Tag Archives: progressive metal

Album Review – Sarpentra / Supernova (2015)

Posted on by
1

Obscure and enigmatic, this impressive Blackened Death Metal band from Russia will break into your psyche and give you a unique sense of freedom with their thunderous music.

Rating4

Sarpentra - Supernova - coverLet me start by telling you how different this review is going to be, as for the first time ever I have absolutely no idea who the band members are for the band in question, Russian Blackened Death Metal entity Sarpentra, and according to different sources I’ve been in contact with they’re keeping their names in secret on purpose. The band itself states that Sarpentra are “more than a group of people who play music. It is an idea, symbiosis of spirit, music and mind, compounded in a single organism, which creates its own fate.” With that said, I guess the best option in this case is simply absorbing and enjoying their music without worrying about who’s playing it, don’t you agree?

And what Sarpentra have to offer us in their debut full-length album, entitled Supernova, definitely makes up for that lack of information on the band members. The entire album presents an incredible mix of extreme aggression and mystical instrumentation, following a similar music pattern from icons such as Nile and Behemoth, or as the band likes to say, it’s “an eleven-tracked hymn to domination of mind above stagnation, bigotry and imitation of life and freedom.” And in case you still don’t get it, just hit play and you’ll be taken into a music journey full of orchestrations, choirs, beautiful guitars and devastating drums that will make your metallic head spin around like a violent whirlwind.

Right after the quick sinister intro Archaios Ophios (Initiation), Sarpentra’s brutal and technical Death Metal comes crashing like a thunder storm in Iron Nails Run In, a modernized version of extreme music intensified by the addition of symphonic elements, where its Black Metal blast beats and evil progressiveness are truly outstanding. In the pure Blackened Death Metal tune Splendor Solis, the guttural vocals sound vile and ruthless in contrast to the eerie ambience generated by synths and backing vocals, with its guitar solos providing a good balance amidst all the sonic devastation; while the supernatural intro and Middle-Eastern guitar scale in the excellent Sempiternal transport the listener to a hopeless and deserted land. It’s a flawless blend of old school Death Metal and Symphonic Black Metal, reminding me of some classics by Behemoth due to its blackened vocals and intricate guitar riffs and solos.

sarpentraThe boisterous Odium (The Temple of the Sacred False) is a short and skilful exhibit of extreme music, an evil old school Death Metal song with demonic vociferations more than perfect for fans of Extreme Metal, followed by the imposing symphonic instrumental track V.V.V.V.V., or “vi veri veniversum vivus vici” (a Latin phrase meaning “by the power of truth, I, while living, have conquered the universe”), and the amazing I Set the World on Fire, where its drums are absolutely on fire while its vocals are bursting with anger. Complex and electrifying, in special its razing guitar lines, this is the next step in the expedition to the deranged land created by this extremely sharp and talented band.

The War Anthem doesn’t have “war” in its name in vain: it’s yet another inhuman tune where it’s quite clear they’re trying to blacken their Progressive Death/Black Metal as much as possible. Furthermore, those guys love shredding and delivering fast guitar solos more than their own lives without a shadow of a doubt. Then we have the title-track, Supernova, where you can feel the solar power present in the album art through their mix of Death, Black, Symphonic and even Progressive Metal, a feast for music lovers. In addition, there’s something primeval and mysterious in this song that makes it so interesting it’s hard to describe, you have to listen to it carefully to understand what I’m trying to say.

Anyway, Omnia Vincam  (Latin for “I will conquer all”) is an eerie instrumental track impregnated with occult voices that opens the gates for the most epic song of the album, Prometheus Unbound, where its energy and intensity provide the listener the ultimate journey to Sarpendra’s godforsaken land. Showcasing a very cohesive and majestic instrumental from start to finish, all orchestrations and backing vocals perfectly support the depiction of an ancient civilization worshiping the demigod Prometheus, finally unleashed from his burdensome chains.

There are infinite ways to get in touch with Sarpentra and know more about their elaborate music, such as their official Facebook page, VKontakte and YouTube channel, and you can buy the striking Supernova at the band’s Big Cartel, Amazon, iTunes and Google Play. It doesn’t matter how enigmatic and obscure Sarpentra are, their music is all that’s needed for a unique experience of mind and soul, breaking into your psyche and giving you a sense of freedom in a way only sumptuous heavy music is capable of doing.

Best moments of the album: Iron Nails Run In, Sempiternal and Prometheus Unbound.

Worst moments of the album: None.

Released in 2015 Independent

Track listing
1. Archaios Ophios (Initiation) 0:20
2. Iron Nails Run In 4:34
3. Splendor Solis 3:04
4. Sempiternal 5:36
5. Odium (The Temple of the Sacred False) 2:58
6. V.V.V.V.V. 2:23
7. I Set the World on Fire 4:13
8. The War Anthem 3:11
9. Supernova 5:10
10. Omnia Vincam 2:02
11. Prometheus Unbound 7:17

Band members
*Information not available*

Album Review – Deadly Circus Fire / The Hydra’s Tailor (2015)

Posted on by
3

What are you waiting for to put your hands on one of the best and most professional Progressive Metal albums from the past few years?

Rating3

hydra cover 1500x1500 pxDescribed by renowned British magazine Metal Hammer as “one of the most imaginative and formidable” Progressive Rock/Metal bands available in the market today, London-based four-piece group Deadly Circus Fire will blow your mind with the high-end fusion of raw metallic riffs and complex melodies found in their brand new album entitled The Hydra’s Tailor, telling you stories and invading your psyche in a brilliant way. And especially if you’re addicted to innovative bands such as Tool and Mastodon, the music by these British guys is mandatory to your collection.

