The Lurking Fear – Out of the Voiceless Grave – Album Review

Artist: The Lurking Fear

Album Title: Out of the Voiceless Grave

Label: Century Media Records

Date Of Release: 11 August 2017

I could be wrong but I’m pretty certain that Tomas Lindberg has never been involved in any band, project or record that has been anything less than solid. In fact, the vast majority of the material in which he has played some part, has been a lot better than ‘solid’, with much of it falling into ‘excellent’ or even ‘classic’ territory. It’s one heck of a list too, but most will be familiar with the Swede and his caustic gruff vocals as a result of his work with the peerless melodic death metal behemoth At The Gates. Personally-speaking, I also want to tip my cap to the criminally underrated Nightrage whilst I’m at it.

And now, not content with everything he has achieved to date, Lindberg pops up as the vocalist for The Lurking Fear, a brand new band that will naturally attract the dreaded ‘supergroup’ tag. Joining Lindberg is none other than his At The Gates sticksman Adrian Erlandsson, guitarists Jonas Stålhammar (Crippled Black Phoenix, God Macabre) and Fredrik Wallenberg (Skitsystem), as well as bassist Andreas Axelson (Disfear).

The band moniker is inspired by a short story written by H.P Lovecraft but apparently, that’s not where the inspiration finished, for it was musical inspiration that pulled this impressive quintet together in spite of their demanding day jobs. To illustrate this point, according to the press release, the guys came together and incredibly composed 18 songs in just two months.

‘Out Of The Voiceless Grave’ has since been trimmed down and thus features twelve tracks with a brisk running time of a little over 42 minutes. But what a 42 minutes it is, especially if you have a weakness for old-school death metal. This is a record that has clearly come from the modern era but which is imbued with many of the traits that made death metal so essential some twenty or thirty years ago.

What I hear is a record with a raw, nasty intensity to it as well as a bleak, suffocating atmosphere. The music is well-honed and tightly-performed but there’s enough fluidity to allow it to avoid sounding overly-precise or sterile. Instead, coupled with a production that blends the best of old and new, there’s an organic aspect to it, making it feel like the music lives and breathes.

Credit: Martin Ahx

The Lovecraft-inspiration doesn’t cease at the band moniker either, as a sense of darkness and foreboding, in keeping with the literature of the Victorian/Edwardian author, looms large over ‘Out Of The Voiceless Grave’ right from the off. The opening instrumental title track provides an unsettling and clandestine soundtrack, murky and depraved. It may be a wasted track for many, but importantly, it sets the tone of the album, a tone that’s consistent as the record develops.

Those left in any doubt about the rhetoric surrounding The Lurking Fear and their love of old-school death metal need only listen to the opening few bars of ‘Vortex Spawn’ to be convinced. It might not be the best track on the record but it is an opening statement of real intent, switching between all-out speed and swirling lead guitar solos to more of a plodding, doomy pace, allowing the guitars to introduce some memorable riffing in that ever-so-familiar tone.

Next is ‘The Starving Gods Of Old’ and as it kicks in, I can hear more than a touch of thrash within it. It is also a much stronger track overall, with a break-neck pace for the most part, juxtaposed with a smattering of groove and topped off by a wild lead solo that threatens to spiral out of control almost as soon as it begins.

‘The Infernal Dread’ reintroduces the sounds of the opening instrumental before delivering something a little more melodic and immediate. The sound of tolling bells is a nice touch, injecting a little more atmosphere into the music but regardless, this is a very strong track.

After a few spins however, the realisation dawns on me that ‘Out of the Voiceless Grave’ is markedly stronger in the latter stages. I like the ominous mid-section stomp of ‘With Death Engraved In Their Bones’ amongst others, but by track seven, the magic happens on a more frequent basis as far as I’m concerned.

‘Teeth Of The Dark Plains’ begins in standard bruising fashion but just after the mid-way mark, the guitars have some real fun, delivering something more NWOBHM within the confines of their extreme metal cocoon. It’s a masterstroke, proving that there is more to The Lurking Fear than just out-and-out savagery and I like this album all the more for it.

Some spoken-word samples are injected into a slower section of ‘The Cold Jaws of Death’, giving the track a vague Gothic feel, which I hadn’t anticipated, whilst closing track, ‘Beneath Menacing Sands’ slows the pace more consistently, and brings the record to an end in a much more ponderous and overtly melodic manner, albeit without losing any of that atmospheric darkness that fits the Lovecraftian themes so well. In between, both ‘Winged Death’ and ‘Tentacles of Blackened Horror’ deliver yet more powerful and deliciously caustic content.

I think it says something about my personal tastes as well as the strength of the death metal releases in 2017 that an album this good is unlikely to be at the top of my list this year. Nevertheless, if you’re after a lovingly and expertly crafted death metal album that embraces a bygone era of the genre with authenticity, then this filthy, raw album is the one for you, without doubt.

