Tag Archives: prog metal

Leprous – Malina – Album Review

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Artist: Leprous

Album Title: Malina

Label: InsideOut Music

Date of Release: 25 August 2017

One of the very biggest compliments that I can bestow upon a band is to say that they sound unique. In a day-and-age where originality is harder to come by than a public sector pay rise, it is quite an accolade to be able to declare to the world ‘we sound like no-one else’. And that is exactly what Leprous can boast. Good on them too, I say.

Ever since their debut, ‘Tall Poppy Syndrome’ (2009), the Norwegian outfit has delivered superb music. In the early days, there was a touch more of the generic about them as they cut their teeth in the tough world of music whilst proudly wearing a few of their inspirations on their sleeves. The album was still brilliant, with a vibrancy and confidence thoroughly belying the incredibly young age of the individuals concerned. However, as they have become older, wiser, and ever-more proficient, the output has become more unique and, as a result, ever more intriguing.

I confess here and now my love for Leprous. However, that being said, my love is not the easy kind where I metaphorically fall into their arms, swooning at the immediate saccharine beauty of their music. Instead, it is a more reserved love, born out of respect, admiration and often astonishment at what I am hearing. That’s not to say that Leprous’ music is not beautiful, because it is, but they never seem to make it easy. And why should they? This is prog after all.

Whatever album you listen to within the back catalogue, you must make the effort, listen hard and work at it. If you do, ultimately the rewards will come. The same is true of ‘Malina’, the quintet’s fifth release to date.

At this point, I will admit to a certain amount of sympathy for Leprous, although the reason for the sympathy has been somewhat self-induced by the Norwegians. You see, their debut placed the bar very high. And remarkably, every release since then has nudged that bar higher and higher. Not one of their four previous albums has been less than brilliant. Always pushing themselves, always honing their output and tweaking their sound, they have consistently released brilliance without ever standing still. That’s all very well and good, but how can Leprous possibly continue to improve when each previous release is so strong?

Whatever the answer and whatever their strategy, something must be working though because, with ‘Malina’, they’ve done it again. You can hear the influences of previous albums, ‘The Congregation’ (2015) specifically. But importantly, the output and musical direction has been tweaked yet again; some might even baulk at the word ‘tweaked’. Nevertheless the Leprous of 2017 via ‘Malina’ sounds fresh, interesting, compelling whilst remaining totally, unequivocally unique.

True to form, my first spin through did not result in love at first listen, far from it. Instead it resulted in shrugged shoulders and apathy. My second brought consternation; would I ever like what I am hearing? The answer is ‘yes’, but not until at least the fifth pass through. Suddenly, chinks of light began to emerge, my mind opened and I now hear music full of variety, full of drama, full of melody, and full of emotion.

The rumours circulating on the internet are true, in that ‘Malina’ is definitely a less heavy beast, but to these ears, that’s only if you consider heavy guitars and pounding rhythms to be sonically heavy. ‘Malina’ has these elements and they use them wisely. But they are used less. And, as with each and every Leprous release before this, the music remains intricate, full of atmosphere and crushingly intense. It is also a multi-layered and multi-faceted affair too, with plenty going on in each composition, even if that’s not how it immediately appears.

Much of the intensity is down to the vocals of Einar Solberg, the guy that only got into music because he was coerced into it by his family. Solberg has a tone and delivery quite unlike all others. He can be melodious, he can be angry and he can be sombre, fragile, and deeply emotional. Like a chameleon, he can bring exactly what is needed to each and every composition. And he does it effortlessly. On ‘Malina’, Solberg has clearly worked a lot on his clean singing and in fact, has all but ditched the more abrasive delivery that featured so strongly on earlier albums.

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Credit: Bjørn Tore Moen

The aforementioned intensity is also created, in part, by the song writing and the absolute attention to detail. Each of the eleven tracks has been beautifully crafted and executed with a loving care. There is an ebb and flow to the material too, from atmospheric minimalism to the bang and crash that you’d expect from a band consistently labelled in some quarters as ‘progressive metal’, despite more of a rock sheen of late. Whether or not ‘Malina’ is a concept album, the music itself undeniably tells a story. Dip in and out of the record if you wish, for each track stands on its own. For maximum enjoyment however, ‘Malina’ should be listened to in its entirety.

