Moonlight Haze – Animus – Album Review

Artist: Moonlight Haze

Album Title: Animus

Label: Scarlet Records

Date of Release: 18 March 2022

When it comes to symphonic heavy metal, I can be a picky chap. I’ve not been much of a fan of any of Nightwish’s last few records, even with the incredible Floor Jansen on vocals, and Epica’s most recent is the first in a while that I’ve thoroughly enjoyed. And I’ve never really been a fan of Within Temptation at any point. Cutting to the chase, this kind of heavy music has to be right out of the top drawer, and right in my wheelhouse for me to give it the time of day. Take ‘Gods Of Debauchery’ by Seven Spires as an example. But I never cease my search for the next band to capture my imagination, as this review will attest.

Moonlight Haze hail from Northern Italy and were founded in 2018 by vocalist Chiara Tricarico and drummer Giulio Capone. Not ones to let the grass grow under their feet, they recruited three further musicians, and have released two albums already, 2019’s ‘Da Rerum Naturna’ and ‘Lunaris’ a year later. ‘Animus’ is the title of their latest full-length as they continue their quest for greater exposure and recognition in the symphonic metal world. And, if I am qualified to make such a call, I’d say that ‘Animus’ offers the quintet a decent chance at boosting their fanbase.

What Moonlight Haze offer is a very listenable and upbeat style of melodic symphonic metal, with a demonstrable power metal edge. It is a nicely crafted affair, with plenty of compositions that have immediacy, and deliver a potent shot of saccharine ear candy in the process. And, in Chiara Tricarico, Moonlight Haze are blessed with a frontwoman that has a powerful voice that commands some attention right from the very beginning. Versatility is her friend and whilst her occasional growls are not the best, I like the fact that she isn’t afraid to deliver them alongside both lower and higher-pitched, more melodic singing.

Unfortunately, what lets Moonlight Haze down, in my opinion, is the production and the lack of originality. With two guitarists, I definitely wanted the songs to sound heavier, certainly to have more metallic bite. Unfortunately, the symphonic arrangements tend to dominate the songs, leaving Marco Falanga and Alberto Melinato’s riffs rather diluted in the mix. It is an age-old problem within this genre, and it frustrates me because I really do want some aggression in the music, even if it still takes a back seat to other elements. The rhythm section of bassist Alessandro Jacobi and drummer Giulio Capone do their best to drive the material along and create a firm spine to the music, but the guitars do suffer and that disappoints me most of all. There’s a lack of a cutting edge, or music to grab hold of my attention.

In terms of the originality, I don’t think I’m being unkind to question Moonlight Haze’s identity here. I’ve said many times that originality is not everything, especially when the end product is very enjoyable. But in this case, the band sound a little derivative and don’t stand out from the crowd very much. What it means is that a lot of the material on ‘Animus’ is reasonably forgettable. Not necessarily while the album is playing, but certainly afterwards, I forget large swathes of what I’ve just listened to. For all the melody at play within the eleven tracks, the Italians rarely hit me with an instant earworm, or a chorus to beg me to return to. It’s all very ‘nice’, but nothing overly exciting.

As I said before though, my thoughts are unlikely to meet with universal approval and I may end up being in the vast minority. There is a definite market for music like this and those who have a weakness for it, will no doubt embrace it with open arms. And, if I’m being totally fair, there are a few songs here that are stronger than the others and deserve a little mention within this review.

For a start, there’s the up-tempo ‘Midnight Haze’ that sits mid-album and benefits from one of the strongest rhythms on the album, as well as a catchy chorus that has more of an impact upon me as most others. ‘It’s Insane’ is an undeniably spritely affair, with lashings of symphonics to counteract the unashamedly pop-metal veneer. And arguably, ‘Kintsugi’ feels like the most it has the most gravitas, being a free-flowing composition with a very catchy chorus alongside a touch more variety and bombast, not to mention a more-than-decent lead guitar solo. And finally, there’s the title track that is a little rougher around the edges by virtue of Tricarico’s raspy growls, but also sufficiently bombastic thanks, in particular, to the inclusion of layers of choral vocals.

I really don’t want to come across as being too negative when ‘Animus’ is such a slick, polished, and upbeat affair. It’s just that I wanted it to stand out from the crowd more, to offer some kind of edge, or try to introduce something new, however small it might be. Sadly, it doesn’t really do any of these things. As such, it is perfectly ‘nice’, but it is also far too safe and ‘beige’ for my tastes. If this sounds like your kind of music, all power to you, and I hope you check out Moonlight Haze accordingly because you’re bound to find an album very much to your liking.

The Score of Much Metal: 71%

Check out my other 2022 reviews here:

Hellbore – Panopticon

Konvent – Call Down The Sun

Idol Of Fear – Trespasser

The Midgard Project – The Great Divide

Threads Of Fate – The Cold Embrace Of The Light

Arkaik – Labyrinth Of Hungry Ghosts

New Horizon – Gate Of The Gods

Cailleach Calling – Dreams Of Fragmentation

Tundra – A Darkening Sky

Sylvaine – Nova

Hath – All That Was Promised

Sabaton – The War To End All Wars

Kuolemanlaakso – Kuusumu

Oh Hiroshima – Myriad

Godless Truth – Godless Truth

Shape Of Despair – Return To The Void

Eight Bells – Legacy Of Ruin

Embryonic Devourment – Heresy Of The Highest Order

Serious Black – Vengeance Is Mine

Allegaeon – Damnum

HammerFall – Hammer Of Dawn

Immolation – Acts Of God

Veonity – Elements Of Power

Nightrage – Abyss Rising

Arjen Anthony Lucassen’s Star One – Revel In Time

Pure Wrath – Hymn To The Woeful Hearts

Dagoba – By Night

The Last Of Lucy – Moksha

Arð – Take Up My Bones

Embryonic Autopsy – Prophecies Of The Conjoined

The Devils Of Loudun – Escaping Eternity

Cult Of Luna – The Long Road North

WAIT – The End Of Noise

Abysmal Dawn – Nightmare Frontier

Amorphis – Halo

Nordic Giants – Sybiosis

Persefone – Metanoia

Vorga – Striving Toward Oblivion

Mystic Circle – Mystic Circle

Nasson – Scars

Burned In Effigy – Rex Mortem

Silent Skies – Nectar

Celeste – Assassine(s)

Abyssus – Death Revival

SOM – The Shape Of Everything

Ashes Of Ares – Emperors And Fools

Beriedir – AQVA

Lalu – Paint The Sky

Nocturna – Daughters Of The Night

Battle Beast – Circus Of Doom

Lee McKinney – In The Light Of Knowledge

Descent – Order Of Chaos

Aethereus – Leiden

Toundra – Hex

Ilium – Quantum Evolution Event EP

Power Paladin – With The Magic Of Windfyre Steel

Necrophagous – In Chaos Ascend

Infected Rain – Ecdysis

Wilderun – Epigone

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

2021 reviews

2020 reviews

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Veonity – Elements Of Power – Album Review

Artist: Veonity

Album Title: Elements Of Power

Label: Scarlet Records

Date of Release:  18 February 2022

Veonity’s 2018 release, ‘Legend Of The Starborn’ was a bit of a power metal corker scoring highly on this very website. 2020’s follow-up, ‘Sorrows’ wasn’t bad either, but it’s fair to say that they did throw a bit of a curveball at us. Whilst ‘Legend…’ was epic European melodic power metal with elements of Rhapsody, Stratovarius, and Hammerfall all thrown into an intoxicating melting pot, ‘Sorrows’ was heavier, darker, and with a gritty lyrical content based more on the real world. No dragons, swords, or fantasy to be heard as the Swedes seemed to take their music in a slightly different direction. It was pretty good, but not as good as ‘Legend…’ in my opinion.

The question begged itself: what would the next Veonity album sound like? The answer has now arrived in the shape of ‘Elements Of Power’. Immediately, the front cover gives us a clue, as it harkens back far more to previous records; it is striking and crucially, it appears to be more fantasy-themed again. Could it be that the quartet have decided the real world really isn’t for them after all?

The answer is a big, unequivocal ‘yes’, and I can’t say I blame them to be honest. Forget Covid, forget soaring prices for just about everything, and forget the threat of war, ‘Elements Of Power’ is a full-on concept record about a boy who finally defeats evil and it well and truly sees Veonity firing on all cylinders. The press release describes the music as ‘classical ultra-power metal’, whatever that means. If it means thoroughly engaging and enjoyable power metal with high energy, catchy melodies, and big choruses, then I will agree with the description. Once this little beauty gets its claws into you, it is hard to extract them, I can tell you.

