Archive for Gothic Metal

Sirenia release first trailer for Perils of the Deep Blue

Posted in News with tags , , , , , , , , on 20th May 2013 by Nico Davidson

The upcoming new Sirenia record is titled Perils Of The Deep Blue and will be out on June 28th via Nuclear Blast Records.

The band completed the first trailer with impressions from the studio and some cool information. Watch the trailer below:

The tracklist of the ltd. digipak edition – including two bonus tracks – reads as follows:
01. Ducere Me In Lucem
02. Seven Widows Weep
03. My Destiny Coming To Pass
04. Ditt Endelikt
05. Cold Caress
06. Darkling
07. Decadence
08. Stille Kom Døden
09. The Funeral March
10. Profound Scars
11. A Blizzard Is Storming
Bonus:
12. Chains
13. Blue Colleen
Regarding his thoughts on the new album, vocalist and guitarist Morten Veland comments:

The entire band and all the people we are working with are absolutely ecstatic about it! This album takes Sirenia to the next level and brings many new sides of us to the table. There’s typical tried and tested Sirenia stuff but also approaches that you’ve never heard from us before. I think I’ve never felt so good about an album throughout my entire career. I mean, I love them all, but this one is something special. It’s the result of two and a half years of blood, sweat and tears. I’ve literally put my heart and soul into this record, so I am very curious to see what our fans as well as the press will think about it!

Perils Of The Deep Blue was produced by the mastermind himself, while the mixing and mastering was done by Endre Kirkesolain Dub Studios, Oslo. Veland also states:

The writing process has been going on for about two years. I always have ideas for new stuff, so I started writing even before we had released our previous album The Enigma Of Life. Most of it has been recorded in my own studio. I love to work there as I always feel inspired – plus we can take our time with whatever we do, for there is no time pressure. Just like for all of our previous albums, we also dropped by Sound Suite Studios in France – a great place that feels like home, too. This time we recorded the Marseille choir there that one can always hear on our records, as well as some of my acoustic guitar parts.

The album artwork was originally painted by Anne Stokes – though it wasn’t intentionally created to be used as such, as Morten explains:

I came across the artwork on the Internet and immediately fell in love with it for obvious reasons – it’s no secret that I’ve always been fascinated by Greek mythology and sirens. So we got in touch with Anne and luckily she granted us the permits to use it for the record. I actually drew the inspiration for the album title Perils Of The Deep Blue from the artwork. In my opinion, it’s the perfect Sirenia cover – there was no way we could have let that opportunity slip away!

Sirenia online:

http://sirenia.no
http://facebook.com/sirenia
http://nuclearblast.de/sirenia
http://www.twitter.com/sireniaofficial
http://www.lastfm.de/music/sirenia
http://www.myspace.com/sirenia

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Azylya–Sweet Cerebral Destruction

Posted in CD, Metal with tags , , , , , , on 18th January 2013 by Nico Davidson

Azylya
Sweet Cerebral Destruction
Released January 2013
Gothic Metal
Released via Wormholedeath Records

Azylya’s story begins in 2007 when vocalist Jamie-Lee (then aged 14) wrote the story of a young girl who was abused by her father and was abandoned in an asylum. It wasn’t until 2009 when the story took form in music as Jamie-Lee formed the band that is now Azylya. Sweet Cerebral Destruction is the band’s second album.

The album is an ocean of differing sounds and pieces of music, with the vocals of Jamie-Lee navigated ever so careful along the waves of tragic keyboards and lycanthropic guitars. There’s a certain darkness that creeps out from each track like fog inching its way up from the ocean. The keyboards are what impress me most, resonating their siren-like song out above the rest of the instruments on each track and creating a powerful and captivating gothic sensation. There’s a few tracks that have a prominent sound such as Incest and Azylya.

The story that’s told throughout the lyrics is beautiful narrated during each track, portraying a nocturnal shade of poetic stylings that only Poe could achieve – Something that is emphasised by the carefully crafted musicianship of the band. The beauty and beast vocals contrast dramatically compared to other bands but still achieve the same effect: an unyielding union of two powerful vocalists.]

I’m surprised that Azylya haven’t got more exposure. Sweet Cerebral Destruction embodies all the strong points of Europe’s symphonic and gothic metal scenes – dramatic and tragic orchestration and keys, dark and brooding guitars and melodic vocal work. Sweet Cerebral Destruction is a sign of things to come from Azylya and I’m definitely looking forward to them.

5/5

Nico Davidson

Azylya will be playing The Dames Of Darkness Festival later this year with bands like Delain and Visions Of Atlantis. For more details, click here.

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Myrah – My Deliverance

Posted in CD, Metal with tags , , , , , , , on 11th August 2012 by izaforestspirit

Myrah
My Deliverance
Released: September 2012
Gothic Metal/Melodic Metal
Released via Inverse Records

‘My Deliverance’ is the second album from the Swedish gothic metal band Myrah. It is the follow up to their 2010 debut ‘Six Feet Down’ and has been compared to the likes of Sentenced and Amorphis.

