Tag Archives: extreme metal

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

The_Lurking_Fear_2017_Cover

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.

Press_Photos_07

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

Wintersun – The Forest Seasons – Album Review

Wintersun - The Forest Seasons - Artwork

Artist: Wintersun

Album Title: The Forest Seasons

Label: Nuclear Blast

Date of Release: 21 July 2017

If there’s one thing I can’t stand, it’s when the off-stage antics become bigger than the music. I understand that in an environment as volatile, unpredictable and fast-paced as the music industry, very little ever runs smoothly. Sometimes the issues are kept strictly behind closed doors whilst others are just too big to be kept hidden. However, when the issues completely overshadow the music, the thing that I’m most interested in, I lose interest. Particularly when it feels, at least to me anyway, that the dirty laundry is being deliberately aired in public.

It is also for these reasons, generally speaking, that I have never been a fan of Finland’s Wintersun. I am pretty sure that, had I given them more time and attention, I might have found a band with which I could click. After all, originally starting life as the side project of Jari Mäenpää from Ensiferum, the DNA was strong. The fact that Wintersun play melodic extreme metal with strong symphonic and folk overtones, with a flair for the dramatic only adds to the likelihood that they’d find favour, musically-speaking, with my ruined ears.

Unfortunately however, over the years, there have been so many dramas surrounding the Helsinki-based quartet that I have felt reticent to get too involved with the entire saga. From dramas with record labels, to huge delays with releases, to crowdfunding campaigns and a myriad of other ‘stuff’, the whole thing is draining and not conducive to building a positive relationship between the band and potential fans. As a result, aside from the occasional cursory dabble, I have kept Wintersun firmly at arm’s length.

It comes as a surprise therefore, that I find myself penning a review for ‘The Forest Seasons’, only the third album of the Finn’s 14-year career. I don’t really know why I have taken this step if I’m honest, but I was sent the promo by the good people at Nuclear Blast and here I am. It certainly wasn’t the hype, I can tell you. Ever since their inception, Wintersun have been the recipients of some of the most insane hype ever. Some of it is undeniably of their own doing, whilst some of it is, to be fair, not their fault. But either way, the hype has been enormous, almost making me shy away from this.

Right from the off, the fact that this isn’t ‘Time II’ will bother many longer-term fans. I’ve never really listened to it, so I’m not bothered in the slightest. But this review cannot ignore the fact that ‘The Forest Seasons’ is not the sequel to ‘Time I’, the record that many quote as being Wintersun’s finest moment to date. Maybe that’s the reason then – the fact that I can review this record unencumbered by the baggage of expectation and without the inevitable, palpable disappointment experienced by others. Or maybe it’s because I was drawn in by the impressive cover artwork which I rather admire.

wintersun-2017

Whatever the reason, what do I think of ‘The Forest Season’? Yeah, I’d better get round to that hadn’t I?

Well, to cut to the chase, I like parts of it, I am slightly bored by other parts and I have an overall feeling that can be best explained by a puff of the cheeks and a shrug of the shoulders. Let me explain.

‘The Forest Seasons’ has a running time of around 55 minutes but is split into just four distinct compositions. This means that each track requires the expenditure of quite some time, as the shortest clocks in at 12 minutes whilst the longest falls just shy of 15 minutes. Now, as many of you know, I love long, epic tracks – it’s in my blood as a fan of prog. However, this love is predicated on the fact that the composition has a reason for the extended life. If it doesn’t, I do get bored. And that’s part of the problem here with ‘The Forest Seasons’. Each track contains some excellent moments where either a riff, a melody or a symphonic arrangement will strike a chord with me. The problem is, these are not quite frequent enough to keep my attention unwavering throughout. I tried, I really did, but something fails to click enough for me to fully immerse myself in it and therefore it prevents me from recommending it unconditionally.

The opening track is entitled ‘Awaken The Dark Slumber’ and naturally for an album that is clearly meant to represent the seasons, it is Wintersun’s interpretation of Spring. What I wasn’t quite expecting was the overt black metal feel, complete with dramatic swathes of synths and raspy vocals. However, it takes until the fifth minute for my interest to be fully piqued, when the vocals break out into a bold, almost pleading clean croon. For a couple of minutes, I get swept up in the music but as the track ploughs on, I again switch off as it lacks sufficient variety to pull me along. The last two minutes then see out the longest composition of the four in a much more positive vein.

