False Coda – Secrets And Sins – Album Review

Artist: False Coda

Album Title: Secrets And Sins

Label: Independent Release

Date Of Release: 31 October 2016

I get a lot of emails. Most of them are from PR companies, labels and bands asking me to take a listen to the latest ‘hot new thing’ or something along those lines. I do my best to listen to something of every album even if I don’t have the time to reply individually. I would hazard a guess that the percentage of music that I’m impressed enough with to review on the Blog of Much Metal is down somewhere around 30% due largely to the fact that much of it sits in a genre or subgenre that I’m not so keen on or because it’s simply not very good.

However, every so often I get sent something that piques my interest. A week or two back, I received an email directly from a Greek band called False Coda. I dutifully took a listen to a track on Youtube that features on the prog metallers’ sophomore album ‘Secrets And Sins’. Whilst not initially bowled over, I heard enough within it to press the download button and check out the entire album. And here I am reviewing it, meaning that it was a decision well made.

I suspect that False Coda might be a name largely unknown by readers of this blog. As such, allow me to offer a little insight into the band. Formed in 2009, False Coda are a progressive metal quintet that hail from the Greek capital Athens. The band was created by two brothers, drummer Andreas Milios and guitarist Vasilis Milios and after several apparent line-up changes, are now joined in their venture by vocalist Stefanos Zafeiropolous, bassist Nick Pogkas and keyboardist Lefteris Kapetanios. Their debut, ‘Closer To The Edge’ was released in 2014 leading to a support slot with Evergrey in 2015.

Nevertheless, this is my first exposure to False Coda and I cannot speak too highly of it.

After several spins through, not only does the music get better and more enjoyable, a few things become clear. Firstly, I love the warmth that emanates from the nine tracks. There are moments of heavier aggression littered throughout the album but nevertheless, ‘Secrets and Sins’ is a warm and inviting listen. It is also deceptively complex. False Coda are genuinely progressive in terms of technicality and the abundance of ideas within the music but, in a similar way to bands like Kingcrow, they are deceptively complex. The style of False Coda is to keep the songs very much at the forefront of their mind, so that you feel compelled to return for repeated listens rather than be put off by impenetrable technicality.

And, whilst it is fair to say that False Coda aren’t really offering anything massively unique or ground breaking, what they do is of an extremely high quality and increasingly enjoyable as time goes on.

Photo credit: Pavlos Mavridis

The opening track, ‘Throne Of Blood’ sets the tone for the album very nicely indeed. An almost oriental-sounding melody ushers in a vibrant up-tempo prog metal track, layered with synths, a great riff and a pounding rhythmic heart courtesy of Andreas Milios and Nick Pogkas. As the track calms down, in come the vocals from Stefanos Zafeiropolous and I’m a happy man as the delivery is very palatable indeed. As the intensity increases, there’s an increase in guitar chops and angry-sounding vocals as Zafeiropolous demonstrates he has an imposing bark to compliment his softer side. I return to that description of warmth, as the song then veers into vaguely jazzy territory, led by a keyboard solo and prominent bass work from Nick Pogkas. The central melody returns frequently, carrying the listener away on the crest of a memorable wave and as it comes to a close, I’m smiling from ear to ear. Have I have found a new progressive metal band to wax lyrical about?

Indeed I have, as the positives keep on coming. ‘New Paradigm’ offers a much more hard rock-influenced delivery. Again, the keys of Lefteris Kapetanios are all over the track, adding a great depth to the music but there are moments of magic from every corner of the band it has to be said. Guitar and keyboard solos, funky slap bass, intricate drum work and interesting vocals all vie for the listener’s attention as the track unfolds.

The title track is one of the longer pieces on the album, extending beyond the eight-minute mark but it is worthy of its extended length as it weaves plenty of different ingredients into the aural recipe. It begins with a dark vibe and lots of bold instrumental embellishments. Zafeiropolous even lets forth a growl or two as the aggression mounts before giving way to a strong melodic chorus that gets lodged in my head. A couple of the heavier riffs verge on more modern djent territory but instead of grating on me, I find them to be a welcome change of pace.

If anything, ‘Flickering Lights’ is even more memorable thanks to my favourite chorus melody on the entire album. It opens with this gorgeous motif before veering into something quieter, more brooding and with an electronic touch. However, before long, the truly epic-sounding chorus cuts in to blow me away. It’s thoroughly infectious and is enhanced by a passionate vocal performance, before being juxtaposed by a beast of a stomping riff, again overlaid by lashings of keys. A guitar solo then enters the fray over the central melody before the chorus returns one last time to close the all-too-short track with panache.

