Tag Archives: rock

Cosmograf – The Hay-Man Dreams – Album Review

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Artist: Cosmograf

Album Title: The Hay-Man Dreams

Label: Cosmograf Music

Date Of Release: 14 July 2017

When I reviewed ‘The Unreasonable Silence’, the fifth album from Robin Armstrong under the Cosmograf moniker, it was my first real exposure of this project. I really enjoyed that record and still listen to it on a relatively regular basis. And so I just had to get involved again when, just a year later, I heard noises from Armstrong on social media regarding a follow-up. And here we are, with my considered thoughts on album number six, entitled ‘The Hay-Man Dreams’.

Ostensibly a one-man project, one of the strengths of Cosmograf is that Robin is always open to allowing others into the fold. Perhaps it has something to do with an acceptance of his limitations where certain instruments are concerned. Or perhaps, just as likely, it is because Robin is an intelligent chap and he understands the fact that his compositions can benefit from the inclusion of others.

This time around, the cast of guest musicians is different but no less mouth-watering, featuring Kyle Fenton on drums, Big Big Train violinist Rachel Hall, former BBC voiceover artist David Allan as the narrator, The Fierce And The Dead guitarist Matt Stevens and the returning vocalist Rachael Hawnt. Robin himself handles all the songwriting and production duties as well as being the primary vocalist, guitarist, keyboardist and bassist.

Thematically, I’d venture to say that ‘The Hay-Man Dreams’ is darker and more poignant, at least on a human level than previous releases, as far as I am concerned at any rate. The concept resonates with me greatly as this record tells the story of the untimely death of a farm labourer and the loving family that is left behind. At the centre of the tale is the scarecrow or ‘hay man’, as depicted on the beautifully moody album cover artwork.

And over time, I have well and truly fallen for the veritable charms of ‘The Hay-Man Dreams’. What I love most about it, is its richness and vibrancy. This is a lush album sonically, with real depth and an atmosphere that envelops the listener from beginning to end. A lot of this has to do with the production of the record but there’s more to it than that I feel.

For one, I like the fact that ‘The Hay-Man Dreams’ is a slightly more guitar-driven record than others in the catalogue. As someone who prefers their music on the heavier end of the spectrum for much of the time, an increase in oomph with the guitars will always be welcome. Importantly though, Robin has not sacrificed the subtlety of his music as a result; indeed, ‘The Hay-Man Dreams’ remains as varied, nuanced and cinematic as you’d hope and expect from a seasoned progressive rock artist.

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Take the opening track for instance. ‘Tethered And Bound’ features some gorgeously strong riffs made all the sweeter by the chosen tones, forcing a raising of an eyebrow in appreciation. However, the song offers much more besides, opening up with some theatrical narration from David Allan atop a dark and foreboding synth-led soundscape and later delving into more minimalist territory where we’re treated to some classic prog keyboard effects. Naturally, given the album’s subject matter, the lyrics are not a ray of sunshine and they are delivered very honestly and with passion by Robin himself.

Acoustic guitars feature prominently alongside the piano and synths as well as some hushed vocals to create an intro to ‘Trouble In The Forest’ that is ethereal in tone and bathed in rich atmosphere. Robin’s vocals are really captivating when they eventually arrive at around the three-minute mark, echoing the sense of sadness that the track conveys so well with its evocative melodies. The bass work is prominent and offers a sombre flamboyance, whilst the guitar solo courtesy of the highly talented Matt Stevens in the latter stages is a thing of beauty, like an eruption of raw feeling as if from nowhere.

‘The Motorway’ offers a change of pace somewhat and is welcome because of it. Again it is introduced by acoustic guitars but they are quicker and more urgent in tone, not dissimilar in some ways to the likes of latter-day Anathema. As the intro gives way to the heart of the song, there’s an overt and instantly demonstrable 70s prog rock vibe to what is ultimately a slightly brighter and breezier number. Robin’s voice impressively reaches new heights and there’s a cheekiness to some of the melodies and numerous embellishments. This isn’t to say that there’s not a dark underbelly to the song, because there certainly is, and as the song reaches the half-way mark, I am surprised by the classic rock vibe that is introduced as well. It is unexpected, but it fits the song really well, as does the energetic and expressive extended guitar solo that sees the song to its conclusion.

Without doubt, my favourite track on ‘The Hay-Man Dreams’ has to be ‘Cut The Corn’. If the previous three tracks were dark and sombre, this song takes things to a new level. Slow-paced and led by a simple but effective piano melody, there is a melancholy fragility to the song, enhanced by Robin’s vocals that come across as very heartfelt, vaguely reminiscent of Marillion’s Steve Hogarth at times. The song builds gently in intensity as more layers of synths and a simple beat are introduced. The acoustic guitar solo that then enters the fray is stunning, heartbreaking, poignant and melodious in equal part.

