Friday, December 14, 2012

Lizzy Borden - Menace to Society [1986]

Of all of Lizzy Borden's full lengths, Menace to Society took me the longest to fully appreciate, and I can't quite pinpoint why. It makes no sense, really. After all, it's not as if this is some sweeping musical departure from Love You to Pieces that sacrifices that album's accessibility or metallic direction. If anything, this record is a more fine-tuned offering of the band's meatiest material yet, probably their heaviest album aside from the no holds barred guitar showcase that would be Appointment With Death over twenty years afterward. Luckily my initial indifference wore off, and though I don't like it quite as much as the debut or any of the records from the "golden era" through Master of Disguise, it's still one damn fine onslaught of classic Lizzy Borden finesse.

First off, Lizzy sadly introduces his crew with another unintentionally (?) hilarious cover art. Granted, it's not quite as heinous as the rank sleazefest of Love You to Pieces, but the ridiculous tank-junior chainsaw combo sported here doesn't do any favors for the decidedly serious speed/power metal assault behind it, coming off about as menacing as Dennis himself. More of the lyrical content here is focused around power, glory, and generally fucking destroying everything than on just about all the other Lizzy Borden albums put together, so it would have been nice to see that reflected in the skin enveloping the record itself. Well, I suppose you can't have it all.

As I alluded to, Lizzy and company are set to kill here. Whereas later records would focus on social rebellion and not fitting into the status quo, Menace to Society says fuck the status quo, breaks down the barricades, and turns the rules of society on their head as they torch the nation and utterly discount the merit of our empty 9 to 5 occupational lifestyles. Just feel the seething menace of "Terror on the Town," with its incendiary melodies and its ode to rebellious destruction. While the band plays it rather simple and straightforward for most of the playing time, some of the subtle intricacies to be found on later works can first be sighted here in the form of. "Notorious" is one of Lizzy Borden's finest anthems ever, a wickedly glorious NWOBHM riot that goes for the throat with its Caesar-hailing chorus. Sometimes the band can take its militaristic (and cheese-laden) overtones a little far, as is quite clear in the pointless drum intro to "Brass Tactics." Luckily it isn't long before the surgical riff comes into place to relieve us of our brief misery. The album has a searing speed opener with "Generation Aliens," which is basically "Council for the Cauldron" pt. 2 (albeit slightly less memorable).

For an album with as much traditional metal badassery as this, I would have appreciated a more aggressive guitar tone than what is provided here. The production in general is disappointing compared to the debut, which featured a rough around the edges appeal that added a level of shady nightclub charm to the mix. Things are a bit more polished around these parts, but with inklings of the amateurish sound worn well on Love You to Pieces. This doesn't end up mixing particularly well, giving Lizzy's excellent (if a bit unrestrained here) nasal tones a strange and power-diluting effect. This doesn't sink the record, but it certainly doesn't help. Also, while I'm usually a sucker for Lizzy Borden's poignant and unforgettable balladry (see "Love You to Pieces," "Visual Lies," or "Love Is a Crime"), the boring and sappy "Ursa Minor" just didn't do it for me here, probably the only song I could completely do without of the first four albums. They already gave us the similar (and much better) "Bloody Mary" on this very release, anyway.

For their initial 1985-1989 run, Lizzy Borden could do no wrong, and this is certainly no exception. Menace to Society may be a bit frontloaded with its slew of classic material, and I rarely choose to listen to it over either of its nearest neighbors or Master of Disguise, but it's still an essential listen for those who get their kicks from fine USPM and aren't afraid to get their hands a little dirty in the realms of NWOBHM and glam imagery. The commercial element here isn't quite as prevalent as its predecessors, so Menace to Society may be a good jumping off point for those hesitant to embrace the less metallic side of the speed/power metal scene. In any case, take the plunge. HAIL CAESAR!

   Overall: 8/10 (Damn Good)

Saturday, December 8, 2012

Centurion - Serve No One [2012]


Most death metal these days seems to glide down one of three paths: straight, no frills OSDM that doesn't venture too far beyond the standard set by the sinister forefathers, more 'extreme' efforts that flirt with added brutality, pristine production or technicality, or hybrids which integrate elements of black metal or other related sub-genres. Serve No One, the sophomore album of Poland's Centurion and their first since 2002, combines the first two methods in the sense that they play the classically constructed death metal of old in the vein of more brutal acts like Suffocation and Litany-era Vader. Combine that with the brute force and blunt songwriting of Deicide, and the essence of Centurion begins to take shape. Serve No One comprises ten consistent tracks of brief, pummeling strikes within the span of less than 30 minutes, resulting in a highly powerful and proficient (if not particularly memorable or adventurous) album.

