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Steignyr – The Legacy Of Wyrd

Posted in Review with tags , , , on 7th June 2021 by Nico Solheim-Davidson, the North Sea Poet

Steignyr
The Legacy of Wyrd
Releases 23rd July 2021
Celtic Death Metal/Folk Metal
Art Gates Records

Hailing from Spain come Steignyr, a Celtic Death Metal warband, formed by vocalist and lead guitar Jon Thorgrimr Fjonir. With a handful of releases to their name already, and tours that have happened as far away as China, Steignyr have renewed their lineup and are set to return with The Legacy Of Wyrd, which already promises to be an interesting album.

The album opens with Prologue, a series of sounds setting the mood, before a solemn and mournful narration by Sarah Owen becomes the main focus of the track, accompanied by the sound of a quill scratching ink on parchment, and the sombre sound of ravens weaved within the haunting medleys. Mendo has a more up-beat sound, combining beauty and the beast vocals, with driving guitar medleys and jig-worthy folk instrumentation.

The Coming Of Aland sounds almost power metalesque in its delivery, presenting a grandiose, inspiring sound that is reinforced with darker lyrics and the bestial vocals of Fjonir. The orchestrated sections, with the folk elements, really shine through on this track. The dialogue between Kit Harington and Peter Dinklage with ethereal choir voices in the background are what really give this track its atmosphere. The title track, The Legacy of Wyrd, invokes a mystical sounding, focusing on the enchanting vocal work of Kathonya, as it dances with gentle yet staunch folk melodies and discreetly powerful orchestration. The track is essentially the eye of the storm within the album.

The Rise Of Death is a vigorous track, making use of Celtic-influenced passages, conjuring an urgency that can be heard through the vocal lines, whilst Edevane has the sounds of a slowed down sea shanty. Travellers comes across as quite chaotic sounding, as though there’s too much happening at once. Immortal Family begins with the alluring notes born of Celtic inspiration before bursting into a majestic onslaught of Fjonir’s guitars, with the staunch dual vocal workings that have been prominent throughout the album.

Rhythm of Time is a ravishing assault on the listener, mixing together beguiling vocals, and relentless guitar passages. The dual vocals work especially well on this track, like an enthralling chant. The Well Of Ice channels an inner primal energy throughout each note, resonating with the rhythm work of drummer Zelther. The Giant Pillar Of Rock really demonstrates a melodic aspect to Fjonir’s guitar playing, highlighting his skills especially well. The soaring folk elements help create a fascinating, dynamic sound on this track, complementing the vocals, and the bass work of Kilau, fully.

The forlorn soundings echo loudly throughout Everything Silent, seeping into every aspect of the song. Though it is a fast-paced and energetic track, the sorrow can be heard especially within the instrumentation, giving it a very powerful emotional feel. Coming towards the end of the album is Aftermath, another track that shows displays the more melodic side of Fjonir’s guitar playing, creating memorable passages throughout. The other instrumentation also comes across as robust, filling parts of different parts with fresh,and almost hypnotic sounds.

The Legacy of Wyrd finishes with Epilogue, a closing track similar to that of the opening one. It is filled with emotive sounds and the steely voice of Sir Ian McKellen, as he monologues about the end of the story throughout the album. His words are especially powerful, speaking of waiting in another life, as though his character is full of regret and mourning. Epilogue is truly the best way for the album to finish.

The guest appearances by the likes of Kit Harington, Peter Dinklage, and Sir Ian McKellen help add to the narrative of the story, and though the album could have worked without those appearances, they are a welcome sound. The Legacy of Wyrd is a noble offering of folk metal, though it does feel lacklustre in some parts but it still has the potential to be on the best folk metal albums to be released this year.

8/10

Nico Solheim-Davidson

Steignyr online:

https://www.facebook.com/Steignyr
https://www.instagram.com/steignyr/
https://twitter.com/steignyr

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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

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White Virgins–No Safe Word

Posted in Review with tags , , , on 21st September 2020 by Nico Solheim-Davidson, the North Sea Poet

White Virgins
No Safe Word
Released 2020
Sludge Metal
Self-Released

Hailing from Germany, White Virgins formed in 2019. No Safe Word is the band’s debut EP.

The EP opens up with Glitter Dick. Though the track’s name may sound like some dodgy porno, the track is anything but dodgy as it hits hard and heavy with an assault of riffs., and thundering bass lines. Leatherwhip comes in with a gritty, almost offensive sound, whilst Double Slut Experiment fails to entice the ears with its trying-hard-to-be-crunchy riffs. Snuff Rider features more prominent percussion work but the riffs feel and sound very mismatched, leaving the track with much to be desired. Pussy Melter is another track that sounds like a dodgy porn title but there is definitely nothing pornographic about the lacklustre riffs or unexpected tempo changes. The EP ends on I Want To Have Sex o Marilyn Manson, which has a total change of a pace from the rest of the release. The sound of this track is much darker than the rest of the EP, with a certain melody running through the guitars.