‘Melancholy Death of a Gamekeeper’ does little to lift the mood, but its neo-prog overtones are beautifully lush and inviting, helping to soften the sober edges just a little. Rachael Hawnt then takes centre stage as the six-track album draws to a close via the 12-minute epic title track. It begins quietly with plenty of acoustic guitars and Hawnt’s delicate vocals before taking a pronounced cinematic turn thanks to more narration and atmospheric sound effects that are both sombre and quite thought-provoking in tone. Rachel Hall’s distinctive violin playing lends a folk edge but not before the song has flirted with some of the heaviest material I have heard from Robin. Churning riffs swirl around us as well as some excellent lead guitar shredding and I’m thoroughly engaged and edified by the marked change of pace and intensity. At the flip of a switch though, the folk-esque violin melody acts as a stark juxtaposition and alongside the sounds of nature within the closing pastoral soundscape, it is undeniably reminiscent of Hall’s main employer Big Big Train and the perfect way to end this record.

I truly hope that my preceding waffle has sufficiently captured how much I like this record. If not, I have failed miserably because I have genuinely taken ‘The Hay-Man Dreams’ to my heart. It is, for me, right up there with the very best that the progressive rock world has to offer right now. Confident, assured, intelligent and beautiful; that’s Cosmograf and that’s ‘The Hay-Man Dreams’.

The Score Of Much Metal: 9

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

2015 reviews
2016 reviews

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

Anathema – The Optimist – Album Review

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Artist: Anathema

Album Title: The Optimist

Label: Kscope

Date of Release: 9 June 2017

Anathema is one of my top 5 bands of all time. As such, their new full-length release, ‘The Optimist’ is easily my most highly anticipated album release of 2017.

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.

I have always liked Anathema, discovering the Liverpudlians via the magnificent ‘Eternity’, back in 1996 as a teenager. However, it was with 2010’s ‘We’re Here Because We’re Here’ and 2012’s ‘Weather Systems’ that my admiration grew into a full-blown love affair, further cemented by ‘Distant Satellites’ in 2014.

To some extent, timing was everything. ‘We’re Here Because We’re Here’ was born less than two years after the heartbreaking passing of my younger brother. And so, when the song ‘Presence’ delivers the spoken word lines of ‘Life is not the opposite of death. Death is the opposite of birth. Life is eternal’ atop a gorgeously ethereal soundscape, I was floored. I know it sounds nonsensical but I felt like Anathema knew me and had put this into the album just for me to help ease my own inner turmoil.

‘Weather Systems’ was released just two years later. Stronger human beings might have moved on from personal tragedy better than I but truth be told, I was still struggling. As such, when I heard ‘Internal Landscapes’ with another powerful spoken word intro delivered by a man who had suffered a near-death experience, I was hit once again. Was this written for me? Of course not, but the conflicting emotions that it stirred in me made me think so. From despair at my loss to the comfort of gaining a little insight into what my brother might have felt as he slipped from us, this masterpiece within Anathema’s undeniable tour-de-force continues to have a huge and lasting impact.

And then, if that wasn’t enough, along came ‘Distant Satellites’ in 2014. I had the pleasure of meeting and interviewing Daniel and Vincent prior to its release. The guys graciously listened to my babblings as I tried to ineloquently describe the importance of their music to me. To my eternal gratitude, the brothers then gave me the gift of a whole new perspective on ‘The Lost Song, Part 2’. Already an achingly gorgeous song, their words made this composition even more important, further cementing the bond between Anathema, my brother and me.

Given all this history, it is very difficult for me to remain entirely objective where Anathema is concerned. And naturally my expectations will be massive ahead of the release of any new material.

And, to begin with, I struggled with ‘The Optimist’, the eleventh album of the Liverpudlian’s career. Never ones to shy away from experimentation, ‘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’. If I’m honest, whilst I love that specific track, I had my doubts and concerns should Anathema venture further down this musical avenue.

The fact that they have done just that perhaps explains why my initial thoughts on ‘The Optimist’ were not overly favourable. The selfish side of me wanted ten more close variations of ‘The Lost Song Part 2’ or ‘Internal Landscapes’ and I felt disappointed that together, Vincent Cavanagh (vocals, guitars, keys), Daniel Cavanagh (guitars, keys, vocals), John Douglas (acoustic/electronic percussion), Lee Douglas (vocals), Jamie Cavanagh (bass) and Daniel Cardoso (drums/keyboards) hadn’t indulged me.

Anathema-promo-2017-1-1024x683 Caroline Traitler

Credit: Caroline Traitler – http://www.carolinetraitler.net

With the benefit of time and perseverance though, I can now admit that it is not the music on ‘The Optimist’ that was at fault, but my own issues, my own limitations and my selfishness. ‘The Optimist’ is not an instant fix, an immediate score of your favourite musical drug. What it is instead, is a multi-layered, multi-faceted record that demands time and effort on behalf of the listener to unlock its true potential. And when it unlocks…wow!

Interestingly the band have married this latest step forward sonically with a thematic step backwards. In 2001, Anathema released an album called ‘A Fine Day To Exit’ which told the story of a man who wanted to escape his life and the modern world. ‘The Optimist’ reprises this story and in so doing, provides closure to a story that was left unfinished. In typical Anathema style however, the conclusion remains deliberately ambiguous, inviting personal interpretation by the listener.

This thematic decision explains the somewhat strange title of the opening track on ‘The Optimist’, namely ’32.63N 117.14W’. These are in fact the co-ordinates for the beach in San Diego where ‘A Fine Day to Exit’ concludes and which, I assume, adorns the cover of that album, a cover that becomes quite emotional with closer scrutiny. I’ll admit that this is in no way my favourite album in the Anathema back catalogue but I had often thought about that cover and the family photo that sits on the dashboard of the empty car wondering how this story ultimately played out. And now I can.

