prog metal

Philosophobia – Philosophobia – Album Review

Artist: Philosophobia

Album Title: Philosophobia

Label: Sensory Records

Date of Release: 24 June 2022

For all of my new-found love of some more extreme styles of metal, I will always gravitate back to the progressive metal scene, because it is one of my favourite, and most enduring styles of music, particularly the more ‘classic’ melodic end of the spectrum. It feels, though, as if the pool is getting ever smaller, with less and less new music coming through. This may be an illusion, but that’s how it seems to me. But today, I’m pleased to be able to bring a review of a debut album by a new band that has tapped into the style that I like so much.

The band’s name is Philosophobia, and they first materialised back in 2007 when Andreas Ballnus (Paul Dianno) and Alex Landenburg (Kamelot, Cyrha, Mekong Delta), who had been friends for some time, met up to write and record some new music to accompany a concept that Andreas had written, a prog metal concept to be more precise. Unfortunately, as the press release informs us, existing priorities for the duo meant that this project would have to be put on hold for the intervening years. After a coincidental meeting with Kristoffer Gildenlöw some years later, and his subsequently joining the band, Philosophobia was back in action with added impetus. Rounded out by keyboardist Tobias Weißgerber and Wastefall vocalist Domenik Papaemmanouil, the line-up was finally complete, and the band could bring their music to fruition.

I’ll be honest from the outset and say that this self-titled debut was not love at first listen. But then, neither were many of my favourite albums within this genre, to be fair. It has been a slow burn, but with each passing listen, I have found myself enjoying more and more about this record. In fact, I really like ‘Philosophobia’ now.

Before I get to all of the positives, I must mention that the production. It’s clear, and it isn’t bad per se, it’s just that for my tastes, I’d have preferred it if the music had a little bit more grunt to it. I feel like the guitars, in particular, are robbed just a touch of the impact and muscle that they could have had if the bottom end had been favoured a little more than it has. I also have to query whether a little more judicious editing might have been in order here. I understand that no fewer than six of the songs on this record are the originals from the 2007 writing sessions, and so this might be a factor, with the band very protective over the music that has been sitting patiently in the wings for a decade and a half. But ‘Philosophobia’ feels just a little bloated at times; for a prog metal album, 54 minutes or so isn’t that long, but it feels a bit longer than it is if truth be told.

However (and it’s a big however), all of this fades into the background once you get to grips with this album. It begins in strong fashion with ‘Thorn In Your Pride’, a nine-minute affair that opens with a cinematic intro, dramatic in tone, with a vaguely Middle Eastern voice singing with increasing passion until receding to be replaced by a powerful, catchy, and groovy prog riff, accented by an equally powerful and crisp rhythm section. I wish the riffs bit more, but they remain impactful, as do the synths. From there, the composition takes a number of twists and turns, but they are all as memorable as each other. The voice of Domenik Papaemmanouil doesn’t enter until the end of the fourth minute, when the heaviness recedes in place of some gentle, but rich and welcoming melodies. As you might expect from a prog composition, there is plenty of instrumental prowess, but it’s also mixed with some aggressive semi-growls which lend a more modern twist. The section at around the seven-and-a-half-minute mark is where you’ll find my favourite part of the song, such is the beauty of the melody and the accompanying soaring vocals.

It’s a brave move to open up a debut album with two songs that together account for eighteen minutes of the album, but ‘I Am’ follows the opener and is nearly as long, albeit with a different vibe to it. The riff that introduces it is a classic prog stomper, that’s muscular but also littered with great technique and embellishments that make it impossible for me to describe succinctly. But the energy that feeds through the music is palpable. The change of direction is all the starker because it’s a detour into quiet, lush melodic territory, led by a lovely lead guitar line and complimented by tinkling pianos. There’s even a brief foray into more of a heavy power/speed metal direction where drums and bass gallop off. I detect a Threshold/Damian Wilson vibe in some of the vocals within one of the biggest ‘growers’ on the album.

‘Time To Breathe’ is an interesting track, with plenty of light and shade, going from quiet and introspective, to pronounced explosions of emotion and power. This is one of those tracks that would have benefitted from that beefier sound I referred to earlier, but it’s still an enjoyable affair. ‘Between The Pines’ is a sensational track to follow though. Dominated by keys and vocals, it’s a brooding and emotional ballad like track with poignant melodies throughout topped off superbly by an evocative lead guitar solo.

‘As Light Ceased To Exist’ benefits from some of the most immediate melodies on offer throughout ‘Philosophobia’ as well as a stunning intro where keyboardist Tobias Weißgerber adds depth and gravitas via some lovely orchestration alongside the piano. Dare I suggest a slight Shadow Gallery vibe to the song? Yes, I think I do, even though these vibes are fleeting and oblique to say the least, but most heard within the extended instrumental workout at the heart of the song.

Realising that I’m in danger of turning this into a song-by-song, blow-by-blow review, I’ll just mention one of the final three compositions. And that song is entitled ‘Voices Unheard’. The other two tracks have plenty to offer, which you will be able to discover if this review has sufficiently piqued your interest. However, ‘Voices Unheard’ is my undoubted favourite of the closing trio. From the opening aggression created by a forceful riff that has hints of latter-day Symphony X to it, to easily the most insidiously catchy chorus on the album, this is a belting composition. Sitting here now, it’s bizarre to think that I didn’t rate it much to begin with, but isn’t that the beauty of prog sometimes? The best bit of the song though, is undoubtedly the quieter passage at its heart where you get to hear some stunning keys, bass, and guitar, before the song builds again and we’re slapped around the chops by a glorious lead guitar solo. The spoken-word samples that emerge at the death are the icing on the cake.

There you have it. Yes, it could have had a production better suited to my personal taste, but if we remove that from the equation, you’re left with a really rather wonderful collection of progressive metal songs. The music may not resonate fully with you right from the start, but I guarantee that if you give it some time and proper attention, there’s too much quality here for it not to have an impact upon you. Philosophobia have, with their debut album, positioned themselves in a very strong position to quickly become one of the most talked about new bands within the progressive metal sphere. And rightly so, too. If you like prog, checking this out is a genuine no-brainer.

The Score of Much Metal: 90%

Check out my other 2022 reviews here:

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

All Things Fallen – Shadow Way

Def Leppard – Diamond Star Halos

Lord Belial – Rapture

Buried Realm – Buried Realm

Stiriah – …Of Light

Remains Of Destruction – New Dawn

Crematory – Inglorious Darkness

IATT – Magnum Opus

Iris Divine – Mercurial

Decapitated – Cancer Culture

Bekmørk – The Path Nocturnal

Septic Flesh – Modern Primitive

Blut Aus Nord – Disharmonium – Undreamable Abysses

Drift Into Black – Earthtorn

Spheric Universe Experience – Back Home

Outshine – The Awakening

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones

Zero Hour – Agenda 21

Scitalis – Doomed Before Time

Morgue Supplier – Inevitability

Visions Of Atlantis – Pirates

Evergrey – A Heartless Portrait (The Orphean Testament)

