2015

Ghost Ship Octavius – Ghost Ship Octavius – Album Review

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Artist: Ghost Ship Octavius

Album Title: Ghost Ship Octavius

Label: Independent Release

Date Of Release: 2015

What I’m about to say might shock you. There are some of you who might even vehemently disagree. But it is true, I can assure you.

I am human and I am fallible.

I know this for sure because I have dropped the proverbial ball from a great height. As you can see from the heading above, this self-titled album by Ghost Ship Octavius was released in 2015. Two years ago! Many of you will already be well aware of its existence and may even have it nestled within your collections. But I missed it. As I feverishly tried to cover as many releases as I could, this record passed me by. And by that, I mean that it really passed me by. I had to be gently nudged by a reader to even learn of its existence and to check it out.

And by heavens I’m glad of the prodding because this album is right up my street and I’ve thoroughly enjoyed listening to it over the past few weeks.

For those poor, unfortunate souls like me who are in need of a bit of background, Ghost Ship Octavius was formed in 2012 and this impressive record is their debut. Mind you, the quality of this album is hardly a surprise given the clientele involved. As a huge fan of Nevermore, my attention was initially drawn to the fact that the beast that is Van Williams sits behind the kit. Conducting a little further research has led me to understand that God Forbid guitarist Matthew Wicklund is also involved, as is Dagna Silesia who has worked with another member of the Nevermore alumni, Warrel Dane, on his solo material alongside Wicklund .Completing the line-up is vocalist Adon Fanion, a relative unknown but as it transpires, the owner of one hell of a set of pipes.

On paper then, the prospect of this band is very exciting. The reality is equally so. No damp squibs present, no deflated expectations. ‘Ghost Ship Octavius’ is a melodic progressive metal monster that’s not afraid to dip its toe into the realms of other metal subgenres.

Before I dissect a few of the tracks in more detail, there are a few more general aspects to this album that need to be mentioned. First, there are the performances of each member of the band which, as you might expect are highly professional throughout. But, intrinsically linked to this is the song writing. Well-executed instrumentalism only goes so far and will ultimately fail if it is not used to create strong compositions. Ghost Ship Octavius do not have this problem, as the music is incredibly well-conceived.

Being a melodic metal band, you’d expect there to be plenty of big choruses and hooks to pull you in. There are. Just about every one of the eleven tracks on this record provides some satisfying and addictive ear candy, be it overt or more subtly-placed.

Being a band with progressive leanings as well, you’d also expect the songs to have a fair amount of variety to them and for the music to offer something a little bit different. They do. There is more than enough virtuosity and technicality from each corner of Ghost Ship Octavius to supplement the melodies and the more immediate aspects of the music. Furthermore, there are several eyebrow-raising moments where the band goes all-out to intrigue and test the listener, something I really enjoy and fully welcome.

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If that wasn’t enough, there’s also a more intangible aspect to ‘Ghost Ship Octavius’ that has an effect on me, and that’s the vibe of the record. Melodic and progressive it certainly is but it is also extremely heavy and quite dark. As befits a moniker like Ghost Ship Octavius, there’s a slightly menacing and brooding underbelly to the album that I find compelling and refreshing for a melodic metal band. The lyrics, the atmospheres, the vocal delivery and a million other minute ingredients lend the music on this debut a morose and haunting aspect. I love it.

Throw in a robust production that also allows sufficient clarity and space for everything to be heard, even Silesia’s impressive bass work, and it becomes evident pretty quickly that we’re on to a real winner here. Everything about Ghost Ship Octavius screams quality, focus and purpose. It only serves to heighten my embarrassment for missing out on this album when it was released.

The album opens with ‘Saturn and Skies’. It isn’t a long track but it immediately throws down the Ghost Ship Octavius gauntlet. It has a vague Nevermore feel to it in the riff department, but this is a theatrical, dynamic and ambitious composition that has its own strong identity, changing tack frequently within its relatively short existence. Fanion’s vocals immediately come to the fore, displaying a huge range but also impressing thanks to his ability to convey emotion with genuine power and conviction.

‘Alive’ has a sinister edge to it, driven by the monstrously powerful rhythm section of Williams and Silesia. Wicklund indulges in several wailing solos but they are as melodic and emotive as they are dextrous and technical, meaning that they genuinely add to the song. A mix of all-out blastbeat-led power and quiet, contemplative sections, complete with string and piano embellishments adds to the sense of drama and theatrical grandiosity that permeates the entirety of this record.

The stomping opening of ‘Silence’ is delivered with pin-sharp accuracy, ultimately giving way to one of the best choruses on the album. After about the third spin, the melodies get right under my skin and they don’t let go. Its strength lies, I think, in the fact that it is so powerful yet is also quite subtle, with Fanion showing restraint in his delivery, allowing his voice to be at one with the music rather than overpower it.

If the preceding few paragraphs have whetted your appetite, allow me to then introduce you to ‘In Dreams’. Buried within the middle of the album, it was the first Ghost Ship Octavius track I heard and was the one that made me realise the enormity of my mistake. Having listened to it several more times, I have to declare it to be one of the very best melodic metal tracks that I have ever heard. Everything about it is just about perfect. The riffs, in keeping with the entirety of the album, are fantastically muscular, the solos are exuberant, the bass is glorious, the drumming is thunderous and the vocals are superb. Then there’s the chorus, which is completely killer; hook-laden and hugely powerful, it slays.

