authority, not dissimilar to Aaron Stainthorpe of My Dying Bride in delivery. The song then ebbs and flows expertly, reprising the opening riff at points to juxtapose the quieter sections, the choral vocals seemingly taking on added gravitas each time. And the haunting, lead guitar notes that appear towards the latter part of the song only serve to convey yet more poignancy. Frankly, the rest of the album could be awful, but I’d buy ‘Take My Bones’ for this track alone.

Happily, this isn’t the reality with which I am faced, as none of the six tracks on this release show signs of weakness or a lessening in quality. The choral, a capella intro to the title track send a shiver down my spine, as does the ensuing quiet piano and cello section, that carries such sorrow. The atmosphere is cloying, suffocating, as an organ joins with the choral vocals to ratchet up the plaintive, almost heartrending soundscape laid before me. It takes until the halfway point before we hear a distorted riff, but when it arrives, it is so slow and methodical, happy to take up a supporting role to only enhance the key ingredient, the atmosphere. It’s more of a slow burner than the opener, but once it gets to you, it’s rather profound.

One of the most beautiful and epic songs has to be the nine-minute tour-de-force that’s ‘Raise Then The Incorrupt Body’. It begins slowly, with more in the way of strong atmosphere and choral vocals acting as the central focal point, before clean vocals are unleashed for the first time, surprisingly adept considering they’d been kept under wraps until now. The soft, mellifluous, yet unassuming delivery is perfectly accompanied by gorgeous gentle acoustic guitars and a piano, before an equally stunning lead electric guitar line weaves within the minimalist backdrop. With little warning, and well over half of the composition completed, it erupts in bittersweet, almost euphoric fashion. Stunning melodies combine with warm yet plaintive choral vocals, subtle piano, and a sublime lead guitar that carries with it all the hurt and anguish that the subject matter can possibly bring to bear. The way in which the song then gently fades away is the perfect ending to a stunning song.

I feel like I’m repeating myself, but ‘Boughs Of Trees’, an ostensibly instrumental track features, for my money, the most poignant and gorgeously fragile melodies on the entire album. The piece gradually builds from humble beginnings, layering the textures subtly and cleverly, almost imperceptibly at times. Before you know it, there are so many elements at play within what seems, at first glance, to be a relatively simple affair, al the while laced with the most moving of melodies. It is at this point that I can feel myself well up, overcome by the beauty and serenity that is caressing my ears.

In an effort to keep an already lengthy review vaguely brief, I will curb my verbal incontinence by stating that the final two songs, ‘Banner Of The Saint’ and ‘Only Three Shall Know’ see no let-up in the quality on offer from Arð. Following a largely similar pattern, they only further enhance the power and majesty of ‘Take Up My Bones’. The latter in particular, carries a sense of drama and sombre theatre that closes out the album perfectly. The funeral doom trappings are contained within lumbering, yet majestic riffs and carefully precise drumming, whilst those captivating spoken-word monologues of Deeks play an important part once again.

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. As such, if you feel like exploring the world of Saint Cuthbert in the form of simply stunning music, ‘Take Up My Bones’ by Arð is the very first place to start.

The Score of Much Metal: 94%

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2019 reviews
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Nocturna – Daughters Of The Night -Album Review

Artist: Nocturna

Album Title: Daughters Of The Night

Label: Scarlet Records

Date of Release: 21 January 2022

Today’s review is one of those ‘discoveries’ that I made when undertaking one of my famed late-night trawls through my promo accounts. Of all the genres of heavy music that I like, I’d place Gothic, symphonic metal lower down the list. I hate the term ‘female fronted’ because it sets the wrong tone, so I would prefer to refer to Nocturna as a symphonic power metal band with strong Gothic tendencies. It just so happens though, that the unique selling point for Nocturna is the fact that they have two vocalists, Grace Darkling and Rehn Stillnight, one operatic (Stillnight), one more traditionally ‘metal’ in delivery (Darkling).

Apparently, the band was created by Federico Mondelli (Frozen Crown, Volturian, Be The Wolf) but unless he goes by the pseudonym ‘Hedon’, his only involvement with Nocturna is the cover artwork. Joining guitarist Hedon, is bassist Antares and drummer Deimos. In videos that have been released, the three musicians behind the vocalists wear masks to cover their true identities, so it could literally be anyone under there.

