Tag: Nuclear Blast

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones

Evergrey – A Heartless Portrait (The Orphean Testament)

Imminent Sonic Destruction – The Sun Will Always Set

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Horizon Ignited – Towards The Dying Lands – Album Review

Artist: Horizon Ignited

Album Title: Towards The Dying Lands

Label: Nuclear Blast Records

Date of Release: 1 July 2022

A combination of melodic death metal and Finland? That sounds like a marriage made in heaven to me. For a start, there’s no doubting the heavy metal credentials of this country across a huge range of subgenres, but it is also home to my favourite melodic death metal band of all time: Omnium Gatherum. Reading that the guitarist for this band and Insomnium, Mr Markus Vanhala, makes an appearance on the title track with a lead solo just sealed the deal and I willingly placed my ears in the care of ‘Towards The Dying Lands’, the sophomore release from Horizon Ignited, following 2019’s debut ‘After The Storm’.

Formed in 2017, Horizon Ignited is a sextet comprised of vocalist Okko Solanterä, guitarists Johannes Mäkinen and Vili Vottonen, keyboardist Miska Ek, bassist Jukka Haarala, and drummer Jiri Vanhatalo. And whether or not you’ll like this record will depend on a few factors including how you prefer your melodic death metal to sound. We all know how varied the output can be when placed under this loose and overarching description, and Horizon Ignited have a very definite approach. Put it this way, if you’re wanting to hear the next Omnium Gatherum, this isn’t the record for you. Equally, if you want a similar sound to Amon Amarth, At The Gates, or Insomnium, there’s a fair chance that you’ll end up a little disappointed I’m afraid.

Instead, the tack that Horizon Ignited have chosen sees them more closely aligned to more current era In Flames, with a hint of the melodic end of Dark Tranquillity peeking through. Add to this a modern sheen, a reasonable dose of metalcore and some moments where alt rock plays a part, and you’ll be in the general vicinity of these Finns’ output. Going in blind to this album, with only the words ‘melodic death metal’ and ‘Finland’ in my mind, I must admit I was surprised by what I heard subsequently. Not one to arbitrarily dismiss a band because it wasn’t what I was expecting, I charged on regardless to see what I thought.

Having done just that, I’m going to be honest and say that the style of music that Horizon Ignited offer up on ‘Towards The Dying Lands’ is probably not what I’d normally choose to listen to, but that doesn’t mean that the finished article is not without merit. For my personal tastes though, the music is just a bit too polished, a bit too clean, a bit too mainstream-sounding, and at times, not quite heavy enough to send me off into raptures.

Despite this summary, there is plenty that I can still get on board with. As such, I think that the band should be commended that their performances and song writing ability are such that I can still find a certain amount of enjoyment with their music even if it doesn’t sit within my normal wheelhouse. The music is definitely catchy and melodic, so that’s an element that’s very hard to ignore for a start.

From the outset, there’s a demonstrable In Flames vibe within the guitar tones and the chosen riffs of ‘Beyond Your Reach’. The song rides along at a solid mid-tempo, with chunky guitars and a strong rhythmic spine, the growls of Okko Solanterä properly deep and powerful too. The chorus, however, reveals a clean approach that’s far more melodic and mainstream, almost befitting an alt-rock or nu-metal band. The song is well put together and reasonably memorable, but even at this early stage, I’m searching for a ‘wow’ factor, or interesting USP that fails to fully materialise.

This lack of a unique selling point continues as the album further develops, with song after song delivering some decent riffs, a nice hooky chorus, and the familiar blend of gruff and clean vocals. Tracks like ‘Servant’ or ‘Reveries’ will get stuck in your head because they are enjoyable compositions, that benefit from a good production that affords clarity to all concerned. But there just isn’t enough here to convince me that ‘Towards The Dying Lands’ is anything truly special unfortunately.

A few of the songs either open with clean vocals or feature this delivery more prominently. When this is the case, the melodic death metal descriptor becomes that little bit more tenuous to say the least. The title track is one of these very songs, which despite featuring the guest lead solo from Omnium Gatherum and Insomnium’s Markus Vanhala, sounds more like a meaty mainstream heavy metal song rather than a cutting or bludgeoning slice of death metal. Other tracks of this ilk include ‘Guiding Light’ with its sprawling chorus that has more of an EMO, or metalcore vibe than anything approaching extreme metal. Then there’s the quasi-ballad-like ‘Arching Wings’ which is catchy as hell, but as heavy and edgy as the storylines in Peppa Pig.

Occasionally, the aggression is increased to include a more vibrant and faster beat from the drums and bass, such as ‘End Of The Line’ for example. But these moments feel like they are the exception rather than the rule, leading to a firm impression in my mind that this album is just too smooth and, dare I say it, safe.

As you all know, I vehemently dislike writing reviews that are anything less than positive. However, if I am to listen to more and more music in order to bring readers as much new material as possible, it is inevitable that this will happen with greater frequency. Nevertheless, I always try to steer away from being negative without being constructive in my criticism. Ultimately, Horizon Ignited’s music found here on ‘Towards The Dying Lands’ may not be to my personal taste, but I’d still urge anyone to give it a listen because the content of this record is professionally crafted and well executed. It might even be your next great discovery.

The Score of Much Metal: 72%

Check out my other 2022 reviews here:

Municipal Waste – Electrified Brain

Paganizer – Behind The Macabre

Philosophobia – Philosophobia

Darkane – Inhuman Spirits

Exocrine – The Hybrid Suns

Fallen Sanctuary – Terranova

Deathwhite – Grey Everlasting

Charlie Griffiths – Tiktaalika

Seven Kingdoms – Zenith

Brutta – Brutta

White Ward – False Light

Winds Of Tragedy – As Time Drifts Away

Tim Bowness – Butterfly Mind

Denouncement Pyre – Forever Burning

Truent – Through The Vale Of Earthly Torment

Wind Rose – Warfront

Kardashev – Liminal Rite

Artificial Brain -Artificial Brain

Seventh Wonder – The Testament

Kreator – Hate Über Alles

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones

Evergrey – A Heartless Portrait (The Orphean Testament)

Imminent Sonic Destruction – The Sun Will Always Set

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Municipal Waste – Electrified Brain – Album Review

Artist: Municipal Waste

Album Title: Electrified Brain

Label: Nuclear Blast

Date of Release: 1 July 2022

Seeing as I have finally embraced a greater love and appreciation for the thrash metal genre over the past year or two, I felt like it would be a good opportunity to listen to the new album from Municipal Waste, one of several bands within the genre with which I have never previously clicked. Entitled ‘Electrified Brain’, it’s the seventh album from the quintet hailing from Richmond, Virginia. And, at the end of the day, it is the seventh album from the quintet of Tony Foresta (vocals), Ryan Waste (guitar), Nick Poulos (guitar), Philip ‘Landphil’ Hall (bass), and Dave Witte (drums) that has failed to fully ignite my enthusiasm. Allow me to explain why, if I can…

Firstly, there’s that ‘crossover’ aspect of the music. Municipal Waste play a form of thrash metal that seeks to blend in a heavy dose of hardcore into their compositions. As such, you’ll find plenty of ‘gang’ vocals, where a number of voices basically shout in unison. I’ve never been the biggest fan of this, which is why I don’t tend to listen to very much hardcore music at all. The attitude is there, front and centre, but it’s not the kind of attitude that I am drawn to if I’m honest – it’s all a bit shouty and overly angst-ridden.

