inside Out music

Caligula’s Horse – Rise Radiant – Review

Artist: Caligula’s Horse

Album Title: Rise Radiant

Label: Inside Out Music

Date of Release: 22 May 2020

Oh, ‘Rise Radiant’, you have not been an easy mistress. Long have been the journeys with you by my side, where I have questioned and dissected our relationship in the most forensic of detail. ‘Am I just with you because of our past?’, ‘do you still do it for me?’, ‘do I still love you like I used to?’ I thought long and hard, as I listened closely to everything you had to say, trying to decipher the hidden meanings, and the glimmers of beauty within you. Would it be worth it, or ultimately all for nought?

I’ve been a fan of Australia’s Caligula’s Horse since their debut, 2011’s ‘Moments From Ephemeral City’, although to be honest, it wasn’t until ‘Bloom’ in 2015 that my love affair with the Brisbane quintet became fully-fledged. Until that point, I’d merely enjoyed our time together. But suddenly, here was a band that demanded attention from the prog community. ‘In Contact’, released three years ago, built on the band’s reputation, raising their stock another few notches higher. In fact, to quote my review of that record:

“‘In Contact’ is very nearly a flawless record and demands Caligula’s Horse be placed at the prog top table with immediate effect.”

Based on their most recent output, expectations have been naturally very high for this next instalment, entitled ‘Rise Radiant’. Personally speaking, upon seeing the artwork that adorns this fifth album, my expectations went through the roof. It is a breathtakingly beautiful cover, one that would have had me shelling out my hard-earned cash just to have it in my collection, regardless of the music that accompanied it.

After the first listen through, I noted with delight that there wasn’t another spoken-word diatribe like ‘Inertia And The Weapon Of The Wall’ lurking within, so immediately, ‘Rise Radiant’ got a big tick in the box. Unfortunately, nothing else really caught my attention. So I listened again. Nothing. Not a thing. Deep down, I knew I was listening to some well-crafted, high-quality music, but that didn’t seem to help. Neither did the crystal clear yet powerful production that blesses the album. I also realised that the music on this record was not a dramatic sea-change and that the usual elements that always made this band so potent a force largely remained present and correct. So what was wrong with me? I just couldn’t get into the album. It felt like nothing stuck, nothing really made an impact on me. I started to berate myself and wondered what was going on. Am I not in love with the music of Caligula’s Horse anymore? It was a thought that I dreaded, but it was staring me in the face, refusing to back down.

‘But this is prog’, I kept telling myself. You’re not always supposed to like some music immediately off the bat; sometimes it takes perseverance and a willingness to open one’s mind a little more to the possibilities within. I ignored my inner voice and shelved the album for a day or two, in the hope that a fresh pair of ears might help. And you know what? I found myself listening to other music but thinking about ‘Rise Radiant’ and in the end, I desired a return for another go.

It wasn’t an instant epiphany, but those melodies that I previously didn’t like because they didn’t go the way I was expecting, or wanted, started making more sense. The unusual, rather unique phrasings and delivery of vocalist Jim Grey that further drove the direction of the choruses and the various hooks contained within the songs began, finally, to work. The dynamics within each of the eight compositions that I didn’t initially appreciate also became more pronounced, understandable, and enjoyable. It meant that almost imperceptibly, I found that I was giving myself over to the music in ways that I simply hadn’t envisaged previously. It has now got to the point where I find myself wondering why I didn’t like the music in the first place, because it is sensational. Well you know what they say: ‘54th time’s a charm!’ I’m relieved because I never like writing reviews that are negative, especially when it involves a band with which I have usually enjoyed such a close relationship. And I’m also relieved because my hard-pressed love affair with Caligula’s Horse can continue unabated.

With fresh ears and an entirely revised opinion, I’m delighted to be able to delve a little deeper into the music on ‘Rise Radiant’ in positive fashion.

Since ‘In Contact’ was released, bassist Dave Couper has been replaced by Dale Prinsse. Other than that, the core of Caligula’s Horse has remained unchanged. It means that vocalist Grey and bassist Prinsse are joined on ‘Rise Radiant’ by guitarists Sam Vallen and Adrian Goleby, as well as drummer Josh Griffin. It is this relative stability that means that the band have been able to simply build on what went before and ‘Rise Radiant’, as I alluded to earlier, is the sound of a band that is becoming more and more adept at what they do. And what they do is artfully blend a wide variety of sounds and influences into an incredibly coherent and smooth listening experience that’s essentially progressive rock with plenty of heavy and more abrasive metallic moments.

I know I struggled at the beginning, but with eyes now wide open, I can appreciate the subtlety of the music, the clever nuances, the juxtaposition between the heavy and the softer passages. Indeed, it is these marked contrasts, frequently within the songs themselves, that creates a greater sense of drama, urgency and potency to the material.

Ironically, given my moniker and my general love of all things heavy, it was that two more sedate tracks that I initially gravitated towards once the mists began to clear, namely ‘Resonate’ and ‘Autumn’. The former is more of a mellow, almost ambient track that boasts Grey’s delicate vocals at its heart, joined by a minimalist soundscape comprised of the bold bass work of Prinsse alongside electronic beats, and sounds and textures more akin to a pop song than a rock band. But it’s beautiful and I have grown to love its seductive and disarming charm. ‘Autumn’ sees elegant acoustic guitars duet with Grey at the outset before it gradually increases for a beautiful chorus, the kind where I cannot quite believe I missed it for so long. Flamboyant bass playing segues into a gorgeous lead guitar solo that carries such emotion with it and before you know it, the song reaches its final throws via a rousing, yet understated crescendo, featuring the chorus melody at its heart.

‘Rise Radiant’ is not all calm serenity though, as you will discover after a second or two of pressing play. ‘The Tempest’ is correctly named as it comes leaping out of the speakers with a commanding, urgent riff and great drumming from Griffin. The contrast between this and the more restrained verses are stark, making it feel like the choruses, when they arrive, are a veritable whirlwind of power in sound form, battering the ears with intelligent control, whilst the fury of the musicians remains obvious to all. ‘Slow Violence’ features a great, off-kilter yet groovy, stop-start riff under which you can hear some subtle synths at play. The chorus is, once again, a stunning hook-laden affair that has my head shaking in disbelief that I couldn’t hear it or appreciate it for so long.

Aside from a couple of well-placed bursts, ‘Salt’ temporarily applies the brakes to the more furious, angry-sounding material. But with tinkling keys and a vague nod in the direction of UK contemporaries Haken, it’s no less poignant, emotional or intense for the overall reduction in heaviness.

I hear more of a djent influence within the guitar work on ‘Oceanrise’ which is handled expertly and doesn’t sound out of place against the deceptively grandiose, melodic chorus that emerges. It is the kind of track that underlines the way in which Caligula’s Horse are always trying to push their own boundaries within the generally more forgiving confines of progressive music. ‘Valkyrie’ is a much darker-sounding and heavy composition to these ears, as well as being overtly prog in the sense that there is an awful lot going on from every corner of the band. It feels complex and technical for much of its five-minute length but is pulled together and made impressively cohesive via an arresting, vibrant chorus, and commanding performance from Jim Grey that demands your full attention; remarkably, he sounds both angry and insecure at the same time.