Lead single ‘Monolith’ creates an entirely different vibe as it experiments with 70s doom to deliver something much slower and more deliberate, not to mention darker and slightly sinister overtones. It is credit to the band that it works so well within its surroundings, showing how adept and open to experimentation these guys are. A guest guitar solo from Jeff Loomis (Arch Enemy, ex-Nevermore) is the icing on this particular cake.

‘Moment’ typifies that warm and welcoming feel that False Coda create so well. It borrows much from the likes of Dream Theater in terms of the tones and textures used and benefits from an exquisite extended guitar solo that ebbs and flows between fast and melodious, building to a point where it just lets go with glorious abandon. I’m a sucker for a guitar solo and this one from Vasilis Milios is just marvellous.

There are other excellent moments to be heard including ‘Truth And Lies’, complete with rich piano notes and gorgeous melodies, making it one of the most instantly likeable tracks on the album. Or moody closer ‘California’ which again produces a bit of curveball by being completely different to what has gone before, albeit delivering yet another spine-tingling lead guitar solo towards its conclusion.

When I find a ‘new’ progressive metal band that I like, I become very happy. However, False Coda have made me ecstatic with ‘Secrets And Sins’. It isn’t perhaps the most original of releases but it is so on-point with what it does, I don’t care. The performances are strong, but even stronger is the quintet’s ability to compose properly engaging songs whilst retaining a great deal of impressive technicality and complexity. This is real prog metal where the songs come first and as a result, I bloody love this record.

The Score Of Much Metal: 8.75

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

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

Crippled Black Phoenix – Bronze – Album Review

Artist: Crippled Black Phoenix

Album Title: Bronze

Label: Season Of Mist

Date Of Release: 4 November 2016

I love my blog. It gives me so much freedom to review what I want and, in the process, I can ‘discover’ a whole load of new music in the process. It also makes me realise, joyously, that as wide as my rock/metal knowledge is, I haven’t even begun to scratch the surface. I could study this music for a lifetime and still not get to grips with everything that it has to offer. Rather than frustrate me or scare me, this is a wonderful epiphany.

This review represents another new find for me, adding a new piece to the rich and ever-expanding musical tapestry to which I have devoted a large chunk of my life.

Crippled Black Phoenix don’t have the most aesthetically pleasing of names I’ll grant you, but get over this hurdle and you will discover some music with real merit. The band hails from here in the UK, was born in 2004 and is the brainchild of Justin Greaves, who is himself a multi-instrumentalist. Today, the collective has swelled to a princely eight members, with various interesting backgrounds and influences. Within the ranks are musicians who played with notable acts such as Iron Monkey, Mogwai and Electric Wizard. It is therefore no real surprise to learn that the output of Crippled Black Phoenix is every bit as intriguing and eclectic as their chosen moniker.

Intriguing yes, eclectic certainly, but in addition, add in the words enigmatic, multi-faceted and ambitious. Crippled Black Phoenix is most definitely a difficult band to pigeonhole and that’s a strength as far as I’m concerned. Central to the output on ‘Bronze’, the band’s latest offering, is without question a form of post rock but it is blended with a demonstrable 70s vibe, from the classic hard rock and Sabbath-esque metal of the time, to those more sludgy doomy climes. And then there’s the melodic side of the band which definitely has a wonderfully laid back, dreamy Pink Floyd feel at various points. To muddy the waters further is the ability of the band to change tack markedly between and even within songs, leading to the realisation that no two tracks are truly alike.

‘Dead Imperial Bastard’ is an intense opening salvo, full of properly oppressive and dark atmosphere, as well as a latent sinister feel which builds up the drama, only finally to give way of what I can only surmise is some kind of female tribal chanting. The chanting acts as the bridge between the opening song and its successor ‘Deviant Burials’. In fact, these strange soundbites, samples and spoken-word sections crop up frequently throughout ‘Bronze’ to add to the overall sense of drama and the somewhat abstract nature of the record.

Returning to ‘Deviant Burials’ and the tone of the song initially follows its predecessor in that it is dark and foreboding, but also melodic. Before too long though, in comes a mid-tempo doom-esque stomp of a riff at the back of the mix. As it slowly comes to the fore, the track explodes with power. Clean, droning vocals lollop on top of the hubbub, adding a lazy, hypnotic quality. And then the riff drops away to be replaced by a gorgeous segment that contains a wonderful melodic intent and a whimsical nature before it builds back up via a thunderous and memorable riff.