Yes, there is plenty of tongue-in-cheek attitude as well, but that doesn’t always help because it adds a vaguely comedic element to the output, meaning that it’s hard to take everything seriously. In effect, it only serves to dilute the usual messages of political corruption and discord, which could have been more impactful otherwise. With that said, I am not a fan of overly political music either, because I get enough of that in my daily life, so I’m looking for more of an escape route. Yup, the world is awful in many ways right now, I get it.

The fourteen songs that feature on ‘Electrified Brain’ rip from the speakers with plenty of energy and enthusiasm but without wanting to sound too harsh, the album feels a little one-dimensional. There is a change in pace here and there, but for the most part, the music skips along at a similar brisk pace with a precious lack of variety. I’ve listened to this record a number of times through, including during an eight-hour train journey to Scotland where I had no distractions aside from the sight of green fields rushing past my window. And even then, after listening, I couldn’t pick more than a couple of the songs out of a line-up if my life depended upon it. It’s not quite a case of ‘heard one, heard them all’, but it isn’t far off to be perfectly honest.

This is all a bit of a shame because actually, the album begins in promising fashion thanks to the first three tracks, the title-track opener, followed by ‘Demoralizer’ and ‘Last Crawl’. ‘Electrified Brain’ sets off like a stabbed rat after a short intro, full of pacey aggression, led by some sharp, thrusting riffs and Foresta’s unmistakeable, higher-pitched semi-shouted vocals. Just as the song is about to end though, in marches in a really nice bass-led groovy ending sequence that’s totally infectious.

Speaking of infectious, ‘Demoralizer’ continues the trend with a combination of riffs and melodies that seemingly blend the naked aggression of thrash with the immediacy of Maiden-esque NWOBHM. It makes for a thoroughly decent and enjoyable song, with much more depth to it, one of the few to stick in my brain for a little longer than others. And even though ‘Last Crawl’ is a faster, more uncompromising cut, it features a couple of thunderous riffs that catch my ear, alongside a cool lead solo that sparks and fizzes nicely. But there it more or less ends.

Undoubtedly, the musicians within Municipal Waste are talented at what they do, with each musician apparently fully committed to making as much focused noise as possible. The riffs in particular, are sharp, incisive, and the guitars are blessed with a great tone that feeds my inner metalhead soul. The solos are equally impressive, full of venom and executed with style and aplomb. Occasionally, there’s a dip in the speed in favour of a mid-pace groove, which is positive too. But it doesn’t quite feel like it’s enough. The album comes to an end, and I’m left thinking ‘oh, that’s it, then’, which is never how you want to feel at the end of a record.

Now, I’m well aware that an album shouldn’t be judged on outside factors, such as what other bands within the same genre are doing, but in this instance, it’s hard not to. Over the past year or two, a number of the heavyweights of the genre have released some excellent new material, and there are a handful of exciting releases still to come before 2022 is out. More than ever therefore, it is imperative that bands are on their mettle, delivering the best that they possibly can. But that doesn’t feel like that’s the case here. There will be the hardcore fanbase that’ll lap up every confrontational moment of ‘Electrified Brain’, but it’s nowhere near essential enough for me to recommend it more widely than that. Unless you’re a devotee, I’d search elsewhere for your thrash metal fix.

The Score of Much Metal: 69%

Check out my other 2022 reviews here:

Paganizer – Behind The Macabre

Philosophobia – Philosophobia

Darkane – Inhuman Spirits

Exocrine – The Hybrid Suns

Fallen Sanctuary – Terranova

Deathwhite – Grey Everlasting

Charlie Griffiths – Tiktaalika

Seven Kingdoms – Zenith

Brutta – Brutta

White Ward – False Light

Winds Of Tragedy – As Time Drifts Away

Tim Bowness – Butterfly Mind

Denouncement Pyre – Forever Burning

Truent – Through The Vale Of Earthly Torment

Wind Rose – Warfront

Kardashev – Liminal Rite

Artificial Brain -Artificial Brain

Seventh Wonder – The Testament

Kreator – Hate Über Alles

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones

Evergrey – A Heartless Portrait (The Orphean Testament)

Imminent Sonic Destruction – The Sun Will Always Set

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Kreator – Hate Über Alles – Album Review

Artist: Kreator

Album Title: Hate Über Alles

Label: Nuclear Blast

Date of Release: 10 June 2022

After a wait of five years, I can finally review a new album by the band I consider to be my favourite of all of the German thrash scene. One of the ‘big four’, they stand alongside Destruction, Sodom, and Tankard as one of the best thrash metal exports from their homeland, as well as a world leader in their art. These are well deserved accolades in my opinion too because, aside from a period of experimentation in the nineties and noughties that’s probably best left unmentioned, they have consistently delivered some of the strongest thrash metal throughout their 40-year career.

Entitled ‘Hate Über Alles’, this is the band’s fifteenth release and it’s an angry beast. That’s a bit of a daft statement I’ll grant you, because thrash metal is meant to be angry, fuelled by the world’s injustices, and sticking it to ‘the Man’. But even so, and even by Kreator’s standards, my first impression was that the quartet, comprised of vocalist/guitarist Miland ‘Mille’ Petrozza, guitarist Sami Yli-Sirniö,,drummer Jürgen ‘Ventor’ Reil, and newbie bassist Frédéric Leclercq are seriously annoyed. Even the name of the album, which translates to ‘Hate Above All’ screams aggression. Mind you, there’s much to be angry about at the moment, even for a more and more left wing Mille. The pandemic, the war in the Ukraine, the alarming rising cost of living, the ever increasing disconnect and distrust in politicians, gun crime, racism; you name it, it’s there, and it’s all fertile fodder for a band like Kreator.

Importantly though, the quartet back up the anger with some seriously strong and on ‘Hate Über Alles’, beginning with the title track that appears immediately after a strange and unexpected intro piece entitled ‘Sergio Corbucci Is Dead’. The intro, named after an Italian film director, has a hint of Ennio Morricone about it, but lasts less than a minute, and then it’s on to what I’d call the main event. The title track literally blasts out of the speakers with barely contained rage, manifested in huge riffs, a thunderous rhythm section, and Mille’s ubiquitous vocals that begin with a howling wail of rage. Lyrics pelted forth with spite and venom ensue, as do furious lead breaks, rousing solos, and a huge sing-along chorus that it simple but incredibly effective in its infectiousness.

It is a breathless opening, but Kreator have only just begun, with ‘Killer Of Jesus’ following with barely a pause for breath. If anything, the opening riff is even faster than the title track, with the drums of Reil and bass of Leclercq galloping along with frenetic precision alongside. Again, the chorus is deceptively simple but effective, even more catchy than its predecessor in my opinion. I also like the way that there’s time for a slightly slower, groove-led section, with ‘gang’ vocals making an appearance before the lead guitar solo trade-off begins.

