July was a plentiful month for releases with Fates Warning, Centinex, Periphery, Black Crown Initiate, and Revocation leading the charge; at least concerning the albums I was able to get a hold of and take the time to listen to. Here is a quick rundown…
Fates Warning – Theories of Flight / Progressive Metal – Released on 1 July 2016 by InsideOutMusic
For fans of the earlier days of Fates Warning, this should be right up your alley. It’s tight, progressive, melodic, and heavy. It’s a solid Fates Warning album; probably one you’ve been wishing for, for a long time. 4 out of 5 Read the rest of this entry →
I am not sure when I first started seeing people toss the word elitist around within the metal community. I thought we are all playing for the same team whether your preferred genre be death metal, black metal, thrash metal, or blackened-technical-atmospheric-doom oriented metal with a touch of industrial-sludge. After all, metal is metal even if your favorite band is Korn, right? Apparently not.
Metal elitism exists, unfortunately. If you are unsure you have ever met a metal elitist, you may very well be one. But, here are some traits I have noticed about metal elitists while scanning forums, websites, and blogs for my daily dose of metal happenings.
- No matter what band you like, the metal elitist will always say they suck.
- No matter what shows you have seen live, they pale in comparison to those the metal elitist has been to. Even if you have seen the same bands live from the same tour, the show they saw in their city was better.
- You spent three days at a metal festival and had the time of your life. The elitist will still brag about the festival they went to 10 years ago…and it will have been better.
- No matter how jazzed you are about anything metal or metal-related, the elitist will take that away from you and crush your soul.
- Chances are, most of the music the elitist listens to is shit you’ve never heard of.
- You’re standing in line waiting to get into a show. They look at you and look at the shirt you are wearing and based on that shirt, their eyes roll and they turn around and ignore you.
- Everything the elitist likes is “the old shit.” They rarely, if at all, praise anything new.
- The elitist cannot be bargained with.
- The elitist’s opinion cannot be changed.
- If you are talking with an elitist and you agree with everything they say; congratulations, you are also an elitist.
Bottom line: This shouldn’t be taken seriously. However, it shouldn’t matter if someone is total fanboy (or girl) just can’t stop going on and on and on and on about Kamelot as if other bands don’t exist. We’re all part of the metal family and should treat each other respectfully and respect others’ opinions. Sometimes the best part of going to a show or hanging with metal friends is talking about metal, shows, lists, and being introduced to new music. We should be a tight knit community and not allow ourselves to become divided by pointless snobbery. Strength in numbers, I say!
From the opening drone and Om track to the closing acoustic folk song I can totally say I have not been enthralled with such a shattering doom album since Pallbearer’s latest outing. Messa have crafted a monumental debut overflowing with suffocating atmospheres and bluesy doom thunder topped off with sultry female vocals that will hypnotize you as they invoke demons to consume your flesh.
Mixing the droniness of Sunn O))) with the psychedelic edge of bands like Subrosa and the bluesy occult punch of The Devil’s Blood or Blood Ceremony, each song is nothing short of completely engaging. Whether it’s the slow burn of “Babalon”, the Freebird-freakout of “Hour of the Wolf”, the doom-clarinet jam on “Blood”, or the driving riffing on “New Horns” there is always some trick up Messa’s sleeve to draw you even deeper into their rituals. Even the ambient interludes are inspiriting. Little touches like the crackle and hiss of vinyl punctuate how much care went into this record.
If you have any love for doom metal in your veins (of course you do!) you need to go to Messa. Our Father who art in doom, Messa be thy name. Thy riffs come, thy will be done. On Earth as is in Inferno.
As usual, listen, force your friends to listen, force your enemies to listen, give the band money, support music and shit. Peace Love and Metal!!!!
I always appreciate when a band chooses a name that aptly describes what their sound is. Even more when they live up to it. Dream Theater, Agalloch, Moonsorrow, Cannibal Corpse, to name a few. With a lofty name like sojourner there is lofty expectations for the music to take me on one hell of a journey across sprawling landscapes and through magical realms. And boy does this debut of theirs deliver.
As equally majestic as it is furious, Empires of Ash channels that epic spirit of black metal bands like Summoning, Saor, and even Emperor. What really sets Sojourner apart from their contemporaries for me is how well they weave the folk instruments into their songs; a variety of flutes, piano, and cheesy-as-fuck synths (and I mean that in the best way possible) pour personality into the music. When ever they make an appearance they really heighten the atmosphere and give just the right amount of spine-tingling punch. Add in a smattering of pristine medieval-styled female vocals to break up the throaty rasps and the mystical element is delightfully accentuated. I also really appreciate the diversity of the songs on the record as well as the songs themselves. Some have touches of doom others bask in ballad territory. Each one has its own distinctive touch yet they all flow well together. This is definitely an album to be appreciated as a whole rather than piecemeal.
