Dark Tranquillity

Album Of The Year 2020 – Number 13

Welcome to instalment number eighteen of my 2020 ‘Album of the Year Top 30 countdown’. In my family, for many reasons, the number thirteen has been very lucky, so I never subscribe to the ‘unlucky for some’ mantra that accompanies this double-digit. Let’s hope that today’s recipient of my number 13 slot feels the same way.

As always, forgive me as I want to give my normal reminder to anyone new to this series, to check out the links at the bottom of the post to find out who made the cut, from 30 down to 14, as well as my lists from previous years too.

Number 13

Dark Tranquillity

Moment

Century Media Records

Score Of Much Metal: 94%

After a couple of days where the picks were less well-known gems, the choice today should come as absolutely no shock at all for longer-term readers and those that know me personally. What might be shocking is the fact that such an incredible album finds itself outside my personal top 10 this year. But that’s testament to the sheer depth of brilliant music that has been released during 2020. In any other year, I think I’m safe to say that ‘Moment’ by Dark Tranquillity would have slotted into a higher position.

One factor to this placing has to be the relatively late release this year. Whilst I have had several months to digest other albums, I have literally had ‘Moment’ for a few weeks only, and via a promo stream as well. It has meant that I have yet to let the music marinate with me, like others have. In time, I may feel that I have made a huge mistake, but for now, this placing feels right.

Having said that, I am comfortable in saying that ‘Moment’ is slowly becoming one of my very favourites within the Dark Tranquillity back catalogue, building momentum each time I listen to it. In my review, I suggested that there may be better records in their back catalogue but there’s a distinct possibility, when the dust settles, that I may have to rethink that assertion. Watch this space…

What I wrote at the time:

“…the twelfth of their lengthy career, is entitled ‘Moment’ and it sees the Swedes in a rich vein of form yet again. It also sees the band adding two permanent guitarists to the fold in the form of Christopher Amott (ex-Arch Enemy) and Johan Reinholdz (Andromeda).

Despite the changes in personnel, there’s a great chemistry and they all put in a quality shift. As a result, ‘Moment’ feels to be the perfect follow-up to ‘Atoma’ because it builds on the elements explored within that record, whilst pushing ever so slightly in different ways too. When Dark Tranquillity produce music of the quality seen here, it’s no wonder that they have long been one of my favourite bands.

If you are not immediately entranced by ‘Phantom Days’, then this band are simply not for you. It’s a heavy, groovy, melodic anthem that calls to mind the ‘Haven’ era of the band.

Most of all, what ‘Moment’ does is underline the fact that Dark Tranquillity remain one of the most consistent, most reliable, and most enjoyable bands within the Scandinavian melodic death metal scene. Rightly so, too, because there’s a magic about this band that’s hard to articulate.”

Read the full review here.

The list this year so far…

If you’ve missed my lists from previous years, you can check them out here:

Dark Tranquillity – Moment – Album Review

Artist: Dark Tranquillity

Album Title: Moment

Label: Century Media Records

Date of Release: 20 November 2020

Any day that I get to listen to new Dark Tranquillity music is a good day in my book. It is an especially good day when the wait has been four long years. I hadn’t actually twigged that it had been so long since ‘Atoma’ was released, but that’s the reality. No wonder I was excited to hear new material from one of the very best melodic death metal bands around.

For those that remember the review, I rather liked ‘Atoma’. Of it, I wrote:

“In a nutshell, ‘Atoma’ is just about the perfect blend of the catchiness and immediacy of ‘Haven’ or ‘Character’, the more extreme elements found within ‘We Are The Void’ or ‘Construct’ and the more atmospheric and rich sounds of ‘Projector’…”

Its successor, the twelfth of their lengthy career, is entitled ‘Moment’ and it sees the Swedes in a rich vein of form yet again. It also sees the band adding two permanent guitarists to the fold in the form of Christopher Amott (ex-Arch Enemy) and Johan Reinholdz (Andromeda). The two have been touring members since 2017 but ‘Moment’ represents their first contributions in the studio as full-time members of dark Tranquillity. They join vocalist Michael Stanne, drummer Anders Jivarp, bassist Anders Iwers, and keyboardist Martin Brändström to round out the sextet.

If you are not immediately entranced by ‘Phantom Days’, then this band are simply not for you. It’s a heavy, groovy, melodic anthem that calls to mind the ‘Haven’ era of the band. It starts with a quick, atmospheric intro before launching into a cool riff with cheeky guitar embellishments, only to further explode with power and crunch, topped off by a nice lead guitar lick. The chorus is instantly memorable, with Stanne’s recognisable gruff bark adding gravitas. There’s time for an extended melodic solo, too before marching out to a reprise of the addictive chorus.

‘Transient’ is much more of a slow burner, but once it gets its claws in you, there’s no escape. Despite the prevalence of gruff vocals, the music itself reminds me of the ‘Projector’ days, as it’s a song full of moody atmosphere to accompany Dark Tranquillity’s melodeath approach.

When it comes to the lead single, ‘The Dark Unbroken’, it is fair to say that I am hopelessly and completely in love. The opening atmosphere and solemn melody is scintillating, as it the entire song. Stanne starts off growling, but then the chorus strikes and his rich, sonorous clean tones emerge, sending a shiver down my spine in the process. The ‘Projector’ vibes once again loom large, which is a delight for me as I’ve always enjoyed the more melodic side of this band. As good as Stanne’s vocals are though, they are made all the more striking thanks to the hook-laden chorus that accompanies him. This track is awash with melancholy vibes, but it is also the most beautifully-crafted song, with ebb and flow, heaviness and quiet introspection, melody and tempered aggression.

There are almost certainly those within the metal community who will deride Dark Tranquillity for being too melodic, too safe, too commercial-sounding. That is an argument that may have some merit, were it not for the fact that this music has such a rich vein of honesty and sincerity running through it. The songs have been created because that’s what these guys wanted to create. There’s no quest for fame or notoriety, just a love of music. Their music. And in 2020, this is the music that Dark Tranquillity wanted to make. And I love it. If I’m being completely objective, I would possibly concede that there are other albums within their considerable discography that I like a little better overall, but ‘Moment’ is no slouch and it is a cracking record in it’s own right. You want more proof?

Take ‘Remain In The Unknown’ as the first example. The clean vocals dominate a sombre, atmospheric intro that blossoms into a darker, more subdued composition, but with yet more strong melodic sensibilities. The gruff/clean vocal interplay works so well on this song, creating a surprisingly moving piece of music overall.

‘Standstill’ is another brilliant track, one of my favourites on the entire record. Instantly catchy and full of passion, it is topped off by an incredible vocal performance in the chorus, the kind that stops you in your tracks and plants a great big grin on your face. ‘Ego Deception’ is another slow-burner, featuring more clean vocals and some great riffs, whilst the performances across the board on the devastatingly superb ‘Eyes Of The World’ are marvellous.

