Tag Archives: Melodic Metal

Orden Ogan – Gunmen – Album Review

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Artist: Orden Ogan

Album Title: Gunmen

Label: AFM Records

Date of Release: 7 July 2017

This is getting embarrassing. Over the past couple of decades, I have built up what I would like to think is a fairly extensive and varied knowledge of vast swathes of the heavy metal world, even occasionally veering into rockier territories where appropriate. However, it wasn’t until I started writing music reviews for myself rather than a national publication that I have begun to realise how much more there is out there that has completely eluded me. It’s actually quite staggering and a little overwhelming if I’m honest.

And today, I bring you the latest band that has been a completely new revelation for me, namely Orden Ogan. I am familiar with the power metal and melodic metal genres, liking much within them. But German outfit Orden Ogan never crossed my path. Until now.

But hey, I thought, it’s not like they have been around for that long, is it? Oh, 20 years? Damn. Three demos and five previous studio albums? Damn and drat. Oh well, let’s not dwell on my failings, let me try to put things straight at the earliest opportunity, for Orden Ogan have made an impression on me that is extremely positive.

Based on the evidence of ‘Gunmen’, the Teutonic quartet comprised of guitarist/lead vocalist and last-remaining founding member Sebastian ‘Seeb’ Levermann, guitarist Tobias Kersting, bassist Niels Löffler and drummer Dirk Meyer-Berhorn are likely to quickly become a firm favourite of mine in the power metal world. Naturally, genre pigeon-holing can be precarious but Orden Ogan are easier than most; this is unashamed power metal with all the trimmings and a few fleeting elements of other influences, namely folk metal and symphonic metal.

What hits me right off the bat with the dark Wild West-themed ‘Gunmen’ more than anything else, is the way in which they create genuinely epic-sounding music. More specifically, it is the choruses on this album that make the biggest impact. And it’s an immediate impact. Some bands will pretend to create bombastic and epic music but Orden Ogan properly succeed. Layers of keyboards, synths and choirs combine with the more metallic aspects of their sound to produce a soundtrack that is rousing and one that cannot fail to stir even the coldest of hearts. The choruses throughout this record are huge, addictive beasts that I have listened to on repeat several times without them losing any of their ardour. In fact, in many cases, they just get better.

The opening one-two comprised of the title track and ‘Fields Of Sorrow’ is easily one of the most powerful and attention-grabbing beginnings to a record that I have heard from a power metal band in many a year. ‘Gunman’ is a highly-charged thrill-ride from the opening hefty guitar notes and orchestration, right through to the sound of a firing gun to signal its end. In between, we get a combination of stomping and galloping metal riffs, melodic lead guitar licks, a ferocious rhythmic backbone and one of the biggest and most glorious choruses you’ll hear for quite some time. I adore the groove that accompanies the chorus and even the ubiquitous lead guitar solos that crop up toward the end are a great blend of shred and melody. Atop it all are Levermann’s vocals, which I am drawn to thanks to his gritty and deep tones.

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By contrast, ‘Fields Of Sorrow’ is a much darker number and generally more mid-tempo than its predecessor. It kicks off with a seriously cool riff that reinforces my opinion that this record is blessed with some superb guitar tones and a production that more than adequately does it justice. Once again, the chorus is where the music goes from great to sensational. It is a sombre affair but remains highly addictive and huge in scope. The pummelling double-pedal drumming that underpins the chorus is a lovely touch, too, adding further gravitas to proceedings.

It would be difficult for most bands to follow up such an impressive opening and indeed, if I’m being completely honest, I’m still of the opinion that these two cuts, aside from the final song ‘Finis Coronat Opus’ are the strongest on ‘Gunman’. However, what follows is still very good indeed and almost all of the eight subsequent songs have something about them that warrants my admiration. I dismissed ‘Vampire In Ghost Town’ out of hand on a first listen because it came across as just a little too cheesy and the lyrics felt a little silly. But now, I can’t help but love it, principally because, despite the silliness, it remains a well-crafted heavy metal song with meaty riffs, catchy melodies and yet more powerhouse rhythmic flair, a strong recurring feature throughout the album.

The soothing, acoustic opening of ‘Come With Me To The Other Side’ is accented by the soft tones of ex- Leaves Eyes vocalist Liv Kristine, who appears at points elsewhere within a song that has a balladic feel to it, but does not dial down the bombast and metallic elements to compensate. Instead, it becomes a bona-fide symphonic anthem, with a vaguely progressive edge given its many varied components.

