Tag: rock

Imminent Sonic Destruction – The Sun Will Always Set

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Def Leppard – Diamond Star Halos – Album Review

Artist: Def Leppard

Album Title: Diamond Star Halos

Label: Bludgeon Riffola/Mercury Records

Date of Release: 27 May 2022

I thought long and hard before writing this review. Does the world really need yet another two-bit hack writing a review of the latest Def Leppard album? Probably not. But, in the end, I thought ‘why not?’ After all, I have been a fan of the band for my entire music-listening life and, in my days at Powerplay, I had the privilege to interview vocalist Joe Elliot around the time of the ‘Songs From The Sparkle Lounge’ album I believe. It was one of the best experiences of my life and Joe was a lovely guy, not rushing me, telling me he’d chat for as long as I wanted. Rock stars, as we all know, are not like that and it reinforced my affection for the band.

That being said, I must admit that I have not been a big fan of the Sheffield rockers for a number of years. ‘Diamond Star Halos’ is the twelfth studio album they have released over a staggering 42-year period that began the year I was born with ‘On Through The Night’. How depressing – I feel old now. The first five albums are all brilliant in different ways, with the trio of ‘Pyromania’ (1983), ‘Hysteria’ (1987), and 1992’s ‘Adrenalize’ being bona fide classics in my eyes. In actual fact, it was ‘Adrenalize’ that was my first entry point to Def Leppard, probably a couple of years after its release.

Since then, I am going to be kind and say that their output has been patchy. I never gelled with ‘Slang’ (1996), whilst ‘Euphoria’ (1999) and ‘X’ (2002) had their moments. But everything since has been very disappointing in my opinion. I will admit that I got a bit carried away with my review of ‘Songs From The Sparkle Lounge’ (2008) in the pages of Powerplay, because time has proven that it has not stood the test of time with me.

And so, in 2022, after a seven-year wait, we are presented with ‘Diamond Star Halos’. Here goes…

First off, it features no fewer than 15 tracks and spans a mighty hour. Therefore, in order to remain consistent, this is too long. As I listen, I find that it reminds me of an annoying ex that would talk and talk, never shutting up. And worse still, despite the incessant verbal diarrhea, very little of any substance passed her lips. The same is true of ‘Diamond Star Halos’, because it goes on and on, with very little in the latter stages to justify its length.

This is a shame, because there is enough within the first six songs in particular, with one big exception, to get reasonably excited about. And I will start with my favourite song from the entire album, ‘SOS Emergency’. This song. This. This is what I dearly wish Def Leppard would still sound like. Big in-your-face riffs from the off, Joe Elliot sounding like Joe Elliot at his best, layers of vocals, and a hook-laden chorus. It channels their inner ‘Hysteria’ and I make no apologies when I declare that this is how I love Def Leppard to sound. I’m well aware that many fans will be screaming at me along the lines of ‘stop living in the past’, ‘embrace the new’, or ‘you’re plain wrong, you fool’. That’s fine, but when the ‘new’ has never reached the heights of their 80s heyday as far as I’m concerned, I’ll stick with my opinion and suffer the flack. As a final comment on this, there’s a reason why Def Leppard played ‘Hysteria’ in its entirety a few years ago – it’s because it’s a killer album; we know it, and so do they.

Anyway, let’s move back to the opener to this new album, ‘Take What You Want’ because it is actually really quite good. It has an urgency about it that builds with the intro, only to unleash into a pretty decent, powerful central riff. The layers of vocals that’s archetypal Def Leppard make an appearance, and the song rips along at a fair pace, full of muscular bravado, with enough catchiness to keep me listening. The more I listen, the more I like it, and there’s even room for a brash lead solo trade-off between Phil Collen and Viv Campbell. It bodes well.

Up next is ‘Kick’ and, having initially hated the very bones of it, I now grudgingly have to admit that it’s a catchy, fun, up-tempo little bastard with hooks that burrow deep whether you want them to or not. It’s undeniably poppy and the ‘nah, nah, nah’ bits still irritate, but the guitars are front and centre and whether I like it or not, it has got the better of me.

‘Fire It Up’ and ‘Liquid Dust’ are both thoroughly decent songs too. In the case of the former, I love the wailing lead guitar squeals, the chunky bass of Rick Savage, and the chorus is an insidiously catchy beast. I’m not a fan of the vocals as much here though, as they veer a little close to spoken territory, rather than being sung. The latter has a greater atmosphere to it, and I like the slightly more chilled-out vibe, that’s tinged with a little sadness unless I’m hearing things that aren’t there.

The one big exception to the opening sequence of tracks is the utterly hideous (in my opinion) ‘This Guitar’. Featuring American singer Alison Krauss, it is an unashamed country/bluegrass song that doesn’t belong here. If I want to listen to country music, I’d panic, and then find a country record to play. But I don’t, and I certainly don’t want a Def Leppard album to feature such a song. I’m sure plenty of you will enjoy it, but nope, it’s not for me, and I will gladly never listen to it again. To compound things further, Alison Krauss features on ‘Lifeless’ too. It isn’t as toe-curling as ‘This Guitar’, but the country twang to it is not to my tastes at all.

It’s fitting that I’m in a bad mood now, because there are eight more songs on ‘Diamond Star Halos’ and there are very few of these that I really want to discuss. Not that they are bad necessarily, just that they feel a little ‘meh’ for my tastes. ‘U Rok Mi’, which should be destroyed for the unfunny deliberate misspelling alone, is one of the few exceptions, as it has a proper energy to it and feels more like a Def Leppard song than most.

‘Goodbye For Good This Time’ features some sumptuous orchestration and a gorgeous acoustic guitar solo but I’m sorry to say that it lacks the killer chorus, central melody, or genuine emotion that I expected. It does get better with repeated spins, but it still feels like an opportunity missed. ‘All We Need’ sounds like it should be on a U2 album given the intro, and the cheesy chorus that misses the mark a little. ‘Gimme A Kiss’ is a throw away song to be honest, something or nothing, and whilst there’s a definite ‘On Through The Night’ echo within the brooding closer ‘From Here To Eternity’, it has the feel of being too little, too late.