So, yeah, if you love yourself some epic folky black metal, do check Empires of Ash out. I see myself really taking a many trip with these Sojourners. As always, give it a listen and if you dig it go dig in your couch or back seat for some spare change to toss to the artists, they deserve it. Annoy your friends with recommendations too!!! Enjoy!!! Peace Love and Metal!!!!!
First of all I am not going to mention that other guy from that other band that is known to be vocalist Jonas Renske’s buddy. Not even going there. I keep seeing those comparisons and it’s driving me nuts. Second, it’s going to be hard not to be a bit biased because of my love for Katatonia’s depressively wonderful melodies. But, The Fall of Hearts is upon us, all 1+ hour of it, and I must speak about it. That’s a huge chunk of melancholy, but the good thing is that it doesn’t “feel” like an hour. So, I expected the album to follow the path of Dethroned and Uncrowned. I mean, let’s face it, that haunting remix of Dead End Kings was well transformed, produced, and engineered. The live concert footage is killer! Why not ride that wave? I probably would, but that’s me. I can milk a cow till she runs dry. Read the rest of this entry →
Some years ago I remember checking out an album by Oak Pantheon (2012’s From a Whisper), digging it enough to buy it, and then it kinda got lost among the mountain of mp3s on my player. Basically, it was a good album, but not memorable enough to really solidify itself in my consciousness. The band name stuck more with me than the music. Luckily, remembering the band name and associating it with something pretty quality I clicked on the preview for the new album, In Pieces, over at Bandcamp and an hour later left with more than just a killer band name fixed in my head.
Crafting an absolutely enthralling collection music, Oak Pantheon have delivered one of the most engaging atmospheric black metal albums I’ve heard to date. Each track strikes balance between hypnotizing and ferocious, Earthly and astral. Twists and turns that flow seamlessly rock you into a meditative state like laying back on a boat on an isolated sea. This album is a journey; a journey that will leave one changed. Outstanding instrumental performances to boot!
If you dig on bands like Vattnet Viskar, The Atlas Moth, Panopticon, and Agalloch, In Pieces is a must. If you just love well crafted music regardless of genre, this is a must. It will be a serious album of the year contender for me! Go give it a listen and a purchase if you enjoy it! Enjoy!! Peace Love and Metal!!!!
When BabyMetal popped up some years ago with that very Japanese video for Doki Doki Panic, I got a good kick out of the metal/Jpop hybrid dancing girl trio, watched it a few times, shared it on the Facebook, and then went back about my business of being a trve br00tl metalhead. I guess a lot of people liked that video as it caught on like wildfire and more crazy songs and videos ensued, even a full album. Thinking it was a pure gimmick with no heart like most ‘produced’ bands I passed on it. Not that I don’t have a soft spot for the occasional bit of Jpop, I do play a fuckton of Japanese RPGs (tips hat to the Persona composers) and I do love me some Maximum the Hormone, it just seemed like something that would be forgettable when the image was taken away.
Last month the new single/video for ‘Karate’ was released and of course I checked it out without hesitation expecting to dig it and then be on my merry way. What I didn’t expect was how much it would catch in my brain. Between that slick groove metal riff, infectious chorus, and chilling outro I kept saying to myself that the people writing the music for these girls really do have some damn fine chops. So, I decided to take the dive and check out the new record, Metal Resistance, to see how well it held up with the image removed and the music holding its own. And boy am I surprised at how much this record kept surprising me.
When Dez Fafara announced DevilDriver was going on hiatus back in 2014, I felt it was the end of the band. Long-time band members were dropping off the roster like flies while Dez’s other band, Coal Chamber, was making a momentous comeback. I was beginning to think Winer Kills was the last album we’d see from DevilDriver. But, that was not the case. With Mike Spreitzer being the remaining musician with any sort of tenure, they recruited Austin D’Amond, Neil Tiemann, and a bassist (Diego Ibarra – listed as touring bassist) and began working on new material in 2015. It was a short-lived hiatus and for DevilDriver fans, it’s a good thing because Trust No One takes DevilDriver in a slightly different direction than we are used to.