And those sharp claws are extended and ready right from the very first moment, and the intoxicating opening track, ‘Beyond The Realm Of Reality’. The guitars of Anders Sköld and Samuel Lundström immediately produce a fast, energetic cascade of vibrant notes, upon which the rhythm section builds with enthusiasm, both drummer Joel Kollberg and bassist Kristoffer Lidre working in tandem to create a furious tempo. And then comes the change of pace to an irresistible power metal gallop, whilst the vocals of Sköld begin to tell the tale of the young boy at the centre of the story. The ensuing chorus is glorious too, full of bombast and strong, catchy hooks. Dragonforce, Rhapsody, and a plethora of other power metal greats can be heard within this opening salvo, as Veonity signal with intent that they’re here to put on a real show.

The urgency of the opener continues straight into ‘The Surge’ as Veonity feel like a band possessed. Again, the tempo is high, and it continues pretty much throughout, with neoclassical guitar histrionics and swift solos from Lundström catching the ear almost as much as the bold keyboard solo that’s preposterous but brilliant. And yes, the chorus is great, led by the soaring vocals of Sköld perfectly.

‘Altar Of Power’ is a darker composition, slightly slower in tempo, but no less charismatic. The riffs are thunderous during a surprisingly groove verse before the parallels to the likes of Sabaton or Hammerfall emerge in a chorus that features multi-layered choral vocals that act like a battle cry. If you’re not punching your fist in the air as it hits, then I’ll be shocked.

As the superbly epic, cinematic intro ushers in the title track, I catch my breath whilst shaking my head, wondering how my very first listen didn’t have me instantly falling in love with ‘Elements Of Power’. A brooding start to the first verse allows the bass to come to the fore, much more than just a rumbling afterthought, dancing with vibrancy. Within the ensuing majestic chorus, Sköld gives one of his best performances behind the mic, but I just love the way that everything has been turned up to eleven, without sacrificing any of the musicality or potency of the music. The synths bathe the song with cinematic splendour, the lead guitar work is full of fire, the drums batter incessantly, and the whole thing is a masterclass in this kind of melodic power metal.

However good the music is, there will always be those who will bemoan the fact that power metal of this ilk is a touch preposterous and cheesy. To them I say: ‘yes, and?’ What’s wrong with a bit of fun and imagination, especially when the reality we’re faced with currently is so messed up? I say, ‘bring it on!’

‘Facing the Water’ is another fabulous song within an album full of rich pickings. The drum solo intro and ensuing guitar riff is intense and very powerful, as is much of the remainder of the song, complete with more galloping rhythms and rousing chorus. However, the key moment arrives just after the half-way point, where everything drops away so that Sköld sings alongside a minimalist soundscape comprised of synths, bass and a very sparse drumbeat. It is laced with emotion, and adds something different to the mix, something that captures my attention and intrigues me.

There are many other great moments littered throughout and I just love this record. Firstly, I love the fact that Veonity have gone back to an approach much more similar to ‘Legend Of The Starborn’, an approach that suits the Swedes much more comfortably as far as I am concerned. I also love the way in which the quartet are on the attack from the beginning, leaving absolutely nothing at the door; they have chosen their musical direction, and commit to it throughout. Of course, there’s an element of cheese to the concept story, but again, I love the sense of fun and escapism is provides. And, whilst there is a sense of pompous bombast to the music, the strength of the material means that it all works. I get caught up in the melodies, in the gloriously rousing choruses, and when I reach the end of ‘Elements Of Power’, I want to start all over again. And if you want to be transported to a different reality, just for a short while, whilst being assaulted by high quality, professional European power metal, I suggest you join me by giving Veonity your immediate attention.

The Score of Much Metal: 92%

Check out my other 2022 reviews here:

Nightrage – Abyss Rising

Arjen Anthony Lucassen’s Star One – Revel In Time

Pure Wrath – Hymn To The Woeful Hearts

Dagoba – By Night

The Last Of Lucy – Moksha

Arð – Take Up My Bones

Embryonic Autopsy – Prophecies Of The Conjoined

The Devils Of Loudun – Escaping Eternity

Cult Of Luna – The Long Road North

WAIT – The End Of Noise

Abysmal Dawn – Nightmare Frontier

Amorphis – Halo

Nordic Giants – Sybiosis

Persefone – Metanoia

Vorga – Striving Toward Oblivion

Mystic Circle – Mystic Circle

Nasson – Scars

Burned In Effigy – Rex Mortem

Silent Skies – Nectar

Celeste – Assassine(s)

Abyssus – Death Revival

SOM – The Shape Of Everything

Ashes Of Ares – Emperors And Fools

Beriedir – AQVA

Lalu – Paint The Sky

Nocturna – Daughters Of The Night

Battle Beast – Circus Of Doom

Lee McKinney – In The Light Of Knowledge

Descent – Order Of Chaos

Aethereus – Leiden

Toundra – Hex

Ilium – Quantum Evolution Event EP

Power Paladin – With The Magic Of Windfyre Steel

Necrophagous – In Chaos Ascend

Infected Rain – Ecdysis

Wilderun – Epigone

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

2021 reviews

2020 reviews

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Nocturna – Daughters Of The Night -Album Review

Artist: Nocturna

Album Title: Daughters Of The Night

Label: Scarlet Records

Date of Release:  21 January 2022

Today’s review is one of those ‘discoveries’ that I made when undertaking one of my famed late-night trawls through my promo accounts. Of all the genres of heavy music that I like, I’d place Gothic, symphonic metal lower down the list. I hate the term ‘female fronted’ because it sets the wrong tone, so I would prefer to refer to Nocturna as a symphonic power metal band with strong Gothic tendencies. It just so happens though, that the unique selling point for Nocturna is the fact that they have two vocalists, Grace Darkling and Rehn Stillnight, one operatic (Stillnight), one more traditionally ‘metal’ in delivery (Darkling).

Apparently, the band was created by Federico Mondelli (Frozen Crown, Volturian, Be The Wolf) but unless he goes by the pseudonym ‘Hedon’, his only involvement with Nocturna is the cover artwork. Joining guitarist Hedon, is bassist Antares and drummer Deimos. In videos that have been released, the three musicians behind the vocalists wear masks to cover their true identities, so it could literally be anyone under there.

Whoever they are, they make a decent racket, it must be said. After the ubiquitous instrumental intro, ‘Spectral Ruins’ I was ready to move on swiftly. The dark, Gothic, cinematic affair didn’t grab me and my mind started to wander elsewhere. And then ‘New Evil’ took over and to my shock and dismay, I didn’t immediately recoil from what I heard. An urgent lead guitar riff kicks things off before the symphonic arrangements join with an upbeat, galloping tempo. The music carries with it a decent heaviness, with the bass rumbling authoritatively, whilst the drumming is sharp and rather interesting. The vocal interplay between Darkling and Stillnight is also more engaging than I initially feared it might be too. I like the fact that you have the mix of styles that actually complement each other; the attitude and grit, counterbalanced by the smooth, soaring operatic delivery. Had it just been one or the other, I’d have more than likely got bored very quickly. Add to this a genuinely catchy and engaging chorus and my attention is well and truly caught.

If anything, the follow-up, ‘Daughters Of The Night’ is even heavier. Being the Man Of Much Metal, I welcome this revelation. The drumming in particular impresses me on this song, as does the lightning fast and chunky riffing that then gives way to an equally ripping solo whilst the pace of the song barely drops below ‘very brisk’. The melodies are pleasing to the ear too, making it two very solid tracks straight off the bat.

A word at this point to the production, which I also like. For once, I’m treated to a symphonic metal album that accentuates the metal portion of the material, rather than diluting it within the orchestral arrangements. You can also hear each of the instruments clearly, Antares’ bass never lost within the mix, further underlining the ‘heavy’ credentials of Nocturna.

The quality of music continues with ‘The Sorrow Path’ which, for the first time, sees the intensity lowered in favour of a slower ballad number. However, the vocals are really great from both singers, whilst the soundscape is rather majestic and full of pleasing melody. Yes, it’s a bit sugary, but it works and I really enjoy it.

The note of caution at this point in my review would be that Nocturna aren’t apparently interested in creating something massively original. You could liken moments within ‘Daughters Of The Night’ to most of the usual suspects that crop up when faced with music of this kind. And the fact that the press release suggests that Nocturna should appeal to fans of Nightwish, Within Temptation, and Epica amongst others, it suggests that the record label tend to agree. However, as I’ve stated in reviews previously, there is nothing wrong with not being original if the music that’s created is of a high standard. And in my opinion, Nocturna have created some great music here. In fact, ‘Daughters Of The Night’ is arguably more enjoyable to my tastes than both recent Nightwish and Within Temptation. For me, it’s the overt crunch and heaviness of the guitars, the powerful rhythms, and the vocal variety that works best, not to mention a really nice melodic aspect, with several choruses hitting pretty hard when they emerge.