‘Bonneville’ is the perfect introduction to the record and a firm insight into the overall stylistic direction of ‘Malina’. With its stark, minimal soundscapes at the outset, it gently builds as it develops, ultimately becoming heavier and more robust as it nears its conclusion. The melodies become more pronounced with repeated listens and those familiar guitar tones of Tor Oddmund Suhrke and newbie Robin Ognedal offer some reserved muscularity.

Unfortunately for ‘Bonneville’, it is then followed by ‘Stuck’ which is an absolute monster, arguably my favourite track on the album currently. I could spend hours dissecting it but suffice to say that there is a lot going on within the composition. Again, with perseverance, the melodic intent becomes more obvious and addictive, culminating in a very strong chorus, almost pop-like in many ways. However, I love the way the song frequently undulates and transitions from quiet introspection to something altogether more powerful. And then there’s the wonderful juxtaposition in the latter stages between the modern and the traditional, when the utterly gorgeous cello/strings of guest musician Raphael Weinroth-Browne join the electronic sounds created by Solberg’s synths. It makes for a truly epic finale.

Thereafter, we’re treated to a run of songs that are very nearly as excellent in their own way. ‘From The Flame’ offers one of the most openly catchy choruses as it ploughs a slightly more straight-forward construction, relative to the usual Leprous output of course. The properly progressive ‘Captive’ by contrast is all about the rhythms, with drummer Baard Kolstad and bassist Simen Børven working overtime to act as the foundation for this lurching number, enhanced by layers of vocals and more genuinely interesting synth sounds and effects. ‘Illuminate’ reintroduces strong melodies and manages to be the perfect contradiction by simultaneously being both upbeat and densely introspective, the latter achieved in part by the swathes of gentle keys that nestle just beneath the surface.

‘Leashes’ is smothered in emotion, quiet and unobtrusive for large parts but then dominated by some of the best, most impassioned vocals from Solberg when things take a turn for the heavier and more intense. The ebb and flow continues courtesy of ‘Mirage’ which enters the fray with some seriously heavy-sounding instrumentation from what I assume emanates from the four and six-strings respectively. But the chorus, when it hits, is bright, breezy and distinctly pop-ish in tone albeit underpinned by a clever, complex beat that seems second nature to Leprous. The djent-esque outro is a clever touch too, with props going to Børven again for some flamboyant bass work.

The title track, with the reintroduction of those lush strings is a dark, sombre composition that occasionally bubbles up via some well-placed percussion from Kolstad, but generally remains an intense, claustrophobic experience due to its fragility and emotional minimalism. It’s not an easy listen, but the pay-off is well worth the effort.

‘Coma’ reintroduces a faster pace, interesting because of the impressive drumming and incessant nature, whilst ‘The Weight of Disaster’ is a lumbering, loping hector but in the best way possible. The hint of groove finds much favour with me, particularly with the way I which it is not overplayed. In fact, this is another track of huge contrasts, where extended passages of quiet contemplation are butted up against moments of forceful intent. And it works thanks to the adeptness and sophistication of the song writing.

It is left to ‘The Last Milestone’ to close out ‘Malina’ and it does so in fabulous style. It is a crushingly beautiful, poignant and sad hymn, led by the strings of Raphael Weinroth-Browne and the sorrowful, almost operatic delivery of Solberg. It is a very different approach for Leprous but not for a single second do I believe that it doesn’t belong on this record. It is a bold way to end, but just like the opening track, it is perfectly placed, providing maximum impact in the process.

To conclude, ‘Malina’ is ultimately a stunning record. In so many ways it remains faithful to the core Leprous sound but it is bound to raise the eyebrows of many existing fans at the same time. The more rhythmic, staccato guitar work remains, as does the flair for the deceptively complex compositional and instrumental work. That said, ‘Malina’ feels smoother, even more assured and, dare I say it, more mature. Put simply, it is the sound of progressive music par excellence. Just don’t dismiss it after the first listen because if you do, you’ll be making a big mistake.