The Score Of Much Metal: 8.75

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

2015 reviews
2016 reviews

Prospekt – The Illuminated Sky
Wintersun – The Forest Seasons
Witherfall – Nocturnes And Requiems
Tuesday The Sky – Drift
Anthriel – Transcendence
Decapitated – Anticult
Cosmograf – The Hay-Man Dreams
Orden Ogan – Gunmen
Iced Earth – Incorruptible
Anathema – The Optimist
Solstafir – Berdreyminn
Dream Evil – Six
Avatarium – Hurricanes And Halos
Ayreon – The Source
Until Rain – Inure
MindMaze – Resolve
God Dethroned – The World Ablaze
Bjorn Riis – Forever Comes To An End
Voyager – Ghost Mile
Big Big Train – Grimspound
Lonely Robot – The Big Dream
Firespawn – The Reprobate
Ancient Ascendant
Pyramaze – Contingent
Shores Of Null – Black Drapes For Tomorrow
Asira – Efference
Hologram Earth – Black Cell Program
Damnations Day – A World Awakens
Memoriam – For The Fallen
Pallbearer – Heartless
Sleepmakeswaves – Made of Breath Only
Ghost Ship Octavius – Ghost Ship Octavius
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

BlogOfMuchMetal – Metal News – 24 July 2017

Well, while I’m on a roll, I may as well continue. And while so many bands are also on a roll of late it seems, I owe it to them to keep the news flowing.

If you’ve missed any of my other posts in this series, links to all of them can be found at the bottom of this post.

Jag Panzer release their first song off their new album.

Jag Panzer – The Deviant Chord
Release date: 29 September 2017
Label: SPV

Jag Panzer and I have never had the smoothest of relationships. I bought ‘Thane To the Throne’ many years ago when it was released but didn’t warm to it, so sold it soon after. Having gone back and listened to it again a few years later, I realise that I made a rather big mistake. They are obviously a band that requires time in order to acquire the taste.

This must still be true to this day because, on a first listen, I was not blown away by ‘Far Beyond All Fear’, the first song to be released off ‘The Deviant Chord’, the tenth album from the US power metal stalwarts. Subsequent spins have been increasingly positive to a point where I’m really rather liking it. The melodies are subtle, the riffing is satisfyingly chunky and there are plenty of solos. In fact, that galloping rhythm is very reminiscent of Iron Maiden. So what’s not to like, then? It bodes well for the entire album when it is released at the end of September.

The Haunted release another song of their highly-anticipated new album…

The Haunted – Strength In Numbers
Release date: 25 August 2017
Label: Century Media Records

The more I hear of this new album from The Haunted, the more excited I get. After the uncompromising and brutal blitz of the well-named ‘Brute Force’, the Swedes have released their second track ‘Spark’ which is a different beast altogether. You still get the harsh vocals and the big, bruising thrash-like riffs. But this time, the song contains more variety, more subtlety and arguably a more sophisticated vibe all-round.

And you know what? I dig this song a lot. It shows that The Haunted are growing and maturing all the time, with the confidence and ability to experiment just a little bit. I love the bass intro andthat quiet mid-song interlude – it is brief but the melody is continued for a time once things get heavier which is a nice touch, as is the more soulful lead guitar solo. There are hints within it to previous work but it still sounds fresh, interesting and has me very intrigued as to the overall sound of ‘Strength In Numbers’.

Confirmed release date and a non-finalised tracklist for ‘1755’ by Moonspell.

Moonspell – 1755
Release date: 3 November 2017
Label: Napalm Records

I seem to have been aware of a new album from Portuguese metallers Moonspell for ages. In fact, as early as March, I was gearing up for it.  As I confirmed back then, the record will be entitled ‘1755’ it will centre on the Great Lisbon Earthquake of that year. And, according to the press release, “the band has developed a lyrical concept that looks into the death and rebirth of Lisbon and how the disaster changed Religion, Politics and Philosophy in the whole of Europe.”

We were also told that it would be heavier than ‘Extinct’ and will be sung entirely in Portuguese. It might not be 100% confirmed yet but the track list would bear this out. And that is possibly the most intriguing thing about ‘1755’ – I generally love albums where the lyrics are not in English because there’s a greater authenticity with them and what they are singing about.

Momentum increases on the new Vanishing Point album, coming in early 2018…

Vanishing Point – TBC
Release date: 2018
Label: AFM Records

I have it from the horse’s mouth that the new Vanishing Point album will see the light of day in 2018. During a chat with guitarist and songwriter Chris Porcianko, he confirmed that whilst a date isn’t cast in stone yet, the new record was progressing well. However, it had to be delayed until early 2018 for various reasons. As soon as I hear news of a definite date, I will bring it to you.

Despite the 2018 date, I couldn’t help but bring you an update right now. Why? Because not only are Vanishing Point one of my favourite bands ever, updates from the melodic prog metal masters themselves suggest that the new music could be more in the vein of their 2000 magnum opus, ‘Tangled In Dream’. A top 5 all-time album, this is news that threatens a grown man’s bladder control.