It is this variety overall that makes ‘Gunman’ such a rewarding listen and one that doesn’t quickly become one-dimensional and boring. The output remains firmly in the power metal camp, but within this framework, I get the impression that the quartet wanted to experiment a little bit. As such, in addition to the aforementioned tracks, we get s like ‘Down Here (Wanted: Dead Or Alive)’ with its dramatic cinematic overtones and the brooding, stomp of ‘One Last Chance’, where the heaviness is marked and wouldn’t be out of place in other more extreme metal genres. It goes without saying that the chorus is another delicious affair here too.

Closing track, ‘Finis Coronat Opus’ is the longest on ‘Gunman’, nearly nudging the nine-minute mark. Personally, I can’t think of a better way for Orden Ogan to end this epic record, than with their most epic composition. It plays around with light and shade and pacing to great effect, injecting just a touch of prog and then dials everything else up to 11. The chorus is gargantuan, the riffs are superb and the bombastic symphonic elements are a real joy. There’s a sombre tone to the song but a sense of hope and positivity comes through as it draws to a close.

There is no doubt in my mind that ‘Gunmen’ will end the year as one of my favourite power metal albums. It exudes quality from every pore and has been a genuine revelation for me. I will explore the back catalogue for sure but for now, I just need to prise ‘Gunmen’ out of my stereo…and that might prove harder than I first thought.

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

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

Dream Evil – Six – Album Review

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Artist: Dream Evil

Album Title: Six

Label: Century Media

Date Of Release: 26 May 2017

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

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

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

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

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

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

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

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

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

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

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

The Score Of Much Metal: 6

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

2015 reviews
2016 reviews

Avatarium – Hurricanes And Halos
Ayreon – The Source
Until Rain – Inure
MindMaze – Resolve
God Dethroned – The World Ablaze
Bjorn Riis – Forever Comes To An End
Voyager – Ghost Mile
Big Big Train – Grimspound
Lonely Robot – The Big Dream
Firespawn – The Reprobate
Ancient Ascendant
Pyramaze – Contingent
Shores Of Null – Black Drapes For Tomorrow
Asira – Efference
Hologram Earth – Black Cell Program
Damnations Day – A World Awakens
Memoriam – For The Fallen
Pallbearer – Heartless
Sleepmakeswaves – Made of Breath Only
Ghost Ship Octavius – Ghost Ship Octavius
Vangough – Warpaint
Telepathy – Tempest
Obituary – Obituary
Fen – Winter
Havok – Conformicide
Wolfheart – Tyhjyys
Svart Crown – Abreaction
Nova Collective – The Further Side
Immolation – Atonement
The Mute Gods – Tardigrades Will Inherit The Earth
Ex Deo – The Immortal Wars
Pyogenesis – A Kingdom To Disappear
My Soliloquy – Engines of Gravity
Nailed To Obscurity – King Delusion
Helion Prime – Helion Prime
Battle Beast – Bringer Of Pain
Persefone – Aathma
Soen – Lykaia
Exquirla – Para Quienes Aun Viven
Odd Logic – Effigy
Mors Principium Est – Embers Of A Dying World
Firewind – Immortals
Slyde – Back Again EP
Sepultura – Machine Messiah
Deserted Fear – Dead Shores Rising
Kreator – Gods Of Violence
Borealis – World of Silence MMXVII
Pain of Salvation – In The Passing Light of Day

MindMaze – Resolve – Album Review

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Artist: MindMaze

Album Title: Resolve

Label: Inner Wound Recordings

Date of Release: 28 April 2017

The progressive power metal subgenre is large and highly saturated these days, which may go some way to explain why MindMaze have flown under my radar to date. Weeding out the wheat from the chaff in such a burgeoning scene can be difficult for fans and journalists alike. But it can be equally tough for bands themselves to find a way to thrust themselves out of the masses and be noticed.

With their third full-length release entitled ‘Resolve’, MindMaze may have done just this however. And interestingly, whilst this latest effort is the American quartet’s first ever concept album, it does not rely on gimmicks alone to achieve this higher level of attention. Instead, in my view, the fact this is a conceptual record plays a secondary role to the music itself. The same can be said when considering the fact that MindMaze are a female-fronted band. I hate that phrase at the best of times, but MindMaze have managed to create music that is strong enough to ensure that the voice of Sarah Teets isn’t the most important thing. Sarah has a great voice, full of power and she attacks the material throughout with full-on commitment and style. But she remains only a single piece in the overall jigsaw that is MindMaze 2017.

What I particularly like about ‘Resolve’ is the way that the compositions grow with time and the clever way in which the song writing has allowed plenty of different ideas and influences to flavour this particular melodic progressive metal dish. As the press release rightly states, ‘Resolve’ is made all the richer and more varied thanks to the inclusion of elements of melodic rock, power metal, symphonic metal. It all comes together cohesively but there is no denying the fact that the overall product is more dynamic, textured and multi-layered as a result.

