Archive for February, 2021

Bodom After Midnight EP coming this spring

Posted in Misc., News with tags , , , , , on 22nd February 2021 by izaforestspirit

Good news for Children of Bodom fans. Before his death last year, front-man and guitarist Alexi Laiho managed to record three songs with his new band Bodom After Midnight. Now his band-mates have announced that they will be releasing these tracks on an EP called ‘Paint The Sky With Blood’.

Here’s the cover art and tracklisting:

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01. Paint The Sky With Blood
02. Payback’s A Bitch
03. Where Dead Angels Lie (Dissection Cover)

‘Paint The Sky With Blood’ will be out in both physical and digital formats on 23rd April 2021 via Napalm Records.

For more information visit:

https://www.facebook.com/bodomaftermidnightofficial

Epica – Omega

Posted in Review with tags , , , , , on 19th February 2021 by Nico Solheim-Davidson, the North Sea Poet

Epica
Omega
Symphonic Metal
Release date: 26th February 2021
Released via Nuclear Blast

Epica is a name that many fans of symphonic metal will already be familiar. The band, formed by vocalist and guitarist Mark Jansen, have been a driving force in the symphonic metal scene for almost 20 years. Omega is the eighth studio album from Epica, and one I have been looking forward to greatly.

The album opens strong with the hypnotic medley of Alpha – Anteludium before Abyss Of Time – Countdown To Singularity blasts through the speakers with a driving combination of orchestral elements and roaring guitars. The vocal lines are gracefully performed, whilst the guitars and bass lend the track a more traditionally Epica sound. The Skeleton Key differs, marching in with a two-fold sound that comes across as violent and massive in some parts, and dramatic and shadowy in other parts. The haunting piano notes stepping elegantly throughout the track definitely aid in building up the latter sound, whilst the devastating guitar passages, combined with the drums and bass build up the former sound. Key Of Solomon carries a very Oriental sounding medley, which is furthered emphasised by the vocals.

Gaia has a bright, almost optimistic, and inspiring sound, leading this track to quite easily be an anthem sung by Epica fans across the globe. Code Of Life takes on a Middle Eastern aspect to its sound, combining a variety of different elements into a mesmerising, trance-inducing composition. Freedom – The Wolves Within blares out with everything you would expect from an Epica single: an awe-inspiring vocal duet, staunch symphonic elements, calculated drum strikes, compelling passages from the guitars and bass. Kingdom of Heaven Part III – The Antediluvian Universe eases in with a gentle, alluring flute medley that gradually builds into majestic orchestral and choir piece, which in turn opens the way for the rest of the track. Fusing driving sound of the guitars, bass, and drums, with the staunch power of the orchestral segments and Epica’s signature beauty and the beast vocals, Kingdom Of Heaven is probably one of the best parts of the album – which really says something given the magnificence of the entire album.

Continuing on with the album comes Rivers, a track that has a rather mystical resonance to its sound which is fortified by the emotive voice of Simone gliding alongside the eerie notes of the piano. The real strength of the track is found when the instrumentation from the rest of the band makes itself heard, reinforcing that emotive aspect to the vocals, whilst also making the track sound larger and more fulfilled. Synergize – Manic Manifest bursts in with a straight to the point, guitar-driven passage whilst the orchestration makes its own way, standing out noticeably. The choir vocals sound vibrant whilst adding emphasis to the main vocals of Simone and Mark. Twilight Reverie – The Hypnagogic State is a catchy track, making use of orchestration that could easily rival that of Nightwish due to the almost flamboyant sound it comes across with. The guitars and rhythm section also stand out considerably on this track, making Twilight Reverie another of the best parts of the whole album. Vicky Psarakis’ (The Agonist) spoken word section is what really helps the song feel complete. The album finishes with the grandiose sounds of Omega – Sovereign of the Sun Spheres, which is a poignant track to finish with. The track is a fusion of august medleys, sharp sounding passages, and fierce vocals that feels like a new experience which each listen, making it a powerful song to finish with.

Omega shows how capable Epica are of creating with a variety of elements and merging them into a distinct sound that stays so fresh. Omega is yet another album in Epica’s discography that can be easily summed up with one word: Epic but to do so doesn’t give enough credit to what an aural masterpiece the album is or how it demonstrates this band’s ability to break the mold of their own sound whilst staying true to their more traditional compositions.

10/10

Nico Solheim-Davidson

Nihilum – Call of The Void

Posted in Review with tags , on 18th February 2021 by izaforestspirit

Nihilum
Call of the Void
Black Metal
11th June 2020
Self-Released

Nihilum - Call of the Void

‘Call of The Void’ is the first of two EPs self-released last year by the North Carolina -based American black metal artist Nihilum. Both of his releases are available from his Bandcamp page.

As far as black metal goes, this is fairly fast-paced with Marduk-style pummeling being a key feature. The only notable exception is the ambient intro track The Overseer. Pestilence also caught my attention as one of the slower songs on here with a more varied pace. Here the guitars take on a more layered approach and the vocals are actually fairly easy to follow. Then the pace picks up for the rest of the album. The guitars have a certain bleak feel to them which is very fitting for this style of black metal. There is no shortage of blast beats on here but most of the drum work does really offer much variety to the overall sound.

Overall, ‘Call of The Void’ is a rather decent sounding black metal EP and a good introduction to Nihilum. I would be interested to see how this project progresses.