The Score of Much Metal: 9.5

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

2015 reviews
2016 reviews

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

Prospekt – The Illuminated Sky – Album Review

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Artist: Prospekt

Album Title: The Illuminated Sky

Label: The Laser’s Edge

Date Of Release: 21 July 2017

I remember reviewing the debut record from UK progressive metal band Prospekt for Powerplay some years ago. But more importantly, I remember being very impressed with the output and so it was a natural step for me to seek this out and give it the full treatment on the Blog Of Much Metal. No word limits here, so I am able to explore the music a little bit more in depth.

Formed in 2008 in Oxfordshire, a county more renowned for its world famous higher learning establishment than for its world class progressive metal, Prospekt remain a relatively young band with a self-titled EP (2011) and debut full length (‘The Colourless Sunrise – 2013) in their locker already. But it has been a long four years leading to ‘The Illuminated Sky’, the band’s sophomore studio release; four years that has seen a few changes to the band’s line-up. Keyboardist Richard Marshall and lead vocalist Matt Winchester have left, to be replaced by Rox Capriotti and Michael Morris respectively.

Now, I always get nervous when a progressive band changes vocalist, particularly when the departing member was a perfectly good fit. However, it is clear that Prospekt have expertly dodged the ‘disappointing vocalist’ bullet that hits a good number of bands within the genre. In Michael Morris, they have found a vocalist who works really well with the music that sits behind him. His range is impressive, able to hit the lower notes, the high notes and, as demonstrated within ‘Beneath Enriya’ by way of just one example, the very high notes. You know the ones that threaten to veer into ‘canine-only’ territory? Yeah, them!

And whilst ever so occasionally, I wish Morris has just a little more bass to his voice, I really can’t fault his ability or his delivery at all. He certainly has the ability to tell a story convincingly which is important in this kind of music, working with the complex compositions rather than battling them. In time, we could be looking at another Michael Eriksen from Circus Maximus or Tommy Karevik of Seventh Wonder perhaps. We shall have to wait and see.

Given that Prospekt’s musical weapon of choice is dextrous and complex symphonic prog metal, the choice of keyboardist is just as important as the vocalist. Again, Rox Capriotti would appear to be ideal. Not only is he clearly adept at creating sweeping atmospheric vistas and layers of bombast with his synths, Capriotti can deliver a flamboyant solo too, as demonstrated within ‘In The Shadows Of The Earth’ for example.

They join the unchanged core of bassist Phil Wicker, guitarist Lee Luland and drummer Blake Richarson who are equally adept and impressive in their chosen fields. The licks, leads, riffs and chops delivered by Luland are wonderful, the flamboyance of Wicker is not lost in a decent mix and as such is reminiscent of Seventh Wonder and Shadow Gallery. And Blake Richardson lays down some excellent rhythms, just the right balance of power, precision and flair.

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Everything so far is pointing in the right direction and the positivity continues as one’s focus then shifts to the compositions themselves. I’m a big sucker for melody and whilst there are just a few occasions where I want the quintet to go bigger and bolder in this area, they generally deliver something rather ear-pleasing to keep me coming back for more. In fact, in true progressive metal style, the more I listen, the more I discover.

Prospekt describe themselves as ‘cinematic technical progressive metal’ which I completely agree with. The content of the ten tracks on ‘The Illuminated Sky’ are truly epic in scope and cover a multitude of different influences, from the neoclassical output of Symphony X, to the more symphonic elements of bands like Dream Theater and the all-out technical flamboyance of Haken. To be honest though, listen carefully enough and you’ll be able to pick out ingredients from just about any of the biggest and best protagonists in the prog metal genre. And yet the music does not sound like a clone of any one band. Nor does it come across as being derivative in the slightest. Instead, it sounds confident, assured and remarkably vibrant.

The dramatic intro ‘Ex Nihilo’ sits somewhere between the aforementioned Haken and Dream Theater in tone, before the title track kicks in. And kick in, it certainly does, with the force and fury of a band that know they have something to offer the metal world. The riffs are excellent, the rhythm section is thunderous and the transitions between sections are slick. The chorus is a real grower and throughout it all, the synths provide that wonderfully dramatic and grandiose feel.