It’s when the intro riff to ‘Crush The Tyrants’ kicks off that I fully appreciate the strength and clarity of the production on this record. Taking their collective foot off the accelerator pedal, this track is a stomping behemoth where the chugging riffs crush just about everything in their path. It’s also a dangerous song to play loud whilst driving on the motorway as I have discovered, as the urge to bang your head rather than concentrate on the fast-moving traffic is almost too strong to deny.

If you’re wondering about the Kreator penchant to inject irresistible melody into their bulldozing thrash onslaught, then wonder no longer as ‘Strongest Of The Strong’ enters stage left. After an intro that has a slight Slayer vibe, it’s all about groove and melody, particularly the chorus that’s absolutely huge and catchy as hell. But it’snot just the chorus, as the solos are imbued with melody too, meaning that this is easily one of my favourites on the album. Mind you, it is pushed hard for this accolade by others, including ‘Conquer And Destrroy’ and ‘Midnight Sun’ to name just two.

The former opens with a Mainden-esque quiet melodic harmony intro led by lead guitars, accented by drums and bass. The pace quickens appreciably in the verses, but the gloriously poignant melody returns to form the basis for the chorus, even featuring delicate clean vocals later in the song. The magic for me is in the pronounced juxtaposition between fast-paced aggression and stunning melody, the two combining with real style and power, especially around the key change towards the close that creates a really epic, anthemic feel. The latter features pop singer Sofia Portanet but is a wonderful song regardless thanks to fast staccato riffing and a killer sprawling chorus that delivers a real grower of a melody. Portanet herself though adds another dimension in that her performance injects something very different, almost progressive or avant-garde when she sings solo at the heart of the song within the harsher, more aggressive sections which is a really great touch.

The more I listen, the harder it is to identify a track on ‘Hate Über Alles’ that is either substandard, or that I just don’t like. ‘Demonic Future’ is another catchy beast that rips along at a fair lick, and once again features wailing and gnashing lead guitar solos alongside undeniably memorable melodies. The final song, ‘Dying Planet’ is nearly seven minutes in length, thereby ending the record with a real statement piece, full of dark menace as the stomping riffs return to clobber anything and everything in their sedate path. The atmospheres are also more pronounced, ensuring that ‘Hate Über Alles’ closes in dramatic fashion, albeit no less aggressive and angry than the opening tracks.

It really is hard to fault ‘Hate Über Alles’ when all is said and done, because Kreator have well and truly delivered the goods once again. Power, aggression, venom, and spite collide superbly with expert songwriting, memorable melody, and irresistible catchiness to produce easily one of my favourite thrash records of the past couple of years. Simple as that, really.

The Score of Much Metal: 94%

Check out my other 2022 reviews here:

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones

Evergrey – A Heartless Portrait (The Orphean Testament)

Imminent Sonic Destruction – The Sun Will Always Set

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Decapitated – Cancer Culture – Album Review

Artist: Decapitated

Album Title: Cancer Culture

Label: Nuclear Blast

Date of Release: 27 May 2022

It is testament to the hunger and desire of some musicians that they carry on creating music in the face of serious adversity. Wacław “Vogg” Kiełtyka is one such musician, one of the founding members of Polish extreme metal band Decapitated. In 2007, a decade after their formation, the band were involved in an accident involving their tour bus, leading to the tragic death of Witold ‘Vitek’ Kieltyka. Then, after resurrecting Decapitated two years later, the entire band were arrested in 2017 in the US on charges that were later fully dropped. Nevertheless, some bands and musicians might have given up. Not Vogg, and five years later, with a slightly altered line-up once again, Decapitated have returned to release ‘Cancer Culture’ on the metal world. For perseverance and steadfast belief in the music, I doff my cap to Vogg.

But, having spent some decent time with ‘Cancer Culture’, the eighth full-length of Decapitated’s career, I have to doff my cap once again to Vogg, because he and his band of merry men have delivered another slab of impressive extreme metal, one that sees the band stretch further once more. For this release, Vogg is joined by the long-serving vocalist Rafał “Rasta” Piotrowski, drummer James Stewart, and bassist Paweł Pasek who returns to the fold having been with the band between 2012 and 2016.

I’ll be the first to admit that I maybe haven’t paid as much attention to Decapitated as perhaps I should over the years. As such, I was fully expecting and ready for a blast of out-and-out sharp, incisive, and technically adept death metal. Instead, I find myself listening to something just a little different. The music is still very technically adept and definitely extreme, but their output can’t really be described as ‘out-and-out death metal’ if we’re being as accurate as possible. I say this because it’s more nuanced and varied than that, as well as being rather instant in terms of my enjoyment of it. This has naturally surprised me a little, but in a positive way. I like brutal death metal, but I’m also a fan of bands that are prepared to do something a little different along the way. Remaining a force to be reckoned with, Decapitated have done just this and pulled me willingly along for the ride.

At around 37 minutes, you’re certainly not going to get bored or overwhelmed with the music on ‘Cancer Culture’. In fact, where this kind of music is concerned, it’s not far off being the perfect length. If we’re talking about perfect things at this juncture, I have to reference the production of this record because it is insane. Everything is right about it, from the overall clarity to the separation of the instruments, and from the power of the instruments through to the volume. For the record, I’m not an audiophile, so when I say the production is perfect, I’m saying this as a fan rather than an expert, someone who really likes what they hear.

I don’t think that the ten tracks that comprise ‘Cancer Culture’ are perfect, but to be honest, they are collectively not that far off. The minute long intro, ‘From The Nothingness With Love’ is a little something or nothing, albeit a decent scene and atmosphere setter. But from that point on, very few missteps are taken. In fact, the title track comes out of nowhere with not even a pause for breath. Blastbeats, sharp muscular riffing, and some intriguing dystopian sounds emerging from the depths kick things off in almighty fashion, before the growls of Piotrowski loom large over a groovier verse that gets the head banging vehemently. The momentary lowering of the intensity via creepy whispered vocals over brisk double-pedal drumming is a lovely touch, adding a sinister touch to the otherwise bruising slab of extreme metal. There’s even room for a hint of melody in the latter stages as well as a brilliant lead solo that is fast and technical at the outset, becoming more soulful as it develops. However, both are executed well, meaning that neither interfere with the power of the song.

‘Just A Cigarette’ is notable for a few reasons. Firstly, it is quite simply a really engaging extreme metal track. Secondly, with its blend of fast-picked riffing and blistering blastbeats, it carries with it an air of black metal which I thoroughly enjoy. And finally, it is the track where I sit open-mouthed and marvel at the musicianship of the musicians. They all bring their ‘A’ game, but thanks to the production, the drumming of James Stewart sounds immense; his playing is so precise, thunderous and dextrous that I love homing in and listening to his performance alone at times.