Formed in early 2009 in the UK, the band released a self-titled EP in 2010 and their first full-length album The King and the Bishop in 2013, both receiving excellent feedback from fans and critics due to the band’s unique progressiveness and melodic lines. In addition, they’ve already supported Welsh Alternative Metal/Hardcore Punk band Skindred on one of their European tours, counting it among their career highlights so far. Of course, nothing would have been possible if the musicians involved weren’t as skilled as they are, because in the end the music itself is what really matters, don’t you agree?

Now turn up the volume and you’ll feel the reverberation inside your mind while lead singer Adam Grant declaims some thoughtful words in the excellent intro In Darkness We Trust, right before Animal hits you like a bullet to the head so progressive and heavy it is. I love those songs where you can clearly listen to the powerful sound of a bass guitar, and the low-tuned lines by bassist Mike Enort are spot-on. Fans of Tool will go crazy with this song, as well as with Where It Lies, where its acoustic notes open the gates for more creativity and intricacy, providing the listener a good balance between heavier riffs and smoother vocals, closer to what Mastodon do but with a Metalcore touch. Not only that, a Dream Theater-ish voyage was chosen by the band to conclude the song, and once again kudos to Mike for a superb job with his bass guitar.

Victim, which starts in a truly wicked way, showcases powerful riffs by the amazing guitarist Save Addario while drummer Paul Igoe smashes his drums with so much talent it’s hard to explain it in just a few words. Besides, the sounding of bass and drums during the guitar solo is at the same time complex and pleasant, turning the song into one of the best moments of the album. And their vision of a devilish opera couldn’t sound more obscure and interesting than in Devil’s Opera, where Progressive Metal is flawlessly blended with Sludge Metal and tons of groove. I would love to see them replicating that sonority live one day, that should be great.

DCFMore Americanized than all previous tracks, especially the vocals by Adam, Rise Again is an excellent choice for an alternate rock n’ roll radio station, with the duo Save and Mike giving a progressive lesson with their strings. It’s heavier than lots of Death and Thrash Metal bands I know, with its second half being one of those weird trips that musicians like the guys from Deadly Circus Fire always have an awesome time playing. Then we have the calm instrumental intro Martyrs, introducing the listener to the superb House of Plagues, which despite starting in a very groovy way it morphs into a creepier and more violent tune, especially the vocals by Adam when he screams “Lies, lies, lies!”. Although totally insane and progressive, it’s at the same time an easy listen, with its lyrics matching perfectly with every single second of it.

Aeden is perhaps one of the most complete examples of Progressive Groove Metal you can find, with highlights to its wicked guitar lines enhanced by the complexity imposed by Paul on drums. Moreover, pay attention to how the chorus goes from smooth to harsh in a matter of seconds. The title-track The Hydra’s Tailor has a great atmosphere with a strong Doom-ish vein, and its melancholic lyrics guide the music to a heavy ending, followed by Turning the Tide, which proves once again that despite most songs surpass the 6-minute barrier that doesn’t mean they get tiring at all. The band yet again focuses on a musicality similar to the work done by Mastodon, in special the outstanding heaviness generated by Save and Mike with their guitar and bass lines. And guess what? The last track (and also the longest of all) entitled Universe is another feast of progressiveness and talent, where its semi-acoustic beginning marvellously evolves to a much darker sounding. You can sense the music is about to “explode” anytime but somehow the band intelligently prevents it from happening, holding (almost) all their anger inside and transmitting that excruciating pressure to the listener.

To be fair, it’s hard to find the right words to describe such complex and cunning music. With that said, in order to get more details about this work-of-art, you should check the band’s Facebook page or SoundCloud, and also listen to a promo of the album on YouTube. And if you’re more than convinced of the band’s capacity and are eager to buy The Hydra’s Tailor, simply go to iTunes or to the Musicarchy Media webstore to lay your metal hands on one of the best and most professional Progressive Metal albums from the past few years.

Best moments of the album: Animal, Victim, House of Plagues and Universe.

Worst moments of the album: The Hydra’s Tailor.

Released in 2015 Musicarchy Media

Track listing
1. In Darkness We Trust 2:32
2. Animal 4:25
3. Where It Lies 6:44
4. Victim 6:02
5. Devil’s Opera 3:49
6. Rise Again 7:31
7. Martyrs 1:46
8. House of Plagues 6:44
9. Aeden 5:20
10. The Hydra’s Tailor 3:59
11. Turning the Tide 6:07
12. Universe 7:43

Band members
Adam Grant – vocals
Save Addario – guitars
Mike Enort – bass guitar, vocals
Paul Igoe – drums

Album Review – id. / Sagittarius A EP (2015)

Posted on by
3

Progressive, aggressive and intricate metal music created to flow directly into your body and mind.

Rating5

EP cover - id - Sagitarrius AInspired by Sigmund Freud’s theory on the levels of the human psyche (id, ego and super-ego), comes Canadian Progressive Metal band id. and their brand new EP, entitled Sagittarius A, which will take you on a relatively short but very interesting expedition through several music genres, from World Music to Death Metal. Longtime fans of Opeth, Gojira and Mastodon will quickly fall in love with id., while others might be positively surprised with the depth offered in the music by this Vancouver-based group.

