Review: Iris Divine – Karma Sown
Apr 19
A review of progressive metal band Iris Divine’s new album, Karma Sown.
Top Ten Heavy Metal Albums of 2014
Feb 09
Although it didn’t feel as though there were many memorable heavy metal releases in 2014, I will say that it felt stronger that the previous year so hopefully that marks an ongoing trend into ‘15. A big difference this last year were the ‘big releases’ that failed to impress; whereas ‘13 was mostly just a glut of anything and the few that did stand out came from debut bands, ‘14 was marked by several anticipated albums that just didn’t live up to the excitement. At The Gates, Cavelera Conspiracy, and The Haunted being examples, especially since the two Swedish groups in the bunch were putting out ‘comeback albums’. The strong genre in this list definitely seems to be on the proggier side of things, with solid outings from Opeth, Soen, Ne Obliviscaris, and others. Vainaja – Kadotetut This thundering platter of death represents some of the best from the gloomier side of metal for a year which featured a surprisingly strong outing for doom. This album has a cloud of grief and despair thick enough to choke a manically depressed elephant, but it isn’t just atmosphere and slow tempos here; there are some seriously heavy-hitting tracks that will pummel your brain thanks to a penchant for death ‘n roll flair. Soen – Tellurian For a year with little in expectations, anything was up in the air. Come mid year, most reviewers and fans of metal were left justified in that ambivalence when left with a paltry few stand-out releases and a large swath of unimpressive and largely forgettable albums, even ones from heavy-hitters in the industry and some greatly anticipated ‘come-back’ groups leaving listeners meh’d. Personally, I was looking forward to Soen’s new album with a great deal of fan-boy glee, but I also didn’t expect it to be blowing many minds; the Tool-worship of their debut release was definitely enjoyable, but wasn’t exactly helping the band break much new ground. Then came Tellurian. This is an album that sees the band completely coming into their own and creating something unique and special. Tool-channeling gone, the group has crafted an engrossing set of progressive music that flows front to back with impressive song-writing and stellar musicianship. I honestly can’t say that there are any stand-out tracks on Tellurian, but that’s a good thing; this is an album you sit down and listen to in its entirety because you’ll be...
New Music Watch: Aeron’s Wake
Jul 27
New Music Feature: Aeron’s Wake EP Instrumental Celt Metal from Windsor, Ontario might seem to be a bit of an incongruity, but then again that’s hardly seemed to matter for the genre nowadays (I’m looking at you…uh…90% of all folk/celt/viking/troll/pirate/leprechaun/unicorn bands!). What makes Aeron’s Wake stand out, however, is the fact that they place their focus on–now get this–the music. There’s no pastiched fiddle fiddler stuck in the background to add just enough ‘world’ flavored soundbits to justify stamping average melo-thrash as ‘folk’; the bowed instrument is actually a foremost feature in the compositions. Not to mention the fact that it’s a real live warm human body filling out the position rather than a glorified Casio keyboard (again, looking at you 90%…). There’s enough going on here to justify the label, including progressions with often more classical leanings than modern, and no songs about finding Greenland to distract from them. Go ahead and check these boys out, I promise there’s no trolls, swamp witches, drunken pirates, or Swiss guys pretending to be Irish involved.Aeron’s Wake:WebsiteFacebook Aeron’s Wake by Aeron’s...
Top Ten Heavy Metal Albums of 2013
Jan 13
Another year, another round of releases, and therefore another end-year Top Ten list on another music blog. 2013 was a little weak in the teeth as far as head bang worthy albums, which is rather a continuation from 2012 as well, though there were certainly some stand-outs, a few diamonds in the rough, and perhaps a few surprises. The fact that this list has two debuts and two hard-rock releases featured on it is probably a good indicator of the last year in metal music, where the months seemed to blur together from lack of spectacular records to differentiate them. But enough old man grumbling, here are my personal top ten heavy metal albums of 2013, in no particular order at all, along with a few honorable mentions. Heart of Oak – Anciients With what was perhaps the strongest debut album of the last year, Vancouver’s Anciients put out a solid platter of blended metal. The band weaves its way through several styles to craft a progressive album of expansive, crushing songs. The best description would be something between Opeth, Mastodon, and High on Fire, all sounds that compliment each other quite well. The result is a great album with depth and texture to the songwriting. Buy Heart of Oak on Amazon Last Patrol – Monster Magnet Aside from 2010’s Mastermind being a solid ‘back in the game’ for Jersey’s drug rock emissaries, it also strongly hinted at a reversal of course from the fist-in-the-air rock of the last decade and half back to the spaced out psych rock of yesteryear. Well, sure enough with the new album out we get in Last Patrol a full return to form and a damn fine serving of garage stoner band goodness. Spacey, crunchy, and fuzzy, just how I like my rock. Buy Last Patrol on Amazon Youngblood – Audrey Horne Like the previous entry, this isn’t necessarily a ‘metal’ release, but it rocks hard enough enough to be thrown in for good measure. And besides, when you’ve got a band comprised of members from Enslaved and Gorgoroth, the metal category is certainly open to it. The songs are mostly straight forward hard rock, with the requisite few tracks sporting some ballady-ness. Nearly all the tracks are strong enough to stand on their own, which makes for a pretty solid release. Also, see if you can’t get the riff to “The Open...