This opener very much has the feel of a concept album introduction. The sound of waves lapping on the shore, footsteps crunching on the beach, a car engine starting and then station-hopping on the car radio. It is more a scene-setter than a piece of music per se but it then segues rather seamlessly into ‘Leaving It Behind’ and we’re off. And we’re off at some pace, because this is a massively up-tempo, loud and abrasive piece of rock music. The electronic aspect is present from the beginning but with a bit of listening, it really enhances the track, adding an interesting slant to the composition, particularly in the brief atmospheric mid-song break down. As the song develops, the intensity increases as guitars begin to build up into walls of jangly sound whilst the drumming from Cardoso is relentless, ably assisted by bassist Jamie Cavanagh. To my mind, it is the perfect way to introduce an album that has deliberately and consciously been recorded ‘live’ in the studio, because the resulting energy is palpable and thoroughly infectious, pulling the listener along for the heady ride immediately.

As ‘Endless Ways’ begins quietly with just a lone piano and plaintive melody, I’m still catching my breath a little. But as Lee Douglas enters the fray for the first time, accented by some lush orchestration, my attention is well and truly undivided. The melodies and angelic vocals are more reminiscent of the last couple of albums, even if Douglas has parked the vibrato which characterised previous performances. Here, as the song majestically builds from humble beginnings into a powerful and heartfelt outpouring of emotions, Lee demonstrates that she is one of the shining lights in rock music today, whilst Anathema demonstrate that they haven’t lost their mercurial spark, whatever I might have first thought. And yes, you guessed it, the tears flow as I find myself being emotionally nourished by the incredibly important rock in my life that is Anathema.

“Hold on, hold on for dear life
And run, and run all night
For you are loved in endless ways
Stay with me, please believe
I can be your memory

My world will never be the same
And my heart is never going to regret
For you are loved in endless ways
Are loved in endless ways”

This wasn’t written for me, just as previous lyrics weren’t. But they could have been. These words resound with me, they touch me and they comfort me.

More piano introduces the title track, but it is Vincent that initially joins in vocally, joined by Lee at times but only fleetingly. Delicate melodies that are pure Anathema begin to work their charm after a few listens and further orchestration embellishments help to propel the song to a new level of sophistication. The track ebbs and flows, toying with the listener’s moods, but as with its predecessor, there is a subtle build-up towards a crescendo where there’s a hint of a wailing guitar in the vein of songs like ‘Anathema’.

‘San Francisco’ is a bit of an odd one. It is an instrumental that is dominated by a rather repetitive yet strangely beguiling melody, a reprise of sorts of ‘Endless Ways’ if I’m not mistaken. It is then accented by atmospheric synths and electronic sounds which help to set a completely different tone, one that I warm to more and more as time goes by.

In keeping with the concept vibe, the sounds of a train in full flight acts as a pause before ‘Springfield’ is introduced, almost shyly and reluctantly via a quiet and delicate guitar melody which is quickly taken up by the piano. Electronic sounds make a subtle return but it is the insistent rhythmic beat that makes the biggest impression in the early stages, driving the song towards what ultimately becomes an imposing wall of post rock-inspired sound led by urgent guitars and topped off by Lee’s serene voice almost pleading to the heavens. The track then falls away to conclude in a minimalist manner accompanied by the sounds of waves, distant sirens and the whispers of a male voice.

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Credit: Caroline Traitler – http://www.carolinetraitler.net

‘Ghosts’ then offers one of the most poignant and immediate melodies on the album which is enhanced by a beautiful string arrangement and a beat that together suggests something reminiscent of a film soundtrack. By contrast, ‘Can’t Let Go’ ups the pace and features arguably Vincent’s strongest performance on the entire record. Once again, drummer Cardoso provides the drive to a track that begins in bold fashion but which builds sublimely through a clever injection of rich and vibrant aural textures.

We return to another snippet of action from the central character before we delve into the murky world of ‘Close Your Eyes’, which evokes images in my mind of a dark and smoky backstreet jazz club. I can appreciate the composition and I don’t dislike it but it is by far and away my least favourite track on the album. The fact that a trumpet plays a significant role no doubt feeds my apathy as I continue to fail to warm to brass of any kind in my music.

Any lingering misgivings are short-lived however as ‘The Optimist’ ends in genuinely commanding fashion courtesy of ‘Wildfires’ and the fittingly-titled epic closer, ‘Back To The Start’.

The former has a dark, eerie tone created by the haunting, echoed vocals of Vincent atop the ubiquitous piano which for large portions of the track delivers something monotone, incessant and deliberately uncomfortable. But it works, as does the controlled explosion of sound before another swift descent into a minimalist, thought-provoking abyss.

The album is then brought to a close by the near 12-minute ‘Back To The Start’ and it is nothing short of magical, the perfect way to round out this impressive body of work. The sound of waves gently lapping onto the beach ushers in an aching and gorgeous melody that, when coupled by some devastatingly honest lyrics, threatens to reduce this grown man to tears yet again. I’m not normally someone who likes choral vocals, especially when they have a vague gospel ‘happy’ feel to them, but here, it just sounds right. Perfect in fact. The combination of voices, orchestration and lyrics as the song builds and ultimately reaches its climax is truly epic and a feeling of barely contained euphoria washes over me, bathing me in a warm glow. It’s all too much, so when the final act of the central character follows, I get tingles, chills and all manner of conflicting emotions.

