Tag Archives: progressive metal

Album Review – Antlion / The Prescient (2015)

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A progressive, technical and “psychedethic” album by a Canadian band that has all it takes to dominate the world of Death Metal.

Rating4

antlion artHave you ever heard of the expression “psychedethic” in your life? That’s how Canadian Progressive/Technical Death Metal band Antlion refers to their music, a powerful combination of the wrath found in Death Metal with an unbounded burst of groove and progressiveness. Based on what their debut full-length album The Prescient has to offer, I must agree this new term created by the band should be added to the dictionary, and as soon as you hit play you’ll have the perfect explanation to that in the form of high-quality Canadian metal.

Although the band was formed in 2012 in the city of Ottawa, Canada, it’s just now in 2015 that they’re releasing their first material, which for me at least indicates they might be extremely rigorous with the quality of their compositions, right? Anyway, featuring a more-than-psychedelic album art by Chris Volion (The Gilley van Weirden Workshop), The Prescient has all it takes to get deep into your mind and make you feel completely dazed, so exquisite the album is. And especially if you’re a musician, pay good attention to the details those guys offer within each and every song, and you might have encountered a new favorite band for your collection.

What seems like it’s going to be just relaxing progressive music in the opening track, Incubation, suddenly turns into a wild feast of Progressive Death Metal for fans of Tool and Mastodon, with guitarists Shane Williams and Joe Kruger giving a lesson in creativity with their strings. In the amazing Hubris, imagination and complexity keep walking hand in hand, with drummer Arend Nijhuis stealing the spotlight with his breaks and double bass, sounding as if Dream Theater and Cannibal Corpse merged into one band. And Cycle of Failure presents Jazz elements in a crazy journey guided by Shane and Joe, as if there were three or four songs in one due to its progressiveness.

The next tune, named Hive, flirts with Melodic Deah Metal by providing the listener awesome guttural vocals and flowing electricity. It’s definitely one of the best tracks of the album due to its excellent riffs and rhythm, not to mention its violent ending, before A Seer’s Elegy showcases another display of heaviness and creativity by the band, with Adam kicking ass on both vocals and bass. I would say this song has all the “attributes” of a serial killer, being violent but extremely methodical and/or surgical at the same time.

Spire offers an awesome blend of Groove and Progressive Metal (it can’t get any crazier than this!), with its background effects enhancing the song’s oddity and, once again, Arend providing the listener incredible beats and breaks. And as a final treat for us metalheads, Antlion bring forth an insane two-piece title-track, with the first part, The Prescient (Part I), delivering madness, beautiful riffs and lots of variations, being heavier than most tracks of the album mainly due to its resonant bass lines; and the second part,The Prescient (Part II), concluding the album in a solid and progressive way, again including hints of Jazz to provide extra layers of intricacy to it.

All this metallic lunacy can be found at their official Facebook page and YouTube channel, and you can find The Prescient for sale at the band’s BandCamp page. If you’re not only a connoisseur of Death Metal, but also a fan of visionary metal bands, I must say The Prescient might have a significant impact on your headbanging life, as it’s indeed an important breakthrough in this “psychedethic” band’s path to conquer the world of extreme music.

Best moments of the album: Hubris and Hive.

Worst moments of the album: None.

Released in 2015 Independent

Track listing
1. Incubation 4:46
2. Hubris 5:55
3. Cycle of Failure 6:02
4. Hive 4:34
5. A Seer’s Elegy 4:10
6. Spire 6:18
7. The Prescient (Part I) 3:53
8. The Prescient (Part II) 4:37

Band members
Adam Pell – vocals, bass
Shane Williams – guitar
Joe Kruger – guitar
Arend Nijhuis – drums

Album Review – Vanden Plas / Chronicles of the Immortals – Netherworld II (2015)

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If you loved Chronicles of the Immortals – Netherworld, this second and ultimate part of one of the most remarkable concept albums in the history of heavy music will certainly blow your mind.