No Safe Word is a very hit and miss release, with some tracks feeling rushed and written last minute. White Virgins show potential but overall the EP feels very lacking.

5/10

Nico Solheim-Davidson

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Battle Born – Battle Born

Posted in Review with tags , , , on 20th July 2020 by Nico Solheim-Davidson, the North Sea Poet

Battle Born
Battle Born
Released 26th June 2020
Power Metal/Skyrim Metal
Self-Released

Hailing from Windhelm (Apparently), Battle Born are a new power metal act on the scene. Described as “true Skyrim Metal” by some, I have to admit my curiosity was piqued. The self-titled EP is said to take the listener on an adventure through the rolling mountains of the frozen land of Skyrim.

The EP charges straight in with the gallant title track, Battle Born. It’s a strong enough opening for the EP, featuring the standard trademarks of European power metal. Bring The Metal Back is a catchy track with memorable riffs and an overall grandiose chorus, though some of the lyrics do sound quite cheesey. Man Of War takes on a more classic metal sound, with a styling that would be closer to early Manowar, or Judas Priest, than modern power metal. The chorus is poignant enough to have you singing it for days. For Our Home is a far gentler song, making use of more emotional keyboard passages and moving vocal lines. The guitars add to the uplifting sound of the track. The EP ends on Sovngarde Awaits, which despite the name, isn’t as mournful as one would assume. Instead, it thunders in with encouraging guitar riffs, exhilarating keyboards, and boisterous vocals. Such an enlivening song makes you want the EP to carry on.

For a Skyrim Metal band, the lack of Thu’um usage and sweetrolls which is disappointing, however the EP shows promise these sons of Skyrim. With an arsenal of fun choruses, and uplifting songs, Battle Born is a mighty release and just the soundtrack you need when taking the fight to the Imperials!

9/10

Nico Solheim-Davidson

Battle Born online:

http://www.facebook.com/battlebornuk

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Interview with Sami Hinkka [Ensiferum]

Posted in Interview with tags , , , , , on 20th July 2020 by Nico Solheim-Davidson, the North Sea Poet

Ensiferum, are perhaps one Finland’s greatest musicial exports, with an ever evolving sound. With the new album out, Nico sat down and had an email-based chat with the band’s bassist, Sami.

Nico: Thalassic is an interesting name for the new album. Given the definition of the word, and based on the track listing, it’s obvious that there is a sea or oceanic theme in the album.  How did it come about to have this theme as opposed to other themes?

Sami: Hi! I’m actually very happy with the album title because as a word it sounds like it’s matching well with the bands name and it sums up the theme of the album. Sea or water felt like a good and “wide” enough because every culture have mythologies and legends that are linked to sea so I knew that there would be more than enough good stories to draw inspiration from.

N: How does the new album differ from previous releases?

S: The composing process went as it usually goes with this band: slowly. Of course the new member Pekka Montin gave a totally new ”tool” for us with his incredible voice and naturally we arranged songs that we made the most of it. Obviously the lyrical theme makes this different kind of album compared to old albums.

For the production team we had one new and one old member: we had the honor to get Janne Joutsenniemi to produce and record and Jens Bogren to mix the album and we are very happy with the result.

N: What was the writing process for the new album like? Did you have an idea of what you wanted to the new album to sound like before writing it?

S: Usually we have raw idea how a new album should sound like but it always depends how the songs are progressing because we always have lots of songs under work and naturally we can’t finish them all so once we have enough songs to record an album, then it’s time to book a studio. This is very cool way because then we always have raw material to work with.

N: Some fans have commented that the singles you’ve released from the album so far, especially Rum, Women, Victory, have a pirate metal sound to them. Would you describe the new album as such?

S: Heh, to be honest I never thought that someone would think this song as a pirate song! It tells about the brave men of Royal Navy and the daily rum dose they used to get. I have no idea what ”a pirate metal” -sound is, I guess Alestorm’ish? And I find our sound to be completely different but of course everyone is entitled to their own opinion.

N: In your own opinion, which song would you say defines Ensiferum?

S: We have such a wide musical horizon so this is really hard. Maybe “Victory Song” has many Ensiferum’s main elements so if I would need to represent the band with one song, I might choose that one.

N: If you could replace the soundtrack to any film, which one would it be and why?