Referring back to the conceptual nature of ‘Resolve’ for a second, it is gratifying to report that MindMaze have foregone the opportunity to go off on a fantasy or science-fiction tangent in this regard. Don’t get me wrong, I’m all for swords, magic, spaceships and dragons in my heavy metal, but not at all times. ‘Resolve’ instead hones in on personal struggles and human emotions. It gives the material more of a gritty edge which I think plays to its strengths.

The album opens in a blaze of glory via the instrumental ‘Reverie’. It begins with a subtle acoustic guitar that delivers a very pleasant and welcoming melody before exploding with wailing lead guitars, nice and chunky heavy riffs, a tinkling piano and rich synths, all courtesy of Sarah’s brother, the highly talented Jeff Teets. The drumming from Mark Bennett and bass work from Rich Pasqualone provides a driving beat and backbone, thus completing the composition of MindMaze.

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The speed, power and sheer force of MindMaze continues without a pause for breath courtesy of ‘Fight The Future’ where the speed of power metal meets the attitude of thrash and the exuberance and dexterity of progressive metal. It creates a heady, often frenetic cocktail, but one that is thoroughly enjoyable, capped by a commanding vocal performance from Sarah Teets.

After a quick interlude, ‘Drown Me’ takes over with some seriously meaty and muscular guitar riffs. Reminiscent in tone to ‘Monday Morning Apocalypse’-era Evergrey, they carry some serious potency. The synths are quirky, slightly futuristic-sounding but entirely in keeping with the ambitious composition that experiments with light and shade to great effect thanks to a quieter, more introspective mid-section as well as a re-introduction of acoustic guitars nestled within the fierce and groovy chugging riffs that cannot fail to get the head bobbing enthusiastically.

With almost any album that contains as many as thirteen tracks and an overall running time of 68 minutes, I have to report that there are a couple of moments where the word ‘filler’ enters my mind. It’s hardly surprising really and, to be honest, it doesn’t significantly derail my overall enjoyment of the album. I understand the slightly theatrical aspect of the instrumental pieces for example that are nestled within the record, but I’m not sure they add an awful lot to the album. Future releases might benefit therefore from a little more ruthless editing.

But to return to the highlights and there are several to pick from. I really like the urgency and the full-throttle assault of ‘Abandon’ which once again flirts around the edges of thrash metal, whilst delivering some great riffs and a strong chorus. Almost subconsciously, the name Triaxis flutters in my mind during this dominant and forthright track but then so does Iron Maiden thanks to a striking melody that briefly lurks in the latter stages of the song.

The bass playing and drumming that features with ‘True Reflection’ is worthy of a mention, as is the unusual but clever fading in and out of the acoustic guitar at times. Again, the melodies are strong as is the structure of the track.

Sarah Teets’ voice shines within ‘Release’, a ballad of sorts that builds from a quiet acoustic base to end rather appropriately with a wailing lead guitar. And then there’s the 11-plus-minute closer ‘The Path To Perseverance’ which wraps things up in a suitably bombastic manner. For my money, this song delivers some of the strongest melodies anywhere on this album as well as creating a rich and vibrant listening experience, full of twists and turns and bursting with energy, led once again, by the effervescent lead guitar histrionics of Jeff Teets. The return to the album’s opening acoustic melody at the death is a really nice touch too, bringing a neat sense of closure to the record.

Overall, ‘Resolve’ has impressed me far more than I ever expected and it should no doubt propel MindMaze to the next level within the echelons of melodic progressive metal. However, as good as ‘Resolve’ is, I confidently predict even bigger and better things for MindMaze in the years to come.

The Score of Much Metal: 8.5

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

2015 reviews
2016 reviews

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

Voyager – Ghost Mile – Album Review

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Artist: Voyager

Album Title: Ghost Mile

Label: IAV Records

Date Of Release: 12 May 2017

In the three years since the release of Voyager’s last album, ‘V’, much has changed in my life. I am no longer writing for Powerplay magazine, I’ve moved house and I now have a second daughter on which to dote. Not to mention double my stress levels and further eat into my spare time. Not that I’d have it any other way of course.

But in the world of Voyager, things have been surprisingly stable and quiet. For a band that has experienced more than their fair share of line-up changes over the years since their inception around 1999, the clientele has happily remained the same from ‘V’ to the current day.

As a result, Voyager 2017 consists of vocalist Daniel Estrin, guitarists Simone Dow and Scott Kay, bassist Alex Canion and drummer Ashley Doodkorte. A more talented and hungry group of musicians you’ll struggle to find and it shows too. This is a tight unit, a formidable machine.