OU – One

Haunter – Discarnate Ails

Aara – Triade II: Hemera

Pure Reason Revolution – Above Cirrus

Demonical – Mass Destroyer

I Am The Night – While The Gods Are Sleeping

Haunted By Silhouettes – No Man Isle

Delvoid – Swarmlife

LionSoul – A Pledge To Darkness

Watain – The Agony And Ecstasy Of Watain

Dischordia – Triptych

Dragonbreed – Necrohedron

Audrey Horne – Devil’s Bell

Vanum – Legend

Stone Broken – Revelation

Radiant – Written By Life

Skull Fist – Paid In Full

Hurakan – Via Aeturna

Incandescence – Le Coeur De L’Homme

Imminent Sonic Destruction – The Sun Will Always Set

Monuments – In Stasis

Soledad – XIII

Viande – L’abime dévore les âmes

Credic – Vermillion Oceans

Postcards From New Zealand – Burn, Witch, Burn

Darkher – The Buried Storm

Treat – The Endgame

Bjørn Riis – Everything To Everyone

Destruction – Diabolical

Et Moriemur – Tamashii No Yama

Angel Nation – Antares

Wolf – Shadowland

Denali – Denali EP

Centinex – The Pestilence EP

Meshuggah – Immutable

Chapter Of Hate – Bloodsoaked Decadence EP

Ancient Settlers – Our Last Eclipse

Tranzat – Ouh La La

Playgrounded – The Death Of Death

Father Befouled – Crowned In Veneficum

Abbath – Dread Reaver

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

Kvaen – The Great Below

Michael Romeo – War Of The Worlds, Part 2

Dark Funeral – We Are The Apocalypse

Carmeria – Advenae

Agathodaimon – The Seven

Moonlight Haze – Animus

Hellbore – Panopticon

Konvent – Call Down The Sun

Idol Of Fear – Trespasser

The Midgard Project – The Great Divide

Threads Of Fate – The Cold Embrace Of The Light

Arkaik – Labyrinth Of Hungry Ghosts

New Horizon – Gate Of The Gods

Cailleach Calling – Dreams Of Fragmentation

Tundra – A Darkening Sky

Sylvaine – Nova

Hath – All That Was Promised

Sabaton – The War To End All Wars

Kuolemanlaakso – Kuusumu

Oh Hiroshima – Myriad

Godless Truth – Godless Truth

Shape Of Despair – Return To The Void

Eight Bells – Legacy Of Ruin

Embryonic Devourment – Heresy Of The Highest Order

Serious Black – Vengeance Is Mine

Allegaeon – Damnum

HammerFall – Hammer Of Dawn

Immolation – Acts Of God

Veonity – Elements Of Power

Nightrage – Abyss Rising

Arjen Anthony Lucassen’s Star One – Revel In Time

Pure Wrath – Hymn To The Woeful Hearts

Dagoba – By Night

The Last Of Lucy – Moksha

Arð – Take Up My Bones

Embryonic Autopsy – Prophecies Of The Conjoined

The Devils Of Loudun – Escaping Eternity

Cult Of Luna – The Long Road North

WAIT – The End Of Noise

Abysmal Dawn – Nightmare Frontier

Amorphis – Halo

Nordic Giants – Sybiosis

Persefone – Metanoia

Vorga – Striving Toward Oblivion

Mystic Circle – Mystic Circle

Nasson – Scars

Burned In Effigy – Rex Mortem

Silent Skies – Nectar

Celeste – Assassine(s)

Abyssus – Death Revival

SOM – The Shape Of Everything

Ashes Of Ares – Emperors And Fools

Beriedir – AQVA

Lalu – Paint The Sky

Nocturna – Daughters Of The Night

Battle Beast – Circus Of Doom

Lee McKinney – In The Light Of Knowledge

Descent – Order Of Chaos

Aethereus – Leiden

Toundra – Hex

Ilium – Quantum Evolution Event EP

Power Paladin – With The Magic Of Windfyre Steel

Necrophagous – In Chaos Ascend

Infected Rain – Ecdysis

Wilderun – Epigone

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

2021 reviews

2020 reviews

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Seventh Wonder – The Testament – Album Review

Artist: Seventh Wonder

Album Title: The Testament

Label: Frontiers Music

Date of Release: 10 June 2022

Just when 2022 was beginning to feel disappointing when it came to progressive metal, the balance has begun to be redressed. In the last month or so, we’ve had new albums from Zero Hour and Spheric Universe Experience, whilst others have been announced and will see the light of day over the coming months. And there’s this, the latest release from one of the very best still plying their trade. I am, of course, referring to Seventh Wonder, the Swedish powerhouse of technical and melodic progressive metal. We had to wait eight long years for their sixth album, ‘Tiara’, but mercifully, the wait for ‘The Testament’, the seventh full-length album, has been a comparatively short four years. Hurrah to that, I say.

Ever since vocalist Tommy Karevik joined the Kamelot ranks, I have lived in some fear that it would spell the end for Seventh Wonder. And, if truth be told, the thought upset me more than I thought it would, especially given that Kamelot only seems to let this sensational vocalist unleash about 60% of his full potential, preferring he become something of a Khan clone rather than truly himself. But Seventh Wonder are far more than just a vehicle for Karevik; the quintet are supremely talented musicians across the board, with jaw-dropping technical ability, and a songwriting prowess that ensures their compositions are not just exercises in impressive complexity. No, Seventh Wonder write songs, songs that contain hooks, melodies, storylines, thus possessing a longevity that makes us fans want to come back for repeated listens. ‘The Testament’ is no different on that score, meaning that it is yet another incredibly strong addition to their catalogue.

At this juncture, I will be the first to admit that I perhaps got a little carried away with my review of ‘Tiara’. I still maintain that it is a great record, but over the last few years, I’ve not returned to it as much as I thought I would back then. With this in mind, I have tried to be a little more cautious and circumspect this time around when reviewing ‘The Testament’. The only problem is, it is seriously ticking all of my favourite boxes at the moment, and I cannot conceive of a future reality where this ceases to be the case.

The magic begins right off the bat with the opening track, ‘Warriors’, which begins with some serious crunch thanks to a cracking opening riff. The guitar tone of Johan Liefvendahl is heavy and authoritative, eventually joined by the rumbling bass of Andreas Blomqvist, Stefan Norgren’s energetic drumming, and swathes of synths courtesy of Andreas Söderin. As the song hits its straps, the progressive riff is engulfed by a groovy swagger, where the keys become a little more dominant increasing both the atmosphere and the melodic strength of the track. And from the moment that Karevik opens his mouth, you can hear that he is a different singer with Seventh Wonder; his delivery is full of emotion, and his performance just feels more dynamic and engaging as a result. It also helps that ‘Warriors’ is blessed with an immediate chorus that soars, pleasing my battered ears immensely. Solos, chops, and instrumental dexterity are all present, but they fit within the context of the song rather than the other way around, meaning that it never feels too pretentious or complex.

In many ways the scene for ‘The Testament’ has been set, in that this album is one that will please those who enjoy Seventh Wonder at their most melodic. There is only one song that reaches the eight-minute mark, as the focus here seems to be on creating a collection of songs that have immediacy as well as allowing the musicians to flex their creative muscles just enough. And, after all, compositions don’t have to be long to be progressive as the Swedes ably demonstrate here.

‘The Light’ is a brilliant composition with a delightfully catchy, almost AOR or pop-like chorus at its heart, but the verses are brisk affairs with plenty of clever dexterity present if you care to listen out for it. As good as all of the performances are within this song, my ears are drawn to the bass of Andreas Blomqvist, especially when the track quietens to allow him to deliver a dancing solo, followed up by one from keyboardist Andreas Söderin for good measure. The song drips with emotion too, especially in the latter stages, recalling the perfect ‘Mercy Falls’ output.

If it’s possible by this stage, ‘I Carry The Blame’ goes one further than the opening duo in my estimations. It has more of a ballad feel to it and so is not as ‘blood and thunder’ as the previous songs, but Karevik is utterly magnetic with his performance, whilst the chorus sends a shiver down my spine. By contrast, ‘Reflections’ is an instrumental piece that allows the technicality to come much more to the fore. As a result, you get solos and flamboyance aplenty throughout from all corners, but still within a song framework with melody and structure. I’ll be honest though and admit to it not being my favourite track overall, as it doesn’t wow me in the way others do.

Things return to their brilliant best though quickly with ‘The Red River’, a slightly darker, more dramatic composition that nevertheless features plenty of light and shade, as well as another sprawling but arresting chorus. I also love the pinched harmonics that Johan Liefvendahl delivers in true Seventh Wonder style.

Both ‘Mindkiller’ and ‘Under A Clear Blue Sky’ dazzle as the album nears its twilight. The former is a vibrant composition, albeit in a crunchy, heavy way, with more of a muscular intent. The melodies are definite growers, but they are no less impactful, whilst the guitar and keys trade solos in a way that only prog bands can get away with. The latter is the longest piece on ‘The Testament’ and it opens quietly, tentatively, but with greater assertiveness as it gradually flowers into a driving composition that plays around with plenty of ideas, all of which come together to create a fully satisfying end product. If anything, this is the track where the keys of Andreas Söderin come into their own with bold sounds and extended virtuosic solos making quite an impact at various stages.

However, the album’s finale, ‘Elegy’, takes us back to the days of ‘Mercy Falls’ at its most poignant and emotional. It is a richly orchestrated song that sees Tommy Karevik take the spotlight, alongside acoustic guitars and beautiful symphonics, to test our resolve fully. The lyrics tell a melancholy tale, brought to life by the talented vocalist who leaves nothing behind to create maximum impact. It is enhanced by the bittersweet folk-tinged melodies that can’t fail to touch me every time I listen, bringing me close to tears once or twice.

Ultimately, I’m just delighted that Seventh Wonder continue to write new music. The fact that they have created another excellent body of music is the icing on the cake. I wish no ill towards Kamelot because they are a great band in their own right, but it is so refreshing to hear Tommy Karevik once again unshackled and able to put his own unique talent to full use. When he is in full flow, there are few better vocalists out there in the progressive metal sphere, as ‘The Testament’ underlines time and time again. But alongside him are four more supremely talented individuals who have come together one more time to write and perform some superb melodic progressive metal as only they can. As a result, ‘The Testament’ is, quite simply, a joy to listen to from start to finish.