7/10

Iza Raittila

Ricky Warwick – When Life Was Hard & Fast

Posted in Review with tags , , , , , on 16th February 2021 by Pieni

Ricky Warwick
“When Life Was Hard & Fast”
Rock
Release: 19th February 2021
Via Nuclear Blast Records

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Ricky Warwick’s solo career has been a straightforward rock ride and this “When Life Was Hard & Fast” is probably the most genuine in such essence. He invited some friends over, some well-known names in the scene, but the fact that you don’t see “feat. Rockstar X” in any of the titles proves how those invitations weren’t a marketing stunt; just a bunch of buddies celebrating good ol’ rock ‘n’roll. The opening and title-track, for instance. A catchy, spirited tune where Def LeppardJoe Elliott’s crystal voice contrasts perfectly with Warwick’s raspy pitch in the chorus. Or how Andy Taylor (yes, that legend who used to play in Duran Duran) produces a mean guitar solo in the political vent “I’d Rather Be Hit”. Thunder’s Luke Morley also plays a sharp solo on “You Don’t Love Me”, but I’m personally more hooked on the groovy, smooth rhythm provided by the bass on this song.

The Mink Deville cover of “Gunslinger” is pretty loyal to the original but with all the perks of a nowadays recording, meaning it sounds more refined but keeps all the rock’n’roll attitude of the seventies. So it’s kinda funny to talk about “Clown Of Misery” now, as in order to preserve its candid acoustic nature they stuck to the demo version and it sounds like you’re listening to it on an old radio transistor. But it’s “Time Don’t Seem To Matter” that really shows you the graceful side of rock – also acoustic, with some delicate samples in the background and then an electric solo mirrors the chorus modulation sung by Warwick and his youngest daughter Pepper (whom the song was written for).

All the brisk and snappy traits on this record prove how honest Warwick is when he says “rock’n’roll ain’t dead – it’s just lost in its mystery”.

7,5/10

by Renata “Pieni” Lino

New single from Vengeant out now

Posted in Misc., News with tags , , on 14th February 2021 by izaforestspirit

Something for fans of symphonic metal. The Swedish symphonic metal band Vengeant have recently released their first ever single entitled ‘Angel’s Battle Cry’.

The band was formed in 2019 by bassist, lead guitarist and composer Christoffer Holm. They cite Magic: the Gathering as a influence on their music.

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The track is available for streaming on Spotify now.

For more information visit: https://www.facebook.com/vengeantofficial/
https://www.instagram.com/vengeantofficial/

Cannibal Corpse announce new album

Posted in News, Studio Report on 7th February 2021 by izaforestspirit

Three years since ‘Red Before Black’ now American death metallers Cannibal Corpse are back with a new album called ‘Violence Umimagined’. Check out the cover art here:

Cannibal Corpse - Violence Unimagined
  1. Murderous Rampage 04:07
  2. Necrogenic Resurrection 03:06
  3. Inhumane Harvest 04:32 Show lyrics
  4. Condemnation Contagion 04:17
  5. Surround, Kill, Devour 04:10
  6. Ritual Annihilation 03:48
  7. Follow the Blood 04:39
  8. Bound and Burned 04:04
  9. Slowly Sawn 03:30
  10. Overtorture 02:28
  11. Cerements of the Flayed

This will also be the first album to feature their new guitarist Erik Rutan who joined the band in last year.

‘Violence Umimagined’ will be out in April 2021 via Metal Blade Records.

For more information visit: https://www.facebook.com/cannibalcorpse
http://www.cannibalcorpse.net/

Onus Baal – Onus Baal

Posted in Review with tags , , , , on 3rd February 2021 by Mickelrath

Onus Baal
Onus Baal
Power Metal, Heavy Metal
Released: 15th April 2020
Self Released

So, let’s go back to 2020, I know it was a year from hell. However, there was a lot of great music released and I think it’s important to give credit to the bands that managed to put out something in the turbulent shitshow that was 2020. Rolling across the desks of Valkyrian Music is the Spanish power metal outfit Onus Baal. Started in 2018 out of Huelva. They have ground their way through the Spanish metal scene to deliver their debut, self-titled album. The band consists of Tomás Díaz (vocals/rhythm guitar), Javier Fraile (lead guitar), Fermín Cansino (drums) and Gabriel García (bass). Their style of music feels very much on the cusp of NWOBHM and the more traditional European power metal. The two styles blend quite nicely together. Giving them a polished and clear sound that packs that punch.

The production delivers a pleasant listening experience. Nothing feels muddy, each piece of the instrumentation works in harmony with each other. It hits that mark of great balance. Meaning, when the guitar solos kick in, or when the band hits those epic chorus lines, you get the full power of the band blasting at you. Which is what you want from music like this. You want that sense of attack and scale in the music. I just wanted to get up and headbang throughout. There wasn’t a point of the album where I wanted to skip or turn away to something else. Which speaks to how well the album is constructed. In fact, the only thing that was rather annoying was the mandatory Spotify adverts getting in the way. I think the true stand out moments of the album where the songs “Vientos de Ayre” (Winds of Ayre). Where the vocal performance is at it’s strongest on the record. Also, I really liked the song “Cárcel de Cristal” which has a really nice heavy tone that by far exemplified the strengths of Onus Baal.

A really strong record that has clearly been influenced by the likes of Dio, Judas Priest, Sonata Arctica and Hammerfall. It’s a wonderful soup of ideas and as a first album, it’s a great first impression to the metal community. I didn’t even let the fact that the album is in Spanish throw me off. Also, as someone who doesn’t speak the language, I still feel that it’s worth listening to. You can hear the drive, the passion and the enthusiasm for making music in these guys and that’s what I like about them. I stellar record that I think I’ll be revisiting again.

8/10

Mick Birchall