Thy Catafalque - Rengeteg [2011]

I always find myself at odds with the avantgarde genre; it often seems that a band or album is stuck with this label if people are too lazy to figure out what music it really is. On other occasions, it's utilized by the rabid fanbase of a band or the group itself as a pretentious title to elevate the material to a self-fabricated level of importance. I would view Unexpect as your typically adored, excessively overrated example. The result is usually a random, ill-advised mixing of genres with little thought or effort put into the actual songwriting. One-man project Thy Catafalque, however, defies avantgarde conventions by meshing together perfectly. Rengeteg ('a vast forest') is a delectable homogeneous mixture of varying--but all equally tasty--components.

At its heart, Rengeteg is a simple meshing of post-black metal and folk music (the vocals, in particular, are deeply rooted in the latter). Other elements are subtle enough so as not to be distracting. Little electronic elements and distorted spoken word parts are sprinkled sparingly, most notably in an intense section of fourteen minute epic "Vashegyek." Creeping forth with a soft, lovely intro complemented by female vocals, this track soon bursts into a repetitive onslaught of droning rhythms and synthesized sounds, the latter of which you might find in the likes of 70s Deep Purple. Opener "Fekete mezők," possibly my favorite here, is a stunner, beginning with a surprisingly crushing death metal riff and segueing into agonizing harsh vocals. The powerful and wonderfully sang chorus just tops it off, proving avantgarde can be as catchy as it is daring and assuring that its nine minute runtime never becomes boring.

The other tracks are simpler and shorter but no less beautiful. They often take one idea and run with it, featuring little deviation from the original structure, but with this quality, why would anyone want the formula to change? The brief "Trilobita," an upbeat folk flurry of lights and colors, reflects the nature of Rengeteg as a whole; this is a largely optimistic musical journey. Whereas a band like Alcest or Les Discrets would dwell on sadness and the times we've passed by, Thy Catafalque celebrates the present, the promise of the future, and the wide scope of possibilities still to come. It's a diverse yet compellingly consistent work that not everyone will connect to; yep, it's avantgarde that works. Now comes the part when I use the dreaded term 'art' metal. Deal with it, because this belongs right alongside Enslaved's later discography even if it doesn't quite reach that band's greatest heights. Buy now.

   Overall: 9.25/10 (Outstanding)

Mastodon - The Hunter [2011]

There were few albums released in 2009 that I loved more than Crack the Skye, which I found to be an absolute masterpiece of psychedelic, progressive stoner metal. For a while afterward, the next Mastodon release went almost all the way to the top of my waiting list, as I held my breath in heated anticipation for another masterpiece. However, I got distracted along the way, and when the album was finally announced (along with its short song times and more 'accessible' style), I felt a surprising air of indifference and a fear of extreme disappointment. I missed the release and the excitement as a result, an act that, as it turns out, The Hunter definitely didn't deserve. Mastodon have met (if not surpassed) my expectations yet again.

None of Mastodon's albums sound all that similar to one another, and The Hunter keeps that tradition alive for another affair. The amount of different styles mixed in this wide array of concise tracks is highly impressive, a method personally reminiscent of Voivod's Angel Rat (and yes, that's a very good thing!). Some songs roll mainstream with effective modern rock ("Curl of the Burl," "Blasteroid," and "Dry Bone Valley"), some are noisy stoner metal tunes ("Stargasm" and "Thickening"), some go full blown prog rock ("The Hunter" and "The Sparrow"), and some are simply bizarre exercises in miscellanea ("Creature Lives"). It's this kind of diversity that keeps The Hunter sounding fresh even after many listens. None of it is particularly heavy to an extreme degree, but fans who can tolerate a touch of commercialism in their metal should warm up to it fairly quickly.

The Hunter runs fairly long with thirteen tracks at a total of 53 minutes, but nearly every moment is worthy enough to be in this tasty brew. There's something special about the sound created when Dailor's energetic drumming, the contrasting vocals (once again provided by all members and switching between Ozzy-like droning and a more melodic sweetness), and the cascading rhythms and leads come together. The most fruitful exhibitions of this euphoric concoction are in the pristine "Bedazzled Fingernails" (ugh), which displays surprisingly complex melodies in its first rate chorus. If there was one track here that didn't capture my attention like the others, it was "Dry Bone Valley," a faster track that sort of loses itself in the middle of the album. Not bad, but nothing spectacular. I could say the same about the frenzied "Stargasm."

In short, The Hunter is just another great album by Mastodon. It's an album unlikely to change anyone's opinion of the band, and it does fall short of the excellent masterwork that preceded it, but Mastodon's latest does provide a fun foray into less daring territory; it should represent a safe purchase for fans of the group.

   Overall: 8.25/10 (Great - ...everything's fine)

Stormwitch - The Beauty and the Beast [1987]

I made it through three songs. Three entire frickin' songs. Then I realized that it was my duty to inform the public about this living monstrosity and forced myself to plow through the rest of its putrid contents. Okay... here we go...

Recommended on the basis that it sounds like German power/speed metal bands such as Helloween, this band seemed to have some good potential. I mean, their name is a combination of two of the most metal words in the entire English: wait, you mean a STORM and a WITCH? Like, together? Hell yeah. Metal claw all the way. Then we arrive at the cover art; okay, sure, it's cheesy as hell, but then again, Fates Warning and Liege Lord dwelt in mildewy subjects and they both kicked ass. However, what wasn't revealed by the band name should have gotten through to me in the album title. Beauty and the Beast? Seriously? I know this was a few years before the movie came out, but come on. Imagination, guys. Use it.

Unfortunately, mentally defunct decisions like that also translate directly into Stormwitch's music. This is obviously the work of a band starved for commercial success. The choruses are simple and repetitive, with enough of those overloud, layered gang shouts to make even Leatherwolf sound about as melodic as Hellhammer (the production as a whole has the keyboards and vocals way too loud in the mix). The riffs--none of which are good--are light and pompous. And the keyboards...oh boy, the keyboards. Let's just say they should provide a nice wet dream for avid Duran Duran fans. Oh, and it's all delivered by one of the wimpiest, most pathetic sounding vocalists I've ever heard. Imagine a drunken Michael Kiske that's been run over a couple times pitifully belting out of key high notes. Yeah, it ain't pretty, and neither are the laughable lyrics. A sample:

"He's longing, longing to stray
Leaving back all the yesterday's clay
Right down where the streets have no names
The winds were never tamed"

Random cliches systematically formulated running rampant at a rapid rate. This is a bigger trainwreck than that sentence. My, oh, my, I haven't even covered the songs yet. Most are just generic, inoffensive 'rockers' that sputter out like opener "Call of the Wicked," so I'm just going to cover the centerpiece that should receive the most damning of your malice. The title track is, in the most basic terms, a murderous behemoth of suffocating hair product fumes. The eardrum-assaulting keyboard intro is just a taste of the musical spoilt milk to come, complete with a soullessly derivative refrain that exclaims (proudly, I might add) 'hot nights' with all sincerity. What scares me is that no one stepped in at this point and said, "hey, wait a minute, music is supposed to be enjoyable." I mean, why not go all the way and start a Bon Jovi cover band. The horrendous female vocals sound like something you'd hear on a cheap 80's exercise video. And to think, I didn't even discuss the ballad...

This almost hurts. I don't take solace in trashing the lesser-known albums of metal's past; quite the opposite, in fact. I love finding those long forgotten gems and relish spending time in their warming glow, and I often like 80's cheese, too. That just makes Beauty and the Beast all the more harrowing to endure. There are about a thousand obscure albums more worthy of your attention, and though I can't speak on the behalf of Stormwitch's other material, I can say without a shred of doubt that this isn't one of them. Oh, well; every metal 49er is bound to strike a big lump of coal every now and then.

   Overall: 2.5/10 (Abysmal)

Lost in Thought - Opus Arise [2011]

Lost in Thought is yet another project backed by prestigious producer Jacob Hansen, following in the great tradition of modern progressive juggernauts Anubis Gate and Pagan's Mind. Indeed, the music itself is pretty much an amalgam of every modern progressive metal tendency ever thought of. You've got your high register, hyper-melodic vocalist with a slight accent, an absolutely flawless, crystal clear production, over the top keyboards, and relatively simple songs that often manage to stretch themselves out across 6-7 minute tracks; and it's all delivered with top notch musicianship and an almost overbearing insistence upon achieving complete and utter perfection. Yep, it's another one of those bands, but really, Lost in Thought isn't half bad.