The story behind the EP title is very entertaining and shows how much attention the band members paid to every detail while composing it. Sagittarius A, which touches on topics such as inner struggle and self-awareness, is the name of the black hole in the center of our galaxy (as represented by the album art). The central idea comes from a fundamental belief in a scientific world view, free of religious influence and tyranny, outlining how people are susceptible to believe things without evidence if it appeals to their vanity, as opposed to being presented with evidence and being able to accept something that is inherently contradictory to their intuition. But don’t worry if you didn’t really get it: just sit down, relax and enjoy the heavy music spectacle presented in this four-track EP.

idphotoshoot-5920-3611476671-PM-HAnd the psychedelic heavy music journey begins with The Greatest Secret Never Told, where huge influences from French Groove/Progressive Metal band Gojira can be easily noticed in all instruments, especially in its drums and riffs. Not only that, the high-end sounding is above average for any indie band like id., something that must be acknowledged for sure. Very technical and progressive instrumental passages are also found in Humanity’s Cry, an introspective and melancholic track (not only the music itself, but also the lyrics), with highlights to the theatrical clean vocals by lead singer Jason Pennington and the amazing beats by drummer Kris DeBoer.

id.entity is a lot angrier and more complex than the previous songs, sounding almost like Progressive Black Metal before turning into rawer Death Metal, which just confirms how creative this band can be. It’s a progressive feast where all band members have a very professional and solid performance, especially guitarists Alex Dubreuil and Tyson Araszewski, all guided by the excellent desperate vocals by Jason. Lastly, we have the title-track, Sagittarius A, which despite beginning in a very smooth way, suddenly becomes a violent but harmonic flow of blast beats and harsh screams. It’s in my opinion the best of all four tracks, mainly due to its high-energy rhythm and intricacy.

You can visit the band’s official Facebook page and/or BandCamp to obtain more details and stream the music by this band that’s helping put the awesome province of British Columbia, Canada in the map of Progressive Metal. In the end, it doesn’t really matter if you’re a profound connoisseur of the life and work of the father of psychoanalysis or not: if you’re a metalhead with a strong inclination to progressiveness, your body and mind will demand more of the elaborate musicality generated by these Canadian metallers.

Best moments of the album: As already mentioned, Sagittarius A.

Worst moments of the album: None, of course.

Released in 2015 Independent

Track listing
1. The Greatest Secret Never Told 3:58
2. Humanity’s Cry 5:36
3. id.entity 6:01
4. Sagittarius A 5:57

Band members
Jason Pennington – lead vocals
Alex Dubreuil – lead guitars, bass, backing vocals
Tyson Araszewski – rhythm guitar
Kris DeBoer – drums

 

Album Review – Sata Kaskelottia / Sata Kaskelottia (2015)

Posted on by
1

One hundred sperm whales playing heavy music? Not only that’s real, but the final result is also pretty good.

Rating5

SK_album_coverAlthough English is considered the universal language of music, especially if a band or artist wants to be heard and recognized overseas, sometimes singing in their mother tongue becomes not only an essential part of the music, but what differentiates the band from the others. That’s what makes such amazing bands like Eths, Teräsbetoni and Rammstein so entertaining, and now the same can be said about Finnish Stoner/Progressive Metal band Sata Kaskelottia and their self-titled debut album Sata Kaskelottia.

If translated to English, “sata kaskelottia” curiously means “one hundred sperm whales”, but obviously do not expect to listen to that amount of cachalots singing in Finnish like one of those nature compilations with the sounds of whales and dolphins. What we have here is pure heavy music crafted by a very talented Helsinki-based quartet who mixes elements of Stoner Rock, Sludge Metal and Progressive Metal in their music, without limiting themselves only to these genres. The final result is very solid, legit and, who knows, might even inspire you to learn some Finnish.

You will truly enjoy the raw and direct musicality found in the opening track, Huuto (“Scream”), with the very aggressive vocals and riffs by both Eetu Kauppinen and Matti Kangaskoski adding a lot of energy to the song, which by the way should sound amazing when played live. The following track, Yö On Ohi (“The Night Is Over”), showcases a stronger Stoner Rock/Metal vein, with its riffs and drums the likes of Down and Crowbar. Moreover, in my opinion this song would be an excellent choice for introducing a badass character in a movie, don’t you agree?

Sata_kaskelottia_2Based on what I could find online, Ikuturso means “The Eternal Turso”, a malevolent sea monster in Finnish mythology, which perfectly fits the sonority found in this track. It’s interesting how vocals and riffs complement each other throughout the entire song, with bassist Jukka-Pekka Kupi and drummer Ville Salonen helping elevate the overall progressiveness of it. Then we have Veden Alle (“Under Water”), a song full of progressive elements similar to what Dream Theater do, with of course a heavier approach thanks to its guitar solo totally inspired by Stoner Rock, and the longest track of the album, Kyntö (“Plowing”), which despite starting with a smooth and progressive intro, suddenly turns into somber  Stoner Metal. Not only that, the intense screams used during the song are very effective in making it even darker and more interesting.

Suljetun Huoneen Samurai (which should mean “Samurai In A Closed Room”) is a faster and more direct tune, with highlights to the excellent job done by all band members, especially to drummer Ville for maintaining such a high level of aggressiveness during the entire song; while Jumalan Ääni (“The Voice Of God”) is the perfect example of what happens when Stoner Rock and Progressive Metal walk hand in hand. Even if you don’t understand a word in Finnish you can enjoy the vocal lines so fun they are, plus a soulful guitar solo to end this song on a high note. Finally we have the excellent headbanging tune Kansalainen Zombie (“Citizen Zombie”) and its fuckin’ heavy riffs commanding the rhythm, with its last part being a delight to fans of good old rock music jamming, and the more introspective Merimies (“Seamen”), which despite having some melancholic passages also offers us that fierce and technical Stoner Metal we all enjoy so much.

Go support this promising band by checking them on Facebook and SoundCloud, and by purchasing their music on iTunes or Amazon. If you want to take a listen at the potent sound that one hundred sperm whales can generate, Sata Kaskelottia is by far your best option.