Overall, I have heard Def Leppard create worse, and so this is a step back in the right direction at times. However, the early promise of some stronger songs and palpable energy is ultimately scuppered by too many songs that are just ‘ok’, that do very little to ignite any kind of enthusiasm within me. And the country songs? Just because Robert Plant went in that direction with Alison Krauss, it doesn’t mean that Def Leppard should take the same path. The less said about them, the better quite frankly. I’m left feeling disappointed, but not altogether surprised. Take it or leave it, but here ends my personal take on ‘Diamond Star Halos’.

The Score of Much Metal: 65%

Check out my other 2022 reviews here:

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

Imminent Sonic Destruction – The Sun Will Always Set

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Pure Reason Revolution – Above Cirrus – Album Review

Artist: Pure Reason Revolution

Album Title: Above Cirrus

Label: InsideOut Music

Date of Release: 6 May 2022

The last album by Pure Reason Revolution was the first that I encountered, having missed out on their early career. And, despite not necessarily being the archetypal kind of music that I’d normally gravitate towards, it is fair to say that ‘Eupnea’ made a positive impression upon me. Of it, I wrote:

“And there you have it. Consider me a convert to the Pure Reason Revolution cause. ‘Eupnea’ is an intelligent blend of electronica, progressive rock that is made all the stronger due to some beguiling melodic sensitivity. I like the music more with every listen and I’m now very excited to delve into the band’s past at the earliest opportunity.”

Almost exactly two years later, Pure Reason Revolution have returned with ‘Above Cirrus’ and this time, the core duo of Jon Courtney (guitar, vocals, keys) and Chloe Alper (bass, vocals, keys) have brought with them a new full-time member to extend the band to a trio. I say ‘new’, but the new addition will be a familiar name to long-term fans, as it’s guitarist/vocalist Greg Jong who features as a full member for the first time since the 2005 EP, ‘Cautionary Tales For The Brave’.

Having spent some considerably time digesting ‘Above Cirrus’, it’s almost a cut and paste job from the quote above in many ways. Once again, Pure Reason Revolution have created a record that, on paper, I shouldn’t really take to, too heavily, but they have won me over. And the success of this new album is the combination of fascinating, deep lyrical content, emotion, the variation of styles, powerful melodies, and strong songwriting that means it all comes together in a really enjoyable package. It’s a bit of a grower too, with several songs suddenly, out of nowhere, finding their way into my brain to be hummed or sung when least expected.

Returning to the lyrics for a moment, and once again, the words are inspired by Courtney’s personal thoughts and journeys, with an overall message routed in optimism. ‘Above Cirrus’ isn’t a concept album though, as each song stands on its own, but with a central idea that ‘through the turbulence, we’ll help each other through the darkness.’ I find this to be an appealing central thread, which only serves to add greater strength and poignancy to the music. Even the cover art, which might seem sad on face value, is an extension of the lyrical content, in that the polar bear is suffering, but is adapting, surviving, and in so doing, offers hope.

Moving on to the music itself, and the electronic nature of the Pure Reason Revolution sound is exposed from the very beginning, with a gentle beat sitting beneath a spoken-word sample. From there, a powerful, almost tribal drumbeat kicks in to move the song forward forcefully, before an equally abrasive riff emerges. There’s a strong energy to the song that’s infectious, and even though I’m not totally sold on the heavily effect-laden vocals at points, the mix of layered male and female vocals really shines. It’s a short, sharp track to open the album, but it contains a melodic intent to ensure it’s as memorable as it is striking.

The contrast between the opener and ‘New Kind Of Evil’ is pronounced, as this song begins much more delicately and sedately, with a much greater emphasis on melody from the outset. That said, you can feel the increase in intensity that’s lurking just below the surface, wanting to break loose. The sense of drama that this creates is excellent, as is the central chorus melody which is one of those big earworm affairs. I also love the precise, yet smooth ebb and flow which leads to a bold release just shy of the half-way mark yet recedes just as quickly into calmer waters. The addition of tinkling piano notes is a very welcome addition, nicely juxtaposing the more overt electronic sounds that appear later in the track, as it ends on an authoritative note.

‘Phantoms’, another shorter composition, is arguably my least favourite on the album, but I do like the more pronounced electronics that feature alongside more male/female duetted vocals. It’s then superseded by one of the very best songs on ‘Above Cirrus’, that of ‘Cruel Deliverance’. It’s a slower, more introspective piece, but it contains the most gorgeous of melodies, the one more than any other that I find myself singing in my head at three in the morning, or whilst out with the dog on the park. Ironically, for one with the moniker of ‘The Man Of Much Metal’, this is also the most mainstream sounding, and least ‘heavy’ of all of the seven compositions on the record. But a great melody is a great melody, and it’s this that speaks to me above everything else. Mind you, the mid-song minimalist, cinematic section is inspired too.

At a touch over ten minutes, ‘Scream Sideways’ is the longest single composition, but it uses the time wisely, exploring a myriad of textures and soundscapes, from gentle, ethereal minimalism to driving prog rock, and from bold, experimental electronic vistas to spiky, aggressive post rock walls of sound. Once again though, despite the variations on offer, the song writing is such that the whole thing feels homogenous, tied together by some subtle melodies along the way.

And to close, we have ‘Lucid’ that is a beguiling track, full of great musicianship, from all members of the band, not to mention further memorable melodic intent. Even the brief inclusion of a saxophone barely dulls my enjoyment of the song, a song that once again shows the expertise in building drama and tension through passages of light and shade, of quiet contemplation, and all-out explosions of near-metallic strength.

On balance, as much as I enjoyed ‘Eupnea’, I can only conclude that I find myself enjoying ‘Above Cirrus’ even more. I’m not sure I can put my finger on quite why, but once the dust has settled and I am able to observe things from a distance, I get the feeling that it will ultimately come down to the strength and potency of the melodies. ‘Above Cirrus’ continues where ‘Eupnea’ left off, but also ups the ante and, in so doing, provides forty-five minutes of genuine musical pleasure. I heartily recommend ‘Above Cirrus’ to anyone with a liking for intelligent, melodic, electronic-infused progressive rock.