Remarkably, the quintet keep up the momentum as the album develops. ‘Titan’ has a vague Middle-Eastern flavour within its up-tempo structure, as well a striking lead guitar solo from Luland, whilst ‘Beneath Enriya’ offers a beautifully melodic and expansive chorus as well as some spoken-word samples to increase the sense of theatre.

Arguably my favourite track on ‘The Illuminated Sky’ is the nine-minute giant ‘Alien Makers Of Discord’. But it isn’t the amazing guest lead guitar work of Greg Howe that draws me in, it’s the huge melodic hooks within the chorus that floor me, nestled expertly within some impressive musicianship, a staple of the Prospekt sound.

And then, there’s ‘Cosmic Emissary’, which seems to dial everything up a further notch if that’s even possible. The neoclassical lead guitar work that introduces the song is superb but the symphonic elements are possibly the most ear-catching aspect of the song, adding drama and boosting the cinematic flavour even further. And then there’s the thunderous drumming that injects genuine heaviness to expertly counterbalance the well-placed quieter sections within the track.

‘Akaibara’, the closest Prospekt get to a ballad, is also a winner thanks in large part to the brief reduction of complexity and the subtle way that it builds. And what a pay-off when it reaches its climax – the melodies are so powerful and the relative simplicity, topped off by Morris’ emotional performance makes the whole thing more impactful and honest.

And yet there’s still time for one more song. And it’s the biggest of the lot. Weighing in at over 11 minutes, ‘Where Masters Fall’ which features the guest vocal talents of Dragonforce’s Marc Hudson, is the massive conclusion to an already massively impressive album, where just about nothing is off limits. Combining a little bit of everything that has gone before, it is the perfect way to conclude the record, leaving the listener on a real high.

The only conclusion I can reach is that with ‘The Illuminated Sky’, Prospekt have signalled their intent to become a big hitter in the prog scene in the most impressive of ways. Or, to put it another way, if you’re a fan of progressive music, it won’t be long before you’re a fan of Prospekt.

The Score Of Much Metal: 9.25

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

2015 reviews
2016 reviews

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

BlogOfMuchMetal – Metal News – 31 July 2017

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

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

Ne Obliviscaris – new album and new song….

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

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

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

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

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

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

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

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Redemption are working on a new album…

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

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

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

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

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

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

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

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

My Soliloquy finally edge closer to releasing their new record…

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

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

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

Previous updates:

24 July 2017
22 July 2017
28 March 2017
23 March 2017
11 March 2017
5th March 2017
26th February 2017
13th February 2017
3rd February 2017
30th January 2017
21st January 2017

BlogOfMuchMetal – metal news – 22 July 2017

Hello and welcome to the latest post in this series after a bit of a hiatus, where I bring you the latest confirmed news within the world of rock and heavy metal. This series does not require the use of a crystal ball, which can sometimes malfunction with embarrassing results. No, this is a series that works on facts, on the news that I know to be true and which I bring you because I found it exciting and I’m therefore sure that you will find it exciting too.

Today’s post focuses on some of the new songs that have been revealed ahead of the full album release later in the year.

And if you’ve missed any of my previous posts in this series, links can be found at the bottom of this post.

legendsoftheshiresThreshold – Legends of the Shires
Release date: 8 September 2017
Label: Nuclear Blast

Well, if you’re going to release a new song and an accompanying video, it might as well be a ten-minute monster mightn’t it? Especially if you are prog as all hell eh? So that’s what Threshold have done. Not content to compose a double album for the very first time, the UK progressive metal band have also announced a change of singer, ditching Damian Wilson in favour of a return to Glynn Morgan. And now they have released the first track off ‘Legends of the Shires’, the monumental ‘Lost In Translation’. If, like me, you are a massive Threshold fan, it’s a great time to be alive.

I’ve only listened to this song about 17 times, so I’m in no way able to dissect it quite yet. For that, you’ll have to wait until my full review later in the year. However, for now, all I can say is ‘wow’. Morgan sounds really good on this track, giving the music a whole new dimension. The prog elements are really pronounced which I like, particularly in terms of the changes in tempo, tone and with the bold keyboard sounds in places. But that chorus. Those melodies. Boy, oh boy is this one hell of an anthem. Just take a listen and tell me that you disagree. On the strength of this track, I have such massively high hopes for the full album, it’s ridiculous.