The album ends with ‘The Ascent’, which emerges seamlessly from it’s predecessor without missing a beat. It is an intense ten-minute thrill-ride, a culmination of everything ‘Rise Radiant’ stands for in many ways. The opening is heavy and complex, whilst throughout, there are some killer riffs to be heard as well as explosions of raw power. It is here that the contrasts that feature across the album are rammed home, with moments of gorgeously intimate, minimalist introspection clashing with these muscular and aggressive outbursts like nowhere else on the album. And yet, after 55 spins, I can only conclude that it works, as if the band are musical alchemists.

I make no bones about it, ‘Rise Radiant’ was not an easy album to get into. I nearly gave up more than once. But something kept pulling me back to it and subconsciously, I refused to be beaten. I’ve never been more grateful to my stubbornness, because I nearly let this record slip through my fingers. As it is, I can sit here now and state with categoric certainty that ‘Rise Radiant’ is the work of a special band, a band that has technical ability in abundance as well as a rare chemistry that allows the five musicians to speak as one. Put as succinctly as I can, Caligula’s Horse have grown to an extent that they have become masters at creating modern-sounding progressive music that is simply irresistible. ‘Rise Radiant’ is the unequivocal proof of this.

The Score of Much Metal: 96%

Check out my reviews from 2020 right here:

…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 2018 – Number 3

Welcome to the pre-penultimate chapter of my Album of the Year 2018 top 30 countdown. Today, it is the turn of the bronze medal record, the third best of the year. I’d begin this post with a far wittier and more interesting introduction were it not for the fact that I’m drinking my third large glass of port and brandy (trust me, it’s the drink of the Gods) and I’m acutely aware that I’m just over 24 hours from Christmas day.

As such, it is very much on with the show. But, as always, if you’ve missed any of my previous posts, you can head down to the bottom of this post to check out the links for numbers 30-5.

And now for the bronze medal of 2018:

Number 3:

Haken
‘Vector’
InsideOut Music
Score of Much Metal: 9.5

If there was ever a post that proved once and for all that manofmuchmetal.com does not deal in nepotism or bias, it is this. I’m a Haken fanboy. Simple as that. From the moment that I interviewed the relatively unknown band in their tour van at ProgPower Europe in 2010, I knew that they were special. Actually, after a few spins of their debut, ‘Aquarius’, I knew it. I mean c’mon, I have ears and I like to think I have a decent taste in music. So it was obvious that I’d like Haken, given the quality that they clearly possessed. I have therefore spent as much time as possible supporting this great band either in person at gigs or in the form of the written word for both Powerplay and, more latterly, manofmuchmetal.com.

Every album release is an event for me, a time to rejoice and hopefully revel in excellent new music. And yet again, that proved to be the case with ‘Vector’. In fact, if I’m brutally honest, I had a more immediate connection with ‘Vector’ than ‘The Mountain’ and perhaps even ‘Affinity’. I was hooked from the very outset.

I find ‘Vector’ to be one of the most melodic and welcoming records of the band’s relatively short but successful career to date, not to mention one of the heaviest (huzzah – for I like heavy!!). From the first spin, there were moments on this disc that struck a chord with me and I knew I’d love them even more with repeated listens. Stylistically, ‘Vector’ seemed to be a continuation of the band’s steady evolution yet at the same time suggested a subtle homage to their past, with hints of each of their previous four albums to be heard within the seven tracks on ‘Vector’.

And now, I find this to be the album of a highly confident, competent and well-oiled machine. The technical prowess is evident in spades but more importantly, the song writing nous has increased massively, if that was even possible.

In my review, I bemoaned the lack of an eighth track or a more epic composition within the seven that were presented on ‘Vector’. I still maintain that I would have liked a little more material. And, when push comes to shove, that’s perhaps the main reason why ‘Vector’ finds itself at number three in my list this year. I must stick to my guns and whilst many would point to the fact that ‘Vector’ is a well-honed and elegant 44 minutes of progressive music, I can’t help but long for another song or a slightly longer listening experience – this is Haken after all, one of my all-time favourite bands. Gimme more, damnit!

But seriously, aside from that, I simply cannot fault another near masterpiece from Haken. I love these guys and I love ‘Vector’, an album which backs up my bold assertion that Haken will one day be the biggest and best-loved progressive band on the planet.

To quote my review of 11 October 2018:

“As intriguing as the lyrical concepts are, it is the music that will ultimately determine whether ‘Vector’ is a hit with me or not. On that score, ‘Vector’ is an amazing album. It is, for me, the most immediate of all their offerings to date and I have very quickly taken it to my heart. The immediacy for me, is down to some of the strongest melodies that Haken have ever penned. But these melodies are not at the expense of other elements because Haken are still the mischievous little scamps that they’ve always been, testing the open-mindedness of the listener, pushing at the boundaries of what may or may not be acceptable and generally playing with different ideas. And believe me, these guys pack a lot into this record.

A lot has been made in the lead-up to this release that ‘Vector’ would see Haken taking a heavier path. That is certainly true, as some of the material is downright monstrous, featuring gigantic riffs, bruising bass and thumping drums. Being the Man of Much Metal, I find this increased heaviness to be very welcome indeed and I personally hope that this element remains within future releases.

…to complete the scene-setting, we have in ‘Vector’ a shorter, heavier, complex, and, to my mind, a more immediate record.

Once again, as far as I’m concerned, Haken have proved that they are sitting pretty at the top of the progressive music tree, able to look down and survey the kingdom below. As ever, their output here on ‘Vector’ is interesting, challenging, fun, and hugely rewarding. It also has a greater immediacy which I really like, despite the definite metallic trappings throughout. It is just a pity that we weren’t given one more song, because then, this would have been a sure-fire 10/10.”

Read the full review here.

If you missed the previous posts in my 2018 list, click here:

If you missed my ‘best EPs and compilations of 2018, you can read that here:

Album of the Year 2018 – EPs and Compilations

And here’s a reminder of my countdown series from previous years:

Album of the Year 2017
Album of the Year 2016
Album of the Year 2015
Album of the Year 2014
Album of the Year 2013
Album of the Year 2012

Haken – Vector – Album Review

Artist: Haken

Album Title: Vector

Label: InsideOut Music

Date of Release: 26 October 2018

Just to prove that I am not a completely blinkered and biased Haken fanboy, I am going to start the review of their latest record with something other than immediate, unfiltered hyperbole and gushing praise. That may or may not come later. But for now, I want to address the one aspect of album number five, ‘Vector’, about which I have reservations.

Simply put, I wish there were more than just seven songs, particularly when one of the seven is a sub-two-minute intro piece. I have calculated the overall running time of ‘Vector’ and fully accept that 45 minutes is not bad by any means. And I fully appreciate that some albums within different genres will contain eleven or twelve songs but still fall shy of this overall length. So I don’t want people to think that we’re being short-changed here.

‘And’, I hear some of you cry, ‘their debut, ‘Aquarius’ only had seven songs’. Correct, but those seven songs lasted over 70 minutes. ‘Well, then Haken have clearly learned the art of editing their music and are now more succinct’, I hear a few more of you cry. Again, I agree with this comment, although I challenge anyone to suggest that their debut wasn’t a special disc, regardless of its length. The fact remains that ‘Vector’ is by far and away their shortest ever full-length and my reservation around this all boils down to this simple point:

‘Vector’ is just so flipping great that I want more music, damnit. Call me greedy, selfish, or whatever you will, but without any individual track on this record extending beyond 12 minutes, I am hankering for a little bit more. I’m sure many of you will heartily disagree with my opening comments but for those of you who have stuck with me this far, allow me to ditch the misgivings and get all positive on you.