The Score of Much Metal: 89%

Check out my other 2022 reviews here:

Demonical – Mass Destroyer

I Am The Night – While The Gods Are Sleeping

Haunted By Silhouettes – No Man Isle

Delvoid – Swarmlife

Imminent Sonic Destruction – The Sun Will Always Set

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Delvoid – Swarmlife – Album Review

Artist: Delvoid

Album Title: Swarmlife

Label: Banditt Media

Date of Release: 29 April 2022

Another new name to me, Delvoid are an interesting discovery, and one well worth bringing to your attention with a manofmuchmetal.com review. From the Norwegian capital, Oslo, or just outside, Delvoid have been in existence since 2008, and the quartet define themselves as alternative rock that “consists of noisy sound walls, vulnerable melodies, and mammoth-sized riffs.” They go on to say that they “…chase the same white whale as Tool and Sigur Ros, but add their own flavour of psychedelia and minimalism to the hunt.”

What is unusual is that I can definitely hear the references they make, but more so with Tool than Sigur Ros if I’m honest. The music does have plenty of quiet, subtle moments, but Sigur Ros are not the first name I think of when I’m listening to this record. Apparently, this third album is slightly different from previous efforts in that it dials up the psychedelia and the prog elements in favour of the more orchestral approach used previously and specifically with their last release, 2015’s ‘Serene’.

If I could use one word to describe ‘Swarmlife’ overall, it would have to be ‘frustrating’. Some of this record is sublime, whilst other parts don’t quite hit my sweet spot as forcefully. At nearly an hour in length, but comprised of just six tracks, this is an album where the band take their time to build up tension, allow the music to ebb and flow, and explore different sounds and textures along the way. But, it has to be said that some of the compositions are better than others for my tastes, leading to vast expanses of music that I wouldn’t necessarily skip, but which can have a tendency to drag a little as I await the parts of the record that I really like.

My slight disappointment is felt all the more keenly because ‘Swarmlife’ starts off so well. ‘Techtree’ is a ten-minute opening force of nature that shows what Delvoid are capable of when at their very best. Beginning slowly and tentatively, it takes a while for the song to build, but the tension is palpable, as you know something is awaiting just around the corner – or at least you hope it is. There’s a repetitive nature to the music as it gently increases the intensity, exploding after well after two minutes to reveal a lovely melodic guitar riff courtesy of Erik J. Halbakken and Alex M. Delver. In the blink of an eye, it is gone, replaced by vocals, bass, and drums, but when it returns after a period of excellently created introspection, it makes one hell of an impact; the melody is superb, the emotion equally so, as it tears at the heartstrings and sends shivers down my spine. Progressive this track certainly is, but there are big post-rock influences in the latter stages, where walls of guitar driven sound create a hugely impressive force against which it is hard not to succumb.

I’m less enamoured with the follow-up ‘Urras’, which is altogether less melodic, but much angrier, spikier, and caustic, led by the anguished screams and shouts of vocalist Alex M. Delver. Admittedly, after several spins, the understated catchiness of the music does start to make inroads, whilst the impressive musicianship becomes ever more evident, especially the drumming of Espen Th. Granseth, and the dancing bass of Magnus Andersen. And when Delver delivers his clean, melodious tones, he has an undeniably good voice.

I could cut and paste much of the previous paragraph for ‘Out Of Labour’. At over ten minutes, it covers a lot of ground musically, with much to admire, not least the conviction with which the lyrics are delivered and the top-drawer musicianship. But crucially, I don’t love it because, for me, there is a lack of killer melody within the composition, leading it to be the least effective track on the record as far as I am concerned.

Where Delvoid really shine for me, is when they explore their melodic sensibilities more keenly. ‘Collapsist’ is another lengthy track that ebbs and flows fluently, from heavy, clashing outbursts, to incredibly deft and gentle minimalism. Throughout the song though, the melodies are stronger, better defined, and therefore make a much bigger impression on me. That said, the real magic doesn’t appear until beyond the six-minute mark, when all pretence at heaviness is cast aside and the final three or four minutes are a poignant and stunning exercise in ambience and emotion. Remember those Sigur Ros references? Well, this is where they are heard and felt most strongly, complete with echoed, ethereal vocals that only add to the overall impact.

One of only two tracks under double figures, ‘Third Body’ provides flashes of brilliance within it. The melodies are a slow-burn affair, but in order to take the contrasts between light and shade that little step further than before, the band introduce some judiciously placed growls. It’s something I’d actually like to hear more of from Delvoid in future I must admit, as the growls are properly deep and menacing.

As it turns out, ‘Swarmlife’ is bookended by the best two tracks, with the magnificent ‘The Master’s House’ closing things out. At over thirteen minutes in length, it’s the longest of the six songs, but the delicate opening is gorgeous, and is allowed to take its time to slowly, carefully build, recede, and then unfurl through a wonderfully groovy riff. Not so much an explosion, as a robust increase in power and sonic authority. As is the Delvoid way, the ebb and flow to the song is great, creating some captivating textures along the way. In the second half of the song, some of the most stunning melodies emerge, to end the record on a genuinely warm, entertaining, and serene note, albeit a rather bittersweet one as the track unwinds into ambient territory, and slowly recedes to nothing.

I feel, in retrospect that maybe the word ‘frustrating’ may have been a touch harsh on Delvoid and ‘Swarmlife’. When you stop and analyse it, there are so many positive attributes to this record, that to deride it based on one and a half songs that don’t hit the mark as strongly as the rest, seems unfair. So instead, what I will say is that ‘Swarmlife’ is a very commendable progressive, alternative rock/metal album that suggests to me that they have a big future ahead of them. More melody, more growls, but more of the same in terms of technicality, contrasts, and emotion next time please gentlemen. Grant me these wishes, and we may be on to a bona-fide album of the year contender.

The Score of Much Metal: 80%

Check out my other 2022 reviews here:

Imminent Sonic Destruction – The Sun Will Always Set

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Stone Broken – Revelation – Album Review

Artist: Stone Broken

Album Title: Revelation

Label: Spinefarm

Date of Release: 22 April 2022

Do not adjust your Internet settings, I really am writing a review for a more modern hard rock album. It’s a rarity I’ll grant you, but every now and then, I’ll dip my toe in the water and see what’s going on in this particular niche. At the heart of this review is ‘Revelation’, the latest album from a band I knew literally nothing about a couple of weeks ago. The fact that they are from the UK gives me an extra incentive to check out Stone Broken too, as the quartet hail from the metropolis that’s Walsall. To be fair, it’s not a million miles away from the birthplaces of bands like Black Sabbath and Judas Priest, so perhaps I shouldn’t be so flippant, especially as I call Suffolk home.