19990364_1676025859077305_924654058634164650_nSubterranean Masquerade – Vagabond
Release date: 1 September 2017
Label: ViciSolum Productions

In typical Man of Much Metal style, about five minutes after I publish a blog post, one of the bands featured releases the first track off their new album. The culprits this time are Subterranean Masquerade, with ‘Nomad’, taken from their upcoming release, ‘Vagabond’.

In keeping with their last record that I thoroughly enjoyed, it will take some time to get fully to grips with the music that this band creates. However, a couple of listens in and the signs are extremely positive. I hear echoes of Amorphis in parts of this track but despite this, the final result is definitely unique. Complex and ambitious yet catchy and unexpectedly immediate with a smooth and rich sheen, Subterranean Masquerade may just have hit upon a winning formula, one that may pull me deeper under their spell. I can’t wait to hear more and bring you my considered thoughts nearer to the release of ‘Vagabond’.

18892998_10154663048738806_2247176504358416942_nParadise Lost – Medusa
Release date: 1 September 2017
Label: Nuclear Blast

UK veterans Paradise Lost have to be one of my all-time favourite bands. Beginning my love affair nearly two decades ago with ‘Draconian Times’, I have never looked back…well, except for delving back into the Yorkshire gloomsters back catalogue of course. In so doing, I discovered the monumenatal ‘Shades of God’, a huge game-changer for me. I may not have liked the more ‘Goth’ or ‘pop-infused’ era, but of late, their albums have been tremendous, really harking back to their earlier halcyon days.

Cue ‘Medusa’, which is apparently inspired by another foray into the historic vaults. And, if this new track, ‘The Longest Winter’ is representative of the vibe and direction of the new record, we’re in for one heck of a heavy and doomy affair. Activate sarcasm mode: Oh no, how horrible.

19420708_1698781136823429_4102190633439104941_nArch Enemy – Will To Power
Release date: 8 September 2017
Label: Century Media Records

Long term followers of my blog will be sick of hearing my thoughts on Arch Emeny. Whilst their stock has risen over the past decade or so, my liking for the band has nose-dived and I make no bones about the fact that ‘xxx’ is their last chance as far as I’m concerned. I’m sure Michael Amott is quaking in his boots at the thought of losing a slightly overweight and balding Englishman from his ever-expanding fanbase but I’ll be genuinely disappointed if I have to call it a day with a band that was so important to me at the time they released the majestic ‘Stigmata’.

So now we have ‘The World Is Yours’, the first track to be aired from the new album ‘Will To Power’…and it feels like Arch Enemy might have returned from the brink. There are still things that I don’t like so much, but in general, this feels like a proper song, something more akin to the music that the band can write when they put their mind to it. It goes without saying that the drumming and the guitar work is utterly insane and of the very highest order – the inclusion of Jeff Loomis is a BIG deal as far as I’m concerned. But more importantly, there is more to this song than just instrumental noodling and histrionics just for the sake of it. On the strength of this song, I’m feeling more hopeful than I was fearing…

Previous updates:

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

Witherfall – Nocturnes And Requiems – Album Review

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Artist: Witherfall

Album Title: Nocturnes and Requiems

Label: Independent Release

Date of release: 10 February 2017

I’m going to start this review in a blunt manner: I am enjoying the hell out of this album. With that in mind, allow me to elaborate in a style more familiar to those who follow this site.

‘Nocturnes And Requiems’ is the debut album from Witherfall, a band comprised of four extremely talented musicians in their own right, namely guitarist Jake Dreyer, vocalist Joseph Michael, bassist Anthony Crawford and drummer Adam Sagan. Dreyer will be a familiar name to many as an ex-member of White Wizzard and current lead axeman for Iced Earth. Michael is also ex-White Wizzard stock whilst Sagan plied his trade with the likes of Circle II Circle and a personal favourite of mine, Into Eternity.

‘Nocturnes and Requiems’ was apparently recorded in 2014 but has taken until 2017 to be released. Tragically, in the interim, drummer Sagan has passed away having bravely battled with a form of blood cancer. The release could be viewed then as something of a tribute to a fallen comrade and what a fitting tribute it is to a talented sticksman. But more than simply being a tribute, ‘Nocturnes And Requiems’ is an excellent heavy metal album in its own right, regardless of the circumstances surrounding its release.