To start with, the apparently straight-forward album cover is actually fascinating in that it is inspired by the Rorschach Test, a psychological test in which subjects are analysed by what they see in a pattern formed by inkblots.

The cover reveals a little something about the lyrical themes that permeate ‘Vector’, in that the album delves deep into the minds of the Haken protagonists but also fictitious characters, first introduced within ‘The Good Doctor’. From this point onwards, the songs set out to explore the psyche of humans with interesting results. Naturally I have simplified things dramatically, but you get the point.

As intriguing as the lyrical concepts are, it is the music that will ultimately determine whether ‘Vector’ is a hit with me or not. On that score, ‘Vector’ is an amazing album. It is, for me, the most immediate of all their offerings to date and I have very quickly taken it to my heart. The immediacy for me, is down to some of the strongest melodies that Haken have ever penned. But these melodies are not at the expense of other elements because Haken are still the mischievous little scamps that they’ve always been, testing the open-mindedness of the listener, pushing at the boundaries of what may or may not be acceptable and generally playing with different ideas. And believe me, these guys pack a lot into this record.

However, what I also hear on ‘Vector’ is an understated and clever homage to every single previous incarnation of the band within the music. I’ll go into more detail about the tracks shortly, but suffice to say that I can hear nods to ‘Affinity’ within ‘The Good Doctor’, ‘The Mountain’ is echoed at points within ‘Puzzle Box’, ‘Aquarius’ is referenced within ‘Veil’ and ‘Host’ calls to mind ‘Visions’ in places. Accidental? I can’t say for sure but the Haken lads are wily creatures and so I’d not put it past them.

So, to complete the scene-setting, we have in ‘Vector’ a shorter, heavier, complex, and, to my mind, a more immediate record. Sound good? Well then let me now delve into the tracks themselves in more detail and put some flesh on the bones for you all.

First up is ‘Clear’, an instrumental introductory piece that sets the scene straight away. The first sound that emanates from the speakers is a bold one, slightly intimidating on first listen. It says ‘Haken mean business’. It develops into a rousing cinematic piece with the organ sound giving the whole thing a euphoric, vaguely ecclesiastic feel. I’m generally a naysayer to short introductory pieces, but this one is actually pretty decent, setting the album up nicely.

Almost seamlessly and without any pause for breath, the intro is replaced by ‘The Good Doctor’, the first single released a week or two back. Those electronic drums and strong echoes of the 80s, embraced on its predecessor ‘Affinity’ make a brief appearance early on, and then occasionally at other points throughout. What I hear is a rather immediate, up-tempo, breathless, full-on track that explores ‘One Flew Over The Cuckoo’s Nest’ lyrical themes, thoroughly in keeping with the overall loose album concept. There is usually one song on every Haken album that’s a little bit ‘out there’ (‘Cockroach King’ or ‘1985’ anyone?) and this is most certainly the one on ‘Vector’.

Next up, we are hit with ‘Puzzle Box’, a song that has grown and grown on me to the point where I absolutely love it. It starts boldly before falling away to be replaced by just the rumbling bass of Conner Green, synths of Diego Tejeida and Jennings’ smooth voice. The explosion that occurs next is pronounced and forceful, delivering the song’s chorus of sorts which is ridiculously catchy once it works its magic. From there, the song dives off into other realms including typically flamboyant instrumental workouts and an electronic-led quieter passage, full of cinematic intent and atmosphere. And, when joined by Jennings’ distinctive effect-laden vocals, highly reminiscent of material heard on ‘The Mountain’. Another explosion of sound occurs in stark contrast and then, to close, the chorus is reprised albeit in a more euphoric vein, supported by some unforgiving heavy guitars.

‘Veil’ is the album’s longest track, weighing in at twelve-and-a-half minutes. The sedate opening is dominated by piano and harmony vocals from all corners of the band, leading me to hear echoes of both Queen and Shadow Gallery. The serenity is short-lived because it’s not long until we’re hit by some of the very heaviest riffs that Haken have ever committed to record. Again, there’s a wonderful command of light and shade as the chunky, menacing riffs are broken up by quieter, more introspective moments along the way. The effervescence that shines through this track, as well as some of the more ‘out there’ sounds conjured by Tejeida, such as the random, discordant jazzy moment that pops up out of nowhere remind me of the quirkiness of ‘Aquarius’. But the similarities are only fleeting, as ‘Veil’ definitely represents Haken v.2018. The guitar work within this track is simply brilliant too, with both Richard Henshall and Charlie Griffiths producing some of their best work in terms of variation, technicality and feel, the latter demonstrated within the occasional lead breaks that appear out of the maelstrom of sound. A personal highlight can be heard at the 9:55 mark, where ‘current’ drummer Ray Hearne belts out some seriously thunderous rolls and fills to accent the increased heaviness. And as with previous songs, this beast is pulled together artfully by some memorable melodic sensibility which once again sees the song to a rousing finale that features a killer riff, arguably my absolute favourite on ‘Vector’.

More bold electronics open ‘Nil By Mouth’ a near-seven-minute instrumental workout that, before long, delivers more excellent riffs that crush most things in their path, either in lurching, stomping fashion or with a Meshuggah-like swagger. The energy within this track is the most arresting aspect of it, as it never sits still, always on the move looking for new ways to entertain and challenge the listener, be it through all-out attack or something more reserved. If you ever doubted the technical prowess of this sextet, ‘Nil By Mouth’ is the wet kipper around the face to rid you of those ludicrous thoughts.

I’m a huge fan of the song ‘Deathless’ from ‘Visions’. In fact, it is easily one of my top five favourite Haken songs ever. And, whilst ‘Host’ is stylistically a long way from ‘Deathless’, I do get the same kind of feels and emotional gratification from it. The song begins with the sound of my most hated instrument in the world – the trumpet. However, after recovering from my early shock, I must concede that the mournful sound of the lone brass instrument perfectly compliments the solemn tone and atmosphere that engulfs the early stages of the song. Jennings delivers a very quiet and understated vocal performance, full of subtly and emotion. And then, at around the mid-way point, the track changes and provides the most beautiful melodies heard anywhere on ‘Vector’, possibly of any Haken track ever. It is just so beautiful, I’m almost immediately hooked. And the goosebumps and chills are real, people, very real indeed.

Touring with Norway’s prog darlings Leprous has clearly rubbed off on Haken because I hear a few similarities on the closing track, ‘A Cell Divides’, namely the stop start nature of the instrumentation and the accompanying vocal delivery. The synths are very powerful and striking within this slightly more orchestral, yet moody and dark-tinged track. And the closing finale is suitably rousing, topped off by a great final note from Jennings.