Enough of that, though, because you’re here to find out a little more about the music that finds itself on Stone Broken’s third album in a career that’s so far lasted a good decade. Comprised of vocalist/guitarist Rich Moss, guitarist Chris Davis, bassist Kieron Conroy, and drummer Robyn Haycock, ‘Revelation’ is the fruit of several years of work, made longer and more arduous by the pandemic which struck at just the wrong time. As the accompanying press release states, though, it turned out to be a blessing in disguise because the band are happier with the final results than they thought possible.

I’ll leave it to your own judgement as to whether it’s a good or bad thing, but when listening to ‘Revelation’, I have a hard job to believe that the music comes from an English band. The music, right from the first vocals and guitar notes of ‘Black Sunrise’, has an undeniable North American sheen to it. This album is most definitely slick and polished, something that producer Dan Weller (ex-SikTh guitarist) can claim some credit for alongside the band themselves.

I can almost hear my soul shriek in despair at me, but I must admit that there are a fair few tracks on this album that I like, as well as a few others that I have grown to really like in spite of myself. So much of ‘Revelation’ could easily be heard on commercial radio, it’s that ‘mainstream’. But as I always say, ‘good music is good music’…ok, I’ve rarely said that, even though I should. But here is that classic test for me, because it is hard to deride Stone Broken too much because they have penned some quality material that I keep coming back to like a guilty pleasure. I may not always gravitate towards music like this, but I see the appeal and ‘Revelation’ is a thoroughly entertaining beast for large periods.

It all kicks off with the aforementioned ‘Black Sunrise’ and I find myself unexpectedly hooked thanks to a powerful combination that sees a cocksure hard rock swagger paired with some catchy melodies especially within the hook-laden chorus. It may have a whiff of commercialism to it, but at the same time, the guitars carry enough of a punch alongside the beefy rhythm section to ensure that Stone Broken don’t descend into what I’d refer to as ‘bland’ territory.

If you thought that the opener was catchy, just wait until you hear the immediate follow-up, ‘The Devil You Know’. It doesn’t feel quite as heavy as the opener, demonstrating more of a modern hard rock vibe with more overt electronics, but the chorus is another instant shot in the arm, impossible to ignore. The modern trappings come even more to the fore within the title track and it’s at this point that I should lose total interest, especially with the shouted ‘gang’ vocals to add to the horror. But I still quite like the song which sees the first vocal contribution from drummer Robyn Haycock, thanks to the catchy, slick songwriting. What Is happening to me?

The quality material just keeps on coming, beginning with ‘Make It Out Alive’, a song that starts as if it might be a ballad, but then offers some of the heaviest material so far with forceful, driving riffs at its heart. The verses are quieter though, more introspective affairs, and there is a ballad-like vibe to one of the most stunning choruses on the record, so my initial thoughts weren’t far off the mark. But if you want a full-on ballad, it arrives in the shape of ‘Me Without You’. I love and hate this song in equal measure because, on the one hand, it is a gorgeous piece of music complete with piano, acoustic guitars, and sensitive electronics for atmosphere. On the other hand, the central lyrics of ‘what’s the point of me without you?’ just drive a knife into my heart because they give voice to my feelings and my painful reality. Anathema, Evergrey, Katatonia…bands that I expect to reduce me to tears. But a relatively commercial-sounding hard rock band from the Midlands? I did not see that coming.

If I had one criticism at all about ‘Revelation’, it’d be that the latter stages of the album run out of steam a touch after such a tremendous start. That’s not to say that the music isn’t entertaining or poor because that’s definitely not the case. I just feel that there’s a little less magic in the second half as opposed to the electric first half. Songs like ‘Over The Line’ with its increased electronic element, or part-acoustic ‘Stronger’ are perfectly decent, but don’t light my fire in quite the same way. The latter comes too dangerously close to the dreaded Nickelback for my comfort.

However, Stone Broken are not quite done and ‘So Damn Easy’ catches my ears in all the right ways thanks to the interesting riffs, rhythms, the way it ebbs and flows effortlessly, and the duetted vocals of Moss and Haycock, the latter thoroughly impressing me whenever she appears thanks to her incredibly soft, smooth, almost ethereal delivery.

So there you have it. I have been seduced by an album that should never have crossed my path had I let my prejudices get in the way. As it is, there are a good handful of songs that have made a huge impact here, several better-than-decent songs, and one that has made a cynical, missile-aged, grown man cry. Kudos for that feat alone. All that’s left to say then, is that it doesn’t matter what kind of heavy music you consider to be your ‘thing’, you’d be foolish not to take time out of your listening schedule to give melodic hard rock band Stone Broken a chance. I did, and I haven’t regretted it for a second.

The Score of Much Metal: 88%

Check out my other 2022 reviews here:

Imminent Sonic Destruction – The Sun Will Always Set

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Treat – The Endgame – Album Review

Artist: Treat

Album Title: The Endgame

Label: Frontiers Music

Date of Release: 8 April 2022

Twelve years ago, Swedish melodic hard rock band Treat made a comeback. A full eighteen years after the release of their fifth, self-titled record, the Stockholm-based quintet rose from the ashes and blew just about everyone away with their comeback album, ‘Coup De Grace’. Existing fans were delighted to be reunited with the band whilst new listeners like me were equally enamoured. ‘Coup De Grace’ was one of those albums, a rarity where the stars aligned perfectly to allow a masterpiece to emerge. Even my bitter, miserable ex loved this album, it was just that good.

Since then, Treat have released another couple of albums in the shape of 2016’s ‘Ghost Of Graceland’ and ‘Tunguska’, released in 2018. For one reason or another, I missed out on the opportunity to review them, but I have heard them, and they continued the post-hiatus renaissance nicely. And now, in 2022, the line-up that brought us ‘Coup De Grace’ is again reunited to deliver album number nine, ‘The Endgame’.