It’s on this track that Fanion also produces arguably his best performance, full of anger and frustration during the chorus but something more measured, thoughtful and sorrowful in the quieter passages. I can neither confirm nor deny that I might have got a bit carried away when listening to this song on my headphones whilst walking the dog in my neighbourhood. But hell, music is meant to move you right?

Elsewhere, the introduction to ‘Pendulum’ is a thing of real beauty if you’re a sucker for the sound of a wailing guitar solo. It also ups the ante in terms of the band’s use of symphonic embellishments and is a wonderfully grandiose piece of music as a result, particularly in the more melodic mid-section onwards where there’s the sense of a group of musicians cutting loose a little bit. ‘Bloodcaster’ on the other hand, is one of the songs where the aforementioned eyebrows are raised thanks to its overtly quirky and borderline avant-garde nature juxtaposed by some of the most extreme music to be heard anywhere on the record.

‘Epitaph’ is a shorter blast of exuberant heavy metal underpinned by an insidious melody whilst ‘Burn Away’ has more of a power metal feel to it. Immediately melodic and up-tempo from the get-go, it then settles into more of a ballad-like composition. Fanion offers his most sensitive performance within yet another strong chorus, accented by a delicious piano that weaves itself nicely into the song.

I could go on because truth be told, ‘Ghost Ship Octavius’ doesn’t contain any filler material at all. This is a brilliant example of how wonderful melodic metal with a progressive edge can sound when done properly with care and skill, not to mention a clear vision and clarity of purpose from every member of the band. Become familiar with the name of Ghost Ship Octavius because if this is how good they sound on their debut album, just imagine what they might produce in the future. The mind boggles but I can’t wait.

The Score Of Much Metal: 9.25

If you’ve enjoyed this review, check out my others from previous years and for 2017 right here:

2015 reviews
2016 reviews

Vangough – Warpaint
Telepathy – Tempest
Obituary – Obituary
Fen – Winter
Havok – Conformicide
Wolfheart – Tyhjyys
Svart Crown – Abreaction
Nova Collective – The Further Side
Immolation – Atonement
The Mute Gods – Tardigrades Will Inherit The Earth
Ex Deo – The Immortal Wars
Pyogenesis – A Kingdom To Disappear
My Soliloquy – Engines of Gravity
Nailed To Obscurity – King Delusion
Helion Prime – Helion Prime
Battle Beast – Bringer Of Pain
Persefone – Aathma
Soen – Lykaia
Exquirla – Para Quienes Aun Viven
Odd Logic – Effigy
Mors Principium Est – Embers Of A Dying World
Firewind – Immortals
Slyde – Back Again EP
Sepultura – Machine Messiah
Deserted Fear – Dead Shores Rising
Kreator – Gods Of Violence
Borealis – World of Silence MMXVII
Pain of Salvation – In The Passing Light of Day

Pressure Points – False Lights – Album Review

Artist: Pressure Points

Album Title: False Lights

Label: 7hard Records

Date Of Release: 14 August 2015

So far this year, I’ve tried to keep my reviews current and up-to-date wherever possible. However, for one reason or another, this review is way overdue. For this, I can only apologise; both to the band and to the many people out there who I hope will become belated fans of the band after reading this.

The band in question is Pressure Points, a quintet from Heinola, Finland who have produced something rather tasty indeed in the form of their sophomore album, ‘False Lights’. Anyone who knows me will know that I am a sucker for great artwork and, on that score alone, Pressure Points get a gold star. And, if I still had the money to burn like when I was in my early 20s, I’d have bought this record blind after one look at the cover.

There have been occasions in the past where I’ve done this and been wholly disappointed by the music contained within. With ‘False Lights’ however, that is far from the case, as the aural content is every bit as alluring as the visuals. Citing the names of Porcupine Tree, Rush and Dream Theater as influences, you’d be forgiven for thinking that Pressure Points would be a blend of classic, traditional and modern progressive rock at the lighter end of the scale. In parts, this is actually an accurate summation of the music, where strong melodies merge with clean, soothing vocals, layers of keyboards and an almost laid-back vibe. At times, the output calls to mind the purveyors of the genre back in the 70s, whereas at others, the music is bang up-to-date and in keeping with more modern prog trends.

Indeed, the album kicks off in a manner that underlines these initial thoughts as a bold bass line from Janne Parikka ushers ‘Wreckage’ into life, followed closely by a soulful lead guitar atop swathes of lush keys courtesy of Veli-Matti Kyllönen that create a deep and welcoming atmosphere.

But then, just as you’re settling into the song, in comes something far heavier, far more aggressive and unexpected. The keys change to a more 70’s inspired sound but remain prominent in the mix. However, all of a sudden, they are competing with a melodic death metal riff and growled vocals from guitarist Kari Olli as the more extreme metal influences also cited by Pressure Points come forcefully to the fore. Interestingly, the sense of melody never dissipates and even when the more extreme elements are in full swing, the track is accessible and it maintains that progressive feel. Acoustic guitars, clean vocals courtesy of Olli and fellow guitarist Jaakko Lehtinen as well as passages of calm introspection that verge on ambience, all form part of this epic composition.

At ten minutes in length, ‘Wreckage’ is a brilliant opener. It has the time and space to flit from idea to idea as well as the instrumental prowess and songwriting nous to back up the ambition. It fizzes past with incredible panache and by the end, I’m left in a bit of a daze, equal parts impressed and stunned.