It wasn’t until I was nearing the completion of this review that I realised that ‘Moment’ was a twelve-track affair, not ten as the stream I’d been using seemed to indicate. I can’t believe that I nearly missed out on two more tracks, especially when they are as good as they are. ‘Empires Lost To Time’ is a really clever track in that it is both quite heavy and aggressive, whilst also being incredibly infectious. I love the quieter segment over which there’s a great lead guitar solo, but the chorus is wonderfully catchy, dragging me back for repeated spins frequently.

The closing track is entitled ‘In Truth Divided’ and with it, the Swedes have left one of the best until last. It’s a hugely atmospheric song, where big synths take a really prominent role, whilst the other instruments help to accent the song, rather than dominate as they normally do. There’s a melancholy, almost forlorn sheen to the song, but the melodies are beautiful and I can’t help but feel the goosebumps emerge across my skin as I listen. Personally-speaking, it is the perfect way to end another excellent album.

‘Moment’ may not be the very best album in their career, but it isn’t far off. Given the quality of other albums in their discography, and the esteem in which I hold them, this is saying a lot, trust me. Most of all, what ‘Moment’ does is underline the fact that Dark Tranquillity remain one of the most consistent, most reliable, and most enjoyable bands within the Scandinavian melodic death metal scene. Rightly so, too, because there’s a magic about this band that’s hard to articulate. For nearly thirty years, Dark Tranquillity have delivered incredible music, and ‘Moment’ is no different. Bring on the next thirty years.

The Score of Much Metal: 94%

Check out my reviews from 2020 right here:

My Dying Bride – Macabre Cabaret

Sólstafir – Endless Twilight Of Co-Dependent Love

Communic – Hiding From The World

Wolverine – A Darkened Sun

Avandra – Skylighting

Pyramaze – Epitaph

Necrophobic – Dawn Of The Damned

Fates Warning – Long Day Good Night

Draconian – Under A Godless Veil

Mörk Gryning – Hinsides Vrede

DGM – Tragic Separation

Perduratum – Exile’s Anthology

Carcass – Despicable EP

Mors Principium Est – Seven

Cult Of Lilith – Mara

Helion Prime – Question Everything

Soul Secret – Blue Light Cage

Enslaved – Utgard

Dynfari – Myrkurs er þörf

Amaranthe – Manifest

Kataklysm – Unconquered

Structural Disorder – Kingdom Crossing

Skeletal Remains – The Entombment Of Chaos

Prehistoric Animals – The Magical Mystery Machine (Chapter One)

Ihsahn – Pharos

Hinayana – Death Of The Cosmic
Oceans Of Slumber – Oceans Of Slumber
Okyr – Premorbid Intelligence
Manticora – To Live To Kill To Live
Pain Of Salvation – Panther
Vanishing Point – Dead Elysium
Unleash The Archers – Abyss
Veonity – Sorrows
Nyktophobia – What Lasts Forever
Ages – Uncrown
Awake By Design – Awake By Design
Black Crown Initiate – Violent Portraits Of Doomed Escape
Gaerea – Limbo
Buried Realm – Embodiment Of The Divine
Navian – Reset
Selenseas – The Outer Limits
Quantum – The Next Breath Of Air
Ensiferum – Thalassic
Long Distance Calling – How Do We Want To Live?
Airbag – A Day At The Beach
Re-Armed – Ignis Aeternum
Atavist – III: Absolution
Frost* – Others EP
Darker Half – If You Only Knew
Atavistia – The Winter Way
Astralborne – Eternity’s End
Centinex – Death In Pieces
Haken – Virus
Pile Of Priests – Pile Of Priests
Sorcerer – Lamenting Of The Innocent
Lesoir – Mosaic
Temnein – Tales: Of Humanity And Greed
Caligula’s Horse – Rise Radiant
…And Oceans – Cosmic World Mother
Vader – Solitude In Madness
Shrapnel – Palace For The Insane
Sinisthra – The Broad And Beaten Way
Paradise Lost – Obsidian
Naglfar – Cerecloth
Forgotten Tomb – Nihilistic Estrangement
Winterfylleth – The Reckoning Dawn
Firewind – Firewind
An Autumn For Crippled Children – All Fell Silent, Everything Went Quiet
Havok – V
Helfró – Helfró
Victoria K – Essentia
Cryptex – Once Upon A Time
Thy Despair – The Song Of Desolation
Cirith Ungol – Forever Black
Igorrr – Spirituality and Distortion
Nightwish – Human. II: Nature.
Katatonia – City Burials
Wolfheart – Wolves Of Karelia
Asenblut – Die Wilde Jagd
Nicumo – Inertia
The Black Dahlia Murder – Verminous
Omega Infinity – Solar Spectre
Symbolik – Emergence
Pure Reason Revolution – Eupnea
Irist – Order Of The Mind
Testament – Titans Of Creation
Ilium – Carcinogeist
Dawn Of Ouroboros – The Art Of Morphology
Torchia – The Coven
Novena – Eleventh Hour
Ashes Of Life – Seasons Within
Dynazty – The Dark Delight
Sutrah – Aletheia EP
Welicoruss – Siberian Heathen Horde
Myth Of I – Myth Of I
My Dying Bride – The Ghost Of Orion
Infirmum – Walls Of Sorrow
Inno – The Rain Under
Kvaen – The Funeral Pyre
Mindtech – Omnipresence
Dark Fortress – Spectres From The Old World
The Oneira – Injection
Night Crowned – Impius Viam
Dead Serenity – Beginnings EP
The Night Flight Orchestra – Aeromantic
Deadrisen – Deadrisen
Blaze Of Perdition – The Harrowing Of Hearts
Godsticks – Inescapable
Isle Of The Cross – Excelsis
Demons & Wizards – III
Vredehammer – Viperous
H.E.A.T – H.E.A.T II
Psychotic Waltz – The God-Shaped Void
Into The Open – Destination Eternity
Lunarsea – Earthling/Terrestre
Pure Wrath – The Forlorn Soldier EP
Sylosis – Cycle of Suffering
Sepultura – Quadra
Dyscordia – Delete / Rewrite
Godthrymm – Reflections
On Thorns I Lay – Threnos
God Dethroned – Illuminati
Fragment Soul – A Soul Inhabiting Two Bodies
Mariana Semkina – Sleepwalking
Mini Album Reviews: Moloken, The Driftwood Sign & Midnight
Serenity – The Last Knight
Ihsahn – Telemark EP
Temperance – Viridian
Blasphemer – The Sixth Hour
Deathwhite – Grave Image
Marko Hietala – Pyre Of The Black Heart
SWMM – Trail Of The Fallen
Into Pandemonium – Darkest Rise EP
Bonded – Rest In Violence
Serious Black – Suite 226
Darktribe – Voici L’Homme
Brothers Of Metal – Emblas Saga
A Life Divided – Echoes
Thoughts Factory – Elements

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Album of the Year 2016 – Number 7

Welcome to day 24 of my annual ‘Album of the Year – top 30 countdown’.

Thank you everyone for the absolutely wonderful support throughout this series. It is a list that I put a lot of effort in to because I want the bands and albums featured to have one final and well-deserved moment in the spotlight.