‘Blood Of Heaven’ is a quickfire number that’s got real fire in its belly, as proven by the speed and aggression on offer; the drumming is incessant, the guitars really go for the jugular, almost thrash metal in style at points, especially at the immediate outset. And yet, the orchestral elements are bombastic, whilst the chorus is one of those aforementioned catchy beasts.

Towards the end of the album, there are a couple of less vital tracks. ‘Nocturnal Whispers’ is an unnecessary instrumental interlude, and despite the urgency, the final track, ‘The Trickster’ isn’t my favourite as it’s one of the more unremarkable compositions here.

That aside, there is much to like about Nocturna and I’ve taken to it much more forcefully than I ever expected. ‘Daughters Of The Night’ is one of those albums that reminds me how good this genre of music can be when all of the elements come together properly; it’s bombastic, it’s melodic, it is full of Gothic atmosphere, and most importantly, it is easily heavy enough to deserve the ‘metal’ tag. It might not be the most original of albums, but as I said before, it doesn’t need to be because the material speaks for itself and, as a result, the album is highly enjoyable. Do yourselves a favour therefore, and hunt out Nocturna and ‘Daughters Of The Night’ because you might be as pleasantly surprised as I am. In fact, I don’t think it is unnecessary and unwarranted hyperbole on my part to suggest that it’s quite possibly the best of its kind that I’ve heard in the last year or so.

The Score of Much Metal: 85%

Check out my other 2022 reviews here:

Battle Beast – Circus Of Doom

Lee McKinney – In The Light Of Knowledge

Descent – Order Of Chaos

Aethereus – Leiden

Toundra – Hex

Ilium – Quantum Evolution Event EP

Power Paladin – With The Magic Of Windfyre Steel

Necrophagous – In Chaos Ascend

Infected Rain – Ecdysis

Wilderun – Epigone

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

2021 reviews

2020 reviews

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Nightland – The Great Nothing – Album Review

Artist: Nightland

Album Title: The Great Nothing

Label: Scarlet Records

Date of Release: 19 November 2021

Once in a while, an album will come along about which you had no idea, and will knock you sideways. It’s a special feeling and is one of those fundamental experiences that keeps me coming back day after day, to listen to new music, review it, and hopefully discover something a little bit special in the process. Reviewing the more established, well-known acts creates its own buzz, but finding a new gem is something else entirely. You can probably tell that the focus of today’s review is once such album. Is it perfect? No. But is it exciting? Yes. Does it suggest that there’s a new name that needs to be shouted about? Yes. Does the album give me ‘the feels’? Hell yes.

The album in question is entitled ‘The Great Nothing’, and it is the third album by a band called Nightland. You may already be familiar with the name, but I certainly wasn’t. For those in the same boat as I, Nightland hail from Italy. They are a quartet comprised of guitarist/vocalist Ludovico Cioffi, guitarist Brendan Paolini, bassist Filippo Scrima, and drummer Filippo Cicoria. Cioffi also handles the orchestral arrangements that, as will become clear, play an important role in the music of Nightland. For Nightland have chosen to plunder the world of symphonic death metal, with a vague hint of tech/prog for good measure. On the strength of ‘The Great Nothing’, Nightland is definitely a name that should, from now on, be uttered in the same breath as the likes of Fleshgod Apocalypse, Septic Flesh, and Persefone to name just a few.

Many of you know that I have a genuine weakness for well-executed symphonic death metal, and Nightland definitely scratch that itch. The music isn’t as over-the-top in the orchestral sense as the likes of Fleshgod Apocalypse tend to be, but the music is no less grandiose, dynamic, and imposing as a result. Vocalist Cioffi has a deep gruff growl that’s not dissimilar at times to Dimmu Borgir’s Shagrath, especially when treated to a few effects. But the songs are laced with well-placed clean vocals too, as well as choral voices, adding depth to the material. However, the key strength to the Nightland sound is their ability to create gorgeous melodies that interweave the compositions, thus leaving an indelible mark on the listener. And these melodies don’t just grace a couple of the tracks, they are evident within them all to a greater or lesser extent.

And, at 48 minutes, ‘The Great Nothing’ is an ideal length for this kind of intense music. Spread over six or eight songs, depending on how you view the three-part closing epic, the only feeling I get when the album comes to a close is one of surprise that it’s all over, alongside an urge to press play again to delve into the Nightland soundscape once more.

When I mentioned the similarities to Shagrath, just take a listen to the shorter, punchier, and rather anthemic ‘Further’ for the evidence to support this statement. The verses feature a pulsating bass alongside the heavily effected vocals, but the juxtaposition between this and the rousing chorus is stark. Here you get layers of anthemic synths, choral clean vocals, and a really rich, powerful lead guitar solo on top.

Compare this to the opener, ‘The Conjunction Of Benetnash’ or the ten-minute long ‘Shade Of A Lowering Star’ and there is a really great feeling of variety to be heard within the music. The opener begins in imposing fashion, with bold orchestration embellishing heavy chugging riffs, expressive lead lines, and a muscular rhythm section. Blast beats feature, but not incessantly, whilst it is refreshing to be able to hear the bass of Filippo Scrima so clearly. When clean vocals duet with the growls, they add melody to an otherwise bruising, but enjoyable encounter, whilst there’s a palpable energy as eventually the intensity gives way to a singing lead solo, albeit briefly. ‘Shade Of A Lowering Star’ is the very definition of ‘epic’, beginning tentatively with a lone piano before a measured riff takes over, itself bolstered by grand orchestration. The changes of pace, the ebb and flow of the music, as well as the injections of stunning melody are an utter joy to behold. I’m not entirely sure that the track requires the rather long atmospheric outro, but aside from that, it’s a class act.

In a complete change of pace, ‘101 Megaparsecs’ sees Cioffi experiment and in so doing, he creates a beautifully rich film score piece that could easily feature as a sci-fi soundtrack. It might divide opinion amongst listeners, but personally, I really like it and it is worthy of its place on the album; to suggest otherwise is just wrong as far as I’m concerned.

Without question however, the crowning glory of this brilliant record arrives in the shape of the final composition, the 16-minute, three-part title track. Use any adjectives you like: ‘rousing’, ‘epic’, ‘moving’, ‘grandiose’, ‘sumptuous’; they are all justified, as well as many more besides. ‘Part 1: Of Seeking And Straying’ takes a while to get going, but when it does, it’s an outpouring of thoroughly warm and inviting extreme metal. The central melody that’s reprised throughout the three parts makes an instant impact but so does the perfect blend of extremity and orchestration. ‘Part 2: The Reliever’ is a chance to unleash the acoustic guitars as well as a flexing of aggressive muscles from all concerned, be it a blast beat, effervescent lead solo, or strident symphonics. The final part, ‘Pursuers Of Absolution’ offers more film score-worthy material before delivering the most satisfying of crescendos, ensuring that ‘The Great Nothing’ ends in the best way possible.

There’s an argument that might be put forward by some that ‘The Great Nothing’ is almost too melodic, thus robbing the heavier elements of some of their punch. I can see that criticism, I honestly can. But for my tastes, Nightland have created an amazing album, full of aggression, depth, and with a massive melodic intent. I’m delighted to be able to shine the spotlight on this talented Italian symphonic death metal band, and I genuinely can’t wait to see what’s next for them.

