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Gaupa – Myriad

Posted in Review with tags , , , , , , on 9th November 2022 by Mickelrath

Gaupa

“Myriad”

Hard Rock, Stoner Rock

Released: 18 November 2022

via Nuclear Blast Records

Sometimes you find a band and you just have to think to yourself, where have you been and why have I never heard your music? The Swedish stoner rockers, Gaupa have been ringing in my head since this album crossed my path. I’ve immediately gone back through their discography and to my delight, they’re probably one of the most consistent bands I‘ve listened to in some time. Their music is just that right balance of riff, melody and power. They manage to walk that fine line between power and atmosphere. All while making their music a captivating experience. I’ll admit, they’re an acquired taste. You need to be in the right mindset to listen to their music. Suppose you’re in a spacey mood and need some deep-thinking music. I can’t recommend them enough. Their sound is truly something to behold and their second album, Myriad is an entertaining ride if you’re willing to follow the band into the hazy rock world they inhabit. 

The album is filled with fuzzy riffs and slick basslines that are instantly great to the ear. The smooth guitars from Daniel Nygren and David Rosberg are something magical. The riffs are airy and heavy all at once and capture the perfect mood on every track. The slick bass work by Erik Sävström creates tension and release, working with the drums to make rhythms that get stuck in your head. All of that is tied nicely together with the beautiful and elegant vocals of Emma Näslund. The production of every song strikes such a wonderful chord and I felt so calm listening to their music. When the hard rock elements hit, they hit hard and burned their sound into my soul. I was so captivated by every song. The general vibe reminds me of Kyuss or Sleep. Myriad takes all of the best elements of stoner rock and plays with them, their sound feels totally different to anything in the genre today.

Obviously, this sound won’t be for everyone. I think you have to have a good stomach for spacey stoner rock. Their lyrics are rather surreal and you have to think about what they’re saying to feel the full impact. The band don’t say it like it is, it all feels quite cryptic and their music is designed to be listened to on multiple occasions, where you can break them down and internalise what the band is truly saying. I get it, that’s not everyone’s jam. People can be off put by bands that don’t just stick to reality and basic metaphors. However, I think the music is inviting enough that even the biggest naysayer would give this a chance. 

Gaupa has followed up that first record with style here. They have remained consistent and refined their sound, and this will appear to the existing fans. While being on a larger record label will give them a further reach in the rock and metal community. They wear their influences on their sleeve, and as a result, their music has a certain personality and charm. I have to say this album has been just what I needed. I definitely recommend it!

9/10

Mick Birchall

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Fallujah – Empyrean

Posted in Review with tags , , , , on 19th September 2022 by Pieni

Fallujah
“Empyrean”
Progressive/technical death metal
Released: 9th September 2022
Via Nuclear Blast

empyrean

Fallujah have been releasing new material every 2-3 years but I was really curious about this “Empyrean” – after seeing them live back in 2019 and both bassist Rob Morey and singer Antonio Palermo making quite an impression, learning about their departure made me want to check how the new line-up would do. Well, it does pretty good – the bass lines are grooving loudly and the vocals still brutal.

I don’t know if it’s because they started out as a deathcore band, but their technical traits don’t go over the edge. Sure you have tempo twists and elaborate spinning riffs, but not in a wait-what-happened kind of way; the songs grow naturally towards such intersections and lead into beautiful pieces such as “The Bitter Taste Of Clarity” or “Duality Of Intent” (the latter bearing a slight jazzy vibe quite interesting).

They’ve worked with Tori Letzler before and brought her back for the brilliant “Radiant Ascension” and the brisky “Artifacts”, inviting also Katie Thomson for the seductive “Embrace Oblivion” and the melting “Into The Eventide” (my personal favorite). But I believe these guest appearances are more intended for a contrast/completing effect with Kyle Shaefer’s voice than actually adding a female touch; as for the demonic pitch of Chaney Crabb on “Soulbreaker”, well, that’s definitely extramundane.

All in all, “Empyrean” offers the right combination of features to make happy a prog & tech death metal fan.

8/10

by Renata “Pieni” Lino

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Kreator – Violent Revolution (Re-Issue)

Posted in Review with tags , , , , , on 31st January 2022 by Mickelrath

Kreator
Violent Revolution (Re-Issue)
Thrash Metal
Released 21 January 2022
via Nuclear Blast Records

When German thrash super-titans, Kreator want to treat their fans. They sure know how to do it. In these Covid times, you can’t just embark on a massive anniversary tour. So what can you do? Well, remind them of how good you are by re-releasing one of your most iconic albums and adding on a second part with live cuts to prove that you still rule the stage. Yeah, that would about do it. So we have Violent Revolution, an album that is widely considered to be the spark that kicked off the 2000’s thrash metal revival. Also, guess what, I’ve never actually listened to it until now, well not in full. I’ve seen Kreator live so I know they’re a top-tier band. However, I’ve never taken the chance to listen to this record in full. So now’s a better time than any.

The album is definitely something else. I can hear how this was so influential to the thrash metal community. The riffs are tight and the energy the album produces is relentless. The songs are really well constructed with excellent structure and creative guitar work. The bass and drums lay an excellent foundation and are perfectly in sync. Something that definitely translates to their live show. The pulse-pounding songs hit that sweet spot of heavy and melodic where you can feel every beat of the drums but it still has somewhat of an anthemic quality. Then when the lead guitar kicks in it just put the power levels over the top. Simply put, there are excellent examples of musicianship laced through every part of the record. 