Rating3

vanden plas_chronicles of the immortals netherworld 2Any strong narrative demands a proper conclusion, one that will make your heart beat faster and give you some welcome goosebumps, leaving you stunned by its climatic upshot and completely eager for more of it. What German Progressive Metal virtuosi Vanden Plas offer in Chronicles of the Immortals – Netherworld II, the second and ultimate part of their brilliant concept double-album Chronicles of the Immortals – Netherworld, goes beyond that in terms of quality and excitement, and you’ll have a blast following those talented metallers on their journey through the dark and admirable realms of the netherworld.

As aforementioned, the album is a sequel to their superb 2014 release Chronicles of the Immortals – Netherworld, once again based on Die Chronik Der Unsterblichen, by author Wolfgang Hohlbein. Featuring another beautiful artwork by French artist Stan Decker (even more awesome than the one from the previous album, in my humble opinion) and a magnificent choir supporting the music played by Vanden Plas, there’s nothing in Chronicles of the Immortals – Netherworld II that doesn’t look or sound spectacular, elevating it together with the first part to the status of one of the most remarkable concept albums in the history of heavy music.

I highly recommend you take a listen at the first part before moving on to this album, because Vision 11even – In My Universe is a precise continuation to “Vision 10n – Inside” in terms of its musicality and the development of the storyline. I just find it more symphonic and progressive than most songs from the first album, which in this case is exactly what the album demands, with Andy Kuntz continuing his vocal lecture for lovers of his type of voice. In Vision 12elve – Godmaker’s Temptation, we have an eerie start to another solid tune, a heavy and progressive ballad full of emotions with a huge focus on its atmosphere and especially on its powerful chorus, while Vision 13teen – Stone Roses Edge proves how incredible Vanden Plas can sound when they speed up their rhythm and beats. This is for me the best of all songs from both albums, with the electricity provided by the keyboards by Günter Werno and the guitar riffs and solos by Stephan Lill being truly outstanding, not to mention another  flawless performance by Andy.

And get ready for Vision 14teen – Blood of Eden, a fantastic 13-minute composition divided in three distinct parts that complement each other magically. Its first piece, entitled “All Love Must Die”, presents for the first time in the album the gentle female vocals by German singer Julia Steingass, who was also a guest musician in Chronicles of the Immortals – Netherworld; then the second piece named “The Rite” gets more theatrical and fiery, therefore becoming a lesson in Progressive Metal by Andy and his crew; before “This Is the Night” concludes this epic song in a classy and thrilling way. The following tune, Vision 15teen – Monster, showcases another guest vocalist, Falk Leidemer from German band Tentacle Attack, who is responsible for the guttural vocals in this very cohesive and symphonic composition, with highlights to the always growing level of passion and darkness during the whole song.

vanden plasPerhaps Vision 16teen – Diabolica Comedia can be considered one of the most complex and unusual songs of their career, with its orchestrations blending perfectly with the band’s heavy notes. Moreover, Günter once again takes the spotlight with his precise keyboard notes and undeniable talent. After such a freakish trek, it’s time to relax to the pleasant heavy ballad Vision 17teen – Where Have the Children Gone, where the strong performances by all band members provide the song what it needs to captivate the listener from start to finish.

In the excellent Vision 18teen – The Last Fight, Vanden Plas deliver a mix of Progressive Metal and traditional Heavy Metal, with its keyboards setting fire to the musicality and the excitement brought forth by the instrumental pieces and the choir truly boosting the overall quality of the music. Put differently, simply savor the experience of closing your eyes and letting this unique musical madness take you away to a different world. And finally, with the choir guiding the music to its climax (and consequently the whole album and story), the symphonic and theatrical Vision 19teen – Circle of the Devil presents the stunning Julia back to help Andy close the album majestically, working pretty much as a sequel to “Vision 14teen – Blood of Eden”. In the end, I bet several fans will cry tears of joy when the last notes of the song fade away.