If you have a weakness for superlative musicianship, you’ll lap this record up, particularly if that weakness focuses on the six-string instrument. If you are also a fan of progressive metal, then this record might just have you jumping for joy.

That said, there isn’t much within Witherfall’s approach that screams originality but somehow that doesn’t matter to me here. In fact, if anything, I’d argue that there is a heavy indebtedness to the likes of Symphony X, Nevermore and many others within the six full tracks and two shorter interludes that comprise ‘Nocturnes And Requiems’. Speaking personally, as a fan of both of the aforementioned, this is no a bad thing.

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Whilst every member of the band has skills, it is inevitable that the stand-out member of Witherfall for most of us is going to be guitarist Jake Dreyer. It is no wonder that Iced Earth snaffled him up because the guy is utterly immense. In fact, dare I suggest that he might be just a little under-utilised with Iced Earth? It may seem like overenthusiastic hyperbole but there is a strong case for putting Dreyer into the same league as the likes of Jeff Loomis or Michael Romeo, albeit he has his own style.

Given the neoclassical bent to some of the material, the parallels to Romeo are clearer, as is firmly demonstrated by the lightning fast playing which introduces the rather epic ‘End Of Time’ which is actually split into three parts. The intensity and technicality of the opening solo, followed by the flamboyance of the ensuing riff is enough to make me grin from ear to ear. If that wasn’t enough, the acoustic work that is incorporated into the track is sublime, adding plenty of darker tones to the track, enhanced by the emotive delivery of Joseph Michael.

Naturally, for a song that spans the better part of ten minutes, there are plenty of different sections that I could mention, including several of the extended guitar solos or the brief classical guitar segments that are beautifully delivered. But as good as all these parts are, the icing on the cake is the chorus that introduces a strong melody and a sense of the grandiose that is catchy enough to pull me in for repeated listens and proves that Witherfall are more than just clever instrumentalists; they are accomplished songwriters too.

Indeed, the songwriting prowess can be heard littered throughout the record. The Nevermore-tinged aggression of opener ‘Portrait’ is a huge winner thanks to the powerful riffs, driving rhythms, dark tones and strangely addictive introspective chorus of sorts not to mention its overt classic prog metal sheen. It contains a little bit of just about everything I want in my metal these days if I’m honest.

Then there’s the equally compelling follow-up in the shape of ‘What We Are Dying For’. It begins in frenetic style with a melodeath-style riff before descending into modern Symphony X territory, all the while keeping the foot to the floor in terms of pace and tempo. Sagan’s drumming is a key factor to the success of this composition, along with clever changes of pace that bring the track more into line with the doom genre. The solo guitar work atop the repetitive rhythm guitar notes is superb as is the bass playing of Anthony Crawford. I love the diversity of the song which, in true clichéd style, genuinely takes the listener on a journey. The Spanish-influenced classical guitar playing has to be, above all else, my favourite part though – it has to be heard to be believed, such is its blend of technicality and rich warmth.

I’ve yet to really mention vocalist Joseph Michael but when discussing yet another epic track, ‘Sacrifice’, his name comes top of the list. With a range that allows the guy to sing softly with emotion, snarl with naked aggression, soar with melodious intent or burst his lungs with the kind of high-pitched wails that the likes of Tim ‘Ripper’ Owens or Rob Halford would be proud of, Michael has it all. And he demonstrates this impressive repertoire on ‘Sacrifice’ which is as bold and ambitious as his vocals. If I’m being hyper-critical, this track lacks a killer hook or melody to ensnare the unwary listener. However, it makes up for this with the sheer variety, drama and myriad of tones and textures on offer, meaning that it still holds your attention throughout.

So there you have it. An album that I knew nothing about until a copy was thrust upon me has ended up making a huge impression upon me. It remains to be seen what the future holds for the remaining three members of Witherfall but I sincerely hope that ‘Nocturnes And Requiems’ is not a one-off because it is just too damn good and newly-converted fans (myself included), simply need more of this kind of music in our lives. To deny us this would be a huge travesty.

The Score of Much Metal: 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

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