Tag Archives: prog

Prospekt – The Illuminated Sky – Album Review


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.


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

Essential rock & metal releases still to come in 2017 – Part 3

Welcome to my third instalment of this series, where I dust off my crystal ball – or just trawl the internet obsessively – to bring you the pick of the releases that are still to come in the rock and metal world during the second half of 2017.

If you missed the previous two posts in this series, they can be accessed here:
Essential rock & metal releases still to come in 2017 – Part 1
Essential rock & metal releases still to come in 2017 – Part 2

And now on to the main event…

TBC (‘La Muerta’)
Release date: TBC

Their Facebook page promised that fans would be treated to a new album in 2017 and so far, Subsignal appear to be sticking to their promise. There is no confirmed information regarding a release date but, according to their official social media feeds, production is in progress. The guitars are currently being tracked and the drum recordings are all finished. No final announcement regarding an album title has been forthcoming either, although there is a strong suggestion that it might be called ‘La Muerta’.

Rising from the ashes of Sieges Even, Subsignal are the more immediate, slightly less progressive replacement. And what a replacement they are. Beautiful melodies, deep and thoughtful lyrics, and technically adept compositions all play an important part in the rich aural tapestry that these talented Germans deliver. With a consistency that is frightening, I’m expecting big things from this record as and when it is released.

18766020_10155371710959287_3595486704059865356_nNothing More
The Stories We Tell Ourselves
Release date: 15 September 2017

For some reason, it feels like a very long time that I have been patiently waiting for a new album from Nothing More. But finally, after featuring them in just about every round-up for the last couple of years in hope more than expectation, I can bring confirmed news. The American band are not normally my kind of thing but their blend of modern rock with djent and pop rock is almost impossible to ignore. The music on their previous, self-titled record, was infectious in the extreme, delivering chorus after chorus full of huge hooks and strong melodies. I was obsessed with this album for weeks.

The new album will be released on 15th September 2017. Entitled ‘The Stories We Tell Ourselves’, I know that this is going to be a big record based on the cuts that they have released so far. Will it beat their last one? Who knows, but I will certainly have fun finding out when the time comes. And you can bet your life that I’ll bring you my thoughts on it as soon as humanly possible.

Codex Omega
Release date: 1 September 2017

I’m a relative newcomer to Greek extreme metal band Septicflesh, only cutting my teeth with them via their 2008 album, ‘Communion’. I’m amazed that the Athens-based death metal band managed to elude me for so long as well, given that their brand of dark, symphonic death metal with an ear for well-placed groove and melody is right up my street. And the fact that a new album is on the horizon nearly passed me by too, but thankfully I found out just in the nick of time.

With Septicflesh, you get the full-on extreme metal experience with ferocious riffing, brutal rhythms and all of the grandiose pomp and ceremony that you could ask for. Mind you, the brutal and uncompromising artwork that accompanies the new record should leave you in no doubt that this is not easy listening for the feint hearted. Just take a listen to the track below, entitled ‘3rd Testament’, to prove the point and to get a firm idea as to what to expect when ‘Codex Omega’ hits the shelves via Season of Mist on 1st September. One spin of this and my expectations just went through the roof.

20046566_1265671230229159_6290285644420623914_nAnubis Gate
Covered In Black
Release date: 1 September 2017

It feels like Anubis Gate have been around forever but in actual fact, the Danes have only been in existence since 2001. In that time, they have released six studio albums, all of which have been of a consistently high standard. It means that every time the quartet announces a new album, those who enjoy their music on the melodic and progressive end of the spectrum will take notice. I don’t think I’ve ever read anything massively negative about Anubis Gate either, which again speaks volumes of their ability to create high quality material.

Unsurprisingly, given the dark and moody cover artwork alongside the album title, ‘Covered In Black’ is billed as the darkest material of the bands’ career. This sounds intriguing and I can’t wait to find out if this will be the album that tops my personal favourite, ‘Andromeda Unchained’. Naturally, I will feed back as soon as possible.

nocturnalritesphoenixalbumNocturnal Rites
Release date: 29 September 2017

Despite the fear in some corners that Nocturnal Rites might be no more, the melodic metal band have finally officially announced that a new album is on the way. Back in 2013, founding member Fredrik Mannberg went on record with Bravewords.com to confirm that new material was being worked on. But another four years of near silence will have got the nerves jangling a little amongst the faithful. It is now an entire decade since they released ‘The 8th Sin’ but at last, their patient fan base has been rewarded in the way that they would have hoped.