There’s liteally no let-up as ‘No Cure’ takes just a smidge over three minutes to tear our ears to pieces with a razor-sharp, fast attack to the senses. However, like the two preceding tracks, the aggression is measured, nuanced, and stylish, balanced with light and shade, and offering plenty to admire from every corner of the band.

One of my favourite tracks on the album is ‘Hello Death’. It offers something a little different in that, after a frantic opening, in comes guest vocalist Tatiana Shmayluk of Jinger fame, to sing with passion over some clever syncopation. The atmosphere that surrounds this song is powerful, but not as powerful as the melodic nature of the song that begins just short of the halfway mark. Still heavy, still abrasive, it is also bordering on the anthemic thanks to the clean female and growled male duet that works brilliantly.

But Decapitated are not done yet as their rich vein of form continues until the very end of this album. I’m intrigued by the all-out bludgeoning groove of ‘Iconoclast’ in particular as it introduces some clean male vocals for the first time atop a melodic section that then culminates in a vocal delivery that sounds scarily similar to Robb Flynn of Machine Head. Add into that some melodic lead guitar work and you have another great track on your hands. Or how about ‘Last Supper’ which, after a ponderous intro laced with wailing lead guitars in the background, explodes into a full-on thrash-infused assault? Talk about ending the album with a bang. There’s no foot off the pedal here, as the album comes to an all-too-quick halt; if anything, Decapitated deliver one last aural battering. It’s one that is still laced with a touch of dark, menacing melody in places, but it’s a battering nonetheless.

As extreme metal albums go, ‘Cancer Culture’ has to be up there with the very best that 2022 has had to offer so far. Everything from the slightly disturbing cover artwork to the performances, and from the production to the songs themselves, Decapitated have returned with one hell of a bang. But crucially, the bang is not only thunderous, but it is intelligent, varied, and completely engaging from start to finish. To create something that’s as on-point as ‘Cancer Culture’ consistently is, takes dedication, talent, and hunger, so once again, I doff my cap to each member of this hugely impressive band. If only all extreme metal was like this…

The Score of Much Metal: 93%

Check out my other 2022 reviews here:

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones

Evergrey – A Heartless Portrait (The Orphean Testament)

Imminent Sonic Destruction – The Sun Will Always Set

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Sabaton – The War To End All Wars – Album Review

Artist: Sabaton

Album Title: The War To End All Wars

Label: Nuclear Blast

Date of Release: 4 March 2022

You may recall the incredible coincidence that saw Haken release an album entitled ‘Virus’ in 20xx right in the midst of the biggest global pandemic in generations. Well, it has happened again. Swedish power metal juggernaut Sabaton are about to release their tenth album upon the world just as Russia launch an invasion into Ukraine. The title of this new album? ‘The War To End All Wars’. Admittedly, there is rarely a year that goes by without two factions, big or small, waging war – it’s a sad inevitability it seems of the human race. However, it has been a long time since something of this magnitude has occurred, and Sabaton have unwittingly timed their new album perfectly. Mind you, it’s less of a coincidence when you consider that the vast majority of Sabaton’s music has a war theme.

The war that Sabaton are talking about here is, of course, World War I, but it’s depressing to think that we’re living at a time when, once again, war is happening, and we’ve seemingly learned nothing as a species in the intervening century.

I’m fascinated by history and could spend the entire review focused upon the subject matter of Sabaton’s latest creation. However, manofmuchmetal.com is a music-based website, so I’ll change tack at this point and switch my attention to the eleven tracks that make up ‘The War To End All Wars’, Sabaton’s tenth album.

It’s at this point where I ought to declare that Sabaton have never been one of my favourite bands. For one, they pinched their drummer, Hannes Van Dahl, from my favourite band back in 2014 which is never a good move in my eyes. Mind you, it has all worked out perfectly, so that’s water under the bridge now. But secondly, I always found the Sabaton sound to be quite average. A great live act they may be, and a lot of fun at summer festivals they certainly are. But musically, I have never been blown away by their brand of melodic power metal. However, I felt it was time to see if I could be persuaded, and what better time than the present.

On to ‘The War To End All Wars’, an album that continues the World War I exploration begun on 2019’s ‘The Great War’, it quickly becomes evident that there is no sea change in terms of the Sabaton modus operandi. If you are familiar with previous output, you’ll not confuse this record with anyone else. As such, listeners are met with an eleven-track, 45-minute blast of rousing, anthemic, and catchy melodic power metal, led by the unmistakeable and expressive deep croon of vocalist Joakim Brodén. With a relatively stable line-up over the years, and a niche that they’ve carefully carved for themselves during their two-decade career, it would have been a bigger shock if their musical output experienced a major reboot – ‘if it ain’t broke, don’t fix it’, as the saying goes.

‘The War To End All Wars’ is not put together in any kind of chronological order as far as I can tell. However, what I really like about this album is the way that it is bookended by two tracks that feature spoken-word narration, and speak of the beginning and the end of the war respectively. On ‘Sarajevo’ the music is dramatic and cinematic, benefitting from Brodén’s keys and orchestration skills, as well as a rousing chorus and a beautiful lead guitar solo that carries an air of sorrow with it. The narrator talks of the assassination of Archduke Franz Ferdinand of Austria, and it sets the tone well for the main body of the record.

With the scene set, in comes ‘Stormtroopers’ with real energy and is driven by urgent riffs from guitarists Chris Rörland and Tommy Johansson, accompanied by an equally energetic rhythm section comprised of drummer Hannes Van Dahl and bassist Pär Sundström. The mid-section that features choral vocals and a lovely lead guitar solo is the only point at which the pace slackens because for the remainder of the song, including a vibrant chorus and further flamboyant lead guitar solos, Sabaton are marching on all four cylinders, in full attack mode.

‘Dreadnaught’ begins in a very different fashion, as the sounds of waves washing up upon the shore are met with a deliberate min-tempo stomp, as the band tell the story of the British battleship of the same name. Laced with bold synth sounds, the chorus is an immediately catchy, hook-laden affair, albeit laced with a sense of sadness and darkness.

In true European power metal style, ‘The Unkillable Soldier’ bounds along with a irresistible gallop, telling the tale of a British soldier who suffered many serious wounds at the Battle Of The Somme and at Passchendaele but who refused to give up, fighting on despite his grave injuries. The galloping pace and the choral vocals convey a sense of deep pride and match the will of this incredible human perfectly. It’s easily one of the most pompous and over-the-top tracks on the album, but rightly so.

As ‘Soldier Of Heaven’ kicks in complete with a Euro-pop feel thanks to the use of electronic drums and bold 80s style synths, I begin to realise that maybe the music of Sabaton is more subtly varied than I first thought or gave them credit for. What at first feels like a very one-dimensional record does, with time, prove to be anything but. There is a good ebb and flow to the album that keeps me listening from start to finish. And this is a good thing because it is clear that ‘The War To End All Wars’ is an album designed to be listened to as a complete body of work rather than a record to be dipped in and out of.