Despite being demonstrably present up to this point, the post rock influences really come to the fore on ‘No Fun’. It is a track that is dominated by a relentless rhythm, walls of distorted sound and softly-delivered vocals which help to create a sense of accessibility and grace amongst the otherwise punishing track.

By contrast, ‘Rotten Memories’ skips along to a more laid back blues-derived rhythm, enhanced by a melodic chorus, complete with piano and some of my favourite vocals on the entire album. It seamlessly segues into ‘Champions of Disturbance (Part 1 and 2)’, another urgent and intense instrumental workout, full of nice subtle touches within the general melee before changing tack starkly a little over the half-way point. The tempo increases, the guitars reach fever pitch, as does the rhythm section before the developing wall of post rock sound eventually gives way to a hugely loose and groovy riff-fest topped off by vocals that oddly remind me of ELO thanks to the chosen effects.

‘Goodbye Then’ is a quieter, more soothing proposition. Introspective and sombre, it is no less intense and in no way a lightening of the mood. The overriding theme of ‘Bronze’ is dark and moody, a theme that continues even when the pace is slowed. If anything, ‘Goodbye Then’ is greater of atmosphere and more claustrophobic than much of the material here.

The cover of Joe Walsh’s ‘Turn To Stone’ is an unexpected pleasure and is given a true Crippled workover to great effect, complete with guest vocals courtesy of Arvid Jonsson (Greenleaf).

I’m not sure what it is with brass instruments in rock and metal these days; there seems to be a proliferation of this ingredient of late and I retain a steadfast dislike of it I’m afraid. Therefore, when the brass makes an introduction within ‘Scared And Alone’, I can’t help but inwardly sigh. That said, despite my prejudices in this direction, the brass does play an important role within this melancholy and slow burning track, one that does strangely work alongside the minimalist soundscape and the fragile, reticent voice of Belinda Kordic. As the track inexorably builds, it blossoms into something rather special, a personal favourite I might suggest.

‘Winning A Losing Battle’ deconstructs at the mid-point to be replaced by some disturbing sounds and effects, not least the unsettling bellowing sound that shakes the very foundations of the Earth, or so it feels. What follows is equally odd, meaning that it is the quirkiest composition on the album, underlining that ‘ambitious’ tag that I slapped on the band earlier.

‘Bronze’ then closes with ‘We Are The Darkeners’, arguably the most immediate and anthemic song on the entire album. It feels as though the octet realise they are in the home straight and let go completely. The riffs are huge, the energy is palpable and the track just rocks out, underpinned by more quality melodies.

Having never experienced Crippled Black Phoenix before, I’m not in a position to compare ‘Bronze’ to the rest of the band’s back catalogue. What I can say though, is that ‘Bronze’ has impressed me to the point that I find myself wishing that all post rock albums sounded this good, this intriguing and this varied. Well done Crippled Black Phoenix, you have a new fan!

The Score Of Much Metal: 8.25

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

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

Edensong – Years In The Garden Of Years – Album Review

Artist: Edensong

Album Title: Years In The Garden Of Years

Label: The Laser’s Edge

Date Of Release: 30 September 2016

I’m always on the look-out for bands that may have slipped under the radar a little that are worthy of a little extra love and attention. Edensong are just one such band, having been alerted to their existence via a friend and fellow blogger on all things progressive.

To provide a little context and background, Edensong are a New York-based progressive rock band whose roots date back to 2002 although it wasn’t to be until 2008 that the band in their current ‘modern day’ incarnation was to release their debut album, ‘The Fruit Fallen’. Comprised of guitarist/vocalist James Byron Schoen, drummer Tony Waldman, keyboardist Stefan Paolini, bassist TD Towers and flautist Barry Seroff, Edensong clearly put a lot of time and effort into their recordings because ‘Years In The Garden Of Years’ is only their second full-length release.

To be more specific, this album has taken over five years to bring to fruition, a not-inconsiderable outlay of time, effort and dedication to the cause. And the cause for Edensong is all-out unashamed progressive rock and, in the case of ‘Years In The Garden Of Years’, a progressive rock concept album.