The stock of the quintet who hails from the most remote city in the world has risen unbelievably over the last few years. They have gone from a band very much in the underground to one of the current darlings of the metal world. Some of this has to do with their live shows. I have yet to witness one but I have it on good authority that they are incredible, drawing the highest of praise and comments like ‘the best live performance I’ve ever seen’.

However, the other enormous factor in the rapid rise of the affable five from Perth, Western Australia is the music itself. Quite simply, Voyager is a band that keeps getting better and better. I joined the cause around the release of their fourth album, ‘The Meaning Of I’ in 2011, becoming smitten with their brand of quirky melodic progressive metal. I delved into their back catalogue and then salivated all over ‘V’, such was its brilliance.

To quote my review for Powerplay Magazine, “Immediate, catchy and satisfyingly heavy, ‘V’ is a brilliantly-written album, deserving of your undivided attention.”

And now finally and joyously, album number six is upon us. Entitled ‘Ghost Mile’, you very quickly realise that this is yet another impressive body of work from the good ship Voyager. Instead of the 13-track affair that ‘V’ was, ‘Ghost Mile’ consists of a mere ten tracks and a running time of 45 minutes. But worry not, because listeners have not been short-changed by this, not one iota.

What this represents in fact is that Voyager today is an even more tightly honed entity. More focussed and more self-assured than ever before. That rising stock I mentioned a moment ago? Expect it to go through the roof upon the release of this record, mark my words.

Firstly, in a very similar vein to ‘V’, ‘Ghost Mile’ is impeccably produced. Mastered by Matthew Templeman and mixed by Simon Struthers, it sounds slick, polished and smooth. The music is provided a great depth and clarity which is vital given the subtle nuances at play within Voyager’s sound. But being a metal band, Voyager like to crack out the heavy occasionally and when they do, there’s plenty of muscle to back up the aggression, losing nothing in the mix.

There are definitely ingredients of many different bands within the Voyager sound, many influences. But the final result is just so unique that these reference points are rendered redundant. In my opinion, Voyager sound like no-one else. They have worked hard over the years to craft their sound and perfect their own vision, to the point where comparisons are impossible and, in any case, are utterly pointless. Their output blends progressive metal, prog and pop-like melodies with a quirky and often atmospheric sheen. Put simply, the music sounds like…Voyager.

Each musician within the band brings something interesting and vital to the overall sound. Guitarists Simone Dow and Scott Kay are exemplary riff machines with an almost telepathic understanding. I love the tones of the guitars as well as the inventiveness of the riffs and chord structures. They work perfectly in tandem with a behemoth of a rhythm section comprised of the expressive and flamboyant bassist Alex Cannion alongside drummer Ashley Doodkorte who is metronomic in his accuracy, laying down a thunderous yet varied and cleverly nuanced heartbeat. And then there’s Daniel Estrin. I cannot get enough of this guy’s vocals – they are quirky and off-beat at times which adds to the uniqueness of Voyager’s output. But more than that, he is such a powerful, melodious and emotive vocalist. He also brings his skills with the ivories by creating the synth and key textures that layer the album, bringing with it that aforementioned atmosphere, a sense of drama and yet more originality.

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On to the songs themselves and ‘Ghost Mile’ opens up with ‘Ascension’. It is a track you’re likely to have already heard given that it was the first track released to an expectant fan base. When I first heard it, I had my reservations as it didn’t immediately seem to deliver a killer melodic hook or a chorus to grab my attention. However, I was wrong. It encapsulates just about everything that is so brilliant about Voyager.

Beginning with a gorgeously serene guitar and synth intro that subsequently welcomes in a simple, pounding drum beat, it builds a sense of tension which is released once the intriguing progressive-sounding riff kicks in. When the heavy guitars fall away, in come Estrin’s vocals which create the melodies as well as some really wonderful bass playing. Accompanied by layers of synths, there is genuine warmth to the music and it feels like it is seeping into my bones and my soul. And then, all of a sudden, some brief growls usher in something altogether heavier. An almost post-metal wall of groovy sound greets us, before things revert back, only for the song to close on a lurching, progressive/tech metal riff. I can’t help but grin already.

The grin then gets even bigger as the monstrous one-two of ‘Misery Is Only Company’ and ‘Lifeline’ take over. The former starts off in quirky, progressive fashion before delivering one of the strongest hook-laden choruses of Voyager’s career. Juxtaposed with some punchy, fast-paced music in the verses, this is a great blend of melodic and progressive metal par excellence.