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. Whether or not it ultimately surpasses the last couple of records in terms of my overall enjoyment, only time will tell. For now though, I am content to lose myself in ‘The Optimist’ via its aural magnificence and the emotional succour that it provides to this fragile and damaged soul.

The Score of Much Metal: 9.5

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

2015 reviews
2016 reviews

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

Avatarium – Hurricanes And Halos – Album Review

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Artist: Avatarium

Album Title: Hurricanes And Halos

Label: Nuclear Blast

Date Of Release: 26 May 2017

‘Hurricanes And Halos’ is the title given to the third studio release from Swedish doomsters Avatarium, a band that was formed in the minds of Leif Edling (Candlemass) and Marcus Jidell (ex-Evergrey, Soen) before becoming a reality in 2012. Their sophomore album, ‘The Girl With The Raven Mask’ was released in 2015 and, quite rightly, it garnered much critical acclaim. If the world was beginning to take notice of Avatarium, this record catapulted the quintet into the full glare of the heavy metal spotlight.

But much has changed in the world of Avatarium since the releae of ‘The Girl With The Raven Mask’. The band is now a sextet of sorts, but the back story is much more complicated than a simple addition to the ranks. Leif Edling has now stepped away from the bass but remains involved and can claim the song writing credits to six of the eight tracks on ‘Hurricanes And Halos’. Into the vacated bass slot therefore, comes Mats Rydström and he is joined by fellow newbie and organ player Rickard Nielsson who has replaced keyboardist Carl Westholm. The rest of the band remains the same however, with co-founder Marcus Jidell on guitars, Jennie-Anne Smith behind the microphone and Lars Sköld on the drums.

Given the comings and goings behind the scenes, it could have been easy for Avatarium to take their eye off the ball and deliver a new album that wasn’t up to the standard of their last. But to think in such a way would be a mistake and would be to do the members of Avatarium a huge disservice. When you have musicians of the calibre of Jidell, Smith and Edling, you’re almost certainly not going to get anything substandard. If anything, ‘Hurricanes And Halos’, which features a bigger song-writing contribution from the handsome couple of Jidell and Smith, is another confident step up for this band.

When I reviewed ‘The Girl With The Raven Mask’, I remarked that it generally takes a lot for me to get excited about an album that has one foot firmly planted in the realm of doom. Well, that statement remains true but Avatarium prove once again that they one of the few bands that can manage this feat. There’s something about this band that speaks to me.

This becomes even more unfathomable in many ways when I add in to the equation that Avatarium are also heavily steeped in 1970s nostalgia as well as seemingly professing an admiration for blues, classic rock and an occasional dalliance with psychedelia. If I take a look at my personal music collection, I have a hard job finding very much that fits within any of these genres. And yet, I love Avatarium. And I love ‘Hurricanes And Halos’. Go figure.

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In trying to do just that and figure out why I have such a connection with this band, I have hit upon many possibilities.

Firstly, there is the raw honesty and genuine depth found within the compositions themselves. You get the distinct impression as you listen, that nothing has been left at the door with these guys – it is all or nothing. When Jennie-Anne sings, she sings with such passion and richness that you can’t help but listen, rapt as she delivers her gritty monologues with finesse and such resonance. This is most definitely Jennie-Anne Smith’s best performance so far and at times, she threatens to steal the show entirely, such as within the chorus of the opener, ‘Into The Fire – Into The Storm’ as one of many examples.

With lesser musicians behind her, that might have easily happened. But not in Avatarium. In Marcus Jidell for example, Avatarium are blessed with one of the very best guitarists that I know of. I must have said all this a hundred times over the years, so once more couldn’t hurt. His style is not to belt out lightning fast lead runs or to show off with fancy gimmicks. Instead, he has a grace and elegance that means that he can convey an emotion or a thought with one carefully crafted note or a series of well thought-out chords.

As demonstrated in the aforementioned heady opener, ‘Into The Fire – Into The Storm’, Marcus has not forgotten how to rock out either. The song begins with a strong 70s doomy riff that gets things off to a bold and striking start. The Hammond organ of the equally impressive Nielsson joins the party briefly before becoming an integral part of the grand chorus and later, offers an indulgent but entirely fitting lead solo.

‘The Starless Sleep’ is another superb track, one that underlines the doom credentials of Avatarium as well as underlining the strength of the oft-unsung rhythm section. Skold’s drumming is precise but has a loose, carefree feel to it, whilst bassist Mats Rydström delivers a really satisfying low-end rumble to inject gravitas to the music.

The stripped back and darkly textured ‘Road To Jerusalem’ is the perfect song to act as contrast to the higher-octane opening tracks. It also showcases the beautifully organic and honest production to ‘Hurricanes And Halos’. This is not an album to be smothered in clever, modern effects or polished to within an inch of its life. Instead, in keeping with the music itself, producer Marcus Jidell alongside David Castillo (mixing – Katatonia, Opeth) and Jens Bogren (mastering – Soilwork, Sepultura) have created a living, breathing, colourful beast that loses none of the music’s potency along the way.