To quote Porcianko directly, he actually said of the new record: So far the new Vanishing Point album is a mix of Prog, metal , melodic metal , hard rock and AOR…There’s a little bit of something in it for everyone…Fans of Distant is The Sun and Tangled In Dream will like it I think.’ No wonder I’m bursting with excitement! So here’s some solo action for us all to enjoy.

https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2Fchris.porcianko%2Fvideos%2F1653026798044753%2F&show_text=0&width=222

Orphaned Land confirm new album in early 2018…

Orphaned Land – Unsung Prophets and Dead Messiahs
Release date: 26 January 2018
Label: Century Media Records

In a similar vein to Vanishing Point above, I felt compelled to comment about this confirmed release, even if it is destined to see the light of day in 2018. Israeli band Orphaned Land are a special outfit; not only do they create superb melodic progressive metal, but they have managed the seemingly impossible: brought fans of all faiths and backgrounds together in a collective love of music.

It has been quite a while since the quintet last gave their fan base some new music; five years in fact. And given how superb their last record, ‘All Is One’, I am climbing the walls waiting for this new album.

With no new snippets of music to bring you, instead, allow me to remind you just how good their last album was.

Previous updates:

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

BlogOfMuchMetal – metal news – 22 July 2017

Hello and welcome to the latest post in this series after a bit of a hiatus, where I bring you the latest confirmed news within the world of rock and heavy metal. This series does not require the use of a crystal ball, which can sometimes malfunction with embarrassing results. No, this is a series that works on facts, on the news that I know to be true and which I bring you because I found it exciting and I’m therefore sure that you will find it exciting too.

Today’s post focuses on some of the new songs that have been revealed ahead of the full album release later in the year.

And if you’ve missed any of my previous posts in this series, links can be found at the bottom of this post.

Threshold – Legends of the Shires
Release date: 8 September 2017
Label: Nuclear Blast

Well, if you’re going to release a new song and an accompanying video, it might as well be a ten-minute monster mightn’t it? Especially if you are prog as all hell eh? So that’s what Threshold have done. Not content to compose a double album for the very first time, the UK progressive metal band have also announced a change of singer, ditching Damian Wilson in favour of a return to Glynn Morgan. And now they have released the first track off ‘Legends of the Shires’, the monumental ‘Lost In Translation’. If, like me, you are a massive Threshold fan, it’s a great time to be alive.

I’ve only listened to this song about 17 times, so I’m in no way able to dissect it quite yet. For that, you’ll have to wait until my full review later in the year. However, for now, all I can say is ‘wow’. Morgan sounds really good on this track, giving the music a whole new dimension. The prog elements are really pronounced which I like, particularly in terms of the changes in tempo, tone and with the bold keyboard sounds in places. But that chorus. Those melodies. Boy, oh boy is this one hell of an anthem. Just take a listen and tell me that you disagree. On the strength of this track, I have such massively high hopes for the full album, it’s ridiculous.

Subterranean Masquerade – Vagabond
Release date: 1 September 2017
Label: ViciSolum Productions

In typical Man of Much Metal style, about five minutes after I publish a blog post, one of the bands featured releases the first track off their new album. The culprits this time are Subterranean Masquerade, with ‘Nomad’, taken from their upcoming release, ‘Vagabond’.

In keeping with their last record that I thoroughly enjoyed, it will take some time to get fully to grips with the music that this band creates. However, a couple of listens in and the signs are extremely positive. I hear echoes of Amorphis in parts of this track but despite this, the final result is definitely unique. Complex and ambitious yet catchy and unexpectedly immediate with a smooth and rich sheen, Subterranean Masquerade may just have hit upon a winning formula, one that may pull me deeper under their spell. I can’t wait to hear more and bring you my considered thoughts nearer to the release of ‘Vagabond’.

Paradise Lost – Medusa
Release date: 1 September 2017
Label: Nuclear Blast

UK veterans Paradise Lost have to be one of my all-time favourite bands. Beginning my love affair nearly two decades ago with ‘Draconian Times’, I have never looked back…well, except for delving back into the Yorkshire gloomsters back catalogue of course. In so doing, I discovered the monumenatal ‘Shades of God’, a huge game-changer for me. I may not have liked the more ‘Goth’ or ‘pop-infused’ era, but of late, their albums have been tremendous, really harking back to their earlier halcyon days.

Cue ‘Medusa’, which is apparently inspired by another foray into the historic vaults. And, if this new track, ‘The Longest Winter’ is representative of the vibe and direction of the new record, we’re in for one heck of a heavy and doomy affair. Activate sarcasm mode: Oh no, how horrible.

Arch Enemy – Will To Power
Release date: 8 September 2017
Label: Century Media Records

Long term followers of my blog will be sick of hearing my thoughts on Arch Emeny. Whilst their stock has risen over the past decade or so, my liking for the band has nose-dived and I make no bones about the fact that ‘xxx’ is their last chance as far as I’m concerned. I’m sure Michael Amott is quaking in his boots at the thought of losing a slightly overweight and balding Englishman from his ever-expanding fanbase but I’ll be genuinely disappointed if I have to call it a day with a band that was so important to me at the time they released the majestic ‘Stigmata’.