The eagle-eyed amongst you will have noticed the inclusion on a flautist in the line-up in the form of Barry Seroff. Whilst this doesn’t immediately mean that Edensong are a band doing their best to keep the prog of the 70s alive à la Jethro Tull et al, there is a certain amount of homage paid to the prog of yesteryear. That said, Edensong also have one eye firmly on the modern day and it is this blend of the old and the new, as well as rich and engaging compositions enhanced by the inclusion of string instruments and backing vocals from all corners of the band that makes ‘Years In The Garden Of Years’ such a pleasure to listen to. That and the fact that despite generally favouring acoustic guitars within their music, Edensong are not afraid to properly rock out and crank up the aggression just a notch or two when the need arises.

As is right and proper with prog music, it took a considerable investment of time and effort before I felt comfortable committing my review of ‘Years In The Garden of Years’ to paper. Even now, I find my feelings towards certain compositions changing slightly, albeit almost exclusively for the better mind you. There is just so much to get your head around; this is an album for those that are looking to immerse themselves and commit to the music because if you fail to do so, you will miss important, often subtle things buried within the vibrant layers of music.

‘Years In The Garden Of Years’ is comprised of ten individual tracks but the middle eight is effectively one long epic, broken into distinct sections. They can be listened to as stand-alone songs quite plausibly but having listened to the record in a number of ways over the past week or so, it is better enjoyed and understood as one homogenous piece of music.

‘Part 1: End Times In Retrospect’ sets things off and does so in a quiet sophisticated manner where a classic guitar and other string instruments take the lead before the introduction of a nice riff and some bold flute melodies and leads, not to mention the welcome introduction of some mellotron. Compliments should be given to the production at this point because it has a clear yet honest feeling to it, allowing nothing to get lost. The bass is often the instrument to suffer from a poor mix but that’s not the case here, far from it, as it plays an integral role in this instrumental piece.

In contrast to the overt progressive tendencies of its predecessor, ‘Part II: In The Longest Of Days’ is more straightforward in its construction and delivery, benefitting from some memorable melodies and a slightly heavier edge at times.

Other notable highlights include the deep, sombre and extremely beautiful opening to ‘Part III: The Hollowed’ and ‘Part IV: Down The Hours’ which contains a modicum of vocals but is largely an instrumental piece that vaguely reminds me of Shadow Gallery. It flits all over the place with gay abandon, taking itself wherever it wants. I really enjoy the piano flourishes as well as a great metallic riff which duels with the flute to great effect before allowing an indulgent guitar solo to take over supported by an eager bass guitar alongside.

‘Part V: Chronos’ is exclusively an instrumental piece that begins with a really lovely, warm and inviting piano and acoustic guitar melody, before veering off in all kinds of interesting directions. Featuring more modern electronic effects towards the end and a few more tasty swirling riffs to inject drama, the composition is a self-indulgent delight, bounding along with the energy and playfulness of a spring lamb.

‘Part VI: Generations’ is equally striking in that it has the dark brooding intensity of a post-rock composition, whereas ‘Part VII: The Atman Apocalypse’ is the sound of a band let loose and the result is a piece of music that comes across as a live studio jam, where almost nothing has been declared off-limits.

That leaves the final part of the epic, ‘Part VIII: which gradually builds from humble beginnings to a dynamic ending crescendo, full of power and drama.

Book-ending the album is opener ‘Cold City’ and closer ‘Yawn Of A Blink’. They are both strong compositions but the former in particular is an utter joy. Ushered in with a vibrant flute melody atop a bold rhythm, it is a distilled version of the entire album in so far as it contains a little of everything that is so good about Edensong. The song makes good use of light and shade to create a sense of drama and instrumental excess is writ large. It is then all backed up by a great vocal performance and an even better chorus that’s a true earworm, burrowing its way into my subconscious to strike when I least expect it.

There’s not much else to say about Edensong’s ‘Years In The Garden of Years’ except that it comes with a hearty recommendation from me and should appeal to anyone who is looking for some expressive, memorable and playful progressive rock in their lives. It doesn’t reinvent the wheel, but it does what it does very well, providing a huge amount of enjoyment in the process.

The Score Of Much Metal: 8.5

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

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

Opeth – Sorceress – Album Review

Artist: Opeth

Album Title: Sorceress

Label: Nuclear Blast Records

Date of Release: 30 September 2016

I debated long and hard about whether I should review this album. Normally, I try to shy away from writing reviews of albums that I’m not so keen on because I like to focus on the music and those albums which I like and believe are worthy of spending my precious spare time writing about. However, with Opeth, I felt compelled to pen something.