The good news here is that Lost in Thought doesn't strike the listener as the soulless prog machine many of these bands do. Nate Loosemore's smooth voice doesn't take command with a lot of power or character, but it is emotive enough to remember some of the more developed choruses here. That's another positive: repeating parts and songs instead of pointless meanderings. Not every track is perfect, but songs like gracefully forceful "Entity" and the Pyramaze-like "Blood Red Diamond" (sporting the most memorable chorus on the album) certainly leave a good impression. The airy, 'happy' "Seek to Find" is an uplifting number. Unfortunately, the second half can't quite live up to the first. The band's eponymous track shines, however, with the most impressive instrumentation on the record.

I do have to give the band credit for managing to hold back the desire to go all Dream Theater and challenge the limits of what a CD can hold length-wise. Fifty minutes is just the right length for this style, as any more would feel tedious and any less would come off as cheap. Still, I can't say I was fully enthralled for the entire duration. May problem with this release probably lies in the fact that we've all heard this exact song and dance dozens of times before, so nothing here really remains all that surprising or interesting after a couple good listens. However, Opus Arise is still a decent stab at the genre, and its definitely worth a listen or two from progressive metal fans for its highlights. I have a feeling this isn't the last I'll hear from this band, so maybe they'll strike even harder next time.

   Overall: 7/10 (Good)

Skelator - Death to All Nations [2010]

The revitalism movement has been thriving as of late, taking the thrash and traditional metal genres back to their glorious origins. In the latter category, Sweden has delivered bands such as In Solitude, Enforcer, and Portrait, dominating the market in low-fi, ass-kicking heavy metal. Well, nobody seems to be talking about Skelator, a band taking on the style of more local 80s heroes like Fates Warning, Crimson Glory, and Helstar while mixing it with NWOBHM foundations and a tone at times more charmingly European. Their second full length album (and first not to be self-released) Death to All Nations does the past proud with soaring melodies everywhere and charging riffs that won't fail to make one wax nostalgic.

Just about everything you could want in a revitalist band can be found right here. The production values appropriately shy away from modern polish, the charismatic vocalist wails with banshee-like high notes (sometimes reminding me of the glory of the late Midnight and irking me with off-sounding lines at others), and the guitars churn with that classic tone. The songs themselves start to branch out as the album goes on, beginning to break their A-B structures and evolve into lengthier anthems that showcase the US power metal genre's often forgotten progressive tendencies. All of them are successful in varying volumes at conveying a sense of interwoven classic simplicity and subtle complexity, never getting tiresome or too repetitive along the way.

"Birth of Steel" and "The Voice" (which provides the album's catchiest riff) are the perfect rockers to introduce the album, while "Victory (Henry V)" seems to follow with a take on Iron Maiden's penchant for historical songs. "Stand Up (For Rock and Roll)" is dedicated to Dio but plays more like Priest. Visions of Running Wild ran through my mind when I saw the name "For Death and Glory," and the song follows through with a swarming riff and Rolf'n'roll deep in its blood. Another sure highlight is the concluding title track, rushing forth with the intensity of German speed metal and offering another memorable chorus to boot. "Symphony of the Night" (Castlevania, anyone?) explores the dark themes reminiscent of Helstar's Nosferatu.

Does modern, over-orchestrated European fairy metal piss you off? Have you been disappointed with the path that metal has taken since 1989? Does progress overwhelm you? Don't worry, Skelator is here. I must admit that I'm highly partial to this breed of music, but I can honestly say that I can't see any fan of metal's less extreme tendencies turning down this well-executed time machine of a record. Death to All Nations may not be a classic, and it certainly isn't perfect as it doesn't quite reach the lofty heights of its predecessors (also, the vocal performance could use some work); but when you choose something like this, you know what you're going to get, and what you'll get is one of the best bands stirring this archaic brew today. Get this and Diamonds by Enforcer and you won't regret it.

   Overall: 8/10 (Great)

Lantlôs - Agape [2011]

I really, really like the post-black metal movement. Enslaved's latest work continues to enthrall with its cascading melodies, intensely enveloping riffs, and post-rock elements while Alcest never fails to evoke wonder in its light, airy fairyland of shoegaze mastery. Other bands like Blut Aus Nord are providing their usual atmospheric approach while incorporating industrial touches. However, just as this expansive and still young genre's best moments can provide some of the best music available, its worst moments can be interminable exercises in tedium. Unfortunately, Lantlôs, yet another project Alcest's Neige is affiliated with, falls closer to the latter category. There's just not a whole lot going on here.

To be fair, I shouldn't lead anyone to believe that Neige possesses the majority of creative control here. This is first and foremost Herbst's project, as he performs the bass parts, plays guitar, and writes the lyrics. The music itself is slightly rawer and 'blacker' than Alcest, forgoing the dream-like, uplifting style for something more traditionally dark. That would be perfectly fine if these songs actually went somewhere or did anything. The sound in itself is still passable at worst, but as it stands, Agape meanders endlessly with slooooow passages, forgetting to create any atmosphere to go along with them. Neige does provide the vocals, though his wonderful cleans are almost entirely absent (barring opener "Intrauterin") and his harsh vocals, which make up the majority of the release, are no where near as emotional or interesting as on Ecailles de Lune.

Of these five tracks, only "Eribo - I Collect the Stars" fully pulled me into Herbst's capable vision, briefly mesmerizing with the most captivating melody on the record. Brief seems to be a theme here, with a plain lazy 35 minute run time that sadly feels longer than it should while barely exceeding EP length; and I like short albums. It might seem as if I'm not going far enough in depth on the contents of Agape, but that's a direct reflection of the album itself: there's really not much to talk about. It's not truly bad in any way, it's just sorta... here. I would still recommend fans of this type of metal to sample Agape in any way that doesn't require a blind monetary investment, as some might find something here that I didn't. However, in the end there's just too much stick and not enough carrot for my tastes.

   Overall: 5.5/10 (Mediocre)

Battle Beast - Steel [2011]

In the case of Battle Beast's debut full length Steel, the cover art perfectly depicts the music beneath it. The image is amateurish, looking as if a middle schooler lost in a fantasy world sketched it on his desk in the middle of chemistry, not realizing that he is restricting himself in the intelligence department by not paying attention in the process. Couple that with the desperately "metal" logo and band name, and one could surmise that this is somebody who has dreams that far surpass his ability to actually make them come true. Well, this band is no different. Battle Beast plays a bare bones 80's heavy metal style with some anthemic keyboards sprinkled underneath, and the results mostly end up faring just as cheesily as its laughable cover. This is simply stupid power metal at its most unremarkable.

Built upon mid-paced riffs that are liberally borrowed from the heydays of bands like Dio and Dokken, most songs on Steel completely fail to stand apart from one another. Combine that with the mind-numbingly repetitive choruses (most evident on the painful "The Band of the Hawk"), and the charm the album exudes during its first half quickly fades into oblivion with its second. In the midst of this hairspray-polluted fairyland, only female vocalist Nitte Valo provides a convincing performance, putting forth just as much power, grit, and range as any man could, even if her voice does sound a bit overwrought at times. Unfortunately, her inspiration just makes the ridiculously juvenile lyrics more disappointing. I'm sorry, but I'd personally like to see more effort than songs titled "Justice and Metal" (chorus repeated ad nauseum) and "Enter the Metal World." We get it; you're a fucking metal band. Grow up.

Granted, the album does have a few strengths, mostly coming in the form of some songs several cuts above the rest. "Armageddon Clan" strikes with a fierce power missing from the rest of the mix, and I must reluctantly admit that the title track is insanely catchy despite its lyrics making me want to hurl. "Victory" is a memorable closer, going for a subtler power than the other tracks. However, the highlights are simply too sparse to warrant listening to this again. Steel is a mildly enjoyable album upon first listen, but in its attempt to win me over with repetition, its overly insistent onslaught of melody only drives me away from it. I can see how this brand of empty-headed metal might appeal to those looking for a good time, but for me, the proceedings are a just a tad too dumb. Maybe next time will be different.

   Overall: 5/10 (Mediocre)

Riot - Immortal Soul [2011]

Among the endless onslaught of spectacular releases in the year 1988, an already well-traveled American hard rock band named Riot suddenly unleashed upon the world the unstoppable speed metal feast that was Thundersteel. Combining furious riffing, fast-as-light soloing, and Tony Moore's over the top, Halford-defying vocal performance, this masterpiece has been considered one of the very finest in the entire genre since its release. Its 1990 followup The Privilege of Power featured similarly superb songwriting but was largely botched by overlong, superfluous intros. This lineup disbanded and Riot went back to playing its old, bluesy style again. Ever since, however, many fans have wanted to see this group get back together and produce more music in a speed metal vein. Well, in 2011, that exact scenario has happened and Immortal Soul is the spectacular product.