‘Lifeline’ then reintroduces what becomes a bit of a trend on ‘Ghost Mile’, namely an ambient, atmospheric, almost electronic-sounding opening. The overtly progressive, twisting and turning track then builds expertly with stop/start riffing entering before being gradually joined by striking drumming and then Estrin’s trade mark melodic vocals. But the best is saved until the chorus. I adore what Dow and Kay do here but I’m at a loss to explain it more eloquently; the guitar notes send shivers down my spine, as if speaking directly to something primitive inside of me.

‘The Fragile Serene’ caresses the soul initially before stomping all over it with a more ponderously-paced riff. The track eventually quickens but, by taking the foot off the pedal, it cleverly introduces another strong and dynamic facet to the album. The synths are integral to this more wistful and dreamy-sounding composition, as are the more subtle melodies that permeate the consciousness with repeated listening.
It might only be a little over two minutes in length but ‘To The Riverside’ makes a huge impact. It is a composition that paints huge, stunning vistas in the mind’s eye. It is at once both soothing and surprisingly emotional. The tinkling keys, layers of synths and the pensive voice of Estrin all combine to stunning effect, only enhanced latterly by some simple additions from the rest of the band.

By contrast, the title track changes things up once again by offering a dramatic and intense listening experience right from the off. It is one of the most progressive tracks on the record by virtue of the fact that it never sits still. The melody remains but the tone is darker, more dystopian, accented by some bold sounds and samples and ultimately communicated via a deviation into extreme metal territory. Ferocious blast beats, fast-picked riffing and suffocating intensity all feature prominently in the latter stages as Voyager channel their inner anger with superb and eyebrow-raising results.

Not content with just one cut of extremity, ‘Disconnected’ also packs a real punch, along with more dark, foreboding atmosphere whilst the short, sharp and unashamedly modern pop-inspired ‘What A Wonderful Day’ also features a brief smattering of growled vocals for good measure.

‘This Gentle Earth’ is a beautiful track, predominantly a piano and vocal composition. It has bittersweet overtones as the melodies feel quite up-beat whereas the lyrics talk about having ‘never felt so alien’. The poignancy really makes me think, something that I heartily approve of.

All too swiftly, ‘Ghost Mile’ comes to a close with ‘As The City Takes The Night’. However, it says its goodbyes in the best possible fashion. Funky bass lines, more cracking riffs, layers of synths and another vocal masterclass all ensure that this melodic progressive composition is a more than fitting finale for such an amazing album. The chorus is once again a thing of understated and subtle beauty, wonderfully topped off by the more ethereal vocals that almost blend into the music. And when the album closes, it stays in my mind for quite some time.

The only problem with ‘Ghost Mile’ is that it is a stealer of time, a thief of moments. I listen to this record and immediately feel compelled to listen again. Before I know it, huge chunks of my life have disappeared. However, at this precise moment, I don’t care. All I know is that ‘Ghost Mile’ is a very special record from an equally special band and…damn it, I need to listen to it again.

The Score Of Much Metal: 9.9

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

2015 reviews
2016 reviews

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

Pyramaze – Contingent – Album Review

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Artist: Pyramaze

Album Title: Contingent

Label: Inner Wound Recordings

Date Of Release: 28 April 2017

Melodic progressive metallers Pyramaze are one of those entities that prove that the band is bigger than the individuals within it. Since their inception in 2002, the Danes have had no fewer than four lead vocalists and have also lost their founding member, guitarist Michael Kammeyer and bassist Niels Kvist along the way. And yet, despite all this, the name Pyramaze still exists and, if the hype surrounding this latest release is anything to go by, they are gaining in popularity.

‘Contingent’ is the band’s fifth full-length studio release but only the second outing from the current line-up, in existence for only a couple of years. Following in Lance King, Matt Barlow and Urban Breed’s considerable footsteps, Pyramaze is now fronted by vocalist Terje Harøy, ably surrounded by keyboardist Jonah W., lead guitarist Toke Skjønnemand, drummer Morten Gade Sørensen and guitarist/bassist Jacob Hansen. Yes, the producer. And yes, Hansen has produced, mixed and mastered this record as well.

And as you might expect, one of the biggest strengths of ‘Contingent’ is indeed the production. This is a record that sounds as good as you’d hope it would, with a nice mix of clarity and clout.

Now, I’m a bit of a sucker for melodic progressive metal and so when I read that ‘Contingent’ was to be ‘an epic post-apocalyptic conceptual piece’ with ‘cinematic film score elements’ I had very high hopes for this release. Unfortunately, at the beginning, I struggled to get to grips with it and I felt more than a little underwhelmed. The hooks and melodies weren’t as strong as I had hoped and it all felt a little bit overblown to the detriment of the songs themselves. As such, after a handful of spins, I shelved it temporarily.