S: Hmmm, I’m sorry I can’t come up with any movie that has such a terrible soundtrack that it would need to be changed.

N: Thalassic is obviously out now. Have you made a start on new music or are you taking a break from writing before you start thinking about the next album?

S: Because of COVID-19 chaos there are no tours coming up in a long time so we will start working with some new material soon.

N: Do you think you’ll follow any other themes in the future with upcoming albums?

S: We haven’t talked about this yet so it’s too early to say. I like working this way with my power metal band Metal De Facto, our every album has a different theme. I don’t know will we continue doing this with Ensiferum but at least we did it once.

Ensiferum’s new album, Thallasic is out now!

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Red Moon Architect premier new video for Rise

Posted in News with tags , , , , , on 26th June 2020 by Nico Solheim-Davidson, the North Sea Poet

Finnish doom metal outfit Red Moon Architect are set to release their highly anticipated fifth, Emptiness Weighs The Most, studio album in October through Noble Demon. The album will take listeners on an intense and emotional ride through harrowing doom landscapes. To give an idea of what the new album will entail, Red Moon Architect have released a video for Rise, taken from the album, which can be viewed down below. The album will feature nine tracks in total.

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The Lotts announce debut EP

Posted in News with tags , , , on 26th June 2020 by Nico Solheim-Davidson, the North Sea Poet

Warrington based garage punks The Lotts announced their debut EP earlier today. Produced and mixed by Thighpaulsandra at Monmouth’s Rockfield Studios, the five track EP, titled We Are The Lotts, will be released on 24th July and is also available on 12” vinyl via Liverpool based label Whispering Pines. The tracklisting for the upcoming release is as follows:

1. We Are The Lotts
2. I Don’t
3. Dumb
4. Preacher Man
5. Mouth

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Mystic Prophecy release lyric video for Hail To The King

Posted in News with tags , , , , on 26th June 2020 by Nico Solheim-Davidson, the North Sea Poet

German metal outfit Mystic Prophecy unveiled the lyric video for their new single, Hail To The King, today. The track is taken from the band’s 11th studio album, Metal Division, which was released in January this year. You can view the lyric video down below.

Mystic Prophecy have also released a new vinyl containing the single. The special edition 7” vinyl includes the metal hymn Hail To The King, which is dedicated to Alexander the Great, on side A and the ballad-like mid-tempo hymn Here Comes The Winter. You can order the vinyl here.

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Bring Me The Horizon – amo

Posted in Uncategorized with tags , , , , on 22nd January 2019 by Nico Solheim-Davidson, the North Sea Poet

Bring Me The Horizon
amo
Released January 2019
Hard Rock/ Electro-rock
Released via Sony Music/RCA Records

01-343969

Hailing from God’s Own County of Yorkshire, Bring Me The Horizon return to the forefront with their latest album, amo. With an ever changing sound, Bring Me The Horizon have become one of the biggest acts to come from South Yorkshire, gaining themselves admirers and haters from all across the globe.

I Apologise If You Feel Something starts up the album with a hypnotic electronic medley and soft, almost-choir like vocals that build up to the electro-rock vibes of Mantra. Mantra has plenty of hooks to keep the listener engaged, as well as energetic riffs and some very memorable vocal lines. Nihilist comes in strong with a dark pulsing rhythm, and catchy melodies. The softer vocal duet between Sykes and Grimes suit the track well, dancing elegantly with the lashing synths and shadowy beats.

In The Dark stands out with its laid back pace and notably fetching riffs. Wonderful Life is one of the singles from the album. The track itself is interesting but doesn’t sound as strong as the rest of the album. Sykes’ are admirable throughout the track and stand out more than the guest vocals of Dani Filth. Ouch acts as interlude between the last track and the next one, appearing more as a chaotic whirlpool of differing beats with the odd vocal section thrown in.

Medicine bounces back from the previous two tracks, with medleys and riffs that one can quite easily dance to. Sugar is a track that employs satisfying hooks and active vocals that meld almost perfectly with the rhythm section. Why You Gotta Kick me When I’m Down sounds almost like a hip hop track due to the mesmerising beats and whippings of electronic sections but the vocals show that it is very  much a Bring Me The Horizon track.

Fresh Bruises has an emotive atmosphere radiating from its introduction before the spellbinding electro-like percussion kicks in, carrying the otherworldly vocal sections. The keyboard passages in Mother Tongue stand out valiantly, weaving all other parts of the song together into a majestic composition. Heavy Metal is an interesting song all on its own, turning heavy with synth-laden movements and vocal duets from Sykes and Rahzel.

amo finishes on a very orchestral orientated note with I Don’t Know What To Say, contrasting the grandoise sound of classical instruments with soothing vocals, acoustic guitar, and hints of electronic influences.

amo makes it clear that Bring Me The Horizon are still on top of their game, blending different styles into their music. While it might be as heavy or as aggressive as their older albums, it shows how far the band have come since their early days, and it clearly demonstrates the band’s versatility and talent.