Summer follows in the form of ‘The Forest That Weeps’ and it’s here that Wintersun’s game is upped. With a much stronger folk element to it, this slightly shorter track bounds along at a great pace and with a little swagger too. The melodies, although a little repetitive in the latter stages, are a lot more memorable, to the point where I find myself humming the chorus when I least expect it. I really like the over-the-top choir vocals, as they add an epic gravitas to the composition and nicely juxtapose the extended foray into quieter, more laid-back folk territory which arrives around the mid-way point. This is a very nice song, possibly my favourite on the album.

After a dark foreboding intro, ‘Eternal Darkness’ explodes into something very Dimmu Borgir-esque. Furious double-pedal drumming, layer upon layer of grandiose synths and raw, spiteful growls combine to create a very striking passage of music. However, in my opinion, it goes on a little too long without sufficient variety and so it’s not until the six-minute mark that my attention is fully held. At this point, the song slows and opens up allowing a really nice passage that builds whilst all the while being dominated by some increasingly flamboyant lead guitar work. I will also accede to enjoying the bombastic closure of the track which is rather epic and atmospheric

The final season, winter, is represented by ‘Loneliness’, a track that begins quietly and then plods along at a markedly slower pace than their norm. The swathes of synths literally drench the music in atmosphere in keeping with the song’s title, whilst there is a greater variety in the vocal delivery for my money. In fact, I wish we’d heard more of Jari Mäenpää’s clean delivery elsewhere because when he lets go, he can really sing, as demonstrated in the sequence that leads up to the mid-way point as well as the truly excellent final crescendo. At points, this vies for top spot with ‘Summer’ but in between, my mind wanders yet again.

So, in summary, ‘The Forest Seasons’ is a frustrating record. There is a lot to like about it when you start to dissect the music. However, these moments or passages of excellence feel to me like they are too few and far between, padded out by some average music along the way. Put it like this – if ‘The Forest Seasons’ was a ten track record, there’d be about four killer tracks surrounded by six disappointing fillers. That, to me, is not the recipe for a great album. And that’s a shame because when Wintersun fire on all cylinders, it sounds immense.

The Score of Much Metal: 7

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

2015 reviews
2016 reviews

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 – 31 July 2017

Buckle up because this round-up feature some big and exciting news if you share music taste that is in any way similar to me. With that in mind, I’m not going to waste time. Instead, allow me to dive right in.

(Previous update posts can be accessed via links at the bottom of this page.)

Ne Obliviscaris – new album and new song….

20294172_10155509955749898_2381867514676896945_nNe Obliviscaris – Urn
Date of release: 27 October 2017
Label: Season Of Mist

Many column inches have been filled with commentary about Ne Obliviscaris in recent months after the Australians announced a ‘patreon crowd funding campaign’ to essentially fund them to be full-time musicians. The initiative was designed to raise enough money to pay the technical progressive death metal band a wage to allow them the time to write a new record and continue touring. The idea polarised opinion but despite the naysayers, the sextet have seemed to succeed with the venture because a new album has finally been announced.

If you like bombast and over-the-top cinematic sounds blended with intelligent extreme metal, then news of a new Ne Obliviscaris will be very welcome indeed. It certainly is as far as I’m concerned. It has been three years since the immense ‘Citadel’ was released, so I’m chomping at the bit to hear new material. Well, here you go – here’s ‘Intra Venus’ from the forthcoming album and yes, it is a monster.

Caligula’s Horse bring us the track-listing for their new album…

19146029_10154398261857105_6108765129743949462_nCaligula’s Horse – In Contact
Date of release: 15 September 2017
Label: InsideOut Music

Any new information from the Caligula’s Horse camp is worthy of sharing in my opinion, however small. And so, I bring you news that the track listing for the highly anticipated ‘In Contact’ has been released. Check it out below, in all its glory. However, to summarise, we are soon to be treated to ten new compositions, the titles of which can be seen below. ‘Bloom’ remains on frequent rotation at the Mansion Of Much Metal** so all I can say is that if these new compositions come even close to the quality heard on the majestic predecessor, they will be very exciting to hear indeed.