Aside from the children’s music-box style ‘Intro’ the majority album bears a fairly strong resemblance to the Paradise Lost with hints of Katatonia and current Amorphis. Take ‘Illusions’ for instance, guitar melodies and overall vocal style have clearly been inspired by the aforementioned bands. Luckily for Myrah, I happen to like most of the bands that have influenced them. Then there’s the melancholic tracks like the aptly named ‘Sorrow & Tears’ where the keyboards help to maintain the sombre atmosphere.

What caught my attention the most was the melodic voice of the singer and how well it works with the band’s depressing lyrics particularly on the title track ‘My Deliverance’ and ‘As Memories Fade Away’. I’m guessing that’s where the Sentenced comparison stems from since Myrah’s overall style is much softer than that of the pioneers of ‘Finnish funeral metal’ – mostly due to the keyboards. There’s also a touch My Dying Bride-esque gothic doom metal in here. Then again it’s not all slow and keyboard centered; as tracks like ‘A New Dawn’ show that the guitar riffs also have a part in Myrah’s sound providing a contrast to the melodic vocals.

4/5 – An excellent example of melancholic gothic metal. I recommend this to fans of Amorphis, Paradise Lost and Sentenced.

Iza Raittila

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HDE to support Exodus Calling

Posted in News with tags , , on 2nd June 2012 by Nico Davidson

Bristolian gothic metal outfit Her Dark Embrace have been confirmed to support Exodus Calling later this year, after winning the fans votes. Once we find out the dates, we’ll be sure to let you know.

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Are you ready to feel Her Dark Embrace?

Posted in News with tags , , on 19th March 2012 by Nico Davidson

We just received news from the lovely yet dark-minded Bristolian Will Brookes, that British Gothic Metal outfit Her Dark Embrace have a fully established line-up and will be ready for shows later this year.

Her Dark Embrace (HDE for short) have been a rising force on social networking site Facebook. The full statement from the band can be read here.

And don’t worry, they’ll soon be spreading the darkness at a gig near you.

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Nya – Self-Titled

Posted in Alternative, CD, Metal with tags , , , , , , on 4th March 2012 by Nico Davidson

Band: Nya
Album: Nya (Self-Titled)
Genre: Alt. Metal
Release Date: 2011
Label: Self Released

Nya’s self-titled EP has been sitting in my office for a while, waiting to be reviewed and I’m finally getting round to it. The band, according to the several reviews I’ve read of them, are a mix of modern metal, alternative and rock. Sadly, I’ve not found much in terms of the band’s history – unless you include the fact that this British quintet hail from South East England.

Beginning the EP comes the alternative-meets-nu-metal riffs of Face The Music. The vocals of frontwoman Anezka Piska sound eerily familiar, though I’m unable to place where I may heard them. The drums provide a soft, industrialesque flavour to the music, reinforcing the alternative sound of the well crafted riffs. The chorus is quite catchy and will stay with you like a timeless melody. Better Off This Way tears through the speakers with a very alternative flare to the riffs and keyboards. The vocals take up a slight Lacuna Coil sound in the verses, bringing to mind some seriously Gothic metal sounds.

The semi-death metal riffs of The Beckoning tear their through next like scissors cutting through paper with a powerful use of male and female vocals, creating some memorable verses. The guitars in the latter half sound too alternative for the song, especially compared to vicious riffs that screamed with a certain power in the beginning. The EP ends with Fall Of Man, a track that has a certain hint of Slipknot-meets-Korn to the riffs while the drums, in certain sections, sound quite tribal. The awe-inspiring use of male and female vocals echo quite well through the song, adding a quite unique sound to the track while some of the guitar parts lay down some catchy, melodic riffs.

I’m always a skeptic when it comes to alternative music being mixed with metal but Nya are a band I can quite easily forgive for what I normally consider an unholy union of genres. Nya did more than just a good job of mixing two different genres. The riffs have been clearly crafted with both talent and musical genius while the vocals offer up a powerful sound. If melodic yet aggressive riffs, insane drumming and larger than life vocals are what you crave in your daily diet of metal, look no further than Nya.

4.6/5

Nico Davidson

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Incassum – In Vain [2008]

Posted in CD, Metal with tags , , , , , , , on 22nd November 2011 by Nico Davidson

Band: Incassum
Album: In Vain
Release year: 2008
Genre: Melodic Metal/Gothic Metal

Incassum are a five piece female-fronted melodic Gothic metal outfit hailing from Manchester. They’ve supported big acts such as Blaze Bayley [Former Iron Maiden frontman], Breed 77 and others. The band have also headlined their own shows at venues such as Manchester Academy. 2008 saw the release of their EP “In Vain”.

The EP takes up a dark and tense beginning in the form of “The Beckoning”. Before the vocals are heard, the guitars display a beautiful use of melodic riffs that are combined an intelligent use of drum work. The guitars create a very tense, dramatic and atmospheric feel that is usually only achieved by keyboards. The vocals do take the listener by surprise. The vocals are along the lines of death metal and black metal, so definitely a bonus for fans of Astarte and Arch Enemy. In true Gothic metal style, there is a use of clean, harmonic vocals as well, though not overly operatic as is the stereotype with Gothic metal these days. Musically, the track is like a raging bull charging its way through the crowds at the “Running of the Bulls”.