Cards on the table: in my opinion, it’d take an absolute miracle for Treat to better their tour-de-force from 2010. And after much listening and deliberation, I can only conclude that a miracle is not quite what we have on our hands here. That’s not to say that ‘The Endgame’ is not a fantastic record, because it is. However, being as honest and dispassionate as I possibly can be, it falls slightly short of ‘Coup De Grace’. And there’s one major reason for this, and it’s the fact that the second half of the album is not quite as strong as the first half. Had the quality continued from start to finish, we’d be staring down the barrel of a bona-fide classic. As it is, ‘The Endgame’ will have to make do with just being brilliant and a whole heap of fun along the way.

The Swedes come out of the blocks on fire, delivering one of their finest tracks ever in the form of ‘Freudian Slip’. Keyboardist Patrick Appelgren kicks things off with a brief, dramatic intro before the guitars of Anders ‘Gary’ Wikström take over and blow away the cobwebs. In tandem with the powerful beats of Jamie Borger and Nalle Pahlsson’s authoritative rumbling bass, it’s an imposing beginning. Lead guitar embellishments, lashings of keys, and then Robert Ernlund’s distinctive voice all add to the potent cocktail before the AOR-tinged chorus takes things up another notch. The layers of vocals are great, but the hooks are irresistible, ensuring that the song makes the biggest impact possible, setting the tone for the remainder of the album.

‘Rabbit Hole’ is a punchy, high-octane number, with a groovy swagger to it. And then it delivers an incredibly catchy chorus that hits the mark. But the best bit of the song is the point at which everything drops away and via keys, moody guitars, and Robert Ernlund’s vocals, the song takes a darker, more dramatic turn. It’s unexpected, but a classy move that adds another dimension to an already cracking track.

Up next in a monster opening to the album is ‘Sinbiosis’. The pulsing bass and chunky riffs that dominate the verse are great, but the bright, breezy hook-laden chorus is an utter delight, almost pop-like, and so much fun; at the current time, it’s this giant chorus that I find myself singing in the shower or is lodged in my head when I wake up in the morning. With the ubiquitous key change near the end, it’s a masterclass in catchy melodic rock veering into lush AOR territory.

At this point, I am beginning to sense that we’re in the presence of something truly special, and I’m not dissuaded by ‘Home Of The Brave’ either, meaning it’s four from four. The track has a definite ballad-like feel at points but it gallops along at a really nice tempo, particularly within the anthemic chorus, led by the rock solid rhythm section. There’s a vague Celtic, folky influence that I can detect coming through in the melodies and, given the track’s title, I get the feeling it’s a deliberate move, and one that works well within the confines of this song.

Make that five from five thanks to ‘Both Ends Burning’, a longer track, and a darker, moodier one too, with a surprising muscularity. It opens slowly, carefully, with acoustic guitars, layers of brooding synths, and a wonderfully rich bass sound. When it opens up fully, it is irresistible, with an immediately catchy melody interwoven with hefty riffs that keeps that slightly more menacing tone to the song. Worry not, because when I say menacing, it’s all relative; think puppy teeth rather than a rabid Rottweiler! But seriously, I like the fact that Treat like to flex their hard rock muscles occasionally and to such good effect.

The all-out ballad ‘My Parade’ brings the first half of ‘The Endgame’ to a close and regardless of whether or not you like ballads, you’ll be hard pressed to deny the brilliance of this one. The chorus is liquid gold, and impossible not to love, unless you have a heart of pure stone. I even don’t mind The Beatles-esque ‘Na Na Na Na’ vocals that make an appearance.

In the second half, however, there are a couple of missteps in my personal opinion. Firstly, I’m given the feeling that the band lose just a little energy and so the material occasionally lacks the oomph of the first half. For example, I can take or leave ‘Jesus From Hollywood’ despite the cool solo guitar intro and bold choral synth effects. The chorus doesn’t quite take off in the same way as others and even though the hooks and sing-along elements are present and correct, it feels like something is missing.

‘Magic’ is a nice enough song, with strong melodies, but I can’t shake the feeling that this has ‘boyband hit’ written all over it. I know that the likes of Westlife and Boyzone wouldn’t have the guitars so prominently positioned, but the song feels overly smooth and incredibly mainstream. That’s not necessarily a bad thing, but I’m not the greatest fan of it overall, as it’s a little too nice.

The heavily 80’s infused ‘Carolina Reaper’ sees a return to more energetic climes and it’s a marvellous shot to the arm too, whilst ‘Dark To Light’ is an altogether darker affair, full of drama and surprisingly heavy groove in the verses.

The final composition is ‘To The End Of Love’, a suitably epic and rousing song that carries with it a bittersweet vibe. On the one hand, it feels full of positivity and hope, especially in the first half. However, as it develops, I detect much more sombre overtones. And I like the way that it subtly and cleverly plays with my emotions. When it ends, I’m not sure if I feel elated, or slightly sad, especially with the use of a poignant spoken word sample at the death. And credit for this must go to the songwriting prowess of the band as it’s not an easy trick to pull off. Regardless of the emotions at play, it’s yet another melodic rock anthem, and a strong way to close out the record.

It’ll be interesting to see what others come up with over the next few months but, as it currently stands, ‘The Endgame’ is far and away the best melodic hard rock album of 2022 so far. And it’ll take an awful lot for it to be beaten, that’s for sure.

The Score of Much Metal: 94%

Check out my other 2022 reviews here:

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Bjørn Riis – Everything To Everyone – Album Review

Artist: Bjørn Riis

Album Title: Everything To Everyone

Label: Karisma Records

Date of Release: 8 April 2022

If you are looking for an album to get the heart really pounding, the blood pumping, and those neck muscles moving, then this is not going to be the album for you. But then, many of you already knew that, didn’t you? Bjørn Riis is best-known as the co-founder and guitarist with Norwegian progressive rock band Airbag, but ‘Everything To Everyone’ is already Riis’ fourth solo full-length album. And, if you’re familiar with the music of Airbag, or any of Riis’ solo material to date, then you’ll already have a fair idea of what to expect here.