Then when you get to the second part of this reissue, aptly named Bootleg Revolution. You hear the band put all of that into practice. Living proof that it wasn’t “studio magic” that made them this good. You feel that genuine passion in each recorded live performance on the album. That musicality lives in them and you feel the energy of the crowd headbanging away. I must say that these are some of the best live recordings I’ve heard on any “live” album. You get just the right amount of live band, talking between the set and crowd noise. All are so well balanced. Looking at the list of places the recordings are pulled from, you really get a grasp of their impact on the metal community at large. Brazil, Korea, Istanbul & Wâldrock Festival. Hearing the reception and how loved they are, really speaks to the metalhead in me.

Obviously, the album is a 10. There’s a reason it still holds up and it is still so loved all these years later and something I would feel comfortable recommending to any newcomer to the thrash metal world. Keep rocking Kreator and I look forward to the next time I can get in a mosh-pit at your show.

10/10

Mick Birchall

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The Night Flight Orchestra – Aeromantic II

Posted in Review with tags , , , , , , on 29th August 2021 by Pieni

The Night Flight Orchestra
“Aeromantic II”
Rock
Release: 3rd September 2021
Via Nuclear Blast Records

Aeromantic II

I’m not sure if an “Aeromantic II” was in order when the first one came out, but it seems like the latter’s follow-up wasn’t supposed to be released so early: forced to cancel the “Aeromantic” tour due to the pandemic, all The Night Flight Orchestra could do, as a band, was write new music and record it. And voilá!

“Paying tribute to an influential decade”, revivalising the kind of music they grew up listening to… call it whatever you want, but the truth is that TNFO’s popularity simply lies on extraordinary artists who create stellar songs. They’re certainly not the only ones with this eighties vibe going on – as long as there are people enjoying a certain genre or musical formula, whether its golden age is long past or not, said music will never be so-called dead – but they’re definitely one of those doing it better. The triumphant beat of “Violent Indigo”. That groovy bass line and keyboard solo in “Midnight Marvelous”. The upbeat “How Long” (one of my favorites), worthy of a “Flashdance” kind of soundtrack, followed by the even catchier rhythm of “Burn For Me” (oh, the video they filmed for this!). The seductive main riff of “Chardonnay Nights” and the almost hypnotizing drums of “Change”. The fiery “White Jeans” contrasting against the sweetness of “Moonlit Skies”. Yes, all twelve songs will make you travel back in time to a pretty colorful era, but it’s how they make such journey possible that it’s of essence here.

As Lilith’s Revenge–Paula told me the other day, “TNFO is the kind of band you never thought needed in your life, but when they show up, they turn you into a happier creature”. Word!

9/10

by Renata “Pieni” Lino

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Sepultura – SepulQuarta

Posted in Review with tags , , , , , , on 7th August 2021 by Pieni

Sepultura
“SepulQuarta”
Thrash metal
Release: 13th August 2021
Via Nuclear Blast Records

Sepultura - Sepulquarta

The COVID-19 pandemic forced us to a new reality regarding live music, with online streaming of concerts and such. Still I’m having trouble considering “SepulQuarta” a live album, whether its tracks have been part of podcasts or not – if the songs were recorded at each musician’s home, that’s about twenty studios… I consider this a compilation album, the treat being the guests instead of that one new exclusive track which will make the fans buy a best-of even if they already have the whole discography. And that’s the kind of thing that totally rocks my boat.

It’s not like Scott Ian made any significant tweaks in “Cut Throat” or David Ellefson added some extra bass line to “Territory”, for instance, but you must admit that just knowing they’re there, knowing you’re listening to “Sepultura feat. Anthrax” and “Sepultura feat. Megadeth (or former Megadeth…)” it’s something else.

Personally, I’m not a big fan of Danko Jones, but I understand why they wanted him for a “clean version” of “Sepulnation”: his voice makes a perfect combination with Derrick’s and the song gets a whole new life.

The doom-ish “Fear, Pain, Chaos, Suffering”, which already featured Emmily Barreto on its original version, gets a second round here, but honestly, it sounds pretty much like in “Quadra”. A little rawer, maybe, but really just a little. In my opinion, in terms of female guests, it’s the screaming – and chanting towards the end – of Fernanda Lira, Angélica Burns and Mayara Puertas in “Hatred Aside” that’s pure gold.

Despite what I’ve said before about Ellefson and Scott Ian – which applies to others like Testament–Alex Skolnick or Death Angel–Rob Cavestany – there are a few instrument players who make a difference, not jut the singers. João Barone and Charles Gavin add an extraordinary tribal drum solo to “Ratamahatta”, while Rafael Bittencourt replaces the drums in “Kaiowas” with his classic guitar, making a beautiful version of the instrumental track (am I allowed to say “beautiful” and “Sepultura” in the same sentence?).

“Mask” was the first promotional video for this album because, well, Devin Townsend is Devin Townsend. But don’t you think it’s more epic to have the original guitarist of a song you’ve covered 30 years ago playing it with you? I believe that’s why “Orgasmatron feat. Phil Campbell” is the last song on the record – to give it that “grand finale” touch.