The Score of Much Metal: 9.5

If you’ve enjoyed this review, you can check out my others from 2018 and from previous years right here:

2017 reviews
2016 reviews
2015 reviews

Beyond Creation – Algorythm
Ultha – The Inextricable Wandering
Amaranthe – Helix
Ghost Ship Octavius – Delirium
Decembre Noir – Autumn Kings
The Odious Construct – Shrine of the Obscene
Fauna Timbre – Altering Echoes
The Moor – Jupiter’s Immigrants
Revocation – The Outer Ones
Riverside – Wasteland
Ethernity – The Human Race Extinction
Dynazty – Firesign
Deicide – Overtures of Blasphemy
Brainstorm – Midnight Ghost
Krisiun – Scourge of the Enthroned
Kingcrow – The Persistence
Cast The Stone – Empyrean Atrophy
Omnium Gatherum – The Burning Cold
Helion Prime – Terror of the Cybernetic Space Monster
Madder Mortem – Marrow
A Dying Planet – Facing The Incurable
Árstíðir – Nivalis
Mob Rules – Beast Reborn
The Spirit – Sounds From The Vortex
Aethereus – Absentia
Unanimated – Annihilation
Manticora – To Kill To Live To Kill
Rivers of Nihil – Where Owls Know My Name
Halcyon Way – Bloody But Unbowed
Michael Romeo – War Of The Worlds, Part 1
Redemption – Long Night’s Journey Into Day
Distorted Harmony – A Way Out
Tomorrow’s Eve – Mirror of Creation III – Project Ikaros
Atrocity – Okkult II
Lux Terminus – The Courage To Be
Kataklysm – Meditations
Marduk – Viktoria
Midas Fall – Evaporate
The Sea Within – The Sea Within
Haken – L-1VE
Follow The Cipher – Follow The Cipher
Spock’s Beard – Noise Floor
Ihsahn – Amr
The Fierce And The Dead – The Euphoric
Millennial Reign – The Great Divide
Subsignal – La Muerta
At The Gates – To Drink From The Night Itself
Dimmu Borgir – Eonian
Hekz – Invicta
Widow’s Peak – Graceless EP
Ivar Bjørnson and Einar Selvik – Hugsjá
Frequency Drift – Letters to Maro
Æpoch – Awakening Inception
Crematory – Oblivion
Wallachia – Monumental Heresy
Skeletal Remains – Devouring Mortality
MØL – Jord
Aesthesys – Achromata
Kamelot – The Shadow Theory
Barren Earth – A Complex of Cages
Memoriam – The Silent Vigil
Kino – Radio Voltaire
Borealis – The Offering
W.E.T. – Earthrage
Auri – Auri
Purest of Pain – Solipsis
Susperia – The Lyricist
Structural Disorder – …And The Cage Crumbles In the Final Scene
Necrophobic – Mark of the Necrogram
Divine Realm – Nordicity
Oceans of Slumber – The Banished Heart
Poem – Unique
Gleb Kolyadin – Gleb Kolyadin
Apathy Noir – Black Soil
Deathwhite – For A Black Tomorrow
Conjurer – Mire
Jukub Zytecki – Feather Bed/Ladder Head
Lione/Conti – Lione/Conti
Usurpress – Interregnum
Kælling – Lacuna
Vinide – Reveal
Armored Dawn – Barbarians In Black
Long Distance Calling – Boundless
In Vain – Currents
Harakiri For The Sky – Arson
Orphaned Land – Unsung Prophets And Dead Messiahs
Tribulation – Down Below
Machine Head – Catharsis
Bjorn Riis – Coming Home EP
Twilight’s Embrace – Penance EP
Bloodshot Dawn – Reanimation
Rise of Avernus – Eigengrau
Arch Echo – Arch Echo
Asenblut – Legenden
Bleeding Gods – Dodekathlon
Watain – Trident Wolf Eclipse

Album of the Year 2016 – Number 2

Welcome to the penultimate day in my 2016 ‘Album of the Year’ top 30 countdown. It is a series I started at the end of November, so around a month later, here we are nearly at the end of this rather epic journey. It’s one that I undertake every year, so I should be used to it by now.

However, I always forget what a buzz it gives me. I really like having the opportunity to listen to the very best music of the year and to then be able to write about it one last time before a whole new year and a new chapter begins. It’s a labour of love that I fully enjoy – I hope you have enjoyed it too.

Forgive me but, as always, if you’re new to this series or my blog in general, links to the previous posts in this series can be found at the bottom of this post, along with links to the entire 2012-2015 lists, should you be interested.

As I stated at the beginning of the last post, these top three albums are almost inseparable and really, they should be given equal billing as joint winners. In my eyes and in my heart, they are equally brilliant and worthy winners. However, I’ve tried to avoid sitting on the fence for the purposes of this series. As a result, I have put these three records in an order. It is a little arbitrary but is based on the way in which the albums in question made me feel and continue to make me feel some time after their release.

So here goes, here is my silver medal winner…

Number 2

Haken
Affinity
InsideOut Music

“…in stark contrast to ‘The Mountain’, ‘Affinity’ captured my imagination right off the bat and has not failed to let go in the month or so that I’ve been listening to it. If anything, the more I listen, the better it gets.

‘Affinity’ is an album that transcends the normal debates around whether it is good or not. Of course it is good, that almost goes without saying.

‘Affinity’ manages to deftly and expertly merge the sounds of the past with the sounds of the future. In spite of the 1980s sheen, all nine compositions on ‘Affinity’ come across to me as fresh and exciting, with accents of djent, post-rock, ambient and all manner of other sounds bursting forth at whim.

How do I sum up an album like this? I could have mentioned a million bands throughout this review, from Textures to King Crimson and beyond as indeed there are reference points all over the place if you’re of a mind to count them. However, Haken are Haken and the bottom line is that they have developed into a modern prog band that is truly unique. ‘Affinity’ is one of the best progressive albums I have ever had the pleasure to listen to but more than that, it truly moves me and I connect to it on an emotional level; it makes me smile, it makes me cry and it makes me feel alive.”

Read the full review here

There is no denying that Haken has been an important band in my collection ever since their debut, ‘Aquarius’. This was a seriously great find for me musically and, as it happens, personally too as the guys in this UK based prog band are some of the nicest and most down-to-earth fellows you’re ever likely to meet. Not that they’ll feel the same about me when they find out that I’ve not given them the ultimate number one slot in this 2016 best of countdown!

Their debut was intriguing, full of unique moments whilst paying homage to their musical heroes. However, as it turns out, this was just the beginning. It was hugely enjoyable but moreover, it hinted at even better to come. Those hints were right. Over time, they have built upon their debut, always seeking to try new things and bring in new sources of inspiration. The net result is, in my opinion, a band that has remained one step ahead of their peers, sounding fresh and interesting with each incarnation and each album.

And so we now have ‘Affinity’, an album that once again sees Haken in devastating form. If ‘The Mountain’ was this young band coming of age, ‘Affinity’ silences any doubters to the assertion that Haken are the most accomplished and exciting band in progressive music today. Too much? Nope, I don’t think so.

Throwing the rule book away, they have managed to create an album that is something that only this sextet could have put together. It is incredibly technical and complex but never at the expense of the songs and the vibe that they are trying to create. ‘Affinity’ harks back unashamedly to the 80s whilst also managing to sound new, innovative and fresh, borrowing from all corners of the musical spectrum in the process. The playful side of Haken, never allowing themselves to be taken too seriously, is evident but, at the same time, there is a much more mature side to much of the material. At some points, the music is deeply moving and touching, whilst at others, you can’t help but smile.

Whilst many have rightly lauded the fantastically epic ‘The Architect’ as the best song on the album, perhaps even the best song of Haken’s career to date, I have other personal favourites from ‘Affinity’. The gorgeous ‘Earthrise’ with its wonderfully up-beat vibe has been my ringtone for months, meaning that I never answer my phone on the first, second or third ring…sometimes, I fail to answer at all. Oh well, music comes first.