4.5/5

Nico Solheim-Davidson

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Headliners announced for Northern Symphony 2018

Posted in News with tags , , , , , , , on 23rd September 2017 by Nico Solheim-Davidson, the North Sea Poet

Coming up to its fourth year, Northern Symphony – the UK’s premier symphonic metal event – is set to take place on Saturday 21st April at its home The Venue in Selby North Yorkshire. Having featured the likes of Winter In Eden, Alwaid, Old Corpse Road and more on its line-up in the past, Northern Symphony is already looking to have another great line-up following the announcement of French philharmonic metallers Whyzdom as the headliners for the 2018 edition.

Whyzdom was founded by guitarist and orchestrator Vynce Leff in early 2007, already well known in the progressive sphere having produced several successful albums for the British label Cyclops Records. After recruiting the band members, a first EP Daughter Of The Night was recorded less than 6 months from the band’s inception. It got instant acclaim from reviewers and music fans around the world.

Although still a young band, Whyzdom were invited to play in several festivals in France – most of the time as headliner – and won the Metal Female Voices Fest Contest in Belgium in October 2008. They played in the 7th edition of this great Festival and also played as official support to Delain to launch their début album in 2009, released by the British label Ascendance Records.

In June 2010, Telya Melane, lead vocalist left the band. Lisa Middelhauve, former Xandria singer, accepted to be “guest lead vocalist” for performances at the Raismes Festival in 2010 and for their concert in Paris as support for Tarja.

While touring in France, Belgium, UK, Switzerland, the band composed their new album BLIND?. Elvyne Lorient joined Whyzdom in February 2012 and recorded all the songs as lead vocalist. The album was released late October, by one of the most important European metal label: Scarlet Records.

The band are now fronted by the talented Marie Rouyer, who joined in 2013, starting with the “Blind?” European tour. Since then, Whyzdom have gone onto play various festivals around Europe including The Dames of Darkness.

Tickets for Northern Symphony 2018 can be found at this location for £15.

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Cradle Of Filth – Cryptoriana – The Seductiveness of Decay

Posted in Uncategorized with tags , , , , , , , , , , , on 15th September 2017 by Nico Solheim-Davidson, the North Sea Poet

Cradle of Filth
Cryptoriana – The Seductiveness Of Decay
Released 22nd September 2017
Extreme Gothic Metal
Released via Nuclear Blast

If you’ve never heard of Cradle of Filth, you’ve most likely been living under a rock for God knows how long. Once hailed as the “most successful British metal band since Iron Maiden“, Dani Filth and and the band have proved their worth, despite various line-up changes throughout the years. Now the band are set to release their twelfth studio album: Cryptoriana: The Seductiveness of Decay. A bit of a mouthful, isn’t it?

The atmospheric invoking Exquisite Torments Await opens up the album with its sinister beginning, followed closely by the demoncially possessed guitars and banshee-like wails and guttural growls of Filth himself. Heartbreak and Seance glides in with the graceful sound of tragedy before the remorseless storm of guitars and symphonic sections come raging in as though a hurricane. Achingly Beautiful is a grandiose display of Dani Filth‘s vocals, charging through the tempest of unforgiving musicianship, while Schoolcraft’s narrative vocals bring a whole new dynamic to the track. The choirs and orchestration, however, truly make the song what it is – a dismal, ominous anthem.

Wester Vespertine is a furious blitz upon the ears, weaving Filth‘s, and occasionally Schoolcraft’s, refined vocals with cimmerian melodies and stout riffs. The title track, The Seductiveness of Decay, is a gloomy composition, weaving slow and fast riffs with dispiriting keyboard melodies and Gothic lyricism. Vengeful Spirit creates more of an atmosphere in its beginning, as the prophetic sound of guitar notes ring out, accompanied by Filth‘s voice. When the song comes into its prime, it is essentially a standard day in the office for Cradle Of Filth – agile, cumbersome and melodic. The part of the song that really stands out however is the guest vocal appearance from Liv Kristine, as her vocals soar majestically through the track.

You Will Know The Lion By His Claw is a swift, threatening and unwieldy track, leaving little room for prisoners as it bludgeons its way through, like a hunter chasing his prey. If you had to sum up Cradle‘s current sound with just one song, this would be it. Cryptoriana comes to its closing with Death and The Maiden, a track that is as weighty as it is shadowy, really embodying the sense of dread and darkness that one would expect to find within Victorian Gothic horror.