To highlight the variety that slowly becomes apparent, I have to mention the thrash-like opening riff that brings ‘Hellfighters’ to life, not to mention the overall heaviness of the song as a whole. It is still catchy as hell with a bombastic chorus, but the riffs and pounding rhythms are what draw me in. Even the swift lead solo wails and screeches like you’d expect from a thrash metal band.

And then there’s the truly wonderful ‘Christmas Truce’ that deserves a special mention. It’s not strictly a ballad, but it does have some of the trappings of a classic power metal ballad, merged with an undeniable festive feel. Most of us will have heard stories of the football matches that were played between the two foes on Christmas day as guns were temporarily lowered. Well this is Sabaton’s take on those events and many others at a most remarkable moment of warmth and humanity at its best amidst a nightmarish reality. I love the opening rousing melody that is then reprised throughout, but I also like the feeling of hope and positivity that is conveyed within the song.

I’m pleased that I gave Sabaton another chance because the reward has been the discovery of an enjoyable, and genuinely interesting power metal record. ‘The War That Ends All Wars’ hasn’t completely and utterly won me over, and time will tell how many times I come back to play the album over the coming weeks and months now that my review is complete. However, this record proves to me once and for all that there is significantly more to Sabaton than mid-tempo, paint-by-numbers power metal, and a larger-than-life live show complete with drum tank. ‘The War To End All Wars’ is a surprisingly varied and professional affair that will delight existing fans and may well bring a few more to their cause.

The Score of Much Metal: 85%

Check out my other 2022 reviews here:

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Battle Beast – Circus Of Doom – Album Review

Artist: Battle Beast

Album Title: Circus Of Doom

Label: Nuclear Blast

Date of Release: 21 January 2021

Back in 2017, I reviewed ‘Bringer Of Pain’, the fourth studio album of Battle Beast’s career. I didn’t however, review the 2019 follow-up ‘No More Hollywood Endings’. Put simply, I wasn’t a big fan of ‘Bringer Of Pain’ and so didn’t feel sufficiently compelled to explore further. Plus, the release also coincided with a break that I took in 2019 to recharge my reviewing batteries.

It’s now 2022 and, with renewed energy and dedication to my website, I felt that it was the right time to delve back into the world of the Finnish heavy metal sextet to see if I would be more impressed by their sixth offering, especially since the band continue to score number one album spots in their native Finland – you don’t do that sort of thing consistently if your output is lacking, surely?

It transpires that the band line-up remains unchanged for the third album in a row, meaning a certain level of consistency remains following the departure of their principle songwriter at the time, Anton Kabanan. As such, Battle Beast version 2022 remains comprised of vocalist Noora Louhimo, accompanied by guitarists Joona Björkroth and Juuso Soinio, bassist Eero Sipilä, drummer Pyry Vikki, and keyboardist Janne Björkroth.

As we all know, press releases are full of hyperbole, but here, I think we might have an early contender for the boldest, brashest statement of 2022:

“…if you are looking for your daily dose of symphonic heavy metal, that is also catchy, cheerful, theatrical, adventurous, groovy and enchanting, you can stop searching here and now.”

I came into this review with almost no expectations based on my last exposure to Battle Beast, but I must admit that ‘Circus Of Doom’ has turned out to be a pretty decent record with much to enjoy. It’s definitely better than ‘Bringer Of Pain’. But worthy of such an opening statement? Hmm…I’m not yet totally convinced, although I think much more highly of the album now than when I first listened to it, that’s for sure. A first listen left me feeling bored and unsure of whether I’d return and even complete this review. However, as is often the case, with repeated listens came greater understanding and a growing appreciation.

One of the initial hurdles on ‘Circus Of Doom’ is the opening title track. I can understand why they put it up front and central, but given its structure and overall sound, it isn’t the most obvious opening number. As the song’s title suggests, ‘Circus Of Doom’ has a hugely overt sense of theatre about it, as if it was stolen straight from a West End or Broadway rock opera. Or perhaps from their compatriots Nightwish at their most frivolous. The gentle music box intro gives way to a strong riff and powerful rhythms but from there, the orchestration and keys are all over the song. Choral arrangements, tinkling keys, and lush layers of synths bathe the song in a sense of bombast, but it threatens to dilute the heavy metal elements ever so slightly. Admittedly Noora Louhimo puts in an authoritative performance behind the mic and, with repeated spins, the heaviness of the guitars does come through. And crucially, there’s an infectious quality about the song that makes it impossible to maintain any dislike for it. I’m slowly converted and I’m now of the opinion that it’s a charming composition.

‘Wings Of Light’ is arguably the opening salvo that the record could have more sensibly led with. Mind you, it’s clear that Battle Beast want to showcase their increased variety, so leading with this cut might have been counterproductive on that score. It’s a full-on classic heavy metal song, with a slight power metal edge. The production shows its quality here too, as the drums that drive the song along at a brisk pace sound really powerful. I adore the lead guitar solo that emerges later in the track to compliment a hook-heavy chorus, making it quite the statement of intent.

You may already be familiar with ‘Master Of Illusion’ as it was one of the early forerunners released to the expectant fanbase ahead of release. And, I have to say that it remains one of my favourites. The nods to the 80s with the electronic drum sounds are a nice touch. However, it is the melodic strength of the song that carries it so well. The ear worms are vibrant and well executed, whilst there’s no let up in terms of the heaviness. Once again, the keys are bold, vibrant, and well placed, ensuring that there’s a richness to the song that can’t be ignored. Ten songs along this path and I’d not have complained.

If longer-term fans are worried that the overt power metal vibes have been completely ditched, then ‘Where Angels Fear To Fly’ should put those fears to rest. There’s a definite mainstream pop edge to the track, as well as more 80s influences, but the feel of the track is much more Euro power metal and less classic metal.

It’s not all positive however, as ‘Russian Roulette’ still leaves me cold. Of all the content on ‘Circus Of Doom’, this is where the cheese is at its most potent. It’s unashamedly 80s-influenced hard rock with a strong vein of pop running through it. Nope, this is just not for me, although lovers of the Eurovision Song Contest might disagree of course.

Thankfully, despite a couple of other tracks not quite hitting the heights of others (such as ‘The Road To Avalon’ which just feels a little unremarkable and a touch forgettable), the quality never again dips that low. ‘Freedom’ is a little suspect when it comes to the lyrical content, but there’s no denying the strength of the galloping rhythms in the verses, as well as the melodic interplay between the guitars and symphonic arrangements in the chorus; I say forget the toe-curling lyrics and instead immerse yourself in the driving pace and catchiness of the song.

The album ends on a high note though as far as I’m concerned. ‘Place That We Call Home’ is a full-on cinematic power metal anthem that many contemporary acts would have been delighted to write. I’m a sucker for double-pedal led choruses that are rousing, and here Battle Beast do their best to rival the likes of Rhapsody of old where this is concerned. It helps that, despite being less than four minutes long, it comes across as being far more epic than that, a fittingly rousing, grandiose closer to the album.