Those expecting a dead on Thundersteel Mk. II shouldn't. Though there are a few balls out speed romps, Immortal Soul is also full of songs that take the mid-paced route, but that doesn't harm Riot's effectiveness to deliver simple, unforgettable melodies and choruses in the slightest. Tony Moore's commanding lead vocals certainly don't hurt a bit; he manages to give off this cool, slick charisma while throwing powerful high notes into the stratosphere. Sounding even better with layered background parts, Immortal Soul just might capture Moore at his best. The riffs are no slouch, either, no matter what the speed with which they are played. Just check the title track, "Echoes" or the classic throwback "Still Your Man" (Johnny's back, anyone?) for tunes that kill without kicking into maximum overdrive.

Oh yeah, the band still proves it still can put the pedal to the metal, too. Immortal Soul comes blitzing out of the starting gate with the band's eponymous song, a tactic that can feel cheesy and forced if executed improperly. This, however, is perfect. The song goes for the throat with blinding velocity, practically screaming, "Riot's fucking back and we're not taking shit from anyone." What's it gonna take to make you riot, Moore screams/asks? Well, this is what the fuck it takes to make me riot. "Fall Before Me" a more developed approach, astonishing with its highly catchy, emotive chorus. Straightforward rockers like "Wings are for Angels" and "Sins of the Father" lay contemporary melodic metal bands to waste, and this is a squad that's been taking no prisoners for 35 years. The jubilant "Insanity" gives off a Euro power vibe with its soaring major harmonies.

On the lighter front, "Whiskey Man" provides some amusing bluesy variation without distracting from the rest of the work. Speaking of distractions, don't let that overly computerized, gaudy cover art dissuade you; Immortal Soul is an instant classic in the making. There's not a single loser among these eleven anthems, even though it feels as if one could be omitted to ease the flow and cut down on the length of the album. Then again, I was raised on a 'ten tracks, no more' mindset for albums of this nature, so I could be biased. Nonetheless, Riot's latest is a must for anyone starved for quality American power or speed metal, and it goes without saying that fans of the band (especially of the Moore era) must hear this right away. I can only hope this lineup keeps producing even more great music for us to feast upon.

   Overall: 9/10 (Outstanding - this is what it takes)

Septicflesh - Esoptron [1995]

If Mystic Places of Dawn was an indication (as it proved to be), Septicflesh was a band destined to do great things, and it wasn't long before a similarly sanguine followup was delivered. Esoptron relies less on an all-consuming atmosphere, instead providing a panorama of doomy death metal prowess. There's this sort of medieval gothic vibe beginning to emerge here (most prevalent on brief interludes like "Celebration"), a factor that would dominate Septicflesh's following release, Ophidian Wheel. The sound is still archaic and ageless, but the overall effect of Esoptron evokes less wonder and mystique than its predecessor. Nonetheless, Esoptron shines with striking power; every album by this impeccable band is worth hearing, and it should come as no surprise that this one is no exception.

The production values have been vastly improved, though the tone does emit dryness when that siren of a lead guitar isn't shedding some sunlight on this haunting trek through Hades. This remains the most astounding facet of Septicflesh: the arresting beauty that manages to permeate its way through the depths of the band's deep, guttural darkness. This is achieved once again by excellent synths and keyboards, especially notable on "Narcissism," which is quite a daunting experience in itself. A nine minute journey across an abstract realm, the song brings just about everything Septicflesh had and combines it into one slow, progressive churn through the gothic landscape, adding in some eerily effective clean vocals just for good measure. That's one hell of a way to end an album.

Elsewhere, the album operates on a more concise level than that epic or even the debut, presenting songs around the 4-5 minute range with no lesser impact. "Ice Castle" in particular chills to the core with its building, sorrowful tension, containing emotionally dynamic melodies swarming all around in a suffocatingly moving blizzard. And it does all that while scarcely progressing beyond midpace. In fact, if you haven't noticed already, Esoptron always moves along with a patient, leisurely stride, never busting into unnecessary sections of speed. The title track follows this method, beggining with a rather pedestrian riff, but it all pays off when each of the individual layers come together to form a truly euphoric feast of musical delight.

Esoptron lies in a somewhat uncomfortable place in the Septicflesh discography, smashed in between the two near-flawless masterworks of Mystic Places of Dawn and Ophidian Wheel, but it easily holds its own (and your attention) for the modest 43 minute runtime. It's an album I quickly dismissed upon first listens, a mistake that could be made with several of their releases, but when given time to grow, Esoptron crawls within the recesses of the mind and takes sieze. Who knows, my marks for this one might just keep going up; I certainly haven't grown tired of it yet. Various production and distribution issues plagued this band until the release of Revolution DNA, and these early albums still haven't received the remaster or even rerelease treatment they've always deserved. Hopefully their newfound popularity will thrust these releases back into the spotlight.

   Overall: 8.5/10 (Great - the light with the dark)

Septicflesh - Mystic Places of Dawn [1994]

After experiencing the marvelous grandiose of The Great Mass, an album which converted me to an avid Septicflesh fan, you can imagine my surprise when I voyaged into the enormous back catalogue of this fantastic Greek death metal band only to find the group drastically different yet equally wondrous. Mystic Places of Dawn sports a fitting name, representing both the dawning of a new, suffocating vision along with the mind-bending mystery surrounding it. It's an album cloaked in melancholic beauty, churning deep with macabre doom riffs and a crestfallen atmosphere so penetrating that it breathes life into its own murky corridors. Almost nowhere to be found are the potent symphonic elements so prevalent on later albums like Communion; this is a pure ritual founded on the flesh and blood of ancient gods.

That doesn't mean, however, that the album offers nothing more than a droning atmosphere. The amount of effective melodic hooks is surprising considering the overall vibe of sadness here, providing a perfect balance of memorable songwriting and overwhelming grief. This effect is mostly provided by the sharp lead guitars, which are so acute I'd swear they could slice right through steel. When I think about Septicflesh, all I can feel are those lucid leads piercing my inner being. Elsewhere, some practical synths lie beneath the rest, serving to enhance an already expertly layered sound with even more intricacy; and although Sotiris's excellent clean vocals hadn't quite been realized yet, Spiros Antoniou's urgent growl still adequately presents the band's eloquent prose. Lyrically the band was soon to reach its height with the wonderful Ophidian Wheel, but the themes and and elegant lines of poetry here still surpass most of those who speak English alone.

In terms of death metal songcraft, Septicflesh stand alone on their own creative plateau. Even on the debut, the ideas were fully formed and ready to go. Highlights? Almost everything. "Return to Carthage" buzzes in the bottom end and goes at blazing speed until the magical chorus arrives, mesmerizing with its romantic leads and synths. "Chasing the Chimera" is an all out doom fest, twisting and turning its way to the shores of victory, almost introspective in its up-and-down delivery. "The Underwater Garden" feels as if it was recorded in its titular location. The best riff of the entire album appears on "Morpheus (The Dreamlord)," a crushing wonder of a song that features impeccable violin accompaniment during a whimsical midsection. "Mythos" contains nine minutes of simple, symphonic ambiance, and it never gets boring for a second. This arrangement is absolutely genius and must be heard to be believed.

Mystic Places of Dawn is one of the better debuts ever recorded and remains a highlight of the genre itself. I don't believe it's quite this band's crowning jewel, as The Great Mass and Ophidian Wheel aim even higher and achieve greatness in arguably superior ways, but that's the great thing about Septicflesh: each of their albums is so different it can be enjoyed on its own independent level. A varying style is played on every other record of theirs, so chances are, there's at least one among them for everybody. I just happen to enjoy them all. This album does possess a couple of weak points, like the brief, seemingly out of place "Behind the Iron Mask." The production is technically terrible, sounding muddled and noisy beyond its years, but don't let that keep you from discovering the beauty within. Get this now if you can.

   Overall: 9.25/10 (Outstanding - the song of the muse will be heard)

Iced Earth - Dystopia [2011]

Iced Earth is one of the most frequently detracted bands in all of the metal kingdom, and a brief glance at their recent discography would make it clear as to why. Whether the burden takes the form of reused (and entirely mediocre) riffs, phoned-in vocals, or the lack of quality songwriting, Jon Schaffer always seems content to release any third rate crap he can while maintaining his unchallenged status of ubiquitous derision. As a result, Iced Earth moved to my 'bands to ignore' list for quite some time; however, my interest was renewed with the announcement that former Into Eternity vocalist Stu Block had joined the group's ranks. A frontman with great range and power, Stu was certain to add some needed youth to this moldy outfit. He has, but that isn't all that makes Dystopia a surprise winner.