The Score of Much Metal: 91%

Dessiderium – Aria

Cynic – Ascension Codes

TDW – Fountains

Hypocrisy – Worship

W.E.B. – Colosseum

Navian – Cosmos

NorthTale – Eternal Flame

Obscura – A Valediction

Nightland – The Great Nothing

MØL – Diorama

Be’lakor – Coherence

Hollow – Tower

Doedsvangr – Serpents Ov Old

Athemon – Athemon

Eclipse – Wired

Swallow The Sun – Moonflowers

Dream Theater – A View From The Top Of The World

Nestor – Kids In A Ghost Town

Beast In Black – Dark Connection

Thulcandra – A Dying Wish

Omnium Gatherum – Origin

Insomnium – Argent Moon EP

Kryptan – Kryptan EP

Archspire – Bleed The Future

Awake By Design – Unfaded EP

Cradle Of Filth – Existence Is Futile

Seven Spires – Gods Of Debauchery

Sleep Token – This Place Will Become Your Tomb

Necrofier – Prophecies Of Eternal Darkness

Ex Deo – The Thirteen Years Of Nero

Carcass – Torn Arteries

Aeon Zen – Transversal

Enslaved – Caravans To The Outer Worlds

A Dying Planet – When The Skies Are Grey

Leprous – Aphelion

Night Crowned – Hädanfärd

Brainstorm – Wall Of Skulls

At The Gates – The Nightmare Of Being

Rivers Of Nihil – The Work

Fractal Universe – The Impassable Horizon

Darkthrone – Eternal Hails

Thy Catafalque – Vadak

Terra Odium – Ne Plus Ultra

Hiraes – Solitary

Eye Of Purgatory – The Lighthouse

Crowne – Kings In The North

Desaster – Churches Without Saints

Helloween – Helloween

Fear Factory – Aggression Continuum

Wooden Veins – In Finitude

Plaguestorm – Purifying Fire

Drift Into Black – Patterns Of Light

Alluvial – Sarcoma

White Moth Black Butterfly – The Cost Of Dreaming – Album Review

Silver Lake by Esa Holopainen

Bloodbound – Creatures From The Dark Realm

Nahaya – Vital Alchemy

Frost* – Day And Age

Obsolete Theory – Downfall

Vola – Witness

Acolyte – Entropy

Dordeduh – Har

Subterranean Masquerade – Mountain Fever

Seth – La Morsure Du Christ

The Circle – Metamorphosis

Nordjevel – Fenriir

Vreid – Wild North West

Temtris – Ritual Warfare

Astrakhan – A Slow Ride Towards Death

Akiavel – Vae Victis

Gojira – Fortitude

Hideous Divinity – LV-426

Benthos – II

Evile – Hell Unleashed

Ninkharsag – The Dread March Of Solemn Gods

Bodom After Midnight – Paint The Sky With Blood

Morrigu – In Turbulence

Mother Of All – Age Of The Solipsist

Throne – Pestilent Dawn

Sweet Oblivion (Geoff Tate) – Relentless

Exanimis – Marionnettiste

Dvne – Etemen Ænka

Cannibal Corpse – Violence Unimagined

Arion – Vultures Die Alone

Maestitium – Tale Of The Endless

Wode – Burn In Many Mirrors

Everdawn – Cleopatra

Unflesh – Inhumation

Mourning Dawn – Dead End Euphoria

Wheel – Resident Human

Wythersake – Antiquity

Odd Dimension – The Blue Dawn

Metalite – A Virtual World

Cryptosis – Bionic Swarm

Ghosts Of Atlantis – 3.6.2.4

Memoriam – To The End

Aversed – Impermanent

Secret Sphere – Lifeblood

Enforced – Kill Grid

Liquid Tension Experiment – LTE3

Turbulence – Frontal

Iotunn – Access All Worlds

Warrior Path – The Mad King

Stortregn – Impermanence

Mariana’s Rest – Fata Morgana

Orden Ogan – Final Days

Witherfall – Curse Of Autumn

Plague Weaver – Ascendant Blasphemy

Ephemerald – Between The Glimpses Of Hope

Paranorm – Empyrean

Einherjer – North Star

Epica – Omega

Humanity’s Last Breath – Välde

Simulacrum – Genesis

Forhist – Forhist

Evergrey – Escape Of The Phoenix

Empyrium – Über den Sternen

Moonspell – Hermitage

Infernalizer – The Ugly Truth

Temperance – Melodies Of Green And Blue EP

Malice Divine – Malice Divine

Revulsion – Revulsion

Demon King – The Final Tyranny EP

Dragony – Viribus Unitis

Soen – Imperial

Angelus Apatrida – Angelus Apatrida

Oceana – The Pattern

Therion – Leviathan

Tribulation – Where The Gloom Becomes Sound

Asphyx – Necroceros

W.E.T. – Retransmission

Labyrinth – Welcome To The Absurd Circus

TDW – The Days The Clock Stopped

Need – Norchestrion: A Song For The End

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

2020 reviews

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Wythersake – Antiquity – Album Review

Artist: Wythersake

Album Title: Antiquity

Label: Scarlet Records

Date of Release: 26 March 2021

The great thing about listening to a debut, is that you never quite know what you’re going to get until you press play and listen. You can read as many press releases as you wish, that will mention this genre or that, or this band or that when describing the music on offer. But until you hear the final product, it often counts for very little. Wythersake are described as symphonic blackened death metal but as I have discovered, not for the first time, this only tells a small part of the story.

Wythersake hail from the US capital city of Washington D.C. and were formed in 2016. After a string of singles, we finally get to hear a full album from the band, entitled ‘Antiquity’. Comprised of vocalist/guitarist Gabriel Luis, guitarist James Siegrist, bassist Cody Bowen, and drummer Daniel Salamanca, the quartet waste absolutely no time in announcing their arrival on the extreme metal scene, as this debut rips the listener a new one from the very beginning. It’s an energetic, extreme metal battery that is both intriguing and enjoyable. Whilst the music does find itself rooted in symphonic blackened death metal, there are times when the music veers into full-on black or death territory, as well as more than a cursory dabble into Gothic, and darkwave realms. There’s an occasional experimentation with more progressive ideas, as well as hints of other influences too.

There are a couple of elements to Wythersake’s musical output however, that really jump out. Firstly, the guitar work is exceptionally good. Whether Luis and Siegrist are bludgeoning us with their riffs, or delivering one of many expressive, technical and swift lead solos, their talent is plain for all to see and they clearly bring their ‘A’ game to this record. Not only are the solos fast, but they are also vibrant and often melodic. The riffs alternate between their more standard fast black metal style and robust death metal muscle with apparent ease.

Then there’s the drumming courtesy of Daniel Salamanca. The guy is a machine, dishing out relentless blastbeats one minute, followed by a flamboyant fill the next. His style reminds me more than a little of Nick Barker, he of ex-Cradle of Filth and ex-Dimmu Borgir fame, a musician I have a lot of respect for.

Speaking of Dimmu Borgir, this is without doubt one of the most obvious reference points when it comes to describing the music of Wythersake. Not only is the drumming in a similar vein, but lots of the tracks on ‘Antiquity’ feature those familiar tinkling keys that were most prevalent in the Norwegian’s albums from the late 90s, namely ‘Spiritual Black Dimensions’ and ‘Puritanical Euphoric Misanthropia’. Additionally, Wythersake’s vocalist likes to growl, croon, and speak in a manner not too dissimilar to Shagrath. That said, the growls from Gabriel Luis are of a much deeper, death metal timbre, whilst his clean voice lends that Gothic, darkwave edge to the music. If I’m honest, I’m not sure I like this element all that much; I definitely prefer the growls and the spoken-word parts better, as I’m not the biggest fan of this deep, Gothic style of singing. Regardless of whether or not I like it, it does make the Wythersake sound a little more original, so I can’t be overly critical.

‘Prediluvian’ begins the record in a rich, opulent manner, not to mention dark and heavy. It’s a relatively short piece, but the chugging riffs are ear-catching, as is the slow, menacing melody that plays over the top of the powerful riffs and tight, uncompromising drumming. The drum fill that then acts as a seamless gateway into the title track is marvellous and the rest of the track is pretty stonking too. The riffs and the drumming carry the song on a brisk trajectory of merciless extremity, but as the song develops, in comes a more melodic section with Luis’ clean vocals before a stellar lead solo literally explodes from the stereo. It isn’t the only lead break, as there is much more to come a little later, much to my enjoyment; I do love a good guitar solo. The entire composition is bathed in synths to add depth and darker atmosphere, whilst the heavily effected spoken-word vocals also make an appearance. In short, it’s a really heavy, but surprisingly smooth opening that paves the way for the remainder of the record.

If I had any other criticism, it’d be that the songs do become just a little bit ‘samey’, with a lack of real tangible variety as the album progresses; you hear the opening couple of songs and by and large, you’ve heard the modus operandi of Wythersake in full. I also proffer that a couple of the tracks are slightly on the long side and would benefit from a minor prune here or there, such as the nine-plus-minute ‘Through Ritual We Manifest’.  

What cannot be criticised however, is the overall talent of the band and the enjoyable nature of the majority of the material, variety or not. ‘The Advent’ is a highly symphonic blackened death metal track, with strong choir effects, lots of melody that grows stronger with each passing listen, alongside more excellent lead guitar solos. It’s a similar story for ‘From A Serpent Spoken’, one of my personal favourites. The mid-section gallops along with a discernible groove whilst the keys tinkle and the drums are a devastating barrage of blasts and lightning-fast fills. And the symphonic-led melodies that dance atop a malevolent barrage of riff, growls and rhythms within ‘Iniquity’ are some of the strongest and most immediate on ‘Antiquity’.