Best moments of the album: Huuto, Suljetun Huoneen Samurai and Kansalainen Zombie.

Worst moments of the album: Veden Alle.

Released in 2015 Inverse Records

Track listing
1. Huuto 2:51
2. Yö On Ohi 4:34
3. Ikuturso 4:04
4. Veden Alle 4:46
5. Kyntö 6:31
6. Suljetun Huoneen Samurai 2:26
7. Jumalan Ääni 3:15
8. Kansalainen Zombie 3:43
9. Merimies 5:43

Band members
Eetu Kauppinen – vocals, guitars
Matti Kangaskoski – guitars, vocals
Jukka-Pekka Kupi – bass
Ville Salonen – drums, percussion

Album Review – Viathyn / Cynosure (2014)

Posted on by
1

The new album by this outstanding indie Power Metal band from Calgary has everything we love in progressive metal music and more.

Rating4

Album Cover - Viathyn - Cynosure - 2014There was a time when my playlist was pretty much composed in its entirety by the anthem-like songs and sing-along choruses of many Power Metal bands such as Gamma Ray, Stratovarius, Blind Guardian and Angra. Although years have gone by and my taste for heavy music has expanded considerably, listening to some thrilling Power Metal tunes always touches my heart no matter what, and seeing this genre of heavy music is alive and well in the hands of awesome indie groups, such as Progressive Power Metal band Viathyn, truly makes me hapy. By the way, the name of the band has no real definition in English, it’s just something the band members came up while playing off the word “Leviathan”.

After the EP Demagogue in 2008 and their first full-length album The Peregrine Way in 2010, this Calgary-based band returns with more of their powerful and progressive music in Cynosure, which according to guitarist Jacob Wright means “a focal point or an object that serves to guide”. Also, when explaining the meaning of the songs, which by the way are full of virtuosity and emotion, he mentioned each track focuses upon a character that is either affected by or acts as an agent of chaos, in order to express how small and insignificant our actions are within the grand scale of the universe and to show that we as humans should be humble and respectful to each other. In other words, Cynosure also has a good storyline to add even more value to its music, which is already excellent by itself.

Get ready for a metal journey with the opening track Ageless Stranger, which right after its “Hobbit-ish” intro turns into nonstop Power Metal with lots of progressiveness, riffs and drums à la Gamma Ray, and awesome guitar solos by Jacob Wright, followed by The Coachman, which sounds like a heavier version of Jethro Tull and Sonata Arctica, especially the vocal lines by Tomislav Crnkovic and the harmony found in the lyrics, with highlights to its great chorus (“And in the shades of nightfall, riding swift, he steers to your call / Step into the coach and find your broken oaths are inside / By sleight of hand and wake of fate, speak his name, he’ll be your guide”). I might be wrong, but is it some kind of tribute to Helloween on one of the last guitar solos and at the end of the song, sounding like a live version of “Future World”?

Viathyn Press Photo 2Edward Mordrake gets back to that breathtaking traditional Power Metal with its flawless instrumental, awesome guitar riffs and all rhythmic breaks. It’s definitely one of the best songs of the whole album, especially its second half which would put a big smile on Mr. Kai Hansen’s face. The heavy and symphonic  Shadows In Our Wake has a more badass attitude and it’s impossible not to get excited with the energy this track emanates, with highlights to its nice guitar duos and speed similar to Gamma Ray (but a little more progressive), followed by the superb Countess of Discordia: it has that Power Metal vibe we all love, with “Brothers Crnkovic” absolutely on fire and in total sync. Moreover, not only it has best lyrics of all songs (“Eris, the Countess of Discordia / Behold her kingdom of strife and chaos at your door / Mother to false oaths and daughter to the void / Her fortress stretches high up to the weeping moon”), but it’s impressive how despite being lengthy it’s not tiring at all (and I’m sure you’ll start tapping together with its double bass wherever you are).

Cynosure goes on with Time Will Take Us All, which has a more serene intro and slower rhythm, with part of its musicality inspired by British Progressive Rock and the addition of some guttural vocals in the background being its special element, and Three Sheets To The Wind, a song that takes Folk and Power Metal to the next level, making me want to start dancing and prancing with a mug of beer in my hand. The last two tracks of the album are Albedo, a psychedelic music voyage with interesting lyrics (“Panacea, cure all that ails me and fill my veins with life / Aqua Vitae, draw clarity to my eyes and post colour through my mind”), with highlights to the excellent job done on guitars, and finally the title-track Cynosure, as symphonic and metallic as possible in its almost 10 minutes of fast and complex riffs, guitar solos and drums. Some passages even remind me of Dragonforce, with Tomislav Crnkovic once again showcasing an excellent vocal performance boosted by the enjoyable song lyrics.

There are many places where you can listen to and purchase Viathyn’s Cynosure (SoundCloud, CD Baby, BandCamp, Big Cartel, iTunes, among others), an awesome album tailored for fans of progressive and powerful metal music. There’s no way you won’t feel really good listening to it, I can assure you.

Best moments of the album: The Coachman, Edward Mordrake and Countess of Discordia.

Worst moments of the album: Time Will Take Us All.

Released in 2014 Independent

Track listing
1. Ageless Stranger 7:13
2. The Coachman 5:41
3. Edward Mordrake 6:24
4. Shadows In Our Wake 7:02
5. Countess of Discordia 7:12
6. Time Will Take Us All 7:01
7. Three Sheets To The Wind 7:21
8. Albedo 6:48
9. Cynosure 9:35

Band members
Tomislav Crnkovic – vocals, guitar
Jacob Wright – guitar
Alex Kot – bass
Dave Crnkovic – drums

Metal Chick of the Month – Dianne van Giersbergen

Posted on by
Reply
dianne01

You will die for my love tonight!