To sum up, as I said already, there isn’t anything in Chronicles of the Immortals – Netherworld II that doesn’t surpass the boundaries of awesomeness, from its consistent and fully developed storyline to the outstanding music skills by all musicians involved. The only unanswered question from the entire album is that if Vanden Plas will be capable of delivering anything better or at least at the same level of quality as both Chronicles of the Immortals – Netherworld albums, but let’s leave it for their future releases. For now, we should simply relish the full-bodied music contained in this music saga, joining this amazing Progressive Metal band in their quest for conquering not only the netherworld depicted in the albums, but the entire world we live in.

Best moments of the album: Vision 13teen – Stone Roses Edge, Vision 14teen – Blood of Eden and Vision 18teen – The Last Fight.

Worst moments of the album: None.

Released in 2015 Frontiers Records

Track listing
1. Vision 11even – In My Universe 6:25
2. Vision 12elve – Godmaker’s Temptation 5:05
3. Vision 13teen – Stone Roses Edge 6:38
4. Vision 14teen – Blood of Eden (I. All Love Must Die / II. The Rite / III. This Is the Night) 13:17
5. Vision 15teen – Monster 7:40
6. Vision 16teen – Diabolica Comedia 6:37
7. Vision 17teen – Where Have the Children Gone 4:42
8. Vision 18teen – The Last Fight 7:33
9. Vision 19teen – Circle of the Devil 7:59

Band members
Andy Kuntz – vocals
Stephan Lill – guitars
Günter Werno – keyboards
Torsten Reichert – bass
Andreas Lill – drums

Guest musicians
Julia Steingass – female vocals on “Vision 14teen – Blood of Eden” and “Vision 19teen – Circle of the Devil”
Falk Leidemer – harsh vocals on “Vision 15teen – Monster”
Christian Köbler, Manuel Lothschütz – backing vocals, choir
Sarah Bohnert, Heike Dechert, Julia Hach, Stephan Hugo, Lisana Hunsinger, Jutta Mitschke, Ines Pawlowski, Charlotte Seeger, Johannes Zimnol – choir

Album Review – Nocturnal Escape / Nocturnal Escape (2015)

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Do you love elaborate music, but at the same time do you feel an urge to bang your head nonstop? This skillful German act might have exactly what you’re looking for.

Rating5

Nocturnal Escape - Nocturnal Escape - coverIf you’re one of those demanding metalheads who’s always looking for fresh and complex music, which at the same time still offers a raw vibe or an evil aura that keeps the music as underground as possible the likes of Moonsorrow, Enslaved, Opeth and Amorphis, you’ll have a great time banging your head to Nocturnal Escape, the self-titled debut album by German Progressive Death/Black Metal band Nocturnal Escape.  It might not be an easy listen for people who are used to more straightforward rock and metal at first, but the quality of the music found in this album is so good you’ll end up succumbing to the band’s intricate darkness after a short while.

As a matter of fact, this Augsburg-based group is more like a project created by multi-instrumentalist Leo Bergmann in January 2014, a few months after his previous band, Bleak, disbanded in 2013. Leo was joined by his brother, bassist Klaus Bergmann (who also plays for the excellent German Death Metal band Disgusting Perversion), in late 2014, and also by vocalist Thomas Zimmermann, who added clean vocals to the album in 2015. I don’t know if they can be called a “power trio”, but they surely know how to make a lot of noise and how to fill every empty space with their notes, riffs and beats.

A demonic voice introduces us to the music by Nocturnal Escape in War Of Beliefs, a blend of Death and Black Metal so technical and obscure it’s not recommended for the faint-hearted. However, amidst all turbulence there’s room for tons of progressiveness and melody, with kudos to Leo for crafting such solid and entertaining musicality. What starts as an epic battle hymn evolves to boisterous Black Metal in Age Of Atrocity, with highlights to the nonstop riffs by Leo, the good balance between harsh and clean vocals thanks to a great job done by Thomas, and its meaningful lyrics (“Don’t follow leaders for whom you are lifestock / Pull out now to prevent the shellshock / Cluelessness is bliss of the mindless herd / Set yourself aside and feast on your hate”). Besides, although it’s less progressive than the opening track, it still presents intricate passages and lots of tempo changes.