The Score of Much Metal: 93%

Check out my other 2022 reviews here:

All Things Fallen – Shadow Way

Def Leppard – Diamond Star Halos

Lord Belial – Rapture

Buried Realm – Buried Realm

Stiriah – …Of Light

Remains Of Destruction – New Dawn

Crematory – Inglorious Darkness

IATT – Magnum Opus

Iris Divine – Mercurial

Decapitated – Cancer Culture

Bekmørk – The Path Nocturnal

Septic Flesh – Modern Primitive

Blut Aus Nord – Disharmonium – Undreamable Abysses

Drift Into Black – Earthtorn

Spheric Universe Experience – Back Home

Outshine – The Awakening

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones

Zero Hour – Agenda 21

Scitalis – Doomed Before Time

Morgue Supplier – Inevitability

Visions Of Atlantis – Pirates

Evergrey – A Heartless Portrait (The Orphean Testament)

OU – One

Haunter – Discarnate Ails

Aara – Triade II: Hemera

Pure Reason Revolution – Above Cirrus

Demonical – Mass Destroyer

I Am The Night – While The Gods Are Sleeping

Haunted By Silhouettes – No Man Isle

Delvoid – Swarmlife

LionSoul – A Pledge To Darkness

Watain – The Agony And Ecstasy Of Watain

Dischordia – Triptych

Dragonbreed – Necrohedron

Audrey Horne – Devil’s Bell

Vanum – Legend

Stone Broken – Revelation

Radiant – Written By Life

Skull Fist – Paid In Full

Hurakan – Via Aeturna

Incandescence – Le Coeur De L’Homme

Imminent Sonic Destruction – The Sun Will Always Set

Monuments – In Stasis

Soledad – XIII

Viande – L’abime dévore les âmes

Credic – Vermillion Oceans

Postcards From New Zealand – Burn, Witch, Burn

Darkher – The Buried Storm

Treat – The Endgame

Bjørn Riis – Everything To Everyone

Destruction – Diabolical

Et Moriemur – Tamashii No Yama

Angel Nation – Antares

Wolf – Shadowland

Denali – Denali EP

Centinex – The Pestilence EP

Meshuggah – Immutable

Chapter Of Hate – Bloodsoaked Decadence EP

Ancient Settlers – Our Last Eclipse

Tranzat – Ouh La La

Playgrounded – The Death Of Death

Father Befouled – Crowned In Veneficum

Abbath – Dread Reaver

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

Kvaen – The Great Below

Michael Romeo – War Of The Worlds, Part 2

Dark Funeral – We Are The Apocalypse

Carmeria – Advenae

Agathodaimon – The Seven

Moonlight Haze – Animus

Hellbore – Panopticon

Konvent – Call Down The Sun

Idol Of Fear – Trespasser

The Midgard Project – The Great Divide

Threads Of Fate – The Cold Embrace Of The Light

Arkaik – Labyrinth Of Hungry Ghosts

New Horizon – Gate Of The Gods

Cailleach Calling – Dreams Of Fragmentation

Tundra – A Darkening Sky

Sylvaine – Nova

Hath – All That Was Promised

Sabaton – The War To End All Wars

Kuolemanlaakso – Kuusumu

Oh Hiroshima – Myriad

Godless Truth – Godless Truth

Shape Of Despair – Return To The Void

Eight Bells – Legacy Of Ruin

Embryonic Devourment – Heresy Of The Highest Order

Serious Black – Vengeance Is Mine

Allegaeon – Damnum

HammerFall – Hammer Of Dawn

Immolation – Acts Of God

Veonity – Elements Of Power

Nightrage – Abyss Rising

Arjen Anthony Lucassen’s Star One – Revel In Time

Pure Wrath – Hymn To The Woeful Hearts

Dagoba – By Night

The Last Of Lucy – Moksha

Arð – Take Up My Bones

Embryonic Autopsy – Prophecies Of The Conjoined

The Devils Of Loudun – Escaping Eternity

Cult Of Luna – The Long Road North

WAIT – The End Of Noise

Abysmal Dawn – Nightmare Frontier

Amorphis – Halo

Nordic Giants – Sybiosis

Persefone – Metanoia

Vorga – Striving Toward Oblivion

Mystic Circle – Mystic Circle

Nasson – Scars

Burned In Effigy – Rex Mortem

Silent Skies – Nectar

Celeste – Assassine(s)

Abyssus – Death Revival

SOM – The Shape Of Everything

Ashes Of Ares – Emperors And Fools

Beriedir – AQVA

Lalu – Paint The Sky

Nocturna – Daughters Of The Night

Battle Beast – Circus Of Doom

Lee McKinney – In The Light Of Knowledge

Descent – Order Of Chaos

Aethereus – Leiden

Toundra – Hex

Ilium – Quantum Evolution Event EP

Power Paladin – With The Magic Of Windfyre Steel

Necrophagous – In Chaos Ascend

Infected Rain – Ecdysis

Wilderun – Epigone

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

2021 reviews

2020 reviews

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Zero Hour – Agenda 21 – Album Review

Artist: Zero Hour

Album Title: Agenda 21

Label: Frontiers Music

Date of Release: 13 May 2022

Today is a special day, as it is the day that I am finally able to review a new Zero Hour album. No less than six albums were released by the band over a decade, between 1998 and 2008, with the likes of ‘The Towers Of Avarice’ (2001) and ‘Metamorphosis’ (2003) hailed by fans and critics alike as superb slabs of technical yet melodic progressive metal. However, since the release of ‘Dark Deceiver’ in 2008, we’ve had nothing whatsoever from the US band.

If you’re a fan of Zero Hour, you’ll probably be well versed in the trials and tribulations that have led to this extended hiatus. Formed by the Tipton brothers, guitarist Jasun and bassist Troy, and with Erik Rosvold on vocals, Zero Hour was initially put on hold due to an injury to Troy that meant he had to stop playing the bass for a time. The intervening period allowed Jasun, with the help of his twin, to explore other avenues through Cynthesis and Abnormal Thought Patterns. And then disaster befell Troy as the medical condition with which he was diagnosed (ulnar nerve entrapment) meant he had to hang up his bass, almost certainly forever. This then led to the creation of A Dying Planet, the debut for which featured Troy as a vocalist and songwriter, and was used as a vehicle to explore this devastating news in some cathartic detail.

Despite all this, a new Zero Hour record was never fully off the table, and in recent years, we’ve had tantalising occasional updates from Jasun through the normal social media channels. However, as time went on, I can’t have been the only one to wonder whether their seventh release would ever materialise. But finally, it has arrived in the form of ‘Agenda 21’, with a line-up comprised of Jasun and Erik, accompanied by drummer Roel van Helden (Sun Caged, Powerwolf) and bassist Andreas Blomqvist (Seventh Wonder). A mouth-watering line-up, I couldn’t wait to dive in to hear what the quartet had come up with after their 14-year absence.

And I can report that what they’ve come up with, is a superb album of progressive metal that’s admittedly a little different from previous Zero Hour records, whilst retaining the core elements that fans will love to hear. As always, the music is wonderfully technical, with gymnastics performed all over the place. However, the album is still chock full of memorable songwriting, atmosphere, and plenty of melody too.

What you won’t hear, inevitably, are the sections where traditionally, the Tipton brothers would almost telepathically duel with guitar and bass at lightning pace and with stunning technicality. Often these moments would be used as openings for songs, but these naturally don’t occur here, or at least not to the same level as before. Nevertheless, those familiar with Seventh Wonder will know that Andreas Blomqvist is a talented bassist, so we’re in the safest of hands possible, as he’s able to inject the kind of technique with which Zero Hour fans have become accustomed. In fact, on this evidence, I can think of no-one better to take the place of Troy Tipton.

I don’t care who you are – starting an album with a 14-minute composition is ballsy, but that’s exactly what Zero Hour have done here. And it’s probably my favourite of all of the six songs on ‘Agenda 21’ as it happens. It is an absolutely perfect blend of technicality, atmosphere, melody, and metal aggression, full of twists and turns across its hefty run-time. The great thing about this song is the way that I can listen to it over and over again without ever getting bored; the melodies are really strong and compelling, the atmosphere is bittersweet, sounding warm and welcoming one minute, but slightly sorrowful the next. If I wished for something, it would be one or two of Jasun Tipton’s soaring, melodic lead guitar solos, but then Zero Hour has never been about that and there are other outlets for this, such as A Dying Planet, or Abnomal Thought Patterns. It’s just that, as I’ve said many times before, Jasun makes the guitar sing so beautifully and so to not hear this aspect of his playing is always a bit of a shame. Nevertheless, this opening track makes up for it by providing plenty of different aspects of his playing, from tight, technical riffing, to gentle, clean picking, to soft, melodic embellishments, to chunky no-nonsense chugging.

Continuing with this gargantuan opener, Erik Rosvold puts in a killer performance behind the microphone, lacing the song with all kinds of different emotions, from all-out spite and aggression as he spits out the words ‘damn you’ repeatedly, to more emotional, subtle deliveries that accompany the delicate instrumentation behind him. He’s lost none of his power or ability over the intervening years either, which is great to report. Andreas Blomqvist immediately proves that he is the right choice with some brilliantly creative playing that’s blessed by a wonderful sound within the production. And Roel van Helden absolutely nails his performance, bringing thunderous beats to the table, as well as equally monstrous fills, deftness, and jaw-dropping complexity. My favourite part has to be the quiet, bass-driven section that begins at around the six-minute mark. It is stunning, and beautifully melodic, in stark contrast to the frustration and angst that surrounded the preceding sequence. With gentle, accompanying synths to add texture and atmosphere, it is genuinely wonderful.