Those expecting any significant newfound aggression or technicality to be taken from Stu's other band definitely shouldn't. Aside from some occasional growls and background screeches found seldom within, Iced Earth has changed little either musically or vocally. This house is still built upon simplistic, charging rhythms, gritty pipeworks, and hyper-melodic choruses; the simple difference this time is that those elements actually create a good foundation to build up some music of merit -- no stupid, pointless concept in sight and little bewildering patriotism included, I might add. Stu ranges everywhere from Barlow dead ringer to The product gives off a feeling of conciseness this band has long lacked, even if not every moment is a spectacle of originality and greatness. Dystopia does what it does, and it does what it does well. If one accepts this, than the album is quite enjoyable.

Oh, and the majority of the songs totally rock. The title track proves a suitable opener, overcoming its predictably structured form to spellbound with a chorus that should leave any old fan qualmless. "Anthem" takes Jon's standard track two position: a slow, anthemic (duh) tune with balladic tendencies. Still, the superb execution helps this one stand out. The first of two sub three minute songs, "Boiling Point" speeds things up a little bit without taking longer than it needs to. "Anguish of Youth" is probably my favorite here, an admittedly cheesy ballad with equally florid lyrics, but I can't help but love it due to a chorus I could only describe as "catchy as fuck." I've gone full days with these goddamn lines coursing through my mind and moving soundlessly over my lips:

"The tragedy still haunts her
The pain she cannot bear
She wants to laugh
She wants to live
Free from a life of despair"

Seriously, those lyrics are borderline awful and this song still has me singing them. "V" doesn't fare badly, either, its simple victory cry piercing straight into your psyche. "Dark City" enters with an eye-rollingly Iron Maiden worshipping intro, but creeps its way through a fitting atmosphere to claim the crown. "Equilibrium" progresses in a similar way to its predecessors, but the formula stays fresh thanks to its particularly puissant energy. The same cannot be said for "Days of Rage," a workmanlike, heavy-for-heaviness's-sake trial whose short length can't even save it. "End of Innocence" is a nice reprieve from that brainless debauchery, almost (but not quite) topping Symphony X's track of the same name. As usual, Iced Earth rounds it all out with an epic. "Tragedy and Triumph" isn't up to code, however, offering too little musical payoff to make up for its shopworn lyrical themes this time around. It's an overlong, lame closer to an otherwise great album.

Still, Dystopia is finally something to be proud of. There are melodic hooks to be found almost everywhere across this wartorn battlefield, and in the end, Iced Earth win a noticeably decisive battle. Eliminate some of the dumber lyrics and irrelevant "heavier than thou" moments and we could be talking about an even greater beast right now. There are numerous entries in the genre I would place ahead of Dystopia this year, but if you can tear yourself away from Tales of the Sands, Iconoclast, or Heavenly Ecstasy for a few minutes, I think Iced Earth's latest offering is well worth a few listens. It's about damn time.

   Overall: 7.75/10 (Good)

Dream Theater - A Dramatic Turn of Events [2011]

After the departure of Mike Portnoy, even the most obsequious Dream Theater fans had doubts concerning the band’s future. Although I couldn’t have cared less after snoozefest records like Systematic Chaos and Black Clouds and Silver Linings, many thought they simply couldn’t go on without their fellated drummer. Personally, however, I thought any change might aid this ailing group treading on way past their prime. With the reveal of the new album’s cheap, thoughtless cover and its ridiculously immature title, Dream Theater came back with new material faster than many expected. Unfortunately, while people were concerned with new drummer Mike Mangini, they should have been worried about the value of the songs themselves.

A Dramatic Turn of Events doesn’t divert from the typical Dream Theater formula in the slightest. They still have stupidly overlong songs, reaching the 10-12 minute range often (yet with no contents ingenious enough to justify any tracks over six). They still have their down-tuned, mysteriously familiar “progressive” riffing. James Labrie still holds his nasally, overtly powerless voice, which many imitators have far surpassed years ago. The direction here is like a hybrid of Dream Theater’s early 90’s records and Octavarium, though the results live up to neither camps. Besides the abominable Falling into Infinity and the aforementioned (and sadly underrated) Octavarium, A Dramatic Turn… is their lightest and most commercial recording yet. Even in their daunting length, the tracks carry a rather conventional verse-chorus structure for the most part, with big, radio-friendly choruses everywhere you look. John Petrucci manages some competent solos, but my eyes were glazing over all the while.

At the end of the day, A Dramatic Turn of Events falls safely into the inoffensive median of all Dream Theater albums. There are a few things to like; the organic production and the classic sound of Rodess’s keys are pretty nice, and tracks like opener “On the Backs of Angels” and short ballad “Far from Heaven” recall the band’s finer moments, but they aren’t quite enough to save the album from DT’s typical penchant for boredom-inducing longevity. In conclusion, while Dream Theater’s latest may please some longtime fans willing to hear the same-old song and dance again, it simply won’t reconvert those of us who just don’t care anymore.

   Overall: 5.75/10 (Mediocre)

Anubis Gate - Anubis Gate [2011]

There is no better band than Anubis Gate. Hell, I’d be tempted to say there has never been a better band than Anubis Gate. Album after album and year after year, this Danish progressive power metal act has surpassed all, utterly destroying more well-renowned groups like Dream Theater or Symphony X while never becoming too showy or self-indulgent in the process. Albums such as Andromeda Unchained and especially The Detached have come full circle, creating worlds within their extra terrestrial soundscapes with impeccable originality and an out of this world sound; however, even I, possibly the biggest Anubis Gate fan ever (to which I will admit proudly), had some panicked doubts when the enormously talented Jacob Hansen stepped down as the vocalist. Wasting no time, the band still delivered this new record right on schedule. Does it live up its name?

Well, as you’ve probably already guessed, it does just that and then some. The simply self-titled Anubis Gate grabs your attention with its mesmerizing album artwork and keeps it with the astounding hour of music beyond. The title seems to fit the motif here, this being the band’s first without a concept since A Perfect Forever. It could also serve as a convincing resume to Anubis Gate’s entire body of work, containing elements from each of the group’s eras. Some of the tracks call to the powerful riffing of Purification while others assume the spacey finesse of their more recent works. There’s something here for fans of each style, and truly, fans of any kind of non-extreme metal music will be left in wonder by this display of sheer perfection. When considering the amount of disparate ideas expressed by Anubis Gate’s fifth masterpiece, the shining musical victory here becomes that much more dumbfounding.

The performances are top notch as always, perhaps standing out even more now than ever. The department people will be concerned about the most is the vocals. Rest assured, they’re in safe hands; bassist and long time lyric writer Henrik Fevre flawlessly assumes the position, delivering an emotive performance well beyond that which I could have ever imagined. He has that distinctive Danish sound, finding the middle ground between previous singers Askholm and Hansen, higher pitched than the technically far superior to the former, but not far removed from the latter. Everything else about this album is a logical progression, and the vocals are no exception. They’re affluent with youth and vitality, lacking not in grandeur or intricate harmonies (though that tactic has been slightly toned down when compared to The Detached).

Kim Olesen delivers a typically wonderful showcase through two mediums, that of lead guitar and keyboards. The synthesizers and those little electronic effects are what really make the Anubis Gate sound what it is, and they’re here in the greatest abundance yet. Each nook and cranny is filled with these graceful, atmospheric keys, managing to add an essential component to the band’s otherworldly feel while not coming off as forced in doing so. Look to the intro of “World in a Dome” for a pyrotechnic example. Morten Sorensen’s drum playing is pristine also, putting on a jaw-dropping show particularly on “Telltale Eyes.” Of course, individual performances mean nothing if the songs themselves don’t measure up. Luckily, exceptional songwriting is the facet that takes Anubis Gate from great to brilliant. It should be noted that all primary members contribute material, saving this from the power-hungry monopoly seen all too often in other groups. This fact shows through in colorful shades of diversity.

“Hold Back Tomorrow” is the perfect opener, a well-structured piece that builds progressively through stages to its vocal sweetness. Mid-paced “The Re-formation Show” might be my favorite on the entire album just because its sprawling chorus is so damn catchy, surprising when you consider how abnormal and off-time that riff just beneath it is. Sometimes I find myself singing “it’s been a long, long time” out of nowhere because of this song. “Facing Dawn” is a kinetic maelstrom of melodic fireworks from start to finish. “World in a Dome” is the slowest to develop of all the tracks, but when all’s said and done, it’s still a nice eight minute stomper. This is where the album really takes off into the skies. “Desiderio Omnibus” arrives with unmistakable power and a chorus for the ages, creating the fastest and most energetic song on the release. This tune gives off a strong US power metal vibe, not to mention some similarities to Kamelot.