And what you get here on ‘Everything To Everyone’ is a collection of six songs that span around fifty minutes, and which provide nourishment for the soul rather than any kind of heavy attack on the senses. The music, as is Bjørn Riis’ way, will more likely put an arm around you, or feel like a warm blanket; it’s melodic, it’s progressive, and it’s also minimalist, allowing atmosphere and emotional depth into the material, making the listener think and feel things at the same time. Having surrounded myself with some uncompromising extreme metal of late, ‘Everything To Everyone’ is a welcome respite from the chaos, and I welcome its soothing tones eagerly.

Bjørn Riis himself undertakes a fair amount of the instrumentation, not to mention the entirety of the songwriting. But he’s joined by an impressive cast of guest musicians to help bring this album to fruition. Featured here are Henrik Bergan Fossum (Airbag), Kristian Hultgren (Wobbler), Simen Valldal Johannessen (Oak), Ole Michael Bjørndal (Caligonaut), Mimmi Tamba, Per Øydir, Vegard Kleftås Sleipnes and Anders Møller.

What I particularly like about ‘Everything To Everyone’ is its flow, meaning that it comes together very nicely as a whole, even though each song is very much distinct from the others. I also like the way in which Riis has provided a mix of shorter and longer songs here; sometimes an album of just longer tracks can become a little tedious or bloated. But on this record, we get the songs that extend well into double figures, but they rub shoulders with other songs that are only for or five minutes. Naturally an album like this is best enjoyed in one sitting, but there are other options for you if time is tight, or you need a quicker blast of music.

For all of the other positives within this record, there are two that stand out for me. The first is the melodic nature of the music, which aids with that feeling of familiarity and warmth, not to mention the richness of sound and the emotional aspect of the music. The second positive is Riis’ guitar playing, especially his lead solos. Often compared to David Gilmour, Riis is blessed with an ability to make the electric guitar literally sing. His notes are precise, his touch deft, and his solos have the power to hypnotise and break hearts at a hundred paces. Happily, ‘Everything To Everyone’ features both of these positives and therefore I am brought back time and again to immerse myself in the music.

Onto the tracks themselves, and there’s a lot to unpack within them, even if, on a first listen, everything feels quite smooth and simple. It’s a skill of Riis that he’s able to fool us like this, because once you get into the music, it’s surprisingly involved.

The album begins with the instrumental piece, ‘Run’, and I’m initially surprised by the energy that’s courses through it. The intro is dramatic, with a throbbing bass building up tension alongside an insistent, repetitive piano motif. From there, we’re plunged into 70s retro-rock territory which I wasn’t expecting if I’m honest. The song is actually book-ended by this vivacious 70s drive, with the middle portion much more recognisable as the work of Riis. The music falls away to almost nothing and we’re left hanging until slowly, the synths grow and an acoustic strumming enters. Gentle piano notes add another layer, as do some simple bass notes upon which a melodic acoustic guitar solo grabs me by the heart and fills me with warmth.

Up next is the eleven-minute ‘Lay Me Down’ which begins incredibly delicately. Riis sings with gentle emotion, later joined by the silky voice of Mimmi Tamba to inject something different and arresting to the composition. The soundscape is beautiful, only to give way to a heavier guitar riff to briefly punctuate the serenity effectively. Then in comes the first of many soulful, and emotional guitar leads from Riis, and I’m transported to another place – a place of stunning beauty from which I wish there was no escape. The increase in urgency leading up to the halfway mark also shows that Riis can rock out if he feels the need. The remainder of the song sees another slow burn build from minimalism to something more immersive, where Riis’ guitar is again the central focal point.

To be honest, the album doesn’t deviate too far away from this blueprint for the remaining four songs, but then you’d not really want it to, because why fix something if it isn’t broken? But far from broken, this album is dripping in understated class. I really like the swathes of synths that come out to play in the early stages of ‘Every Second Every Hour’, the longest composition on the album at over thirteen minutes in length. I like the way that it ebbs and flows with effortless grace, the acoustic guitars offering a lovely texture, alongside the layers of keys, the cleverly placed lead guitar embellishments, and Riis’ voice that is heavily effect-laden at times. Occasionally, we’re treated to a more muscular riff, but it’s the exception rather than the rule, but their inclusion adds to the drama throughout what is a gorgeous track.

A bold electronic beat is used to signal the arrival of ‘Descending’, an evocative and introspective instrumental piece that explodes with pent-up power in the second half. That leaves us with the title track to see us out, and it does so with some of the most poignant and immediate melodies on the record. The lyrics are moving, delivered by Riis and Mimmi Tamba again, giving them extra gravitas in the process. It’s a bittersweet closer in that it’s both sad and oddly uplifting at the same time, with a sense of hope lurking in the background.

All that I can say at this juncture is that ‘Everything To Everyone’ is another great body of work from Bjørn Riis, one of the most accomplished songwriters and talented guitarists currently plying their trade within the progressive rock sphere at the current time. The only criticism that could be levelled at Riis is that you already know pretty much what you’re going to hear when you press play. But when the music contains this much beauty, soul, and finesse, it’s hardly a criticism. Instead, I recommend you pour yourself a glass of wine, dim the lights and allow the magic of Bjørn Riis’ music to wash over you. You won’t regret it.

The Score of Much Metal: 90%

Check out my other 2022 reviews here:

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

PreHistoric Animals – The Magical Mystery Machine (Chapter Two) – Album Review

Artist: PreHistoric Animals

Album Title: The Magical Mystery Machine – Chapter 2

Label: Glassville Records

Date of Release: 25 March 2022

In a few short years, PreHistoric Animals have gone from being an unknown entity in the Mansion Of Much Metal, to a household name. Prior to Progpower 2019, I was unaware of the band and of any of their music. Admittedly, at that time, there was only one album to their name as they were still starting out on their musical journey. But still, my knowledge was precisely zip. Witnessing their performance in Baarlo the year before the pandemic changed all that; you could tell that PreHistoric Animals had something about them. And so it has proved…

…in 2020 in the midst of the world’s Covid struggles, the Swedish entity released their sophomore album, ‘The Magical Mystery Machine – Chapter 1’, a concept record detailing the exploits of two characters who are tasked with collecting the good and bad traits of the human race in order to make their way to a ‘new’ Earth as their world is dying. Fast forward 18 months and very little has changed; the world has opened up a little but still struggles with the ever-present threat of Coronavirus. Add to this, we now see Eastern Europe knee-deep in war. The reality we’re faced with isn’t great, so it’s a blessed relief that great bands continue to release new music. PreHistoric Animals are one such band, and they return with ‘The Magical Mystery Machine – Chapter 2’, a continuation of the concept that sees a return to the exploits of Cora and Jareth.