Let me start by saying very clearly that I have never really been an Opeth fan, despite somehow having almost the entire back catalogue in my possession. Try as I might, the music has never really clicked with me whatever the chosen approach of Akerfeldt and co. ‘But this is Opeth’, I keep telling myself, ‘everybody loves Opeth, so I mustn’t give up’. And I haven’t. Yet.

My favourite album, if such a one exists, is probably ‘Still Life’. However, this does not mean that I favour the heavier, death metal-infused days of the band. It just means that there are a couple of tracks on that record that stand out more than others. That and the fact that it was my first exposure to the band.

Indeed, to underline this point, I did find myself singing the praises of Opeth’s last full length, ‘Pale Communion’ to a certain degree. It found itself nestled in my top 20 albums of 2014, much to my own surprise. There were some stronger compositions and engaging melodies to be heard and I began to wonder whether I was beginning to fall under the subtle but strong Opeth spell. Thus, I was, for the first time, looking forward to a new album, eager to find out what they had in store next.

The answer is ‘Sorceress’, album number twelve in the Swedish band’s increasingly lengthy career than now adds up to over a quarter of a century. Given what I’ve said above, I have listened to ‘Sorceress’ frequently and without any bias or any preconceived ideas about what an Opeth album should be or how it should sound.

To describe the music as succinctly as possible, it follows the rough blueprint of both ‘Heritage’ and ‘Pale Communion’, making it the third album to feature a much more overt 70s-inspired progressive rock approach where more analogue and authentic instrumentation has been used to create the sounds and textures of the music. However, there are moments of heavier music weaved within this aural tapestry and it is fair to say that whilst it sounds unequivocally Opeth, it certainly doesn’t tread the exact same path of previous albums. I don’t think Opeth will ever do this to be frank.

Written over the course of six months but recorded in just twelve days at Rockfield Studios in Wales, the most noticeable thing with ‘Sorceress’ is the even more pronounced organic and ‘live’ feeling that the record has, as well as a sense of rawness and honesty in places. This is a very nice asset and for that, the band should be complimented. The adeptness of each of the musicians is also without question; here is a band made up of musicians that could probably play anything and everything with consummate skill and style. This prowess shines through on ‘Sorceress’.

Photo credit: Stuart Wood

Be that as it may, I have to now focus on the music. And, on the subject of the music itself, after lots of effort, I have to say that it just doesn’t do anything for me. Ambivalence is perhaps the most apt adjective regarding my feelings towards this record and I’m genuinely disappointed to report this. I have listened and listened in the hope that it might click with me and that I would discover that sweet epiphany. Sadly, it hasn’t happened.

The opening track, ‘Persephone’ is gorgeous. The melodies are sublime and I instantly love this rich, almost romantic-sounding acoustic guitar-led composition. At this point, I am very excited and cannot wait to hear more. Unfortunately, nothing within the ensuing ten songs even comes close to the opener and, if anything, that’s what I find the most disappointing more than anything else.

The title track follows however, and I’m immediately less smitten. The deliberately fuzzy tones are awkward-sounding to these ears and in spite of some incredible musicianship, I’m unmoved. The doom-esque heavy riff and associated stomping groove is a very nice touch which I warm to a little more whilst Akerfeldt’s clean vocals are nicely deployed. This is arguably one of the better tracks on the record and it has grown on me to a certain extent with repeated listens.

‘The Wilde Flowers’ takes over and, to be honest, it just plods on for close to seven minutes with little on offer that engages me. The instrumental prowess is clearly present but the melodies don’t do much for me. Again, it does get better the more I listen, but nowhere enough to encourage me to return on a frequent basis.

And so the pattern has been set. ‘Sorceress’ is an album comprised of sprawling 70s-inspired prog rock, lovingly created, expertly executed and beautifully produced. Unfortunately, to this jaded hack, I find the whole thing rather dull and uninspiring. I’m not for one second saying that this is a bad record because to say such a thing when confronted with so much evidence to the contrary would be foolish in the extreme.

I’m occasionally pulled from my thoughts by a succulent and moody guitar solo or, as in the case of the latter stages of ‘Chrysalis’, a properly engaging melody that speaks to me more forcefully than elsewhere.

However, too many of the melodies in general don’t do anything for me. The sounds, the textures, the atmospheres – for the most part, they leave me cold and, dare I say it, rather bored. Too much of the record is too dreamlike and whimsical for my tastes, meaning it just floats by unremarkably.