The thing is, ‘Wreckage’ is just the beginning. What follows is a further 45 minutes of music straddled over another five lengthy and equally ambitious tracks.

‘Between The Lies’ continues where ‘Wreckage’ leaves off in terms of blending the melodies and hooks with more extreme elements as well as a complex yet engaging song structure. I absolutely adore the mid-section where the foot is taken off the pedal and rich vocals come to the fore atop a more subtle and moving melody which segues into a ‘classic’ prog piano melody and then into more growls and harsh riffing.

‘Electric Shadows’ begins powerfully and more aggressively, pushing their death metal influences further than at any stage previously. Indeed, it takes well over a minute for the elegant melodies to enter the fray alongside more accessible vocals, this time courtesy of keyboardist Veli-Matti Kyllönen, whose delivery adds yet another welcome addition to the album. Some of the lead guitar work on this track happily contains echoes of Omnium Gatherum, a band with whom I have a pre-existing love affair.

The second-half of ‘False Lights’ continues in a similarly impressive vein as the first, with each of ‘Sleepwalk’, ‘Dance Of Coincidence’ and ‘In Desolation’, all offering something to impress me.

‘Sleepwalk’ manages to transform itself from an understated beginning to something far more urgent and charged by the mid-way point, dominated by an incessant riff that eventually opens up, under the constant nagging of more lead guitar wailing. ‘Dance Of Coincidence’ begins with a stunning piano melody that immediately catches my ear before diving into a frenetic black metal-esque work-out underpinned by strong drumming from Vili Auvinen but all the while retaining that striking piano melody at the core. After the ubiquitous quiet mid-section, the song then builds to a memorable finale, full of emotion and more great lead guitar work.

And then it’s down to ‘In Desolation’ to close out this album. Naturally, it does so in style and I particularly like the driving tempo of the song, the controlled aggression and the smattering of unabashed, euphoric melody that intersperses what is arguably the consistently heaviest track on the record.

What a find. I’d heard whispers from those that I trust, but I wasn’t truly prepared for ‘False Lights’. This is an album that will, if there’s any justice in the world, propel this Finnish band into the conscious of a much wider audience and force one of the big labels to take notice. If Pressure Points are not signed for their third album, I will personally lead the mutiny. Check this album out – I guarantee you’ll not be left disappointed.

The Score Of Much Metal: 9.5

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

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

Album Of The Year 2015 – Number 5

Well, here we are, into the final five places in my ‘Album of the Year 2015’ Top 30 countdown. Are you excited? I hope so. It has been a long journey to get to this point – late nights, early mornings and very little sleep in between. But it has been worth it, because it gives me the opportunity to do one of the things that I love the most: write about great music and those artists that deserve all the attention that they can get.

As always, a quick reminder that if you’re new to my blog, you can check out each of my choices from 30 down to 6 via the links at the bottom of this post. But without further ado, I give you the first entry in my Top 5 for 2015…

Number 5

Vanden Plas
‘Chronicles Of The Immortals: Netherworld II’
Frontiers Records

I have been a fan of Germany’s Vanden Plas. Ever since I discovered the enlightened path of progressive metal in my early 20s, Vanden Plas has been a constant musical companion. Theirs is a name synonymous with quality and as such, their entire back catalogue is worthy of your fullest attention. However, I’m here to talk about the 2015 release, ‘Chronicles Of The Immortals: Netherworld II’, not the brilliance of other releases like ‘The Seraphic Clockwork’ or ‘Beyond Daylight’ as just two great examples. Or ‘Christ 0’ or even ‘Far Off Grace’ as another two.

Happily, given their position at number 5 in my list, it goes without saying that ‘Chronicles Of The Immortals: Netherworld’ is magnificent. It is everything that you’ve come to want and expect from such a class act and more besides. AS the title suggests, it is the second of a two-part series of albums and in many ways continues both thematically, lyrically and musically where it’s predecessor ‘Chronicles Of The Immortals: Netherworld’ left off just last year. That record deservedly made it into my Top 10 of 2014 and garnered much praise within the review that I wrote for it, which can be read here if you so wish.

However, if anything, ‘Chronicles Of The Immortals: Netherworld II’ is even better. In saying that, there’s nothing that I can specifically point to in order to prove this statement. Instead, as brilliant as ‘Part I’ was, ‘Part II’ just has a slightly bigger aura to it, a feeling of an increased majesty and all of the component parts that make up the modern Vanden Plas sound are dialled up to 11 and delivered with a consummate professionalism, the kind of delivery that comes only from a band that ooze confidence and understand innately what they are trying to achieve.

I also reviewed ‘Part II’ for this blog and, for the sake of brevity for this post, I’ll just offer the link to it here: ‘Chronicles Of The Immortals: Netherworld II’.

So, why am I giving this record a spot in my Top 5 of 2015 exactly, and what can listeners expect? Well, the first thing to say is that had this record been released earlier in the year, it might well have been even higher in my list, it’s that good. For me, it is the utterly mesmerising blend of progressive heavy metal alongside an increased cinematic and theatrical sheen. Unlike many other progressive metal bands, the guitars are properly crunchy, the rhythm section contains a real bite and together, they create a glorious racket that assaults the ears throughout. In addition, the riffs are a mix of the complex and the gratuitous headbanging fodder which I like too.