However, the more I listened to other music in this period, the more I found myself thinking ‘I need to hear the new Pyramaze again’. What witchcraft was this? Whatever the answer, I found myself gravitating back to ‘Contingent’. And finally, it all started to click into place. I now find myself really enjoying this album to the point where I can only wonder incredulously why I didn’t like it from the very beginning.

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The first thing to say is that ‘Contingent’ is indeed a very ambitious record, arguably the boldest of their career to date. It is full of bombast, drama and the symphonic elements are prominent, up front and centre much of the time. The good thing is though, that despite my early misgivings, the songs themselves are strong enough to cope with the additional baggage. The metal quota remains high, with powerful riffs, a muscular rhythm section and a commanding vocal performance from Terje Harøy. The progressive nature of the riffs and the changes in tempo are evident and the choruses, an integral part of any metal with the word ‘melodic’ in the title, take their time but eventually deliver the goods too.

The opening salvo, the impressive ‘Land Of Information’ is the perfect example of everything that Pyramaze have managed to do so well with this release. The first few moments introduce mechanical, almost dystopian sound effects amidst a bold cinematic score which then segues nicely into a powerful, progressively-tinged riff and a bulldozing rhythm section. It doesn’t take long either for Terje Harøy to make his presence felt behind the mic either, coming into the song with authority, confidence and an on-point delivery.

It may not have been the most immediate chorus to my mind but it has worked insidiously to get under my skin without me even realising it. The more I listen, the grander it feels and the more addictive it becomes. Keyboard and guitar solos litter the latter stages but it signs off in suitably bombastic fashion, with everything coming together in a final rousing chorus to leave a lasting impression on the listener.

This sense of grandiosity continues throughout the album but thanks to some strong songwriting and plenty of experience from this group of musicians, it never spirals out of control and crucially, focus isn’t lost.

Even when the metal falls away within ‘Kingdom of Solace’ to be replaced by a filmic passage of respite, everything works. In fact, this is a lovely touch that adds drama and intrigue whilst allowing the track to breathe. And then, in turn, the change of pace allows the wailing and gnashing solos of both keys and guitars to make a bigger impact when they arrive.

‘Star Men’ begins with tinkling ivories and a brilliantly heavy and menacing chugging riff as the frenetic pace of the opening tracks is deliberately slowed. It also features one of my favourite choruses on the album which has a faint ballad feel about it, such is its sprawling grace and beauty. I hear echoes of Evergrey in the ensuing guitar solo from Toke Skjønnemand, but this entire track is an utter delight in its own right.

The introduction to ‘A World Divided’ is a thing of magnificence where an orchestral score is built around a sorrowful-sounding piano melody. In a heartbeat, it is replaced by a barnstorming riff and rhythm combo before settling down into a bold mid-tempo, dominated by yet another deceivingly catchy chorus. Morten Gade Sørensen’s inventive yet thunderous drumming catches the ear on this track, as does the rumbling bass of Jacob Hansen.

Then we come to ‘Nemesis’ and I’m blown away. This has to be my favourite track on ‘Contingent’. It bounds along with at a great pace, exploding into the chorus. And the chorus is one of the best I’ve heard from this kind of music in a while, it’s completely killer, taken to a new level by an inspired performance by Harøy. You can’t help but reach for the volume dial, crank it up and sing along. I also love the way it slows to introduce a hard rock-esque segment before increasing in intensity towards the close, led by Sørensen’s powerhouse double-pedal drumming.

Comprised of thirteen tracks, ‘Contingent’ lasts for a good hour but it never really feels that long. In fact the whole thing zips by in a blaze of barely-contained glory. There are a couple of symphonic, cinematic interludes that help to underline the conceptual nature of the album whilst offering some brief yet sophisticated respite to the listener.

Other highlights within a consistently tremendous album have to be the feel-good anthem that is ’20 Second Century’, the stomping mid-tempo majesty of ‘Heir Apparent’ and the piano and vocal ballad, ‘The Tides That Won’t Change’ which features a guest female vocal performance from Kristen Foss to duet delightfully with Harøy.

2017 is not even four months old and already we have yet another contender for the best melodic progressive metal album of the year. ‘Contingent’ has slowly and cleverly worked its way into my affections and now I can’t sing its praises highly enough. Pyramaze have quite simply delivered a stunning album that’s ambitious and highly impressive.