Remember that this end of year list is not an exercise in rewarding those already successful acts in the hope that I draw more attention to my blog. It is a list of 30 albums that I have heard in 2016 that have had a positive impact on me. Some are unsigned, some are debut albums and others are delivered at the hands of more well-known household names. But they all have that one thing in common – they are full of superb music that has made 2016 a better year for me.

If you’ve missed any of my previous posts in this series, please check out the links at the bottom of this page. There are also links to my similar countdowns from previous years, so feel free to check them out too and let me know what you think.

And now all that’s out of the way, here’s today’s choice at number 7…

Number 7

Dark Tranquillity
Atoma
Century Media Records

Just when I thought 2016 couldn’t get any better, up pops Dark Tranquillity to send me into a spin of emotion and elation. As I said at the outset, Dark Tranquillity have always been very important to me. However, what ‘Atoma’ does so wonderfully, is draw all of their key ingredients together into one 12-track album to create a thrill-ride of expertly-crafted, engaging and elegant melodic death metal. My love for Dark Tranquillity has been well and truly cemented and right now, I can’t think of a better band within this particular genre. They helped to create it, they have helped to shape it and now, in 2016, Dark Tranquillity have proved that they are still, unquestionably, the masters of melodic death metal.”

Read the full review here

Once again, I have quoted my review and left little need for significant embellishment as they pretty much say it all. However, despite Dark Tranquillity’s eleventh album being a relative latecomer to this year’s competition, there was never any doubt it would find a place in this list.

As my review explains, Dark Tranquillity hold a special place in my heart but that alone would not be enough for it to feature here. It adds a certain ingredient to the mix but the music has to be sufficiently strong first and foremost. And on that score, Dark Tranquillity have excelled. A month or two down the line from its release and I am beginning to firmly believe that this could be their best release within an already strong back catalogue.

I was always a sucker for the ‘Projector’ era with the clean vocals from Stanne, but I have also enjoyed their heavier, more extreme side. ‘Atoma’ is the perfect blend of both but it all comes together so smoothly and expertly to leave the listener in no doubt that they belong together. In fact, when dovetailed together like this, both of the distinct elements sound somehow more striking and powerful.

And then, as always, the album delivers strong grooves and sumptuous melodies, adding that irresistibly playful and memorable magic. I have lost count of the number of times I have listened to ‘Atoma’ and I adore it as much now as I did at the beginning. And those I meet when I take the dog out for a walk must know when I’m engrossed in ‘Atoma’ because I’m nodding my head, singing along and smiling broadly. That’s the magic of Dark Tranquillity and that’s why ‘Atoma’, for me, is the best melodeath album of the year in the face of some exceptionally strong competition.

In case you’ve missed any of the other posts in the 2016 series, here they are for you to explore and enjoy:

And from previous years:

Album of the Year 2015
Album of the Year 2014
Album of the Year 2013
Album of the Year 2012

Dark Tranquillity – Atoma – Album Review

Artist: Dark Tranquillity

Album Title: Atoma

Label: Century Media

Date Of Release: 4 November 2016

It seems fitting that I am releasing this review on the eighth anniversary of my late brother’s passing. It is a horrendously sad time of the year but it is made a little more comforting by being surrounded by an old friend in the form of Sweden’s Dark Tranquillity.

Dark Tranquillity are not just one of my favourite melodic death metal bands, they are one of my all-time favourite bands from any genre or subgenre of music. They were also a big favourite of my brother too. Ever since I first discovered them at University in the late 90s, they have been a constant companion, a band that has brought me joy and satisfaction with a consistency that is more than impressive. Be it on record or in the live arena, they never failed to delight my brother and me and we shared some great times down the years thanks to this band.

I have tried but I can’t think of a single album that I don’t like. Moreover, I can’t actually think of an album which is anything less than excellent, a standard that the Swedes constantly aim for with unerring accuracy.

Dark Tranquillity are rightly attributed with helping to form the genre within which they sit, the ‘New Wave of Swedish Death Metal’ or the ‘Gothenburg sound’ if you prefer. Much like other melodeath bands, they have tinkered with their sound over the years, dabbling with different ideas within their core framework. However, unlike some of their contemporaries and compatriots, they have never taken the experimentation too far. Whether their output has been more catchy or extreme, Dark Tranquillity have always had the knack of delivering the goods.

I’ve always thought about the reason for the success and longevity of Dark Tranquillity and in writing this review, I think I have hit upon an answer; their music always feels genuine, never contrived or forced. The blend of more extreme ingredients with strong, memorable melodies and powerful atmospheres is just about perfect. What’s more, despite plying their trade in the extreme metal world, Dark Tranquillity always manage to convey a high level of sincerity and a genuine warmth, led by the mercurial and enthusiastic Mikael Stanne, which then flows through the rest of the band.

It goes without saying that I have been looking forward to album number eleven for some time. And here we have it, in the form of ‘Atoma’, a release that didn’t have the easiest of births following the somewhat shock departure of guitarist and founding member Martin Henriksson, who realised that after a quarter of a century, he had had enough and didn’t have the drive or desire to carry on.

Nevertheless, the remaining members of vocalist Mikael Stanne, lead guitarist Niklas Sundin, drummer Anders Jivarp, keyboardist Martin Brändström and ‘new’ bassist Anders Iwers have continued, persevered and have delivered yet another truly wonderful chapter in the story of Dark Tranquillity. Lyrically and conceptually, ‘Atoma’ is an album that tackles the world’s current ills through a demonstrably human angle, deliberately steering clear of any political stance. And it’s a powerful and rather emotive narrative, crucially backed up by some of the strongest material of the band’s lengthy career.

In a nutshell, ‘Atoma’ is just about the perfect blend of the catchiness and immediacy of ‘Haven’ or ‘Character’, the more extreme elements found within ‘We Are The Void’ or ‘Construct’ and the more atmospheric and rich sounds of ‘Projector’, an album which remains a firm favourite to this day. Allow me to elaborate just a touch.

‘Atoma’ kicks off superbly with ‘Encircled’, a track that starts off slowly and deliberately with lashings of atmosphere before picking up pace in positive fashion. The beating heart of the song is very melodic with an instantly likeable chorus, reminding me of the ‘Haven’ era given the catchiness on display. The lead breaks from Sundin are great, whilst Stanne is as caustic as ever with his trademark growl that still maintains some warmth and enables the lyrics to be understood.

The title track begins with an electronic melody before bursting into life. ‘Oh mama, Stanne has brought back his clean vocals’ I exclaim with barely contained joy on a first spin, having sorely missed this ingredient in recent years. The chosen vocal delivery immediately provides a wonderful ‘Projector’ feel, one of my favourite albums from the strong discography. Vocals aside, I also love the contrast between the light and heavy sections, including a pronounced atmospheric minimalist section led by keyboardist Brändström before closing out the song full throttle. The drama is therefore increased at the death and this song just oozes quality from every pore.