Then there’s the closer, ‘Bound By Gravity’ which is much more sombre, fragile and stunningly beautiful. There isn’t anything approaching a weak track on this album but these two have become the show-stoppers for me; when they start, I stop. I stop and listen, regardless of time, situation or mood. This is the hallmark of intensely powerful music.

I adore this album and my adoration has only strengthened as the year has gone on. I’d have to say that ‘Affinity’ is now my favourite Haken album, nudging ‘Visions’ off the top spot. But not only that, ‘Affinity’ is the best progressive album of the year and, for me, the best for some time beyond that too.

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

Album of the Year 2016 – number 3

Album of the Year 2016 – number 4

Album of the Year 2016 – number 5

Album of the Year 2016 – number 6

And from previous years:

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

Album of the Year 2016 – Number 10

Finally, after what seems like an age, my ‘Album of the Year 2016’ top 30 countdown reaches the top 10, those ten albums that have made the biggest impact upon me over the past year.

As I’ve said many times throughout this series, this isn’t anything other than one person’s personal thoughts on the year in music. There are going to be some glaring omissions as far as many are concerned. For a start, I’ll let you into a secret: Metallica are not included in this list; they’re not even close, despite their new record being the best for far too many years to count. And there will be others who aren’t included as well, which might raise an eyebrow or two. But hey, it’s my list, so what I say goes!

And on that rather bullish note, it’s time to get on with revealing my top 10, starting with today’s choice at 10. There’s just time to mention that all of the other posts in this series can be viewed via links at the bottom of this page, so please check them out if you haven’t already done so.

Number 10

Maschine
Naturalis
InsideOut Music

“After a few weeks, I have several adjectives running through my mind, many of which have become stronger and more defined the more familiar I get with the album. Words like ‘smooth’, ‘sophisticated’ and ‘refined’ sit comfortably alongside ‘adept’, ‘confident’ and ‘assured’.

You can probably tell therefore, that I like ‘Naturalis’. But that’s not entirely accurate. I love this album. There is so much within it to enjoy and discover; it will take more than a cursory listen to fully appreciate it and that’s one of the beauties of this record.

…on ‘Naturalis’, Maschine just have a knack of making the most complex and challenging music sound so gorgeous, effortless and smooth. Add to the mix a strong production and lyrics that don’t shy away from the big topics of the day and ‘Naturalis’ begins to add up to a very commanding release indeed. I’m thoroughly smitten and can only conclude that if you’re a fan of intelligent and ambitious progressive music, Maschine are an essential addition to your collection.”

Read the full review here

‘Naturalis’ might have been one of the last releases of the year to be featured on the Blog Of Much Metal but, thanks to the lovely people at InsideOut, I was treated to a generous advance preview period, in which time I was able to sink my teeth deeply into this sophomore album from UK proggers Maschine. Mind you, I needed that time to even begin to fully appreciate everything that such an ambitious and complex record had to offer.

It was time well spent because ‘Naturalis’ has become a firm favourite at the Mansion of Much Metal. It isn’t hard to see why either, because this is a thoroughly immersive and sophisticated listen, one that I have found difficult from which to extricate. But then, I’m not sure I want to.

If their debut was a superb starter for ten, this follow-up has upped the ante in just about every department. As my quotes above indicate, ‘Naturalis’ has to be one of the most complex yet smoothest and subtle releases of the year. The album is littered with clever nuances and impressive intricacies but yet it manages to blend the technicalities and superb musicianship with confident songwriting, plenty of atmospheres and strong melodic sensibilities. The result is an album where every song contains something irresistible, begging a repeat play almost immediately. And, as I have discovered over the past couple of months, the music just gets better the more I listen. Who knows where within my list it might have been if it had been released a few months earlier. This is sophisticated prog and I love it.

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

Album of the Year 2016 – number 20

It’s getting a little more serious now as I enter the Top 20 of my ‘Albums of the Year 2016’ top 30 countdown. Can you feel the tension start to increase? Your nerves jangling? Biting your nails?…

What do you mean ‘no’? You heathens!

Anyway, here we are over a third of the way through this annual undertaking of mine. I’ve started to get a few heckles from the masses over my placement and inclusion of certain albums in this list, but hey, that’s fine. This is just my opinion, nothing more. Who is to say that any of us are right or wrong? And anyway, I hardly hold as much sway as the big boys do I?

This list just pulls together my favourite 30 albums of the year, those 30 that have stood out above all others during what has been a very strong year. This is the first full year that I have gone solo with this blog, so the support from you all has been amazing – it also means that I can provide links to the full album review of each and every one of these picks in my top 30. So if you’ve not read them, now’s your chance.

So, keep the comments coming people, I’m loving hearing what you all think of my lone voice in the wind.

On that note, onwards into the top 30…

Number 20

Frost*
Falling Satellites
InsideOut Music

“It is such a varied and unusual album in many ways that I wasn’t really sure what to make of it…It is no surprise that the music on this album is imbued with a genuine pop sheen and, on occasions dare I say it, a commercial edge…one thing I wasn’t expecting from ‘Falling Satellites’ was the sheer amount of poignant and sensitive material that it delivers.

For my money, I’d have to say that ‘Falling Satellites’ could just be Frost*’s best album to date. It has a little of just about everything that I want in my progressive rock; it’s well-written, excellently performed and is just a little bit odd and quirky too. In a year that has delivered plenty of quality already and threatens to continue the trend to the year end, ‘Falling Satellites’ has really caught my attention and thoroughly deserves to be in contention for a spot in my end of year ‘best of’ list.”

Read the full review here

I have to be honest and remark at how surprised I have been with this album. Pleasantly surprised too. Never having been the biggest fan of Frost*, I was interested in hearing their first full length album in around 8 years. But nothing more than merely interested. I never expected in a million years that I’d be including it in my ‘album of the year’ list.

For one, there’s a lot of more commercial, pop and electronic content on the album than I am normally comfortable with, thanks to the input of Jem Godfrey. But it just gets under my skin and, when blended so effortlessly and smoothly with the prog rock core of the band as well as John Mitchell’s sublime lead guitar work, it creates a scintillating final package. Not to mention that tangible layer of emotion and rawness that comes through the compositions, another impressive string to the Frost* bow.

Even after so many months, it still pushes my buttons in the right way and, when I press play, I may as well forget doing anything else for the next hour or so, because I’ll be hooked. And the 90 second opener ‘First Day’ remains one of my favourite compositions to date, it’s stunning.

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

Album of the Year 2016 – number 21
Album of the Year 2016 – number 22
Album of the Year 2016 – number 23
Album of the Year 2016 – number 24
Album of the Year 2016 – number 25
Album of the Year 2016 – number 26
Album of the Year 2016 – number 27
Album of the Year 2016 – number 28
Album of the Year 2016 – Number 29
Album of the Year 2016 – Number 30

And from previous years:

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

Album of the Year 2016 – Number 25

Welcome to day six in my ‘Album of the Year 2016’ top 30 countdown. Thanks for staying with me. It already feels like I’ve been doing this for weeks, but at the same time, it is flying by.

One of the best things about doing this series is that I get a real and genuine excuse to sit back, relax and listen to all those albums that I have loved this year, with the sole purpose of trying to rank them into some kind of order. With so much music to listen to and to review, it can be easy to forget how good some albums really are and very difficult to revisit them as often as I would like. So this is the perfect opportunity for some self-indulgence.