The icing on the cake with ‘Hurricanes And Halos’ is the surprising amount of variety on offer. Already I’ve described the full-on power and the more subtle sides of Avatarium, but there’s more to uncover along the way.

‘Medusa Child’ is a thoroughly engrossing piece of music that begins in commanding and heavy fashion. The hooky chorus then comes out of nowhere, at an almost complete right-angle to the more aggressive and potent music that surrounds it. And then, at the half-way mark, it morphs again. An eerie child’s voice sings the chorus lyrics whilst underneath, the band veers into almost ambient, post-rock territory as a quiet, subtle melody begins to build into a rousing finale, almost threatening to implode as it does so.

‘Hurricanes and Halos’ is as far as I can tell, as much an exercise in creating interesting and multi-faceted soundscapes as it is about crafting intelligent doom-infused rock music. This point is proven eloquently via the brooding ‘When Breath Turns To Air’ with its exquisite and melodic fragility. But it is then hammered home by the closing title track which is quite different in construction and tone, but is equally poignant and captivating.

For me, it is the perfect way to end the record, a record that has impressed and moved me in equal measure right from the off. I can think of no other band in the modern era who does this kind of thing better than Avatarium. That in itself should speak volumes about just how good it is. I doubt I’ll hear a more compelling doom-infused rock album all year.

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

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

Ayreon – The Source – Album Review

 

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Artist: Ayreon

Album Title: The Source

Label: Mascot Label Group/Music Theories Recordings

Date Of Release: 28 April 2017

My relationship with the music of Arjen Anthony Lucassen is a complex one. I would definitely class myself as a fan, but not one without reservation, as the back catalogue contains both the sublime and the slightly less impressive as far as I’m concerned. For example, I love the ‘Space Metal’ and ‘Victims of the Modern Age’ albums under the Star One moniker, whereas I have a hard time with early Ayreon records up to and including ‘Into The Electric Castle’. For many, this latter revelation will be akin to blasphemy, but that’s my opinion and I stand by it.

Nevertheless, latter Ayreon releases have made a much more positive impact with ‘01011001’ and ‘The Theory of Everything’ both capturing my imagination to the point where I was really excited to hear Lucassen’s ninth instalment of this particular franchise, ‘The Source’.

It has been a while in the making, some four years since the release of ‘The Theory of Everything’. Mind you, projects as ambitious as ‘The Source’ take some time and organisation to pull off, even for a workaholic like Lucassen. Additionally, the intervening period has also seen him working with Anneke van Giersbergen on the debut The Gentle Storm album, ‘The Diary’.

‘The Source’ is, as you might expect, a full-on science-fiction concept album, set 6 billion years in the past, that seeks to tell the story of an alien race’s attempts to save themselves and their planet from crisis. It is comprised of 17 individual tracks of progressive rock and in keeping with these huge Ayreon rock operas, it features no fewer than twelve guest vocalists, some which are new to the Ayreon family and others that are returning for another stint. As such, you get to hear the talents of James LaBrie (Dream Theater), Tommy Giles Rogers (Between the Buried and Me), Simone Simons (Epica), Mike Mills (Toehider), Floor Jansen (Nightwish), Hansi Kürsch (Blind Guardian), Michael Eriksen (Circus Maximus), Tobias Sammet (Edguy, Avantasia), Nils K. Rue (Pagan’s Mind), Zaher Zorgati (Myrath), Tommy Karevik (Seventh Wonder, Kamelot) and Russell Allen (Symphony X).

If that wasn’t enough, Lucassen, the multi-instrumentalist recluse is joined by a select group of musicians including drummer Ed Warby (Gorefest, Elegy), guitarists Paul Gilbert (Mr. Big), Guthrie Govan (The Aristocrats, Asia, Steven Wilson), Marcel Coenen and keyboard player Mark Kelly (Marillion). There’s even room for guest appearances from regulars like cellist Maaike Peterse, flautist Jeroen Goossens and violinist Ben Mathot.

Regardless of your thoughts on the music of Arjen Lucassen, one cannot deny his ambition to pull this project together, however seasoned a pro he might be. And on that note, let’s venture into the music itself. After all, that’s why you’re reading this review isn’t it?

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Cutting swiftly to the chase, it is fair to say that long term fans will be left feeling very happy with the results, wrapped safely in the comforting arms of the familiar. The die has been cast on previous Ayreon albums and by-and-large, there are no major deviations from the norm on ‘The Source’. It is over-the-top, pompous and at times, a little silly. Pick your cheese of choice and you’ll find a morsel or two of it here without question. My toes occasionally curl and I wince at certain points. The Celtic, folky ‘All That Was’ for example, does not fare well in my estimations, neither does the operatic injection within ‘Deathcry of a Race’ which is simply too much and a little ‘nails down a blackboard’ for me. As a result, ‘The Source’ is not the perfect, blemish-free release.

And yet, there is no escaping the fact that ‘The Source’ is a hugely enjoyable album for the most part, with plenty of stand-out moments where my imagination is fully captured and my enthusiasm ignited. And it must be said that much of my enjoyment comes from listening to the various vocalists who guest on this record. There are still those out there who dismiss heavy metal as just noise, overlaid by shouty blokes who can’t sing. Well, if there was ever a record to expose this ignorant view as the huge falsity that it is, it’s this one. The talent from across the gender divide is just off the scale and as absurd as the concept is in places, the vocalists breathe life into it, giving it a genuine credibility in the process.