Label: Nuclear Blast
Release Date: 5 Feb 2016
Length: 1 Hour, 48 Minutes
Genre: Symphonic Black/Death Metal
Studio Albums: Oracles (2009); Agony (2011); Labyrinth (2013).
Location: Italy Read the rest of this entry →
For years I’ve always ragged on Amon Amarth for churning out the same album ad nauseam. Killer riff, killer riff, growly growly growly, Vikings, Thor, killer riff, more growling, Vikings again, oh hey look it’s Odin! Luckily, Amon Amarth are a band that, even at their most derivative, write such grand headbanging tunes that I happily purchase each album on release day. Being as dependable as they are, even before popping the CD in I pretty much know what I’m getting; a collection of groovy riffs to sate any pangs I may occasionally have for good ol’ death metal. So, going by their near 20 year track record I went into Jomsviking expecting a very good album that I would listen to a few time throughout the week and then occasionally throughout the rest of the year, much like the rest of their back catalog. Well, it has been a good week solid and not only has Jomsviking been the only album I’ve been exclusively listening to, I’ve also been making opportunities to sneak in a song or two more whenever possible (during smoke breaks, deliberately walking slower to work, etc.) I was expecting good and I got a kegger at Vallhalla!
What really gets me about Jomsviking is it is old reliable Amon Amarth and at the same time a stylistic shift for the band. Olavi Mikkonen and Johan Söderberg’s melodic riffs are still at the forefront of every song and they are made to that classic thick groove thanks to the always proficient Ted Lundström on bass teamed with great pick for studio drummer Tobias Gustafsson. Johan Hegg still remains one of the best and most understandable growlers in the metal realm. Everything that one loves about Amon Amarth is here in spades, but now with extra, and more refined flavor.
What’s new to the table most likely comes from the fact that Jomsviking is Amon Amarth’s first concept album. Telling a touching love story (no, I’m not kidding) about a Viking who gets himself exiled when he kills a man after he goes into a rage when his love is sent to be married off to another clan. Vengeance and redemption ensue the Viking way, bloody. For a band known for their simplicity, and even with direct and simple lyrics, it’s a complex and powerful story; emotional even. Having to focus their sound around the narrative leads to Amon Amarth broadening their sound to effectively match the tale they wove. This leads to flurry of sounds, tones, and styles that they have touched upon in the past, but never honed to this sharpness. It’s what makes the record so easy to listen to repeatedly and makes it so addicting.
Each song boasts its own unique touch. The opener ‘First Kill’ is your typical Amon Amarth tune and ‘The Wanderer’ ventures into old school In Flames territory. Things get really interesting on the third track ‘On a Sea of Blood’ where, deer lord! that beautiful Bay Area thrash guitar tone splits open eardrums for a ripping, thrash-tastic assault slays for one of the most energetic songs the band has ever written. This shift to a brighter tone really accentuates the rest of the album allowing the guitarists really to show off those licks and solos they opened the floodgates on. They also work outstanding with Johan Hegg’s voice highlighting his range, especially on the Viking sing-a-long ‘Raise Your Horns’, which I expect to become an immediate live show classic.
‘The Way of the Vikings’ most likely benefits the most from the narrative as it is the point in the story where the protagonist must face his best friend on the battlefield in a fight to the death. One adjective I thought I’d ever use to describe an Amon Amarth song is ’emotional’, yet here I am doing it. The rhythmic, mid-paced riffs backing that bridge solo just gets me every time. Such a simple song, yet so fucking powerful. To a lesser extent Doro Pesch makes a guest appearance on ‘A Dream That Can Not Be’ as the main characters love and she delivers a performance that hits the emotion button hard.
And not to forget about easily my favorite song off the album, ‘At Dawn’s First Light’. This is clearly a love letter to Iron Maiden. Jam packed with galloping rhythms and riffs, dual attack, larger than life solos, and a high-flying, memorable chorus, this is basically everything I love about Iron Maiden (my favorite band btw) distilled into death metal. More tracks have a nice little Maiden influence to them and it’s great, but here it’s in full force and hot damn is it great. Without a doubt one of my favorite Amon Amarth songs ever.
I honestly can not speak highly enough of Jomsviking. If you had thought Amon Amarth were getting a bit stale or were going to sell-out moving to a big time major label, you need this album in your life. They are firing on all cylinders and have reasserted their claim as one of the best modern death metal bands in the world today. No metal head should be without this record. Peace Love and Metal!!!! 5.0 out of 5.0