If I had to sum up ‘Antiquity’, which I do because that’s what reviewers are supposed to do, I’d say that it is a highly ambitious and well-executed album of symphonic blackened death metal. It has plenty of quality and some cracking songs nestled within the hour-long record. But it isn’t the finished article – it lacks just a little in the variety stakes and it’s just a touch too bloated. However, what’s most exciting is that I can just sense that there’s more to come from this talented quartet in the coming years. I shall be keeping an eye on Wythersake to see what comes next, that’s for sure.

The Score of Much Metal: 81%

Dessiderium – Aria

Cynic – Ascension Codes

TDW – Fountains

Hypocrisy – Worship

W.E.B. – Colosseum

Navian – Cosmos

NorthTale – Eternal Flame

Obscura – A Valediction

Nightland – The Great Nothing

MØL – Diorama

Be’lakor – Coherence

Hollow – Tower

Doedsvangr – Serpents Ov Old

Athemon – Athemon

Eclipse – Wired

Swallow The Sun – Moonflowers

Dream Theater – A View From The Top Of The World

Nestor – Kids In A Ghost Town

Beast In Black – Dark Connection

Thulcandra – A Dying Wish

Omnium Gatherum – Origin

Insomnium – Argent Moon EP

Kryptan – Kryptan EP

Archspire – Bleed The Future

Awake By Design – Unfaded EP

Cradle Of Filth – Existence Is Futile

Seven Spires – Gods Of Debauchery

Sleep Token – This Place Will Become Your Tomb

Necrofier – Prophecies Of Eternal Darkness

Ex Deo – The Thirteen Years Of Nero

Carcass – Torn Arteries

Aeon Zen – Transversal

Enslaved – Caravans To The Outer Worlds

A Dying Planet – When The Skies Are Grey

Leprous – Aphelion

Night Crowned – Hädanfärd

Brainstorm – Wall Of Skulls

At The Gates – The Nightmare Of Being

Rivers Of Nihil – The Work

Fractal Universe – The Impassable Horizon

Darkthrone – Eternal Hails

Thy Catafalque – Vadak

Terra Odium – Ne Plus Ultra

Hiraes – Solitary

Eye Of Purgatory – The Lighthouse

Crowne – Kings In The North

Desaster – Churches Without Saints

Helloween – Helloween

Fear Factory – Aggression Continuum

Wooden Veins – In Finitude

Plaguestorm – Purifying Fire

Drift Into Black – Patterns Of Light

Alluvial – Sarcoma

White Moth Black Butterfly – The Cost Of Dreaming – Album Review

Silver Lake by Esa Holopainen

Bloodbound – Creatures From The Dark Realm

Nahaya – Vital Alchemy

Frost* – Day And Age

Obsolete Theory – Downfall

Vola – Witness

Acolyte – Entropy

Dordeduh – Har

Subterranean Masquerade – Mountain Fever

Seth – La Morsure Du Christ

The Circle – Metamorphosis

Nordjevel – Fenriir

Vreid – Wild North West

Temtris – Ritual Warfare

Astrakhan – A Slow Ride Towards Death

Akiavel – Vae Victis

Gojira – Fortitude

Hideous Divinity – LV-426

Benthos – II

Evile – Hell Unleashed

Ninkharsag – The Dread March Of Solemn Gods

Bodom After Midnight – Paint The Sky With Blood

Morrigu – In Turbulence

Mother Of All – Age Of The Solipsist

Throne – Pestilent Dawn

Sweet Oblivion (Geoff Tate) – Relentless

Exanimis – Marionnettiste

Dvne – Etemen Ænka

Cannibal Corpse – Violence Unimagined

Arion – Vultures Die Alone

Maestitium – Tale Of The Endless

Wode – Burn In Many Mirrors

Everdawn – Cleopatra

Unflesh – Inhumation

Mourning Dawn – Dead End Euphoria

Wheel – Resident Human

Wythersake – Antiquity

Odd Dimension – The Blue Dawn

Metalite – A Virtual World

Cryptosis – Bionic Swarm

Ghosts Of Atlantis – 3.6.2.4

Memoriam – To The End

Aversed – Impermanent

Secret Sphere – Lifeblood

Enforced – Kill Grid

Liquid Tension Experiment – LTE3

Turbulence – Frontal

Iotunn – Access All Worlds

Warrior Path – The Mad King

Stortregn – Impermanence

Mariana’s Rest – Fata Morgana

Orden Ogan – Final Days

Witherfall – Curse Of Autumn

Plague Weaver – Ascendant Blasphemy

Ephemerald – Between The Glimpses Of Hope

Paranorm – Empyrean

Einherjer – North Star

Epica – Omega

Humanity’s Last Breath – Välde

Simulacrum – Genesis

Forhist – Forhist

Evergrey – Escape Of The Phoenix

Empyrium – Über den Sternen

Moonspell – Hermitage

Infernalizer – The Ugly Truth

Temperance – Melodies Of Green And Blue EP

Malice Divine – Malice Divine

Revulsion – Revulsion

Demon King – The Final Tyranny EP

Dragony – Viribus Unitis

Soen – Imperial

Angelus Apatrida – Angelus Apatrida

Oceana – The Pattern

Therion – Leviathan

Tribulation – Where The Gloom Becomes Sound

Asphyx – Necroceros

W.E.T. – Retransmission

Labyrinth – Welcome To The Absurd Circus

TDW – The Days The Clock Stopped

Need – Norchestrion: A Song For The End

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

2020 reviews

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Odd Dimension – The Blue Dawn – Album Review

Artist: Odd Dimension

Album Title: The Blue Dawn

Label: Scarlet Records

Date of Release: 26 March 2021

It’s hard to know where to begin with this album review, given that there’s so much to tell you about. ‘The Blue Dawn’ marks the return of Italian progressive rock/metal band after an absence of eight years. They return with a new line-up, a new record with over an hour’s worth of music on it, and it’s a concept album as well. And, in true prog fashion, it’s a concept featuring various characters, guest vocalists, spoken-word parts, and a convoluted story that I’m still struggling to get my head around.

Maybe let’s start with the concept then, to get that out of the way. In the band’s own words, ‘The Blue Dawn’ apparently tells the story of “…two space travellers – Markus and Eloise – involved in a deviation from their original path caused by the attacks of an unknown population that makes them land on a new planet then called ‘The Blue Planet’ where they’ll have to struggle to live, to the point of creating an army with the very matter of that planet to help them restore order and save their children, who will eventually mix with the hosts created by them, generating a new race.”

In order to bring the concept to life, Odd Dimension call on no less than five guests to sing and narrate on ‘The Blue Dawn’, including Labyrinth’s Roberto Tiranti and two female vocalists, Aileen and Eliana Parodi. They join guitarist Gianmaria Saddi, bassist Gigi Andreone, and keyboardist Gabriele Ciaccia, as well as new recruits, drummer Marco Lazzarini and vocalist Jan Manenti.

I think that’s all of the housekeeping out of the way. And so, on to the music. On that score, I find myself a little conflicted. On the one hand, the music is deep, warm, vibrant, and without doubt intelligent. To say that there is a lot going on within the ten compositions is something of an understatement; it takes plenty of time to digest fully. But, having duly spent that time in order to bring this review to fruition, I am still not entirely convinced by ‘The Blue Dawn’. There is no denying that Odd Dimension are a talented bunch, with hunger, desire, and ambition. But ultimately, there is something about the music that prevents me from fully taking to it and lauding it as the next great progressive release.

On reflection, I think it is more accurately a cumulation of several small things instead of one giant stumbling block because the overriding sense I get is that it’s a very decent album and to be too negative is to do the band a great disservice; it may just be my personal take and opinion that leads me to these conclusions.

One of the main issues I have is in terms of the melodies. The quintet have the ability and there are flashes of brilliance which I will reference in a moment. But frustratingly, the genius is sporadically applied, with the bulk of the material being generally ok, but not ground-breaking.

The instrumental intro entitled ‘Mission No.773’ though, is gorgeous and shows the promise of great things to come. It is opulent, cinematic and highly atmospheric, with a huge sci-fi sheen. It is stirring and dramatic in the best way possible and I can’t wait for the album to continue.

‘Landing On Axtradel’ is the first ‘proper’ composition, a song that blurs the edges between progressive rock and metal. The robotic, electronic narration is hard to decipher and won’t be to everyone’s taste but the music is energetic and professionally executed. When vocalist Manenti enters for the first time, the band demonstrate some hefty Everon vibes with bold piano notes. Without any doubt, Jan Manenti is a great addition to the fold as his voice is very powerful, expressive, and with a nice rock grit to it. The song begins to grow on me after several spins but it never catches light, despite some choral vocals and a dramatic closing sequence.