‘Sorceress 2’ is a fine example of this, as is the bulk of ‘Will O The Wisp’; neither register with me and I suddenly realise that they have finished and I’m listening to a different song. Equally, ‘The Seventh Sojourn’ is a song that I would skip if I was paying sufficient attention.

I couldn’t care less about the ‘where’s the growled vocals’ arguments or the ‘they shouldn’t be called Opeth anymore’ whining. As far as I’m concerned, these arguments are academic and pointless. I simply and regrettably don’t engage with the music that I am being offered here

‘Sorceress’ will certainly appeal to a large number of fans of the band, those fans who are capable of accepting the fact that Opeth are well and truly a different band when compared with the early days. The content is simply too good for this to not be the case. Unfortunately, I have to be honest and say that I’ve given ‘Sorceress’ a decent go but it simply isn’t for me. Maybe Opeth will convince me with lucky album number thirteen? I hope so, but I seriously doubt it.

The Score Of Much Metal: 6

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

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

Messenger – Threnodies – Album Review

Artist: Messenger

Album Title: Threnodies

Label: InsideOut Music

Date Of Release: 22 April 2016

It’s no exaggeration to say that the UK progressive music scene enjoying a period of rude health at the current time. To the already impressively-swelling ranks, you can now add the name of Messenger, a London-based quintet who bring accomplished musicianship and a plethora of personal influences to the table to create their own distinctive brand of progressive rock.

It is hard to believe but ‘Threnodies’ is just the second album from this young band who only sprang into existence in 2012. Throughout the seven tracks, you can hear the blend of youthful exuberance and a seasoned professionalism that belies their age.

And yet, despite this, ‘Threnodies’ has been a hard review to write. On the one hand, I know that the music is high in quality and with enough originality to intrigue listeners. However, from a personal point of view, I cannot seem to fully warm to the final product. I have tried an awful lot to like this record more than I do, but something stops me every time. I quite like the music and I respect the band. But I just fall short of having an emotional connection with it and I don’t get that overwhelming urge to press repeat like I feel I should. It’s intensely frustrating.

The melodies are present and correct, there is plenty in the way of variety and the record demonstrates a fondness for days gone by whilst remaining fresh and up-to-date. And yet…yet…aaargh.

‘Calyx’ opens up the album in a calm and considered way but develops into something quite dark and brooding . I’m reminded ever so slightly of the likes of Gazpacho at this point. However, as the song ploughs on, it builds almost imperceptibly, led by the impressive rhythm section of drummer Jaime Gomez Arellano and bassist James Leach. It is almost as if the composition has two halves because, after dropping away to almost nothing, a heavier riff enters the fray alongside a prominent piano before the whole thing speeds up towards an epic and energetic crescendo.

‘Oracles of War’ is an entirely different beast. It does not hide its 70’s influences and is dominated by big doomy riffs courtesy of guitarists Khaled Lowe and Barnaby Maddick. It begins with a cheeky swagger and strong Sabbath-esque overtones. The keys of An Knight are very prominent, creating rich, nostalgic textures. The track offers much in the way of light and shade too, with tempo changes as well as fluctuating levels of intensity. In the latter stages, a really lovely guitar solo kicks in to echo Pink Floyd. The bass also catches the ear and the track drifts off on the crest of a folky, Floyd-inspired wave.

‘Balearic Blue’ opens in bright and breezy fashion with delicate vocals and soft guitar melody. The vocals remain quite relaxed and ethereal throughout whilst injecting passion into the performance. The track floats along really nicely, allowing that most beloved prog instrument – the mellotron – to shine.

‘Celestial Spheres’ features some very impressive guitar work within a framework that feels looser and more organic than that which has gone before it, creating a sense of carefree fun in the process. Again the 70s influences loom large but never overpower proceedings. Contrast that with the altogether more sombre vibe of ‘Nocturne’ which also dials up the heaviness quota in and around its altogether more introspective meanderings.

‘Pareidolia’ offers a folkier vibbe before ‘Threnodies’ closes with ‘Crown Of Ashes’. In keeping with the rest of the record it is a composition that offers much but in a subtle way. On one hand, it is a light and easy song on the ear but at the same time has a rather intense and mournful undercurrent.

After all that, have I managed to convince myself to like this record any more than before? Unfortunately, the answer is ‘no’, although what I will say is that I will return to it again in an effort to find that elusive epiphany that I’m certain has got to be lurking somewhere in close proximity.