9/10

Renata “Pieni” Lino

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Fear Factory – Aggression Continuum

Posted in Review with tags , , , , on 12th June 2021 by Pieni

Fear Factory
“Aggression Continuum”
Industrial Metal
Release: 18th June 2021
Via Nuclear Blast Records

Fear Factory - Aggression Continuum

Sometimes reading the news sideways – or just the headlines, I admit – results in bittersweet surprises. Last autumn, almost at the same time, Dino Cazares announced the 10th Fear Factory album would be released the following year and then Burton C. Bell quit the band. So when Nuclear Blast sent us the “Aggression Continuum” promo for reviewing, I was eager to listen to the new chapter… only to find out that Bell still sings all tracks. My curiosity will have to wait – but the reason for the waiting was worthy.

Some bands have such a characteristic sound/nature that if they try and deviate a notch in order to stop repeating themselves, they risk losing the aforementioned character. The opening track, “Recode”, is brilliant in pushing the balance envelope: it’s definitely a Fear Factory song, taking you back to the “Demanufacture” era, but along the familiar riffing you have synthesized orchestral arrangements adding a classy refined touch. Still brutal as hell, but also refined. And Bell’s voice has a rougher edge here, enhancing the whole same-but-different vibe.

Of course that “Disruptor”, having these arrangements only in the chorus – and even there their presence is subtle – and being overall a much more aggressive song, was the one chosen to promote the album on YouTube. Yes, it’s probably the heaviest – and hence single-material – song, but so many others here offer a better notion of the industrial metal FF are about. The title-track, for instance, with its sci-fi ambiance, or the slamming “Cognitive Dissonance”, just to name a few.

Then there’s a certain groove in “Collapse” and catchiness in “Purity” that feels somewhat refreshing and yet is not exactly new in their writing process. And the guitar solo in “Monolith”? What a treat, but it’s probably the dark-ish ensemble of the song that made it my personal favorite.

So whatever the future holds for Fear Factory, I hope it’s similar to this.

8/10

by Renata “Pieni” Lino

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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

wlwhnf

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 Leppard–Joe 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

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Therion – Leviathan

Posted in Review with tags , , , on 23rd January 2021 by Pieni

Therion
“Leviathan”
Symphonic metal
Released: 22nd January 2021
Via Nuclear Blast

Therion - Leviathan

Not sure what Christofer Johnsson meant with “giving the people what they kept asking for”, but it worked. Rumor has it they’ve analysed their most played songs on Spotify and inspired the new ones on those, but I honestly can’t see a direct connection between any except that they all sound like Therion. For instance, has the spunky rock rhythm of “The Leaf On The Oak Of Far”, mingled with symphonic choirs, the band’s old school vibe? Sure it has, but it’s not like you can say it’s a “To Mega Therion 2.0”.

There are a couple of songs that could be featured in a soundtrack of some Tolkien-style movie given the enchantment their melodies carry: the ballad “Die Wellen der Zeit” and the not-quite-a-ballad-but-just-as-graceful “Nocturnal Light”. Despite the German title of the first, only the chorus is sung in that language, just like you won’t hear that much Spanish in the catchy “El Primer Sol”. On the other hand, the only Finnish traits on the striking “Tuonela” besides the title are Marko Hietala on vocals and the “feeling” in the guitar solo. Add the Arabic hints in “Marquis Of Hell” and the Asian ones in “Ten Courts Of Diyu” and this record isn’t simply diverse – it’s multicultural.

As for the title-track, it is indeed the most powerful song of the album, its four minutes proving wrong the idea that a piece must last twice as much to be “epic”. Like I’ve said before, all songs sound like Therion, but this is the one with their name all over it. Is it “deliberately packed with hit songs”, like Johnsson assured? I wouldn’t go that far, but I bet the fans will be pretty pleased with the outcome.

8/10

by Renata “Pieni” Lino

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Soilwork – A Whisp Of The Atlantic

Posted in Review with tags , , , , on 1st December 2020 by Pieni

Soilwork
“A Whisp Of The Atlantic”
Metal
Released: 4th December 2020
Via Nuclear Blast Records

ATLANTICWHISP

Soilwork have been pushing the envelope of classy with every release for a few years now and “A Whisp Of The Atlantic” (even the title has a ring to it, hasn’t it?) keeps the tradition, this time sounding even more exquisite than before. I won’t talk about new directions as I don’t believe that’s what’s happening here – after all, they’ve always juggled with heavy and melodic; but the outcome is indeed… different.

Starting with the title-track, which is also the opening one. Sixteen and a half minutes?! But don’t worry, they haven’t gone progressive, the song just unfolds naturally for that long. The initial sound of the ocean mingles with a soft intro where you’ll recognize Soilwork’s signature right away, and then it takes an ominous turn with cranking guitars and all of a sudden you’re being blasted with fierce drum beats. Yep, “epic” turned out to be a literal term here. Also, the whole EP is a reminder of why Björn Strid is one of the best metal singers around, but the contrasts in this particular song between his coarse, harsh tones and the angelic ones are more highlighted, and so is the excellence of his vocal capacity. Finally, I have to mention the sax in the background during the last minute of the song, as we’re used to sad orchestral arrangements (like in the following song, “Feverish”) and having a sax, New-York-street style, was yet another refreshing trait, even if so subtle.