And, for the larger part of this record, these comments remain accurate. The music is well put together, with lots of clever flourishes and progressive intent. But for all of the bluff and bluster, the lack of killer melodies holds back my enjoyment.

I also happen to think that the 70s influences loom too large over much of the music. That’s definitely the case with ‘The Invasion’ with its huge organ embellishments. It’s also true of large parts of the ten-minute title track, where it becomes way too bluesy and hard rock-esque for my tastes. And that’s a shame because there are some lovely sections to the composition that are undermined by this approach. As I said before, it’s a subjective thing and others may lap this up, but I don’t unfortunately. I can understand the reasoning though, because Manenti does have a voice suited to that style of music, and it is utilised to the fullest on ‘The Blue Dawn’.

I hate being so negative, but it’s only because when Odd Dimension get it right, they have the ability to make magic. The opening to ‘Escape To Blue Planet’ is beautiful, as is the mid-album instrumental interlude, ‘Solar Wind’. It’s an exquisite piece of music, with deep resonant strings alongside delicate piano notes initially, with further eloquent and emotional strings appearing as the composition moves forward. And the melodies are truly captivating.

Speaking of strong melodies, I have to mention ‘Life Creators’ which is, for me, head and shoulders the best song on the record. The guitars are muscular and arresting in a way that they have never been up to now, delivering stunning melodies. The piano continues apace, adding depth, whilst the vocal performances are urgent and completely in keeping with the musical soundscape surrounding them. It’s such a great song that I am left scratching my head, wondering why the rest of the album couldn’t have been more like this.

Elsewhere, I like the opening and closing sections of the title track, and the second half of ‘Sands Of Yakuzia’ from around the 4:30 mark is mind blowing. The combination of epic intent, strong melodies, excellent bass playing, the electronic narration vocals, it all comes together to create something incredibly special. I’m also a fan of the melodies and wailing guitars within the latter stages of the closing song, ‘The Supreme Being’. Again, I ask, why couldn’t more of the entire album be like this?

And that’s the conclusion from me – ‘The Blue Dawn’ is a nice record, with lots to recommend and lots to enjoy. I have absolutely no doubt that there will be many people who vehemently disagree with my review because the album is nectar to their ears. But I have to be honest and Odd Dimension really frustrate me here because when they’re hot, they’re on fire. An entire album in a similar vein to ‘Life Creators’ and the instrumental pieces, and it might have been pushing towards the stratosphere. As it is, ‘The Blue Dawn’ is a good record. It’s magical in places, but not enough to elevate it higher in my estimations. Nevertheless, I shall still look forward to hearing the next album to see what they produce.

The Score of Much Metal: 78%

Dessiderium – Aria

Cynic – Ascension Codes

TDW – Fountains

Hypocrisy – Worship

W.E.B. – Colosseum

Navian – Cosmos

NorthTale – Eternal Flame

Obscura – A Valediction

Nightland – The Great Nothing

MØL – Diorama

Be’lakor – Coherence

Hollow – Tower

Doedsvangr – Serpents Ov Old

Athemon – Athemon

Eclipse – Wired

Swallow The Sun – Moonflowers

Dream Theater – A View From The Top Of The World

Nestor – Kids In A Ghost Town

Beast In Black – Dark Connection

Thulcandra – A Dying Wish

Omnium Gatherum – Origin

Insomnium – Argent Moon EP

Kryptan – Kryptan EP

Archspire – Bleed The Future

Awake By Design – Unfaded EP

Cradle Of Filth – Existence Is Futile

Seven Spires – Gods Of Debauchery

Sleep Token – This Place Will Become Your Tomb

Necrofier – Prophecies Of Eternal Darkness

Ex Deo – The Thirteen Years Of Nero

Carcass – Torn Arteries

Aeon Zen – Transversal

Enslaved – Caravans To The Outer Worlds

A Dying Planet – When The Skies Are Grey

Leprous – Aphelion

Night Crowned – Hädanfärd

Brainstorm – Wall Of Skulls

At The Gates – The Nightmare Of Being

Rivers Of Nihil – The Work

Fractal Universe – The Impassable Horizon

Darkthrone – Eternal Hails

Thy Catafalque – Vadak

Terra Odium – Ne Plus Ultra

Hiraes – Solitary

Eye Of Purgatory – The Lighthouse

Crowne – Kings In The North

Desaster – Churches Without Saints

Helloween – Helloween

Fear Factory – Aggression Continuum

Wooden Veins – In Finitude

Plaguestorm – Purifying Fire

Drift Into Black – Patterns Of Light

Alluvial – Sarcoma

White Moth Black Butterfly – The Cost Of Dreaming – Album Review

Silver Lake by Esa Holopainen

Bloodbound – Creatures From The Dark Realm

Nahaya – Vital Alchemy

Frost* – Day And Age

Obsolete Theory – Downfall

Vola – Witness

Acolyte – Entropy

Dordeduh – Har

Subterranean Masquerade – Mountain Fever

Seth – La Morsure Du Christ

The Circle – Metamorphosis

Nordjevel – Fenriir

Vreid – Wild North West

Temtris – Ritual Warfare

Astrakhan – A Slow Ride Towards Death

Akiavel – Vae Victis

Gojira – Fortitude

Hideous Divinity – LV-426

Benthos – II

Evile – Hell Unleashed

Ninkharsag – The Dread March Of Solemn Gods

Bodom After Midnight – Paint The Sky With Blood

Morrigu – In Turbulence

Mother Of All – Age Of The Solipsist

Throne – Pestilent Dawn

Sweet Oblivion (Geoff Tate) – Relentless

Exanimis – Marionnettiste

Dvne – Etemen Ænka

Cannibal Corpse – Violence Unimagined

Arion – Vultures Die Alone

Maestitium – Tale Of The Endless

Wode – Burn In Many Mirrors

Everdawn – Cleopatra

Unflesh – Inhumation

Mourning Dawn – Dead End Euphoria

Wheel – Resident Human

Wythersake – Antiquity

Odd Dimension – The Blue Dawn

Metalite – A Virtual World

Cryptosis – Bionic Swarm

Ghosts Of Atlantis – 3.6.2.4

Memoriam – To The End

Aversed – Impermanent

Secret Sphere – Lifeblood

Enforced – Kill Grid

Liquid Tension Experiment – LTE3

Turbulence – Frontal

Iotunn – Access All Worlds

Warrior Path – The Mad King

Stortregn – Impermanence

Mariana’s Rest – Fata Morgana

Orden Ogan – Final Days

Witherfall – Curse Of Autumn

Plague Weaver – Ascendant Blasphemy

Ephemerald – Between The Glimpses Of Hope

Paranorm – Empyrean

Einherjer – North Star

Epica – Omega

Humanity’s Last Breath – Välde

Simulacrum – Genesis

Forhist – Forhist

Evergrey – Escape Of The Phoenix

Empyrium – Über den Sternen

Moonspell – Hermitage

Infernalizer – The Ugly Truth

Temperance – Melodies Of Green And Blue EP

Malice Divine – Malice Divine

Revulsion – Revulsion

Demon King – The Final Tyranny EP

Dragony – Viribus Unitis

Soen – Imperial

Angelus Apatrida – Angelus Apatrida

Oceana – The Pattern

Therion – Leviathan

Tribulation – Where The Gloom Becomes Sound

Asphyx – Necroceros

W.E.T. – Retransmission

Labyrinth – Welcome To The Absurd Circus

TDW – The Days The Clock Stopped

Need – Norchestrion: A Song For The End

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

2020 reviews

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Veonity – Sorrows – Album Review

Artist: Veonity

Album Title: Sorrows

Label: Scarlet Records

Date of Release: 21 August 2020

When I reviewed ‘Legend Of The Starborn’ in late 2018, I literally gushed praise in its direction. I was new to the band and really enjoyed what I heard. I can be quoted as even saying: “After spending what seems like weeks listening to it, I have to say that ‘Legend Of The Starborn’ is arguably the best power metal record that I have heard for some time. Certainly throughout 2018, probably longer.”

But, and here’s the rub, I’ve barely listened to it since I wrote the review. Unlike other bands within the genre, I have not felt the compulsion to return to ‘Legend…’ on anything approaching a regular basis. Those that know me, know that I will generally add a physical purchase to my collection when I give it a favourable review. That’s why I’m flat broke most of the time. But in the case of Veonity, I didn’t. I held off for some reason and I never got around to doing anything about it as the months passed.