I love the bass and drum combo courtesy of Jivarp and Iwers that opens up ‘Forward Momentum’, as well as the opening riff and the overall pace of the track. The keys come to the fore to create depth and dark atmosphere, whilst the clean vocals give me goose bumps. The track’s construction is wonderful as it becomes more intense during the chorus, which is memorable yet at the same time, not quite as obvious. With time though, the melodies sink in with devastating effect. The lead guitar solo from Sundin is gorgeous, full of feeling and eloquence. The dark undertones common to Dark Tranquillity are present but they give me a warm glow as I begin to realise that I’m in the presence of something potentially very special in ‘Atoma’.

‘Neutrality’ continues the theme with a quiet opening, before exploding with urgency and a fair ferocity. Indeed, there is more of a savage feel to this song which I like. The pace is quicker, the vocals more venomously spat and the vibe is more in keeping with the last couple of albums, being darker and more extreme. And yet, despite this, the slightly more subtle melodies are present throughout the song, as are the keys. The groove at the three-quarter mark is marvellous, counterpointed by the slightly uncomfortable-sounding off-kilter notes that are entirely deliberate.

A very dark, quiet and contemplative tone starts off ‘Force Of Hand’, complete with ominous, barely audible whispered vocals. This is a more mid-tempo, moody and cerebral composition with a seriously cool groove to it as well as a commanding ebb and flow. The heaviness eventually joins the fray but at a more measured tempo for the most part until the accelerator is pressed and the track suddenly gallops along, led by powerful near blast-beat drumming at times from Jivarp.

‘Faithless by Default’ doesn’t begin in the same quiet manner as many of its predecessors and yet it has the appearance of being a quieter track somehow. It is still heavy and dark when required but it comes across as being a little more refined overall with a sprawling chorus that works its magic after repeated listens. The stars of this particular show are drummer Jivarp and bassist Iwers who catch my ear every time I dive into this song.

Many of you will have already heard ‘The Pitiless’, given that it is also the lead single from the album, released a while back. It is arguably the most extreme track on the record, opening up at a fair lick and maintaining this urgency As such, ‘The Pitiless’ is much more in keeping with the last couple of records. It goes without saying that it displays some melody and indeed becomes more melodic the more time I spend with it. However, the melodic aspects are buried much deeper in the background as the key for the song, I believe, is to create something altogether more furious, dark and disturbing.

A seriously groovy rhythm straight off the bat introduces the listener to ‘Our Proof Of Life’, which is best described as a rich and powerful affair and is arguably my favourite song on the album. Stanne’s clean vocals return and I’m smiling again as a result – I can’t help it. And then, at the half-way mark, the composition turns into the most anthemic of songs, complete with rousing guitar solo and killer melodies. It also flirts astutely with quieter passages before returning to the opening melody for a muscular closure.

‘Clearing Skies’ which offers more huge melodies throughout but, despite the catchy chorus, the band then deftly reverts to something altogether more spiky and confrontational for the verse. The aforementioned chorus offers more in the way of keys and stop-start riffing, creating a more modern sheen in the process, almost vaguely djent albeit fleetingly. But regardless, this atmospheric composition is absurdly addictive.

The guitar tones and the rhythms applied within ‘When The World Screams’ remind me of the earlier days of Dark Tranquillity much more, whilst expertly blending them with accents of ‘Character’ with hugely impressive results.

I’m beginning to run out of positive adjectives by this point but the quality from the Swedish quintet shows no signs of abating. Penultimate track ‘Merciless Fate’ opens slowly and utilises a slower pace overall. Stanne snarls menacingly to begin with, but then the song opens up nicely as it develops. Led by more clean vocals, the melodies suddenly come to the fore almost shyly and make a huge impact within the context of the song. My hairs stand up on end and whether it is because there is seemingly no let-up in the brilliance of this album, I find myself getting emotional.

‘Atoma’ closes with ‘Caves and Embers’. The intro is strong and dramatic, acceding before long to an up-tempo rhythm overlaid with lashings of atmospheric keys from Brändström. The lead guitar flourishes are flamboyant and whether I’m dreaming it or not, there is a vague sense of hope and positivity within the song. The extended introspective and atmospherically substantial mid-section eventually gives way to an outpouring of power as the song, and indeed the album, drives forcefully to a conclusion.

The Score Of Much Metal: 9.75

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

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

Essential rock & metal releases still to come in 2016 – Part 1

This time last year, I was waxing lyrical about how strong 2015 had been by the half-way mark, stating that I had already compiled a strong Top 20, perfectly strong enough to stand up to scrutiny at the full year end. Well, if it’s possible, 2016 has been even better. It’s like all of my favourite bands have sat up and, as one, said ‘let’s make this a year to remember for Matt, the Man Of Much Metal’. If only that were true!

But true or not, this is by and large what has happened. Two of my all-time favourite bands (Katatonia and Haken) have already released astounding albums, deservedly in receipt of a perfect 10 from me. And, as the year develops further, there are even more potential gems to get my teeth and ears stuck into.

So, what are those albums and bands? Allow me to elaborate:

Evergrey – The Storm Within
AFM Records

This band goes without saying and frankly, regular readers will be bored of the name Evergrey, such is the love I have for this band. They are my favourite band. Ever. Theirs is the exact kind of music that I want to listen to. It is heavy, passionate, melodic and with enough of a progressive edge to keep things interesting. And, in Tom Englund, Evergrey are blessed with one of the very best vocalists that heavy metal has to offer. I like every album they’ve ever released but two years ago, after a period of uncertainty, Evergrey returned with a bang. Welcoming back drummer Jonas Ekdahl and guitarist Henrik Danhage, they released ‘Hymns For The Broken’, arguably the best album of their career, full of power, emotion and majesty. I will admit at this point to having already heard album number 10, ‘The Storm Within’, which is due to be released on 9th September 2016. I won’t give too much away at this stage but, suffice to say, I have a problem. I gave the superlative ‘Hymns For The Broken’ a perfect 10/10 when I reviewed it. So what score do I give an album that might, just might, turn out with a few more spins to be even better? Watch out for my review and the answer to this conundrum in the coming weeks. In the meantime, here’s a reminder of how amazing ‘Hymns For The Broken’ was…

Fates Warning – Theories Of Flight
InsideOut Music

This is a bit of a cheat to be honest, because it came out on 1st July and I have already offered my review of the album – read it here – However, so good is it, that it deserves a quick mention here. This album offers a little bit of everything that a fan of progressive metal could ever want; chops, riffs, solos, technicality, complexity, memorable melodies and great vocals. ‘Theories of Flight’ is the sound of one of the best bands of the genre firing on all cylinders.