“History Repeats” hits the listener like a mortar hitting a tank, beginning with a catchy, face-melting riff followed by a powerful vocal section. The drums offer up a deliciously rhythmic taster of what’s to come during in the rest of the track. The guitars tease the listener, keeping their attention while the vocal sections progress into a happy medium of harsh and clean. The most hypnotic and enchanting aspect of the track is the solo. “Space To Breathe” takes the listener down a heavier, brutal path with a masterful combination of clean female vocals and harsher male vocals. The guitars conjure together a well-constructed wall of musical genius and the drums force upon the listener an assault of metallic proportions. “So Red” ambushes the listener’s ears with a delicate guitar intro which is joined by strong yet gentle vocals and a calm drum section. The song hints at heavier progressions though the real heaviness doesn’t occur until the second half of the song.

“All These Lies” starts with drums and bass – Not the techno/dance music kind either – before a crash of thunderous guitars shred their way through the track. The clean vocals are powerful, strong and oddly more impressive than the growls – Which are still pretty beastly. The drums fit their placement well, keeping everything tight. The use of backing growls fits in perfectly with the cleaner vocal style as well, adding a certain beauty and the beast effect to the music. The breakdown – Well, I’m assuming it to be a breakdown since I have difficulty recognising one – does throw the track off a little. The EP comes to a melodic end with the title track “In Vain”. The melodic-styled intro lulls the listener into a calm state of mind before unleashing a raging storm of metal that sounds like a combination of death metal and speed metal – Not that there’s anything wrong with that! The drums certainly add that extra special vitamin known as pure brutality to the song while the contrasting vocal styles keep the track diverse – on a vocal level at least. The guitars are intelligently structured and awe-inspiring like the metal version of the pyramids. After a massacre of aggressive solo work, the track sadly comes to a slow, melodic end.

”In Vain” is definitely not your typical Gothic metal release – In fact, it’s probably better than your typical Gothic metal release. The music shows strong elements of death, black and speed metal while the vocals portray a more Arch Enemy meets Astarte meets Evanescence sound. Each part of the EP has had a lot of thought and work put into it. Its hard to believe that “In Vain” is their only release!

4.7/5

Nico Davidson

Incassum will be touring with Spires later this month. See below for dates:

24/11 NEWCASTLE TRILLIANS – FREE ENTRY!
25/11 BRADFORD RIOS
26/11 HULL RINGSIDE
27/11 GRIMSBY YARDBIRDS
30/11 KINGSTON THE PEEL
01/12 READING FACE BAR
02/12 DERBY OLD BELL
04/12 MANCHESTER ALTER EGO + ‘SWORN TO OATH’

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Ancestral Legacy – Nightmare Diaries [2010]

Posted in CD, Metal with tags , , , , , , on 27th October 2011 by Nico Davidson

Band: Ancestral Legacy
Album: Nightmare Diaries
Release year: 2010
Genre: Gothic Metal/Symphonic Metal

Ancestral Legacy, originally known as Permafrost, are a Norwegian Gothic metal band currently signed to Femme Metal Record. While not receiving massive commercial success, the band have enjoy much success in the international metal underground. “Nightmare Diaries” is the latest chapter in their long lasting saga.

The first track, “Out Of The Dark And Into The Light”, begins with a clean, melodic intro which is soon joined by an aggressive fast-paced onslaught of guitars and drums. The vocals, which are calm and soothing, don’t work well with the fast pace of the drums causing a certain amount of discontent in the music. The harsher vocals work better with the fast tempo. The riffs are well written for the most part though in sections they don’t agree, musically, with the drums. There is only one section where the female vocals sound right and that’s towards the end when the drums have slowed down.

“Separate Worlds” blasts its way next with a heavy mixture of growls, drums and guitars as the intro. The female vocals are quite weak on this one though that might be due to the music and other vocals overpowering them. The drums are precise and tight, as to be expected. This track would be more akin to death metal as opposed to any form of Gothic or symphonic metal due to the heavy lack of soft parts and lack of keyboards. “Chosen Destiny” has an interesting introduction, being composed of acoustic and electric guitars. The female vocals are much more powerful on this track, adding a sense of mystique to the music whilst enchanting the listener like sweet aroma. Even the death metalesque growls don’t break the spell cast by the female vocals. Musically, the track is solid, especially in terms of the acoustic sections.

”Perhaps In Death” has a beautiful mix of guitars, drums and piano at the beginning that only becomes more tantalising to the ears with the introduction of the female vocals. As the song progresses, the guitars turn slightly melodic adding a mysterious touch to the song. The slow, light introduction of “Trapped Within The Wind” lulls the listener into a calm, relaxed state as the female vocals conjure you soothing images. One key thing about this song is the lack of harsh vocals, which adds to its calming atmosphere. “Done” has a more sinister yet majestic sound introduction. The first form of vocal work is the low guttural growl which is soon followed by the female vocals. For the most part, the guitars are barely audible compared to the vocals, which is a crying shame. The voice over towards the end adds a certain feel to the music as well.