**I don’t really live in a mansion, I might have made that up just because it makes me sound more windswept and interesting.

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Redemption are working on a new album…

dsc_5905Redemption – TBC
Date of release: TBC
Label: Metal Blade Records

It seems too good to be true doesn’t it? For fans of quality progressive metal, the name Redemption is a very important one. Fronted by Fates Warning vocalist Ray Alder, masterminded by the extraordinarily talented guitarist/songwriter Nick Van Dyk, and boasting talent in every position, Redemption is without doubt one of the best prog metal bands out there at the moment.

And so, when you consider that the band released the excellent ‘The Art of Loss’ just last year (review here), I can hardly believe I’m reporting that there is plenty of activity afoot in the Redemption camp. Chris Quirarte has posted updates of drum recording ‘for our upcoming new record’, whilst within the last few days, bassist Sean Andrews has confirmed that the tracking of his instrument is complete.

No release date or further information has been released, but the fact that a new album is so far advanced is more than I could have hoped for. In the meantime, in case you need the nudge, allow me to remind you just how good ‘The Art of Loss’ is:

Some more hints are given about one of the most exciting new bands around…

17218771_387176474982109_6918641734903355632_oCyHra – TBC
Date Of Release: October 2017?
Label: Spinefarm Records

The name CyHra has been doing the rounds for a fair while now, and it’s a name that has got me very excited. And I’m sure I’m not the only one because how can certain sections of the heavy metal community not get excited about a band that features none other than Jake E (ex-Amaranthe), the ex-In Flames pairing of bassist Peter Iwers and guitarist Jesper Strömblad, as well as drummer Alexander Landenburg from Luca Turilli’s Rhapsody? Come on, this is one very capable quartet, the stuff of dreams.

We are yet to hear any clips of completed songs, so we can only dream about what CyHra sound like. And, whilst I don’t hate the new direction that In Flames are going in, I am secretly hoping that a little of the early In flames melodeath magic creeps into the compositions. What I can tell you is that the guys have been in front of the cameras with Patric Ullaeus, working on their first video. Rumours abound that the debut album will see the light in or around October 2017, so I’m expecting the video to be released relatively soon. And then we’ll know. For now, all I can bring you is this slightly awkward video where the band introduces itself to an expectant metal community.

My Soliloquy finally edge closer to releasing their new record…

16558419_710300499129700_1372606098_nMy Soliloquy – Engines Of Gravity
Date of release: 14 September 2017
Label: Rare Artist Records

It feels like an age ago that I reviewed ‘Engines Of Gravity’, the new album from Pete Morten who, until recently and amongst many other things, was the rhythm guitarist for Threshold. In every way, ‘Engines Of Gravity’ is a step up for Pete from his debut ‘The Interpreter’. And when you consider how much of the writing, playing and producing is dealt with by Pete alone, this is an impressive feat. Want to read the review again? Click here.

Unusually, the review was written before any confirmed release date had been set. But now, finally, Pete has confirmed that pre-orders will begin from 14th August and the release date is 14th September. So it won’t be too long before one of the stand-out prog metal albums of 2017 will be let loose and then the superlatives can begin to flow from progressive music fans the world over. And with no music released from the new album yet, here’s something from the debut to tide you over for now.

Previous updates:

24 July 2017
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.

legendsoftheshiresThreshold – 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.

19990364_1676025859077305_924654058634164650_nSubterranean 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’.

18892998_10154663048738806_2247176504358416942_nParadise 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.

19420708_1698781136823429_4102190633439104941_nArch 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 3

Welcome to my third instalment of this series, where I dust off my crystal ball – or just trawl the internet obsessively – to bring you the pick of the releases that are still to come in the rock and metal world during the second half of 2017.

If you missed the previous two posts in this series, they can be accessed here:
Essential rock & metal releases still to come in 2017 – Part 1
Essential rock & metal releases still to come in 2017 – Part 2

And now on to the main event…

Subsignal
TBC (‘La Muerta’)
Release date: TBC

Their Facebook page promised that fans would be treated to a new album in 2017 and so far, Subsignal appear to be sticking to their promise. There is no confirmed information regarding a release date but, according to their official social media feeds, production is in progress. The guitars are currently being tracked and the drum recordings are all finished. No final announcement regarding an album title has been forthcoming either, although there is a strong suggestion that it might be called ‘La Muerta’.