The biggest surprise comes in the form of “Oh My Precious Life,” a resounding, distorted frenzy complete with a hard rock riff gone progressive. The results stun. Another one for the highlight reel, “Golden Days” displays commercial effectiveness yet doesn’t lose an ounce of its genuine emotion. The synths and lyrics here are simply majestic. “Telltale Eyes” crushes with supreme heaviness at first, but unveils a sweeping synth web that catches the listener during its elegant and unforgettable chorus. “River” is a mostly instrumental number that serves simultaneously as a nice poem and intro for “Circumstanced,” the epic nine minute conclusion. The music and lyrics portray the subject matter, a past love not wanted, with poignant reality. All in all, it’s a very appropriate closer.

Now it’s official; in less than a decade, the Anubis Gate catalogue has officially become a dynasty. This band is on a death-defying streak of records that seriously challenges legends like Queen and Rush during their prime periods. I can only hope they last just as long and get a similarly heated following. It's admittedly not as reality-defying as its predecessors The Detached and Andromeda Unchained, the former of which I would view as an example of veritable perfection, but it still stands tall among the myriad genre pieces released today.  No other band in prog creates such well-crafted songs of sublime composition with a sound as unique and atmospheric as this. Sadly, this will be another occasion when the deserving are cast aside for the popular fading idols of yesteryear. I can only invite the enlightened to partake in this excellence.

   Overall: 9.25/10 (Outstanding - you're just a phantom in my soul)

Ghost Brigade - Until Fear No Longer Defines Us [2011]

Ghost Brigade, if three albums can accurately indicate anything, never changes. They represent two opposing angles that I both love and hate about bands or albums. On one hand, you can almost always count on the band to deliver consistently with memorable, well-executed songs, but on the other, they might be too consistent in their use of similar tactics. This displays the same formula used in Guided by Fire and Isolation Songs: doomy, Katatonia-like songs with a never subtle dose of sludge, all well-forged in a smooth, clean sound replete with melody. If you haven't had enough of this formula, Until Fear No Longer Defines Us is well worth a listen.

The album coasts along with Ikonen's soothing mix of solemn cleans and melodic growls, though the pace can get pretty slow. "In the Woods" is surprisingly light for an opener, almost coming off as an intro with it's subtle, snowbound chords. "Clawmaster" is certainly a highlight, building up slowly to its orgasmic chorus. There are also some surprisingly catchy numbers like "Traces of Liberty" and "Divine Act of Lunacy," overcoming the band's explicit gloom with traces of hope. "Grain" is emotional through and through, with evocative lyrics to boot. My ultimate favorite, however, is "Cult of Decay" with that beautiful rhythm that haunts for all the duration. When the refrain comes, fewer things could feel much better.

Though Until Fear No Longer Defines Us never quite lives up to the beauty of its title or serene cover art, its highs are still exquisite. Some of longer tracks (like "Breakwater" or "Soulcarvers") feel a bit stretched, and Ghost Brigade never really aspires to innovation, but for fans of atmospheric sludge/doom, this still manages to be a worthy trek through the tried and true.

   Overall: 7.25/10 (Good)

Nevermore - The Obsidian Conspiracy [2010]

Nevermore has never been a consistent band, but their career highlights are extraordinary. With puzzling releases such as The Politics of Ecstasy and Enemies of Reality coming after better outings like the self-titled album and Dead Heart in a Dead World respectively, it should have been expected that Nevermore would follow their best album (the astounding This Godless Endeavor) with their worst; and yet I remained in denial through the five year break, through the solo excursions, through the shaky interviews, and through initial listens to some of the album's tracks. Yep, it shouldn't have been a surprise that The Obsidian Conspiracy sucked, but it was, and it was a bitter one at that.

The songs here are shorter, more simplistic, and more accessible than ever before. That might not be a problem if most of them were actually good. Gone are the lethal thrash riffs, the raw production, the cynical yet evocative vocal performance, and the crushing energy. They've all been replaced by a soft, apathetic feeling fraught with extremely modern trappings and incompatible song parts. Seriously, the verses and choruses don't even fit together half the time (see "The Declaration Proclamation"), passing off mechanical structures with hollow spirits as album centerpieces. Others are unacceptably repetitive and annoying ("Your Poison Throne"), while a couple show promise but botch it with bad decision making at some point within ("Without Morals" and "She Comes in Colors"). Few tracks are flat out offensive (I'd have to site the empty title track in particular), but most are forgettable and mediocre enough to kill any enjoyment I could possibly get out of them.

The performances of the two head honchos here are sub-par at best. It's obvious that a mutiny was imminent from the sheer lack of care on display throughout each and every track. Jeff Lommis's excellent soloing is mysteriously absent, instead dwelling on braindead, whiny leads. It's frustrating to hear talent restrained, and I'm sure he was frustrated as well. At the forefront of this issue is Warrel Dane, who evidently doesn't care, selling out his signature emotive snarls for an uninspired clean approach. Even the lyrics, which were one of the band's best aspects, are watered down and awful, coming across not as the political hate machine Warrel once was, but as an old man struggling with dementia. It's like he's trying to continue his style from his (admittedly satisfying) solo album on a Nevermore record. I shouldn't have to tell you that it doesn't work.

I can only guess that the entire purpose of The Obsidian Conspiracy was to make Nevermore marketable to the masses, a move that resulted in an album that only vaguely resembled the band in the first place. No wonder Jeff Loomis left; what we have here is basically Soilwork, Warrel Dane's solo material, and a pinch of old Nevermore put together in one questionable concoction. The Obsidian Conspiracy is an entre that tastes decent at first, but assaults your digestive system and pains you on its way out. Finally, it ends up in the toilet where it belongs. Now we can only hope that it stays there.

   Overall: 4.25/10 (Poor - This is why I hate you)

Anubis Gate - The Detached [2009]

There are few better things in this world to experience than The Detached. It's an album so flaw-free and beyond belief that I actually find difficulty describing it, a reality not helped by it sounding like nothing else on this earth. For sixty-five minutes, there is only music; sublime music that will outlive this life and all others, creating a gateway to another time and space only accessible through its cosmic flow, breathtaking story, and sweeping melodies. In all the genre's years of existence, prog of any kind has never surpassed it, and it will be difficult for anyone beyond the band itself to expand upon this lucid euphoria. Anubis Gate alone wears the crown, and this is the jewel on it that shines the brightest.

The music here is so far out of this world, it makes ours seem brutish and dated in comparison. The atmosphere is everything, and Anubis Gate has shifted from apocalyptic themes to that of space. The production engrosses the listener with all the jet stream leads, dark rhythms, and high-register vocal shooting stars one would expect from the prestigious Anubis Gate, launching them beyond all known life into the crystal clear sky. Which is to say, it sounds really freaking good. Every corner, every instrument, and every electronic effect used to enhance the sound comes off in a vibrant, crystal clear manner. Such a digital recording often conveys a false sense of plasticity, but that couldn't be further from the truth; this sounds huge, brilliant, and futuristic.

The Detached is conceptual genius, but the full glory of the tale cannot be felt without the physical copy's booklet, something I discovered long after listening to it. The lyrics, although bright and often wonderful, cannot express all the details of this film-worthy story, one that I wouldn't want to spoil for you. Where the album's mark is most felt, of course, is in the songwriting, which is absolutely unparalleled. The verse to chorus relationship always feels just right, and the placement of samples and effects could not be better to produce its spacy environment. There are concise tracks and there are lengthy epics, and both manage to hold your mesmerised attention for their respective durations. Instrumental sections from the band's previous albums have been fine-tuned and made even longer than before. Let's just say I'm not complaining. This is a group of virtuosos unequaled in their skill to write simple but compelling music, never showing overwhelming technical prowess, but also never needing to, either.

There are too many brilliant songs to recount here, and their placement is divine. "Yiri" certainly stands as one of the best, with a wonder-provoking verse leading to its heavenly chorus. "Pyramids" transmits images of its title straight into your mind with its rolling Egyptian rhythms. "Dodecahedron" succeeds in spades, casting poetic imagery through the stratosphere, complete with a crafty intro. "Out of Time" is an elegant ballad that boasts some of the most emotional lyrics on the record. At the end, all instruments fade away, leaving an A Capella chorus that's nothing short of mindblowing. The little interlude "Ammonia Snow" must also get a mention, crafting a nice atmospheric piece that reprises some parts of the jubilant "Find a Way (Or Make One)" from earlier on the album. The Detached concludes with its best track, however. "A Lifetime to Share" bears an unbelievable chorus that must be heard to be believed, seemingly wrapping up the story... and yet that necessary feeling of wonder lingers still.

Anubis Gate cannot be confined with lines. They don't perfectly fit into any genre or description, instead bearing an otherworldly vibe dissimilar to any other band even colloquially within the progressive metal district. The Detached is perfection that could not have been created in our world, truly one of the best albums of all time. Own it or be worthless; your choice.