”Still” is another track to start with a calm introductory section mixed with the soothing element of the female vocals. For the most part, the song retains its serene feeling. The guitars do add a violent element to the music in certain parts as does the harsher vocal work. The sound samples of a baby crying add a very dark and eerie sound to the song, the kind that sends chills up the listener’s spine. “Tomorrow’s Chance” starts with an intro that is more attune to hard rock rather than metal – Until the rough vocal work comes into action. The guitar work is tight and well composed though the drums and keyboard sections seem to be lacking the same energy as the guitars. the female vocals have some good parts as well.

”…My Departed” could easily be described as melodic death metal – though the riffs aren’t quite heavy enough to be death metal. The vocal work switches beautifully between harsh and soft, in true beauty and the beast fashion. The voice overs in the second part of the song add some emotion to the song and the album. The album comes to a finale with “The Shadow Of The Cross”, which is perhaps the only thing that has come close to Gothic sounding on the whole album. The growls are the first vocals to make themselves heard, barely blending with the music. The female vocals do a better job of blending in with the music fortunately. Musically, the song sounds great with the keyboard sections adding that extra dark sound to the song.

”Nightmare Diaries” is hardly a Gothic metal album or a symphonic metal album for that matter. It’s more along the lines of being melodic metal, however, this doesn’t stop it from being an enjoyable album for the most part. The sound quality isn’t perfect but if the listener can get past that, then they’ll really enjoy this album.

3.5/5

Nico Davidson

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UNEARTH – Darkness in the Light [2011]

Posted in 'Core with tags , , , on 13th August 2011 by Nico Davidson

Band: UNEARTH
Album: Darkness in the Light
Release year: 2011
Genre: Melodic Metalcore

It’s hard not to detect the Machine Head influence when listening to this album. Not only does the opening track ‘Watch it Burn’ feature Machine Head style- guitar riffs it also has “burn your eyes” in the lyrics. Shame they had to add the yelping backing vocals which ruin an otherwise catchy and well composed track.

‘Last Wish’ suffers from a similar problem. It starts off well, the guitar solos are good but once again the backing vocals ruin the effect. Luckily the album has a few hidden gems – ‘Arise the War Cry’ is quite possibly the best track on here with a great intro and several catchy guitar solos. At times I almost forgot that this is a Metalcore album.

‘Equinox’ offers an interesting change in style. I really wasn’t expecting to hear a piano on here. The intro is surprisingly melodic and it’s not until the vocals kick in half-way through the song that you realise this is still Unearth and not some gothic metal band.

Overall this isn’t too bad and I’m actually surprised to say this.

Iza

3.5 /5

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Artania – Night Shall Crown Ye [2011]

Posted in CD, Metal with tags , , , , , , , , , , , , on 26th July 2011 by Nico Davidson

Band: Artania
Album: Night Shall Crown Ye
Release year: 2011
Genre: Symphonic Black Metal

Russia is known for its cold and cruel winter and its old, bloodthirsty leader Stalin, both of which have shaped Russia into the perfect grim environment for any black metal musician looking for bleak and nihilistic inspiration for their music. The grim environment has done more than just provide inspiration however as it has been the breeding grounds for many underground black metal bands in Russia. In 2007, Artania was born from said breeding ground, with a more black-death metal sound. After several line-up changes, they soon developed a unique blend of symphonic black metal complete with Russian lyrics. “Night Shall Crown Ye” is Artania’s debut album, released originally on May 31st through Graillight Productions in the band’s native Russia but is now available for digital release exclusively through Hunter’s Moon Records.

The air raid sirens of “Alchemic Dream (Demonic Mantra)” begin the album. The symphonic orientated riffs soon follow complete with angsty drums and violent guitar sections. The vocals are a combination of beasty and scary – Probably due to the Russian lyrics they’re screaming. The drum work is very precise and technical, showing great intellectual playing from the drummer. The whispered section is somewhat eerily haunting. The only downside to “Alchemic Dream” is that it doesn’t seem as aggressive as a black metal track usually is – This could be a result of the emphasis on the orchestration or perhaps a fault on the producer’s behalf.

The title track “Night Shall Crown Ye” begins more slow paced with a slightly progressive sound echoing from the drum work. The pace slowly and ever so slightly increases, building up for the appearance of the vocals. To begin with, the vocals are more along the lines of death metal as opposed to black metal. The Russian lyrics help give the track that certain grim touch that very few black metal bands today can pull off. Another key element about the track is the lack of orchestration when compared to the guitars and drums and the use of female vocals is simply enchanting, for lack of a better word. “Mysteries of Order of Priorate Zion” is an aggressive and barbaric track at the start. The vocals have become more hateful and rage-fuelled. There is more use of symphonic elements compared to “Night Shall Crown Ye”, adding a very Gothic sound to it. A big downfall for “Mysteries of Order of Priorate Zion” is that it doesn’t seem as heavy as it’s meant to be.