Cryptoriana – The Seductiveness of Decay is at the same level that Cradle‘s classic albums, such as Midian and Dusk… And Her Embrace, stand. It is a demonstration of the band’s current sound and displays their potential to keep writing awe-inspiring music.

4.8/5

Nico Solheim-Davidson

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Havamal – Call Of The North

Posted in Uncategorized with tags , , , , on 15th August 2017 by Nico Solheim-Davidson, the North Sea Poet

Havamal
Call of the North
Released June 2017
Viking Metal/Melodic Death Metal
Self-Released

Hailing from Sweden come Viking-themed death metallers Havamal. It’s kind of fitting that a band that has Viking themes would name themselves after one of the books in the Poetic Edda but now is not the time to be discussing Old Nordic literature. Formed in 2016, in the city of Stockholm, Call of the North is Havamal‘s first release.

The grandoise opening of the track Havamal sets the pace for the EP with its majestic and powerful orchestration coupled up with the spoken word. The other five tracks on the EP have a very Ensiferum-inspired sound, especially in the feral vocals that come screaming out like an enraged berserker. Dread Age stands out immediately with its savage assault of guitars and furious orchestral elements whereas Jotun War follows up with as a standard Viking metal anthem with hints of power metal thrown in for good measure.

Ragnarok is quite the dark composition, with the odd headbanging moment here and there and some Dimmu Borgir-esque moments. Call For Revenge gets the blood pumping with the Ensiferum influenced sound and powerful use of orchestration in the background. Call of the North ends with the memorable track Force of Judgement, which is a melting pot of sounds with catchy riffs and melodic verses.

Havamal show a lot of potential with this first release, though the band have still yet to find their sound. With their guitar driven sound combined with their orchestral moments and bestial vocals, Havamal could easily become a stand out band in the metal community.

4/5

Nico Solheim-Davidson

Call of the North can be purchased at this location.

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Ward XVI – The Art of Manipulation

Posted in Uncategorized with tags , , , , on 12th July 2017 by Nico Solheim-Davidson, the North Sea Poet
Ward XVI
The Art Of Manipulation
Avant-Garde Rock
Released 1st July
via Rock’n’Growl
Earlier this month, northern metal outfit – though they describe themselves as “theatrical avant-garde rock” – Ward XVI released their debut album, The Art of Manipulation, which follows the story of a female psychopath locked away in a high security asylum. Having seen this band before, when the news came out that Ward were releasing this album, I immediately knew I had to listen to it.

Starting with the generically named Intro, the track starts the story written within the album, as a rather sinister and villainous psychiatrist is heard talking to his patient, who replies stating that she’s “not insane”. Take My Hand is a light trance inducing track before it changes at the flip of a coin into a pure, chaotic guitar barrage. The title track, The Art of Manipulation, stands out with its ephemeral passages that appear between the faster, hard hitting sections of the song. The vocals come across exquisitely with the ebb and flow of the track.

There are three interludes on the album, each of which serve the purpose of moving the story forward with more dialogue. As the first interlude finishes, The Flight comes bursting in like a hand grenade, as the the guitars merciless blare out their rhythmic, almost hypnotic riffs. The use of keyboards on this track comes as a welcome surprise, adding a new dynamic to it. The vocals are very much good ol’ fashioned rock ‘n’ roll as they race along side the keys and guitars. Crystal Ball  has its own little charm as the sounds of accordions blare over the driving guitars and thundering rhythm sections. A reassuring and warm piano melody leads the way in Hold Me, adding an expected emotional feel to not only the song but the album as well.

Blackened Heart is a poignant track, with memorable vocal lines and a contrasting use of guitars, the rhythm section and keys, with one section being quite nu-metalesqe in its composition while Run For Your Lives  jumps in the sound of wailing sirens before a haunting accordion melody is heard. The track being proceeds into barrage of drums flanked by raging guitars and energetic vocals. Adrenochromania is quite a misty and cimmerian track with a lot of mesmerising passages.

Cry of the Siren is an aggressively energetic track as the guitars and keys go toe-to-toe with one another between vocal lines. Toy Box however contrasts greatly, taking a slower pace verging on the edge of a traditional and folkier sound with the accordion commanding the song. Inner Demon diverges onto a different route with a unique sound that really shows the theatrics of the band. The Art of Manipulation closes its curtains with a song named after the band: Ward XVI. It is quite a solemn listening affair, as the vocals call out like a Plutonian requiem while the keys and guitars have become the musical incarnation of a somber midnight sky.