Enough of the opening song, I need to explore the remaining five tracks too. And it will come as no surprise to learn that they are of an equally high standard, providing bucketloads of entertainment in the process. After a quiet, irresistibly melodic opening where once again the bass of Andreas Blomqvist catches the ear, the shorter composition quickly takes a more frantic turn, with guitars, bass, and drums combining well to up the ante both in terms of pace, but also in technicality, as the rhythmic nature of the song swirls and eddies nicely. It’s certainly a more aggressive track, which is also backed up by some harsher, more angst-ridden vocals from Rosvold.

The electronic sounds are more pronounced within ‘Stigmata’, particularly in the opening stages. Again, the rhythms are nicely challenging and deftly executed by all concerned, but I love the piano and vocal section at the heart of the track. It would be beautiful regardless but being sandwiched by some of the more complex and dextrous arrangements on the album mean that its impact is that much greater as a result. I also enjoy the unashamed chugging guitar section that pairs the muscular guitar sound with some smooth, atmospheric synths, whilst the closing moments delve into minimalist, almost ambient territory to nice effect.

There is no doubt that these guys have an ear for a melody, and this is once again brought to the fore by ‘Memento Mori’, a quieter, more relaxed track overall that beguiles me with the simple, but wonderfully gorgeous melodies throughout. Ironically though, until the final couple of minutes hits with muscular riffing and a solid dose of melody, the title track is perhaps my least favourite song on ‘Agenda 21’. It’s not a bad track by any stretch of the imagination, but it just lacks the ‘wow’ factor for me that other compositions deliver more readily.

However, the album ends on a real high with the ten-minute ‘Patient Zero’. The start of the track is complimented by great vocals from Rosvold, delicate instrumentalism from all corners of the band, and really engaging melodies that get stronger with each and every listen. The shift into technical prog climes is quite pronounced but works well as it is delivered with precision and commitment from all concerned. As the song develops, there is definitely a focus on the vocals and bold atmospheres which I really enjoy, as the album reaches its satisfying conclusion.

I guess the question on everyone’s lips is, ‘is ‘Agenda 21’ worth the wait?’ In response, I’d have to say ‘yes’, because there is so much great music to be heard on this record. My gut feeling is that it’s a little more melodic and a little less explosive than previous efforts, but it is in no way any less complex or technical. And the six songs are chock full of exemplary musicianship from guitar, bass, drums, and vocals alike, just as we would all hope and expect from a band with the reputation that they historically have. To be honest, I’m just delighted that Zero Hour are back. The fact that they bring with them such an enjoyable feast for the ears is just the icing on the cake. Welcome back gents, I hope you stick around to bring us more music in the years to come.

The Score of Much Metal: 92%

Check out my other 2022 reviews here:

Scitalis – Doomed Before Time

Morgue Supplier – Inevitability

Visions Of Atlantis – Pirates

Evergrey – A Heartless Portrait (The Orphean Testament)

OU – One

Haunter – Discarnate Ails

Aara – Triade II: Hemera

Pure Reason Revolution – Above Cirrus

Demonical – Mass Destroyer

I Am The Night – While The Gods Are Sleeping

Haunted By Silhouettes – No Man Isle

Delvoid – Swarmlife

LionSoul – A Pledge To Darkness

Watain – The Agony And Ecstasy Of Watain

Dischordia – Triptych

Dragonbreed – Necrohedron

Audrey Horne – Devil’s Bell

Vanum – Legend

Stone Broken – Revelation

Radiant – Written By Life

Skull Fist – Paid In Full

Hurakan – Via Aeturna

Incandescence – Le Coeur De L’Homme

Imminent Sonic Destruction – The Sun Will Always Set

Monuments – In Stasis

Soledad – XIII

Viande – L’abime dévore les âmes

Credic – Vermillion Oceans

Postcards From New Zealand – Burn, Witch, Burn

Darkher – The Buried Storm

Treat – The Endgame

Bjørn Riis – Everything To Everyone

Destruction – Diabolical

Et Moriemur – Tamashii No Yama

Angel Nation – Antares

Wolf – Shadowland

Denali – Denali EP

Centinex – The Pestilence EP

Meshuggah – Immutable

Chapter Of Hate – Bloodsoaked Decadence EP

Ancient Settlers – Our Last Eclipse

Tranzat – Ouh La La

Playgrounded – The Death Of Death

Father Befouled – Crowned In Veneficum

Abbath – Dread Reaver

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

Kvaen – The Great Below

Michael Romeo – War Of The Worlds, Part 2

Dark Funeral – We Are The Apocalypse

Carmeria – Advenae

Agathodaimon – The Seven

Moonlight Haze – Animus

Hellbore – Panopticon

Konvent – Call Down The Sun

Idol Of Fear – Trespasser

The Midgard Project – The Great Divide

Threads Of Fate – The Cold Embrace Of The Light

Arkaik – Labyrinth Of Hungry Ghosts

New Horizon – Gate Of The Gods

Cailleach Calling – Dreams Of Fragmentation

Tundra – A Darkening Sky

Sylvaine – Nova

Hath – All That Was Promised

Sabaton – The War To End All Wars

Kuolemanlaakso – Kuusumu

Oh Hiroshima – Myriad

Godless Truth – Godless Truth

Shape Of Despair – Return To The Void

Eight Bells – Legacy Of Ruin

Embryonic Devourment – Heresy Of The Highest Order

Serious Black – Vengeance Is Mine

Allegaeon – Damnum

HammerFall – Hammer Of Dawn

Immolation – Acts Of God

Veonity – Elements Of Power

Nightrage – Abyss Rising

Arjen Anthony Lucassen’s Star One – Revel In Time

Pure Wrath – Hymn To The Woeful Hearts

Dagoba – By Night

The Last Of Lucy – Moksha

Arð – Take Up My Bones

Embryonic Autopsy – Prophecies Of The Conjoined

The Devils Of Loudun – Escaping Eternity

Cult Of Luna – The Long Road North

WAIT – The End Of Noise

Abysmal Dawn – Nightmare Frontier

Amorphis – Halo

Nordic Giants – Sybiosis

Persefone – Metanoia

Vorga – Striving Toward Oblivion

Mystic Circle – Mystic Circle

Nasson – Scars

Burned In Effigy – Rex Mortem

Silent Skies – Nectar

Celeste – Assassine(s)

Abyssus – Death Revival

SOM – The Shape Of Everything

Ashes Of Ares – Emperors And Fools

Beriedir – AQVA

Lalu – Paint The Sky

Nocturna – Daughters Of The Night

Battle Beast – Circus Of Doom

Lee McKinney – In The Light Of Knowledge

Descent – Order Of Chaos

Aethereus – Leiden

Toundra – Hex

Ilium – Quantum Evolution Event EP

Power Paladin – With The Magic Of Windfyre Steel

Necrophagous – In Chaos Ascend

Infected Rain – Ecdysis

Wilderun – Epigone

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

2021 reviews

2020 reviews

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Album Of The Year 2021 – Number 10

Welcome to instalment number twenty-one of my 2020 ‘Album of the Year Top 30 countdown’. And with it, I enter the top ten. This is where it gets very serious, as I reveal my ten favourite albums of what has been a surprisingly strong year. Thank goodness for music, because without it, the outlook for many of us would have been incredibly bleak indeed.

Another huge ‘thank you’ to those of you who have stuck with me since the beginning – I hope I’ve not bored you to tears just yet? And if you have only just stumbled across my blog, then you’re very welcome…and I apologise in advance to you too!

As always, forgive me as I want to give my normal reminder to anyone new to this series, to check out the links at the bottom of the post to find out who made the cut, from 30 down to 11, as well as my lists from previous years too.

Number 10

Leprous

“Aphelion”

InsideOut Music

Release Date: 27 August 2021

Score Of Much Metal: 95%

Leprous are one of the most interesting and intriguing bands on the planet right now. They are also one of the most talented and emotional too, releasing music that is technical, beautiful, and incredibly raw at times. The same can be said of ‘Aphelion’ too – the well is not even beginning to run low it seems, and that’s great news for those of us who are fans of the Norwegian progressive band.

Note that I didn’t add ‘metal’ or ‘rock’ to the word ‘progressive’, because these days, it is increasingly difficult to apply meaningful labels to Leprous’ music. They do have rock and metal elements to their sound, as well as a number of other elements and ingredients. But ultimately, Leprous just produce great music, full of depth and richness of sound.

No Leprous album is easy to digest on a first listen; it takes time and effort. But, as always, the effort is well worth it, because the music just gets better and better with every spin. Sitting here now, I can honestly say that ‘Aphelion’ is easily one of their best releases within a discography of great releases. It may have been an unexpected product of the pandemic, but it doesn’t compromise in any way – it is simply wonderful, and worthy of a place in my 2021 Top 10.