It is only now, when I am faced with the follow-up, that I have realised all this. And I’m left scratching my head, especially when listening to ‘Legend…’ again now in order to compare it to this new offering. It is a great record…just perhaps not as incredible as I felt a little under two years ago.

But enough of that, let’s turn our attention to album number four, ‘Sorrows’. First impressions were not favourable if I’m honest, especially with the artwork and apparent change in lyrical themes, from a more fantasy-based conceptual approach, to something altogether more ‘real’. The title suggests that this isn’t going to be an upbeat, ‘fun’ affair like their past material and lyrically, that’s very true. Human emotions and tribulations form the basis of the subject matter, but actually, as far as the music is concerned, there isn’t a great stylistic change.

As before, we are treated to some eminently catchy and hook-laden melodic power metal, with plenty of epic flourishes, such as lashing of keys, choral vocals and the usual vocal gymnastics courtesy of vocalist Anders Sköld, ranging from deep and low, to stratospherically high and back again without so much as a second thought.

However, ‘Sorrows’ does feel as if it’s a little heavier in tone to past efforts. The guitars of Sköld and Samuel Lundström sound that bit chunkier, in-your face, and abrasive for a start, whilst the rhythm section comprised of bassist Kristoffer Lidre and drummer Joel Kollberg comes across as being more muscular, favouring meaty beats and bass lines over the generally faster, galloping nature of past efforts. Take ‘War’ as an example, which draws prettily heavily on their compatriots Sabaton at points, whilst Veonity ruthlessly pound their enemies into the ground. There’s even an eyebrow-raising low and gravelly vocal performance from Sköld to underline the slightly-heightened menace of the song.

‘Grace Or Damned’ is another example of the heavier approach, albeit laced in theatrical synths throughout. The guitars chug with menace in the verses, whilst the pace is picked up in the bridge and into the full-on power metal chorus, complete with choral vocals which are rousing yet also quite dark in tone. ‘Back Into The Dark’ then delivers some of the most muscular guitar riffs on the record, whilst then transitioning into one of the most soaring, quintessential power metal choruses I’ve heard this year as well as a great lead guitar sequence that pushes my buttons.

Possibly my favourite track on ‘Sorrows’ is ‘Acceptance’, which is arguably the darkest and brooding of the lot. However, the chorus that emerges is ridiculous and it is one of a handful of tracks on this record that I’m frequently pressing the repeat button. The note that Sköld hits at the end of the chorus is insane, whilst the lead guitar solos courtesy of Lundström are also highly entertaining.

Don’t expect this approach all the time mind you; there is still a fair amount of speed to be uncovered within the ten tracks here, particularly as demonstrated by the lightning-fast, pinched harmonics cheekiness of ‘Free Again’ that calls to mind Dragonforce and early Rhapsody (of Fire) in equal measure. It is about as epic, breathless and devil-may-care as it gets anywhere on the album, but importantly still shows that Veonity can let go of the brakes when the need arises. ‘Blinded Eyes Will See’ but more so ‘Where Our Memories Used To Grow’ also offer a fair amount of pace too, albeit blended with slower passages to accent the speed.

Then there’s the glorious closing track, ‘Fear Of Being Alive’ which, despite the apparently dark song title, is about as rousing, upbeat and heart-warming as this music can get. After a ballad-like intro, it moves into surprisingly heavy climes with a fair amount of pace before delivering a ridiculously cheesy, yet brilliantly catchy chorus, topped off by a choral vocal outro where the line ‘I will never surrender to fear’ is inescapably powerful and meaningful.

The accompanying press release also talks of a slight upturn in progressive elements here too, although I’m not sure I hear too much of this on ‘Sorrows’. Yes, there’s definitely a greater sense of variety amongst the songs, but to confuse this record with a full-on progressive metal affair is wrong and will only lead to disappointment if that’s your sole motivation for investigating these Swedes.

At the end of the day, dragons or no dragons, concepts or no concepts, it is hard to find a great deal to fault within ‘Sorrows’ if you’re looking for professionally-crafted and entertaining melodic power metal. The melodies are certainly memorable, several of the choruses will get lodged in your brain – trust me on that – and it is a satisfyingly heavy affair. I really enjoy ‘Sorrows’ and it gets better with every passing listen. However, only time will tell if it can ultimately reach the heights of ‘Legend Of The Starborn’.

The Score of Much Metal: 87%

Check out my reviews from 2020 right here:

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

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Darktribe – Voici L’Homme – Album Review

Artist: Darktribe

Album Title: Voici L’Homme

Label: Scarlet Records

Date of Release: 17 January 2020

The start of 2020 sees a change in the Man of Much Metal. No, I haven’t stopped pretentiously referring to myself in the third person as you can see. Instead, I have decided to review an album that I would normally walk through fire to avoid. You see, this is an overtly religious, Christian album. As someone who has no time for religion, I often find it too difficult to stomach listening to albums that spend the entire time talking about God and how wonderful he/she/it is. Nope, not for me, just like overtly blasphemous records are tough to take for those with faith.

However, I was searching for records to review around the turn of the year and checked out an advance track from ‘Voici L’Homme’, the third album from French melodic power metal band Darktribe and I have to say that I enjoyed the experience. Forget the lyrics, the music itself struck a chord with me and I felt compelled to listen further. It helps that the band flit between English and their native tongue on the title track, so even with my mediocre grasp of French, much of the lyrical content whooshes over my head so that I am blissfully unaware of the biblical connotations.

I also refrain from looking at the godawful front cover wherever possible. I mean, it is beautifully painted but the subject matter makes me shudder.

Thankfully, this is a music website where I review music, not go off on political or theological rants, so I will park my prejudices here and now focus on the music at the heart of ‘Voici L’Homme’. And it is here that the band excel most.

With no knowledge of the quartet prior to checking out this record, I cannot tell you how this differs in content, style or delivery to previous output. But what I can say is that ‘Voici L’Homme’ is a rather positive album, where quality power metal compositions abound, chock full of melody, a surprising about of crunch and muscle, and a faint hint of progressive leanings here and there. The latter can principally be heard in the use of dynamics, allowing songs to ebb and flow beyond the paint-by-numbers intro, verse, chorus, verse, chorus, outro framework that a frightening amount of power metal bands utilise. There is also a good use of keys to add atmosphere and a symphonic edge to the music.

At 50 minutes in length, ‘Voici L’Homme’ is the ideal kind of length for a record of this nature as it ensures that the ten tracks have the best possible opportunity to make their mark. And, for the most part, the compositions do not squander this opportunity, although I do feel that ‘The Hunger Theory’ with its spoken-word section towards the end is a little too twee and bloated, despite some great riffs in the early stages. It also rather strangely just fizzles out like a disappointing firework on a soggy bonfire night.

There is also an argument to be made to suggest that ‘Voici L’Homme’ is front-loaded a little with the best material. After the ubiquitous instrumental intro, the record comes out of the gate firing on all cylinders, battering us with a barrage of great music to begin with. And whilst there isn’t a huge dip in quality later on, I do find myself wanting to revisit the opening tracks again rather than seeing the album out to the end.

But when Darktribe are on top form, they are really great. The likes of ‘Prism Of Memory’, the title track and ‘A Silent Curse’ all hit the nail squarely on the head, balancing a need for metallic power alongside a desire to deliver music that is melodic, entertaining and full of energy.

‘Prism Of Memory’ comes out all guns blazing with a sense of urgency but with real purpose and self-assuredness. The tempo is infectious and the chorus is suitably rousing, with vocalist Anthony Agnello delivering a strong performance behind the mic.

The sound of bells duet with a satisfyingly bruising guitar tone from guitarist Loïc Manuello at the outset of the title track. The verses allow Agnello to rein it in a little alongside a nice rumbling bass of Bruno Caprani and more chugging riffs before the song explodes into the chorus, arguably my favourite on the album due to the killer hooks and the injection of the French language. I also enjoy the increase of symphonics as the track develops, adding a greater gravitas in the process.

‘A Silent Curse’ offers some of the most bruising guitars on the record, chunky and uncompromising. But it serves up more great, breathless melodies, driven along powerfully by the commanding drumming of Julien Agnello. And the mid-track metallic stomp and chug is rather excellent too.

All-in-all, ‘Voici L’Homme’ is an album that has impressed me, much more than I thought it would if I’m being honest. As a result, I’m delighted that I didn’t let the obvious barriers prevent me from listening because if I had, I would have missed out on a genuinely high quality melodic power metal album, fully worthy of the ‘metal’ description. I can’t believe you’ll be disappointed if you’re a power metal fan, so check it out!