Ward XVI have done something spectacular with The Art Of Manipulation, while their on-stage theatrics don’t translate well into recorded form, their story telling and unique melting pot of different styles and influences speaks for themselves.

3.5/5

Nico Solheim-Davidson

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Semblant – Lunar Mainifesto

Posted in Uncategorized with tags , , , , on 27th April 2017 by Nico Solheim-Davidson, the North Sea Poet

Semblant
Lunar Manifesto
Released on 28th April 2017
Gothic Metal
Released via EMP Label Group

Formed in 2006, Semblant hail from the South American nation of Brazil. After a few line-up changes, they are now considered one of the country’s most important Gothic metal outfits, even going as far as being classified as Brazil’s first vampiric metal act. Lunar Manifesto is the latest in their string of releases.

Incinerate  opens up the album with a demonic assault of fast, heavy and unforgiving riffs that lay siege to the ears. The screamed vocals capitalise on the demonic sound of the track, while the cleaner vocals add a melodic, almost angelic touch to the song. Dark of the Day keeps the vicious heavy riffing of the preceding track while marching at a slower tempo. The contrasting use of vocals entwine themselves almost lyrically with the fury of the music.

What Lies Ahead has a more melodic sound, the guitars and keyboards dancing beautifully together, allowing for more focus on the clean vocals whereas The Shrine sounds very power metalesque in its introduction, before the bestial screams make themselves heard. Bursting Open has a very dramatic opening, focusing on an eerie orchestration and clean vocals that border on spoken word. The rest of the track appears to have lost the momentum found in the previous tracks, sounding less passionate.

Mist Over The Future makes a strong use of stormy guitar riffs and gentler keyboard sections, and the screams and growls are as vehement sounding as can be. Though the drums are cold and calculating, a noticeable difference from the rest of the track. Keyboards are more prominent in  The Hand That Bleeds, creating a cryptic atmosphere whereas the guitars and vocals are more esoteric in their sound. Selfish Liar is the perfect combination of savage, destructive riffs and sorrowful yet creepy keyboards. The vocals on this track are near magical, fitting in well with the song’s composition.

Ode To Rejection mixes ominous keyboards with hypnotic riffs, creating a sombre sound that is reflected in the lyrics., while The Blind Eye bursts in with a near-majestic sound built up by the heavy-hitting guitars and commanding use of vocals. Scarlet Heritage is the album’s ending, finishing the 11 track release with a blistering onslaught of cumbersome guitars and bold vocals. The keyboards weave into the track beautifully, adding beauty to the beast-like nature of the song.

Lunar Manifesto has its good moments and its bad ones. For the avid Gothic metal fan, it is a release that would fit in well into their collection.

3.5/5

Nico Solheim-Davidson

 

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EARTHBREAKER – Voice of the Voiceless

Posted in Uncategorized with tags , , , , , , , on 11th January 2017 by Nico Solheim-Davidson, the North Sea Poet

EARTH BREAKER
Voice of the Voiceless
Hardcore/Metal/’Ullcore
Self-Released: November 2016

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Hull – Otherwise known as the City of Culture – has a lot going on for it, especially in the music scene, which is where a promising young band known as Earthbreaker are currently making makes and lots of noise. Having only been around for just over a year, this melodic metal quintet have already made their presence felt – and heard – in North England.

Voice of the Voiceless opens straight up with the powerful and memorable track The Vipers Nest, which features an energetic and tenacious breakdown and some bestial vocal work. Family follows up almost seductively, with its overwhelming assault of guitars and differing and unique vocal sounds.

Misanthropy is a melodic track which is as catchy as the common cold but that doesn’t stop it from being heavier than an elephant’s arse. The guitars are heavy-duty, paving a path of broken bones whilst the rhythm sections lay down the gritty foundations. Whereas Deathwish brings a more emotive but just as unyielding sound to Voice of the Voiceless.

The EP finishes on Psychosis, with its enchanting dance between the guitars, bass and drums, making it a good track to finish on.

Voice of the Voiceless demonstrates Earthbreaker‘s well-founded sound in a way that leaves the listener wanting more and shows that this young quintet can go toe-to-toe in the pit with some of the heavy hitters on the scene.

4.5/5

Nico Solheim-Davidson

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Temples Festival 2016 cancelled

Posted in News with tags , , on 30th May 2016 by Nico Solheim-Davidson, the North Sea Poet

Sad news for patrons of all things heavy as this year’s Temples Festivals has been cancelled. Francis Mace, the organiser of the Temples Festival, which was set to take place next weekend, made the following announcement on Facebook:

Patrons of Temples Festival,

After an arduous 48hrs of uncertainty, and with deepest reluctance we have been forced to cancel Temples Festival 2016.