The other four songs have been rolling on YouTube for about a month (incredible videos, by the way) so I’ll just sum up what you’ve already had the chance to check for yourselves: between the feisty aggression of both “Feverish” and “Desperado”, and the edgy catchiness of “Death Diviner” and “The Nothingness And The Devil” (a Southern rock vibe in the former and a hint of NWOBHM in the guitars of the latter), you’ll find one of the boldest and most vibrant works in Soilwork’s discography.

9/10

Renata “Pieni” Lino

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Kataklysm – Unconquered

Posted in Review with tags , , , on 21st September 2020 by Pieni

 

Kataklysm
“Unconquered”
Melodic death metal
Release: 25th September 2020
Via Nuclear Blast Records

 

unconquered

Kataklysm’s studio discography has grown more or less every two years and, despite the pandemic, 2020 didn’t miss the mark. In fact, “Unconquered” was written based on the current struggles the world is facing and the band describes this album as “a rebirth of aggression”, as a response to said struggles. In all honesty, I don’t think this is THAT much more violent than before, but it’s pretty clear we’re listening to a more elaborate work, richer in features – both modern and old-school – that enhance the melodic part in their melodic death metal nature. Also Jean-François Dagenais gave 7-string guitars a shot, and that alone offers new textures.

“The Killshot” lives up to its title, such brutality embedded in that riffing and double bass drumming – and yet its musical pattern lingers in your ear. That’s probably why it was released as first single, but for similar reasons, so could have been “Defiant” – the latter somewhat fiercer and more straightforward.

It’s funny how Kataklysm consider “Cut Me Down” a “haunting and melodic” song (featuring Wolfheart–Tuomas Saukkonen, by the way), when I think those words best describe “The Way Back Home” (one of my favorites). But it’s the doomsday vibe of “When It’s Over” that makes it the most ominous track (and therefore another favorite of mine).

I won’t say this is their best record so far, but I can assure you the Canadian quartet is right to feel proud of it.

8/10

Renata “Pieni” Lino

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Paradise Lost – Obsidian

Posted in Review, Uncategorized with tags , , , on 10th May 2020 by Pieni

Paradise Lost
“Obsidian”
Gothic metal
Released: 15th May 2020
Via Nuclear Blast 

obsidian

I believe that in all 17 studio albums Paradise Lost have released so far, this is the one with the most accurate title – its songs are deep dark and their refinement pretty clear-cut, just like an obsidian rock. And since we use the word “rock” in a metaphorical sense to describe something strong we can rely on, and “Obsidian” is, in my humble opinion, the strongest record these guys have done in years…

Paradise Lost have always managed to write sorrowful songs that will otherwise bring you elation rather than depression, and just a few seconds into that acoustic intro of “Darker Thoughts” will prove this statement right. Nick Holmes sings in a heartfelt clean pitch here, and as the electric, heavy part kicks in, so does his harsh growl. There are orchestral arrangements in the background throughout the whole song – violins, if my ears got it right – which a sucker for details such as me must point out. And as the two following songs are the ones I already knew from YouTube – the stricken “Fall From Grace” and the homage to The Sisters Of Mercy “Ghosts” – it was already clear I was facing a masterpiece. A lot of “old school PL vibe” revamped, which I admit probably helped with the impact it caused on me – but I still think “masterpiece” is the right word.

The keyboard line and guitar work of “The Devil Embraced” are particularly riveting, while “Serenity” bears a more straight-forward and rawer heaviness that turns out quite catchy. And while the melody of “Ending Days” bears the beautiful sadness that I’ve implied before, “Ravenghast”’s nature is gloomier, almost ominous.

Saying “all gothic metal fans” may sound presumptuous, so I’ll stick to “the majority of gothic metal fans” will fall in love with this record; but for those whose lives were touched by “Icon” and/or “Draconian Times”, “Obsidian” will also be a blissful revival of the past.

9/10

Renata “Pieni” Lino

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Testament – Titans Of Creation

Posted in Review, Uncategorized with tags , , , on 1st April 2020 by Pieni

Testament
“Titans Of Creation”
Thrash metal
Released: 3rd April 2020
Via Nuclear Blast

Testament - Titans Of Creation - Artwork copy

“Titans Of Creation” isn’t just a powerful title; it’s also the definition of its songwriters. Not that it took 13 albums to recognize their grandeur – in all honesty, none of Testament’s members has had anything else to prove to anyone for a long time – but the fact they could push the envelope just a bit further this time is impressive. From what I gathered reading the press release, it seems the writing process was more dynamic, hence the little tweaks that are making all the difference.

I’ve always admired Peterson’s and Skolnick’s classy guitar work, but now it sounds even more elaborate – check out the solos and general riffing in songs such as “Children Of The Next Level”, “WW III” or “Symptoms”… hell, check out those in ALL tracks and you’ll see what I mean. It’s more diverse, so you get a better sense of what they’re capable of doing with those strings.