Then there are the other elements which Vanden Plas add with aplomb without ending up sounding overly pretentious or cheesy. The keyboards are nothing short of brilliant, adding layers of richness to the already impressive sonic tapestry. Subtle one moment then all-out cinematic bombast the next, it is a great combination that compliments everything else within the compositions. Add to the melting pot some choral vocals as well as an occasional female voice to duet with Andy Kuntz and what you have is something rather special indeed.

Speaking of Mr Kuntz, his vocals are another reason for the strength of this release. Messrs Stephan Lill (guitars), Andreas Lill (drums), Torsten Reichart (bass) and Günter Werno (keyboards) all deliver the goods but Kuntz adds some passionate, heartfelt and powerful icing to the already impressive cake.

And after all that, I’ve not even mentioned one of the biggest strengths of ‘Netherworld II’: the melodies. Time and again, Vanden Plas manage to create music that’s complex, multi-layered and ambitious in the extreme but they never forget how to pen a proper tune. ‘Netherworld II’ is no different in that respect. Each and every one of the nine tracks on this record contain a chorus or a melody that will get stuck in your head in true ‘earworm’ style. That’s what keeps fans coming back for more and Vanden Plas understand this fully, delivering time and again.

For a full breakdown of individual tracks, please head to my in-depth review. In the meantime, for this post, I will conclude with the same conclusion I made within that review as it sums things up perfectly: ‘…‘Chronicles Of The Immortals: Netherworld II’ is a killer slab of adventurous, anthemic and sophisticated progressive metal. It cements the band’s place as a genre leader and shows what is possible when five musicians come together with a shared vision as well as the hunger, desire and willingness to produce something that clearly comes from the heart. I adore this band and you should too. Glorious stuff.’

And from previous years:

Album of the Year 2014
Album of the Year 2013
Album of the Year 2012

Album Of The Year 2015 – Number 6

Welcome to Day 25 of my ‘Album Of The Year 2015’ Top 30 countdown.

No long intro today, just a thanks for sticking with me through this mammoth undertaking and for any new readers, a reminder to check out my picks from 30 down to 7 via the links at the bottom of this post.

And with that, I give you my next choice…

Number 6

Caligula’s Horse
‘Bloom’
InsideOut Music

it might seem like a strange approach but I’m going to begin my overview of my sixth favourite album of 2015 with a minor gripe; I wish it was longer! ‘Bloom’ is comprised of eight tracks with a running time of around 45 minutes. For a progressive record, this seems just a little on the short side. Some might argue that it makes a refreshing change not to have to put aside a whole afternoon to listen to a prog record but to begin with, I felt just a little disappointed. Even now, I still wish it was a little longer.

Rather than view this as a negative though, I instead choose to look upon this gripe as a positive; if the music wasn’t so damn superb, the length of the album wouldn’t even be a consideration. As it is, so mesmerised am I by the compositions, that I just want them to go on for as long as humanly possible. Additionally, the relatively short running time just encourages more frequent repeat listens, something I can attest to wholeheartedly.

My full in-depth review of ‘Bloom’ can be read here, should you be interested. However, to quote a small passage from it: ‘‘Bloom’ opens with the title track where sounds of an acoustic guitar and nothing else seep into the senses for a few seconds before Jim Grey joins in with his beautiful voice. The melody is simple and effective and the whole thing sounds crystal clear and very rich and vibrant. On the very first listen, I looked across at my other half and, with headphones on, I mouthed ‘oh, this is good’, grinning broadly as I did so. A lovely emotive lead guitar joins the party before the track explodes at the half-way mark. Pummelled by something initially approaching a wall of sound, the melodic intent takes over and in a flash this three-minute opener concludes.’

What follows within the subsequent seven tracks is equally as impressive and fully engaging. A more detailed breakdown of each track can be read within my aforementioned album review so I won’t bore you with something quite so detailed here. Instead, what I want to focus on is the way in which ‘Bloom’ makes me feel when I listen to it.

Each composition packs a punch in terms of the sheer variety and the number of different musical ideas that are explored. This is properly progressive music but it is executed in a very sophisticated way so that the songs come across as just that: songs. Despite all the complexity and the intensity that Caligula’s Horse pack into this album, I come away from each spin with a different favourite track and cannot help but get fully immersed into the music. The combination of very clever and catchy melodies alongside an impressive lyrical depth and a perfect execution is a powerful combination that floors me every time. I genuinely get immersed into ‘Bloom’ every time I hear it and I find it impossible to just dip in and out. I have to listen to the entire record.

Furthermore, I find myself fully committing to the music. Whether it’s a chugging riff built around an intriguing time signature, a moment of quiet introspective contemplation, an emotional lead vocal line or any number of other things, ‘Bloom’ grabs me, beguiles me, challenges me and wraps me within a warm musical embrace from which it is hard to escape, not that I ever really want to if I’m honest.

To conclude, I return to my review: ‘How on Earth do I sum up an album that’s a good as ‘Bloom’ from Caligula’s Horse is? The answer is to not be fancy with the words and be honest. I absolutely adore this record and I consider ‘Bloom’ to be a modern progressive rock/metal behemoth that will leave a hugely positive impression on anyone who likes quality music that is as beautiful as it is subtle and ambitious.’