Somewhat fittingly, Nocturnal Rites’ ninth release is entitled ‘Phoenix’ and will see the light of day on 29th September via AFM Records. Whilst I wouldn’t refer to myself as a dyed-in-the-wool diehard, I really like their output and so I am eager as anyone to hear what impact the intervening ten years has had on Nocturnal Rites. On the basis of this track, could the wait have been fully worth it?…

Essential rock & metal releases still to come in 2017 – Part 1

It’s true what they say – the older you get, the faster time disappears. I mean, it doesn’t seem possible that we are already half-way through 2017 for a start. And yet here I am. With my round-up of the best releases so far in 2017 under my belt, it is time to turn my attention to the future and consider what else is due to cross our paths this year.

If the first half is anything to go by, we’re in for a treat, I can tell you. I don’t remember a year where I’ve given out so many high scores. Unlike last year though, I have yet to bestow a perfect 10 on anyone, although the new Voyager album, ‘Ghost Mile’, Persefone’s ‘Aathma’ and Big Big Train’s ‘Grimspound’ all came deservedly close.

But enough about the past, here’s to the future…

19106010_10154760456619077_388154856530751419_nCradle of Filth
Cryptoriana – The Seductiveness of Decay
Release date: 22 September 2017

I was going off the boil regarding Suffolk’s most famous extreme metal export. I was a member of the fan club many years ago in my late teens having worshiped the likes of ‘Dusk…And Her Embrace’ and ‘Cruelty And The Beast’. But after a string of less-than-stellar releases throughout the noughties, I began to re-evaluate. That was until a couple of years ago and the release of ‘Hammer Of The Witches’. Their best since their heyday, it brought me kicking and screaming back into the fold. I now cannot wait for the next chapter in the saga of Dani Filth and co.

This next chapter is entitled ‘Cryptoriana – The Seductiveness of Decay’ and is due for release on 22nd September via Nuclear Blast. Watch out for the first single release very soon too.

19146029_10154398261857105_6108765129743949462_nCaligula’s Horse
In Contact
Release date: 15 September 2017

There are a huge number of excellent bands coming from Australia these days but alongside Vanishing Point and Voyager, Caligula’s Horse are one of the very best. Their previous album, ‘Bloom’ was superb, one of the best releases of 2015. In fact, the more I listen to this record, the better it gets – I should have placed it even higher in my end of year list, but hindsight is a wonderful thing. It is undeniably prog but it is intelligent, modern and full of the kind of swagger and assuredness that only the very best bands display.

The new album is quoted as being “an immense conceptual work”. Enigmatically-entitled ‘In Contact’, it is due for release on 15th September via InsideOut Music, one of the best and most consistent labels out there today. Just listen to the teaser trailer below and tell me this doesn’t sound exciting…

Release date: 25 August 2017

It is an undeniable fact that Norwegian band Leprous are now regarded as one of the very best bands in the prog metal genre. They have yet to release anything less than extraordinary in their 16 year-career to date. And they are still young and still learning. But crucially, they appear to remain extremely hungry and out to prove that they deserve to build upon the accolades that they have rightly received so far in their career.

They have released a new track, ‘From The Flame’, from their upcoming new album, entitled ‘Malina’ which is released on August 25th. It remains very recognisable as Leprous but also a little different at the same time. In interview, the band describes the record as a ‘natural-sounding organic album’, but still modern with great songs. If that’s the case, and based upon the first single, count me in.

19420708_1698781136823429_4102190633439104941_nArch Enemy
Will To Power
Release date: 8 September 2017

I’m no longer the biggest Arch Enemy fan, it has to be said. I loved ‘Stigmata’ and the follow-up ‘Burning Bridges’. But that was several years ago and since then, the Swedish extreme metal band with a penchant for over-the-top guitar histrionics have ditched original singer Johan Liiva, replacing him with first Angela Gossow and now Alissa White-Gluz. In fact, there will be a dwindling number of fans even aware that Liiva was ever involved now that the band have re-recorded those aforementioned albums. A bad move in my opinion, but what do I know?

Nevertheless, when a highly-respected fellow journo of long standing makes positive noises about the new material due to see the light of day in the near future, who am I to not take notice? Particularly when the positive noises refer to some brilliantly flamboyant guitar work, for which I am a sucker at the best of times. The door for Arch Enemy has not been slammed shut yet, but this is probably their last chance as far as I’m concerned.

‘Will To Power’ is due to be released on 8th September 2017 on Century Media Records.