Peterson shows another side of him as he voices some parts of “Night Of The Witch” and “Curse Of Osiris”, in a demon-like pitch. The contrast between his and Billy’s tone is just perfect for the songs in question.

You’ll recognize the catchy chorus of “Dream Deceiver” as pure Testament, but the ominous vibe of “City Of Angels”, enhanced by its slower tempo and somber bass line, that will be new. But then again, as the lyrics refer to serial killer Richard Ramirez, it had to be something dark…

“The Healers” also sound somewhat different, with a more intense approach rather than a feisty one, its beat prone to become an earworm as well. It talks about Billy’s personal experience with his past cancer, but given the Corona pandemic situation the world is going through at the moment, it will probably become a hymn of hope to many metalheads.

8/10

Renata “Pieni” Lino

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Marko Hietala – Pyre of the Black Heart

Posted in Uncategorized with tags , , , , , , , on 19th January 2020 by Mickelrath

Marko Hietala

Pyre of the Black Heart

Heavy Metal, Progressive Rock

Released: 24th January 2020

via Nuclear Blast Records

I have never claimed to be the biggest fan of Nightwish. However, I have always appreciated the vocal talents of Marko Hietala. He’s a spectacular singer and musician. So, imagine my surprise to find out that he’s releasing his debut solo album this year. Pyre of the Black Heart is a pretty mixed bag of material. I guess he wanted to throw a bunch of different styles at the wall to see what stuck. The album is a mix of prog-rock, heavy metal and some clear folk inspiration here and there. It feels quite personal and hits pretty hard.

Right from the opening track “Stones” Marko shows everything that he’s trying to do on the album. You can really feel that forceful presence that has made him such a fantastic performer over the years. The tone of his vocals is damn-near perfect and really hit you in the gut. Songs like “The Voice of My Father” and “I Dream” grab your attention and the emotion just took hold of me when I was listening. The production is simply outstanding with every part of the arrangement shining. The bombastic bass and drums, with the heavy electric guitar, is really gut-busting and coupled with Marko’s pure intense vocal performance really made this a larger than life album. Even the quieter, acoustic sections hit hard due to the purity and richness of the production.

His use of poetic license suits this music well. The weary and emotional language used kept me engaged throughout. It’s almost like dark-twisted lullabies in the quieter sections. The heavier moments it feels like dark prog-rock epics of the past. The passion and conviction that this album presents certainly delivers, with Marko giving his all with his commanding and forceful voice. It gives the words a great sense of urgency and left me speechless at times.

I think if you like rock or metal music of any sort you’ll like something here. It’s progressive rock without the fluff, folk-rock without going overboard, heavy metal with more complexity and almost has a stoner rock vibe to the riff. I think the only thing that most people wouldn’t like about the album is that it moves a little slow. There aren’t many songs with a lot of vibrant energy, the one exception being “Runner of the Railways” which definitely rocks. It’s definitely an album that takes some time to digest. I mean, it’s not a power metal or thrash metal record. So, if you’re looking for something with a lot of fast-paced, in your face metal, then this isn’t for you. However, I think there’s enough energy and heaviness that most rock and metal fans will be impressed.

Overall, a solid album from a man that has earned his place in the annals of heavy metal history. If you’re in the mood for something powerful and captivating, then this might be right up your ally.

8/10

Mick Birchall

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Nile – Vile Nilotic Rites

Posted in Uncategorized with tags , , on 29th October 2019 by izaforestspirit

Nile
Vile Nilotic Rites
Released 1st November 2019
Technical Death Metal
Released via Nuclear Blast Records

Nile - Vile Nilotic Rites

Regardless of whether you love or hate them, there is no denying that Nile have left their mark on death metal music. For over two decades now, Karl Sanders and the gang have treated the metal community to their signature sound – their own unique blend of technical death metal and ancient Egyptian themes or “Ithyphallic metal” as they call it. Personally I have a somewhat complicated relationship with their music. As far as death metal goes, I like them but they have never been a favorite of mine and I like some of their albums more than others. My favorite album by them is ‘In Their Darkened Shrines’ and ‘Ithyphallic’ is the one that I like least. I quite liked their previous effort though, so I decided to give this new album ago.

Well, the good news is that Nile have managed to successfully replicate the same level of brutality and technical guitar work as they have done in the past. Sanders’s growling sounds just as vicious as ever and shredding guitars are just as savage. Yet that is not what makes Nile stand out. If all I wanted was to hear some growling and shredding guitars, there is no shortage of brutal death metal bands that do the same thing. What makes Nile so memorable is the atmospheric instrumentals and the prominent Egyptian themes. For that you have to skip to the fourth track Seven Horns of War. The intro really sounds like an ancient army on the march, complete with war horns and battle drums . Then mid-way through, they slow the pace down and the song adapts to an atmospheric tone with keyboards, eerie whispers, choirs and chanting audible in the background. For a brief period you can still hear the battle horns just as the death metal guitars and growling re-emerge.

Seven Horns of War isn’t the only track to feature atmospheric instrumental parts. There are many others on here. For example, the short ambient instrumental Thus Sayeth the Parasites of the Mind deserves a mention. Nice work Mr. Sanders! The melodic sounds of the bağlama and ethereal voices almost made me forget that I’m listening to a death metal album. On the opposite end of the spectrum there are tracks such as Snake Pit Mating Frenzy which is just pure, brutal death metal.