And from previous years:

Album of the Year 2014
Album of the Year 2013
Album of the Year 2012

Album Of The Year 2015 – Number 9

Welcome to day 22 of my ‘Album of the Year 2015’ Top 30 countdown. No great long intro today, just a reminder to check out my picks from 30 down to 10, all of which are linked at the bottom of this post.

Number 9

Amorphis
‘Under The Red Cloud’
Nuclear Blast

I mean, who doesn’t love a dose of folk-tinged heavy and melodic metal anthems?! I certainly do and given that few bands produce this kind of music so well means that unless Amorphis released an out-of-character rubbish record, this was always destined to feature somewhere in my list. The fact that ‘Under The Red Cloud’ could be the Finn’s strongest record since 1999’s ‘Tuonela’ (my personal favourite) meant that their inclusion had to break into this years’ top ten.

I wrote a full, in-depth review of this album around the time of it’s release. It can be read in full here. However, to quote a small passage from it: ‘As is the Amorphis way, the record is a little deceiving. Listen superficially and you’re confronted with ten tracks of well-crafted heavy rock/metal with big choruses, the gruff-meets-clean vocal approach of Tomi Joutsen and those archetypal folk-inspired embellishments. It’s a powerful set of melodic and instantly engaging heavy songs that delivers plenty of head-nodding fodder to get the blood really pumping. However, if you’re prepared to listen more carefully, ‘Under The Red Cloud’ can be even more rewarding. Do so, and that initial simplicity and apparent economy of song writing within the compositions give way to something entirely different. Amorphis, comprised of vocalist Tomi Joutsen, guitarists Tomi Koivusaari and Esa Holopainen, keyboardist Santeri Kallio, bassist Niclas Etalövuori and drummer Jan Rechberger are a more complex band than many give them credit for and this record demonstrates this comprehensively.’

It’s no word of a lie to say two things about ‘Under The Red Cloud’: Firstly, there is not a weak track amongst the ten on offer on this record and secondly, in spite of the instant hit of gratification that it delivers, the music just gets better with each and every listen, to the point where you press play and within a few moments of the opening title track, that broad grin returns bigger and goofier than the last time.

If the opener is a bona-fide anthem, then ‘The Four Wise Ones’ is nothing short of a full-on metal monster; it has the riffs, it has the almost exclusive gruff vocals that actually sound savage and yet, at it’s heart, it also has a soft, almost whimsical Celtic-sounding folk melody that helps to soften the edges and create the kind of addictive listening experience that Amorphis have honed and become ever-more famous over their twelve studio releases to date.

The other nice touch about this album is that it quietly nods in the direction of past sounds. From the black/death metal overtones of the ‘Tales Of A thousand Lakes’-era ‘Dark Path’ to ‘Sacrifice’ with its more modern anthemic and up-tempo framework, via more overtly progressive numbers such as ‘Enemy At The Gates’, there’s definitely a rich variety within the compositions that draws upon all of the knowledge and experience of this talented sextet. Add in those decadent Middle Eastern and traditional Finnish folk sounds and ‘Under The Red Cloud’ quickly becomes an irresistible listen and easily one of the band’s best yet.

And from previous years:

Album of the Year 2014
Album of the Year 2013
Album of the Year 2012

Album Of The Year 2015 – Number 12

Another day and another entry into my ‘Album of the Year 2015’ top 30 countdown. Just when I thought that I might run out of steam in the lead up to Christmas, I press play on the album that’s subject to today’s post and the juices start to immediately flow. When the music is this good, it begs to be written about. As we inch ever closer to the top 10, I feel reinvigorated and ready to tell the world all about the best music to be released in 2015. And what an insanely strong year it has turned out to be too. I’m writing about albums way outside the top 10 this year that in any other year would have easily bagged a top 5-10 slot; yup, it’s been that good.

If you’re new to this blog or this series, don’t worry, links to each of my choices from 30 down to 13 can be found at the bottom of this post. Enjoy!

Number 12

Soilwork
‘The Ride Majestic’
Nuclear Blast Records

Love them or loathe them, Soilwork have grown into one of the most important and influential bands within the burgeoning melodic death metal scene. I, of course, love them and have done ever since stumbling across them via ‘Steelbath Suicide’ circa 1998 when I was trying my best to buy up everything that that this particular genre could offer me. Up until this point, I’d have to refer to ‘Natural Born Chaos’ as the Gothenburg quintet’s finest hour and is a record to which I return frequently. I mean ‘Soilworkers Song Of The Damned’, c’mon that’s a killer composition, as are ‘Follow The Hollow’ and ‘Black Star Deceiver’. However, the decision just got harder in 2015 thanks to ‘The Ride Majestic’ which is unquestionably a special album with magic coursing through its veins.

Predecessor ‘The Living Infinite’ was an enormous and ambitious double-disc statement of post Peter Wichers intent. By contrast, ‘The Ride Majestic’ is the more honed and polished follow-up which proves that Soilwork, whatever the line-up and whatever is thrown at them, can go toe-to-toe with the very best within the melodic death metal genre.

The title track is a true statement of intent and a brilliant way to open up the album. Its strength is simply that it features a little bit of just about everything that Soilwork is known and loved for. Vocalist Bjorn ‘Speed’ Strid growls venomously and croons so majestically, flitting between the two so smoothly. And then, surrounding his vocal gymnastics is nothing short of a heavy metal anthem that builds out of a quiet clean guitar melody into an infectious, full-power riff before launching into a catchy, hook-laden chorus that immediately grabs the attention.