At the beginning of last week, the organisation we had onboard to finance the event pulled their funding, and with limited access to advance ticket sales and no sponsors to back us we have been unable to source the funding required to cover the overheads which would allow Temples Festival to go ahead.

Following Temples 2015, we were left with a sizeable debt and as opposed to dissolving the company and declaring bankruptcy – I decided to take on the debts personally and subsequently pay off all our creditors in instalments as quickly as possible, this meant bands, staff and contractors were all paid late – and it’s had a crippling effect on both my professional and personal life as a whole – truth be told, I made a series of bad business decisions and dealt with the situation very poorly – which I take full accountability for.

I’ve spent the past week trying to gain access to the funds we need to make this year work and avoid the problems we encountered following last year’s event, with our financiers pulling their involvement – it’s been an uphill battle, which I’ve fought to the best of my abilities – and unfortunately, have been defeated.

Over the past weekend, I’ve been attempting to produce the festival’s continuation on a ‘scaled down’ level so we can offer something for those of you who have purchased tickets, accommodation, transport etc and allow the bands who are touring, UK based etc – unfortunately this morning it became clear that even if we were to proceed as such, we’d be left with another huge debt and therefore unable to pay the bands, staff, venue, contractors and a number of other crucial overheads the festival relies on – thus repeating the mistakes that were made last year.

Having already lost in the region of £70,000 throughout Temples Festival’s existence – I’m afraid adding more debt to that will simply cripple both myself and the festival, and after such a difficult year it’s not an option for me to take on such a huge debt personally.

I am deeply deeply sorry to all of those who will lose out as a result of this decision, having put three years of my life and having already lost so much of it to the festival I’m afraid there is no option to continue with Temples Festival 2016 and I take full responsibility for events cancellation. I am truly sorry.

My intention was always to setup a unique UK festival which books bands who are rarely seen in the UK, I’ve tirelessly dedicated myself to this event for a long time now and the decision to cancel this year’s event has been unequivocally the hardest call I’ve ever had to make in my life. My sincere apologies to those of you who will lose out as a result of this, I am truly sorry – but I can’t face another year of debts & damage.

Thank you to everyone who has actively supported Temples Festival from the start, I launched this ambitious event with the best intentions and unfortunately it’s become too damaging for me to oversee single handedly. Although curating the festival is something I’ve been able to do well – managing the business side of the event has proven too much for me. I’ve been promoting concerts for half of my life, and those of you who know of the work I’ve done will hopefully be aware of how upsetting and damaging this decision has been to me on every level.

Our ethos has been No Surrender for the past year, as I was determined to make this festival work and finish what I started. I’ve worked so hard to make this happen for our Patrons in 2016 but against my will and core beliefs – today’s news has forced me to surrender.

Ticket refunds are available from your point of purchase, please contact them for a full refund.

Again, thank you to those of you who have been supporting this event for the past three years – your encouragement and kind words have kept me going through incredibly difficult times and I hope that despite this negative outcome you’ve at least enjoyed the two events we hosted for you. I’m proud of what was achieved with this event, and if there was any way of making this year work I’d be continuing with the same passion and dedication which oversaw the last two editions of Temples Festival.

With the utmost regret & sincerity,

Francis Mace
– Temples Festival

Following this cancellation, a number of bands have been left without dates for the first weekend of June. Rumours are doing the rounds at the moment, implying that one of the reasons for the cancellation is that acts that played last year’s Temples were never paid and the cancellation will have a knock-on effect towards the rest of the UK scene as well.

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Akercocke set to no longer play Bloodstock

Posted in News with tags , , , , , on 25th May 2016 by Nico Solheim-Davidson, the North Sea Poet

In a bizarre turn of events, Akercocke, who recently reformed, have announced on their Facebook page that they will no longer be playing at this year’s Bloodstock Festival. The announcement reads:

Dear friends and fiends,

Owing to politics we neither understand nor participate in, we have been pulled from the Bloodstock 2016 line up.

Akercocke

Understandably some Akercocke fans have voiced their displeasure at this news, with some of them referring to the festival as being petty and a joke. While the exact reason is unknown to Akercocke being pulled from the billing, it appears that it has something to do with the organisers of Bloodstock trying to keep an illusion of exclusivity as the band have been confirmed to play Damnation in November and will be touring the UK later this year.

At the moment, Bloodstock have not made a statement to as why Akercocke are no longer on the bill.