What I wrote at the time:

“Solberg talks about ‘Aphelion’ being more of a collection of songs rather than being anything akin to a concept record. And that’s certainly borne out of my listening over the past few days; ‘Aphelion’ simply follows its own path, exploring soundscapes at will, meandering where the inspiration takes it, or where the musicians’ inspiration leads.

From a musical perspective, as I’ve alluded to already, ‘Aphelion’ is a very varied beast, displaying ingredients familiar to long term fans as well as plenty of new ideas as well; we have come to expect a little of the unexpected where Leprous are concerned, and this release is no different.

…it is becoming more of a stretch than ever to be able to define Leprous as a band with overt metal credentials anymore; they certainly delve into those realms from time to time on ‘Aphelion’, but by-and-large, the output is less metallic overall, much more nuanced and multi-faceted.

If ‘Aphelion’ is an unexpected by-product of the global CoVid pandemic, then it is difficult to entirely hate the last eighteen months on Planet Earth. With this, their seventh album, the Norwegian quintet by the name of Leprous have delivered yet another incredible slab of modern progressive music. At this juncture, the band stand on their own, peerless, making music quite unlike anyone else.”

Read the full review here.

The list this year so far…

‘Honourable Mentions’

Also, if you’ve missed my lists from previous years, you can check them out here:

Anticipated Album Releases in 2021 – Part 3

Welcome to the third and probably, given it is now February, my final chapter in my ‘Anticipated Album Releases in 2021.

Once again, I have put together quite a wide ranging mix of albums and genres in the hope that I mention something to everyone’s tastes. It is also quite a mix in terms of certainty, as some of these albums are definite releases, whilst a couple are more hopeful, albeit not without some small amount of evidence. If you missed parts one and two, the links are right here, so feel free to check them out.

Part 1

Part 2

Now, let’s get on with the show…

Gojira – TBC

Label: Roadrunner Records

Release date: TBC

The French behemoth know as Gojira is easily one of the most highly-rated bands in heavy metal. And yet, my relationship with them has been chequered; I like them, but I don’t get as excited as others about them. Progressive, modern, heavy, and unique, they should resonate more with me and I desperately hope that 2021 will be the year that they release an album that brings me into the fold once and for all. It’s a decent start as I like their most recent single, ‘Another World’

— MoMM —

Evile – Hell Unleashed

Label: Napalm Records

Release date: 30 April 2021

Only just officially announced, 2021 will see the return of UK thrash metal band Evile. It’s news that many of us knew for a while but the fact that it is now officially announced, provides the certainty that we were all hoping and craving for. I’ve been a fan of this xtet for some time and I will definitely be checking this out and offering a review as soon as I can. Expect some riffs!

— MoMM —

Amorphis – TBC

Label: Nuclear Blast

Release date: TBC

This is a bit of a punt, but a recent post on the Finns’ social media has led to the inclusion of Amorphis in this list. If there’s any chance of a new album from these guys, I’ll be delighted, as their last couple of records have been utterly brilliant. Proggy, dark, melodic, and heavy, the music of late has really been out of the top drawer. Let’s keep our fingers crossed, yes?

— MoMM —

VOLA -TBC

Label: Mascot Label Group

Release date: TBC

Danish quartet VOLA will make a highly-anticipated return in 2021 with their follow-up to the utterly stupendous ‘Applause Of A Distant Crowd’. In 2018, I was spellbound by the music on that record, awarding it 9.75 thanks to the myriad of different ideas and influences that combined to create such a unique and sophisticated end product. I cannot wait for the next chapter if ‘Head Mounted Sideways’ is a true indication of what we can expect.

— MoMM —

Ne Obliviscaris – TBC

Label: Season Of Mist

Release date: TBC

Back in November 2020, Australian progressive death metal band Ne Obliviscaris confirmed that they were hard at work trying to complete their fourth album, scheduled for release in 2021. The world hasn’t been an easy place of late, so with no new updates since then, I hope everything remains on course for our ears to be battered with new extreme metal sounds (with violin!) later this year.

— MoMM —

Witherfall – Curse Of Autumn

Label: Century Media Records

Release date: 5 March 2021

The 2018 sophomore release from Witherfall, ‘A Prelude To Sorrow’ knocked many of us sideways when it was released. Heavy, emotional, poignant and beautiful, it contained so much great material that I personally loved. 2021 sees the release of its follow-up, ‘Curse Of Autumn’ and, based on the singles that have been released so far, this threatens to be a real highlight of the year. As will their upcoming tour with Evergrey, should the pandemic disappear in time.

— MoMM —

Subsignal – TBC

Label: TBC

Release date: TBC

Another hopeful one, but not plucked out of thin air, as there have been hints across social media that new material is on the way. I’m not sure when it’ll be released, but rest assured, this German melodic prog rock/metal outfit are bound to deliver the goods as and when their new material sees the light of day. These guys understand quality control.

— MoMM —

Cradle Of Filth – Existence Is Futile

Label: Nuclear Blast

Release date: TBC

They may divide opinion somewhat, and their output hasn’t always been flawless, but I still have a soft spot for Cradle Of Filth, my ‘hometown’ band. When they get it right, they really get it right, as ‘Dusk…And Her Embrace’, ‘Cruelty And The Beast’, and more recently, ‘Cryptoriana’ demonstrate. Let’s hope that ‘Existence Is Futile’, due sometime later this year continues that trend and isn’t a futile listening experience.

2020 – Honourable Mentions & The Ones That Got Away

2020 was a rubbish year, but a killer one in terms of new music. Unperturbed by events around the world, many artists brought their ‘A’ game to the studio to record excellent new music, music we all hope we’ll hear from a stage at some point in 2021. Fingers crossed.

To underline my point about the strength of releases this year, I have put together this article to list a few of the other notable albums that were excellent, but didn’t quite make it into my top 30.

In addition, despite reviewing the best part of 150 releases during the year, I didn’t hear everything that I wanted to sadly. So, I thought I’d reference the albums that got away, which I will hope to take a good listen to in 2021 if time allows.

If you missed my Album of the Year 2020 Top 30 Countdown series, and you’re interested in reading it, you can access it here.

Thanks for reading!

Honourable mentions (in no particular order):

Countless Skies – Glow

Arguably only missed out due to the late release date, and the fact that I couldn’t listen to it as much as I would have wanted. ‘Glow’ is high quality Scandinavian-inspired melodic death metal from the UK.

Full review

Necrophobic – Dawn Of The Damned

I cannot believe that this band have eluded me for so long. This is cracking melodic blackened death metal from an institution I’d barely heard of before 2020. Shame on me.

Full review

Fates Warning – Long Day Good Night

I hope that this isn’t the last album from the US progressive metal stalwarts. But if it is, it’s a fine way to bow out. A fantastic album, but something prevented me from including it in my top 30. Still not sure what it is, but I don’t feel compelled to return to it as much as I thought I would.

Full review

Soul Secret – Blue Light Cage

Great quality progressive metal release, this time from Italy, at the hands of Soul Secret. It wasn’t love at first listen, but with a little repeated listening, its charms became ever stronger and ever-more hard to ignore.

Full review

Amaranthe – Manifest

‘Manifest’ is another great outing for the ever more popular Amaranthe. Featuring their trademark triple vocal attack, as well as some unashamed mainstream polish and panache, the songs are as strong as ever, heavy, catchy and lots of fun…if you like that sort of thing.

Full review

Pain Of Salvation – Panther

This really should have been in my top 30. But it’s not. Try as I might, I just can’t get it to fully click with me. It’s different, it is intriguing, but it is simply not as good as ‘In The Passing Light of Day’ for me. A couple of the songs I still don’t ‘get’, whilst I remain conflicted about the guitar tone. It’s a great album, just not good enough for the top 30.

Full review

Nyktophobia – What Lasts Forever

Any other year, and I’m confident that ‘What Lasts Forever’ would have taken a place in the top 30. The problem for the German band however, was that it was a stellar year for blackened death metal, and despite releasing an excellent album, they just missed out.

Full review

Black Crown Initiate – Violent Portraits Of Doomed Escape

Again, without sounding like a broken record, I really think that this should have bagged a spot in the top 30. The only problem was, in the end, there just wasn’t room. Nevertheless, the varied and modern nature of the progressive death metal on offer really had a positive impact on me.

Full review

Gaerea – Limbo

A word of warning: ‘Limbo’ is not the music to play if you’re looking to feel better about life. This is brutal and bleak black metal, laced with darkness and melancholy, with just a hint or two of melody. A real surprise package.

Full review

Winterfylleth – The Reckoning Dawn

‘The Reckoning Dawn’ is easily one of the black metal highlights of the year, another genre that suffered a little in 2020. Atmospheric, organic, and authentic, Winterfylleth weren’t shy of ripping off our faces with some pretty savage black metal, blending it nicely with just about enough melody to hit the sweet spot for me.

Full review

Havok – V

Arguably my favourite thrash metal album of 2020, it came so close to finding a place in my top 30. More complex but catchier than ever before, but the caustic venom of the music remained very much intact, to create a razor-sharp thrash beast of an album.