Soilwork have always been known for their big, almost pop-like choruses and if I’m honest, this is one of the big attractions for me; Soilwork know how to get their tunes lodged in the heads of their fans that’s for sure. On ‘The Ride Majestic’, it feels like this aspect of the band’s sound has been taken to a whole new level though, as there are catchy melodies and hooks all over the place.

‘Death In General’ benefits from a chorus that’s more immediate than a slap around the face whilst ‘Petrichor By Sulphur’ delights thanks to a pre-chorus and chorus that keeps giving whilst injecting a touch of melodic hard rock into the track. And then there’s ‘Enemies In Fidelity’ which features some of the most spine-tingling vocal work ever committed to disc by Strid. I’m not joking either, trust me.

All that being said, don’t for one minute think that Soilwork have gone soft, because they certainly haven’t. Indeed, their more extreme metal tendencies remain present and correct. Even within the more catchy numbers there are plenty of heavy, sharp riffs as well as blast beats and fast aggressive tempos – everything that the average metalhead will lap up. And then, just for good measure, there are the altogether more feisty and less melodic numbers, including ‘Alight In The Aftermath’ which is a harder, more savage beast than the aforementioned, as is ‘Phantom’ which dials up the black metal influences thanks to the caustic and raw feel to the staccato riffing.

And I cannot leave this album without mentioning the closing track, ‘Father And Son Watching The World Go Down’. Not only does it contain some of the most infectious melodies, it is an epic track that also dabbles with doom metal to great effect. It’s a stunning song.

I remain just a little unsure, even after several month of listening but I’m still mulling over the conundrum of whether ‘The Ride Majestic’ is Soilwork’s best work to date. The fact that I am still considering it must mean that it pushes ‘Natural Born Chaos’ very close. And it’s for this reason that ‘The Ride Majestic’ swaggers with ease and aplomb into my top 30 of 2015.

And from previous years:

Album of the Year 2014
Album of the Year 2013
Album of the Year 2012

Album Of The Year 2015 – Number 18

My Album Of The Year 2015 countdown marches inexorably on and today, I bring you my choice for Number 18. I hope you agree with this choice, it’s a great album.

Number 18

AudioPlastik
‘In The Head Of A Maniac’
Bad Elephant Music

AudioPlastik is the moniker given to a musical collaboration which will have fans of progressive rock or metal music very interested indeed. The trio that makes up AudioPlastik is fronted by Dec Burke, the vocalist for Darwin’s Radio and Frost* as well as being a well thought of solo artist in his own right. Dec also plays the guitar and is joined by the impressive duo of Simon Andersson (Darkwater, ex-Pain Of Salvation) and Threshold’s keyboardist Richard West. Excited? You certainly should be.

At times, collaborations of this nature fail to live up to the billing, much to everyone’s disappointment. That’s not the case here though as the final result on this debut album, the intriguingly-titled ‘In The Head Of A Maniac’, is every bit as good as you’d hope it would be.

When I penned the full review (click here for that), I struggled with an adequate description of AudioPlastik’s music. As a listener, that’s to be welcomed; as a reviewer, it leaves me with a bit of a headache. Eventually, I plumped for ‘a blend of melodic progressive rock, metal and pop with rich cinematic overtones’. Several months on, I still can’t do better, except to say that it still delights me when I listen.

Unlike many other prog collaborations, the guitars and bass courtesy of Burke and Andersson carry some real weight and therefore create a heavier foundation to the music than I was perhaps expecting. The riffs and timing signatures are often challenging and not of the ‘norm’, another important plus point for this kind of music.

West’s keyboards are another massively important factor in the AudioPlastik sound; without the blend of subtle embellishments and all-out symphonic and cinematic swathes of sound that bathe the music, much of the drama and depth would be lost. The keys never overpower the compositions but they do accentuate the rest of the music expertly and deftly to create a richness that has to be heard to be fully appreciated.

Those familiar with Burke’s other works will immediately recognise the vocal delivery but that’s no bad thing. Coupled with a superb melodic sensibility within the songs themselves, there’s a tangible sense of immediacy and warmth to counterpoint the more technical and complex elements. Just about every track on the record contains a hook, melody or big chorus to grab the listener’s attention and keep them coming back for more. Even when AudioPlastik are at their busiest and most ambitious, such as with ‘Bulletproof’, there’s room for a chorus to stop you dead in your tracks.

To conclude, I feel that I can only quote my original review, as it sums things up perfectly and remains as true today as it was some eight months ago:

‘I’m completely enamoured by this album. Almost imperceptibly, it has burrowed into my head and my heart and it refuses to let go. If your tastes dictate that you enjoy music that is rich and varied, deep and thoughtful, beautiful and genuinely unique, look no further than ‘In The Mind Of A Maniac’ by AudioPlastic. You won’t be disappointed.’

Album Of The Year 2015 – Number 19
Album Of The Year 2015 – Number 20
Album Of The Year 2015 – Number 21
Album Of The Year 2015 – Number 22
Album Of The Year 2015 – Number 23
Album Of The Year 2015 – Number 24
Album Of The Year 2015 – Number 25
Album Of The Year 2015 – Number 26
Album Of The Year 2015 – Number 27
Album of the Year 2015 – Number 28
Album of the Year 2015 – Number 29
Album of the Year 2015 – Number 30

And from previous years:

Album of the Year 2014
Album of the Year 2013
Album of the Year 2012

Album Of The Year 2015 – Number 19

Welcome to chapter 12 in my ‘Album Of The Year 2015’ countdown. I hope you’re enjoying this series as much as I am putting it all together.