Legends Of The Shires
Release date: TBC

The Threshold camp has gone a little quiet since the rather shock news surfaced that the UK progressive metal band had parted ways for a second time with Damian Wilson. Aside from news that the band are looking for fans to take part in the shooting of a new video, we’ve not heard anything new about the new material. Until that point, we were fully expecting the new album, ‘Legends of the Shires’ to surface in the latter stages of 2017. I still think we will have the double record, it’s just a matter of exactly when.

It is also a matter of who will be the vocalist on the record, as I understand that the album had been recorded with Wilson behind the mic. I suspect it’ll be Morgan, but nothing as far as I’m aware has been confirmed. You wait, as soon as I publish this post, an announcement will be made. An announcement is also still to be made regarding the guitar position made vacant by the recently departed Pete Morten. Interesting times ahead for one of my favourite prog bands.

Half-way through 2017 – the best so far – Part 3

Welcome to the third and final part of my round-up, looking at the best albums to have been released during the first half of 2017. It is an eclectic list overall, where there’s room for extreme metal and progressive rock alike. But for someone who has wide-ranging tastes with a rock and metal framework, this is exactly what I expected and it is great to see that 2017 has, so far, delivered the goods across a decent breadth of genres.

If you have missed the previous two installments of this series, click the following links:

Half-way through 2017 – the best so far – Part 1
Half-way through 2017 – the best so far – Part 2

deserted_fear_-_dead_shores_rising_cover_2016Deserted Fear
Dead Shores Rising

Just thinking about this album puts a smile on my face. It is pure, unadulterated and undiluted old-school death metal and it seriously kicks ass. But, whilst the compositions themselves reek of days gone by, the production is bang up-to-date. This might put off some purists but for me, it just makes the entire listening experience all the more impactful and powerful. If you listen to this but fail to bang your head or grin like a loon, the chances are that you are either not a metal fan, or you’re dead.

“I remember the days when I heard Entombed for the first time or Obituary, Dismember or even At The Gates. To a greater or lesser extent, these are all good reference points for the output of Deserted Fear and I get the same kind of overall feelings listening to ‘Dead Shores Rising’ as I did when I first listened to the aforementioned. The power, the brutality, the malevolence, the clandestine melodies, and the more overt hooks – it is all there and it is thoroughly absorbing. This is the kind of no-frills, headbanging, groove-laden death metal with a hint or two of melodeath that I really enjoy listening to.”

“I have absolutely fallen for the immense charms of Deserted Fear and this, their third full-length studio album. ‘Dead Shores Rising’ is a totally compelling album that has completely renewed and reinvigorated my love for death metal. It is bold, it is savage and it kicks some serious butt. What more could you possibly want?”

Read the full review here.


Having been blown away by their previous album, ‘Otta’, I was desperate for Sólstafir to repeat the trick with their latest record, ‘Berdreyminn’. It was always going to be tough given the strong connection that I have with ‘Otta’, but I have to say that Sólstafir have not disappointed. I can say that with even more conviction now that I have had a chance to hear the material in the live setting where it came alive more strongly and made even more sense. Packed with atmosphere and emotion, it beautifully conveys the bleaker recesses of human feeling, whilst painting glorious vistas in the mind of their striking homeland, Iceland.

“And what Sólstafir have succeeded in doing so eloquently with ‘Otta’ and now this new record, ‘Berdreyminn’, is give voice to the natural splendour of their native land, as depicted in the evocative cover art work courtesy of Adam Burke. Fragile and brittle melodies alongside quiet and calm soundscapes give rise to introspective thought and an appreciation of the beauty of their homeland. But juxtaposed with this are sections of grittier, heavier and more powerful swells and eddies of sound that serve as a timely reminder that the beauty can be deceptive, ready to ensnare those unprepared for the harsher, more unforgiving realities of the oft bleak and barren land.”

“…how can one fault music that has such heart, such life and such majesty? More importantly for me though, ‘Berdreyminn’ serves to merely strengthen my deep love and affinity with Sólstafir’s homeland. And for that I am forever thankful.”

Read the full review here.

Final ArtworkAsira

Over the years, I have become a big fan of the movement known as ‘blackgaze’, the genre that seeks to blend the extremity of black metal with the melodic intensity and beauty of shoegaze. When I thought of blackgaze in the past, I’d immediately call to mind the likes of Alcest or Amesoeurs. But now, in 2017, I can confidently add the name Asira to the list. For a debut outing, ‘Efference’ is a stunning body of work that delights at every glorious twist and turn.

“…the skill of Asira has meant that the final product sounds so effortless and so simple. The warm ambient and atmospheric sections sooth and embrace you, whilst the melodies catch your ear almost immediately. And then, even when these passages are replaced by the naked aggression of cold and icy black metal, sometime abruptly, the juxtaposition doesn’t feel forced or clunky in any way. The compositions are ambitious and grand in scope, but they also feel homogenous and eloquent.”