Full review

Wolfheart – Wolves Of Karelia

Another album that probably should have made the top 30 cut, but just missed out by the skin of its teeth. The melodic death metal at the core of Wolfheart’s sound is joined here by elements of black, folk, and dark metal, which come together excellently to provide an intoxicating final product.

Full review

Testament – Titans Of Creation

Thunderous and powerful, ‘Titans Of Creation’ is one of the best releases from the American juggernaut for a fair few years. Chuck Billy and Co. have lost none of their passion and ability, as this record more than ably demonstrates.

Full review

Ilium – Carcinogeist

2020 has been an awful year for power metal if we’re honest, but Australian band Ilium were one of the few highlights within the genre. It’s melodic, fast, and great fun from start to finish.

Full review

Godthrymm – Reflections

‘Reflections’ is a cracking doom metal album, laced with Gothic overtones, that harkens back to the 1990s to offer more than a hint of nostalgia, whilst bludgeoning the listener to death. Marvellous.

Full review

Thoughts Factory – Elements

Another great progressive metal album with a cinematic, symphonic edge. This record demonstrates the strides the band have made since their debut, although you have to give it a bit of time and effort to unlock all the best bits.

Full review

———

And now, to complete this post and to clear up a few anomalies, here’s what I missed and why:

Pendragon – Love Over Fear

I love this band & have everything they’ve done in my collection. Until now. I simply let this slip unnoticed under the radar due to time constraints and life’s challenges.

The Reticent – The Oubliette

I didn’t exactly miss this one. I took a listen and the Opeth vibes did very little for me. I might return to this one though, because the subject matter is so powerful and well done.

Conception – State Of Deception

I tried and tried to get a promo copy of this before it’s release, but I failed. And then I ended up with a pile of other reviews that needed my attention, so I never got round to hearing it. It’s on my ‘to buy’ list, so maybe I can bring some belated thoughts about this in time…

Teramaze – I Wonder

I missed this one as it was released online with almost no fanfare whatsoever. I shall definitely go back and rectify this as soon as possible.

Vulkan – Technatura

Got the promo, and listened, but it didn’t grab me, so I shelved it. The fact that so many others are lauding it, has convinced me to give it another try just as soon as I can.

Vanden Plas – The Ghost Xperiment – Illumination

Not for the first time, the German progressive metal band leave it until the very last month of the year to release a new album. I was already heavily into my ‘Album of the Year’ series, so I had little time to check it out. That, and the fact that their last record failed to inspire me as a long-term fan of the band.

Green Carnation – Leaves Of Yesteryear

I love these guys, but for some reason, I missed out on this when it came out. I was only reminded of its existence when I saw it start to crop up in a number of other best-of lists. One of my biggest mistakes of the year that I hope to rectify before too long.

Album Of The Year 2020 – Number 12

Welcome to instalment number nineteen of my 2020 ‘Album of the Year Top 30 countdown’. Heading swiftly to my top 10, so the excitement levels are rising…or is that just me?! Time is also becoming more and more tight as Christmas draws ever nearer, so there will be no big intro today – no time!

As always, forgive me as I want to give my normal reminder to anyone new to this series, to check out the links at the bottom of the post to find out who made the cut, from 30 down to 13, as well as my lists from previous years too.

Number 12

Novena

Eleventh Hour

Frontiers Records

Score Of Much Metal: 95%

My initial struggles with ‘Eleventh Hour’ were more pronounced than with any other album in this year’s list. I really didn’t care for it that much to begin with, to the point that I nearly shelved it. However, thanks to an epiphany, I suddenly saw the light, felt that moment of clarity, and have never looked back since.

The first thing to say is that the music sounds so much better on CD than via the promo stream that I initially relied upon. As such, despite my hectic life, I always ensure that I listen to this album on my stereo system, as opposed to digitally. The results are well worth it, with all of the instruments benefitting from a greater clarity and presence across the board. The heavier sections feel heavier, whilst the lighter, jazzier, more whimsical passages feel more vibrant.

As for the compositions themselves, I now have the benefit of several months’ worth of hindsight, which means that the music has truly got under my skin. In that respect, it’s a proper ‘prog’ record in that it has to be worked at. But, put in the effort and by heavens, you’ll be rewarded. Every track is chock full of incredible musicianship with lots of flamboyance and technical ability on display. However, crucially, the melodies and the song writing combine to ensure that there are enough hooks to keep you returning for repeated listens. There’s also a freshness to the material, as well as demonstrable emotion, nowhere more pronounced or rawer than on the closing track. I said it in my review and I will say it again – whether or not you’re a fan of vocal monologues, it is impossible not to get swept up in the passion, sadness, and anger that pours out.

Overall, this is a great debut album that bodes well for the future of Novena. It’s a worthy entry in this year’s ‘best of’.

What I wrote at the time:

“I shouldn’t have been surprised that I struggled initially because ‘Eleventh Hour’ features Haken vocalist Ross Jennings and is touted to be an album for fans of Haken’s ‘Aquarius’ and ‘Visions’. And boy, did I struggle with ‘Aquarius’ initially too, only to take it to my heart after persevering for some time. ‘Eleventh Hour’ has proved to be almost identical. Not that the music is identical you understand.

…these guys have an identity of their own and that’s testament to the musicians that have assembled under the Novena moniker.

The good news with ‘Eleventh Hour’, is that there is indeed more focus, more cohesion and more of an identity. The clever thing is that this has been achieved without seemingly losing any of their creative verve; this album is still all over the place, encompassing everything from extreme metal riffs and growls, right through to the lightest and brightest of breezy passages. And yet, it feels like an album somehow, with strong threads running through it.

If you’re not moved by the final track or by this album as a whole, then I’m afraid that maybe progressive music just isn’t for you and perhaps you should try searching elsewhere for your musical pleasure. For those of you that do like music that is challenging and with genuine depth, ‘Eleventh Hour’ must make it into your collection as quickly as possible. It isn’t negotiable!”

Read the full review here.

The list this year so far…

If you’ve missed my lists from previous years, you can check them out here:

Album Of The Year 2020 – Number 14

Welcome to instalment number seventeen of my 2020 ‘Album of the Year Top 30 countdown’. It’s starting to get serious now, and I hope you can feel the tension building as well as the excitement? I certainly hope so, although I suspect you’re all reading this whilst muttering ‘get on with it, Matt’ under your collective breaths.

And I will get on with it. But just before I do though, I want to give my normal reminder to anyone new to this series, to check out the links at the bottom of the post to find out who made the cut, from 30 down to 16, as well as my lists from previous years too. Shameless self-promotion, but it has to be done!

But on to the main event:

Number 14

Into The Open

Destination Eternity

Independent Release

Score Of Much Metal: 94%

Another prime example of why I do what I do with manofmuchmetal.com can be seen with today’s pick at number 14 for 2020. Yes, I review many of the bigger acts on the bigger labels, but I’ll always try to sniff out the odd gem from elsewhere too; speaking up for the artists that may not get the exposure that they’d otherwise receive. For me, it doesn’t matter if the band are signed to a label or not – if their music is good, I’ll sing their praises. Enter Into The Open.

‘Destination Eternity’ is the independently-released product of a group of Dutch musicians that clearly have a love affair with progressive music. The honesty, talent, and desire shines through each and every one of the eleven songs that will occupy your life for a good hour or so. There’s no filler, no dip in quality, just excellence all the way through.

I’ll admit that I haven’t listened to my signed copy of the CD as much as I would have liked since it arrived, but what’s telling is that I do play it as often as I am physically able. It’s the kind of disc that makes me feel happy, one that spreads a great big smile across my face every time I hear the cheeky riffing, the upbeat tempos, the soulful and highly musical solo embellishments, or the warm atmosphere created by the keys.

But what I love more about the record as time goes on, is the variety that’s on offer. In keeping with the prog rock concept, the music dives around, echoing the feelings portrayed within the story. As such, I never tire of ‘Destination Eternity’, easily one of the best gems that I have unearthed this year.

What I wrote at the time:

“…the musicianship is of the highest quality. It is immediately obvious that these guys have plenty of talent and experience when it comes creating good music – in the case of Ketelaers in particular, you don’t get asked to be a part of the Ayreon family unless you are a quality musician. Each member of this band brings with them their ‘A’ game and it shines through the eleven compositions on ‘Destination Eternity’.

Being a concept disc, it is important that each song pushes the story on and that’s definitely the case here. Every track has a different tone and feel, as it seeks to explore another facet of the narrative.

‘Birth’…encapsulates everything great about this band in a six-minute package. The driving beat…is like a pulsing heartbeat that works well with Robert Spaninks’s drumming to drive the track on with energy and purpose. The lead guitar melodies over the top are catchy right from the off and the whole thing has a cheeky, irresistible groove. Naturally…synths are all over this song, but they never remain static, changing guise, from sweeping vistas to tinkling piano notes. The verses are a more minimalist affair with just the bass, drums, synths and Ketelaers’ vocals, which suit the soundscape down to the ground, being mellifluous yet strong. The chorus is simply gorgeous, as the guitars re-enter, providing further texture and some welcome power. …there’s a lead guitar solo or two, as well as twin guitar harmonies that give me chills.