The Score Of Much Metal: 9.25

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

2015 reviews
2016 reviews

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

Damnations Day – A World Awakens – Album Review

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Artist: Damnations Day

Album Title: A World Awakens

Label: Sensory Records

Release date: 24 March 2017

I have gone on record before about the strength of the heavy music scene in Australia; there is literally no let-up in the number of bands that are coming through. It’s like a torrent. But more than that, these bands almost all display an incredibly high standard, whatever their chosen subgenre. And now you can add the name Damnations Day to the list because, as ‘A World Awakens’ demonstrates, they more than threaten to muscle their way into the competitive antipodean melodic prog metal scene.

In fact, come to think of it, the title of this record is very apt. Prior to the arrival of this sophomore release, I had never even heard of Damnations Day. I suspect I am not alone. But now, the world must surely awaken to the merits of this talented band from Geelong, Victoria.

Damnations Day, who released their debut ‘Invisible, The Dead’ back in 2013, is comprised of vocalist and guitarist Mark Kennedy, his brother Dean Kennedy on drums and Jon King on guitar. Those already familiar with this kind of music will almost certainly recognise the name Teramaze and it might therefore be of interest to know that Dean Kennedy is also their tub-thumper. The Teramaze links don’t stop there either, as Dean Wells was drafted in as session bassist and knob-twiddler extraordinaire.

On that note, it has to be said that ‘A World Awakens’ sounds very good indeed. The production affords the music the power required for a metal band, providing plenty of grunt and muscularity. However, there is clarity too and so the melodic sensibilities, the technicality and the vocals are given the best opportunity to shine.

Speaking of vocals, there’s really no other place to start because boy, this guy can sing. Low range, upper range, soft, powerful, emotive; there’s no place he can’t seemingly go and nothing is off limits. And you can hear that he is giving it everything. There’s an enthusiasm and a vibrancy that comes through, even when Kennedy is leading the music down a darker or more aggressive path. What this means is that Damnations Day are able to compete in a genre that already boasts some amazing singers, when they might have otherwise struggled.

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It’s just as well because the music that sits alongside the vocals is genuinely out of the top drawer. When Damnations Day hit full pelt, the riffs are big and bold, the drumming is aggressive and the tone is brooding and intense. Opener ‘The Witness’ is the perfect example, coming out of the blocks with fists flying. The guitar tone that delivers the bruising riffs catches my ear immediately, as does the surprisingly sophisticated rhythm section. The bass rumbles but with understated finesse and the drums deliver both intricacy and an all-out double-pedal assault.

But within the same song, there are some great melodies to be heard, a catchy chorus and brief moments when the foot is taken off the pedal to allow something more subtle and nuanced to come through.

‘Dissecting The Soul’ reminds me of a cross between Circus Maximus and Tomorrow’s Eve. It is a moody composition that has a slightly greater progressive edge whilst the sophisticated chorus is sprawling, dreamy and utterly irresistible, topped off by some dextrous lead guitar work. And I love the dramatic and dark outro too.

The high quality continues as the album develops. For example, ‘Colours of Darkness’ plays around with light and shade to great effect, underlining the bands’ progressive leanings in the process. And then there’s ‘I Pray’ which is an ambitious composition that pulls together a number of different elements into a cohesive and compelling listening experience.

Then there’s my favourite track of them all, ‘A World Awakens’. It was the track that I heard first and immediately pulled me under its spell. It begins with a slow, atmospheric intro before opening up into a galloping verse aided by a commanding vocal performance. It takes a while to materialise but after a suspense-filled build-up, the chorus is absolutely enormous, begging to be sung along to with gusto. Everything about it is just about perfect, culminating in a hair-raising scream from Kennedy that segues into a quieter, more introspective passage before skipping towards its conclusion.

Like most good melodic-leaning metal bands, Damnations Day are not averse to a ballad either, giving us two on ‘A World Awakens’. The first, ‘Into Black’, is dominated by an acoustic guitar and sumptuous vocals initially but introduces well-placed orchestration to provide an elegant and grandiose conclusion. The second, ‘Diagnose’ is also the closing track, bringing the album to an end in style. Again, acoustic guitars figure in the opening stages alongside some deeper and more sombre vocals but are eventually placed by a wonderfully strong and emotive guitar riff that compliments and indeed enhances the melodic intent of the composition. However, the real strength of this last song is its relative simplicity, which allows the atmosphere and the tangible emotions to take centre stage.

To be honest, I can find very little to criticise about Damnations Day and their sophomore album ‘A World Awakens’. It has certainly caught my attention for all the right reasons and deserves to be heard by anyone who enjoys properly powerful melodic metal with a progressive edge.

Powerpoints: 8.75

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

2015 reviews
2016 reviews

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 – 23 March 2017

As you can see from the title of this post, I’ve gone through a bit of a re-branding with these regular news reports. They will still focus on news about albums in the pipeline, so keep expecting updates on new releases, big album announcements, new tracks, studio reports etc.