If you’ve missed any of the 2016 series to date, links can be found to all these at the bottom of this post. Additionally, there are links to my 2012-2015 countdowns too, should they be of interest to you.

But now on to the most important part of this post: my choice at Number 25:

Number 25

Headspace
All That You Fear Is Gone
InsideOut Music

“The all-out attack and crunch of the debut is still present but nowhere near as frequently but that’s in keeping with a different overall vibe to this album than the debut. ‘All That You Fear Is Gone’ is more varied and arguably more mature with the quieter passages demonstrating a different facet of what is unquestionably a highly talented team of musicians…On ‘All That You Fear Is Gone’ nothing is apparently off limits and nothing is seemingly beyond the ability of the quintet.

…if you’re willing to persevere and listen to ‘All That You Fear Is Gone’ on its own considerable merits and accept that it has an identity all of its own, the chances are that you too will end up loving it and will willingly take it to your heart.”

Read the full review here

If you’d asked me to place a bet at the beginning of the year, I’d have said that the new Headspace album would almost certainly have featured in this 2016 list. The debut album ‘I Am Anonymous’ was so damn good and the clientele within this UK based progressive outfit is so talented that surely this would have been a safe bet for a died-in-the-wool progressive metal fan. And so it has proved.

‘All That You Fear Is Gone’ is a fantastic record, although it took me some time to get to grips with it and appreciate all of its charms. It is a bona-fide grower in every sense of the term. When I listened initially, I wasn’t a fan at all because it didn’t seem to have that crunch and power of the debut; it felt like it meandered along without much purpose. How wrong could I be though because with time and effort, it has blossomed into a thoroughly excellent, utterly absorbing listen, full of subtle and clever nuances that aren’t obvious at the beginning.

The key is to not compare it to the debut because stylistically, it is quite different. But the musicianship, the professionalism and the attention to detail ids quite incredible, arguably even more honed and assured. As I sit here now, listening to it for the umpteenth time, I am actually wondering whether this album should be featuring higher in my list, because the longer I have it and the more I listen, the more I fall for its unconventional charms. This isn’t as heavy as the debut, but it is as engrossing and commanding without a doubt. I still don’t like ‘Polluted Alcohol’ though!

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

Album of the Year 2016 – number 26
Album of the Year 2016 – number 27
Album of the Year 2016 – number 28
Album of the Year 2016 – Number 29
Album of the Year 2016 – Number 30

And from previous years:

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

Maschine – Naturalis – Album Review

Artist: Maschine

Album Title: Naturalis

Label: Inside Out Music

Date Of Release: 18 November 2016

Regular readers of the Blog of Much Metal wil be familiar with my posts where I look into my crystal ball and comment on the albums that I most look forward to in the coming year. Regular readers will also be acutely aware that Maschine have featured within these posts for the past couple of years but, until now, have not delivered. I need to get the crystal ball booked in for a service, I reckon.

Maschine first came to my attention back in 2013 when I was still writing for Powerplay. I was asked if, at the 11th hour, I could fit in one more review and turn it around in a little under 48 hours. The album in question was the debut from a previously unknown band called Maschine, a young UK-based prog rock band with a penchant for jazz and fusion amongst other influences.

I never like reviewing albums under such a tight timescale because I like to allow records the chance to get under my skin. This wasn’t an option but in the short space of time I had, I listened to ‘Rubidium’ almost non-stop. Not just because I had to, but because I wanted to. Frankly, it blew me away and I still play it regularly. It had a few rough edges and areas of improvement naturally. However, as debuts go, it was highly impressive to say the least.

Since then, I’ve been patiently waiting for the follow-up. In the intervening years, there were long periods of silence and apparent inactivity from the Brighton-based quintet, at least from my outsider perspective. There was also an important line-up change. Original female vocalist and keyboardist Georgia Lewis left the band, to be replaced by Marie-Eve de Gaultier.

Now in 2016, consisting of guitarist/vocalist Luke Machin, bassist/vocalist Daniel Mashal, vocalist/keyboardist Marie-Eve de Gaultier, guitarist Elliott Fuller and drummer James Stewart, Maschine are back with their eagerly anticipated sophomore release, ‘Naturalis’. This time, I made sure I gave myself a lot longer to listen and to absorb the music on this record, so that I could make the most of the experience.

After a few weeks, I have several adjectives running through my mind, many of which have become stronger and more defined the more familiar I get with the album. Words like ‘smooth’, ‘sophisticated’ and ‘refined’ sit comfortably alongside ‘adept’, ‘confident’ and ‘assured’.

‘Naturalis’ is comprised of a mere six tracks but together they amount to around 52 minutes of music that touches just about every genre and subgenre of music possible. From prog rock to metal, from jazz to funk, from ambient to pop, it is all pretty much catered for. It is an album book-ended by two eleven-plus-minute epics between which sit four that average around seven minutes. This is another master stroke that Maschine play – this is not an album that outstays its welcome in any shape or form but which contains plenty of room for the music to take the listener on an engrossing journey, full of technicality, complexity and beauty.

I’m feeling all conventional, so let’s begin a deeper look at this record with the opening track, ‘Resistance’.

It begins with moody, futuristic electronic sounds and textures from de Gaultier that are carefully built on, first by a simple yet bold drum beat, then further layers of synths to deepen the atmosphere. Finally, in come the guitars with a deceptively simple riff, further layered until the song opens up into a truly epic and majestic soundscape where the keys soar and the senses are assaulted from all directions within the band.

This most grandiose of beginnings then drops away starkly to reveal some gorgeous bass work from Mashal as well as subtle vocals, both from Luke Machin and de Gaultier. The song rebuilds towards a reintroduction of that powerful and seductive melody, only to give way this time to something more spiky, led by a guitar riff that has one toe in the realm of black metal of all things.

This is only a momentary flourish as the composition ebbs and flows, moving back and forth between moody atmospherics and all-out abandon via some funky interludes and jazzy flourishes to create palpable tension and an intelligent sense of storytelling through music.

If the first half of the track is full of darker atmosphere, the second half is very different. Like the parting of the clouds, a brighter and breezier melody replaces the aural gloom to glorious effect. The vocals from Machin and de Gaultier are much more pronounced and the introduction of acoustic guitars adds to the more positive vibes and creates a slightly more pastoral feel. There’s still a moody undercurrent but it only reveals itself at certain points as the narrative demands.

‘Resistance’ is an extremely bold and ambitious opener but it is delivered with consummate skill. And, despite the shifts in tempo, atmosphere, textures and mood, all of which culminate in a final act that throws instrumental caution to the wind in an abrasive and dramatic conclusion, it is held together by some superb musicianship. Somehow, it ends up sounding very smooth and sophisticated when by all accounts, it had no right to do so.

The following track is very aptly named. ‘Night And Day’ is indeed the ‘day’ to the ‘night’ of ‘Resistance’. There’s no protracted intro for a start. Instead, a guitar riff from Machin and his equally talented six string partner Elliott Fuller introduces what happens to be the shortest, punchiest track on ‘Naturalis’. However, it is the utterly addictive and ludicrously catchy lead melody that grabs my attention from the off. Vaguely reminiscent to the song ‘Visions’ by Haken and injecting electronic and pop hints into the whole, it is another example of the quality that exudes from every pore of this young band.