The name of the game here is speed, and Centurion rarely lets up in this regard. In fact, outlier segments like the atmospheric intro of "Gateways to Condemnation" or the plodding riff devastation in "No One to Serve" are memorable solely due to their rarity in scope against the other haste-dominated 25 or so minutes included. While this attack plan may offer many formidable moments of heaviness and intensity, it unfortunately offers few sections that truly etch themselves into the listener's memory. Occasionally we are offered a particularly tasty, groovy riff section like that in "Ritual Mass Murder," but for the most part, Centurion passably assault the conscious without leaving a deep impact. Part of the fault is in the decently well-performed but monotonous vocals, deeply bellowing in a consistent and occasionally monotonous fashion. The lyrics are a dime a dozen concoction of unimaginative, anti-Christian blasphemies (with a few noticeable English mistakes) that won't offer any new ideas, though I'd hardly expect much better.

Serve No One is a very tight and well-produced album, and the experience of Centurion in the Polish death metal scene is made clear through the proficient, menacing tapestry of riffs laid woven within. However, beyond the bare, bloody essentials, not too much else here is notable. In a sense, though, I get the feeling that this is what Centurion strived for: to provide another slab of old school butchery to a style performed by many and perfected by precious few. Still, this is a trip that might be worth checking out for fans of any of the aforementioned bands if you've already knocked out all the top-tier releases of the genre.

   Overall: 6.5/10 (Fair)

Wednesday, July 25, 2012

Backyard Mortuary - Lure of the Occult [2012]

The band name, album cover, and logo should indicate without any doubt the kind of toxic onslaught you're dealing with here. Yep, Australia's Backyard Mortuary is another old school death metal band laying fresh bricks upon the tried and true groundwork cultivated over twenty years ago by the genre's greats. In a world where hundreds of similar discs are tucked away in warehouses nationwide never to be heard from ever again (ET-style), it gets continually more difficult to stand out and put forth a genuinely captivating effort. However, if Lure of the Occult is any indication, this band is here to stay while severing some heads in the process.

No, Backyard Mortuary isn't exactly reinventing the wheel here or even breathing life into an already bustling revitalization, but that makes this record no less pummeling. Every song here is bursting at the seams with bludgeoning riffs aged to perfection. The variation in speed keeps it all flowing, never congealing too heavily into a homogeneous mixture of pacing. Sometimes it busts into flurries of straight-laced speed a la Scream Bloody Gore, only to slow to a sinister grind and summon bleak churns of doom greatness. Just see the eight minute "Demon's Blood", whose initial setting of haste erodes into graduated domination. Personally the mid-paced parts just kill, showing the group settle into its best and most memorable rhythms. Listening to the title track, easily my favorite here with its absolutely crushing progressions, is like getting rabbit-punched repeatedly by Mike Tyson wearing brass knuckles, and most of the other songs channel a comparable level of intensity.

In the vocal department, this group couldn't get any better. Chris Archer's voice, which I would describe as a perfect mix of early Chuck Schuldiner and Martin Van Drunen, is basically the pure essence of death metal. His powerful growls simply envelop this album and bring it to new, tortured heights, with little touches like the demonic laughter in "Mutation" only adding to the morbid spectacle. It'd also be amiss not to mention the shocking production quality involved. This is probably the best I've heard any self-released album sound. Each instrument comes through with an appropriate tone of time capsule antiquity, yet the overall product reaches levels of clarity most modern big label groups could only dream of.

There are really no glaring flaws to point out, though a couple of the tracks don't leave as deep of an impression upon the memory as riff monsters like "Demon's Blood" and "Lure of the Occult" do. That's pardonable since this album still creates an awesome web of sounds even when it isn't directly knocking you out. At the end of the day, we have more resolute, old school bloodshed to bask in the glory of, and that's not an offering I'm willing to turn down. Lure of the Occult is one of the better debuts from a year already replete with worthy first efforts Add it to the shopping list along with the newest efforts from Horrendous, Pseudogod, and Undergang, and you'll be good to go until the next ritual arrives.