So now we have ‘The World Is Yours’, the first track to be aired from the new album ‘Will To Power’…and it feels like Arch Enemy might have returned from the brink. There are still things that I don’t like so much, but in general, this feels like a proper song, something more akin to the music that the band can write when they put their mind to it. It goes without saying that the drumming and the guitar work is utterly insane and of the very highest order – the inclusion of Jeff Loomis is a BIG deal as far as I’m concerned. But more importantly, there is more to this song than just instrumental noodling and histrionics just for the sake of it. On the strength of this song, I’m feeling more hopeful than I was fearing…

Previous updates:

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

Essential rock & metal releases still to come in 2017 – Part 1

It’s true what they say – the older you get, the faster time disappears. I mean, it doesn’t seem possible that we are already half-way through 2017 for a start. And yet here I am. With my round-up of the best releases so far in 2017 under my belt, it is time to turn my attention to the future and consider what else is due to cross our paths this year.

If the first half is anything to go by, we’re in for a treat, I can tell you. I don’t remember a year where I’ve given out so many high scores. Unlike last year though, I have yet to bestow a perfect 10 on anyone, although the new Voyager album, ‘Ghost Mile’, Persefone’s ‘Aathma’ and Big Big Train’s ‘Grimspound’ all came deservedly close.

But enough about the past, here’s to the future…

Cradle of Filth
Cryptoriana – The Seductiveness of Decay
Release date: 22 September 2017

I was going off the boil regarding Suffolk’s most famous extreme metal export. I was a member of the fan club many years ago in my late teens having worshiped the likes of ‘Dusk…And Her Embrace’ and ‘Cruelty And The Beast’. But after a string of less-than-stellar releases throughout the noughties, I began to re-evaluate. That was until a couple of years ago and the release of ‘Hammer Of The Witches’. Their best since their heyday, it brought me kicking and screaming back into the fold. I now cannot wait for the next chapter in the saga of Dani Filth and co.

This next chapter is entitled ‘Cryptoriana – The Seductiveness of Decay’ and is due for release on 22nd September via Nuclear Blast. Watch out for the first single release very soon too.

Caligula’s Horse
In Contact
Release date: 15 September 2017

There are a huge number of excellent bands coming from Australia these days but alongside Vanishing Point and Voyager, Caligula’s Horse are one of the very best. Their previous album, ‘Bloom’ was superb, one of the best releases of 2015. In fact, the more I listen to this record, the better it gets – I should have placed it even higher in my end of year list, but hindsight is a wonderful thing. It is undeniably prog but it is intelligent, modern and full of the kind of swagger and assuredness that only the very best bands display.

The new album is quoted as being “an immense conceptual work”. Enigmatically-entitled ‘In Contact’, it is due for release on 15th September via InsideOut Music, one of the best and most consistent labels out there today. Just listen to the teaser trailer below and tell me this doesn’t sound exciting…

Leprous
Malina
Release date: 25 August 2017

It is an undeniable fact that Norwegian band Leprous are now regarded as one of the very best bands in the prog metal genre. They have yet to release anything less than extraordinary in their 16 year-career to date. And they are still young and still learning. But crucially, they appear to remain extremely hungry and out to prove that they deserve to build upon the accolades that they have rightly received so far in their career.

They have released a new track, ‘From The Flame’, from their upcoming new album, entitled ‘Malina’ which is released on August 25th. It remains very recognisable as Leprous but also a little different at the same time. In interview, the band describes the record as a ‘natural-sounding organic album’, but still modern with great songs. If that’s the case, and based upon the first single, count me in.

Arch Enemy
Will To Power
Release date: 8 September 2017

I’m no longer the biggest Arch Enemy fan, it has to be said. I loved ‘Stigmata’ and the follow-up ‘Burning Bridges’. But that was several years ago and since then, the Swedish extreme metal band with a penchant for over-the-top guitar histrionics have ditched original singer Johan Liiva, replacing him with first Angela Gossow and now Alissa White-Gluz. In fact, there will be a dwindling number of fans even aware that Liiva was ever involved now that the band have re-recorded those aforementioned albums. A bad move in my opinion, but what do I know?

Nevertheless, when a highly-respected fellow journo of long standing makes positive noises about the new material due to see the light of day in the near future, who am I to not take notice? Particularly when the positive noises refer to some brilliantly flamboyant guitar work, for which I am a sucker at the best of times. The door for Arch Enemy has not been slammed shut yet, but this is probably their last chance as far as I’m concerned.

‘Will To Power’ is due to be released on 8th September 2017 on Century Media Records.