If you’re a fan of really well constructed rich and sophisticated progressive rock, then please don’t let my review put you off too much. Indeed, I hope this review actually acts as a catalyst for people to give it a try for themselves. It is most definitely worthy of your full undivided attention and I have every confidence that my general malaise is very much the exception rather than the rule.

The Score Of Much Metal: 7.0

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

Svoid – Storming Voices Of Inner Devotion
Fallujah – DreamlessIn Mourning – Afterglow
Haken – Affinity
Long Distance Calling – TripsOctober 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 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

Album Of The Year 2014 – Number 12

I’m closing in on the halfway mark of this year’s Album of the Year 2014 countdown. Thanks to everyone for the support, comments, shares and general banter so far.

If you’re late to the party and have missed any of the eight posts thus far or you missed the countdowns entirely from 2012 and 2013, be sure to check out the links at the bottom of this post.

Number 12:

Haken
‘Restoration’
InsideOut

Today, I have broken all the rules. And by ‘all the rules’, I mean the one rule that I imposed on myself when I first started compiling these countdowns: the release has to be a full, ‘proper’ album in order to be featured. And yet, here I am giving a spot in the 2014 list to a three-track EP. Don’t blame me, blame Haken and their mind blowing brilliance. If the London-based proggers weren’t so annoyingly marvellous, I’d not have been forced into this move. My hands, as they say, were tied.

Courtesy of Sevcan Yuksel Henshall

To be fair, as will become clear during this post, Haken do pack in more content into this EP than many bands manage via a full release. I’m not being derogatory to the genre, far from it but heck, even these three tracks last longer than two grindcore albums played back to back! At well over 30 minutes, there’s certainly plenty to Enjoy here.

I reviewed ‘Restoration’ in full upon its release and the full unabridged version can be accessed here. However, for the purposes of this end of year countdown, here’s a truncated version.

Many of you will know that I’m a bit of a Haken fanboy. I have loved them since their debut but for good reason: they produce consistently magnificent music of breathtaking depth. They always have done and ‘Restoration’ is no different. The three compositions that make up this EP may indeed be loosely based on tracks from the bands 2007/08 demo days, but in true ambitious Haken style, they’ve been thoroughly re-envisioned, re-worked and re-produced in order to reflect the changing personnel and the experience gained since the demos were originally written. And the result is, frankly, stunning.

I won’t go into a detailed breakdown of each track in this post because my thoughts are committed to print elsewhere in the review. What I will say though is that the three compositions that feature on ‘Restoration’ represent some of the strongest progressive music that 2014 has produced. And when I mean progressive, I don’t mean that there’s an occasional tempo change or keyboard flourish. This is properly progressive music that covers just about all of the bases possible. 70s prog rock flamboyance rubs shoulders with heavy no nonsense djent-esque riffs, whilst quiet a capella sections are juxtaposed by soaring guitar leads and anthemic melodic breakdowns. And the ubiquitous instrumental passages never sound contrived; they fit seamlessly into the overall whole and there’s a wonderfully playful, almost mischievous nuance to some of them. It’s one of the ingredients that’s been with Haken since the beginning and serves as one of the bands’ big strengths.

Capitalising on the success of 2013’s ‘The Mountain’, ‘Restoration’ keeps the foot on the gas for one of the UK’s brightest exports and three songs or twenty, this release had to feature somewhere in my end of year best.

Check out the other posts in this series:

Album of the Year 2014 – Number 13
Album of the Year 2014 – Number 14
Album of the Year 2014 – Number 15
Album of the Year 2014 – Number 16
Album of the Year 2014 – Number 17
Album of the Year 2014 – Number 18
Album of the Year 2014 – Number 19
Album of the Year 2014 – Number 20

And if you’re interested, my similar countdowns from previous years can be accessed here:

Top 20 of 2012
Album of the Year 2013

Album Of The Year 2014 – Number 17

Another day, another band and another cracking album. I’ve been really pleased and grateful for all of the comments and interaction over my choices so far; it gives me the impetus to continue, even though it is impossible to please all of the people all of the time.

If you’ve missed my three choices to date, click on the links below to join the fun and games!

Album of the Year 2014 – Number 20
Album of the Year 2014 – Number 19
Album of the Year 2014 – Number 18

Pallbearer
‘Foundations Of Burden’
Profound Lore

I will be extremely honest and admit to the fact that this was one of the releases that I deliberated most over. Should it find a place in my list or should it not? This year has seen an unprecedented number of very high quality releases meaning that, in the words of politicians the world over, I’ve had to take some difficult decisions. However, when push came to shove, I knew that this album had to feature. The reason for my procrastination? I’m not normally that big a fan of doom metal. The more melodic and polished end of the doom spectrum, such as Swallow The Sun and Daylight Dies, I really enjoy and are firm favourites. But when it comes to the more traditional, some may say ‘proper’ doom, I’m not always so keen. ‘Foundations Of Burden’ however, is a different story completely. But why? Why this album?