I heard mutterings around the release of the debut that some didn’t like Machin’s vocals. He has a distinct style for sure but I really like his delivery. It is quite unique and crucially it acts as a superb partner to the utterly beguiling voice of de Gaultier. If her superb keyboard playing wasn’t enough on its own, this young lady has the voice of an angel; so refined, so full of emotion and almost seductive in tone.

There’s no better example of her beautiful voice than on the equally stunning ‘Make Believe’, a contender for my song of the year. The track opens with a simple piano and de Gaultier’s breathy, almost ethereal voice. It sends shivers down my spine every time I listen.

In some ways, this is the most simple song on ‘Naturalis’ in terms of the construction but so strong are the melodies and the collective performance of the band that, to me, it packs the biggest punch of all. The ‘chorus’ melody is a work of genius and the effect that it has on me when some beefier guitars join to act as a muscular counterpoint to the angelic vocals is pure magic. To cap things off, Machin indulges in a scintillating lead guitar solo and then communicates such poignancy and feel as the song draws to a conclusion with some wonderfully subtle guitar notes, executed with a sympathy and deftness that is remarkable.

In my opinion, the first three songs are so undeniably great that it would take a gargantuan effort, something approaching an all-time masterpiece for the remaining three to match the same level. To Maschine’s credit, they pretty much achieve the feat as nothing on ‘Naturalis’ is anything other than magnificent. If I’m being 100% honest, my preferences veer more towards the opening half but it is my a miniscule margin.

‘Hidden In Plain Sight’ is a breath of fresh air in terms of its more upbeat and laid-back vibe. There’s a demonstrably greater jazz and fusion vibe to the song which I have really grown to appreciate initially and then more latterly, to embrace and enjoy. It helps that there are some hugely likeable melodies to underpin everything, turning it into a song as opposed to anything else. Again, the individual performances are spot on and impressive in their assuredness whilst a doff of the cap has to go to the rhythmic team of drummer James Stewart and bassist Daniel Mashal, as they drive forward an extended instrumental section with the kind of touch, feel and ability that most of us can only dream of.

By contrast, ‘A New Reality’ has a much more whimsical feel to it, not to mention the sophisticated and compelling feel of a romantic movie score thanks to the rich strings, warm textures and layers of dreamy synths that dominate large parts of the composition.

‘Naturalis’ then closes with ‘Megacyma’, which begins with darker, dystopian overtones complete with ominous sampled sounds of sirens and fires. The track builds, aided by another gloriously emotive lead guitar segment. The song then explodes into some of the heaviest material on the album, led by the bruising drumming of Stewart. In fact, ‘Megacyma’ is arguably the angriest sounding composition of Maschine’s career to date, bounding along in places at a fair lick.

However, in true Maschine style, the heavy riffs, pounding rhythms and the moments of individual instrumental prowess are kept in check within an overall framework that has been finely honed and wonderfully crafted. Just when you think Maschine might jump off the metaphorical cliff, the track is pulled from the brink with a well-placed moment of calm or elegance. For a song that clocks in at over eleven minutes and for all its ambitious endeavours, it is frightening just how quickly it seems to reach its impressive conclusion.

I return to one of the opening paragraphs by reiterating the fact that on ‘Naturalis’, Maschine just have a knack of making the most complex and challenging music sound so gorgeous, effortless and smooth. Add to the mix a strong production and lyrics that don’t shy away from the big topics of the day and ‘Naturalis’ begins to add up to a very commanding release indeed. I’m thoroughly smitten and can only conclude that if you’re a fan of intelligent and ambitious progressive music, Maschine are an essential addition to your collection.

The Score Of Much Metal: 9.5

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

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

Karmakanic – Dot – Album Review

Artist: Karmakanic

Album Title: Dot

Label: InsideOut Music

Date Of Release: 22 July 2016

Karmakanic have been around for a good few years now, formed in 2002 by Jonas Reingold, the bassist for the arguably more familiar band The Flower Kings. Also involved with Kaipa and The Tangent, Karmakanic was conceived to be the vehicle by which Reingold, also an accomplished keyboardist, could stretch his own personal musical wings. I am familiar with some of the material that makes up the four disc Karmakanic discography to date but I’d have never really referred to myself as a fan of the band. There are some excellent moments that boast the name Karmakanic, especially on my personal favourite, the band’s debut, ‘Entering The Spectra’. However, for some reason, I never warmed to them to the same level as other bands within the progressive rock genre and have subsequently lost touch a little with them and their more recent output.

Nevertheless, I somehow felt compelled to give ‘Dot’, the Swede’s fifth studio release, a listen when I heard that it was imminent. When Karmakanic circa 2016 can boast such an impressively strong cast of musicians, my first thought was that I must have dropped a bit of a clanger by losing touch with them over the years. And do you know what? I think I have. Thanks to ‘Dot’, I do now refer to myself as a fan.

On ‘Dot’ Reingold handles the bass duties as well as the guitars and some of the keys and vocals. However, Reingold is joined by a veritable smorgasbord of talent for this release including vocalists Göran Edman (ex-Yngwie Malmsteen, Eclipse), Nils Erikson, Kristine Lenk and further members of the Reingold family, Alex and Norah. In addition, the record features keyboardist Lalle Larsson (Agents Of Mercy, Jon Anderson, Lalle Larsson’s Weaveworld), drummer Morgan Ågren (Frank Zappa, Tony Iommi, Kaipa), guitarists Krister Jonsson and Andy Bartosh , Hammond Organist Andy Tillison (The Tangent) and saxophonist and flautist Ray Aichinger.

Equally as interesting as the line-up is the concept that weaves its way between the six tracks and which binds the album together. ‘Dot’ was apparently inspired by a text written by Carl Sagan, an American writer and astronomer. He wrote, quite beautifully, commenting on a photograph of the Earth taken by Voyager 1 in 1990:

“Look again at that dot. That’s here. That’s home. That’s us. On it everyone you love, everyone you know, everyone you ever heard of, every human being who ever was, lived out their lives. The aggregate of our joy and suffering, thousands of confident religions, ideologies, and economic doctrines, every hunter and forager, every hero and coward, every creator and destroyer of civilization, every king and peasant, every young couple in love, every mother and father, hopeful child, inventor and explorer, every teacher of morals, every corrupt politician, every ‘superstar,’ every ‘supreme leader,’ every saint and sinner in the history of our species lived there–on a mote of dust suspended in a sunbeam.”

Some might argue that this is a somewhat clichéd concept, one that has been explored many times before by musicians. However, as the last notes fade on the closing track to ‘Dot’ entitled ‘God The Universe and Everything Else No One Really Cares About Part II’, I find myself reading this text and I’m moved tremendously, to the point of tears. Some bands I expect to have this effect on me. But Karmakanic? Nope, I wasn’t expecting to be typing through blurred eyes.

The reason, aside from my own occasionally fragile psyche, is the irresistible and forceful combination of powerful lyrics and beautifully constructed music.

As you’d expect, these professional musicians all bring something to the table to enjoy throughout the album but crucially, also do it in a way to ensure that the listener returns for repeated listens. There’s no clutter, no mess, nothing is here on ‘Dot’ that shouldn’t be. Of course, this being prog rock, there are plenty of extended instrumental passages and musicianship that demonstrates the prowess of the individuals. However, it all serves a purpose and allows the listener to be taken on a rich, multi-layered and multi-faceted journey, full of interesting twists and turns, drama and bold textures.