   
   Overall: 8.25/10 (Great - drink from the chalice)

Thursday, June 21, 2012

Lizzy Borden - Love You to Pieces [1985]


You know, I think I've been fairly grounded in my criticism of Lizzy Borden to this point. That could have to do with the fact that neither their debut demo nor Give 'em the Axe were exquisite examples of this band's potential, or that I was consciously avoiding doing so to maintain some amount of credibility for when the rave inevitably began, but that all ends here. Yes, I'm a pretty serious fanboy of the band in question, and yes, with Love You to Pieces, all bets are off. My indifference effectively died roughly three seconds into "Council For the Cauldron" with the intricate and wickedly beautiful guitar melody that erupts into a speed metal riot of the highest order. That would be the first of many, I would come to learn, as this is only the first in a series of anomalously good albums; and while I may prefer the spotless Visual Lies, it's hard to fault their full length debut for not being so absolutely perfect.

First and foremost, we must address the travesty that is the cover. Let me give you some personal background. I didn't live a second in the eighties, so the whole glam image has never seemed as repugnant to me as it might have to those who had to suffer seeing "I'll See the Light Tonight" juxtaposed with "Every Rose Has its Thorn" on MTV. I never cared for most of the music the scene produced (and I absolutely abhor much of it), but the actual image has always kind of appealed to me in a retro sense. It's almost like fascinating history that raises curiosity and interest because I didn't get the chance to experience it myself when I would have very much liked to. However, even with that said, what in the unholy hell is this mess? It's like wrapping a bar of gold in a used tampon. The only thing missing is the sticker demanding, "HEY! YOU! DON'T BUY THIS!" Imagine Ample Destruction or A Skeptic's Apocalypse with this artwork. What could possibly be the benefit of scaring the target audience of the music with an image that probably emasculated metal fans everywhere and stole the functioning of their ever-scarred eyeballs?

That was basically Lizzy Borden personified, though. With their ridiculously flamboyant image and terrible album art, as well as their confrontational attitude when looking at society, they were basically begging not to be liked. Luckily, if this was their mission, they failed miserably thanks to the fact that the actual music is utterly astounding. Granted, they're still quite an acquired taste. Lizzy himself was probably the biggest love/hate factor the band had, for his helium-addled shrieks and wails put quite a pain in the eardrums of many an unwilling listener. I for one love his vocals to death. His purity of voice (which has persevered to this day) and instantly distinguishable accent never fail to thrill me, as do his high pitched cries and outstanding phrasing. You never forget a Lizzy Borden vocal line. It just doesn't happen, and the lyrics, though somewhat typical and reflective of the time, are made outstanding due to their flair for simplicity and their eternally memorable nature. Themes of rebellion, love, anarchy, and power reign supreme in this vibrant musical setting, one marked by timeless melodies of both the vocal chord and the axe.

Many unsuspecting glam fans lured in by the AIDS-ridden pictorial hook were probably taken aback by the sheer amount of instrumental talent involved here. The group still had its most dynamic duo of guitarists at this point, with both Tony Matuzak and Gene Allen at the helm. In flurries of rollicking NWOBHM riffing, blue collar US power influences, and quick spouts into early speed metal (see "Godiva") these guys pave a complex web of guitar-work that remains accessible and even slightly radio-friendly. The latter factor would become prominent as the band consciously moved into more commercial territories and acquired a crystal-clear production, but that can be traced back to tunes like the excellent "Save Me," whose simple hooks, melodic leads, and swinging chorus instantly engrave themselves into the memory. Look elsewhere to find unforgettable pieces like the galloping "Warfare" and "American Metal." I would deem the latter as one of the best metal anthems ever composed, soaring high and marching triumphantly under the star-spangled banner. Usually I find any song involving the US to be a pandering and ill-advised propaganda campaign, but the passionate delivery, gang-shouted chorus, and piercing vocal summoning all create a spine-chilling serenade to the music we love.

Overall there are just too many highlights to name, like the inspiring balladry of the title track, which never goes stale. I really like the production here, which plays rough for the style but remains clear enough to discern each element in the mix. This was band with a vision to share and to cherish, and a sound strong enough to permeate all the hairspray and makeup and leave a permanent impression in the mind. The sudden leap from their somewhat plain traditional metal beginnings to a true force to be reckoned with can seem quite dumbfounding, but the music here proves to be just as sharp as the blades on the band's legendary logo. Listening to this, it's hard to believe Lizzy Borden would only hone their songcraft further and serve up an even better platter of melodic perfection just two years later. The rest, my friends, is history.