Wolverine – Machina Viva
The Laser’s Edge

As with Fates Warning above, I have already written a review of this album. And, by the time you read this, ‘Machina Viva’ will be out to buy. But again, it is a storming release that is worthy of another mention and a reminder to any of you who might have forgotten that this was on the horizon. There are few bands that can create such deep, emotional and bleak music and even fewer that manager to couple this with truly beautiful and memorable progressive music. Put the two together and you have a listening experience which can be truly heartbreaking. As I said in my review, ‘…there are few artists out there that have the unnerving ability to break hearts with just one note. And Wolverine do it with such style…’ – read the full review here

My Soliloquy – Engines Of Gravity
Sensory Records

My Soliloquy is the brainchild of Threshold guitarist all all-round top chap Pete Morten. Therefore, it comes as no surprise that here is a band that can write sophisticated and properly engaging progressive metal that’s satisfyingly intricate but that has more than enough earworms to reel listeners in time and again for repeated listens. Pete’s singing on the debut was great too, so I’m intrigued to see how he has developed as a vocalist on this new record, particularly given his lead vocal role within the band Nightmare World recently. According to the updates from Pete on social media, the album is being mixed ahead of a 1st September release. Not heard anything yet, but I have very high hopes if the debut ‘The Interpreter’ is anything to go by. Just check this track out if you don’t believe me:

In The Woods – Pure
Debemur Morti Productions

It has been nearly 17 years since Norwegian extreme metallers In The Woods released their third album ‘Strange In Stereo’. In 2000, the band broke up but they are now back and ready to unleash their fourth album, the simply-monikered ‘Pure’. Always pushing boundaries, trying new things, theirs was always a more progressive and avant-garde style of black metal. However, ever since hearing a track on a compilation disc I bought many years ago, I have been hooked. I can’t wait to hear the full album but, if ‘Cult Of Shining Stars’ is anything to go by, this could be a very interesting and special release indeed.

For a stream of a full track off the upcoming album, click the link: http://www.debemur-morti.com/en/content/372-in-the-woods-premiere-cult-of-shining-stars#.V3JWqyX5NYl.facebook

Darkane – TBC
Massacre Records

I keep mentioning Darkane in these posts, but the reasoning is simple: my admiration and love for this band never diminishes. If you’re after a band that can combine melodic death metal, thrash and a healthy dose of prog-laced technicality, then Darkane are the no-brainer choice. Savage, brutal, majestic and subtly melodic, the Swedish extreme metallers have delivered quality music time and time again over their six album career. ‘Expanding Senses’ released in 2002 remains my favourite but only by a gnats whisker. And it’s entirely possible that the new album hopefully out in the next six months or so will push it closer than ever, delighting us all once again.

Maschine – TBC
InsideOut Music

A rising star in the UK prog scene, the youngsters came almost out of nowhere in 2013 and wowed me with their impressive debut album, ‘Rubidium’. I loved the blend of technicality, melody and sheer variety, that was occasionally reminiscent of early Pain Of Salvation. Their musicianship and approach to songwriting was both familiar and a breath of fresh air, whilst utilising both male and female vocals was a master stroke, providing a relatively unique flavour to an already impressive recipe. And, despite a change of female vocalists in recent months, I’m still looking forward to album number two immensely.

Dark Tranquillity – TBC
Century Media Records

Of all of the ‘Gothenburg’ bands, Dark Tranquillity are probably my absolute favourite. Unlike many of their compatriots and competitors, every album with very few exceptions has been a positive experience where their love of the music and their hunger and desire has shone though. It seems almost impossible for Dark Tranquillity to release a substandard album and on that basis, I see no reason as to why a new record shouldn’t be a genuine contender for the best melodeath album of 2016.

Most Anticipated Metal Releases of 2016 – Part 2

Welcome to Part 2 of my series looking at my most anticipated album releases during 2016. It hasn’t taken much time to compile a long list of records that I believe are due out during the year, meaning that if even 75% of this lot see the light of day in the coming 11 months, it will be one of the strongest years for my kind of music that I can remember.

If you missed Part 1, click here: Most Anticipated Metal Releases of 2016 – Part 1
But without further ado and in no particular order, here’s the next batch of exciting releases due this year:

Wolverine – Title ‘TBC’

Swedish progressive metallers Wolverine are a special and unique band and have been around for a relatively long time and the thought that we might have a new record from them in 2016 gets me more excited than perhaps I should admit. Their debut was released in 2001 but they’ve only managed three further albums since. Social media updates tend to suggest however, that new material should see the light of day this year and news like this makes me very happy indeed. There are few acts out there that manage to offer progressive rock/metal that is so complex, rich, grandiose and full of gritty melancholy. Their last album, ‘Communication Lost’ is a marvellous album that is dark, sombre and very poignant, to the point that it can sometimes be a difficult listen depending on your mood. However, the music itself is fantastic, managing to be heavy and complicated yet subtle and very beautiful. A new Wolverine album is bound to be of the highest calibre possible and I cannot wait to hear it.

Omnium Gatherum – Grey Heavens

For very good reason, Omnium Gatherum’s last album ‘Beyond’ came a very close second in the race for my favourite album of 2013. It was a superlative album that brilliantly juxtaposed brutal death metal with sophisticated and instantly memorable hook-laden AOR melodies. It perfectly scratched my itch for both heavy and anthemic music. I will admit to having heard the new album, ‘Grey Heavens’ and I’m certain that these Finns are destined for even bigger and better things as a result.

Dimmu Borgir – Title ‘TBC’

One of these posts wouldn’t be the same without a mention for one of my favourite extreme metal bands of all time. To contextualize this statement, their 1997 release, ‘Enthrone, Darkness, Triumphant’ is one of my top 5 albums of all time. Beginning life as a black metal band, more recent output is probably better referred to as ‘extreme metal’. There are plenty of black metal elements to the Norwegian’s sound but such is the rich tapestry of influences that play a part within the modern Dimmu sound, curt pigeonholing into the black metal genre would be disingenuous. Each release from Shagrath et al is a slick, professional affair where the final product shines through a powerful and crystal-clear production. The symphonic elements and grandiose bombast provide a majestic and theatrical sheen to what is, at heart, pretty bruising and uncompromising heavy metal. There’s no official confirmation of a new album in 2016, but I think it’s a relatively safe bet…I hope!

Pathosray – Title ‘TBC’

Here’s a band that require and deserve a lot more love and attention than they get currently. As such, they’re a perfect fit for this post. Italian prog metallers Pathosray are a slightly different proposition to many of their peers in that they are certainly prog but not in the classic, conventional sense. Their compositions are full of the requisite complexity but they’re also full of snarl and bite and more chops than you’d find at a butcher shop. Their melodies are also interesting in that they’re not always what you’d expect. This makes their releases a challenge at times but ultimately very rewarding. Pre-release bravado and puff is always full of hyperbole but the comments coming out of the Pathosray camp ahead of their third album and first for some six or seven years have seriously piqued my interest.

Maschine – Title ‘TBC’

A rising star in the UK prog scene, the youngsters came almost out of nowhere in 2013 and wowed me with their impressive debut album, ‘Rubidium’. So much so, I felt compelled to interview them. I loved the blend of technicality, melody and sheer variety, that was occasionally reminiscent of early Pain Of Salvation. Utilising both male and female vocals was a master stroke, providing a relatively unique flavour to an already impressive recipe. To say I’m looking forward to album number two is an understatement.

Sound of Contact – Title ‘TBC’

Rather foolishly, I omitted the debut album from Sound of Contact from my top 20 albums of 2013. In my defence, time constraints meant that I didn’t get a chance to listen to it as much as I wanted. But over the last year or so, I have consistently returned to ‘Dimensionaut’ and love it more and more each time I listen. Sound of Contact offer some of the richest, most memorable and indulgent progressive rock of recent times, meaning that a new album in 2016 has to be a highly anticipated event to pencil onto my calendar.