At its heart, this record is pure old-school doom metal and therefore squarely fits within the genre I can normally take or leave. All bar one of the six tracks are lengthy, taking their precious time to reach their conclusions. The tempo is generally slow and the riffs are the kind of heavy, gargantuan affairs that you’d expect from this kind of music, shaking the very foundations of the Earth as they thunder out of the speakers.

For me though, it is the blend of raw brutality and melodic elegance that makes this album such a winner. For every crushing riff, there’s a sumptuous, immediate melody to pull you in and keep you hooked. Coupled with a really nice, organic production, there’s a genuinely simple elegance to the whole thing too. Blending elements of subtle prog, 70s psychedelia and plenty of groove gives the album a longevity that I often find lacking in other releases within this particular genre. Then, the use of three vocalists to share the microphone responsibilities is a masterstroke which then gives the tracks an identity all of their own whilst providing yet more variation upon the doom theme.

It is rare that I am so beguiled by a pure doom metal album. However for the reasons expressed above, Pallbearer have released a monster of an album which stands head and shoulders above all other ‘traditional’ doom metal released in 2014. In fact, it’s just about the perfect doom metal record. Give it a try and prepare to be won over too.

If you’re interested in reading my lists from the past couple of years, please click the links below and explore!

Top 20 of 2012
Album of the Year 2013

Album Of The Year 2014 – Number 20

Well, here we are again at year’s end. I can’t quite believe that another year has passed and that I’m embarking upon another end of year countdown. Much has happened over the past 12 months and in many ways I’m surprised that the blog is still going. External pressures and a growing family has meant that it is becoming increasingly difficult to find the time to update the blog. However, I view it very much as a labour of love and will therefore make the time somehow until it becomes apparent that the interest from readers is no longer there.

As with previous years, I will bring you my ‘Album of the Year’ in the form of a countdown from 20 to 1 over the next couple of weeks. I toyed with doing it in a less intensive manner but in the end, dismissed that idea. The reason is simply that I enjoy being able to offer mini reviews of the albums to explain my choices. The other benefit is that some of the featured bands may not receive that much exposure elsewhere and so I like to offer them their moment in the spotlight. After all, my blog is designed to talk about and expose great music.

I have given my list a lot of thought and I have wrestled with it for days. I might not have got it right and I may wish to alter my list the minute that it’s published. However, I can’t keep changing it and so I will finally commit. Without any further procrastination, here goes…

Number 20:

Opeth
Pale Communion
Roadrunner Records

This is one of the biggest names in this year’s countdown and is sure to be a choice that divides opinion. ‘This should be higher’ will inevitably be an accusation thrown at me. But those who know me will actually be more surprised to see Opeth in this list at all.

As previous posts have explained, despite being, in theory, a band that I should love, I have never been a big fan of Opeth. Consistently, I’ve dismissed the band’s output as ok, but nothing special. Not this time though and, with album number eleven I have finally ‘got’ Opeth. The irony is not lost on me that, as I finally take an Opeth album to my heart, many long-term fans are beginning to lose heart and lose interest with the quintet.

Beginning life many years ago as an extreme metal band, it does not sit comfortably with large sections of the fan base that Opeth have decided to gradually plough more of a 70s inspired prog rock furrow.

However, whatever you think of this ‘new’direction, you cannot fault the musicianship which is once again of the very highest order. And I happen to think that ‘Pale Communion’ is a cracking album. In keeping with the 70s approach, the album feels organic, warm and extremely inviting. The melodies are sublime throughout, making this record one of the most instantly accessible in their catalogue; ‘Eternal Rains Will Come’ and ‘Faith In Others’ being great examples of what I’m talking about.

Most definitely rooted in prog rock it may be, but if you listen carefully enough, Michael Akerfeldt and co. have not entirely abandoned their metal roots as the closing segment of ‘The River’ ably demonstrates.

This album is wonderful and has achieved what I thought was impossible: a desire to go back and explore the Opeth back catalogue to see if there’s anything I’ve missed first time around.

Remember, you can still check out my 2013 countdown here and the countdown from 2012 here. Enjoy!