When you think about the Netherlands, the first (if not the only) things that come to your mind are probably prostitution, drugs and those famous wooden shoes. However, you should forget about all that touristic bullshit and start admiring the true wonders of that picturesque European country: their female Heavy Metal singers. It’s amazing how many talented girls can be found in such a small country, as for example Anneke van Giersbergen (Agua de Anneke, The Gathering), Sharon den Adel (Within Tempation), Charlotte Wessels (Delain), and our last Metal Chick of the year, the stunning soprano Dianne van Giersbergen, frontwoman of Dutch Progressive Metal band Ex Libris and German Symphonic Metal band Xandria.

Dianne was born on June 3, 1985 in the village of Liempde in the Netherlands, about 100km from the capital Amsterdam, but currently resides in the city of Dordrecht, close to Rotterdam, the second-largest city in the country. Her beautiful and potent voice started to be defined and polished really early in her life: when she was a kid, Dianne used to listen to many pop female singers such as Whitney Houston (R.I.P.), which developed in her a true fascination for the human voice and, at the age of four, her parents gave her as a birthday gift her first singing lessons. In the following years, she had several other music teachers and sang in different choirs.

In the year of 2005, this long dark-haired beauty began her studies in Classical Music at the ArtEZ School of Music with singer Elena Vink, and also became a trainee at the Nationale Reisopera. Besides her classical Music studies, in her free time our gorgeous soprano also braved the worlds of popular music and musical theatre. Finally, in May 2009, Dianne graduated from her studies with distinction, and her newly acquired Bachelor’s also worked as the admission for her Master studies, when she improved her technique to have classical and metal music mixed together. Not only that, this nonstop diva also attended composition courses, wrote poems on behalf of composers, and was the chairman of the New Artez Student Association group of master students. We have to admit this is a very respectable resume, which makes me wonder if she somehow has part of the DNA from Iron Maiden’s “multi-man”, Mr. Bruce Dickinson.

Moving on to her career as a Heavy Metal singer, Dianne has been with Ex Libris since their beginning in 2003, and has already recorded the demos Drawn (2005) and Medea (2011), and the full-length albums Amygdala, in 2008, and Medea, now in 2014. In one of her interviews, she explained the reason for the name of the band.  “An Ex Libris is used to indicate ownership of products of a craft-guild and can come in different forms like a seal, stamp or a brand. You could say that by naming the band Ex Libris we would like to brand our products as our own.”, she said. In case you have never heard the voice of Dianne with Ex Libris, here are a few songs to make your day a lot more pleasant: From Birth to Bloodshed, A Mother’s Lament, Love Is Thy Sin, and Dawn Of Sugars.

In October 2013, Dianne was chosen as the new frontwoman for Xandria, replacing German singer Manuela Kraller. She made her live debut with Xandria in November 2013 during a Spanish tour, and has recently recorded her first album with the band, entitled Sacrificium. You can for example check her astonishing voice beautifying Xandria’s music in the very enjoyable song Dreamkeeper, from Sacrificium.

Besides that, she was a guest soprano for Polish Symphonic Power Metal band Pathfinder during their Blood Aliance Tour in 2011, and in December 2013 she was a guest vocalist during one of the concerts from Dutch Symphonic Gothic Metal band Stream Of Passion, when together with lead singer Marcela Bovio they performed the duettino Sull’aria, from Mozart’s “Le Nozze di Figaro”, and one of Stream of Passion’s own songs. And, of course, you can always check all her other projects and videos on her official website and also on her official YouTube channel.

This slideshow requires JavaScript.

A woman so talented like that could never have a bad taste for music, and this can be easily seen on her awesome list of favorite bands and artists, which includes music icons such as Nightwish, Dream Theater, Tarja Turunen, Devin Townsend Project, Anneke van Giersbergen, Anathema, System of a Down, Dire Straits, and many more. And before you ask about it, despite having the same last name as Anneke, those two divas are not related at all. “We share the same surname but are very different in voice type and vocal techniques. I like her style though.”, Dianne said during an interview. Not only that, she also listens to a lot of classical music (mostly choir pieces, songs and opera), with Wagner, Rachmaninoff, Zemlinsky, Berg and Verdi being among her favorite composers.

In terms of cinema and literature, Dianne once again showcases a splendid cultural background by mentioning among her favorite movies masterpieces such as Braveheart and Lord of the Rings (and anything from masters Quentin Tarantino and Tim Burton), great TV series like Breaking Bad and Lost, and everything from one of the greatest and most mysterious writers of all time, the unparalleled American poet Edgar Allan Poe. Add to that the fact that she loves French food and red wine, and there you have a perfect European “milady”!

Last but not least, Dianne even said once that she would love to have an alto (or contralto) voice for a day. If that doesn’t mean anything to you, just for your reference the female voice can be divided into three categories: alto, mezzo-soprano and soprano, with the alto being the lowest standard female voice type (you can see a very good explanation of all types of voices HERE, including a perfect example of how an alto sounds like). But even after reading all that information about voice types you didn’t really get it, don’t worry: I’m pretty sure that, as long as our Dutch princess Dianne keeps singing Heavy Metal, your metal heart will keep beating delightfully.

Dianne van Giersbergen’s Official Facebook page
Ex Libris’ Official Facebook page
Ex Libris’ Official Twitter
Xandria’s Official Facebook page
Xandria’s Official Twitter

“Smile and you will be rewarded.” – Dianne van Giersbergen

Album Review – Sarpedon / Anomic Nation (2014)

Posted on by
Reply

Get ready for this Progressive Doom Metal band with a strong theatrical vein directly from the beautiful Norway.