At the heart of ‘Dot’, sits the two part epic concept piece entitled ‘God The Universe and Everything Else No One Really Cares About Part I’ and ‘Part II’. Touching 30 minutes in total, they come together to book-end the album brilliantly. The last notes that I referred to earlier also usher in ‘Part I’, the larger of the two sections that on its own weighs in at over 24 minutes in length. The melody is magnificent and truly beautiful, more than strong enough to open and close the compositions, not to mention touch me emotionally.

In between, it is almost impossible to describe everything that goes on. Undeniably taking their lead from the major 70s prog protagonists as well as more recent exponents of the genre, Karmakanic deliver memorable vocals, elegant sweeping vistas and more modern-sounding segments that verge on metal territory thanks to heavy, menacing guitar tones. These elements are then expertly juxtaposed by soothing flute melodies, layers of both subtle and bombastic synths, solo flourishes and almost enough tempo changes and intriguing dynamics to fill the universe, including a show-stopping crescendo at the end of ‘Part I’. ‘Part II’ then builds on those sublime melodies in the manner of a reprise of sorts that builds before slowing things down to a quiet and poignant close, thereby offers a fitting and moving finale to the concept piece and the album as a whole.

Standalone epic ‘Higher Ground’ is almost as ambitious in its scope but again, thanks to stellar musicianship and smooth transitions from idea to idea, it works wonderfully well, creating a ten-minute tour-de-force of prog rock. It’s a bit of a theme with songs on this record but the closing moments in particular are exquisitely memorable.

At this point, Karmakanic take a step back from the full-on symphonic and epic prog trappings and instead deliver an up-tempo and highly catchy song in the form of ‘Steer By The Stars’. Co-written by The Tangent’s Andy Tillison, it is, in my opinion, exactly what the album needed to break things up a little and offer a dose of hook-laden light relief.

‘Travelling Minds’ is ushered in on some brilliant bass work and gorgeous lead guitar strains. Personally, I love the laid back vibe and its depth of emotion not to mention the huge synth-led orchestration that gives everything such a lovely glow. As with the entire record, the production sparkles and the whole thing has a really nice, warm and organic feel to it, like the embrace of an old friend.

There’s not much more to say about ‘Dot’ really; if you’re a fan of progressive rock that takes its cue from the best within the genre both old and new, you’re going to love this. If you like technical and challenging music that remains digestible and rewarding, you’re going to love this. If you like sophisticated melodies, you’re going to love this. If you simply like excellently crafted and carefully executed music, you’re going to love this. Trust me, you’re just going to love ‘Dot’, full stop.

The Score Of Much Metal: 9.0

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

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

Frost* – Falling Satellites – Album Review

Artist: Frost*

Album Title: Falling Satellites

Label: InsideOut Music

Date Of Release: 27 May 2016

I’m a late convert to the Frost* cause, but better late than never as the old saying goes. Last year, I had the pleasure of reviewing Lonely Robot, the debut album under that moniker from John Mitchell, he of Arena and It Bites fame as well as Frost*. It also featured Frost*’s Jem Godfrey in a guest roll in places on what is a glorious record, my number 13 of 2015 and a firm favourite still.

Given the clientele involved in that excellent album, I had to go and re-visit Frost* properly. I had bought their two albums a few years ago during a difficult time of my life following the passing of my younger brother. The only music I could face listening to was neo-prog for some reason and so I bought anything and everything connected even loosely with this genre. Frost* was one of those purchases but given my mental state and the amount of records I bought in an effort to bring me a little musical comfort, I was never able to give them the attention that they deserved. Fast forward a few years and Lonely Robot quickly changed this. Soon, both ‘Milliontown’ (2004) and ‘Experiments In Mass Appeal’ (2008) became more regularly acquainted with my stereo.

It is fortuitous timing because here we are a year later with a brand new Frost* album, their first in around eight years since the release of the aforementioned ‘Experiments…’

To begin with, on a first cursory listen, I wasn’t sure about ‘Falling Satellites’. It is such a varied and unusual album in many ways that I wasn’t really sure what to make of it. However, like many great albums, a little perseverance was the key to unlocking the charms of this rather impressive release.

It is no surprise that the music on this album is imbued with a genuine pop sheen and, on occasions dare I say it, a commercial edge. For those not in the know, Frost* mastermind Jem Godfrey has arguably had more success in his music career as a pop music songwriter, working with the likes of Take That’s Gary Barlow and writing ditties for Holly Valance, Atomic Kitten and Shane Ward amongst others. So, when tracks like ‘Towerblock’ feature electronic beats and sound effects that wouldn’t sound out of place on a mainstream radio station for the younger generation, it’s not a complete surprise. Neither is ‘Closer To The Sun’ with its electronic beat and ambient pop-meets-prog serenity. As it develops, it actually reminds me a little of ‘Distant Satellites’ by Anathema in terms of feel and construction.

Nevertheless, the backbone of ‘Falling Satellites’ is most definitely progressive rock, albeit smothered in layer upon layer of Godfrey’s unique synths and keys. And this is a very good thing indeed. Anyone familiar with Frost*’s previous work will immediately recognise the daring sounds and textures employed on this album. Godfrey is a master at creating depth and a richness that simply cannot be ignored and which makes the compositions sound huge, almost cinematic in places and dripping in majestic drama. From the subtle to the bombastic, it’s all covered here.

As always, the guitar work of John Mitchell is a delight. Crystal clear lead solos, crisp riffs and emotional phrasings are all present and correct as you’d expect from such a seasoned pro with the six-string instrument. He isn’t too bad as the lead vocalist either, following the departure of Dec Burke.

Speaking of emotion, one thing I wasn’t expecting from ‘Falling Satellites’ was the sheer amount of poignant and sensitive material that it delivers. The opening introductory piece is a dark, foreboding and dramatic piece that is in the running for being one of my favourite pieces of music from 2016 so far. It may only be 90 seconds long but the combination of stirring synths and ethereal, almost pleading vocals sends shivers up and down my spine.

The aforementioned ‘Towerblock’ is, aside from the random electronics, another moving composition. The opening bleak and sombre tones are built on as the track develops, culminating in a big intense melody, a barely-controlled explosion of sounds and gritty melancholy lyrics that also hint at hope and determination. Then there’s ‘Lights Out’ which, featuring some wonderfully tender female vocals and quiet minimalist music underneath is a compelling, goosebump-inducing listen.

‘Hypoventilate’ creates another majestic, cinematic soundscape, whilst closer ‘Last Day’ is primarily a piano and vocal piece that is again rather emotive, rounding out the record impressively.

If, however, you’re after some excellently-crafted progressive rock on top of all this, you’re in luck. ‘Numbers’ is a great up-tempo track with strong melodies, great vocals and it powers along, led by a driving rhythm section. The ludicrously clear and strong production lends the drums of Craig Blundell a really sharp punch and the intricate and dextrous bass work courtesy of Nathan King is allowed to shine rather than end up lost in a muddy mix.

‘Heartstrings’ is an absolutely belting song that showcases Frost* at their very best. The chorus is huge, the musicianship is out of the very top drawer and the track effortlessly ebbs and flows with a serene grace one moment and all-out power the next, all wrapped up with an honesty and sincerity that allows the listener to buy into the music one hundred per cent. Mind you, if I’m being completely honest, I think ‘Signs’ might be even better. I love the It Bites-esque opening which explodes into a huge chorus that sinks its hooks in nice and deep to go along with yet more equally deep lyrics.

The Score Of Much Metal: 9.25

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

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

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