   Overall: 9.25/10 (Outstanding)

Wednesday, June 20, 2012

Lizzy Borden - Give 'em the Axe [1984 EP]


Immediately after recording their demo and picking up a deal with the budding Metal Blade Records, the Borden family blitzed the studio to record this scrappy little EP. I always imagine them in full, ludicrous attire, probably falling down drunk, and using that pathetic, little chainsaw from the Menace to Society cover to break off the lock only to find that the door was open all along. Lizzy himself then proceeds to toss out the unfortunate band cowering inside. In this case, it's John Arch and company recording Night on Bröcken, but you know Archie; he typically takes it well, temporarily returns to his work as a lumberjack, and, not being one to waste any storytelling potential, secretly recounts the tale backwards through the course of The Spectre Within. Yeah, it's in there. Trust me. Meanwhile, all the goofing off stops when the 'record' button is pressed...

Okay, so maybe I let my imagination run a bit wild there, but that just about reflects the energy ever apparent in Lizzy Borden recordings. There's a feeling of controlled insanity with these guys in their early output; you know that any minute they could fly off the handle and start burning stuff, and they have the equipment and mental state to do so. However, their unquenchable thirst for destruction isn't so much threatening as it is brought on by their love of fun and partying. This factor would become more evident lyrically on the band's full lengths, but the energy is still present right here on Give 'em the Axe even if their impeccable brand of melodic mastery wasn't quite reined in yet. This follows the path of the demo, featuring the same style of brief tracks with NWOBHM-influenced guitar melodies and Lizzy's always perfect vocal chords. In terms of content, it isn't exactly bursting at the seams, but I was relatively satisfied nonetheless.

The EP begins with the title track, which was destined to become a lead in at concerts with its direct nature and themes involving the band's titular character. The main riff is a bit plain for my tastes, but the song still succeeds thanks to strong performances. Of all their tracks, "Kiss of Death" probably embraces the band's traditional metal influences the most, busting out a riff Iron Maiden could have utilized on Killers. No, it isn't quite as good as the Fates Warning rendition (Archie's revenge!). "No Time to Lose" closes out the original material, which is speedier (and better) than the other songs. The chorus is excellent, easily the catchiest thing here. I've never cared for Lizzy Borden's covers, but "Long Live Rock 'n Roll" entertains thanks to the strength of the source material. I must say that Lizzy's voice doesn't really fit here, though.

Lizzy Borden's non-album releases have never thrilled me (especially the dismal Terror Rising EP), but I'd easily call Give 'em the Axe the best of the few, a worthwhile purchase for NWOBHM loyalists and fanatics of the band's early work as well. It serves more of a purpose as a crucial cog in their natural progression and history than as a highly enjoyable listening experience in my opinion, since this group wouldn't quite arrive until their full length debut, but I can't discredit it for what it was: a nice little taste test for the four course feast to come. It also delivered the first sight of one of the most awesome logos ever forged forth from the lair of self-aware 80s cheese, although (ahem) I prefer its later incarnations of green and yellow or the USA flag's colors. That was the time, though, when the most outlandish victims of style could still possess substance behind them.

   Overall: 7/10 (Good - bullets start to fly)

Lizzy Borden [1983 DEMO]


Lizzy Borden spawned amid the beginning of metal's most important transitory era. The once fervent flames of the NWOBHM were beginning to burn out as most bands were either striving to become more aggressive and technically proficient (resulting in the formation of thrash), or progressing their songwriting to new heights and penning melodic ideas far exceeding the confines presented by metal's 'first wave'. The latter group, during the oft lauded golden period of US power metal, would spawn the Fates Warnings and the Crimson Glorys of the world, and with them would arrive perspective-changing masterpieces like The Spectre Within, Awaken the Guardian, Transcendence, and Hall of the Mountain King.

Then there was Lizzy Borden, who plainly distanced themselves (or himself) from all that psychological stuff and delivered a hot slab of traditional metal riffs, hard rock energy, and showmanship finesse with a seemingly endless supply of charm. I'll save the outright worship for later, since their first two releases (the demo and EP Give 'Em the Axe) aren't exactly exemplary examples of this band's brilliance. However, I can't stress enough how impressive of a release this demo truly is. Released the year of the band's conception, Lizzy Borden already noticeably had it going on. Most of the tracks here would go on to appear on the ensuing EP and the group's incredible full length debut, Love You to Pieces. "Warfare" and "American Metal", two of their most persevering and enchanting anthems, appear here in prototype form with remarkably few changes from the professional versions to come.