Threshold
Legends Of The Shires
Release date: TBC

The Threshold camp has gone a little quiet since the rather shock news surfaced that the UK progressive metal band had parted ways for a second time with Damian Wilson. Aside from news that the band are looking for fans to take part in the shooting of a new video, we’ve not heard anything new about the new material. Until that point, we were fully expecting the new album, ‘Legends of the Shires’ to surface in the latter stages of 2017. I still think we will have the double record, it’s just a matter of exactly when.

It is also a matter of who will be the vocalist on the record, as I understand that the album had been recorded with Wilson behind the mic. I suspect it’ll be Morgan, but nothing as far as I’m aware has been confirmed. You wait, as soon as I publish this post, an announcement will be made. An announcement is also still to be made regarding the guitar position made vacant by the recently departed Pete Morten. Interesting times ahead for one of my favourite prog bands.

Iced Earth – Incorruptible – Album Review

Artist: Iced Earth

Album Title: Incorruptible

Label: Century Media Records

Date Of Release: 16 June 2017

The phrase ‘only time will tell’ features a lot in music reviews, certainly in mine. Over the years, I’ve had to listen to hundreds of albums and put pen to paper in double-quick time to submit my thoughts in time for the deadline. All too frequently, I have to make a snap decision about whether I like something and sometimes I’ll add in the caveat ‘only time will tell’ to buy myself a little breathing space regarding a record’s long term status and whether it’s a classic or the band’s best. Sometimes, I get my reviews right and sometimes I get them wrong.

When it comes to Iced Earth, I have to hold my hands up and admit to getting it very wrong. I’m a long term fan of the Indiana metal band, discovering them in the late 90s via ‘Something Wicked This Way Comes’. This is the album lauded by many as the band’s best and I certainly hold it in high regard. However, with interest piqued, I delved into the back catalogue and I also enjoy the vast majority of their earlier material, favouring ‘Night of the Stormrider’ if my life depended on it. In terms of the post- ‘Something…’ era, I lapped up ‘Horror Show’ and ‘The Glorious Burden’, both of which are fabulous records. Their unique blend of classic metal, power metal and thrash has proved to be a potent formula amongst their ever-growing army of fans, myself included.

More recent output, beginning with 2007’s ‘Framing Armageddon: Something Wicked Part 1’ and ending in 2014 with ‘Plagues of Babylon’ garnered very positive reviews from me in the pages of Powerplay Magazine. However, as time has told, I don’t return to them as frequently as I thought that I would. If I want a fix of Iced Earth, I’ll tend to go for something older. In fact, as I type, I’m hard-pressed to remember very much from any of these more recent albums.

Many will point to the instability of the line-up and, in particular, the frequent changes of the vocalist. However, I think that’s unfair. Matt Barlow will remain a fan favourite since he stood front and centre over some of the best material of the band’s career. That’s unavoidable. However, Tim ‘Ripper’ Owens did an excellent job on a couple of records including the aforementioned ‘The Glorious Burden’ and then, after a brief return for Barlow with ‘The Crucible of Man: Something Wicked Part 2’, Iced Earth have since 2011, turned to ex-Into Eternity vocalist Stu Block to deliver their diatribes. And make no mistake; he does a very good job, sounding very similar to both Barlow and Owens when delivering in the lower and higher registers respectively.

The revolving door syndrome that has affected almost every other position within the band is not entirely to blame either, although it can’t have been the most conducive atmosphere in which to create high quality music. Neither can Schaffer’s ongoing medical problems which fortunately have never drastically curtailed his endeavours. At the end of the day, this is Jon Schafer’s band; he founded Iced Earth and he remains the central creative force, creating most the material and having a say in just about everything else.

With that said, all of the albums between 2007 and 2014 have some very good material on them and I’m in no way saying that they are bad. It is just that they haven’t stood the test of time with me.

This time around however, with no deadlines or time constraints, I could listen in more detail and form a much firmer opinion over the material. And the material in question is the ten songs that feature on ‘Incorruptible’, the twelfth album in the Iced Earth discography.

The accompanying press release sees the ever-confident and bullish Shafer referring to this album as one of their strongest and whilst I approached this hyperbole with caution, I now must agree with him. Having allowed this album to burrow deeper into my brain than many others, I feel much more confident in delivering a very positive review of ‘Incorruptible’. I shall go so far as to stick my neck out and venture that this record is the best material to emanate from the Iced Earth camp since ‘The Glorious Burden’, possibly even longer. Indeed, alongside vocalist Stu Block, in-out drummer Brent Smedley, bassist Luke Appleton and new lead guitarist Jake Dreyer, Schaffer has clearly hit a rich vein of form with ‘Incorruptible’.

What I like about this album so much is that it manages to blend powerful riffs and heavy music with plenty of melody and strong choruses to make the music truly memorable and rather addictive. Add in to the mix a sense of theatrics, drama and storytelling for which Iced Earth have become known and synonymous and suddenly things start to stack up in the right way.