Whoever they are, they make a decent racket, it must be said. After the ubiquitous instrumental intro, ‘Spectral Ruins’ I was ready to move on swiftly. The dark, Gothic, cinematic affair didn’t grab me and my mind started to wander elsewhere. And then ‘New Evil’ took over and to my shock and dismay, I didn’t immediately recoil from what I heard. An urgent lead guitar riff kicks things off before the symphonic arrangements join with an upbeat, galloping tempo. The music carries with it a decent heaviness, with the bass rumbling authoritatively, whilst the drumming is sharp and rather interesting. The vocal interplay between Darkling and Stillnight is also more engaging than I initially feared it might be too. I like the fact that you have the mix of styles that actually complement each other; the attitude and grit, counterbalanced by the smooth, soaring operatic delivery. Had it just been one or the other, I’d have more than likely got bored very quickly. Add to this a genuinely catchy and engaging chorus and my attention is well and truly caught.

If anything, the follow-up, ‘Daughters Of The Night’ is even heavier. Being the Man Of Much Metal, I welcome this revelation. The drumming in particular impresses me on this song, as does the lightning fast and chunky riffing that then gives way to an equally ripping solo whilst the pace of the song barely drops below ‘very brisk’. The melodies are pleasing to the ear too, making it two very solid tracks straight off the bat.

A word at this point to the production, which I also like. For once, I’m treated to a symphonic metal album that accentuates the metal portion of the material, rather than diluting it within the orchestral arrangements. You can also hear each of the instruments clearly, Antares’ bass never lost within the mix, further underlining the ‘heavy’ credentials of Nocturna.

The quality of music continues with ‘The Sorrow Path’ which, for the first time, sees the intensity lowered in favour of a slower ballad number. However, the vocals are really great from both singers, whilst the soundscape is rather majestic and full of pleasing melody. Yes, it’s a bit sugary, but it works and I really enjoy it.

The note of caution at this point in my review would be that Nocturna aren’t apparently interested in creating something massively original. You could liken moments within ‘Daughters Of The Night’ to most of the usual suspects that crop up when faced with music of this kind. And the fact that the press release suggests that Nocturna should appeal to fans of Nightwish, Within Temptation, and Epica amongst others, it suggests that the record label tend to agree. However, as I’ve stated in reviews previously, there is nothing wrong with not being original if the music that’s created is of a high standard. And in my opinion, Nocturna have created some great music here. In fact, ‘Daughters Of The Night’ is arguably more enjoyable to my tastes than both recent Nightwish and Within Temptation. For me, it’s the overt crunch and heaviness of the guitars, the powerful rhythms, and the vocal variety that works best, not to mention a really nice melodic aspect, with several choruses hitting pretty hard when they emerge.

‘Blood Of Heaven’ is a quickfire number that’s got real fire in its belly, as proven by the speed and aggression on offer; the drumming is incessant, the guitars really go for the jugular, almost thrash metal in style at points, especially at the immediate outset. And yet, the orchestral elements are bombastic, whilst the chorus is one of those aforementioned catchy beasts.

Towards the end of the album, there are a couple of less vital tracks. ‘Nocturnal Whispers’ is an unnecessary instrumental interlude, and despite the urgency, the final track, ‘The Trickster’ isn’t my favourite as it’s one of the more unremarkable compositions here.

That aside, there is much to like about Nocturna and I’ve taken to it much more forcefully than I ever expected. ‘Daughters Of The Night’ is one of those albums that reminds me how good this genre of music can be when all of the elements come together properly; it’s bombastic, it’s melodic, it is full of Gothic atmosphere, and most importantly, it is easily heavy enough to deserve the ‘metal’ tag. It might not be the most original of albums, but as I said before, it doesn’t need to be because the material speaks for itself and, as a result, the album is highly enjoyable. Do yourselves a favour therefore, and hunt out Nocturna and ‘Daughters Of The Night’ because you might be as pleasantly surprised as I am. In fact, I don’t think it is unnecessary and unwarranted hyperbole on my part to suggest that it’s quite possibly the best of its kind that I’ve heard in the last year or so.

The Score of Much Metal: 85%

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