The acoustic beginning of “Liturgy in Black Colors” greets the listener unexpectedly. Fortunately for those whom don’t enjoy acoustic guitars, the sound of electric guitars soon blasts through. There is more use of orchestration as well as more black metal screams, which is always a good thing for black metal fans. During the second half of the track, the acoustic guitar appears again, which puts a sudden halt to the energy of the track and the vocals seem to be more demonic, more violent and more spiteful, sounding almost like the blood curdling screams of Abaddon. “San-Grinyol (Theatre Of Death” continues from where the previous track finished, bringing in more use of acoustic instrumentation to begin with before the savagery of the electric guitars and drums breaks in. “San-Grinyol” is clearly more brutal than the previous four tracks and is possibly one of the best on the album so far. The guitar solo is well composed though slightly short.

The assaulting drum work and guitar riffs of “Fogs Of Witches Heath” tears through next, bringing raw, untamed energy and aggression with them. The vocals are more bloodthirsty and savage in their sound, which is both terrifying and awesome. The combination of female vocals and piano medleys is immense, especially when when the track turns heavy again with the female vocals working alongside the harsher vocals, in true beauty and the beast fashion. “Towards Northern Wind” brings a calmer approach to the album whilst retaining a certain element of heaviness at the same time. Disappointingly, there is a lack in the use of orchestration, save for the introduction and the middle section. During one part of the second half, the vocals sound very raspy, which is a great effect for both the album and the track. “Thirteenth Sign Of Nostradamus” can only be described as hauntingly Gothic to begin with before the melodic guitar work kicks in followed by the raw sounding vocals. The whole track seems to be more passionate and energetic than the rest of the album which says a lot considering how energetic the previous tracks are.

The album finishes with “Secrets Of The Moon”, which is another track to feature an acoustic beginning. The female voiceover in Russian adds a very creepy sound which is soon fought off by the sudden – and unexpected – increase of heaviness. The track remains consistent in its brutal aggressiveness. The drum work is intelligent and the guitar sections are immense. “Secrets Of The Moon” is possibly the most brilliant way to end the album.

It’s hard to believe that “Night Shall Crown Ye” is the debut album of Artania, as the album has such a mature sound to it, anyone would think its Artania’s third or fourth album. The sound is unique, brilliant and definitely worth a listen, even if some parts of the album are a let down. Clearly, Russia is a country filled with talented musicians and Artania’s “Night Shall Crown Ye” is evidence of this.

4/5

Nico Davidson

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Blackthorn – Gossamer Witchcraft [2010]

Posted in CD, Metal with tags , , , , , , , on 26th July 2011 by Nico Davidson

Band: Blackthorn
Album: Gossamer Witchcraft
Release year: 2010
Genre: Extreme Metal/Gothic Metal/Black Metal

It’s not often that one hears of an all-female extreme metal band from Russia, let alone any kind of metal band from Russia, as most of the exposure for metal seems to be in European nations such as Germany, France, Italy, Austria and Scandinavia along with some emerging from the US. However, Blackthorn, made up of five lovely ladies, whom hail from Russia, have been a force not to be messed with in the Russian metal scene, combining gothic and black metal into something new. Their debut album “Gossamer Witchcraft” will be the album to determine their success on the international metal scene.

”Immortelle for a Hollow Grave”, the shortest track on the album, offers up a very mystifying atmosphere with the use of whispers and a haunting piano medley. “Edenbeast” seems to carry on from where “Immortelle for a Hollow Grave” finishes, bringing with it a violent guitar riff and fast-paced orchestration. The drums are machine-like in their playing, yet more brutal and heavy than a drum machine could ever be. The vocals leave something to be desired as their operatic styling doesn’t seem to work along side the aggression of the guitars. The guitar solo is just amazing – Whoever said that a woman can’t solo is clearly wrong. The gothic orchestration of “Necromance” follows after, before the orchestration is wiped away by the guitars. The vocals are different to begin with, favouring good ol’ fashioned death metal grunts and growls but the operatically styled vocals can be heard on this track yet they seem to work with the savagery of the track this time. “Necromance”, put simply, is like a more extreme version of an Epica track.

”The Moon Emerged From Behind Clouds” begins with a faster tempo compared to the two last tracks. The brutality continues on this one as well, fortunately enough for those who enjoy the elements of extreme metal. The soprano vocals are simply memorising and enchanting. The riffs seem to have a bit more melody whilst the drums still have that machine-like precision to them. Classical meets gothic in the form of “Saturnia” during its introduction. The guitar riff that follows has a very death metal sound to it, whilst the drums appear to be lacking slightly in power. The keyboard  and vocal sections add a hint of beauty of the beasty violence of the guitars and drums.

“Blackthorn Winter” is another song with a gothic-turns-brutal introduction. Everything, except for the keyboards and vocals, seems faster, more violent and more angry. In some sections, it sounds as if the vocals are struggling to keep up with the tempo of the music. The best thing about the track would have to be energy and passion that just burst out at the listener. “The Blackness I Prowl” has an interesting beginning, being composed of dark orchestration and what could possibly be the sound of a howling wolf. The vocals are so powerful yet so haunting at the same time. The voice over about half way through adds a very horror film-like touch to the track as well. An interesting thing about “The Blackness I prowl” is the emphasis on the orchestration as opposed to the shredding guitars and pounding drums.