***UPDATE***

Adam Gregory, one of the organisers of Bloodstock left the following comment on the band’s post:

As much as we would like to answer your questions with our reasons for being forced to cancel the bands appearance, out of respect for the band, we wont air our laundry in public, but rest assured Bloodstock was left without any option on this occasion.

Akercocke online:

http://facebook.com/akercockeofficial

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Dakesis Confirmed As First Co-Headliner at Northern Symphony

Posted in News with tags , , , , , , , , , on 8th May 2016 by Nico Solheim-Davidson, the North Sea Poet

Birmingham’s premier power metal quartet Dakesis have been announced as one of two co-headliners at Northern Symphony 2017, the UK’s premier festival for all things symphonic metal. With the release of A New Dawn and their recent tours last month in both Finland and the UK, Dakesis are set to reach new heights.

Dakesis are a four piece Progressive Power Metal band from Birmingham, UK. Formed in 2008, with the release of a limited edition four track E.P they soon followed on with their debut album Trial By Fire in 2011 to much critical acclaim. Following on from their success of this album and extensive touring and festival appearances throughout the UK, the band went on to record their second full length album The New Dawn which was released in March 2016.

Their latest release was recorded at Carbon Studios in Birmingham and mixed by Nino Laurenne at Sonic Pump Studios based in Finland (Ensiferum, Wintersun, Stratovarious and Firewind) and sees a marked change in the direction of the band. With more progressive influences and the addition of powerfully epic orchestral backing alongside new session keyboard player Jacob Underwood, Dakesis have sculpted a vast instrumental soundscape alongside the heavier metal influences.

The band have toured the UK extensively and have enjoyed prestigious support and festival slots including playing with Edguy, Thunderstone, Blaze Bayley and Pagan’s Mind and performing at Glastonbudget, Bloodstock Open Air 2012, Valkyrian Festival and headlining the Cackblabbath Stage at Wildfire Festival in 2015.

Northern Symphony will take place at The Venue in Selby on Saturday 15th April 2017. Early bird tickets are set at the low price of £4 and are available from either Northern Wynter Music’s BigCartel store or Skiddle.com.

More bands are set to be announced in the coming months.

Dakesis online:
http://dakesis.com
http://facebook.com/dakesis

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Daemona – The Demon Inside [Single]

Posted in Uncategorized with tags , , , , on 20th February 2016 by Nico Solheim-Davidson, the North Sea Poet

Daemona
The Demon Inside
Released 1st March 2016
Death Metal
Self-Released

Hailing from East Anglia, the home of the infamous Black Shuck, come the fearsome death metal quartet Daemona. Formed in 2012, the band have left nothing but a path of devastation in their wake and have had the honour of playing alongside the likes of Devilment and Nervosa.

The Demon Inside roars into action immediately, displaying the snarling talent of guitarist Strix and bassist Dan as riffs as cold as a Norwegian winter blast their way through the speakers. The vocals, as provided by The Cuntess, are a fiery and unholy abomination that leaves you begging for more as the riffs continue to thunder down like brimstone from the sky.

The Demon Inside is a stormy taster of what Daemona offer with their vehement anthems of hatred. Every death metal fan needs to hear this single.

4.5/5

Nico Solheim-Davidson

Daemona online:

http://facebook.com/DaemonaMetal

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Two New Additions For Northern Symphony 2016

Posted in News with tags , , , , , , , , , on 20th January 2016 by Nico Solheim-Davidson, the North Sea Poet

Two more bands have been announced to join the likes of Theatres des Vampires, Old Corpse Road and Alwaid at the second edition of the UK’s leading symphonic metal festival: Northern Symphony.

Scottish suited-and-booted black metal corporation Maelstrom, who have supported the likes of Alestorm and Tyr in the past, have been announced to headline the Infernal Orchestra stage on 16th April this year. The band’s keyboardist Jaime Cross comments:

It’s a massive honour to have been picked to headline the Infernal Orchestra stage. We’re all excited about the festival and we always enjoy our shows in England. We look forward to seeing you all there!

Joining Maelstrom on the Infernal Orchestra stage are Ward XVI, who describe themselves as theatrical avant-garde rock. Mixing haunting melodies and female vocals with heavy guitar passages and the occasional segment of accordions, Ward XVI are an interesting addition to the festival.

Northern Symphony Festival will take place on Saturday 16th April at The Venue in Selby. In total, there will be 14 bands across 2 stages. The Midnight Waltz stage will be headlined by Italy’s legendary vampire-themed metal band THEATRES DES VAMPIRES.

Advance tickets are available for £15 from the festival’s BigCartel store.Further information is available at the festival’s official Facebook page.

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