However, I wanted something a bit more snappy as a title and also something that wasn’t so restrictive as there may be times when I need to write about something that doesn’t involve a new album.

If you’ve not checked out any of the previous posts in this series, entitled ‘Anticipated music in 2017 – an update…’, they can be found via the links at the bottom of this page.

Lonely Robot – The Big Dream
Release date: 28 April 2017

16729381_10155037235405439_4788700761726639376_nI brought you news a week or two back about a new album from Lonely Robot, the brainchild of John Mitchell of It Bites, Arena and Frost* fame. Well, I can now bring you a new track from the forthcoming sophomore release ‘The Big Dream’.

As you might expect, Mitchell’s recognisable guitar playing and vocals are all over this energetic and dynamic progressive rock track that features plenty of melodic hooks to get you coming back for repeated listens. From what can be gleaned from ‘Everglow’, there is unlikely to be a massive sea-change from the debut but that’s a good thing in my opinion. This sounds big, bold and continues with those grand cinematic overtones.

This is just the kind of song to get me extremely excited for the upcoming album.

Lost In Thought – TBC
Release date: TBC

This has got to be one of my most highly anticipated albums of 2017 right here, the sophomore release from the re-formed and rejuvenated UK progressive metal band, Lost In thought. Their debut, ‘Opus Arise’ was a cracking body of progressive metal and is a more than solid foundation upon which to build.

Over the past few weeks and months, the band have been releasing snippets of the recording process and everything I have heard from these suggests that the anticipation for a long-overdue follow-up has not been misplaced. It remains to be seen exactly how the all-new line-up will fare and how new vocalist Deane Lazenby fits in having recently replaced Nate Loosemore behind the mic but that’s all part of the excitement for me.

And whilst we wait for more, here is a selection of recent updates to get you salivating at the prospect of what threatens to be another quality progressive metal album during 2017.

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CyHra – TBC
Release date: TBC

Now this is some news that came out of nowhere and was broken to the world by my old mate and died-in-the-wool metalhead Carl Begai of BWBK. I have been a fan of Amaranthe since the very beginning and I’ve enjoyed each album they have released, even when the music has veered dangerously close to cheesy pop territory. Vocalist Jake E. is one of the reasons for my enjoyment as he has a great voice. So when he left the band, I was very disappointed.

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Similarly, I have also been a fan of In Flames for nearly 20 years. Admitedly, I much prefer their earlier output to the more latter-day incarnation, with guitarist Jesper Stromblad playing an integral part in that with his distinctive playing and input into the song writing.

Therefore, news of these two artists coming together in a brand new project get me very intrigued and a little bit excited. The new band, CyHra, which also features Peter Iwers (ex-In Flames) and Alex Landerburg (Luca Turilli’s Rhapsody), will have fans of old In Flames salivating for obvious reasons, although the band have distanced themselves from being an old In Flames clone right at the outset. Regardless though of what they actually sound like, the debut album will attract a great deal of attention and I’m very excited to hear the finished article.

Ghost Bath – Starmourner
Release date: 21 April 2017

1000x1000Ghost Bath were a new find for me last year. Until that point, I’d never checked out the American quintet. To be honest, I’d barely even heard their name before. But then the band suddenly found themselves on the books of Nuclear Blast and the whole world seemingly took more notice, including me.

In my review of ‘Moonlover’, I described Ghost Bath as appealing to those ‘with a penchant for music that juxtaposes dark and depressing black metal with elegant and soaring shoegaze-like melodies. Call it ‘blackgaze’ if you will’, later concluding that the album delivered ‘a sophisticated blend of aggression, beauty and raw emotion.’

And now, here we have a brand new track from the forthcoming studio album, ‘Ambrosial’ to tide us over until the record is released. Early impressions from me are mixed, but I’ll give it time and judge the material in the context of the entire album. Here’s the track – see what you think…

Novembers Doom – Hamartia
Release date: 14 April 2017

16194898_10154785044620926_4893612019868184461_nNovembers Doom are one of those bands that I think I should really like but end up passing by. I always try to like the American dark/doomsters and I have a couple of their albums in my collection. But I’ve never been much of a fan.

Album number ten is on the horizon and once again, I’m dutifully checking out their new material in the hope that it will finally click with me. And you know what? I really like this track entitled ‘Zephyr’; it is dark and depressive, but it has a really rich tone and an understated melodic chorus that gets under the skin quite quickly. If the new album offers this standard throughout, it might finally be the album that I’ve been waiting for from Novembers Doom.

Previous updates:

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