Given the dark album cover complete with the ubiquitous Set Abominae character, I was expecting something more along the lines of ‘The Dark Saga’ with this record. But what I actually get is more of a ‘Something Wicked…’ vibe, where just about every track delivers something that makes me bang my head, smile or reach for the repeat button. There will no doubt be some who suggest that Iced Earth are cynically trying to recapture the magic of ‘Something Wicked…’ but I humbly disagree. Of course there are some similarities but on ‘Incorruptible’, I hear some of that magic that has imbued all classic Iced Earth material, whatever the era, whoever the clientele.

Kicking off with a dark and theatrical, almost cinematic intro, ‘Great Heathen Army’ offers fans of this band a thoroughly rousing and raucous opening salvo. Block screams and croons with gusto, the rhythm section pounds away and those trademark fast-picked rhythm guitars of Schafer create some tasty riffs. The chorus is a bit of a grower too, blossoming into a full-blown anthem after a few spins.

One of the most ear-catching aspects of Iced Earth on this record though, is the lead guitar work of newbie Jake Dreyer. His lead breaks litter the opener but they have a genuinely melodic edge to them, transforming the solos into something more nuanced than just a gratuitous shred-fest. To further illustrate this point, just check out the fabulous ballad-esque ‘Raven Wing’, complete with lush acoustic guitars. It is here that Dreyer indulges in some lead work that is full of depth, subtlety and bluesy soul, as well as the necessary all-out shred. It doesn’t do any harm that the entire song itself is a well-crafted monster, but it is the lead work alongside the changes in pace and heaviness that leaves the greatest impression.

The variety of the music is also a definite strength of ‘Incorruptible’ too. This is not a one-dimensional album and it benefits greatly as a direct result. You get the mid-tempo stompers like ‘Black Flag’ which in itself is a muscular metal track laced with plenty of melody. And there are the more sombre and brooding compositions like ‘The Veil’ which arguably features my favourite chorus on the record, one that I find myself humming at the most unexpected of times, unable to dislodge it from my head.

Then there’s the short, sharp and intense thrash blitzkrieg of ‘Seven Headed Whore’ with its intro riff that’s instantly reminiscent of Slayer in their prime followed by the potent combination of machine-gun drumming and matching riffs. In contrast, ‘Brothers’ is imbued with a satisfying groove that’s infectious as hell.

‘Ghost Dance (Awaken The Ancestors)’ is an instrumental but far from being a snooze-fest, it is actually one of the most intriguing tracks on the record. I find the tribal vocals fascinating and a really nice touch whilst I’m genuinely taken by the pronounced, powerhouse drumming that is a firm feature of the track.

And ‘Incorruptible’ ends in fitting Iced Earth style with a slightly longer track, ‘Clear The Way (December 13th, 1862)’. At just shy of ten minutes, it isn’t the longest epic that Schaffer has ever penned but it does still pack a punch. Complete with occasional Celtic overtones, a certain amount of quiet homage to Iron Maiden and the sounds of war, it tells a story within the Battle of Fredericksburg to great effect. It’s a glorious romp and the perfect way to end such a glorious album.

Mind you, I’m struggling to pick out any of the songs on ‘Incorruptible’ that demonstrate a lessening of the quality as I genuinely like them all. In that respect, this has to be the most consistent record from Iced Earth for a significant number of years. In fact, as I alluded to earlier, this is without doubt their best release since ‘The Glorious Burden’ and it pushes the likes of ‘Horror Show’ and ‘Something Wicked This Way Comes’ as one of their best ever releases. In short, ‘Incorruptible’ is unmistakeably the sound of Iced Earth firing on all cylinders and I love it.

The Score Of Much Metal: 9.25

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

2015 reviews
2016 reviews

Anathema – The Optimist
Solstafir – Berdreyminn
Dream Evil – Six
Avatarium – Hurricanes And Halos
Ayreon – The Source
Until Rain – Inure
MindMaze – Resolve
God Dethroned – The World Ablaze
Bjorn Riis – Forever Comes To An End
Voyager – Ghost Mile
Big Big Train – Grimspound
Lonely Robot – The Big Dream
Firespawn – The Reprobate
Ancient Ascendant
Pyramaze – Contingent
Shores Of Null – Black Drapes For Tomorrow
Asira – Efference
Hologram Earth – Black Cell Program
Damnations Day – A World Awakens
Memoriam – For The Fallen
Pallbearer – Heartless
Sleepmakeswaves – Made of Breath Only
Ghost Ship Octavius – Ghost Ship Octavius
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

Dream Evil – Six – Album Review

Artist: Dream Evil

Album Title: Six

Label: Century Media

Date Of Release: 26 May 2017

Dream Evil have been knocking around the metal scene for many years, having been created before the millennium by the renowned Studio Fredman producer Fredrik Nordström. It was his burning desire to create his own power metal band and Dream Evil was the result. In the early days, the band featured the notable names of guitarist Gus G (Firewind, Ozzy Osborne) and drummer Snowy Shaw.