“On the basis of ‘Efference’, I can only predict big things for Asira. If their debut album can be so ambitious, cohesive and assured, what on earth will their second, third and fourth albums sound like. We can only wait and see. However, for now, content yourself with the fact that there’s a new band in existence that has so much potential and simply immerse yourself in ‘Efference’. As blackgaze goes, this is one of the best I’ve heard in a long, long time.”

Read the full review here.

16729381_10155037235405439_4788700761726639376_nLonely Robot
The Big Dream

In my eyes, John Mitchell can do no wrong. Whatever band he is involved with, be it Arena, It Bites of Frost*, the results are always fantastic. And then, when he stretches his musical wings and goes it alone, the results are equally as compelling. ‘The Big Dream’ is John Mitchell’s sophomore outing under the moniker of Lonely Robot, where he is responsible for everything aside from the drums. In keeping with the debut, it is an album of lush and hugely cinematically-tinged progressive rock full of depth and musical eloquence.

“…ultimately, I am blown away by this album, regardless of the meaningful threads that clearly run through it.”

“I am a big fan of the Lonely Robot debut, ‘Please Come Home’. But if anything, I think ‘The Big Dream’ is even better…I just feel that the music itself is just that little bit stronger. It is definitely more consistent, simply because there isn’t a wasted moment, a weaker track or a let-up in the quality on offer. It takes its time to work its magic though, so if you feel uneasy or underwhelmed after a first spin, listen again. And then again, several times more. The payoff is well worth it.”

Read the full review here.

nova-collective-the-further-sideNova Collective
The Further Side

Normally, I vehemently dislike instrumental music, particularly when the music is technical fusion. However, like all rules, there is an exception and the exception to this self-imposed rule goes by the name of Nova Collective. Featuring an all-star cast, spearheaded by Haken’s Richard Henshall and Dan Briggs from Between The Buried And Me, there was no way that the output would be poor. But what I wasn’t expecting was to actually become engaged with the music and absorbed by it. Unlike many other records in this loose genre, the music is more than background noise; instead the compositions are well crafted and intelligent whilst also remaining memorable.

“I like this album. I really like this album. Naturally as you might expect from a quartet who fuse prog with jazz, classical and other world music, the complexity is very high across the board as is the technical prowess and the individual dexterity of each member, demonstrating beyond doubt that they are in complete control of every note.”

“For the first time in ages, possibly forever, I am listening to an instrumental progressive jazz fusion album and I am not bored to the very core of my soul. Instead, I want to press play and listen to it all over again. Maybe I am maturing and with that, so are my musical tastes? Quite possibly. However, I think it has more to do with the fact that Nova Collective have actually written music that is intelligent and challenging but that is also vibrant, melodic and engaging. Bravo, Nova Collective, bravo.”

Read the full review here.

Half-way through 2017 – the best so far – Part 1

The Blog of Much Metal is nothing if not predictable. But, what it lacks in spontaneity, it makes up for with quality writing, brilliant wit, incisive articles and a bucket load of irony and modesty.

As a result, I return with my usual mid-year round-up of the best music that has been released between January and June 2017. As with last year, I remain a one-man show and so I have not listened to everything that has been released in this period. I have a family and a career to fit in as well. However, I have listened to more albums than ever before (or at least that’s how it feels), so I am content that very little of any note has slipped the net. And if it has slipped the net, I still have six months to put things right. Of course, if I have missed anything out, I shall leave it to you, my dear, loyal reader, to tell me.

Everything in this round-up has consequently been reviewed on this blog already, so I don’t intend on going in to great depth with each pick here. Instead, I’ll provide a few up-to-date thoughts, a quote from the full review and then a link to that review should you wish to check it out. Wherever possible, I will also provide a link to a different track to the one posted with the review. Well, I have to try to give you some value for money, don’t I?

And so, in no particular order, I give you:

Ghost Mile

If you were to tell me that there is a band out there creating a bigger buzz in the metal world right now, then I might consider calling you a liar. For a band that had been toiling away for a number of years, gathering a small but select band of cult followers, things have now taken off massively. But then it’s hardly surprising given the quality of the music that they are now creating. Unique, assured and intense, Voyager are the whole package and ‘Ghost Mile’ demonstrates this 100%, no question.

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

“In my opinion, Voyager sound like no-one else. They have worked hard over the years to craft their sound and perfect their own vision, to the point where comparisons are impossible and, in any case, are utterly pointless. Their output blends progressive metal, prog and pop-like melodies with a quirky and often atmospheric sheen. Put simply, the music sounds like…Voyager.”