Pagan’s Mind – Title ‘TBC’

Pagan’s Mind were the first band ever to receive a full 10/10 from me as a reviewer at Powerplay Magazine, for the amazingly good ‘God’s Equation’ some years ago. Since then, the Norwegians have tweaked their sound to become more hard-rock influenced and melodic, moving away ever so slightly from their more proggy roots. For me, in spite of loving their early incarnation, this subtle reinvention is not a problem because the compositions are so strong and well put-together that you can’t help but get swept up in their personal brand of hard rock and heavy metal.

Dark Tranquillity – Title ‘TBC’

Of all of the ‘Gothenburg’ bands, Dark Tranquillity are probably my absolute favourite. Unlike many of their compatriots and competitors, every album with very few exceptions has been a positive experience where their love of the music and their hunger and desire has shone though. It seems almost impossible for Dark Tranquillity to release a substandard album and on that basis, I see no reason as to why a new record shouldn’t be a genuine contender for the best melodeath album of 2016.

Darkwater – Title ‘TBC’

From Dark Tranquillity to Darkwater. It feels like an absolute age since Swedish metallers Darkwater released their last album, the thoroughly enjoyable ‘Where Stories End’. The follow-up was scheduled for a 2014 release but has slipped beyond 2015 into 2016. I’m sure it’ll be worth the wait though and we’ll be treated to another excellent album full of synth-heavy epic, memorable and darkly-tinged melodic progressive metal. This band are so good, I even wrote an entire blog post about them!

Hecate Enthroned – Title ‘TBC’

When I was discovering the delights of black metal in my late teens, Hecate Enthroned were one of my favourites. They were heavily inspired by Cradle of Filth in that their compositions were full of Gothic theatrics, symphonics and more melody than you’d think on a first listen. The band turned all death metal on us in the late 90’s and since then, the output from the UK band has not been prolific. However, they are a band that always piques my interest when I hear their name mentioned and I am more than hopeful for a new album sometime in 2016.

Most Anticipated Album Releases of 2015

Welcome to 2015! Or, to be more exact, welcome to week three of 2015, as I’m a little behind the times at the moment. Nevertheless, it is still early enough in the year to take a look at the coming twelve months to identify those releases that we’re most excited about. As is always the case with the Blog Of Much Metal, my focus is on those bands that might not be in the mainstream eye or, if they are, those bands that are particularly special to me.

As such, in this post, you’ll hear no further mention of the likes of Metallica, Iron Maiden or those of a like size, popularity-wise. These albums will be written about ad nauseum elsewhere and I’m happier to leave it that way. Of course I hope that Metallica will release something equally as good as ‘Ride The Lightning’ or that Iron Maiden will produce a record to rival ‘Seventh Son of A Seventh Son’. And only time will tell where they are concerned.

With that in mind, here’s my initial list of those bands whose new albums I’m immensely excited or intrigued about, along with a sample track from their respective back catalogues to give you a better idea if you’re new to them:

Subsignal

The band that rose from the ashes of Sieges Even and the subject of a whole ‘Unknown and Underrated’ post a year or so ago, Subsignal are scheduled to release the enigmatically-titled ‘The Beacons Of Somewhere, Sometime’, probably around September 2015. Expect expertly crafted, highly memorable and powerful melodic rock/metal with a nice splash of prog. This is one of the big excitements for me this year.

Paradise Lost

A firm favourite with yours truly, the UK’s Paradise Lost have released a good few albums that I deem as classics. The last outing, ‘Tragic Idol’ was, in particular, rather special and with news from the band that the new album, ‘The Plague Within’ has a death metal edge to it, I’m even more excited to hear the latest chapter in this impressively gloomy band’s career.

Leprous

Norway’s Leprous have been getting better with every album, culminating in the highly impressive ‘Coal’ which charted in my 2013 ‘Album Of The Year’ series. Their brand of avant-garde progressive metal is executed with amazing dexterity, youthful exuberance and with a songwriting nous that far exceeds their still tender years. It’s no surprise that these guys act as Ihsahn’s backing band, such is their abundant talent. This threatens to be a genuine progressive metal highlight for 2015.

Headspace

‘I Am Anonymous’ is one of the best debuts I’ve heard for a long time and remains a firm favourite to this very day, deserving of a place in my end of year best for 2012. Boasting the vocal talents of Damian Wilson and backed up by a group of seriously talented musicians, Headspace offer epic prog metal that blends technicality with extremely memorable song writing. Album number two should be a belter.

Vanden Plas

Germany’s Vanden Plas released ‘Chronicles Of The Immortals: Netherworld’ just last year. At the time it was mooted to be the first of a two-part concept piece and rumours are rife that part 2 will see the light of day during 2015. Inspired more and more by the theatre and creating rock-based musicals, this album will go some to beat the rich and flamboyant ‘Netherworld’, an album that charted in my 2014 ‘Album of the Year’ series. However, I suspect that Vanden Plas will be well up for the challenge.

Myrath

It has taken me a long time to fully appreciate Myrath. However, the epiphany came with their latest release entitled ‘Tales Of The Sands’. The Tunisian band really impressed me with their clever blend of progressive metal, strong melodies and traditional African instrumentation. I have really high hopes for the upcoming release and am awaiting further news on its progress eagerly.

Enslaved

There are no two ways about it, Enslaved are a special band. Beginning life as a more traditional black metal band, the Norwegians have morphed gently over the years into a much more intriguing prospect. Still extreme in many senses of the world, this is then tempered by a more progressive edge, encompassing elements of post rock, ambient and avant-garde into the process. Every new album is an event and I expect this new album to be no different whatsoever.

Riverside

After a great debut, I had begun to lose interest in Polish progressive rock band Riverside as their output failed to excite me in the same way. That was until they released the superb ‘Shrine of New Generation Slaves’, one of my favourite albums of 2013. Their modus operandi is to beguile the listener with sophisticated and atmospheric progressive rock that, when done to the full extent of their powers will enthral and delight in equal measure.

Textures

Dutch metallers Textures hold a special place in my heart as being the first real djent/tech metal band to make a positive impact upon me. Most recent album ‘Dualism’ sparked my enthusiasm massively thanks to some very technical, complex extremity that they mixed with breathtaking melody, seemingly with consummate ease. That album remains as the genre benchmark to these ears and as such, I’m highly anticipating a follow-up to further cement my love for this band.

Nightwish

Since the departure of Tarja Turunen, I have to say that Nightwish have been a big disappointment for me, both vocally and in terms of the song writing. Their last outing took many plaudits but failed to grab my interest and I was ready to relegate the band from being a blind purchase artist. Whilst I will remain cautious, my interest has once again piqued now that they boast the enormous vocal talents of Floor Jansen. I have a feeling that this next release could be rather special; I certainly hope so.