I’m always prepared to admit when I’m wrong and this is one of those occasions. My first draft, albeit written just in my mind, was much more different than what I’ve written here and I’m very pleased that this is the situation. With ‘Circus Of Doom’, I finally understand what the fuss has all been about with Battle Beast in many quarters of the metal world. I didn’t get it, but I do now. And while I’d not suggest that ‘Circus Of Doom’ is the perfect heavy/power/symphonic metal album, it is a highly professional affair. There is a whole lot to enjoy about it, and it is a great deal of fun too.

The Score of Much Metal: 86%

Check out my other 2022 reviews here:

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Hypocrisy – Worship – Album Review

Artist: Hypocrisy

Album Title: Worship

Label: Nuclear Blast

Date of Release: 26 November 2021

I have known about Hypocrisy ever since I clapped my ears on their ’10 Years Of Chaos And Confusion’ ‘best of’ release back in 2001. At the time, I was entranced by the slower, more melodic and atmospheric tracks that appeared, like the sublime ‘Death Row (No Regrets)’ or ‘Until The End’. They remain favourites but also acted as a steppingstone into their more caustic, brutal death metal fare that was always arguably a bigger part of the Hypocrisy approach.

Fast forward 20 years and here I am reviewing my first ever Hypocrisy album. You see, despite enjoying much of their output over the years, something held me back from really falling under their spell. I have listened to each record since then, but they never truly ignited my fire. I am a big fan of Peter Tägtgren the person, the producer, and the musician – to have such longevity and high standing in the metal community means that he must be great at what he does – but Hypocrisy, the band, have never achieved what I guess I hoped or expected they would. On the 30^th anniversary of their formation, they remain stalwarts of the underground. Yes, they command a loyal following the world over, but they’ve never broken through to be the headline band on a big bill. Maybe that’s the point, maybe the band never wanted that. But it still seems like a lost opportunity that they are not more highly regarded overall.

And now we have ‘Worship’, the Swede’s fourteenth album and you know what? This might be my favourite album they’ve ever recorded. At least for a very long time in any case. I shouldn’t be surprised, but I am. I checked this out, out of a sense of duty more than anything. But it’s really very good indeed. It doesn’t push the Hypocrisy sound too far out of their normal zone of comfort especially, so you will know exactly what to expect. But there’s something about ‘Worship’ that’s pulling me back for repeated listens more often than I thought might be the case.

If I’m being totally honest, my favourite tracks on ‘Worship’ tend to be those that are slower, more melodic, and more atmospheric; there’s something about these compositions that makes them stand out, just like they did two decades ago when I discovered them. The first of these on ‘Worship’ is entitled ‘Chemical Whore’ and, in keeping with the Hypocrisy way, it is a giant monster of a track that features some delightful melodies in and around a stomping slow-mid tempo. And it’s all wrapped up in a dense, dark atmospheric cloak. It’s also nice to hear that the distrust of the establishment remains within the lyrics, as well as the healthy interest in conspiracy theories, the occult and the paranormal. In the case of ‘Chemical Whore’, it’s a song focused upon the giant pharmaceutical industry for example, from a less than positive perspective.

‘We’re The Walking Dead’ is another instantly catchy track, thick with that familiar dry but chunky, resonant guitar tone that Hypocrisy do so well. Quasi-choral synths, at the hands of Tägtgren, bathe the track from head to toe is more of that dark atmosphere, but it’s the melodic work that catches my ear the most. Tägtgren has lost none of his vocal powers either, as he growls menacingly for the most part throughout this track, occasionally letting go with a maniacal scream in places.

I love ‘Children Of The Gray’ as well, from its gentle yet foreboding intro, to the ensuing resonating notes, to the groove-laden chug of the central riffs, and then finally to the melodically-charged chorus, one that grows stronger with each passing listen. When Hypocrisy sounds like this, what’s not to like? I’d have liked a little bit more of Tägtgren’s cleaner tones, but I’m perhaps just being a pedant.

Alongside the slower, more melodic tracks, it’s also fair to say that there is a decent amount of variety on offer here, most of a high quality, not to mention with a fair bit of heaviness and aggression too. ‘Brotherhood Of The Serpent’ is verging on all-out brutal death metal not dissimilar to Morbid Angel in places, thanks to an incessant double-pedal drum barrage from Reidar “Horgh” Horghagen, a gurgling bass from Mikael Hedlund that rocks the foundations, and bruising riffs that churn mercilessly. As is the Hypocrisy way, there’s a hint of accessibility through well-placed subtle melody, but this does not detract at all from the overall heaviness.

Then there’s the more furious-paced ‘Another Day’ that provides more of a short, sharp thrash-infused offering, laced with a powerful central groove. That same furious pace continues at the outset of ‘They Will Arrive’, ensuring that the album ends in robust fashion, rather than limping to a conclusion. It is, in fact, one of the strongest songs, benefitting from some ear-catching lead guitar lines and a rather imperious, almost majestic air.

It is fair to say that ‘Worship’ won’t suddenly propel Hypocrisy to stratospheric heights – if that was to be the case, it would’ve likely happened by now. What ‘Worship’ does do, however, is make me reconsider exactly what I think about the band in a positive manner. If it does that for me, hopefully it’ll have the same effect on others too, thus breathing new life into the veteran extreme metal band. If you’re hoping for a good Hypocrisy album, ‘Worship’ delivers. If you’re looking for a great slice of melodically tinged death metal, ‘Worship’ delivers. If you want to be entertained, ‘Worship’ delivers.