A reminder that the positions 30-16 are very arbitrary and are only really ordered this way to allow a new blog post each day. These albums are equal in many ways and should be treated as such. If you’ve missed any of the previous posts in this series, links to each one can be found at the bottom of this post.

And with that, I give you the next featured album…

Number 19

Triaxis
‘Zero Hour’
Rocksector Records

From the heart of South Wales comes a band that does things the right way. A strong work ethic, abundant touring and a warm rapport and interaction with fans both in person and over the Internet. It’s no wonder that Triaxis have taken the title of being the metalheads’ metal band – they certainly deserve the accolade.

However, most fundamental of all, Triaxis maintain a steely focus on creating the best music that they possibly can. The result in 2015 is ‘Zero Hour’ the quintet’s third full-length album and what an album it is. I have been an admirer of Triaxis since their debut and I can safely say that ‘Zero Hour’ represents a big step up in just about every department. The riffs are more incisive, the melodies that little bit bigger and more infectious, the singing, the playing, the song writing; everything is just that little bit better, meaning that Triaxis have thrown down a massively impressive challenge to their rivals.

I penned a full review of ‘Zero Hour’ earlier in the year. If you want to read it, click here. I also interviewed the delightful voice of the band, Krissie, the result of which can be read here.

The overall sound of Triaxis is deceptively difficult to define, so I hope you’ll forgive a generous quote from my review which tackles this conundrum in a rather ham-fisted way if I’m honest:

‘…there are many nods to the thrash genre thanks to the aggressive and powerful drumming, the barrage of tight, incisive, fast-paced riffs and the overt attitude that vocalist Krissie conveys with her singing. However, in addition, there’s a demonstrable NWOBHM and classic metal vibe to much of the material. The likes of Iron Maiden and Judas Priest to name a couple are referenced thanks to Triaxis’ love of galloping tempos, harmonies and choruses that contain enough hooks to catch a blue whale. And then, there are also a few more modern twists for good measure, including a smattering of metalcore- tinged growls to compliment the clean voice as well as the occasional use of synths and sampled sounds away in the background.’

It isn’t my best example of descriptive prose but it gives the uninitiated a rough idea of what to expect. Of course, what I could have said was ‘if you love proper heavy metal, you’ll love Triaxis’. That would have been far simpler and just as accurate to be honest.

Having lived with ‘Zero Hour’ for half a year now, what strikes me more than anything else is the subtle variety that’s on offer across the 12 tracks that make up this record. From the majesty of ‘Liberty’ to the thunderous battery of ‘Death Machine’ and from the NWOBHM-inspired ‘Terraform’ to the more melodic hard rock swagger of ‘Stand Your Ground’, this is a record that delivers on a number of levels and never gets old or stale; several months down the line and the music remains as fresh and vibrant as it did at the very beginning.

If there is any justice in this world, ‘Zero Hour’ should be the catalyst to propel Triaxis into the big time; you can hear and feel the confidence of the band, the music screams quality and every track offers something exciting for the listener. In the same way that I concluded my review, if you’re after a dose of uncompromising straight-up heavy metal, you need to hear this record.

Album Of The Year 2015 – Number 20
Album Of The Year 2015 – Number 21
Album Of The Year 2015 – Number 22
Album Of The Year 2015 – Number 23
Album Of The Year 2015 – Number 24
Album Of The Year 2015 – Number 25
Album Of The Year 2015 – Number 26
Album Of The Year 2015 – Number 27
Album of the Year 2015 – Number 28
Album of the Year 2015 – Number 29
Album of the Year 2015 – Number 30

And from previous years:

Album of the Year 2014
Album of the Year 2013
Album of the Year 2012

Album Of The Year 2015 – Number 22

Welcome to day 9 of my ‘Album of the Year 2015’ countdown. I sincerely hope that you’ve enjoyed reading my choices so far – if you’re new to this series, be sure to check out numbers 30-23 via the links at the bottom of this post.

I’ve yet to hear many dissenting voices to my picks thus far – you can’t all agree with me surely?! Please, let me know what you think, I do enjoy a good healthy debate!

But enough of that, here’s today’s main event…

Number 22

Agent Fresco
‘Destrier’
Long Branch Records / SPV

Formed in Reykjavik in 2008, Agent Fresco are a quartet that is comprised of vocalist and composer Arnór Dan Arnarson, drummer Hrafnkell Örn Guðjónsson, bassist Vignir Rafn Hilmarsson and guitarist/pianist Þórarinn Guðnason. My love of all things Icelandic is no secret but Agent Fresco have given me another reason for taking this wonderful country to my heart.

Many bands use real life experiences as inspiration for their music but with Agent Fresco, it’s a little more than that. Composer Arnór Dan Arnarson was savagely attacked one night leaving both physical and mental scars for a significant period. ‘Destrier’ is the album that channelled all those thoughts, feelings and experiences into something cathartic for the creator and something wonderfully magical for the listener. The vibe of the album is naturally quite dark but a sense of positivity and strength permeates throughout.