Rising from the ashes of Sieges Even, Subsignal are the more immediate, slightly less progressive replacement. And what a replacement they are. Beautiful melodies, deep and thoughtful lyrics, and technically adept compositions all play an important part in the rich aural tapestry that these talented Germans deliver. With a consistency that is frightening, I’m expecting big things from this record as and when it is released.

18766020_10155371710959287_3595486704059865356_nNothing More
The Stories We Tell Ourselves
Release date: 15 September 2017

For some reason, it feels like a very long time that I have been patiently waiting for a new album from Nothing More. But finally, after featuring them in just about every round-up for the last couple of years in hope more than expectation, I can bring confirmed news. The American band are not normally my kind of thing but their blend of modern rock with djent and pop rock is almost impossible to ignore. The music on their previous, self-titled record, was infectious in the extreme, delivering chorus after chorus full of huge hooks and strong melodies. I was obsessed with this album for weeks.

The new album will be released on 15th September 2017. Entitled ‘The Stories We Tell Ourselves’, I know that this is going to be a big record based on the cuts that they have released so far. Will it beat their last one? Who knows, but I will certainly have fun finding out when the time comes. And you can bet your life that I’ll bring you my thoughts on it as soon as humanly possible.

19106036_10158716292755386_2949343652863781873_nSepticflesh
Codex Omega
Release date: 1 September 2017

I’m a relative newcomer to Greek extreme metal band Septicflesh, only cutting my teeth with them via their 2008 album, ‘Communion’. I’m amazed that the Athens-based death metal band managed to elude me for so long as well, given that their brand of dark, symphonic death metal with an ear for well-placed groove and melody is right up my street. And the fact that a new album is on the horizon nearly passed me by too, but thankfully I found out just in the nick of time.

With Septicflesh, you get the full-on extreme metal experience with ferocious riffing, brutal rhythms and all of the grandiose pomp and ceremony that you could ask for. Mind you, the brutal and uncompromising artwork that accompanies the new record should leave you in no doubt that this is not easy listening for the feint hearted. Just take a listen to the track below, entitled ‘3rd Testament’, to prove the point and to get a firm idea as to what to expect when ‘Codex Omega’ hits the shelves via Season of Mist on 1st September. One spin of this and my expectations just went through the roof.

20046566_1265671230229159_6290285644420623914_nAnubis Gate
Covered In Black
Release date: 1 September 2017

It feels like Anubis Gate have been around forever but in actual fact, the Danes have only been in existence since 2001. In that time, they have released six studio albums, all of which have been of a consistently high standard. It means that every time the quartet announces a new album, those who enjoy their music on the melodic and progressive end of the spectrum will take notice. I don’t think I’ve ever read anything massively negative about Anubis Gate either, which again speaks volumes of their ability to create high quality material.

Unsurprisingly, given the dark and moody cover artwork alongside the album title, ‘Covered In Black’ is billed as the darkest material of the bands’ career. This sounds intriguing and I can’t wait to find out if this will be the album that tops my personal favourite, ‘Andromeda Unchained’. Naturally, I will feed back as soon as possible.

nocturnalritesphoenixalbumNocturnal Rites
Phoenix
Release date: 29 September 2017

Despite the fear in some corners that Nocturnal Rites might be no more, the melodic metal band have finally officially announced that a new album is on the way. Back in 2013, founding member Fredrik Mannberg went on record with Bravewords.com to confirm that new material was being worked on. But another four years of near silence will have got the nerves jangling a little amongst the faithful. It is now an entire decade since they released ‘The 8th Sin’ but at last, their patient fan base has been rewarded in the way that they would have hoped.

Somewhat fittingly, Nocturnal Rites’ ninth release is entitled ‘Phoenix’ and will see the light of day on 29th September via AFM Records. Whilst I wouldn’t refer to myself as a dyed-in-the-wool diehard, I really like their output and so I am eager as anyone to hear what impact the intervening ten years has had on Nocturnal Rites. On the basis of this track, could the wait have been fully worth it?…