The title track “Gossamer Witchcraft” has a good introduction – Combining dark orchestration with narration. There is more emphasis on the orchestration throughout the song, with the guitars having a minor part in comparison though they do appear frequently through the track, fortunately enough for those who enjoy the face-melting riffs. Though the soprano vocals are featured through the track, there does seem to be more work done by the narration and voice overs which is somewhat of a let down but the guitar solo does heavily make up for the let down!

”Will-o-the-wisp” combined orchestration, acoustic guitars, soprano vocals and distorted riffs into a masterpiece of a track. Oddly enough though, it seems vaguely familiar in the eerie déjà vu kind of sense. “The Cobweb Veils Fall Down With Grace” acts as an interlude before the final two songs, bringing a terrifying essence to the album with its dark and melancholy piano medley. The final two tracks are the Russian language editions of “Necromance” and “The Moon Emerged From Behind Clouds”. They are a lot more exciting with Russian lyrics, bringing a sense of despair and horror with them.

Blackthorn certainly are different to most female fronted bands. They are more aggressive and violent in the music and more dramatic and haunting in the vocals – In fact, in terms of heaviness and brutality, they put a lot of male-dominated bands in the extreme metal scene to shame. “Gossamer Witchcraft” is a mammoth of a testament to the skill, talent and musical genius of Blackthorn. It’s a great addition to any extreme and gothic metal fan’s collection and clearly has the potential to be amongst the top metal albums of the century.

5/5

Nico Davidson

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Sarah Jezebel Deva – The Corruption of Mercy [2011]

Posted in CD, Metal with tags , , , , , , on 12th July 2011 by Nico Davidson

Band: Sarah Jezebel Deva
Album: The Corruption Of Mercy
Release year: 2011
Genre: Symphonic Metal/Gothic Metal

Sarah Jezebel Deva, well known for her work with bands such as Cradle Of Filth, Therion, Mortiis and Angtoria, is certainly one of the most impressive vocalists within the Gothic Metal and Symphonic Metal communities. Following the success of “A Sign Of Sublime”, Sarah is back with her second solo album “The Corruption Of Mercy”.

”No Paragon Of Virtue” starts the album with an electro-symphonic introduction which is soon replaced by a brutalising guitar section combined with a dramatic orchestrated section. The vocals, as expected, are strong, powerful and immense. The orchestrated medleys blend well with the heavy barrage of drums guitars and bass. “No Paragon Of Virtue” certainly leaves the listener wanting to hear more. “The World Won’t Hold Your Hand” follows after. The intro, for a few short seconds, sounds to be a very slow, calm medley but turns out to be the calm before a terrorising and violent guitar section. The drums are precise to the beat working well alongside the guitar and bass. The orchestration can only be described as epic. Again, the vocals are powerful, which is to be expected. The guitar solo, however, completes the track, making it one of the best on the album.

The third track, “A Matter Of Convenience” starts with a more softer riff compared to “No Paragon of Virtue” and “The World Won’t Hold Your Hand” and it is more synth-heavy as well. The vocals match the softness very well, bringing a very solemn feel to the track. The drum and guitar sections are well composed. “Silence Please” comes next with a very dark, symphonic intro, setting a very tense and dramatic atmosphere for the listener. The vocals sound eerie alongside the orchestration which adds to the tense atmosphere. Unfortunately, the guitars and drums are faded to begin with, struggling to make themselves heard. As the track progresses the guitars and drums can be heard more and more, fortunately.

Like the previous album, “The Corruption Of Mercy” also features a cover. This time the cover is a song called “Zombies”, originally by “The Cranberries”. It is a brilliant cover and Sarah has worked well to make it sound like her own. “Pretty With Effects” follows after being entirely composed of a beautiful piano medley combined with some very impressive vocal work. It certainly is a perfect example of Sarah’s vocal talent. “What Lies Before You” is the only interlude on the track, bringing a touch of eeriness to the album with its orchestration and choirs.

”Sirens” begins with an aggressive and somewhat violently fast paced riff. The drums are precise and intelligently played, while the vocals are still going strong and the guitar sections are most impressive. The second to last track is “The Eyes That Lie”. The intro is different to the rest of the album, beginning with a barrage of double bass pedals and vocals. The track eventually turns heavier with the introduction of a more bloodthirsty guitar riff. However, this track seems lacking compared to the rest of the album. The final track, which is also the title track, “The Corruption Of Mercy” begins with a heavy yet calm intro. The vocals are still going strong and the drums are as good as they have been on the rest of the album. The use of a piano and vocal section about half way through is both unexpected and brilliant. The track does go back to being heavy, which is fortunate for those who prefer heavy riffage compared to calm medleys. “The Corruption Of Mercy” is a perfect end for the album.

It’s clear that Sarah Jezebel Deva has been able to establish her own sound since leaving Cradle of Filth and this album is proof of that. It mixes her wide vocal range and talent with an immense mix of Gothic and Symphonic Metal to create a masterpiece of an album. Hopefully, there will be more releases from Sarah in the near future.