I’ve said it many times before but one of the biggest thrills for me is to discover a new band from out of nowhere that blows me away. Into The Open is one of these discoveries and I have to congratulate all concerned with creating such an incredibly diverse, interesting and beautiful album. ‘Destination Eternity’ comes with my highest recommendation and must be heard by everyone with a love for quality progressive music; it’s masterful.”

Read the full review here.

The list this year so far…

If you’ve missed my lists from previous years, you can check them out here:

Quantum – The Next Breath Of Air – EP Review

Artist: Quantum

Album Title: The Next Breath Of Air

Label: Independent Release

Date of Release: 12 June 2020

Progressive music fans, if you’re wanting to sink your teeth into a new band, then I have a recommendation for you. The band are called Quantum and they hail from that music backwater otherwise known as Sweden. I mean, can you name any decent acts from the Scandinavian country? Ok, aside from Evergrey, Katatonia, Sorcerer, Dark Tranquillity, Pain Of Salvation and a thousand other great bands that is? No, I didn’t think so.

Of course I am joking, but what isn’t a laughing matter, is ‘The Next Breath Of Air’, the debut EP from Quantum, a quartet hailing from Stockholm. Over the course of four tracks, this young band demonstrate just how talented they are and what a bright future they have in store for themselves if they continue to work hard at their craft. I need to declare that, at this point, ‘The Next Breath Of Air’ is only available digitally. I enquired of the band whether those old-school music lovers like me, who like to hold a physical copy, will get that opportunity. The answer was ‘it is under discussion’ and ‘it is something we’d like to do’, so watch this space. Nevertheless, I feel sufficiently enthused by the music to write a review regardless of this slight disappointment.

Quantum are comprised of bassist/vocalist Anton Ericsson, guitarists Oscar Lundin and Samuel Walfridsson, and drummer Marcus Lundberg, although this somewhat oversimplifies things as will become clear later.

What I really like about this release is that it strongly suggests we have an artist in our midst that is prepared to offer something just a little bit different, something original. I’ll be the first to admit that there are echoes of many bands, and various reference points littering the music. But ultimately, and crucially, the final product feels different. Throughout, there are many varied influences at play, many different approaches. One minute we’re listening to something whimsical, introspective or quiet. The next, we get bold sounds, be they a strong metallic riff or a powerful drum beat. But underpinning everything is a satisfying level of intricacy and complexity delivered with deft smoothness and a firm understanding of melody, impressive given the young age of the musicians involved.

101141213_1548067995352297_4176618527265914880_o — Credit: Malin Åkesson

The EP begins with ‘Slipped’ and there’s possibly no better example of the strengths of Quantum. It opens with some flamboyant bass work from Ericsson before being joined by drums and guitars, only to open up into a complex jazzy rhythm complete with heavy guitars and clever drumming. The guitars make a greater impact to my mind, because they come and go throughout the song, whilst synths become more prominent as things develop, adding yet more richness and texture to the song. Despite being technically adept, there’s a warmth to the music, aided by some disarming melodies, definite groove, and a great vocal performance from Ericsson. Even when things get decidedly chaotic towards the end with wailing guitars, there remains an accessibility that pulls me back for repeated listens.

Next up is the song that hooked me in the first place, the title track. The reasons why it resonated with me are many but it’s a combination of the blend of styles, the melodies, deep lyrics, and the sheer variety on offer within the near eight minutes. Thanks to backing vocals from Marcus Lundberg, I get an almost psychedelic 60s/70s prog vibe, despite occasions where the riffing is undeniably from the metal realm, and the ‘chorus’ is catchy as hell. But the mid-way point marks a change that’s incredibly intriguing. The pace slows and the soundscape is much more dreamlike and gentle, with the addition of a cello courtesy of Erik Elvkull, poignant slide guitar and acoustic guitars; it’s just so beautiful and in stark contrast to the heavy riffing and crashing drums that bookmark the foray into quieter territory, albeit only very briefly at the death.

‘Dissonance’ is a bruising track, complete with suitably aggressive vocals and, as the name suggests, the occasional meander or two into more dissonant territory which doesn’t sound forced or contrived. The track features guest appearances from two further guitarists, namely Tim Forslund who adds a solo, and Fredrik Reinholdsen who plays the seven-string guitar. However, again, it isn’t all blood and thunder thanks to the insertion of more synths and strings, as well as a deceptively smooth transition between aggression and introspection.

The final track is entitled ‘Blank’ and this is where the echoes of yesteryear loom large. It is a song dominated by acoustic guitars, both gently and more urgently delivered as the pace increases nicely in the mid-section. But the acoustic heart doesn’t mean that there isn’t room for some striking lead guitar work and strong bass lines, which are both present and correct throughout. If I’m honest, it’s my least favourite song on the EP but that’s only because the other tracks simply resonate with me more.

So there you have it. If you’re after some intelligent and original-sounding progressive rock that also nods to the past, I suggest you give Quantum a try. Bearing in mind the age of the musicians, the mind boggles at what they might give us when a debut full-length is unleashed. I can’t wait, but for now, I’m keen to enjoy ‘The Next Breath Of Air’ because even now, I suspect there are tons of things I have yet to discover within it.

The Score of Much Metal: 90%

Check out my reviews from 2020 right here:

Ensiferum – Thalassic
Long Distance Calling – How Do We Want To Live?
Airbag – A Day At The Beach
Re-Armed – Ignis Aeternum
Atavist – III: Absolution
Frost* – Others EP
Darker Half – If You Only Knew
Atavistia – The Winter Way
Astralborne – Eternity’s End
Centinex – Death In Pieces
Haken – Virus
Pile Of Priests – Pile Of Priests
Sorcerer – Lamenting Of The Innocent
Lesoir – Mosaic
Temnein – Tales: Of Humanity And Greed
Caligula’s Horse – Rise Radiant
…And Oceans – Cosmic World Mother
Vader – Solitude In Madness
Shrapnel – Palace For The Insane
Sinisthra – The Broad And Beaten Way
Paradise Lost – Obsidian
Naglfar – Cerecloth
Forgotten Tomb – Nihilistic Estrangement
Winterfylleth – The Reckoning Dawn
Firewind – Firewind
An Autumn For Crippled Children – All Fell Silent, Everything Went Quiet
Havok – V
Helfró – Helfró
Victoria K – Essentia
Cryptex – Once Upon A Time
Thy Despair – The Song Of Desolation
Cirith Ungol – Forever Black
Igorrr – Spirituality and Distortion
Nightwish – Human. II: Nature.
Katatonia – City Burials
Wolfheart – Wolves Of Karelia
Asenblut – Die Wilde Jagd
Nicumo – Inertia
The Black Dahlia Murder – Verminous
Omega Infinity – Solar Spectre
Symbolik – Emergence
Pure Reason Revolution – Eupnea
Irist – Order Of The Mind
Testament – Titans Of Creation
Ilium – Carcinogeist
Dawn Of Ouroboros – The Art Of Morphology
Torchia – The Coven
Novena – Eleventh Hour
Ashes Of Life – Seasons Within
Dynazty – The Dark Delight
Sutrah – Aletheia EP
Welicoruss – Siberian Heathen Horde
Myth Of I – Myth Of I
My Dying Bride – The Ghost Of Orion
Infirmum – Walls Of Sorrow
Inno – The Rain Under
Kvaen – The Funeral Pyre
Mindtech – Omnipresence
Dark Fortress – Spectres From The Old World
The Oneira – Injection
Night Crowned – Impius Viam
Dead Serenity – Beginnings EP
The Night Flight Orchestra – Aeromantic
Deadrisen – Deadrisen
Blaze Of Perdition – The Harrowing Of Hearts
Godsticks – Inescapable
Isle Of The Cross – Excelsis
Demons & Wizards – III
Vredehammer – Viperous
H.E.A.T – H.E.A.T II
Psychotic Waltz – The God-Shaped Void
Into The Open – Destination Eternity
Lunarsea – Earthling/Terrestre
Pure Wrath – The Forlorn Soldier EP
Sylosis – Cycle of Suffering
Sepultura – Quadra
Dyscordia – Delete / Rewrite
Godthrymm – Reflections
On Thorns I Lay – Threnos
God Dethroned – Illuminati
Fragment Soul – A Soul Inhabiting Two Bodies
Mariana Semkina – Sleepwalking
Mini Album Reviews: Moloken, The Driftwood Sign & Midnight
Serenity – The Last Knight
Ihsahn – Telemark EP
Temperance – Viridian
Blasphemer – The Sixth Hour
Deathwhite – Grave Image
Marko Hietala – Pyre Of The Black Heart
SWMM – Trail Of The Fallen
Into Pandemonium – Darkest Rise EP
Bonded – Rest In Violence
Serious Black – Suite 226
Darktribe – Voici L’Homme
Brothers Of Metal – Emblas Saga
A Life Divided – Echoes
Thoughts Factory – Elements

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Dawn Of Ouroboros – The Art Of Morphology – Album Review

Artist: Dawn Of Ouroboros

Album Title: The Art of Morphology

Label: Rain Without End Records

Date of Release: 30 March 2020

I love it when an album makes me scratch my head and wonder how on earth I am going to review it. I revel in the challenge, especially when it is an album that I genuinely like and therefore want to give my all to the review. Enter Dawn Of Ouroboros and their debut release, ‘The Art Of Morphology’.