   Overall: 10/10 (Beyond Absolute)

Anubis Gate - Andromeda Unchained [2007]

One of the (many) things about Anubis Gate that always continues to impress me is how each of their albums changes so much from the one before it, yet every last one of them ends up better than its predecessor (a trend I'm almost certain will come to an end this year). They don't play it safe. This is a band that has continually ascended the sky, broken the barriers, and taken bits and pieces from past momentous occasions and implemented them straight into future endeavors. It's downright dumbfounding what this group has done in less than a decade since their conception. Andromeda Unchained is just another chapter in a saga without missteps of any kind, an unlikely success considering the change of vocalist and style, and an essential listen for anyone who values melodic music.

With Askholm's departure from the band, the vocal duties here are taken by the magnificent Jacob Hansen, who you might remember as the vocalist/guitarist from cult thrash band Invocator, or know of as the best producer in the industry. Yes, I said it. No one else makes music sound as clear or lively, while adding his own little touches to the material in the process. He pretty much always associates himself with amazing acts, as well (see Mercenary or Eumeria). He also did both the Anubis Gate albums before this one, making the ultimate secret weapon, and they utilized him at just the right time. Luckily, his vocal performance is just as good as the mixing job. His high-register vocals have been overly described as "angelic," but there really isn't a more appropriate word to convey his joyously vibrant voice. His parts are often multi-layered, making even simple choruses sound godly.

There always seems to be a theme to Anubis Gate's sound, and though it's a bit more ambiguous in Andromeda Unchained, there's definitely a foreboding sense beneath all the crystal clear melodies. Apocalypse hangs in every note, a sense of profound urgency rarely seen in the prog/power genre. That would make sense considering that this a concept album concerning the very subject. No, it's not the conceptual masterpiece that is The Detached, but the lyrics are interesting (and enigmatic) enough to keep your mind reeling. Musically, this album is a big departure from Purification and A Perfect Forever. The songs are generally shorter (though not always) and faster than anything on those records, abandoning the slightly doom-tinged guitar riffs of its predecessors. This was probably a change made to go with Hansen's voice, and it helps all elements of the record in copious volumes. That doesn't mean, however, that Anubis Gate has regressed to simple-minded music; there's still an underlying prog mentality that shows through abundantly at just the right times.

This album thrives in catchy songcraft. The newfound energetic power of the band is shown right off the bat in "Snowbound," a piece that grazes you at first with a speedy rhythm, but eventually opens up into a progressive showcase of all encompassing passages. "Waking Hour" is a more of a straightshooter, with one of those classic, highly melodic Anubis Gate choruses. The title track slows things down and comes up with a heavy, attention-capturing verse, which leads to yet another inspiring refrain. In a world where albums are frontloaded to contain the bulk of quality in their first halves, Andromeda Unchained only gets better as it goes. Arguably the strongest segment of this masterpiece begins here. "Beyond Redemption" is unbelievably inspiring all the way through, optimism living through its upbeat choruses and wonderful instrumental passages. "Resurrection Time" follows suit with a bouncy verse, but explodes into a cascading chorus hinting at more than just a little sadness.

Next comes the cerebral "This White Storm Through My Mind," which is much more complex than it at first appears. This song contains the most enveloping instrumental parts on the record, filling up an entire five minutes without vocals and managing to keep you attention while doing it. It's a storm of climactic intensity. "The Final Overture" is deceptively lighter, but with a chorus that really evokes the inevitable end to come. "Take Me Home" is a poignant piece that doesn't fall into a typical power ballad's folly, using Henrik Fevre's guest vocals to portray emotional despair. Without skipping a beat, Anubis Gate head right back into power territory with the fun "Point of No Concern." Finally, ten minute conclusion "The End of Millennium Road" is appropriately epic and wraps the whole hour+ affair up nicely. The song really shows how much the band had grown since A Perfect Forever, crafting a much better lengthy track than that album had.

Among the tracks are a couple of rather pointless interludes, but much like the ones in Kamelot, they're brief enough not to maim the album of any of its worth. Andromeda Unchained is a truly complete album in every respect. I've been listening to it consistently for almost two years, and my opinion of it only grows over time. It has that staying power so few other albums have these days. How good it is almost makes it unfathomable that it isn't their best. I don't want to get into a whole underrated/overrated spiel here, but seriously; a dime a dozen prog bands do the same thing time after time to great accolades, while Anubis Gate perfects and transcends the genre to almost no avail or notice. I don't just give away my highest marks and recommendations, you know; this is the most consistent band I've ever heard and my favorite group playing music today. And you can quote me on that.

   Overall: 9.75/10 (Incredible - time has come to enter)

Anubis Gate - A Perfect Forever [2005]

With Purification, Anubis Gate was born, but with A Perfect Forever we see the band utilize more ideas and aim a little higher, resulting in a crucial evolutionary stage in the band's history. This is still not the crystalline power prog behemoth they would become, but the spectacular display of delights brought to the table in this far-reaching release remains staggering. The result is a record that, while not being a significant departure, still feels as if it were crafted by the same band that would make The Detached four years later; and I couldn't say that for Purification.

The guitar tone on A Perfect Forever is their thickest ever, which helps when they create pulse-pounding rhythms. Of course, Anubis Gate has never really been about the sheer riff content. Their sublime quality lies within the atmosphere, an integral aspect of each of the band's albums. The same is true of this one. Things are a bit "brighter" here than on the brooding and decidedly doomy Purification, but the emotional depth and volume of the piece has not suffered. If anything, A Perfect Forever is aided by it. This feeling is probably created by the subtle use of synths and electronic elements, an aspect of the group that would become the basis for their later masterworks. They find a compellingly organic middle ground between heaviness and airy melody, between straightforward songwriting and technicality, and between the dark and the light.

The songs are (predictably) spot on, condensing an eternal spring of artistic brilliance into 5-7 minute intervals. This album may contain the band's strongest one-two punch ever with "Sanctified" and "Kingdom Come." Within thirty seconds of the album's beginning, the listener is greeted with one of the most beauteous riffs the world has ever known, a melodic spiral replete with optimism and energy. At this point in "Sanctified" it should be clear that something special is in store for us. "Kingdom Come" is the most accessible piece here, and the shortest of the actual songs. That excellent (and almost AOR-carved) chorus is reminiscent of Pagan's Mind's recent effort, Heavenly Ecstasy; even Askholm almost sounds like a lower-pitched Nils K. Rue here. It's a simple track that excels on its few fronts. Some more notable moments on the record's first half include the strong Egyptian influence of "Future Without Past" and Henrik Fevre's higher-register vocals on the verses of "Curfew."

My favorite song from the latter half of A Perfect Forever is "Epitome of Delusion," a lighter track that builds into one of the catchiest damn choruses I've ever heard. Add that to the fact that the song contains what is probably Askholm's best performance, and this becomes another huge winner. The album concludes with the title track, a 12 minute escapade that's no where near as challenging as you'd think. The structure is basically one composition surgically inserted into another; the first part does its thing, then the second, and after a long instrumental break, the refrain from the first part is played again to remind you that it's really just one song. It doesn't feel quite like an epic should, and the first part is surprisingly weak, but the refrain of the second phase of the piece is so good that it makes the song worth sitting through. The lyrics evoke true importance through each and every word.

"In the safety of our homes
A perfect forever
In the closeness of dear ones
A perfect forever
Somewhere in the future
A perfect forever
Our proudest structures fall
Nothing stands forever
But I’d like to be proven wrong"

In case you still haven't gotten the memo, Anubis Gate is here to stay, crafting visions you could otherwise only experience in your wildest dreams. It could be argued exactly what style of music the band has played during its two eras, but the only important and ever-apparent detail is that it has always been intelligent and moving. Their entire discography is one you can't afford to miss, and last time I checked, A Perfect Forever is a part of their discography, so what are you waiting for?

   Overall: 9/10 (Outstanding)

Anubis Gate - Purification [2004]

Purification is where my favorite band began, so therefore it must take some sentimentality in my heart. For the unfortunate souls who don't know, Anubis Gate is yet another visionary outfit to come from the glorious musical country of Denmark. First of all, Mercyful Fate and King Diamond redefined traditional heavy metal with their flawless masterpieces of the eighties; then Artillery perfected thrash metal with By Inheritance; and lastly, Anubis Gate arrived on scene ready to show the world how progressive/power metal should be done. The band has yet to release an album of below extraordinary quality, and their debut shows that they were born to be a metal force.