Cradle Of Filth

I will readily admit to the fact that Cradle Of Filth are special to me, not just because they’re from Suffolk but because they were one of the first extreme metal bands to find a place in my heart. Without them, I’d probably not have discovered half of my collection. And, whilst recent albums have been a little sub-par to these ears, rumours abound that maybe, just maybe, the new album has a few more links with their masterpiece, ‘Dusk…And Her Embrace’. I don’t want a clone album but if the rumours are true, I cannot wait!

Dark Tranquillity

Of all of the ‘Gothenburg’ bands, Dark Tranquillity are probably my absolute favourite. Unlike many of their compatriots and competitors, every album with very few exceptions has been a positive experience where their love of the music and their hunger and desire has shone though. It seems almost impossible for Dark Tranquillity to release a substandard album and on that basis, I see no reason as to why a new record shouldn’t be a contender for the best melodeath album of 2015.

Mors Principium Est – Dawn Of The 5th Era – Album Review

Artist: More Principium Est

Album Title: Dawn Of The 5th Era

Label: AFM Records

Year of Release: 2014

Based on the number of strong releases throughout 2014, AFM Records are rapidly becoming one of my favourite record labels. Not only have they brought us the insanely brilliant ‘Hymns For The Broken’ from Evergrey, ‘The Heart of the Matter’ by Triosphere bears their logo too. And now we have ‘Dawn Of The 5th Era’, unsurprisingly the fifth album from Finnish metallers Mors Principium Est.

The first thing to say is that this album has a super sound. These days, polished productions are relatively easy to come by; so long as you have a decent budget, the tools are there to make the job simpler than ever before. But too often, that perfect production can then rob the material of a certain amount of authenticity. Admittedly, the sound has been compressed quite a bit and the bass could be higher in the mix but these minor ailments are quickly forgotten because this album otherwise successfully brings together a modern clarity with a demonstrable old-school feel. The result is an album that’s a joy to listen to but which also has a gritty, almost dirty underbelly.

And then, compositionally speaking, I would be prepared to stick my neck out and say that this is the best body of work that Mors Principium Est have ever created. Over the course of their fifteen year, five album career, the quintet have already released some cracking material but this is their best and I have no hesitation in putting it in the same bracket as At The Gates’ new Opus, making ‘dawn Of The 5th Era’ one of my favourite melodic death metal albums of 2014.

At the forefront on the Mors Principium Est sound, you’re treated to a enthralling blend of savagery, brutality and beauty. For every razor sharp riff, there’s a melodic dual guitar harmony and for every blast of uncompromising extremity, there’s a majestic chorus or a memorable lead break. The end result is a well-balanced, finely-honed set of songs that is very impressive indeed and which should appeal many.

The album begins with ‘Enter The Asylum’, a short instrumental intro that builds the tension before first song proper, ‘God Has Fallen’ wastes no time in ripping your head off in fine style. The pace is fast, the rhythm section courtesy of drummer Mikko Sipola and bassist Teemu Heinola is powerful and some incisive riffing is overlaid with a catchy lead guitar line, topped off by the gruff yet intelligible vocals of Ville Viljanen.

‘Leader Of The Titans’ swiftly follows and impresses thanks to an ambitious construction all the while supported by instantly gratifying melodic intent. It’s one of the standout tracks on the album as far as I’m concerned. But then again, such is the consistency here, just about every track is a highlight. ‘We Are The Sleep’ is ushered in with the help of some subtle electronics before offering one of the most epic and catchiest choruses on the album, one that’s mildly reminiscent of mid era Dark Tranquillity. It’s a big track and a massive high point for the album too.

‘Innocence Lost’ pays yet more homage to the classic sounds of the 90s with a sharp, penetrating central riff before ‘I Am War’ takes over, quickly becoming my favourite song on the album. The mid-section is simply to die for with a gigantic mid-tempo melody followed by some stunning lead guitar trade offs and duelling between non-Finnish guitarists Andy Gillion and Kevin Verlay. I might just have listened to this track a few times on repeat, but can you blame me?

Interestingly, as the album develops, Mors Principium Est increase the black metal influences within their death metal blueprint. ‘Monster In Me’, has a definite echo of Dissection about it, particularly within the core riffs and the song construction. Then, after a short instrumental interlude that again showcases some fantastically emotive lead guitar work, we’re hit with ‘Wrath Of Indra’ and ‘The Journey’, the latter of which is almost pure symphonic black metal worship. The opening staccato riffing accompanied by relentless blast beats and the subtle synths underneath all scream black metal and call to mind a Dissection-meets-Emperor hybrid with a dash of Dimmu Borgir for good measure. I really like it and it further demonstrates just how talented and versatile Mors Principium Est really are.

Finally, ‘The Forsaken’ closes the album just as impressively as it opened. It is the longest track on the album and begins serenely with a piano melody underpinned by gentle synths. However it doesn’t take long to increase in intensity thanks to some of the fastest material anywhere on the record and then one of the most uplifting sing-along choruses I’ve heard from this genre of music in many a year, meaning it’s likely to be big hit live.

As you can probably tell from this review, I’ve been hugely impressed by this record. Blending that classic melodic death metal sound with modern flourishes and properly memorable melodies, ‘Dawn Of The 5th Era’ demonstrates that Mors Principium Est are at the very top of their game. This is, without doubt, one of the extreme metal highlights of 2014.

The Score of Much Metal: 9.0

Check out my other album reviews here:

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 2013 – Number 5

Hello and welcome dear friends, followers and casual readers. You join me at the business end of my mammoth ‘Album of The Year 2013’ countdown. Today, we hit the top 5, those albums that have had the biggest impact on me during 2013. Bearing in mind how amazingly strong 2013 was for new releases, it goes without saying that the following five albums are of the very highest quality and are fully deserving of the plaudits they receive.

Naturally, I am sure that there will be some of you (or maybe a lot of you) who disagree with my choices but that’s ok, I don’t mind. The wonderful subjectivity of music means that we’re never going to agree all of the time. What I will say is that I have put a lot of thought into my choices and I stand by them 100%.

So, with that in mind, let’s move onto the important bit – my choice at Number 5:

MERCENARY
‘Through Our Darkest Days’
Prosthetic Records

I was lucky enough to review this album in full back when it was first released and it has captivated me from the very first listen. This is the album that I knew the Danish metallers were capable of and I’m so overjoyed to report that, after a few solid releases to date, their full potential has been realised.

The core of the Mercenary sound is, arguably, melodic death metal but there’s a lot more going on than just that. Indeed, elements of thrash and harder-edged power metal are interwoven into the compositions in order to provide an air of brutality and extremity. Occasionally, there is even a nod in the direction of metalcore, just to spice things up and to acknowledge more modern metal trends.

Much of the music is drenched in atmospheric and rich synths and on more than one occasion, I’m reminded of the likes of Dark Tranquillity, Darkane and Soilwork. However, Mercenary very much have their own identity with one of the strongest ingredients on this record lying in the melody department. Just about every track benefits from a killer hook, infectious lead or melodic vocal line. Speaking of vocals, the mixture of gruff rasp and soaring clean singing from René Pedersen is superb. The result is an album that hits you with anthem after anthem. Just when you think you’ve heard the best track on the album, another song comes along that is just as good, if not better.