Unfortunately, a couple glaring flaws keep this from classic demo status and push it closer to a 'hardcore fans only' type of release. Most notable, of course, is the production. I mean, wow. If Lizzy Borden managed to pen their deal with Metal Blade so quickly purely on the basis of this recording, then I'd like to honor Brian Slagel with a full salute and hug him for the output this pairing would soon produce. The sound is muffled nearly beyond any comprehension, almost as if it was a live bootleg that was recorded by a kid too young to make it into the gig. The lead guitar is almost nonexistent in this stew of ambiguity, and the natural power of Lizzy's pristine shrieks is reduced considerably. For lack of a better word, it just sounds bad. Amateurish, even, which a shame considering the professionalism and obvious talent of the band.

The second (and less significant) caveat is that the band is still in the development stage here, which is more of an interesting flaw than a detrimental one at the demonstration stage. Aside from the aforementioned classics and "Psychopath", these tracks wouldn't quite be up to snuff to appear on any of Lizzy's full-lengths. They were still in their stage of producing almost exclusively three minute songs, treading the line between the mid-pace material of British influence and outright speed metal in the way of Agent Steel or Exciter. Of most interest to fans here will be the two tracks that never saw the light of day on any official release by the band: "Over Your Head" and "Hungry For Her Love", two very brief numbers that put on an electric show of Maiden-esque guitarwork. They reflect the material soon to arrive with the EP, though only the titular "Give 'Em the Axe" would make the cut (ha!) for understandable reasons. Neither is particularly memorable, putting the pedal to the metal put rolling over the ear with little impact.

What we're left with is more of a curiosity than an essential listen. Only the unhealthy Lizzy-heads like yours truly will be able to decode the opaque haziness of the production, and the rewards found after doing so are merely "interesting" at best. Fans of the band's early era will want to experience it for historical significance or the sheer thrill of digging into the vault, but I'd suggest skipping it entirely and combing the glorious treasure trove on the horizon. The commercial potential of the band hadn't quite emerged from the primordial dust at this point, and neither had their more refined songwriting. The power and hunger is there, but it lies buried in sound constraints and youthful roughness. The fog would soon, but not immediately, be lifted...

   Overall: 6.25/10 (Fair)

Friday, June 8, 2012

Blood of Kings [2011 DEMO]


The packaging of the debut demo from Seattle trio Blood of Kings is rather off-putting in the way that it looks like something an alternative group from the 90s might have released. Luckily for us, the old cliche wins out again, as 'don't judge a book by its cover' is quite the moral of the story here. This band is a metallic force, channeling many influences to create a cohesive mix of thrash, speed, and blue collar US power metal. It's grounded in the fundamentals of the aforementioned styles without becoming an anachronism or aspiring to imitate the sound of one particular legend. I hate to milk the old nostalgia cow, but there really aren't enough groups like this anymore, and it's refreshing to know that there's one more band championing the classic heavy metal sound amid a world of numerous European fairy outfits, thrash revivalist clones, and deathcore oven fodder.

At their heart, Blood of Kings thrives with riffs, and there's a hearty feast of them to be had here. The penchant for melody and technical proficiency found in the more traditional guitar parts fondly reminds me of American heavyweights Pharaoh, which can never be a bad thing. However, their hybrid of similar genres more closely resembles the balance struck upon Metal Church's self-titled debut, never quite going with blistering speed while also not settling into the mid-pace. This allows the music and vocals to be versatile and consistently interesting. Extensive stretches of instrumental variation serve to differentiate the song structures, as do a unique duo of vocalists. The more frequent belter bears a gritty but somewhat nasally and high-register voice, while another supplies growled snarls slightly reminiscent of Kreator's Mille Petrozza. All in all, they prove a worthy team, even if I didn't quite find the vocals to live up to the music.

This demo consists of four tracks of considerable length, with each longer than the song before it. They fire right out of the gate with "People of the Light,"  a simple barnstormer that immediately shows the listener what Blood of Kings is all about: furious NWOBHM spirit with just a bit of thrashy vitriol and a flair for rocking fun. "Force Fed" is easily my favorite offering among the contents, once again giving me Pharaoh vibes with a complex opening riff that I'll have a hard time forgetting. The chorus is to die for, slowing down only to pound another gorgeous guitar melody into the depths of your brain. "Heart for the Land" is a galloping and grinding beast that unexpectedly pulls out some Mercyful Fate stylings after its midpoint. Finishing things off is the seven minute "Derailed," which begins simply enough but builds up in speed and intensity as it goes on, becoming a blistering wave of thrash by its sudden conclusion.