In summary, ‘Vile Nilotic Rites’ is a multi-faceted and complex technical death metal album that might take a few listens to get into. I cannot say that I enjoyed all the songs but I would be happy to play most of them again. As far as Nile albums go, this is one of their better releases.

7/10
Iza Raittila

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The 69 Eyes – West End

Posted in Uncategorized with tags , , , , on 14th September 2019 by Pieni

The 69 Eyes
“West End”
Gothic rock
Released: 13th September 2019
Via Nuclear Blast Records

The 69 Eyes - West End

Over the past 30 years, The 69 Eyes have developed such a characteristic sound that they’re at a point in their career where one can identify a song as theirs, even before Jyrki 69’s unique voice comes through. Yes, 30. The dark balloons on the cover? Best decoration for a goth’n’rock anniversary party.

They’ve also invited a few friends for such party. You’ve probably seen the video for “Two Horns Up” by now, featuring Dani Filth. Those ominous church bells in the first few seconds which lead to that rough bass intro and melt into a rocky melody spiced up with piano keys… that’s the catchy trademark of the Helsinki Vampires.

Curiously enough, “27 & Done” is a lot merrier, despite its dark theme (that apocalyptic age at which so many rock stars have died). Same formula, but merrier.

“Black Orchid” was also released as a video, probably because it has one of the most beautiful guitar solos in the whole album. It took me back to “Dance D’Amour”, believe it or not – so much bolder, so much sharper, and yet my mind brought it up. Go figure.

Then there’s the orchestral arrangements on “Change”, giving a classy touch to an already dandy ballad. It’s like they say, “the devil’s in the details”.

I was surprised they didn’t film a video for “The Last House On The Left”. Jyrki 69 himself says it’s “the perfect Halloween horrorpunk song for this year”. Honestly, I think it’s perfect for any festive occasion. It also features Dani Filth and Wednesday 13 and Calico Cooper as well, making a hell of a vocal mix! I wouldn’t call it punk, though, but definitely rock’n’roll. By the way, “Outsiders” gives away that vibe too. Dancing is not really my thing but I caught myself doing so while writing this review.

These are just a few remarks. I could’ve picked many more but I think you’ve got the picture. I’ll wrap it up with a cheesy but heartfelt “happy anniversary, keep it rollin’!”.

8/10

Renata “Pieni” Lino

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Cellar Darling – The Spell

Posted in Review with tags , , , , , , on 24th March 2019 by Mickelrath

Cellar Darling

The Spell

Progressive Metal , Folk-Metal, Symphonic

Released: 22nd March 2019

via Nuclear Blast Records

After being really impressed with their 2017 debut album, This Is The Sound, Cellar Darling have returned with their new record, The Spell. After that debut, I was hoping for another record and I was hoping that they would attempt something a little different. Well, they must have heard my wishes because their second record is a very different beast from the first album. The Spell is a much heavier and more progressive album than This Is The Sound. It feels like a lot more care and attention to detail was put into this album. I mean they improve on their sound in every way conceivable here. There is also an audiobook of the album, which offers more context for all of the songs and where the lead vocalist Anna Murphy adds another layer to this album’s meaning.

This album is just a tonne of fun from the first few notes. Immediately hitting you with those sharp tones and sweet melodies that were present on the last release. The production on this album real super slick and everything feels really tight with all of the instrumentation standing out and playing its part. When it all comes in together, it just sounds so grandiose. This sound can only be described as progressive rock with enchanted whimsy thrown in. The beautiful compositions with excellent sound mixing give the album an other-worldly vibe to, what would be, just another progressive folk-metal album. Then you have the immense vocals of Anna Murphy. She just has an amazing presence on this album, it really is a star-making performance. It baffles me how she isn’t usually brought up in the discussion of the best female rock-vocalists by the fan community. She has so much range both, in vocal technique and in, emotional presentation.

There is a really nice variety of musical styles presented here. From eerie and atmospheric to heavy and “in-your-face”. The Spell will captivate and entrance listeners. I immediately wanted to put it on again and again as this album rewards repeated listens as there is a lot you can miss on your first play-through. There are just so many subtle little things in the music that you only catch on repeated listens. I would say the songs that are really worth your time on this album are “Burn” with its excellent riffs and exciting chorus, “Love” & “Love Pt II” also “Death” & Death Pt II” both of these two-part songs make for excellent companion pieces and really show the strength of Cellar Darling’s songwriting abilities. Also, my personal favourite on the record is the haunting ballad “Sleep” which reminds me of those old progressive tunes where the music sounds like random instrumentation but it really perfectly calculated musicianship.

Yep, I would definitely say this is worth your time. I really didn’t know how they were going to follow up that first album but I truly wasn’t expecting this. The Spell is one of those perfect records to accompany your imagination. It’s enjoyable and enriched with wonderful lyrical content. This one gets a big thumbs up from me.