In fittingly bombastic style, the record begins with a 12-plus minute epic that introduces just about every singer that features on the album. I’m not the biggest James LaBrie fan but even he sounds great, floating through an eerie and post-apocalyptic, dystopian soundscape at the outset. The song twists and turns throughout, never settling, as the groundwork for the concept is laid. Tommy Karevik is the early show-stealer thanks to an incredibly passionate and powerful performance, but the surprisingly heavy chugging riff pushes him close. Lucassen himself refers to this record as more guitar driven and heavier, a point that is underlined here right from the outset.

But the undoubted star of the opening act, surrounded by the likes of Nils K. Rue, Tobi Sammet and Hansi Kursch has to be Mike Mills. It’s a cliché as old as time to say that you could listen to certain vocalists singing the phonebook. But in the case of Mills, he manages to send shivers down my spine by singing something as dull as the binary code atop some moody, futuristic synths. ‘Zero, one, zero’ etc. has never sounded so utterly captivating and emotive, believe me.

I’m not such a fan of the funky, bluesy sequence that follows, although ‘Sir’ Russell Allen lends it a certain undeniable panache and swagger. There’s even time right at the death for Floor Jansen to lend her impressively huge vocal chords to see this opener out in rousing style. Had the entire record remained at this level, we’d have been staring down the barrel of a near-perfect score, it’s that good. In fact, I’d venture to suggest that it is one of Lucassen’s best under any of his various monikers.

Elsewhere, I’m a huge fan of ‘The Dream Dissolves’ with its killer lead guitar solo and the extended keyboard flamboyance. Aside from the aforementioned operatic section within ‘Deathcry of a Race’, it is a brilliant song thanks to its Middle Eastern melodies, heavy riffing and Zorgati’s distinctive vocals. And ‘Into The Ocean’ is a storming up-tempo rocker with overt 70s overtones created by the chosen keyboard sounds.

More heavy riffs and forceful drumming feature within the immediate and insanely catchy ‘Planet Y Is Alive!’ which evolves into something far more soundtrack-like and preposterously fun in the mid-section.

There are plenty more positives within this lengthy endeavour but for the sake of brevity, allow me to conclude with my joint-favourite piece, ‘Star Of Sirrah’. Heavy, melodic, over-the-top, this is Ayreon on top form. The song opens in moody but melodic and dramatic fashion with an acoustic guitar and bold synths before another huge, killer riff sweeps everything aside. It chugs and growls with real intent, complimenting all of the various vocalists who take a turn at delivering this part of the concept. If I had to nail my colours to the mast, I’d have to say that Nils K Rue offers the most compelling performance, closely followed by Tobi Sammet. It’s not a simple song by any means but it shows how superb Lucassen can be as a songwriter when he dials down the crazy and pens something a little more straightforward and rocking. Because boy does this track rock.

One of the nicest artists I’ve ever crossed path with is also one of the most openly insecure musicians in the business. Self-doubt riddles the psyche of Arjen Lucassen, something with which I can most definitely identify. The guy has an army of fans though and he always manages to attract great musicians to assist him with his music, so he must be doing something right. And there’s ‘The Source’ to further underline this conclusion. It might be a flawed record in places but regardless, ‘The Source’ is a triumph of which Lucassen should be rightly proud.

The Score Of Much Metal: 8.25

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

2015 reviews
2016 reviews

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

Bjørn Riis – Forever Comes To An End – Album Review

Kar126 Bjorn Riis - Front 3000

Artist: Bjørn Riis

Album Title: Forever Comes To An End

Label: Karisma Records

Date of Release: 19 May 2017

I’ve made no secret of my ardour towards the music of Airbag on this very blog. The Norwegian progressive rock band is a powerful entity with a knack of penning emotional and deeply engaging music, which comes across as smooth, rich and effortless. Nowhere was this evidenced more strongly than with their most recent studio recording, ‘Disconnected’, released mid-2016. It was magnificent.

Naturally then, how could I resist checking out the latest solo effort from Airbag’s principal song writer, Bjørn Riis? I completely missed his debut solo album, ‘Lullabies In A Car Crash’ because I was unaware of its existence. However, I wasn’t prepared to make the same mistake again. And I haven’t. I have spent the last few days getting to know ‘Forever Comes To An End’ quite intimately and it was a very wise decision to say the least.

It is fair to say that there definite and demonstrable similarities between the music on this record and the general output of Airbag. That’s hardly surprising really, because melodious and serene progressive rock is clearly in the genetics of Riis. Additionally, the album features the talents of Airbag’s drummer Henrik Fossum and programmer Asle Tostrup, who, alongside pianist Simen Valldal Johannessen (Oak) and Norwegian singer, Sichelle Mcmeo Aksum, both bring their own familiar approach to the table.

But, to refer to ‘Forever Comes To An End’ as a complete Airbag clone would be unfair and a little inaccurate. For a start, I would venture to say that Riis’ solo work features heavier passages of music than Airbag, certainly for more prolonged periods of time. As such, there are more pronounced peaks and troughs within some of the compositions, thus creating a sense of increased drama.