Rating4

Sarpedon-coverAfters years in the making, the music journey named Anomic Nation, the debut album by Norwegian Progressive Doom Metal band Sarpedon, is finally among us. For those of you who don’t know Sarpedon, this very technical band is led by brothers Torgeir and Eirik P. Krokfjord, who have been working together on this project for several years, influenced by distinctive bands such as Savatage, Emperor and Queen, and adding their own experiences and emotions into their music to give it a fresh taste.

Despite its Black Metal-ish album art, Anomic Nation is a lot more melodic and less violent than pretty much all Black Metal bands you might think of, thanks a lot to the “theatrical” vocals by Eirik P. Krokfjord. The guy, who has two singing degrees from the Norwegian Academy of Music, doesn’t limit himself by only singing the songs, he basically declaims the lyrics in all of them, as if the the Phantom of the Opera decided to form a heavy music group. That might be one of the greatest strengths of Sarpedon, and definitely what will hold your attention throughout the entire album.

When the music kicks off with the very atmospheric and eerie title-track Anomic Nation, it’s impossible not to think of bands like Swedish Epic Doom Metal Candlemass or Danish Heavy Metal icons Merciful Fate, as all of their characteristic elements are present in Sarpedon’s music boosted by some traditional Black Metal blast beats. If you don’t understand what I’m saying, take a listen at this powerful song by Candlemass and everything will make sense. This great Doom Metal track is followed by The Lusk Letter, where the band showcases an even more progressive musicality, guiding the listener through a theatre of virtuosity and darkness, and The Claustrophober, which gets even more obscure thanks to its church organ keyboard notes, moving towards more traditional Doom Metal. And pay close attention to the beautiful lyrics in this song, it’s totally worth it.

MONSENSarpedon speed things up a little in Dead Birds, with its lyrics being even more freakish and drummer Carl Engstrøm kicking fuckin’ ass: it’s impressive how he can go from raw Black Metal to smooth progressive music in a matter of seconds, without sounding robotic or generic. Then we have the beautiful A Seed of Evil, an inspiring work of art that could be summarized like a “forbidden tenderness” (if that expression even exists), and The Carnival, where what seemed to be a melancholic tune suddenly turns into fast and raw metal, getting back later in the song to pure progressiveness with some interesting rhythmic breaks, somber guitar riffs and a nice theatrical chorus (“Look behind the mask / Before it is too late”).

The band saved for last the duo comprised of My Mysteries Unwind, Part I, a smooth but sinister “intro” to its second part, focusing heavily on its intense keyboard notes, and My Mysteries Unwind, Part II, the boldest and most symphonic of all tracks. It’s indeed a mysterious journey that transpires Doom Metal, varying between heavier riffs and more melancholic passages, with its precise drumming keeping it energized and all elements of the last part of it showcasing how crazy and progressive Sarpedon can be.

If you’re a fan of Candlemass, Mercyful Fate, Queen and all other rock and metal bands with a ravishing theatrical side, don’t wait any longer and go grab your copy of Anomic Nation at the official Inverse Store. It’s good music that will satisfy your craving for a good story while you bang your head, do some air guitar or keep tapping on your desk, and if you let yourself go with each song you will probably find yourself doing that for hours, completely enthralled by Sarpedon’s full-bodied music.

Best moments of the album: Anomic Nation and A Seed of Evil.

Worst moments of the album: The Carnival.

Released in 2014 Inverse Records

Track listing
1. Anomic Nation 6:02
2. The Lusk Letter 5:08
3. The Claustrophober 6:19
4. Dead Birds 4:23
5. A Seed of Evil 5:01
6. The Carnival 6:43
7. My Mysteries Unwind, Part I 3:14
8. My Mysteries Unwind, Part II 9:45

Band members
Eirik P. Krokfjord – lead & backing vocals, keys
Torgeir P. Krokfjord – all guitars & bass
Andreas Wærholm – keys
Carl Engstrøm – drums

Album Review – No Sin Evades His Gaze / Age Of Sedation (2014)

Posted on by
Reply

These young British guys and their sharp instruments keep the fire of heavy music alive with huge doses of professionalism, brutality and progressiveness.

Rating4

Album Art - 1500 x 1500Like French chemist Antoine Lavoisier said once with his law of conservation of mass, “Nothing is lost, nothing is created, everything is transformed.” That can be said about the music by Metalcore/Groove Metal band No Sin Evades His Gaze who, influenced by bands such as Pantera, Lamb Of God and Machine Head, blended elements from Metalcore, Death Metal and Groove Metal in a very professional way, sounding very contemporary and, above all, very technical, melodic and progressive.

It’s amazing how such young guys, all in their early or mid-twenties (and some not even in their twenties yet), were capable of crafting 100% cohesive and honest heavy music like if they have been together on the road for years in a row. This new five-piece metal band, founded in 2013 by vocalist James Denton and with members hailing from London, Blackpool and Scotland in the UK, has just released their debut album, Age Of Sedation, and let me tell you it’s an awesome mix of brutality and melody perfect for fans of modern metal music.

Right after the short but strong intro A Crack In The Looking Glass, where it’s noticeable the band is composed by young members (only young people can write, say or sing words such as “They’re gonna call you weird… They’re gonna call you eccentric…”), we already have one of the top moments of the album, the title-track Age Of Sedation.  It’s polished and professional extreme metal, with its guitar lines conducting the song enhanced by its heavy drumming and all background effects, and of course the excellent guttural vocals by James. The following song, Motionless In Obedience, is a very good choice for fans of extreme music with an apocalyptic touch, getting very progressive halfway through it due to its technical instrumental, and providing the listener the first dosage of clean vocals by drummer Theo Harvey.