I loved ‘Chapter 1’, offering it a very positive review and rightly so in my opinion. It’s therefore great news to discover that the same four protagonists are involved with the follow-up. That means that ‘Chapter 2’ features the talents of core duo Samuel Granath (drums and keyboards) and Stefan Altzar (lead vocals, guitars, and keyboards) alongside bassist Noah Magnusson and guitarist/vocalist Daniel Magdic.

With the same personnel involved, it’s not surprising to learn that musically and stylistically, the output on ‘The Magical Mystery Machine – Chapter 2’ continues in a similar fashion to the predecessor. If you liked ‘Chapter 1’, it is almost certain that you will like ‘Chapter 2’ and its blend of progressive rock, AOR, pop, and just a hint of metallic oomph in places. However, in an effort to provide full disclosure, I must admit that it took me a lot longer to warm to the songs here though. At one point, I was contemplating whether or not I actually liked the music and began to weigh up whether or not I was disappointed.

Strangely though, like an addiction, I found myself returning to the record for spin after spin; something about the music kept pulling me in. Ultimately, the draw was simple: fantastic music. I just didn’t immediately realise it. The melodies across the nine compositions have taken longer to get under my skin this time around, but now that I am listening with acclimatised ears, I can say that, without doubt, this record is a thoroughly joyous and entertaining affair, full of the ingredients that made me fall under their spell in the first place.

Importantly, PreHistoric Animals remain difficult to compare to others. There are a million and one bands out there that try to blend prog and pop music, but no-one sounds quite like this quartet, certainly as far as I’m aware anyway. There remains a tangible and intriguing quirkiness about the band that makes the music all the more impressive. These four gents create the music that they want, and it honestly sounds like they are having a lot of fun doing it. This translates through the music, meaning that as heavy as the subject matter may become, there’s a feeling of positivity and fun that sits at the heart of the music. This is as infectious as everything else, perhaps more so in some instances.

So where do I start when looking more closely at the music on offer on this record? That’s simple as it turns out. The first ‘proper’ track, entitled ‘We Harvest The Souls Of The Brave’ encapsulates a little of everything that PreHistoric Animals are so good at. Bold electronic sounds start things off, before a chunky riff enters, providing a little of that metallic muscle I referred to earlier. But from there, the verse quietens down to allow the unmistakeable vocals of Stefan Altzar to work his magic atop a cool beat and more diverse electronic sounds. And then the chorus strikes, and when it does, it hits the mark. I cannot fathom how it wasn’t love at first listen because now I love it. It’s often the earworm that’s present in my mind at the most unusual of times.

‘I Am The Chosen One (And I Like It)’ was one of the most difficult to get to grips with initially but now, ironically, is one of my favourites. The opening rhythm feels slightly off-kilter and there are what I perceive to be a few notes that are almost discordant. However, when paired with a chorus that’s incredibly strong anyway, it only feels more epic and powerful within its setting.

There’s a dark theatrical edge to ‘Cora’s New Secret’ that makes it a striking and immersive song. It feels very proggy and whilst it may not be overly heavy, I love the fact that there’s lots of space within it. And the space is used brilliantly, with layers of synths to create a rich soundscape into which is woven a gorgeous chorus that feels a little waltz-like but with hooks that are razor sharp. Add to this a fantastic performance from Stefan Altzar, as well as an energetic lead guitar solo, and it’s another quality song.

‘Protectors Of The Universe’ begins with what can only be described as a beautifully cinematic orchestral intro, a stunning affair. And when the tinkling piano notes begin alongside a crisp beat, it underlines just how strong and clear the production is on this album. Everything can be heard perfectly, however multi-layered the compositions become, increasing the overall enjoyment of the music tenfold. On headphones or in the car, ‘The Magical Mystery Machine – Chapter 2’ feels alive and glorious.

If you’re looking for further evidence of PreHistoric Animals’ ability to deliver a cracking melody, look no further than ‘2100 (New Years Eve)’. It might sound odd, but the effects on the vocals and the chosen melodies remind me vaguely of ELO. Hopefully this is taken as the compliment it’s meant to be, as I grew up on a diet of ELO and still love the music. The ensuing lead guitar solo is less reminiscent though, as is the rather insistent beat, laid down perfectly by Sam Granath.

The final track, ‘It’s A Start, Not The End’ extends beyond the nine minute mark and is a suitably epic composition upon which to close out this album. It contains easily the heaviest riffs on ‘The Magical Mystery Machine – Chapter 2’ much to my delight, but equally, it is also one of the emotional and minimalist tracks in places. At around the 3:30 point, the lyrics say ‘…now it’s time to go’ immediately after which we’re hit with a sensationally poignant guitar solo. It’s the kind of emotional affair that brings moisture to the eye, something that I really wasn’t expecting at all. These kinds of surprises only make the music more powerful and memorable as far as I’m concerned.

If ever there was any doubt about the quality of PreHistoric Animals, ‘The Magical Mystery Machine – Chapter 2’ extinguishes it. After some initial struggles, the Swedes’ third album has really struck a chord with me. And the fact that I had to work at it, means that my enjoyment of this record is that much greater now. PreHistoric Animals are a quirky band in many respects, but they are an equally special band. They create music that is very much their own, blending progressive rock with pop as seemingly only they can. And in a reality that’s really quite depressing for many of us, the music these four musicians create is an utter joy, providing an intelligence and beauty that’s sorely lacking elsewhere currently. If you’re already a fan, then this is a no-brainer. If you’ve yet to experience PreHistoric Animals though, I implore you to rectify this as swiftly as possible by checking out and immersing yourself in the wonderful soundscapes of ‘The Magical Mystery Machine – Chapter 2’.