Take the opening title track as the prime example. It begins in commanding fashion, jam packed with strong riffs and an abrasive, tumultuous feel, something that returns at intervals as the track develops. But in between are the more archetypal soothing passages where Riis is able to put his guitar at the forefront of the composition, allowing it to embellish the composition as only he knows how, via plenty of emotive and soaring leads. It becomes almost a second vocalist at times, such is the eloquence with which it ‘sings’ atop some simple but memorable melodies. It’s no wonder Riis has been compared to the likes of Dave Gilmour throughout his career.

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Photo: Anita Stostad

‘The Waves’ is a beautiful track that further showcases Riis’ ability to build compositions from quiet beginnings to rousing crescendos and back again, all built around resonant melodies that linger long in the memory. By contrast, ‘Getaway’ is pulled along brilliantly by a driving beat that’s entirely infectious, delivering something tangibly 80s in tone, although I can’t quite place why I get this feeling. No matter, it’s a cracking track, worthy of the entrance price alone.

Another key difference between airbag and Riis’ solo work is the increase of music on ‘Forever Comes To An End’ that is clearly inspired by film scores and the cinema.

This is an aspect of this album that I have embraced wholeheartedly and which makes it so powerful in my opinion. The seeds are sown on the bleak and moody ‘Absence’, a track that brings the striking cover artwork (Kjetil Karlsen) to life. As the composition builds, so does the drama, enhanced by the wonderful aural textures created by Johannessen’s piano and Tostrup’s all-encompassing electronics.

The cinematic seeds then grow via the stunning instrumental ‘Calm’ only to thrive and ultimately bloom within ‘Winter’. It is the longest track on the album, thus allowing a culmination of all of the various elements of the record to come together, from controlled bombast, to post-rock minimalism, to progressive and cinematic and everything in between. The ethereal vocals of Sichelle Mcmeo Aksum are a striking addition here too.

Given that the album’s lyrics have been inspired by ‘broken relationships and loss and the emotional duality between resentment and forgiving’, it will come as no surprise that ‘Forever Comes To An End’ has dark and poignant overtones. If you’re looking for music to party to, this isn’t for you, put it that way. For me though, the lyrics fit the aural soundscapes perfectly, offering a strong and demonstrable human angle. Closer ‘Where Are You Now’ underlines just what fragile things human emotions can be, in the process ending the album in impressive, near tear-jerking fashion.

Whether or not ‘Forever Comes To An End’ will eventually eclipse Riis’ work with Airbag remains to be seen. If I had a criticism, it would be that I wish it was longer. At just seven tracks, it feels just a touch on the short side. Regardless of this minor quibble, this is a hugely impressive body of work in its own right and deserves to be enjoyed as such. ‘Forever Comes To An End’ is a no-brainer for anyone who enjoys expertly written and professionally executed progressive rock where textures and emotions are as important as the complexity of the music.

The Score of Much Metal: 8.75

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

2015 reviews
2016 reviews

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

Voyager – Ghost Mile – Album Review

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Artist: Voyager

Album Title: Ghost Mile

Label: IAV Records

Date Of Release: 12 May 2017

In the three years since the release of Voyager’s last album, ‘V’, much has changed in my life. I am no longer writing for Powerplay magazine, I’ve moved house and I now have a second daughter on which to dote. Not to mention double my stress levels and further eat into my spare time. Not that I’d have it any other way of course.

But in the world of Voyager, things have been surprisingly stable and quiet. For a band that has experienced more than their fair share of line-up changes over the years since their inception around 1999, the clientele has happily remained the same from ‘V’ to the current day.

As a result, Voyager 2017 consists of vocalist Daniel Estrin, guitarists Simone Dow and Scott Kay, bassist Alex Canion and drummer Ashley Doodkorte. A more talented and hungry group of musicians you’ll struggle to find and it shows too. This is a tight unit, a formidable machine.

The stock of the quintet who hails from the most remote city in the world has risen unbelievably over the last few years. They have gone from a band very much in the underground to one of the current darlings of the metal world. Some of this has to do with their live shows. I have yet to witness one but I have it on good authority that they are incredible, drawing the highest of praise and comments like ‘the best live performance I’ve ever seen’.

However, the other enormous factor in the rapid rise of the affable five from Perth, Western Australia is the music itself. Quite simply, Voyager is a band that keeps getting better and better. I joined the cause around the release of their fourth album, ‘The Meaning Of I’ in 2011, becoming smitten with their brand of quirky melodic progressive metal. I delved into their back catalogue and then salivated all over ‘V’, such was its brilliance.

To quote my review for Powerplay Magazine, “Immediate, catchy and satisfyingly heavy, ‘V’ is a brilliantly-written album, deserving of your undivided attention.”

And now finally and joyously, album number six is upon us. Entitled ‘Ghost Mile’, you very quickly realise that this is yet another impressive body of work from the good ship Voyager. Instead of the 13-track affair that ‘V’ was, ‘Ghost Mile’ consists of a mere ten tracks and a running time of 45 minutes. But worry not, because listeners have not been short-changed by this, not one iota.

What this represents in fact is that Voyager today is an even more tightly honed entity. More focussed 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.