Let’s start with the album title, ‘The Art Of Morphology’. According to the dictionary, ‘morphology’ means ‘the study of the form of things’. It is an apt title because this American band that only came into being a couple of years ago is, to my mind, exactly this: a study of the form of music, turning it into their own artistic vision. These guys have taken the extreme metal rulebook and thrown it away to a certain extent. Had they been slaves to convention, they’d be a thrash band, or similar because that’s the more prevalent Bay Area model. Instead, they have gone in a completely new direction, studied a number of styles of music and created their own interpretation of what extreme metal can sound like. And the result is incredibly interesting to say the very least.

At its most basic, Dawn Of Ouroboros could be referred to as a progressive black metal band. However, to label them as such would be to massively oversimplify things. There is a lot more going on within the music to cease the definition there. From shoegaze, to ambient, to death metal and black metal, this is an album that sounds like no other; sure there are reference points throughout, from Alcest to Wolves In The Throne Room, but ultimately, ‘The Art Of Morphology’ sounds positively fresh and intriguing. And crucially, there are proper songs to be heard too, ones that bring me back for repeated listens.

In many ways, the fact that this album is only around the 42-minute length and spread across just eight songs, is a big strength. Had it been longer, it may have presented too daunting a prospect for many. As it is, I am able to listen frequently without any fatigue and can actually focus on the music and the complexities within.

The difference between the first two songs alone is incredible. The album begins with ‘Revivified Spirits’ and the atmospheric sound of pouring rain, accented by simple clean guitar notes, subtle percussion and a gentle increase in sounds and textures over a two-minute intro. Whispered female vocals increase the shoegaze feel, albeit with a sinister edge as you sense the tension rising. A lead guitar line from founder/guitarist Tony Thomas (Sentient Ignition, Botanist) dominates before the song explodes in a flurry of breakneck drumming, deep caustic growls and fast, sharp black metal riffing. Initially, you can barely hear the wood for the trees but the mists soon clear to reveal a sophisticated and surprisingly melodic undertone to the extreme metal around it. The song then ends as it began, with the surprisingly soothing sound of falling rain and the hoot of an owl.

More beautiful, clean picked guitar notes and strummed chords ushers in ‘Pinnacle Induced Vertigo’. The guitars are quickly joined by some vibrant bass work by David Scanlon (Deliria, Melek Taus) and a cheeky drum beat courtesy of Ron Bertrand (Sentient Ignition, Botanist), only to be replaced by a monstrous chugging riff in the vein of a slower Amon Amarth track than destroys everything in its path, particularly my neck muscles. All of a sudden, the heaviness drops away, to be replaced by the shoegaze melodies from the intro topped off by the rich and vibrant clean vocals of Chelsea Murphy, which have a strangely pop-like feel to them. The riff returns but it doesn’t feel as heavy when accented by lead guitar flamboyance and more by way of clean guitar subtlety. The clever and impressively smooth juxtaposition between heavy and soft is extremely powerful, whilst the spoken-word aspect is a welcome, yet unexpected addition.

‘Gateway To Tenebrosity’ is a palette cleanser, a short piano piece that reprises the melodies within the preceding track to nice effect. It segues into ‘Lunar Cathexis’ effortlessly and beautifully, signalling what has to be my favourite section of the entire album. The ambient intro has a soothing lullaby quality to it before once again building with intelligence and purpose, ultimately unfurling into another steamroller-heavy riff with undeniable groove. But this time, the black metal DNA shines through a little more strongly, via the chosen guitar work, particularly in the second half. In addition, the contrasts between fast, tremolo riffs and bold, synth-led dreamlike sections where Murphy again takes centre stage are inspired, creating a striking composition, the likes of which I can’t recall hearing before.

To my mind, the album seems to get more overtly melodic and mesmerising as it goes along, with ‘Spiral Of Hypnotism’ being the next example, a track that has utterly floored me I must admit. Not only does it underline what a great, modern production this record boasts, but it is a stunning track in its own right. After the briefest of calm intros, it attacks with the venom of classic black metal before veering into eerie horror movie soundtrack territory. The extreme metal that emerges is synth heavy, melodic, and epic in scope, with layers of sounds all blending together seamlessly, eventually descending into glorious Alcest-ish blackgaze soundscapes, topped off by yet more delicious clean singing from Murphy. And then, unexpectedly, we’re hit with an incredibly bold synth melody that swamps everything but gloriously so. All that is, except the thunderous and impossibly superhuman-fast blastbeat drumming. The lead guitar-led melody that emerges is uplifting and spinetingling in equal measure.

There’s a hint or two of Dimmu Borgir within ‘Serpent’s Charm’, given that the slower-paced black metal here is synth heavy, dramatic and rather majestic, accented by a mischievous tinkling piano melody. The chunky death metal riffs make a return as the song develops, but it is at the halfway mark that my jaw hits the floor once again. The music is gorgeous and almost ethereal, dominated by the soft and effect-laden soothing vocals from Murphy, that duet with the growled approach whilst being underpinned by more uncompromising drumming.

‘Sorrow’s Eclipse’ is the longest single track on ‘The Art Of Morphology’ but it doesn’t feel like it. In fact, such is the quality throughout this record, no song feels overly long or bloated. It’s another key strength to this talented young band. It may be nearly nine minutes in length, but it whizzes past in a blaze of competing soundscapes that are pulled together with aplomb. At its heaviest, blastbeats, scything black metal riffs and tortured growls all compete for the listener’s attention. But, at the flick of a switch, we get rich enveloping melodies, sensitivity, warmth, irresistible textures and a myriad of other features, including some of the best and most pronounced bass work from Scanlon anywhere on the album.

Final, concluding track, ‘Valiant Abscond’ is an instrumental affair that is perhaps the most straightforward of all the songs on ‘The Art of Morphology’. That said, it introduces some rather eclectic synth sounds to emerge alongside the rousing and immediate melodies that sit at the heart of this triumphant concluding composition.

Some bands plug away for a lifetime trying to achieve something fresh and exciting, with many of them ultimately failing in their quest. Within two years of their formation, Dawn Of Ouroboros have, in my opinion, achieved it. And with their debut too. ‘The Art Of Morphology’ is an album that genuinely has its own identity; it blends extreme metal, with progressive complexity and strong melodic sensibilities, with a sense of smooth effortlessness. For a band so young, it’s an impressive feat. But even more exciting, is the thought of what they might come up with next. Adding this album to your collection is a no-brainer.

The Score of Much Metal: 94%

Check out my reviews from 2020 right here:

Torchia – The Coven
Novena – Eleventh Hour
Ashes Of Life – Seasons Within
Dynazty – The Dark Delight
Sutrah – Aletheia EP
Welicoruss – Siberian Heathen Horde
Myth Of I – Myth Of I
My Dying Bride – The Ghost Of Orion
Infirmum – Walls Of Sorrow
Inno – The Rain Under
Kvaen – The Funeral Pyre
Mindtech – Omnipresence
Dark Fortress – Spectres From The Old World
The Oneira – Injection
Night Crowned – Impius Viam
Dead Serenity – Beginnings EP
The Night Flight Orchestra – Aeromantic
Deadrisen – Deadrisen
Blaze Of Perdition – The Harrowing Of Hearts
Godsticks – Inescapable
Isle Of The Cross – Excelsis
Demons & Wizards – III
Vredehammer – Viperous
H.E.A.T – H.E.A.T II
Psychotic Waltz – The God-Shaped Void
Into The Open – Destination Eternity
Lunarsea – Earthling/Terrestre
Pure Wrath – The Forlorn Soldier EP
Sylosis – Cycle of Suffering
Sepultura – Quadra
Dyscordia – Delete / Rewrite
Godthrymm – Reflections
On Thorns I Lay – Threnos
God Dethroned – Illuminati
Fragment Soul – A Soul Inhabiting Two Bodies
Mariana Semkina – Sleepwalking
Mini Album Reviews: Moloken, The Driftwood Sign & Midnight
Serenity – The Last Knight
Ihsahn – Telemark EP
Temperance – Viridian
Blasphemer – The Sixth Hour
Deathwhite – Grave Image
Marko Hietala – Pyre Of The Black Heart
SWMM – Trail Of The Fallen
Into Pandemonium – Darkest Rise EP
Bonded – Rest In Violence
Serious Black – Suite 226
Darktribe – Voici L’Homme
Brothers Of Metal – Emblas Saga
A Life Divided – Echoes
Thoughts Factory – Elements

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviewsin

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