The band's output can be divided into two distinct eras: the first two albums (Purification and A Perfect Forever), fronted by distinctive Torben Askholm, which held a slightly doomy flavor in their slower, epic pieces; and every release since then, which held a decidedly more progressive, upbeat power metal vibe featuring high range vocals. While I'll always prefer the band's later releases, the first two outings stand on their own as a duo of brilliant releases. So if you stumbled upon Anubis Gate's newer material and didn't appreciate it for whatever inconceivable reason, don't shy away from trying Purification or A Perfect Forever. On the other hand, those who enjoyed Andromeda Unchained or The Detached shouldn't hesitate to give this a chance, either. I was in the same boat a short time ago. Then I listened to the music and... just wow.

Purification is much more focused on deep-carved riffing than any of its distant successors, lacking the spacey environment of the band's latest works. Fear not, however; this has its own thing going, with not only the expected traces of Egyptian influence, but also some epic, dark emotional flares. These are mostly created through the band's haunting instrumental passages, but I have to praise Askholm for his charismatic vocal display. Sometimes his accented, mid-range voice is just hard to listen to simply because of the pathos he evokes. Sometimes the phrasing or the way he ends his notes sounds a little off, but I honestly think that adds to the authenticity of the performance. I don't believe he matches the crystalline bliss of later vocalists Jacob Hansen (the producer on this release - you'll be hearing a lot about him soon) or Henrik Fevre (the bassist here), but the man gives it his all and you can't help but be taken in.

The album features mostly standard song structures, but there are enough subtle intricacies here and twists and turns to keep the mind perplexed enough to beg more listens. They never fail to be memorable, either. There are only seven fully developed tracks here with vocals, with three being somewhat brief instrumentals. That does not, however, mean that those three segments become wasted space. "Hall of Two Truths" is a nice buildup that readies you for the intensity to come. "Before Anubis" mesmerises, breathing desolation in every note and fascinating for the stunning (and all too short) three minutes. "Kingdom of Duat" becomes a nice little sendoff, even if it does seem the least necessary piece on the album.

Highlights among the full-fledged songs can be found nearly everywhere, but if I had to choose only the very best, I'd have to go with the otherworldly title track and "The Shadow." The former is one of the most successful platforms for escapism I've ever encountered. It's the kind of environment you'd love to lose yourself in, isolated among its optimistic momentum and the astoundingly brilliant chorus. It's really one of my favorite tracks, not just by this band, but by any ever created. The latter doesn't fail to move me, as well; it's the lightest piece on Purification, yet its power is unmistakable. Just listen to the last somber two minutes or so, when Askholm passionately lets loose his tortured lines: "your darkness in me, my shadow in you." It's that kind of special euphony that always startles me. If I've ever had a pang of longing to feel that sensation, it lies right here.

In 2004, when their life as a band had just begun, Anubis Gate had already made their way into the special elite core who could craft powerful, yet still thought-provoking music. If you have any weakness for any of the doom, power, or progressive metal genres, then Purification should be among your collection right along with the band's other opuses. If there are any weaknesses to this album, they are only created by the unfair truth that its later successors are so gorgeous, they make Purification seem faintly inadequate in comparison. Those who miss this because of that unfortunate distinction would still be making a sad mistake; and considering that this is the easiest (and most cost effective) of Anubis Gate's albums to get, there's practically no risk. Have fun.
  
   Overall: 8.75/10 (Great - my shadow in you)

Omnium Gatherum - New World Shadows [2011]

New World Shadows is one of the most popular metal albums this year, which is somewhat strange considering that the band has back catalogue of similar albums and this isn't exactly doing anything to invigorate the genre of melodic death metal. However, I can really see why people are taking to it so much, as Omnium Gatherum mostly delivers top notch material with this release. It's a super polished experience, but its scope is wide and it has the all-encompassing nature to surpass the "keyboredom" that the genre too often succumbs to. There are lots of keyboards and commercial-sounding melodies, but these usually serve to make the songs a bit more memorable. Nothing on New World Shadows is extraordinary, but with how well-executed the album is, it may be worth seeking out.

That being said, opener "Everfields" is rather brilliant. One of the two nine-minute pieces here, the song thrives mostly on a consuming atmosphere rather than the music itself, though that manages to be catchy as well. The followup "Ego" is more of a "radio" tune though; the chorus degenerates into silly, Bodomish fare. The title track is notable for the chanting clean vocal part at the end and cool keyboard usage. "Soul Journeys" has an entertaining main riff and some interesting mellow parts. "Nova Flame" seems to be a favorite among many, but I'm not sure about this one; it just lays low and never really grabs your attention. "An Infinite Mind" is spectacular on the other hand, with the most memorable chorus on the album, not to mention some of the best riffs. "Watcher of the Skies" is a great instrumental and "The Distance" is a decent track, but "Deep Cold" is an uneventful and anticlimatic closer.

Unfortunately, New World Shadows bears a thrill that wears off all too quickly. After three or four listens, the album becomes difficult to listen to entirely. The music itself is occasionally great, but lacks the staying power of the best releases in the genre. It isn't very original, but for fans of melodeath, it's worth a spin or two.

   Overall: 7/10 (Good)

Sabbat - Sabbatrinity [2011]

When I think Sabbat, I think about the excellent United Kingdom band that released two masterful thrash albums in the late 80's. However, it turns out that this Sabbat from Japan has been around even longer and has released a mountain of cult but well-received records in the last twenty years. I'm a little late to the party, I know, but not too late to enjoy this nice little gem. Sabbatrinity contains nine down and dirty, old-school (and I mean old-school) blackened thrash metal songs and one instrumental outro. No ballads, no screwing around, no progressive elements, not even a slightly modern production; just straightforward, archaic killing sprees in worship of the occult. It isn't the heaviest or catchiest genre offering I've ever heard, but Sabbat's latest effort presses all the right nostalgic buttons to put smiles on jaded thrash fans' faces everywhere.

Like I said, the sound quality is bad. Seriously bad, but in that charming classic way. If anything, that's the biggest problem with modern thrash: everything's so polished and clean now. I'd honestly rather listen to something that sounds like a demo from 1984. The music itself is what's important, of course, and it's exciting in great measure. The vocalist reminds me of a wilder, Japanese version of Ron Royce (of Coroner fame), except that sometimes he lets loose these high-pitched shriek growl things; you just have to get used to it. That's where the Coroner similarities end. There's no technicality in the Sabbat gameplan. They don't actually play too fast, either, which allows for more melodic parts to keep things memorable. Superb songs like "Witchflight" and "Karmagmassacre" never leave your memory, but my personal vote goes to "Root of Ultimate Evil" for having a chorus that I, for the life of me, cannot get out of my freaking head.

"Northern Satanism" doesn't really do anything for me, but the rest of the songs scorch for the modest running time (another great feature). My biggest problem with Sabbatrinity is that the guitar tone could be a bit grittier in the sound; otherwise, I love this old-sounding mixing. This is undoubtedly the best thrash album released so far this year. It has the sound (and the songwriting that fits so well with it) that bands like Havok and Artillery lack nowadays. Mix that with awesome cover art and an even cooler logo, and you have an icon-worthy group that's hovering far below the scene's radar. I'd say that they should be more popular, but I imagine that even Sabbat wouldn't want it that way. Well, enjoy 'em if you're lucky enough to know about 'em!

   Overall: 8.25/10 (Great - the curse is on)

Fleshgod Apocalypse - Agony [2011]

As many have noted, symphonic death metal is a serious thing now. Yeah, that happened. Septicflesh completely annihilated with The Great Mass this year, as you should already know, but that's not the only band radically orchestrating their music. Fleshgod Apocalypse have translated their technical brutal death metal into a full symphonic opera of rather epic proportions. Just about every second here is accompanied by orchestration of some kind, so if you're averse to that kind of stuff in your music, you might as well stop reading and forget about this one. I think the main thing people were wondering about Agony was whether it would suffer riff-wise because of all the extra keyboard baggage. I'm only slightly familiar with Fleshgod's past work, and the answer isn't so simple, though I can definitely tell you they've simplified (and muted) the guitar parts considerably.

The success of Agony varies somewhat track for track, but if asked me if it was a good album, I'd concede that yes, it generally is. The songs that work the best and are most memorable usually play out in about the same fashion (see "The Hypocrisy," "The Deceit," "The Violation," and "The Oppression"): first you have an extremely fast verse with simple riffs, and then the song slows down a little for the chorus when some of the most painfully sung, strained yet high-pitched vocals you've ever heard come in. They're a huge acquired taste, but those cleans are certainly my favorite thing about this release. Now, the songs that divert from this predictable but still entertaining route can be hit or miss. "The Imposition" and "The Betrayal" pass by with little notice, two songs that never distinguish themselves from the rest of the surgical onslaught.