Firstly, in a very similar vein to ‘V’, ‘Ghost Mile’ is impeccably produced. Mastered by Matthew Templeman and mixed by Simon Struthers, it sounds slick, polished and smooth. The music is provided a great depth and clarity which is vital given the subtle nuances at play within Voyager’s sound. But being a metal band, Voyager like to crack out the heavy occasionally and when they do, there’s plenty of muscle to back up the aggression, losing nothing in the mix.

There are definitely ingredients of many different bands within the Voyager sound, many influences. But the final result is just so unique that these reference points are rendered redundant. 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.

Each musician within the band brings something interesting and vital to the overall sound. Guitarists Simone Dow and Scott Kay are exemplary riff machines with an almost telepathic understanding. I love the tones of the guitars as well as the inventiveness of the riffs and chord structures. They work perfectly in tandem with a behemoth of a rhythm section comprised of the expressive and flamboyant bassist Alex Cannion alongside drummer Ashley Doodkorte who is metronomic in his accuracy, laying down a thunderous yet varied and cleverly nuanced heartbeat. And then there’s Daniel Estrin. I cannot get enough of this guy’s vocals – they are quirky and off-beat at times which adds to the uniqueness of Voyager’s output. But more than that, he is such a powerful, melodious and emotive vocalist. He also brings his skills with the ivories by creating the synth and key textures that layer the album, bringing with it that aforementioned atmosphere, a sense of drama and yet more originality.

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On to the songs themselves and ‘Ghost Mile’ opens up with ‘Ascension’. It is a track you’re likely to have already heard given that it was the first track released to an expectant fan base. When I first heard it, I had my reservations as it didn’t immediately seem to deliver a killer melodic hook or a chorus to grab my attention. However, I was wrong. It encapsulates just about everything that is so brilliant about Voyager.

Beginning with a gorgeously serene guitar and synth intro that subsequently welcomes in a simple, pounding drum beat, it builds a sense of tension which is released once the intriguing progressive-sounding riff kicks in. When the heavy guitars fall away, in come Estrin’s vocals which create the melodies as well as some really wonderful bass playing. Accompanied by layers of synths, there is genuine warmth to the music and it feels like it is seeping into my bones and my soul. And then, all of a sudden, some brief growls usher in something altogether heavier. An almost post-metal wall of groovy sound greets us, before things revert back, only for the song to close on a lurching, progressive/tech metal riff. I can’t help but grin already.

The grin then gets even bigger as the monstrous one-two of ‘Misery Is Only Company’ and ‘Lifeline’ take over. The former starts off in quirky, progressive fashion before delivering one of the strongest hook-laden choruses of Voyager’s career. Juxtaposed with some punchy, fast-paced music in the verses, this is a great blend of melodic and progressive metal par excellence.

‘Lifeline’ then reintroduces what becomes a bit of a trend on ‘Ghost Mile’, namely an ambient, atmospheric, almost electronic-sounding opening. The overtly progressive, twisting and turning track then builds expertly with stop/start riffing entering before being gradually joined by striking drumming and then Estrin’s trade mark melodic vocals. But the best is saved until the chorus. I adore what Dow and Kay do here but I’m at a loss to explain it more eloquently; the guitar notes send shivers down my spine, as if speaking directly to something primitive inside of me.

‘The Fragile Serene’ caresses the soul initially before stomping all over it with a more ponderously-paced riff. The track eventually quickens but, by taking the foot off the pedal, it cleverly introduces another strong and dynamic facet to the album. The synths are integral to this more wistful and dreamy-sounding composition, as are the more subtle melodies that permeate the consciousness with repeated listening.
It might only be a little over two minutes in length but ‘To The Riverside’ makes a huge impact. It is a composition that paints huge, stunning vistas in the mind’s eye. It is at once both soothing and surprisingly emotional. The tinkling keys, layers of synths and the pensive voice of Estrin all combine to stunning effect, only enhanced latterly by some simple additions from the rest of the band.

By contrast, the title track changes things up once again by offering a dramatic and intense listening experience right from the off. It is one of the most progressive tracks on the record by virtue of the fact that it never sits still. The melody remains but the tone is darker, more dystopian, accented by some bold sounds and samples and ultimately communicated via a deviation into extreme metal territory. Ferocious blast beats, fast-picked riffing and suffocating intensity all feature prominently in the latter stages as Voyager channel their inner anger with superb and eyebrow-raising results.

Not content with just one cut of extremity, ‘Disconnected’ also packs a real punch, along with more dark, foreboding atmosphere whilst the short, sharp and unashamedly modern pop-inspired ‘What A Wonderful Day’ also features a brief smattering of growled vocals for good measure.

‘This Gentle Earth’ is a beautiful track, predominantly a piano and vocal composition. It has bittersweet overtones as the melodies feel quite up-beat whereas the lyrics talk about having ‘never felt so alien’. The poignancy really makes me think, something that I heartily approve of.

All too swiftly, ‘Ghost Mile’ comes to a close with ‘As The City Takes The Night’. However, it says its goodbyes in the best possible fashion. Funky bass lines, more cracking riffs, layers of synths and another vocal masterclass all ensure that this melodic progressive composition is a more than fitting finale for such an amazing album. The chorus is once again a thing of understated and subtle beauty, wonderfully topped off by the more ethereal vocals that almost blend into the music. And when the album closes, it stays in my mind for quite some time.

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.

The Score Of Much Metal: 9.9

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

2015 reviews
2016 reviews

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