Filth is a much heavier tune than its predecessors, perfect for headbanging, with highlights to the great job done by both guitarists Kevin Pearson and Dan Thornton and to the Industrial Metal elements added to the song, similar to what Fear Factory usually do in their music, followed by the nice Metalcore vibe in Roll Up The Royalty, where its very cohesive instrumental gives it a truly badass atmosphere. Another one of my favorite moments in Age Of Sedation is the violent and apocalyptic Debris, with Theo smashing his drums while Matthew “Moat” Lowe shows no mercy for his bass (and you can actually listen to each note from it), while The Cycle Resets focuses on a more contemporary American Metalcore blended with Industrial Metal, with highlights to the awesome vocal performance by James and its totally melodic and catchy riffs.

No Sin Evades His Gaze Promo photo 2014The last part of the album begins with Biometric Alchemy, which could be portrayed as a darker version of what Slipknot do sometimes, mainly due to its deep guttural vocals, followed by The Guillotine Blade: as sharp as a real guillotine blade, the band offers us more atmospheric chaos full of solid riffs, rhythmic breaks and a melancholic ending. And to close the album the band chose their longest and most progressive song, Affinity, with elements from Metalcore, Melodic Death Metal and even Nu Metal, sounding pretty much like three or four songs in one for the delight of fans of complex heavy music.

As aforementioned, the excellent Age Of Sedation, which is available at the No Sin Evades His Gaze’s official BandCamp page, Amazon, iTunes and many other locations, might not be 100% original (what is today, anyway?), but it’s as fresh and creative as possible, thanks to an awesome job done by all band members with their refined techniques. Let’s say that they’re just adapting what Lavoisier discovered in a distant past, but instead of “mass” they’re supporting the conservation of good heavy music.

Best moments of the album: Age Of Sedation, Filth and Debris.

Worst moments of the album: Biometric Alchemy.

Released in 2014 Independent

Track listing
1. A Crack In The Looking Glass 0:51
2. Age Of Sedation 2:49
3. Motionless In Obedience 3:39
4. Filth 4:06
5. Roll Up The Royalty 3:50
6. Debris 2:54
7. The Cycle Resets 3:52
8. Biometric Alchemy 4:38
9. The Guillotine Blade 3:40
10. Affinity 6:00

Band members
James Denton – vocals
Kevin Pearson – guitars
Dan Thornton – guitars
Matthew “Moat” Lowe – bass
Theo Harvey – drums, clean vocals

Album Review – Maahlas / Nightmare Years (2014)

Posted on by
2

A grim mix of Black, Death and Progressive Metal, tailored for people who enjoy complex and intense music.

Rating4

MAAHLAS - Nightmare Years cover artWhen you tell someone there’s a band that plays Progressive Melodic Death Black Metal, you’ll probably have to spend a lot of time explaining exactly what you mean by putting together so many different subgenres of heavy music, unless of course you’re talking to a fan of Gojira, Death, Meshuggah, Dimmu Borgir and many other “complex” dark bands. That’s how Norwegian band Maahlas can be categorized based on their debut release, the heavy and eccentric concept album Nightmare Years.

Formed in 2013 in the beautiful city of Oslo, Norway by multi-instrumentalist Cuneyt Caglayan, also known as Cuno, Mahhlas seem to be one of those bands that enjoy surfing through different music styles (most of the time during the same song), relying heavily on their refined techniques to create a unique atmosphere and conduct the storyline behind Nightmare Years without being boring or arrogant. Quite the contrary, the way the band is capable of telling a story changing from smoother progressive music to violent Black Metal is really outstanding and one of the biggest strengths of this album.

And what a violent way to start with the very atmospheric and dark Sun of the Summerian, a Symphonic Black Metal tune similar to what’s played by bands such as Dimmu Borgir, but with more hardcore vocals and a very interesting progressive part right before reigniting the sonic massacre. Besides, despite being only a session musician working for Maahlas, drummer Łukasz Krzesiewicz is a fuckin’ beast and delivers an incredible performance with his set. A False World, a more obscure track with great vocals by Levent Ultanur, progressive synths and philosophical lyrics (“Doubt in your eyes, in your stances and your reasoning. / Weak in your seminal thoughts primed to misuse trust.”), and Morning Light, more progressive and melodic than the previous tracks, remind me of the Blackened Death Metal currently played by Behemoth plus all the progressiveness from Dream Theater; while An Ancestral Memory focus on dark Black Metal riffs, synths and drums to provide it a very symphonic atmosphere. Moreover, those guys truly enjoy adding some interesting breaks to the rhythm to freshen up their music, as you’ll notice not only in this song but in the entire album.

maahlasThen we have the excellent At the Edge of Life: this is dark progressive music at its finest, and although slower than most of the other songs, it’s a lot heavier thanks to some awesome guitar lines. After the acoustic eerie track Gliese 667 / Æra, Maahlas offer us the title-track Nightmare Years, which summarizes everything the band is, with vocals getting a little bit more demonic and huge doses of contemporary Black Metal, and The Great Divide, where Łukasz smashes his drums while Cuno delivers some great guitar riffs.  I remember a few songs named “The Great Divide” that were all ballads and I was even ready for a smooth track, but this is not the case here, as the band once again promotes an infernal music feast.