A Lucid Mind, which leans towards cleaner Progressive Metal despite the growling vocals by Leo, offers us calm and relaxing passages focusing on Thomas’ clean voice and an embracing atmosphere to soothe our souls, while the other pieces of the song are an ode to madness and freedom; followed by Disillusion Strikes, where the band gets back to a more direct sounding, a modern Death Metal tune with hints of the craziness generated by bands such as Devin Townsend, turning it into one of the top moments of the album. The title-track, Nocturnal Escape, starts in some kind of “cosmic” way due to its synths, before switching to Progressive Metal enhanced by Leo’s devilish growls while Thomas declaims his vocal lines, developing then an interesting storyline to be followed attentively throughout the entire song as you can see in its lyrics (“The pain feels good the pain feels right / This cleansing torture drives me through the night / I follow this path and come to me / With this aquired taste in human tragedy”). A similar situation is found in Screaming Heart, with yet another melancholic intro that grows in sorrow and darkness until it becomes a Progressive Dark/Doom Metal exhibit. Not only it feels like two or three songs in one, but the strong focus on riffs and solos were clearly done on purpose by Leo to enhance the song’s punch.

Nocturnal Escape - logoWhat initially seems to flirt with Alternative Rock and modern Hard Rock turns into a Black Metal feast with a desperate ambience that will invade your mind in Gaia’s Demise, with its funereal riff and the well-balanced duo of harsh and clean vocals leading this progressive tune through its acoustic passages and mesmerizing rhythm. And what if Deep Purple, Devin Townsend and Arch Enemy got together for a jam session? The result would probably resemble the thrilling tune entitled Call To Humanity, which keeps rolling at full speed fueled by its awe-inspiring guitar riffs and solos. It’s indeed an amazing mix of Speed and Death Metal with huge dosages of progressiveness and feeling to close the album on a high note, and in my humble opinion it’s the best tune of the album by far. In addition, pay close attention to the song’s special guests Paul Perlberg, Joscha Radaj (Zerfetzer, Musikalischer Gesundheitsdienst), Tobias Ruf (Disgusting Perversion), Julian Gruber (Running Death) and Simon Bihlmayer (Running Death), as they add some crazy amount of wickedness to the final result.

You can get more details on Nocturnal Escape at their official Facebook page, as well as purchase their debut album through BandCamp. This is a great opportunity for fans of progressive and aggressive music to witness the inception and rise of a talented metal act from Germany who are not afraid of experimenting and adding different layers of complexity to their compositions, creating a unique sounding that, as aforementioned, will beautifully reach to your heart and definitely make you bang your metal head.

Best moments of the album: Age Of Atrocity, Disillusion Strikes and Call To Humanity.

Worst moments of the album: Nocturnal Escape.

Released in 2015 Independent

Track listing
1. War Of Beliefs 7:37
2. Age Of Atrocity 5:23
3. A Lucid Mind 6:52
4. Disillusion Strikes 4:34
5. Nocturnal Escape 7:01
6. Screaming Heart 4:19
7. Gaia’s Demise 6:36
8. Call To Humanity 6:31

Band members
Leo Bergmann – harsh vocals, guitars, keyboards, drum programming
Thomas Zimmermann – clean vocals
Klaus Bergmann – bass

Guest musicians
Paul Perlberg – vocals on “Call To Humanity”
Joscha Radaj – keyboards on “Call To Humanity”
Tobias Ruf – second guitar solo on “Call To Humanity”
Julian Gruber – fourth guitar solo on “Call To Humanity”
Simon Bihlmayer – sixth guitar solo on “Call To Humanity”

Album Review – Forte Ruin / Forte Ruin EP (2015)

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A cohesive and entertaining display of Melodic Death Metal, directly from Finland into our minds and souls.

Rating5

EP_CoverIf someone says Finnish Melodic Death Metal band Forte Ruin are more like a family than just a regular band, that person won’t be lying at all. The guitar duo comprised of Saku and Samu Aaltonen, together with drummer Jere Aaltonen, are the electric brotherhood that keeps the band’s engine running fast and efficiently, with lead singer Arttu Ruusunen, bassist Arto Viitanen and keyboardist Veli-Matti Kyllönen adding loads of extra fuel to their compositions, thus culminating in high-end music like what you’ll find in their self-titled debut EP, Forte Ruin.