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

Read the full review here.

pain_of_salvation_-_2017_coverPain Of Salvation
In The Passing Light of Day

Do you know that feeling when a band you’ve almost given up on delivers a killer album? Well, that’s the feeling I got from Pain of Salvation with ‘In The Passing Light of Day’ way back at the beginning of the year. It seems like forever since I first heard it and given the amount of music around at the moment, it is testament to its quality that I still find myself gravitating towards it. More than that, it still has the ability to send chills down my spine and bring a tear to my eye at times.

“What also works well is the way in which the music sounds fresh and vital but also isn’t afraid to borrow from the band’s past either. As well as the ‘Road Salt’ echoes, there are passages where I also hear elements of the ‘One Hour By The Concrete Lake’, ‘Remedy Lane’ and ‘Be’…”

“2017 may have only just begun but Pain of Salvation have laid down the marker for all others to reach. After a few releases that didn’t move me, ‘In The Passing Light of Day’ has redressed the balance and then some. If this is what intelligent and emotional progressive metal sounds like in 2017, I don’t want the year to ever end.”

Read the full review here.


I’m still wondering just where this album came from – it is definitely the surprise of the year for me so far. I was never the biggest fan of Persefone but the Andorrans well and truly did a number on me with their latest effort, the incredible ‘Aathma’. It is progressive, technical death metal, the likes of which I have rarely heard, especially to this level. It is like the sextet took everything to a whole new level, from the collective songwriting to the individual performances. And it all sounds so rich and cohesive, with enough accessibility to keep me coming back for more.

“I absolutely love music when it offers a challenge and isn’t afraid to go in directions that it wants, rather than what convention dictates it should do. I don’t mind saying that Persefone have produced an absolute masterpiece with ‘Aathma’ – it is the work of six supremely talented musicians at the top of their game. Short of a miracle, I cannot see any other extreme progressive metal albums topping this during 2017 or beyond. Spectacular.”

Read the full review here.

The Optimist

If ever there was an album release that raised my expectation levels to completely new heights, it was this one. The last two, ‘Distant Satellites’ and ‘Weather Systems’ are musical perfection, so I hoped upon hope for a third killer record. After a difficult start, where disappointment initially reigned supreme, I have grown to love ‘The Optimist’. In keeping with previous Anathema albums, it is a deep and emotional rollercoaster of a ride through some dark landscapes that only reveal their beauty with time, effort and an open mind.

“Put simply, Anathema are a band that speaks to me. They are a band that seem to know instinctively how to press my buttons and touch me whatever my mood. From euphoric and uplifting, to fragile and poignant, they cover the gamut of emotions, leaving me exhilarated one minute and sombre the next, frequently with tears as my constant and ubiquitous silent companion.”

“‘The Optimist’ is yet another shift in Anathema’s own personal evolution. Whilst the core ingredients of atmosphere, emotional depth and lyrical eloquence are present and correct here, the output framed loosely by alternative/prog rock, has a much darker feel to it in general. There is also a more pronounced use of loops, electronic sounds and percussion that were hinted at within the title track on ‘Distant Satellites’.”

“Once again, Anathema have delivered an album that is more to me than just a collection of beautifully and lovingly-crafted songs. It is an album that lives and breathes. It has a vibrancy, an intense raw honesty and a human depth that many strive to deliver but that very few succeed in achieving.”

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It takes a lot for doom metal to feature in any top lists with me because in general, doom is not one of my natural, favourite genres. However, I had not reckoned on the new album from Pallbearer. This is doom metal but it is so much more besides. ‘Heartless’ is a near-perfect blend of styles and sounds, making it transcend genres to a certain extent. Instead, when I listen to ‘Heartless’, I find myself being thoroughly absorbed in some of the most exciting, engaging and mature music I have heard for some time.

“…having since had the opportunity to listen to this album at length, I am going to stick my neck out and say that right here, right now, ‘Heartless’ is the best doom metal record that I have ever heard. Yes it incorporates a number of different influences to create a rich tapestry of sounds, textures and moods. However, at its core, ‘Heartless’ is pure doom metal, born and bred.”

“The injection of more overt progressive tendencies alongside some sumptuous melodies and assured, ambitious song writing means that with ‘Heartless’, Pallbearer have created what I think might very well be my favourite doom metal album ever. Meaningless hyperbole this is not, because ‘Heartless’ delivers in every facet. This is a doom metal masterpiece and my life is richer for hearing it.”

Read the full review here.