The last part of Nightmare Years does not disappoint at all, maintaining the excellent level of the whole album: Birth of Sentience is another brutal assault focused on modern Black Metal, with its last part being more direct and traditional; while Of Hypocrisy, Hate and Fall, the longest track of all, starts with a beautiful intro before turning into a dark music extravaganza, with highlights to its very interesting lyrics (“Prowling agony, blinding day. I meditate yet have a terror attack. / I see Gliese, God! So alike. / I’m alone to act, a straw man, I’ve got to let go. / I´m controlled by time.”). It’s perhaps the most progressive of all tracks, with lots of elements from bands such as Tool and Insomnium, and if you’re a drummer I suggest you watch the drum tracking for this song. And finally, Simulacrum of Reality, another technical and detailed track, closes the album in a very complex and obscure way.

The album art by Turkish / German artist Aybars Altay, representing at once the fall of Home Sapiens and the evolution of the Homo Sentient, is a great complement to this mysterious music journey, which you can purchase on iTunes and many other locations. If you’re a fan of grim music with a strong technical and meaningful background, simply embrace Nightmare Years. You will love it.

Best moments of the album: Sun of the Summerian, At the Edge of Life and Nightmare Years.

Worst moments of the album: Morning Light and Birth of Sentience.

Released in 2014 Independent

Track listing
1. Sun of the Summerian 4:31
2. A False World 5:10
3. Morning Light 4:11
4. An Ancestral Memory 5:01
5. At the Edge of Life 4:30
6. Gliese 667 / Æra 1:44
7. Nightmare Years 4:03
8. The Great Divide 3:41
9. Birth of Sentience 4:39
10. Of Hypocrisy, Hate and Fall 7:08
11. Simulacrum of Reality 4:23

Band members*
Levent Ultanur – story, lyrics and vocals
Cuneyt Caglayan – music, guitars, bass, synth and all production
Robin Berg Pettersen – guitar
Christian Svendsen – drums

Guest musicians
Łukasz Krzesiewicz – drums (session musician)
Atle Johansen – vocals on “An Ancestral Memory”

Album Review – Mandatory / Catharsis (2014)

Posted on by
2

A good option for fans of Melodic Death Metal who enjoy European harmony blended with North American violence.

Rating5

MANDATORY_Catharsis_Cover_HQAustrian Melodic Death Metal band Mandatory is one of those cases where harmony and brutality walk hand in hand with each other, creating an electrifying sound perfect for live performances, which by the way helped this Linz-based quintet win the International Live Award in 2011 in Austria. Now with Catharsis, the band’s second full-length album, those guys deliver a more melodic and technical Death Metal than their previous releases without sounding too commercial or generic.

Although Catharsis is quite different from the band’s 2009 debut album Carbon Black, it’s still very technical and heavy, recommended for both fans of Melodic Death Metal and the more modern heavy music from North America. Moreover, do not expect to listen to old school Death or Thrash Metal, as the sounding in the whole album is very polished and even progressive depending on the song, similar to what bands such as Arch Enemy are doing today. You can indeed expect lots of shredding, guttural and clean vocals mixed, and fast and technical blast beats.

The opening track, End of Watch, can be summarized as pure European Melodic Death Metal with hints of American Metalcore, with its double bass boosting the very melodic guttural vocals. Then we have Act I: Tragedy, the first of three “acts” (or whatever the band wanted those to be) where its excellent instrumental, clean vocals and motivational lyrics (“Embrace the Light within / Shatter the Sky / Your pain and misery / Will purify your mind”) give a good balance to the song; and the slower but heavier To the Streets, a modern Thrash Metal tune the likes of contemporary Metallica and A7X, with some intense riffs and an interesting guitar solo perfect for some headbanging.

Mandatory_2012_1500_webEmperor has the most Metalcore rhythm of all songs, especially its guitar duos, with highlights to its very polished production (enhancing the sounding of all instruments) and the political message in its lyrics (“You aren’t machines / You are not chained / To these ambassadors / Of hatred fear and despise”); while the very enjoyable Act II: Catharsis begins with an intense low riff before turning into fast Melodic Death Metal. It even flirts with progressive metal due to all its breaks, variations and the excellent work done by both guitarists Chris Hörmann and Manuel “Mani” Rohrauer.

Shadowmaker is another good melodic and very progressive tune, albeit not as heavy as the rest of the album, with its guitar solos reminding me of some old stuff done by Dream Theater; followed by For the World to See, which gets back to Melodic Death Metal with its clean vocals being once again a nice touch to the overall musicality. Finally, we have Act III: Purification, the last of the three “acts”, another progressive/melodic heavy track with uprising lyrics (“Rise Up! / Liberate your wisdom / Rise Up! / Let the storm break loose”), and closing the album we have Blueprint, the most Thrash/Death Metal track of all with highlights to its technical and professional instrumental and the nice sound effects on the background. In addition, it might only be a coincidence, but the three “acts” (add also “End of Watch” to this list) are the best songs of the album by far in my opinion.

You can purchase Catharsis at Mandatory’s official BandCamp page, where the album comes as a special edition with lots of extra stuff, or also at Amazon, iTunes and other online stores. Go for it if you’re a fan of the most modern type of Melodic Death Metal available in the market, uniting melody, violence and fun in heavy music.

Best moments of the album: End of Watch, Act I: Tragedy, Act II: Catharsis and Act III: Purification.

Worst moments of the album: To the Streets and For the World to See.

Released in 2014 Independent

Track listing
1. End of Watch 3:53
2. Act I: Tragedy 4:15
3. To the Streets 6:53
4. Emperor 5:08
5. Act II: Catharsis 6:53
6. Shadowmaker 4:36
7. For the World to See 5:45
8. Act III: Purification 5:18
9. Blueprint 3:51

Band members
Markus Hundsberger – vocals
Chris Hörmann – guitars, backing vocals
Manuel “Mani” Rohrauer – guitars, backing vocals
Leo Wolfmayr – bass
Mike Pfaffenhuemer – drums, clean vocals