New Music Watch: Aetherium Mors – Entrails of the Soul EP
Nov 23
New Music PreviewAetherium Mors – Entrails of the Soul EPAt the beginning of the year, I reviewed the debut album from UK blackened death merchants Aetherium Mors, Drenched In Victorious Blood, a record that I really enjoyed for its more than ample face scorching aside from a few flaws on the technical side. In short order, the band has put together a new EP, Entrails of the Soul, and once again I’m pretty impressed with the results.All the signatures of their initial offering are present here, albeit with a tighter overall chemistry, demonstrating the group’s growth and development as a band. The four songs on the new EP are dynamic and well crafted assaults of scathing death metal fury, featuring raspy graveyard growls, breakneck riffs, and pummeling drums. The group’s brand of blackened brutality is still all the more impressive for coming out of a fairly new band, as the songwriting and technical prowess showcased here would easily befit a much more established and mature ensemble. Best yet is the improvement on the technical side of things on this effort; the mix is a little more evened out this time around, the drums no longer overpower at their more furious moments and the vocals have a more distinct presence. Don’t take that as meaning polished though, the band’s sound is still appropriately gritty and primal, a characteristic that does much to compliment the scorching sensibilities of the music’s assault.Aetherium Mors is certainly an independent band deserving of attention for anyone looking for a three-way crossover between Swede-styled death, Norwegian blackness, and UK doom. If the new Entrails of the Soul EP is any indication of what they have in store for their next full length, we should be seeing quite a solid release of metal fury.Check out the EP below, follow the band on Facebook, and make sure to be on the lookout for a physical release in early 2014. http://www.aetheriummors.co.uk/Entrails Of The Soul by Aetherium...
Review: Cities of the Plain – …the Most Exciting Contest You can Imagine
Nov 18
Cities of the Plain – …the Most Exciting Contest You can Imagine Review Score: 7/10 …the Most Exciting Contest You can Imagine is the newest release from the one-man instrumental progressive metal outfit Cities of the Plain, helmed by Eugene Oregon’s Samuel Blum. The album is a six track affair, and takes the listener along a somewhat languid journey across a soundscape that is alternatively harsh and delicate, through peaks and valleys of swelling mixes and sparse melodies. While it is not a far reaching journey, or one that offers a great many musical vistas to explore, the trek is still one worth taking for the thoughtfully travelled territory that it does delve into. The opening track, “I Have Wrestled with Death” begins the effort on a strong and heavy-handed note, displaying the full aggressiveness the album is capable of with the ever present attention to musicality that accommodates itself to the listener throughout the record. Think of the mathematical assault of Meshuggah with the consideration towards melody of Devin Townsend. Following nicely from there is the title track which somewhat more accurately represents the structural tendencies of the album’s offerings; the melody is simple and sombre, with the mix building gradually around it, culminating in a near-crushing orchestration of plucked guitar accents and thundering drums. Though this is not a strict template, most of the record’s tracks follow this general principle; a drifting, often doleful melody is introduced and allowed to set the mood for the listener while an expanding soundscape is built up around it, climaxing into a grand mountain of textured and complementary instrumentation. Many times these crescendos are built up multiple times after gently drifting back down the sonic slope they previously crested, resulting in a well crafted and dynamic tidal surging of emotional songwriting. While this is a strictly instrumental release, there are sampled quotes in a few of the tracks from the likes of No Country for Old Men and The Devil’s Advocate, which certainly are not integral or even incidental to the music, but they do offer interesting accents to select lulls in the music. Unfortunately, these audio flavors end up being one of the only sparks of deviation that break up the generally cyclical nature of the record. The formula of instrumentation, tonal consideration, and structure implemented on the album works well at face value, but aside from marginally different avenues...