The band was originally founded in 2011 in the city of Lahti, Finland under a different name, but after some major changes in their line-up they decided it was also necessary to adopt a new heading for their six-piece cohort. In regards to the overall production of the EP, it is truly remarkable how professional and organic the band sounds, having recorded everything by themselves without the help of any external sources, except for the recording of drums in a real studio. And after listening to this short and sweet display of Melodic Death Metal you’ll feel eager for more of their dynamism and energy in an upcoming EP or even a full-length studio album in a not-so-distant future.

You can sense influences from In Flames, Soilwork and the more contemporary American Alternative/Melodic Death Metal in the first of the three tracks, Alienated Humanity, where as expected there’s an embracing and eerie atmosphere created by its keyboards thanks to the excellent job done by Veli-Matti. In addition, its strong vocal lines (especially the screams and growls by Arttu) and catchy chorus enhance the impact of the song to the listener, making it the perfect opening to instantly captivate the crowd during their live performances.

Forte Ruin promoIn the excellent 45 Days, a thrilling start is augmented by powerful drums and solid riffs until the music reaches its full force, yet again showcasing ass-kicking sinister keyboard notes. Moreover, its straightforward rhythm and harmonious instrumental end up turning it into the best of all three tracks in my opinion, with highlights to the tuneful guitar lines by Saku and Samu and to the keen progressive touch added by the whole band at the end of the song.

Lastly, Enter The Masquerade presents melancholy and melody together in a pleasant composition the likes of the latest works by Arch Enemy and other Scandinavian Melodic Death Metal bands. Its clean vocals are more incisive and therefore more effective in this tune, with elements of Symphonic Black Metal and Progressive Metal increasing the song’s range and complexity. Not only this is another track with a powerful chorus, but its ending is a thing of beauty and the perfect hook for their next release.

Forte Ruin can be reached at their Facebook page, YouTube channel and SoundCloud, and you can also become part of their family by purchasing their EP at their BandCamp page or at the Record Shop X webstore. As long as we keep supporting underground metal music, bands like Forte Ruin will keep rising from all over the world, and while those bands keep working hard and never give up their dreams and goals, more amazing music such as this cohesive and exciting EP of Melodic Death Metal will keep invading our minds and souls for our total amusement.

Best moments of the album: 45 Days.

Worst moments of the album: None.

Released in 2015 Independent

Track listing
1. Alienated Humanity 3:46
2. 45 Days 3:41
3. Enter The Masquerade 5:52

Band members
Arttu Ruusunen – lead vocals
Saku Aaltonen – guitars & backing vocals
Samu Aaltonen – guitars & backing vocals
Arto Viitanen – bass & backing vocals
Veli-Matti Kyllönen – keyboards
Jere Aaltonen – drums

Metal Chick of the Month – Daísa Munhoz

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daisa01

How dare you look at me in the eye?

Time to fly back to South America, more specifically to the municipality of Bariri, São Paulo, Brazil, located about 300km from the city of São Paulo (and about 700km from the city of Rio de Janeiro), to talk about another Brazilian Heavy Metal diva, Daísa Munhoz, the beautiful and talented frontwoman of Brazilian Progressive Metal band Vandroya. If you’re simply fanatic for traditional Heavy Metal, I would say she might be the girl of your dreams.

Owner of a very powerful and melodic voice, Daísa started singing when she was only 9 years old, and at the age of fourteen she was already part of a “travelling band”. Our diva said that although she never actually took any singing lessons, she grew up surrounded by every kind of musicians, rehearsals and jam sessions every single day, as her parents are musicians too. That helped her a lot in terms of getting used to how the world of music works, and she learned a lot from every musician that was close to her, especially her mother. She also plays the piano, but “in a mediocre way” in her own words, mainly because she ends up using it more like a guide during her writing and composing process, or sometimes just as a distraction or to relax a little.  Daísa said she never really had any interest in specializing herself in the piano, nor the patience or discipline to do so.