These guys have moved on, with Dream Evil now comprised of Nordstrom alongside lead vocalist Niklas Isfeldt, lead guitarist Mark U Black, bassist Peter Stålfors and drummer Patrik Jerksten. Nevertheless Dream Evil have remained steadfast throughout and ‘Six’ being, you guessed it, their sixth studio album to date, albeit following a hefty seven-year hiatus since ‘In The Night’ was released in 2010. However, on the basis of the music on ‘Six’, it might have been kinder for all concerned if Nordström and his merry men had moved on to pastures new as well.

Long term readers of the Blog of Much Metal will know that I am not the kind of person who takes any satisfaction from writing more negative reviews. So when I can only conclude that ‘Six’ is a distinctly average album with more filler than stand-out material, you know that I am not saying this lightly or for effect.

So why have I reviewed this then? I was actually interested in hearing the new album because I have a couple of early Dream Evil albums nestled in my collection and there is some decent material to be heard on them. And additionally, I have invested too much time trying to like this album to abandon it without committing my thoughts to paper. However, from the first spin, with no agenda or axe to grind, I simply found myself feeling thoroughly disappointed and entirely underwhelmed for the most part.

But let me begin with the positives, as no album is completely devoid of such things. For a start, I do enjoy the hefty guitar tones that deliver some decent riffs. They pack a fair punch, offer plenty of grunt and help to dispel the thoughts that power metal is a softer form of metal. The rhythm section is equally commanding and muscular, as demonstrated on the self-monikered opening track, ‘Dream Evil’. It is one of the few tracks on this record that’s a genuine grower, becoming a bit of a pulsating, headbanging anthem that I am sure will come alive on stage during the upcoming festival season.

The production must be mentioned as it is this that helps to lend the guitars, bass and drums such a rich sound. Naturally, this comes as no surprise given the clientele and it is where Nordstrom comes into his own, being the quality knob-fiddler that he is.

In terms of other songs on the album that are worth mentioning, there’s the brooding, slower-paced ‘Creature of the Night’ which features some of the strongest melodies on the album. ‘The Murdered Mind’ is a fun, breezier number with a pleasant chorus whilst ‘Six Hundred And 66’ offers some great grooves and arguably the catchiest chorus on the record.

Sandwiched in between though, are too many compositions that do very little for me. The musicianship is perfectly acceptable, very good in places. And that makes things even more frustrating because they clearly have the talent to produce a higher-quality or at least a more consistent product.

Then there are the lyrics. Now I’m far from a lyric snob and very often I couldn’t care less what’s being sung about if the music is of a high quality. But even I struggle to ignore the words that accompany some of the songs on this album. Take ‘Sin City’ as the perfect example. ‘…they met my older brother, who was rich, he was poor.’ C’mon, seriously? Then there’s the line in the same song: ‘the devil proved to be a really nice guy and they partied all night long. And those who always believed in God, admitted they were wrong.’ How are your toes? Have they uncurled yet?

I also have to be honest and venture the opinion that I’m not the greatest fan of Niklas Isfeldt’s vocal delivery. He has a powerful set of lungs with a decent range but I quickly tire of his higher-pitched tones which veer perilously close to annoying territory for my tastes.

And that’s about it. I could go on, but I’ll leave it there. Dream Evil have a lot going for them and when they get it right, they get it very right. Regrettably, their conversion rate isn’t that high on ‘Six’ and so for every decent track, there are two or three that fall flat. It’s a shame and I genuinely hate being negative, but I have to be honest. Sorry guys, I won’t be returning to this record any time soon.

The Score Of Much Metal: 6

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

2015 reviews
2016 reviews

Avatarium – Hurricanes And Halos
Ayreon – The Source
Until Rain – Inure
MindMaze – Resolve
God Dethroned – The World Ablaze
Bjorn Riis – Forever Comes To An End
Voyager – Ghost Mile
Big Big Train – Grimspound
Lonely Robot – The Big Dream
Firespawn – The Reprobate
Ancient Ascendant
Pyramaze – Contingent
Shores Of Null – Black Drapes For Tomorrow
Asira – Efference
Hologram Earth – Black Cell Program
Damnations Day – A World Awakens
Memoriam – For The Fallen
Pallbearer – Heartless
Sleepmakeswaves – Made of Breath Only
Ghost Ship Octavius – Ghost Ship Octavius
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

Firespawn – The Reprobate – Album Review

Artist: Firespawn

Album Title: The Reprobate

Label: Century Media Records

Date Of Release: 28 April 2017

My rekindled love and affection for old school death metal shows no signs of abating any time soon, certainly not when there are albums like these being released into the wild. ‘The Reprobate’ is the second full-length release from Firespawn, a band that hadn’t previously registered on my radar.