When the band actually slows down long enough to show you they can write a great death metal song, however, they really stun. "The Forsaking" is a well spun tale of surprisingly delayed gratification, and features some of the best orchestral use on the album. "The Egoist" is my hands down favorite, a mystical ride of wonder with some memorable keys to spare. Of the super speedy ones, I favor "The Violation," which was the video song for a reason, really being the only track to actually add catchiness with the symphony. The closing title-track outro ain't too shabby either. Many fans will miss the jaw-dropping technicality of Oracles and loathe the full orchestra assault of Agony, but little of Fleshgod Apocalypse's methods or set-to-kill mentality has changed. Sometimes I find myself drifting away during the fast, over the top parts waiting for the relief of melody to finally come, but for what this band does, Agony is a minor success.

   Overall: 7/10 (Good)

Chthonic - Takasago Army [2011]

Chthonic's Mirror of Retribution was a highly praised release that I missed, so I was curious to hear this new album, Takasago Army. For those unfamiliar with the band, they play a style of melodic death/black metal somewhat comparable to old Dissection, but with added folk and oriental influences (and one huge difference to be described later). Sometimes the oriental parts work, sometimes they don't. When they don't, it's usually when they're clearly used as a gimmick to make the band seem different. However, I must give credit where credit is due, as they do sometimes add interesting parts to an otherwise samey experience. Opening instrumental "The Island" is admittedly beautiful, as is the interlude near the end; I just wish we had some better songs to go along with them.

That's Chthonic's most substantial difference from Dissected right there: songs that are actually memorable. Sure, you can throw as many chanting folk parts and great, heavy riffs as you want on a song, but they won't mean a damn thing if there's nothing to tie them all together. "Kaoru" is a perfect example; it starts off promisingly enough, but just drones on, forgetting where it began and losing all my interest in the process. "Takao," "Broken Jade," and "Mahakala" all disappoint in a similar way. I'd say there are only three songs actually worth hearing on this album. True opener "Legend of the Seediq" has an attention grabbing chorus, as does "Southern Cross," but "Oceanquake" is the clear winner with its atmospheric mastery. If the whole project had been like this song, it might have been a masterpiece.

The other tracks aren't necessarily bad, just entirely unremarkable. What's even worse is that all the best tracks come in the first half of the album, making it that much harder to listen to the whole album. This causes a painless 40 minute run time to drag for what feels like a lifetime. It's just another ailing factor to add onto all the other ones for this dull experience. I'm not sure if Chthonic has drastically changed since their last album, or if all the hype over Mirror of Retribution was merely false (as it often is). To be honest, however, nothing I heard from Takasago Army caused any eagerness in me to find out. I guess I just have to accept that this is yet another band which floats many people's boats while keeping mine safely motionless at port.

   Overall: 5.5/10 (Mediocre)

Lethal - Poison Seed [1996]

If there was one band that I surely thought would never turn into a groove abomination, it would have been progressive US power metal band Lethal. Programmed wasn't a first class album of the genre, but it was an enjoyable experience and a worthwhile addition nonetheless. I can only guess as to what happened between 1990 and 1996, but let me take a shot: the US power metal genre was pretty much dead, so no record company probably wanted to take chances there. The band must have then briefly turned to thrash, only to realize that genre was waning, too. The only logical move left to make was turning into another groove outfit typical in this time of musical downturn. In other words, by 1996, Lethal barely resembled the band playing six years before. All that would have been okay if Poison Seed was good. It's not.

If one thing has stayed just about same compared to Programmed, it's Tom Mallicoat's vocal performance, though even it has suffered in some ways. What once used to be a top notch Geoff Tate clone (which, yes, is a compliment) has turned to a rather weak, lower-pitched approah. It's not really that bad; I mean, at least he's not doing Anselmo impressions. Where the album really fails is in its putrid songwriting. I'm honestly not sure whether the groove oriented or the actual "progressive" tracks are worse, thanks to the band apparently forgetting how to write anything even somewhat memorable. Yes, there are songs that contain few to no groove influences, but they're no better than the songs that do. The most appalling of these is definitely the title track, a bewildering understated track with nothing melodic about it. Then you have the directionless "Walking Wounded" and "Bitter Taste," a painful song that delivers upon its title.

The guitar tone is pretty heavy, but in that tired 90's way that doesn't really benefit the music. It also doesn't help that there are zero decent riffs on this thing. A lot of the tracks are either quiet and weird or groovy and annoying; there's pretty much no in between, though I at least detect some catchiness in opener "Down" even though it's obtained through impure means. Otherwise, this is simply 48 minutes of poisonous pain. Seekers of some musical salvation from 1990's, I must advise you stay away. You're not going to find the end of your journey here.

   Overall: 3/10 (Bad - no direction)

Eumeria - Rebel Mind [2011]

Outworld was an impressive band/album that left its fans disappointed when the group announced its breakup. I could never quite get into the release as much as others did, but it showed some talent and musicianship virtually unrivaled in all of progressive or power metal. Luckily enough, it seems that two of the guys from Outworld have changed just about everything I found slightly off putting about that group and have released one of the finest debut albums in years. Eumeria relies less on the 100% kill mode mentality of Outworld, instead opting for a crystal-clear, atmospheric modern sound. No, there aren't eight minute songs, two minute solos, or dog whistle vocals at every turn, but Rebel Mind turns out all the better for it. I've never heard a band so down to Earth and marooned in mystic space at the same time. There's no particularly overwhelming technical proficiency here, but the overall feel is so captivating it really doesn't matter; this is simply nine songs and 45 minutes of polished musical bliss.

First of all, Jacob Hansen's production job here is magnificent. As a fan of just about everything he touches, this shouldn't come as a surprise. The man understands the necessity of space in music. Not every second has to be filled with a barrage of distorted riffs, vocals, or the like; sometimes the sound of a light, drifting rhythm with a dash of atmospheric keyboards is enough. And it sounds wonderful in the process. This has to contain some of the best separation between instruments/vocals I've ever heard. With a crystalline sound that has to be heard to be believed, Hansen rivals even his Anubis Gate production jobs (which is saying a lot).

The somewhat typical cover image reminded me of Fates Warning, a feeling not completely discarded by the music itself. However, what I found is that Eumeria aspires less to the US power metal giants of old (i.e. FW, Crimson Glory, Queensryche, etc.), instead coming off in a more modern progressive metal, Dream Theater approach. Normally this would not be a good thing. This band distinguishes itself in that it writes great songs. Yes, songwriting, that long unused tactic abandoned by most progressive outfits when they started incoherently stringing together 12+ minute "epics" connected merely by a track title. Rebel Mind instead consists of conservative song lengths and well-placed repeating parts. It shouldn't be a stunning revelation that the album is remarkably memorable.

Eumeria has only one guitarist, so only rhythms are heard from this instrument. The tone is rather heavy for what it is. The rhythms are supplemented with never too prominent keyboards, adding some depth to what may sound to you like an empty release. It's not, due in no small part to the majestic vocals of Jonny Tatum, whose angelic clean chords phase effortlessly into more aggressive, higher-pitched territory. The man plays it classy in not wailing the whole time (even though he probably could), sounding similar to an accentless Fabio Lione. He gives the songs the melodic punch they need. Oh, and the songs all have merits of their own, as well. "Legion" is the ideal opener, showing some guitar crunch and vocal acrobatics right away. "Delusions" might be the catchiest and most aggressive, displaying some surprisingly pissed off lyrics in the process. The stunning title track is quite a spectacle. The smooth verses highlight the epitome of the band's understated melody, yet the more forceful chorus shows some Symphony X implications.

"Father" and "Tides" head for subtler territory, the latter building up speed after it wades through some slower textures. "The Key" is more of a power showcase until the amazing refrain dreamily reminds of all things Danish. Two and a half minute interlude "Red Light Flies" is a brief yet stunning, emotional number with some haunting vocals and lyrics. "Dreaming of Death" progresses like a dark fantasy, with an eerie effect-enhanced vocal sequence postchorus. Finale "Secret Places" feels a little out of place here (huh); the chorus, although catchy, just feels too power metal influenced compared to the rest of the album. It doesn't hurt too badly, however, with plenty of parts left to savor.

Eumeria's Rebel Mind is likely to be the best US album this year, and the strongest all-around US album I've heard since The Black Halo and This Godless Endeavor were released in 2005. The band could probably use some more creative song titles (and a more creative logo), but this is perhaps just the beginning of what I hope to be a long legacy of future greatness. It's not quite as good as either of the aforementioned releases, but for being a debut from a country that rarely succeeds at making this kind of music anymore, Rebel Mind is a near anomalous achievement, putting Eumeria on the metal map as the band to watch.

   Overall: 9/10 (Outstanding - the light won't leave me be)