To quote my review directly, if you are looking for a band that can put a smile on your face whilst bludgeoning you over the head, Mercenary may just be the band for you. Overall, “Through Our Darkest Days” is an outstanding album and very definitely the best of their career.

Check out the full review here.

The 2013 ‘Album of the Year’ countdown so far:

Day 1 – Number 20
Day 2 – Number 19
Day 3 – Number 18
Day 4 – Number 17
Day 5 – Number 16
Day 6 – Number 15
Day 7 – Number 14
Day 8 – Number 13
Day 9 – Number 12
Day 10 – Number 11
Day 11 – Number 10
Day 12 – Number 9
Day 13 – Number 8
Day 14 – Number 7
Day 15 – Number 6

And, if you missed last year’s countdown, you can read my Top 20 of 2012 here.

My Route to Becoming A Metalhead

One of the most fascinating conversations I have with fellow music lovers and metalheads in particular is about the route they took when discovering this magnificent genre of music. Everybody has a different journey, one that inevitably leads to a different ending. Sure, we may all like roughly the same bands, but it is rare to find two metal fans who have the same favourite band or set of bands.

And, whilst I have covered much of this topic in some of my very earliest blogs (‘the early years’, ‘the University years’ and ‘the post University years’) I thought it might be fun to plot my journey to date a little more briefly via the bands that helped me to get from this…

…to this…

…via this…

Starting at the very beginning, I was brought up on a diet of Queen, ELO and Dire Straits. My Dad would play albums by these three bands in particular in the car on a very frequent basis and, as I got older, began somewhat inevitably to appreciate these bands and, on a wider scale, guitar-based music in general. Of the three, Queen remain my favourite, with ‘Innuendo’ my album of choice. That said, songs like ‘Roll Over Beethoven’ and ‘Brothers in Arms’ hold a special place in my heart.

I didn’t really get more interested in music until my early teens when I bought my first CD player. At that time, I was heavily influenced by my best friend who, at a year older than me, was already a fair way along his own personal journey. He introduced me to both Guns ‘N’ Roses and Def Leppard, both of which remain important to me.

However, I’ve got to be honest and say that Bon Jovi were also a pivotal figure in my early listening, albeit no longer. I never really got into the whole ‘hair metal’ scene, despite an initial and lasting love of ‘Slave To The Grind’ by Skid Row – a classic album in my opinion.

I dabbled with these bands for a long while but, as I became more adventurous, two new names became massively important: Iron Maiden and Metallica. The former I became a fan of via their album ‘The Number Of The Beast’ and the track ‘Hallowed Be thy Name’ in particular. The latter, I admit, came to my attention via the ‘Black Album’, although I was quick to delve into their back catalogue once the seeds had been sown. To be honest, I rarely listen to their 1991 classic album anymore, although I am not silly enough to decry its obvious importance to me.

So far, so very ordinary I guess. But then, as I was about to get into thrash metal in a big way, thanks to the likes of Megadeth et al, I found myself suddenly veering down a more modern path, discovering new kids on the block Pantera, Machine Head and Fear Factory. What’s strange though, is that aside from these three bands, my attention was not held for long. I still listen a lot to these three, but as far as many of their contemporaries are concerned, I was only vaguely interested at best. The result of this, I must admit that I have never got into thrash metal as much as perhaps I should have done. There are certain bands that I listen to a lot, such as Exodus and Testament but in general, the scene has, to date, passed me by a little.

I never ventured into grunge territory and nu-metal turned me off immediately. I wanted ‘proper’ metal, not what I perceived at the time to be ‘rap-rock rubbish’. To a certain extent, I maintain this view although my description may be a little more measured and less dismissive these days.

And so, whilst many of my peers were discovering a whole new sub-genre, I found myself going completely the other way. Beginning with the dark Gothic overtones of Type O Negative, early Anathema ,Sentenced and Moonspell, I eventually found myself embroiled in the black metal scene. Cradle Of Filth sat front and centre of this new-found love, although thanks to the fortunate discovery of ‘Enthrone, Darkness, Triumphant’, Dimmu Borgir were never far behind. Neither were Emperor to be honest. I loved the mix of fast aggression and melodic interludes that many black metal bands of the mid 90s provided and I devoured this scene. I still love the early albums by Cradle Of Filth and with a small dose of home-town loyalty, they’ll always be a special band for me.

Not long after heading to University, my head was turned yet again. This time, the sub-genre was ‘the Gothenburg scene’ or ‘New Wave Of Swedish Death Metal’. Dissection blew me away, acting as the bridge between the black and death metal thanks to their opus ‘Storm Of The Lights Bane’.

However, soon after, it was In Flames that captured my heart. The album was ‘The Jester Race’ and the song that cemented the love was the instrumental ‘The Jester’s Dance’. Sublime.

Dark Tranquillity, Soilwork and early Arch Enemy quickly followed into my collection. And, whilst I still adore the former two, I must admit that my enjoyment of Arch Enemy has waned somewhat over the years. It would be unfair to attribute all of that to the change in vocalist, but the dismissal of Johan Liiva was a mistake in my opinion.

And then, in something of a curveball, I found myself enjoying the less intense and more light-hearted (some might say ‘cheesy’) genre of power metal. It all began with a chance hearing of ‘Valley Of The Kings’ by Gamma Ray and for a few years on and off, the likes of Rhapsody, Dragonforce and Edguy gave me a lot of instant sonic gratification.

And as we near the present day, it will come as no surprise to learn that progressive metal is my newest and currently, my biggest love. I was hankering after a genre to really test me, to give me something to think about. Prog was the answer. After discovering Evergrey, the floodgates opened. I devoured much of the InsideOut Music label, discovering Pain Of Salvation, Vanden Plas and Haken in the process.

InsideOut remains one of the most important sources of music for me, but I am always on the look-out for other bands, whether or not they are well-known. That said, I am likely to forever be in the never-ending process of discovering everything that the genre and its spin-offs have to offer. I came too late to truly ‘get’ Rush but I am loving the neo-prog movement in latter years. And, as I get older, the lighter end of the prog spectrum is becoming ever-more enticing, with Big Big Train being the catalyst for this.

And, although prog metal is still my favourite subgenre, I still listen to everything that I have mentioned in this blog and so much more besides. The whole melodic doom metal genre to include bands like Swallow The Sun, Insomnium and Daylight Dies remains important to me.

And in addition, a new door that has opened in recent years is that of melodic rock and AOR. Sometimes a bit of musical fluff is exatly what I need to dilute all that aggression.

As I have written this blog, I have had my collection on shuffle, enjoying the likes of Amorphis, Slayer, Transatlantic, Katatonia and Audrey Horne in the process.

And, as for those that I have never ‘got’? Well thanks to this path I have taken over the years, I have to admit that aside from nu-metal and huge swathes of thrash metal, Motorhead, Aerosmith, Slipknot, Nirvana and Tool are just a few of the high-profile names that I’ve never really warmed to. That’s not to say I dislike them, just that they’ve never really hit the mark with me personally. The great thing about music however, is that I still have plenty of time to change that, should I so wish. Over to you…

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