The Score of Much Metal: 90%

Dessiderium – Aria

Cynic – Ascension Codes

NorthTale – Eternal Flame

Obscura – A Valediction

Nightland – The Great Nothing

MØL – Diorama

Be’lakor – Coherence

Hollow – Tower

Doedsvangr – Serpents Ov Old

Athemon – Athemon

Eclipse – Wired

Swallow The Sun – Moonflowers

Dream Theater – A View From The Top Of The World

Nestor – Kids In A Ghost Town

Beast In Black – Dark Connection

Thulcandra – A Dying Wish

Omnium Gatherum – Origin

Insomnium – Argent Moon EP

Kryptan – Kryptan EP

Archspire – Bleed The Future

Awake By Design – Unfaded EP

Cradle Of Filth – Existence Is Futile

Seven Spires – Gods Of Debauchery

Sleep Token – This Place Will Become Your Tomb

Necrofier – Prophecies Of Eternal Darkness

Ex Deo – The Thirteen Years Of Nero

Carcass – Torn Arteries

Aeon Zen – Transversal

Enslaved – Caravans To The Outer Worlds

A Dying Planet – When The Skies Are Grey

Leprous – Aphelion

Night Crowned – Hädanfärd

Brainstorm – Wall Of Skulls

At The Gates – The Nightmare Of Being

Rivers Of Nihil – The Work

Fractal Universe – The Impassable Horizon

Darkthrone – Eternal Hails

Thy Catafalque – Vadak

Terra Odium – Ne Plus Ultra

Hiraes – Solitary

Eye Of Purgatory – The Lighthouse

Crowne – Kings In The North

Desaster – Churches Without Saints

Helloween – Helloween

Fear Factory – Aggression Continuum

Wooden Veins – In Finitude

Plaguestorm – Purifying Fire

Drift Into Black – Patterns Of Light

Alluvial – Sarcoma

White Moth Black Butterfly – The Cost Of Dreaming – Album Review

Silver Lake by Esa Holopainen

Bloodbound – Creatures From The Dark Realm

Nahaya – Vital Alchemy

Frost* – Day And Age

Obsolete Theory – Downfall

Vola – Witness

Acolyte – Entropy

Dordeduh – Har

Subterranean Masquerade – Mountain Fever

Seth – La Morsure Du Christ

The Circle – Metamorphosis

Nordjevel – Fenriir

Vreid – Wild North West

Temtris – Ritual Warfare

Astrakhan – A Slow Ride Towards Death

Akiavel – Vae Victis

Gojira – Fortitude

Hideous Divinity – LV-426

Benthos – II

Evile – Hell Unleashed

Ninkharsag – The Dread March Of Solemn Gods

Bodom After Midnight – Paint The Sky With Blood

Morrigu – In Turbulence

Mother Of All – Age Of The Solipsist

Throne – Pestilent Dawn

Sweet Oblivion (Geoff Tate) – Relentless

Exanimis – Marionnettiste

Dvne – Etemen Ænka

Cannibal Corpse – Violence Unimagined

Arion – Vultures Die Alone

Maestitium – Tale Of The Endless

Wode – Burn In Many Mirrors

Everdawn – Cleopatra

Unflesh – Inhumation

Mourning Dawn – Dead End Euphoria

Wheel – Resident Human

Wythersake – Antiquity

Odd Dimension – The Blue Dawn

Metalite – A Virtual World

Cryptosis – Bionic Swarm

Ghosts Of Atlantis – 3.6.2.4

Memoriam – To The End

Aversed – Impermanent

Secret Sphere – Lifeblood

Enforced – Kill Grid

Liquid Tension Experiment – LTE3

Turbulence – Frontal

Iotunn – Access All Worlds

Warrior Path – The Mad King

Stortregn – Impermanence

Mariana’s Rest – Fata Morgana

Orden Ogan – Final Days

Witherfall – Curse Of Autumn

Plague Weaver – Ascendant Blasphemy

Ephemerald – Between The Glimpses Of Hope

Paranorm – Empyrean

Einherjer – North Star

Epica – Omega

Humanity’s Last Breath – Välde

Simulacrum – Genesis

Forhist – Forhist

Evergrey – Escape Of The Phoenix

Empyrium – Über den Sternen

Moonspell – Hermitage

Infernalizer – The Ugly Truth

Temperance – Melodies Of Green And Blue EP

Malice Divine – Malice Divine

Revulsion – Revulsion

Demon King – The Final Tyranny EP

Dragony – Viribus Unitis

Soen – Imperial

Angelus Apatrida – Angelus Apatrida

Oceana – The Pattern

Therion – Leviathan

Tribulation – Where The Gloom Becomes Sound

Asphyx – Necroceros

W.E.T. – Retransmission

Labyrinth – Welcome To The Absurd Circus

TDW – The Days The Clock Stopped

Need – Norchestrion: A Song For The End

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Obscura – A Valediction – Album Review

Artist: Obscura

Album Title: A Valediction

Label: Nuclear Blast

Date of Release: 19 November 2021

It really is true what they say: the more you learn, the less you know. Or, the more you learn, the more you realise that you need to learn. This is particularly accurate when it comes to music. There is just so much out there, so many different styles and genres. It’s impossible to be across it all, even if your name is the Man Of Much Metal!

This is a very neat way of trying to justify to myself and others that it’s ok to have missed a few bands along the way, bands that should never have escaped my notice. Today, I have to admit that the latest slippery eel is Obscura, a German technical, slightly progressive death metal band. And, had I not been undertaking one of my fairly frequent trawls through my emails to see what I might have missed, I may never have even seen this record nestling in my inbox. But that’s the point of these trawls, and I’m delighted it came up trumps yet again.

For my own benefit as much as anything, Obscura have been around for nearly twenty years, releasing no fewer than five full-length albums along the way. As with many bands these days, the line-up has not always been the most stable, but the quartet persevere. In 2021, Obscura is comprised of founding member, vocalist, and guitarist Steffen Kummerer, alongside guitarist Christian Münzner, bassist Jeroen Paul Thesseling, and drummer David Diepold. Those more familiar with Obscura will know that Christian and Jeroen were with Obscura previously and have now returned to the fold.

According to the press release courtesy of their new label, Nuclear Blast, ‘A Valediction’ is the first album in a new trilogy. This isn’t a new phenomenon in the world of Obscura however, as they’ve previously experimented with a tetralogy, a four-album concept. Lyrically, the album is a rather raw, personal affair, with Kummerer exploring his own personal pain openly, albeit lacing his words with just a hint of positivity. In that sense, the lyrics fit the music very well, as the bulk of the material is aggressive and harsh, with bursts of warmth throughout.

It isn’t just across albums that Obscura want to evolve and try new things. Based on the content of ‘A Valediction’, the musicians are very open to experimentation within songs and from track to track. It makes my job a lot harder, but it is fair to say that ‘A Valediction’ is an impressively varied affair, with a lot to digest within it. But that’s part of the charm of this album, and what makes it, as a listener, very interesting indeed. There may be some that might mistake the experimentation and multi-faceted approach for a lack of focus, cohesiveness, or direction. However, I disagree; what it shows to me is that Obscura are not happy deploying their extensive talents within a rigid framework. The music on ‘A Valediction’ is all, without doubt extreme metal, with a bias towards techdeath. But they take that framework as far as they can in a number of different directions, making for a dynamic and exciting listening experience.

Take ‘When Stars Collide’ and ‘Devoured Usurper’ as prime examples of the extremes to be heard on this album. The latter is a mid-tempo full-on dirty, groovy death metal composition that channels Obscura’s inner Morbid Angel. Kummerer’s low guttural growls are so deep that they shake the foundations, whilst the rhythmic barrage is tight and precise. And the riffs within are thick, muscular, and brutal. There are moments when the pace is increased, especially when Kummerer and Münzner unleash their solo skills, but for the most part, it’s a groovy slab of death metal pure and simple. I’d forgotten how much I can enjoy this kind of thing too.

In stark contrast, the former features the unmistakeable vocal talents of Soilwork’s Björn ‘Speed’ Strid and it is a markedly different song than ‘Devoured Usurper’. For a start, it rattles along at a hefty pace from the beginning, featuring plenty of neoclassical-sounding guitar solos, licks, and embellishments. Then, at the midway point, it becomes momentarily incredibly melodic, with Strid’s clean vocals highly impactful within the catchy segment. After a more melodic and nuanced lead guitar solo duel, the melody returns with Strid, alongside yet more wailing guitar leads. I love the balance between the atmospheric, catchy melody, and the pacier, more aggressive elements; neither is over-used, meaning it’s a brilliant track with real immediacy too.