5/5

Mick Birchall

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In Flames – I, The Mask

Posted in Uncategorized with tags , , , on 24th February 2019 by Pieni

In Flames
“I, The Mask”
Metal
Released: 1st March 2019
Via Nuclear Blast Records

inflamesithemask

It’s been a while since I’ve stopped considering In Flames “melodic death metal” (even if I labelled them as such when I reviewed “Battles”, after going with just “melodic metal” on the previous one, “Siren Charms”). The truth is that they’ve developed such a characteristic sound that one would either come up with a genre described in a whole sentence or just fit them in one that pretty much covers it all. Let’s go with “metal” then (which, whoever runs their Facebook page, seems also okay with).

I believe I’ve said this several times – not just regarding In Flames – but I don’t see toning down the aggression as a bad thing; in this case, losing the “death” angle. All I care about is listening to quality music, whatever its nature, and “I, The Mask” is full of that.

Out of the three songs they’ve chosen to promote the album with, the title-track was the one which least impressed me. Curiously enough, one of the fastest tracks. It’s not a bad song, don’t get me wrong. It’s just too straight-forward in the middle of the richness that the rest of the album turned out to be. But then again, come to think of it, maybe that’s precisely its strength. “Burn” is up there as well, but with a less catchy chorus.

“(This Is Our) House” is sort of anthemic, with all that talk of standing your ground and the teen choir’s they’d already used on “The End”. At first I thought a spunkier chorus would sound better, but after hearing it a few times, this one is just right. In fact, this album needs a couple of rounds to grow on you as a whole.

“I Am Above” and the ballad “Stay With Me” are my favorite, as they’ve got that something-I-can’t-put-my-finger-on that just enthralls me. Perhaps the attitude of the first and the depth of the second, but I believe is much more than that, as it usually is when a song hits you hard.

There’s another ballad in the form of “Follow Me”, where you’ll certainly hear an echo of “Come Clarity”, but only on a musical level – the message in it bears a sense of hope that their old classic misses. And even though I can’t remember a title to compare – in a good sense – “Voices” with, you’ll see that the opening track is very much an In Flames song. Not so much with “Deep Inside”, the Arabian hints catching me somewhat off guard, but it worked out in the end. The only song I skip when it comes up is “In This Life”. I’m sure it will be someone’s favorite, but for me, it’s annoying as hell.

When I’ve first listened to this album – their 13th – I’ve automatically given it a “4”. Then, as aforementioned, it started growing on me and I thought a “4,5” would be more accurate. Now that I’ve put into words what I think about it… hell, it deserves a “5”!

5/5

Renata “Pieni” Lino

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Soilwork – Verkligheten

Posted in Uncategorized with tags , , , on 8th January 2019 by Pieni

Soilwork
“Verkligheten”
Melodic death metal
Released: 11th January 2019
Via Nuclear Blast Records

soilwork - verkligheten - artwork

When I reviewed “The Ride Majestic”, about three and a half years ago (damn, feels like yesterday!), I said something about being surprised with how Soilwork could still impress me. Well this time they didn’t catch me off guard: I’m still impressed but I was counting on it.

A fellow reviewer said they’ve gone more melodic but I don’t think that’s quite it; I mean, sure, “Verkligheten” is a more melodic record, but I don’t think it was intentional. I believe they’ve just focused more on being intense than actually heavy, and such deeper sound enhanced the melodies which have always been a part of Soilwork. Take the latest single, “Stålfågel”, for instance; those initial synths bearing an Alan Parsons whiff, the growls of someone who Wikipedia claims to be Alissa White-Gluz (but it’s not) a mere shadow in the background of the chorus and the so straightforward solo result in an enthralling combination that’s way more than just “melodic”. it’s still my favorite song, by the way, even if I stood a bit disappointed when the lyrics didn’t match the title’s tongue. In fact, despite the Swedish album title, all songs are sung in English. Shame. At least one should be pretty interesting.

Tomi Joutsen was also invited to snarl over “Needles And Kin” but his presence is much more highlighted – the own nature of the song enabling it. I dare saying this is the heaviest song (“Arrival” right behind it), the riffing and drumming even reminding some black metal refined act, but the chorus always featuring some harmony to go along with the rest of the album.

I really hope “The Ageless Whisper” makes it to the live shows as it’s a very anthem-like track which I already imagine everybody clapping their hands to, in sync with the drums in its intro and later on, right before the solo. But several others, and for several reasons, are prone to turn the crowd into a bunch of happy campers ‘cause I’m pretty sure I’m not the only one loving “Verkligheten” as a whole.

5/5

Renata “Pieni” Lino

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Edguy – Monuments (A 25 Year Tribute to Edguy)

Posted in Editorial/Opinionated, Review with tags , , , , , , , on 9th July 2017 by Mickelrath
Edguy
Monuments
Power Metal, Hard Rock, Progressive
Released: 14 July 2017
via Nuclear Blast

It’s been 25 years of Edguy. Yes, this band has been going as long as I’ve been alive on this earth. So, I thought that I would pay homage to one of the greatest metal bands that I have ever had the pleasure of listening to. What better way to do that than going through the newest release from them. Monuments is a carefully and passionately selected collection of the band’s greatest hits from the last 25 years. Not only that, but the release has five brand new songs from the band. Along with one previously unreleased recording. Mounting up to a staggering 28 track album that will be more than enough to indulge even the biggest fan of the band.