The Score of Much Metal: 93%

Check out my other 2022 reviews here:

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Oh Hiroshima – Myriad – Album Review

Artist: Oh Hiroshima

Album Title: Myriad

Label: Napalm Records

Date of Release: 4 March 2022

During the near decade that I have run manofmuchmetal.com, I have had to face many of my long-held prejudices and reassess plenty of my likes and dislikes from a musical perspective. In the intervening years, I have now accepted and fully embraced the fact that I do really enjoy doom metal, and straight-up death metal, even giving in to the notion that music doesn’t have to have a big, sparkly production in order to entertain. I’ve still not fully come around to the ‘wasp in a biscuit tin’ lo-fi sounds that are the preserve of underground black metal, and I still have a hard time accepting that brass instruments and the saxophone have any place in heavy music, but I’m making progress, allowing my mind to open up more and more with each passing day. These changes in my stubborn mindset are leading to so many more wonderful listening experiences that I wouldn’t otherwise have enjoyed; so much so that I’m definitely going to continue to explore as much music as I can.

The latest realisation with which I am now firmly grappling has to do with another previous swear word in the Mansion Of Much Metal: ‘post’. For a long time, I have always seen the word ‘post’ hyphenated with the likes of ‘black metal’, ‘rock’ and ‘metal’, and immediately taken a step back. There are always exceptions to any rule, and I have entertained a few. But since the turn of the year, I have been faced with too many exceptions for my views against the ‘post’ descriptor to hold much credibility anymore. Toundra, Nordic Giants, and even Cult Of Luna have already struck a chord with me in 2022, receiving positive reviews. Yes, even Cult Of Luna. I know, right?

It’s entirely possible then, that I actually do like music where the word ‘post’ features in the description. The tipping point was a few days ago when I decided to give the latest album from Oh Hiroshima a listen. Naturally, this was my first foray into their particular world and within moments, I was absolutely certain that I was going to like this album. And so it has transpired over the ensuing days, even though it tests another of those aforementioned prejudices of mine – brass.

‘Myriad’ is the fourth full-length release from the Swedish post-rock/metal entity Oh Hiroshima, but it sees the light of day following a difficult period that saw one third of the trio departing the band. In early 2021, bassist Simon Forsberg’s departure saw Oh Hiroshima reduced to the duo of Jakob Hemström (Guitars, vocals, bass) and drummer Oskar Nilsson. I can’t comment on the past for obvious reasons, but all I can say is that the two remaining musicians have created an album that is fantastic.

The opening few moments of ‘Nour’ are dark, unsettling, thoroughly dirty, almost post-apocalyptic, and completely in keeping with what I’d expect from a post-rock band with a name like Oh Hiroshima. The vocals that emerge however, I was not expecting, as they have a Gothic, darkwave feel to them. Joined by a simple beat, I felt very confused on my first spin. Then, out of nowhere, we’re treated to a melancholy melody that’s immediately arresting. What’s more, the melody is created by a solemn trumpet…and I like it. It seems fitting somehow. From there, the song erupts into a wall of sound, albeit melodic and epic-sounding at the same time. The ebb and flow sees the duo plunder more dark dystopian tones, but it remains beautifully compelling thanks to anguished lead guitar notes and the reintroduction of the sad brass notes as an echo in the distance almost.

It is clear as ‘Myriad’ develops that atmosphere, emotion, and melody are high on the Oh Hiroshima agenda, as these facets combine time after time across the all-too-short record. Spanning around 40 minutes across seven songs, I’d have loved to hear even more music from these two, such is its quality.

The vocals from Jakob Hemström are much smoother, almost dreamlike on ‘Veil Of Certainty’, the longest composition on offer, falling just short of seven minutes. Again, the ebb and flow is marvellous, from moments of minimalism where just a throbbing bass duets with an energetic drumbeat, to all-out explosions of sound, it is both hard-hitting and ambient, confrontational and warmly melodic. The competing elements create a great sense of drama and tension in what is largely an instrumental affair, but one that is ultimately very rewarding given time and attention.

I adore the brooding intro of ‘All Things Pass’ that introduces keys to great effect. The melodic intent is present from the outset, building gradually as the song builds elegantly around it, only to fall entirely, to be replaced with vocals and synths only. There’s a modern Katatonia vibe deep within the bowels of the track which is probably entirely coincidental, but it gives you an idea of the dark vibes at play here. But it is also one of the most immediately catchy and engaging of all the songs too creating an interesting dichotomy in the process, especially as the brass makes a brief reappearance later on, without detracting one iota from my enjoyment. Who’d have thought it!

The tone within ‘Ascension’ is far more ambient and chilled, but it carries with it a strange atmosphere, neither entirely sad nor happy – it’s a bittersweet slow burning song that offers much more insight into the more delicate nuances of the Oh Hiroshima sound on this record. Hemström’s vocals are more prominent than at any time previously and it highlights what a great voice he has, almost dreamlike, and the ideal counterpoint to the gently building but always ethereal sounds within this particular track.

The brass of trumpets and trombone feature within the excellent ‘Humane’, which sees heavily affected vocals, and bold, rich bass notes surrounded by a gradual build-up of intensity until a controlled explosion takes place towards the end. However, in the album’s latter stages, it is to ‘Tundra’ that I find myself most drawn. I like the heaviness of the track, coupled with the oppressive darkness and the complimentary melodic sensibilities, all of which combine to create another superb composition.

Not only have Oh Hiroshima managed to put to bed any notion that I don’t really like ‘post-rock’ or ‘post-metal’, they have also given me cause to reconsider my blanket dislike of brass in heavy music too. But more importantly, the duo have managed to do so in a way that has provided me with great enjoyment over the past week or so. When the last delicate notes of ‘Hidden Chamber’ fade away, all I want to do is hit ‘play’ again and immerse myself in the rich sonic tapestry of ‘Myriad’ once more. Where power, emotion, melody, and drama combine, great music can be found, regardless of the instrumentation or the genre descriptor. Look no further than ‘Myriad’ by Oh Hiroshima for the perfect example of this sentiment.

The Score of Much Metal: 91%

Check out my other 2022 reviews here:

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