Credit: Birta Ra'n Photography — Credit: Birta Ra’n Photography

Musically, the album is a varied, multi-faceted affair where elements of math rock, prog, alternative rock, ambient, post-rock, pop and electronica all collide in a heady mix of ambition and a steely attitude that absolutely nothing is off-limits.

I penned a review of ‘Destrier’ on this blog earlier in the year. If you want to read it in full including a more in-depth exploration of individual tracks, click here. However, to quote a small passage, “the biggest thing that strikes me with Agent Fresco and ‘Destrier’ is the way that the album flows from start to finish really beautifully, taking the listener on a journey throughout. That journey is comforting, scary, beautiful, sad, thought-provoking and often quite sombre. However, it is a journey that is never dull, always captivating and calls you inexorably back for more.”

What I want to focus on, having lived with this record for several months since I wrote the review is its atmosphere and the feelings that it conjures up within me as I listen. Yes, ‘Destrier’ is a ‘progressive’ album in that it toys with several different and juxtaposing ideas throughout. But more than that, it possesses real depth and that journey that I mentioned previously, it’s one hell of an emotional rollercoaster.

In the moments of calm, I am transported to the wilds of Iceland where there’s literally nothing to keep you company other than the stunningly rugged vistas and an occasional wild pony. I feel comforted, warm and strangely calm. But then, around the corner comes a spiky riff or a moment of musical confrontation that takes on a much more sinister and dark edge. Then there are the moments of utter sadness where you’re left feeling almost bereft. Few albums this year have touched me in such a powerful way and that is credit to Agent Fresco.

Back to the music itself again and I really can’t speak more highly of it. Tracks like ‘Howls’ and ‘Let Them See Us’ are hook-laden and demonstrate an immediacy that will no doubt please many. However, ‘Destrier’ also boasts the likes of the pop-inspired title track, the moody and introspective ambient majesty of ‘Death Rattle’ and the stunningly sensitive ‘Bemoan’.

Put as simply as possible, if you don’t allow ‘Destrier’ into your life, you will miss out on a very special and magical aural experience that gloriously defies simple genre classification.

Album Of The Year 2015 – Number 23
Album Of The Year 2015 – Number 24
Album Of The Year 2015 – Number 25
Album Of The Year 2015 – Number 26
Album Of The Year 2015 – Number 27
Album of the Year 2015 – Number 28
Album of the Year 2015 – Number 29
Album of the Year 2015 – Number 30

And from previous years:

Album of the Year 2014
Album of the Year 2013
Album of the Year 2012

Album Of The Year 2015 – Number 28

Can you believe that it’s already day three of my 2015 ‘Album of the Year’ countdown? I hope you’re enjoying my series and although it is early days, perhaps you’ve discovered something new or I’ve managed to change your mind about an album. Who knows, but what I do know is that, as intense and hard work as this series is every year, I’m really enjoying myself. I just love talking about music and I love giving plaudits to music that deserves it. Nothing gives me greater pleasure than giving space on my blog to artists that have, in some way, made a positive impression on me.

A reminder that 30-16 are only loosely and rather arbitrarily numbered. They are all extremely good and worthy of attention, hence the increase from a top 20 to a top 30 – it was too strong a year to only pick 20!

If you’ve missed the previous two instalments, you can read them here:

Album Of The Year 2015 – Number 30
Album Of The Year 2015 – Number 29

Number 28

Avatarium
‘The Girl In The Raven Mask’
Nuclear Blast Records

Those that know me and my music tastes will know that I’m not the biggest fan of doom per se. I love the symphonic melodic death/doom but when it comes to classic, down and dirty classic doom rock/metal, I’m not always so keen. Today’s pick is, therefore, another early surprise in this year’s list.

Avatarium could be referred to as a ‘supergroup’ of sorts given that the band is comprised of bassist Leif Edling (Candlemass), guitarist Marcus Jidell (ex-Royal Hunt/ex-Evergrey) and drummer Lars Sköld (Tiamat) as well as vocalist Jennie-Ann Smith and keyboardist Carl Westholm. It’s a mouth-watering line-up for sure and they have well and truly delivered the goods with their sophomore release, ‘The Girl In The Raven Mask’.

The core of the Avatarium sound is very much doom rock/metal with a rich and organic 70s vibe, where the synths and keyboards pay homage to a bygone era of music. But not content to leave things there, the quintet have added their own stamp to the eight compositions on the record. The result is something that feels both familiar and unique. Progressive flourishes blend in with dash of psychedelia and a harsher edge at times to create drama, whilst a soulful edge is injected via both Smith’s charismatic vocals and Marcus Jidell’s guitar playing.

The title track is a heady opening to the album, featuring some great riffs and a tempo that’s utterly infectious. It’s Avatarium in full flow and the result is truly glorious. Other favourites include the more ominously ponderous and sprawling ‘The Master Thief’ which features some beautifully subtle lead guitar work, full of expression. Then there’s ‘January Sea’ with its melodic chorus and great vocals, whilst ‘Run Killer Run’ is a groovy beast that lodges itself instantly into my brain and won’t let go.

As classic-inspired doom goes, there’s nothing to match Avatarium in 2015. ‘The Girl In The Raven Mask’ is, as far as I’m concerned, the absolute pinnacle of this style of music and has to be heard by as wide an audience as possible.

Album Of The Year 2015 – Number 30
Album Of The Year 2015 – Number 29

And from previous years:

Album of the Year 2014
Album of the Year 2013
Album of the Year 2012

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