5/5

Nico Davidson

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Theatres Des Vampires – Moonlight Waltz [2011]

Posted in CD, Metal with tags , , , , , , , , , , , , , , , , , , on 9th June 2011 by Nico Davidson

Band: Theatres Des Vampires
Album: Moonlight Waltz
Release year: 2011
Genre: Gothic Metal/Vampire Metal

Italian Gothic Metal quintet “Theatres Des Vampires” are back with their newest studio release “Moonlight Waltz” which features an array of guests including Snowy Shaw [Therion], Cadaveria [Opera IX] and Marco Benevento [The Foreshadowing].

The eerie keyboard intro of “Keeper Of Secrets” begins the album, which is soon accompanied by Sonya’s vocals and a dark strings section. The track increases in pace and heaviness with the introduction of the guitars and drums. Sonya’s vocals sound very hypnotic and grim. Snowy’s vocals bring an extra touch of Gothic feeling to the track. The keyboard sections are brilliantly composed. This track certainly keeps the attention of the listener, making for an immense intro track. “Fly Away” is the second track of the album. The intro has a very symphonic metal sound, due to the combination of melodic guitar riffs and keyboards. As can be expected of any TDV track, the vocals bring a certain eeriness to the music. The keyboard sections bring a very dramatic sound to the track, whilst the guitar riffs keep the metal element of the track alive. The drums seem lighter compared to the previous track however.

The title track, “Moonlight Waltz” is next beginning with a soothing piano and strings introduction. When the vocals and drums occur, the track begins to sound like a ballad, adding a very unique touch to the album. The soft guitar riffs are beautifully composed, allowing this track to live up to it’s title. The acoustic guitar towards the end of the track brings it to a wonderful yet sorrowful finish. The fourth track, “Carmilla” takes its name from the short story of a lesbian vampire by the same name written by “Sheridan Le Fanu”. The first section of the track sounds epic and dramatic. The vocals add to the dramatic effect of the track, while the guitars keep a raw energy flowing through the track. The strings solo is unexpected but makes this track so much more enjoyable. This track has certainly added a new level of beauty to the already great story of Carmilla. Next is “Sangue”, beginning with a synth intro which is soon joined by an aggressive riff. The vocals sound very ghastly and the drums sound powerful. The male vocals add another element of aggression to the track, sounding almost like death metal grunts.

The cover of Mecano’s “Figlio della Luna”, follows after composed mainly of keyboards, strings and vocals. Sonya’s vocals sound amazing alongside the keyboards. The use of guitars and drums adds a very TDV sound to this cover. Next is “Black Madonna”, beginning with hypnotic, almost-siren like vocals and an acoustic riff. About half a minute in, the track turns heavier and more symphonic. The use of acoustic guitars is quite frequent throughout the track, making it one of the more lighter tracks of the album. The keyboard sections are outstanding. “Illusion” is next, with a simple yet beautiful keyboard intro. The keyboard medley turns more melodic when the drums begin to be played, which work well with the keyboard. The guitars soon make themselves heard, bringing a more rockier sound to the track. The guitar riff gradually becomes heavier for a while before stopping for a short break before returning with an epic solo.

“Le Grand Guignol” featuring Cadaveria is next already bring the level of heaviness up a notch. The use of screams improves the track, whilst the drum work is intelligently composed. There are some obvious industrial elements and influences which can be heard on this track, just like with some of the previous tracks. “Obsession” is next. The intro is very industrial sounding,. Like the intro, the vocals and drums have an industrial sound to them, which work strangely well with the string sections. There is a use of operatic styled vocals as well which makes the track more dramatic and intense. The only down side to this track is the lack of guitars. The second to last track, “The Gates Of Hades” is next, which like some of the previous tracks begins very eerily though the guitars soon remedy this alongside the string sections. There seems to be more emphasis on the keyboard medleys on this track, whilst not a bad thing, it may not be approved of by some. There is a slight use of Latin lyrics on this track as well, bringing a very Gothic atmosphere with them. The final track “Medousa” begins with a slight industrial sound, combined with some creepy whispered vocals. The guitars and keyboards can soon be heard. The guitars and drums are intelligently composed on this track, combining both heaviness and brilliant musicianship. There is a brutal use of double bass drums on the track, which makes it a perfect end to a brilliant album. The keyboard sections certainly bring a calm to the storm of metal that is heard on this final track, especially with the outro medley.

With a mixture of symphonic, Gothic and industrial elements, this is certainly a most enjoyable album. Everything seems to fit together so well and it’s good to see that Sonya’s vocals are still on top form. This is a must have album for old and new Theatres Des Vampires fans alike. One can only wonder how they will top this album.

4.5/5

Nico Davidson

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Within Temptation – The Unforgiving [2011]

Posted in CD, Metal with tags , , , , , , , , , , , on 16th March 2011 by Nico Davidson

Band: Within Temptation
Album: The Unforgiving
Release Year: 2011
Genre: Symphonic Metal/Gothic Metal

“The Unforgiving” is the fifth studio release by Dutch symphonic metal sextet “Within Temptation”. It is due to be released along side a series of short films and a comic book series to encompass a concept story.