The Score of Much Metal: 85%

Check out my reviews from 2020 right here:

Brothers Of Metal – Emblas Saga
A Life Divided – Echoes
Thoughts Factory – Elements

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Kingcrow – Interview – ‘The new album will be a sonic adventure’

Courtesy of: Devilnax Photoart, Christian Nastas Photo

Those familiar with the Blog Of Much Metal will know that I enjoy championing those bands that don’t tend to get the exposure that they deserve for one reason or another. That’s why today I bring you a full, in-depth interview with another band worthy of more attention: Kingcrow.

Originally hailing from Rome, Italy, Kingcrow are comprised of Diego Cafolla (guitars), Thundra Cafolla (drums), Ivan Nastasi (guitars), Diego Marchesi (lead vocals), Christian Della Polla (keyboards) and Francesco D’Errico (bass). Broadly speaking, the talented sextet are a progressive metal band but they manage to encompass many other influences within their sound. I reviewed their fourth album ‘Phlegethon’ for Powerplay Magazine and although it took some time for the magic to take full effect, perseverance paid off and it’s one of my most-played albums of recent years. Last year’s follow-up, ‘In Crescendo’ then took the number 6 spot in my 2013 Top 20 such was its overall quality and the enjoyment I derived from it.

After being teased via email for being one minute late for the interview, I turn on Skype and am greeted by the warm, friendly voice of Diego Cafolla, the co-founder, guitarist and principle song writer for Kingcrow. I begin the interview by asking Diego for some history behind Kingcrow and am rewarded by one of the longest and most detailed summaries of my career.

“I started the band with my brother Thundra in 1996. It was a long time ago and we were very young. We just started playing together, playing other band’s stuff. We were a kind of schizophrenic band because we were playing everything from the Beach Boys to Sepultura, because I was a big fan of them. We also played all the classics from the 70s and the 80s; Iron Maiden, Deep Purple, Black Sabbath, everyone really. It was weird”, he laughs warmly.

“I started to write my own songs almost immediately. I guess it was sucky stuff”, he continues self-deprecatingly, “but I just started writing. As the time passed, we began to play more of this stuff. I suppose it was weird metal stuff; kind of a mix of British heavy metal and progressive rock. This is because I discovered rock music through my Dad’s vinyl collection. ‘Made In Japan’ was a milestone in my musical growth. But the first record that I can remember that I really loved was ‘Dark Side Of The Moon’ by Pink Floyd. I still love it and I love Pink Floyd – they have had a big impact on my song-writing. I would say that this is quite recognisable in Kingcrow.”

After a brief interlude where the aforementioned Pink Floyd album, as well as a number of other ‘classics’ are discussed, Diego continues with his account.

“Over time, we had thousands of line-up changes. I consider the first three records, (‘Something Unknown’ (2001), ‘Insider’ (2004) and ‘Timetropia’ (2006)) to be long demos because I was just experimenting with really different stuff as a song writer. Even if I am the main songwriter, I want the other members in the band to like the material that I write. The lead singer at that time, Mauro Gelsomini, was much more into hard rock and classic heavy metal. I was more into progressive music but I forced myself to write more in a style that pleased the singer. But at the same time, I did try to experiment a bit.”

“We then had a hiatus, a pause and I wrote ‘Phlegethon’ just for myself because I thought that the band was gone basically. We opened for Iron Maiden in Italy but after that gig, the band stopped playing. It was like the band felt that they had reached the highest point that could be hit. I kept writing though because I can’t stop; I write about one song per day.”

“I contacted the guys and told them that I have an album ready and that we should record it because I thought it was very good. We recorded the album over about 12 months. It was a very relaxed process with no deadlines. We recorded the album in our spare time, just for fun basically. At the same time, the Mauro was not sure about the material. He tried to record one song and I wasn’t happy with the result because I felt that the album needed a really good singer. A friend of mine passed me a recording of Diego Marchesi who is our singer now. The recording was of him singing in a musical because at the time, he had no background of hard rock, metal or progressive music. I loved his voice and so I called him. I told him that I had this record that was nearly finished and if he came to the studio, we could try a few songs. I immediately loved his voice and asked him if he was interested in joining the band. He was excited because he liked the music, even though it was a new style for him.”

“I sent out some extracts to management companies and record labels. I received a response almost immediately from Intromental and a deal was signed with them. After a few days with them, we signed for Scarlet Records. Right after the record was released, it was really well received from the press. We got an offer for a European tour with Redemption and then we went to America for Progpower USA. So it went from the band almost splitting, to touring and playing on an international level.”

“Two years later, we wrote and recorded ‘In Crescendo’. This was a bit of a struggle to write”, Diego offers a little surprisingly, “because for the first time, we had a kind of fan base waiting for something. This was new for me. I didn’t want to repeat ‘Phlegethon’ but at the same time, I felt the pressure of the great response to that record. I was searching for something fresh but that still sounded like us.”

“When I approach writing a new record, I write really weird stuff. It won’t go on the record, but it’s me trying to find something new and fresh. It worked out well I think because I love ‘In Crescendo’. I love the production because it is very detailed but powerful at the same time. Sometimes, if you try to create a powerful production, you lose some of the details in a wall of sound. But I like the mix between the power and the clarity. I also love the melancholic vibe of some of the songs. Following on from this record, we did our first headline European tour and toured the USA with Pain Of Salvation. It has been a busy period.”

My attempts to discuss the differences between ‘Phlegethon’ and ‘In Crescendo’ come across as a little hopeless. Fortunately, Diego is more than happy to step in and prevent further floundering on my part.

“Phlegethon’ is more classic-metal sounding than ‘In Crescendo’. Probably the heaviest stuff on ‘In Crescendo’ is heavier than on ‘Phlegethon’ but there is also more atmosphere and more space within the music on ‘In Crescendo’. On ‘In Crescendo’, the arrangements are better I think and they are more layered, more atmospheric. ‘Phlegethon’ maintains a bit of our classic metal past but ‘In Crescendo’ is the natural progression from that, I believe.”

And with that, we reach the present. I’m dying to find out more about the upcoming album that’s in the pipeline for a 2015 release on Sensory Records and waste no time in asking about the as-yet unnamed work.

“We are actually finishing our recording so I have a good idea of how it will sound”, Diego begins mischievously before qualifying this tantalising statement. “I think it is darker, but it has a bit of both ‘Phlegethon’ and ‘In Crescendo’ in it, plus a lot more. Honestly, I think it’s a big record and there’s a lot going on within the songs. Every song has a unique sonic word and it has something different about it. A friend described it as ‘new Kingcrow’ – you can recognise the band immediately, but there is something new going on.”

“Probably because I wrote most of the record at night”, Diego playfully responds when I question him in more detail about the darker vibe to the upcoming record. “But seriously, it wasn’t a struggle to write; it was a very natural process. You’ll find everything that people think is our trademark sound; the Spanish guitars, the crunchy riffs, the atmospheres. These things will always be there I think.”

Courtesy of: Devilnax Photoart, Christian Nastas Photo

“It’s a bit more proggy than ‘In Crescendo’, Diego continues. “The focus on ‘In Crescendo’ was the search for beauty. I avoided weirdness or quirkiness in the search for pure beauty as my reference point was ‘Dark Side Of The Moon’. This time, we have some of the quirkiness back and to me, the new album will be a sonic adventure. You remember these words and you can tell me whether I am right or wrong. Don’t expect something impossible to listen to or really complicated because we try to make complex things sound simple to the listener and to make complexity subtle.”

On that note, I return to the topic of the song writing, asking Diego to expand upon his creative process with Kingcrow.”

“I can play a bit of every instrument and because I have a studio, I have all the instruments there. I usually write at night and it’s like you have a certain mood then. I tend to write when I feel moody and try to capture music that fits the mood that I’m feeling in the moment. I have no rules about song writing; it just has to be in tune with what I am feeling.”

On a final note, I ask Diego about the band’s plans for touring in the New Year. Whilst it’s unlikely that UK fans such as myself will see Kingcrow on these shores, many fans across mainland Europe will be treated to a live show.

“There are plans right now to go on tour in March. I don’t know exactly when we will finish the recording, so I’m not sure how much time we will get to rehearse. But we will hope to play four or five new songs in the set, including the single, ‘The Moth’.”

Trust me dear readers – if you like quality melodic progressive metal, then Kingcrow are a name with which you need to familiarise yourselves as soon as is humanly possible.

Check out my other interviews here:

Evergrey
Jonas Renkse & Bruce Soord – Wisdom Of Crowds
Maschine
Distorted Harmony