I first discovered Edguy back in 2008 with the album Tinnitus Sanctus. I bought it after reading about them in a Magazine calling this album “the strongest of their career yet”. At this time, the metal press was buzzing around them. I listened to the album and something stirred inside of me. I instantly wanted to hear more from them. So in very quick succession I looked their history in music. I was completely blown away and I think this was the start of my obsession with power metal. As listening to them got me into fellow contemporaries: Blind Guardian, Sonata Arctica and Hammerfall. I know I was a little behind but believe I’m caught up now with them all. Yet, there was something different about Edguy and it was all in frontman, Tobias Sammet’s vocals. He sang with such power and conviction still to this day his voice gives me goosebumps. If anyone ever asks me what a metal or rock vocalist should sound like I just turn and point to Tobias. Everyone has their own favourites that they immediately associate with the genre. He’s mine.

Yet, I don’t want to do a disservice to the band that back him up. Edguy has some incredible talent in there. Unlike a lot of bands that go this long; Edguy have had a pretty consistent line up having the same lineup from 1998 onwards. Giving them a fantastic consistency. This is reflected across all their albums. Jens Ludwig and Dirk Saur have been their from the very beginning on guitars. Always producing fantastic riffs and melodies that compliment the tone of whatever album. They were going in to. Be it the more power metal centric albums or the winding twisting more progressive sound. No matter how flamboyant or heavy the song. Ludwig and Saur really deliver in getting music stuck in your head. As for the rhythm section Tobias Exxel on bass and Felix Bohnke on drums has always given Eduy that weight and power to their tunes. There’s just such a commanding presence to their music. When Edguy plays, you listen.

Monuments, includes 5 brand new songs from the band. You’d think that they may get lost amongst all of the classic songs. They sort of do, I don’t necessarily see that as a band thing. I just see it as these songs just feel as good as their iconic work. Which can only be a good thing. All five of the songs are big triumphant anthems and their played with just as much conviction as the big hits. With massive sounding production and the tight musicianship that we’ve come to expect from Edguy by now. Is it any wonder that they sound this good! They fit so nicely on this package of their hits. They feels like songs that have always been here. I guess that’s the real strength of Edguy. Making songs that fit so well into the collective consciousness, making tunes that just sound right.

As for the unreleased song “Reborn In The Waste”. Recorded back in 1995, as part of the Savage Poetry recordings. Savage Poetry being one of their demo albums in the early 90’s. I can understand why it wasn’t included. I don’t think it’s wholly representative of the band’s skill or style. In all honesty I think it’s a pretty lackluster tune. It’s got a nice hook to it and I think if they remade the song today it might be better but I don’t know. I guess I like it just for the fact it’s another piece of Edguy nostalgia more than anything else.

In all honesty. This has been a fun one to look at. Just looking back through Edguy’s back catalogue and remembering the great tunes from yesteryear. They are certainly a band that has stood the test of time with 10 albums under their belts and some of the most enthusiastic fans I’ve ever met. Going through this greatest hits compilation has really made me appreciate how good this band really is. From the heavy hard rock tunes, to their soaring ballads they make some of the finest metal music around. They may not be on the same level as the all time greats of the genre, but they always hold a special place in my music library. I will always think back to the time I first heard them roar into gear with “Ministry of Saints”. If you have never given them a chance do yourself a favour grab Monuments and get acquainted with one of the best metal bands in the world. At least according to this reviewer. Yeah, this might read as a bit of a fluff piece or it could read as a little self-indulgent. I really don’t care. I just wanted to look back on one of my favourites to celebrate 25 years of this band.

5/5

Mick Birchall

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The Charm The Fury – The Sick, Dumb & Happy

Posted in Uncategorized with tags , , , , , , on 15th March 2017 by Mickelrath

The Charm The Fury

The Sick, Dumb & Happy

Metalcore, Groove Metal

Released: 17 March 2017

via Nuclear Blast

This is an album that I have been particularly excited for. I first caught wind of The Charm The Fury a few years ago via an article in Metal Hammer magazine.  I looked them up and I was really blown away by them.  I hadn’t heard anything like them before.  I would go on to discover a lot of bands in with this sound and I do have The Charm The Fury to thank for that. Their first album A Shade of My Former Self was an exciting bold record with a lot of passion and intensity. It was genuine smash of an album. So, I’ve really been getting into their new album The Sick, Dumb and Happy. They have made some interesting stylistic choices with this album to keep things fresh without losing their core appeal.

This album is more of a groove metal album then metalcore.  The gritty riffs the, groovy bass lines and more of an appealing tone. It fits them it really does. I think every member of the band carries their weight very well on this album. The sound is massive and all of the songs have the potential to be crowd pleasers.  From the old school sound of “Down on the Ropes” to the more modern sounding, “Weaponized”. They hit the mark nearly perfectly.  The production is bold and really gives a firm punch when the tunes get going. On this album the band feel way more palatable. These are songs more likely to get airplay in more mainstream and that’s really not a problem. They sound great doing it and I would say that these songs deserve the attention.

This is a major step in the right direction for The Charm The Fury. It’s really nice to see a band evolve like this.  It proves you can make your songs appealing to a wider audience without selling out.  They have just made a natural step forward with their music. There’s really not much else to say if you want a great album with a fun sound with some truly pump-up choruses, the look no further that this album.

5/5

Mick Birchall

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