The album begins with “Why Not Me” which is composed entirely of orchestration and female narration which makes for a very mystical and epic atmosphere. “Shot In The Dark” follows soon after, beginning with the haunting sounds of a soft choir mixed with some very powerful vocals from Sharon. About a minute in, the drums and guitars make themselves heard, making the track heavier. The track turns soft again for a short while later on, which is followed by an amazing guitar solo. Next is “In The Middle Of The Night”. It begins with a hard rock sounding guitar riff. The vocals soon come in after the keyboards, drums and bass. The vocals are astounding on this track and the keyboard parts are simply brilliant. The track turns more Gothic sounding in terms of the guitar riffs about half way through, giving the track a more sinister sound for a short while.

“Faster” comes next, beginning with another hard rock sounding guitar riff which is soon accompanied by drums. Once again, the vocals are astounding and full of energy and power. This track is certainly one of the less symphonic and lighter tracks on album, featuring a small amount of emphasis on the keyboards as such.  Straight after is “Fire and Ice”, which begins with a very cold and dark orchestral section before the piano and vocals take over, bringing some warmth to track. However the lyrics keep a cold touch on the track. The piano is eventually replaced by a heavy orchestral piece, bringing a certain epicness to the track and album. The track finishes on a beautifully slow outro.

“Iron” comes blasting in next with another hard rock sounding guitar intro, which is soon accompanied by drums, bass and orchestration. The vocals soon come in making the track complete. The vocals are absolutely amazing and the orchestrated sections are beautifully composed. There is a use of female narration which just makes the track more enjoyable. The track does slightly heavier after the narration, leading straight into a guitar solo of immense proportions. Next is “Where Is The Edge” which begins with haunting beautiful female vocals and an amazing orchestrated medley before the guitars, drum and bass kick in. Like the previous tracks, the vocals are again astounding and full of power. The use of a synth riff just makes this track seem that much more dramatic.

“Sinead” is next, which begins with a choir sound and soft orchestration, accompanied by Sharon’s vocals. The drums soon make their way onto the track, working very well with the orchestration. The guitars bring a more rock sound to the track when they finally make themselves heard. The drums stay oft, whilst the orchestration pretty much dominates the track alongside the vocals. After is “Lost” which begins with a calming acoustic intro. Sharon’s vocals work amazingly well with the acoustic section. The orchestration gives the track a more mystical feeling. “Murder” comes next and it begins with a very dramatic sounding orchestral sound. Sharon’s vocals seem to sound more aggressive on this track as well. The use of synth works well with the guitars, drums and bass.

The second to last track “A Demon’s Fate” comes next, beginning with an intro similar to that of “Fire and Ice” until the guitars come blasting in. The orchestration on this track is simply amazing. It works well with everything else going on in the track. The use of double bass pedal works extremely well with the orchestration as well and the guitar solo just makes this track so much more amazing. “Stairway To The Skies” is the last track. It begins with orchestration and a piano medley, setting a very sombre yet tense atmosphere, which leads the way for the guitar and drums which stay soft. The vocals soon follow, before the track turns slightly heavier. The track switches between heavy and light, keeping a nice balance of the two.

“The Unforgiven” is far from being a symphonic metal album, however, it does have the Within Temptation sound. The orchestration and guitar riffs are simply mind blowing and Sharon’s vocals are as powerful as ever. It is well produced and well presented. This is certainly one for any fan’s collection.

5/5

Nico Davidson

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Epica w/ ReVamp @ The Moho [Live Review]

Posted in Live with tags , , , , , , , , , , , , , , , on 14th March 2011 by Nico Davidson

Bands: Epica, ReVamp
Location: The Moho, Manchester
Date: 13th March 2010

Anticipation hung in the air as the crowd eagerly awaited the start of the gig after a long wait for the doors to open. The venue was silent until the sounds of an orchestra boomed through the speakers mixed with the sounds of the drums. At that moment the crowd went wild. Most of ReVamp soon made their entrance onto the stage and began playing “Here’s My Hell”, which was soon followed by Floor’s strong vocals. Floor proved herself to be brilliant show-woman, encouraging louder and louder cheers from the crowd. “Fast Forward”, “Disdain” and “Head Up High” were the best performed songs of the night by ReVamp.

After a half-hour interval, it was Epica’s turn to take the stage.  ”Samadhi” began booming out of the speakers as Epica began to make their way to stage. They soon began blasting their way through “Resign to Surrender” and “Sensorium”. The crowd reacted excitedly when the band began playing “Fools of Damnation” and their tribute to Star Wars in the form of “The Imperial March”. Time seemed to fly by extremely fast as Epica made their way through the setlist. At the end, the crowd began shouting for more from Epica, so they happily obliged, finishing off with “Sancta Terra” and “The Phantom Agony”. The highlight of the encore however was when Floor came up and sang “Sancta Terra” with Epica.

All in all, it was a brilliant and energetic gig which got the blood pumping. Anyone who hasn’t seen either Epica or ReVamp, you want to see them as soon as possible, it will be one of the best gigs you’ll ever go to.

Nico Davidson

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