It was when our Heavy Metal bombshell was around 18 or 19 years old that she founded Vandroya, having recorded so far with the band a 2-track demo entitled Within Shadows, in 2005, and more recently their first full-length album, One, in 2012 via Spiritual Beast Records and in 2013 via Inner Wound Recordings. And stay tuned, because the compositions for the next Vandroya album are 100% finished and the recording process will start really soon. By the way, Daísa explained the word “Vandroya” means nothing specifically: it was just a suggestion from a friend back in their early years, based on a character in Avantasia who is called Vandroy. The band just loved the way it sounded.

In addition, you can also see our diva in action in many other different bands and projects. She has been performing for years, including her one time all female band called Inlakesh, as well as a Led Zeppelin tribute band named Black Dog. Not only that, she recorded the vocals on track Song of Deliverance, from the 2013 album Exodus by Slovakian Progressive Power Metal band Signum Regis, as well as the vocals as “Judith” or “Judith, The Princess” in three different albums by Brazilian Melodic Power Metal band Soulspell (a Metal Opera project created by Brazilian drummer Heleno Vale): A Legacy of Honor (2008), The Labyrinth of Truths (2010) and Hollow’s Gathering (2012), winning the Best Female Vocalist award from Whiplash.net in 2010 for her work with Soulspell.

There are so many awesome songs with Daísa on vocals on YouTube you can spend hours and hours just listening and watching to our diva kicking ass, so in order for you to get a delicious taste of her unique voice and the mighty metal music played by Vandroya, my recommendations are the beautiful ballad Why Should We Say Goodbye, the Helloween-ish Power Metal tune The Last Free Land (which I’m pretty sure will inspire you so much you’ll buy Vandroya’s debut album after the first listen), the smooth acoustic version of No Oblivion For Eternity, a live performance of one of their first songs, Within Shadows, as well as their recent cover version for the song Heaven, by Canadian icon Bryan Adams.

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In regards to her main music influences, it’s important to say that Robert Plant is her biggest idol of all time, with the way he sings and moves having a huge impact on her onstage performance, which by the way is beyond superb. However, there are so many awesome artists and bands that it’s hard to name just a few. Sacred names such as Dio, Freddy Mercury, David Coverdale, Glenn Hughes, Russel Allen, Robert Plant, Tina Turner, Janis Joplin, Doro and Ann Wilson are among her biggest idols, being also highly influenced by Iron Maiden, of course, and many German metal bands, especially Helloween, with the unique voice of Michael Kiske leading her into the world of heavy music. Vandroya playing one of my top Helloween songs of all time, the classic March Of Time, is truly outstanding and an amazing tribute from Daísa and her band to the best Teutonic metal band of all time.

In one of her interviews, Daísa stated she has so many idols it’s very hard to choose just a few for a “dream tour”, but that she would truly love to be part of a festival only formed by female-fronted metal bands. It’s about time someone from the Metal Female Voices Fest invites her and the other members of Vandroya to be part of any future editions of the festival, don’t you think?

Lastly, although Daísa grew up listening to a lot of classic rock and hard rock bands, always being completely fanatic for Led Zeppelin, when asked about the top 5 Heavy Metal albums that changed her life, she listed the following ones: Pink Bubbles Go Ape (Helloween), Cowboys from Hell (Pantera), …And Justice for All (Metallica), The Number of the Beast (Iron Maiden) and Black Sabbath (Black Sabbath), I guess not necessarily in this order. Take a good look at this list and answer me if this is not enough awesomeness to consider Daísa a true badass metalhead!

Daísa Munhoz’s Official Facebook page
Vandroya’s Official Facebook page

“…I actually started to search for more female singers and I discovered a lot of amazing and brave warriors that faced this male-dominated market and won it. You know what? I just realized I know so many female singers I could write a book about their careers!” – Daísa Munhoz

Album Review – Sarpentra / Supernova (2015)

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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)

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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)

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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)

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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)

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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