Formed in 2012 under the original name of Fireborn, Firespawn is nothing short of a ‘super group’. I know that this is an overused cliché, but given the personnel involved with Firespawn, it is impossible to describe them any other way. The bassist is Alex Impaler (Necrophobic, Naglfar (live)), whilst the guitarists are Victor Brandt (Entombed A.D., ex-Satyricon) and Fredrik Folkare (Unleashed, Necrophobic, ex-Siebenbürgen). Upon the drum throne sits Matte Modin (Raised Fist, ex-Dark Funeral, ex-Defleshed, ex-Infernal) and up front is none other than vocalist LG Petrov (Entombed A.D., ex-Nihilist, ex-Morbid) Now, you tell me that this isn’t one hell of a line-up?

The really great thing about Firespawn, above all else, is that this is clearly not a vanity project or a cynical cash cow.

“To be doing death metal in our 40s means that we love what we are doing and love our way of Life. I don’t think any of us could see us doing something else. This is who we are. Death metal is the path we have chosen. It’s not just a musical style. It’s a lifestyle.”

So says Impaler within the accompanying press release. And Brandt agrees:

“Even though death metal is something extreme, it feels and comes natural. It’s in our blood for sure. This is something we must do. I’m not interested in doing anything else. And we all like to work hard and get things done. Blessing and curse, I guess.”

I love this attitude and one listen to ‘The Reprobate’ and you realise that this isn’t empty rhetoric either. This album is too damn good to be as a result of anything other than a genuine desire to create the kind of extreme music that these guys all clearly adore. And, although the content on this album doesn’t really offer too much by way of innovation, that doesn’t matter as far as I’m concerned. This is unashamed brutal death metal in the old school Scandinavian mould but it sounds fresh, invigorated and full of malevolent, subterranean life. You can genuinely tell that these five guys love what they are doing. Going through the motions? Not a bit of it.

Bearing in mind the clientele involved, it will come as no surprise when I throw out the names of Necrophobic, early Entombed and Dismember as just a few of the more obvious reference points within the ten-track, 45-minute affair that is ‘The Reprobate’. But in addition, there are nods in the direction of Morbid Angel for example via the churning, molten riffs of the title track.

Speaking personally, what I enjoy most about ‘The Reprobate’ is the way in which the album is brutal and uncompromising as all hell, but that this is tempered throughout by plenty of groove, atmosphere and a surprising amount of melody, albeit somewhat understated and shy in the main. That said, the opening track of the entire album, ‘Serpent of the Ocean’, has a more pronounced sense of melody and as such, has to be one of the best death metal songs I have heard this year, maybe even longer. It begins with a sinister, twisted melody that’s atmosphere-laden but within seconds it is replaced by some stunning musicianship. It goes without saying that these guys can play but the pinpoint, razor-sharp delivery of the tumult that blows the intro away is phenomenal. The riffs are superb and the rhythm section, led by the insane blastbeats of Modin bludgeon without mercy. And then there’s the chorus which is like melodic groove mana from the pits of hell. It is brutal and uncompromising but thanks to the fast-picked riffing from Brandt and Folkare, there’s a wonderful layer of melody that’s completely irresistible. And on top of it all are Petrov’s unmistakeably malevolent growls that top the music off perfectly throughout the record.

Speaking of the guitarists, I have to say that their combined talents are one of the big stand-out aspects of Firespawn’s sound on this record. The tones are just perfect for a start, full of bite and guts and wonderfully enhanced by Impaler’s impressive bass work throughout. There’s not a song that goes by where I don’t pause to admire a riff or a blazing solo and that’s rare for me, as I can often find a moment or two of filler within a death metal album of this ilk. The album is littered with dextrous and lightning-fast solos but in general, they tend to add something to the overall compositions, in part because they don’t always rely on speed alone. Take the lead break within ‘Damnatio Ad Bestias’ as a prime example. It is fast and aggressive, but it is also expressive and almost soulful in places.

‘Damnatio Ad Bestias’ is also a good example of the way in which Firespawn have almost effortlessly managed to combine savagery with groove, melody and atmosphere. It is here where the ghost of early Entombed looms largest but at the same time it isn’t simply derivative; it has its own identity.

Other favourites on ‘The Reprobate’ include ‘Generals Creed’ thanks to the blend of frenetic riffing and catchy chorus complete with a headbanging groove and tangible atmosphere. I also really enjoy ‘Death By Impalement’, yet another bruising and uncompromising slab of full-throttle death metal with great pounding riffs and an atmosphere-laden mid-section with sinister, haunting vocals.

Firespawn hope that ‘The Reprobate’ will “make you drink insane amounts of beer and bang your head for Satan.” Well, if that’s their barometer of success, they might need to brace themselves, because ‘The Reprobate’ does more than this, a lot more. Put simply, it’s another huge example of just how strong the death metal genre is in 2017.

The Score Of Much Metal: 9

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

2015 reviews
2016 reviews

Ancient Ascendant
Pyramaze – Contingent
Shores Of Null – Black Drapes For Tomorrow
Asira – Efference
Hologram Earth – Black Cell Program
Damnations Day – A World Awakens
Memoriam – For The Fallen
Pallbearer – Heartless
Sleepmakeswaves – Made of Breath Only
Ghost Ship Octavius – Ghost Ship Octavius
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