The fretless bass playing from Jeroen Paul Thesseling within the more progressive instrumental piece ‘Orbital Elements II’ is a real highlight, although the entire record is littered with some amazing, dextrous bass guitar sounds; with each instrument recorded in different studios, the overall production, mix, and master was handled by Fredrik Nordstrom at Studio Fredman, who did an excellent job – it would have been a travesty had any one of the instruments not been given the clarity that they have here. I also particularly like the forceful thump and snap of the drum sound, evidenced within the bright, effervescent techdeath-meets-thrash workout of ‘The Neuromancer’.

My favourite track as it stands currently however, is the opening composition, ‘Forsaken’, as it’s so damn compelling. Kicking off with an acoustic guitar and soon joined by the rich, playful bass, it immediately offers melody to the listener. The melody is continued even when the song explodes into full-on aggressive death metal territory, delivering what can only be described as an epic melodic sequence. I was not expecting this, and after the initial shock, I immediately fell in love with the song. It’s not all nice melody, as the four musicians are quick to up the tempo and deliver a fast-paced, powerful techdeath performance. The occasional addition of synths only adds to the atmospheres and the melodies when they crop up at opportune moments to, whilst there are a couple of really nice, slightly less intense forays into prog instrumental territory, but it’s that killer melody that comes back to do the most damage. Apparently, the song is an homage to earlier material by Obscura. I wouldn’t know, but I intend to find out as soon as possible.

I could mention other tracks on ‘A Valediction’, such as the majestic closing composition ‘Heritage’ that brings back the synths to create a companion piece to the opener in that respect, as well as the way in which strong melodies vie for your attention alongside the more technical artistry on display. Or how about ‘Solaris’, that does it’s best to flay the listener with some of the fastest material anywhere on the record?

From being an unknown entity a couple of weeks ago, Obscura are now at the front and centre of my attention. 2021 has seen me develop a much greater appreciation and love of technical extreme metal as a whole, with bands like Archspire making a bigger impact upon me than I ever expected. Aren’t you supposed to become more mellow as you get older? In my case, it seems like the exact opposite. And Obscura have, with ‘A Valediction’, have provided one of the very best examples of the year – technical virtuosity abounds, but not at the expense of the aggression or the song writing, which is out of the top draw. My Christmas list just got a few albums longer thanks to Obscura.

The Score of Much Metal: 92%

Dessiderium – Aria

Cynic – Ascension Codes

NorthTale – Eternal Flame

Obscura – A Valediction

Nightland – The Great Nothing

MØL – Diorama

Be’lakor – Coherence

Hollow – Tower

Doedsvangr – Serpents Ov Old

Athemon – Athemon

Eclipse – Wired

Swallow The Sun – Moonflowers

Dream Theater – A View From The Top Of The World

Nestor – Kids In A Ghost Town

Beast In Black – Dark Connection

Thulcandra – A Dying Wish

Omnium Gatherum – Origin

Insomnium – Argent Moon EP

Kryptan – Kryptan EP

Archspire – Bleed The Future

Awake By Design – Unfaded EP

Cradle Of Filth – Existence Is Futile

Seven Spires – Gods Of Debauchery

Sleep Token – This Place Will Become Your Tomb

Necrofier – Prophecies Of Eternal Darkness

Ex Deo – The Thirteen Years Of Nero

Carcass – Torn Arteries

Aeon Zen – Transversal

Enslaved – Caravans To The Outer Worlds

A Dying Planet – When The Skies Are Grey

Leprous – Aphelion

Night Crowned – Hädanfärd

Brainstorm – Wall Of Skulls

At The Gates – The Nightmare Of Being

Rivers Of Nihil – The Work

Fractal Universe – The Impassable Horizon

Darkthrone – Eternal Hails

Thy Catafalque – Vadak

Terra Odium – Ne Plus Ultra

Hiraes – Solitary

Eye Of Purgatory – The Lighthouse

Crowne – Kings In The North

Desaster – Churches Without Saints

Helloween – Helloween

Fear Factory – Aggression Continuum

Wooden Veins – In Finitude

Plaguestorm – Purifying Fire

Drift Into Black – Patterns Of Light

Alluvial – Sarcoma

White Moth Black Butterfly – The Cost Of Dreaming – Album Review

Silver Lake by Esa Holopainen

Bloodbound – Creatures From The Dark Realm

Nahaya – Vital Alchemy

Frost* – Day And Age

Obsolete Theory – Downfall

Vola – Witness

Acolyte – Entropy

Dordeduh – Har

Subterranean Masquerade – Mountain Fever

Seth – La Morsure Du Christ

The Circle – Metamorphosis

Nordjevel – Fenriir

Vreid – Wild North West

Temtris – Ritual Warfare

Astrakhan – A Slow Ride Towards Death

Akiavel – Vae Victis

Gojira – Fortitude

Hideous Divinity – LV-426

Benthos – II

Evile – Hell Unleashed

Ninkharsag – The Dread March Of Solemn Gods

Bodom After Midnight – Paint The Sky With Blood

Morrigu – In Turbulence

Mother Of All – Age Of The Solipsist

Throne – Pestilent Dawn

Sweet Oblivion (Geoff Tate) – Relentless

Exanimis – Marionnettiste

Dvne – Etemen Ænka

Cannibal Corpse – Violence Unimagined

Arion – Vultures Die Alone

Maestitium – Tale Of The Endless

Wode – Burn In Many Mirrors

Everdawn – Cleopatra

Unflesh – Inhumation

Mourning Dawn – Dead End Euphoria

Wheel – Resident Human

Wythersake – Antiquity

Odd Dimension – The Blue Dawn

Metalite – A Virtual World

Cryptosis – Bionic Swarm

Ghosts Of Atlantis – 3.6.2.4

Memoriam – To The End

Aversed – Impermanent

Secret Sphere – Lifeblood

Enforced – Kill Grid

Liquid Tension Experiment – LTE3

Turbulence – Frontal

Iotunn – Access All Worlds

Warrior Path – The Mad King

Stortregn – Impermanence

Mariana’s Rest – Fata Morgana

Orden Ogan – Final Days

Witherfall – Curse Of Autumn

Plague Weaver – Ascendant Blasphemy

Ephemerald – Between The Glimpses Of Hope

Paranorm – Empyrean

Einherjer – North Star

Epica – Omega

Humanity’s Last Breath – Välde

Simulacrum – Genesis

Forhist – Forhist

Evergrey – Escape Of The Phoenix

Empyrium – Über den Sternen

Moonspell – Hermitage

Infernalizer – The Ugly Truth

Temperance – Melodies Of Green And Blue EP

Malice Divine – Malice Divine

Revulsion – Revulsion

Demon King – The Final Tyranny EP

Dragony – Viribus Unitis

Soen – Imperial

Angelus Apatrida – Angelus Apatrida

Oceana – The Pattern

Therion – Leviathan

Tribulation – Where The Gloom Becomes Sound

Asphyx – Necroceros

W.E.T. – Retransmission

Labyrinth – Welcome To The Absurd Circus

TDW – The Days The Clock Stopped

Need – Norchestrion: A Song For The End

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