If I have one major complaint, it's that after a half dozen listens or so, some of the vocal lines began to grate on my nerves a bit. This is especially prevalent on side B, when the singing becomes less varied. However, this is really only a minimal flaw in the grand scheme of what I'd consider a great release. Blood of Kings have created a (thankfully) well-produced demo which bears mature and compelling songwriting on their first try, one that would best many of the myriad power/thrash metal bands recording their sixth full length as we speak. It succeeds on both a 'work' (serious) and 'play' (party) level, never stroking its own metallic ego or lowering itself to a goofy, banal joke. I'd easily pay full price for a full-length offering of this quality, which the band is apparently working into forging later this year. For now, submit this tape to a deck near you for a killer afternoon.

   Overall: 7.75/10 (Good)

Morbidity - Pits of Eternal Torment [2012 DEMO]


I love the fact that these bands are still releasing demo tapes, still channeling archaic evil in their crude cover arts, and still laying bludgeoning bricks upon the foundation of death metal built so sturdily in the late 80s. With my tastes firmly grounded in the old school of this particular genre, raw production values have always been preferred because they unlock a new power in a release's sound and truly reflect the grim and morbid subject matter at hand. However, sometimes a sound is shrouded so far into obscurity that its roughness can only be detrimental, and that's exactly the problem with Morbidity's first demo, Pits of Eternal Torment. The band has obviously got chops, but the quality here is hampered by the difficulty required to recognize it through the hazy veil of mist.

If it's not already obvious, Bangladesh's Morbidity play old school death metal in its purest form. The riffing strides the same lines as early Death and Autopsy but with a Swedish air for malevolence. This demo (which runs at a mere eleven minutes) doesn't offer a heaping amount of content to go off of, but the goal is relatively simple here: produce short but sweet bursts of speed while supplying the standard gutturals and lyrics of pain and torture. The latter is a particularly strong component of this release, covering familiar ground fluently and compellingly. Sadly, it's all buried in denser fog than one might find on a Mantas rehearsal tape. Each individual instrument is nearly impossible to make out, and sometimes even riffs take a backseat to feedback and distortion. The vocals suffer the most, reducing their force to little more than what sounds like a death 'shout' of sorts.

I hate to criticize a group for circumstances that were probably beyond their control, but the simple fact is that this demo won't provide an entirely satisfactory experience with the hollow production it bears in its current state. Morbidity has plenty of potential, sure; the frenzied drumwork and time-tested style are ample evidence that if this band would enter a studio, they might come away with a full length not far from an average Dark Descent or Hell's Headbangers offering. As it stands with the scant content, amateurish sound quality, and questionable vocals, however, Morbidity isn't quite up to code just yet. Their live cover of Nunslaughter's "Killed by the Cross" indicates that they'd be pretty fun to see in person, though.

   Overall: 6/10 (Fair)

Friday, June 1, 2012

Anhedonist - Netherwards [2012]


Y'know, I think everybody has an Anhedonist experience every once in a while. Netherwards is that album I bought with deaf ears and an unhealthy urge to spend money I didn't really possess after reading only one random positive review on the internet. I waited for it to arrive, got it, listened to it once with only mild interest then put it on the shelf where it would gather dust for roughly one entire month. Then, out of random chance and serious boredom (possibly with some procrastination in there too), I picked it back up only to discover one of the most massive and intensely rewarding musical encounters I'd ever experienced. It's happened before, it'll happen again, and I always freaking love it. So it goes.

Anyways, now that the life story is over, enter Anhedonist, a recently formed death/doom juggernaut. Imagine that movie 127 hours condensed into forty minutes of equal pain, except that you've gotten your arm lodged into a dark underwater cavern and the nightmarish dwellers of said purgatory are tearing you limb from limb, allowing you to live only to suffer. Yeah, it's kind of a downer. In musical terms, it's not so much horribly abrasive as it is devastatingly painstaking. With each crawling, desolate riff, it drains the lifeforce of the listener faster than the band plays its music. People love to throw words like 'atmosphere' around--I've been guilty, sure--but when you're enveloped by these melancholic tomb-like tones, tortured bellows and screams in tow, then you might consider acquiring an extra nightlight. So, book a psychologist in advance and lets get rolling...

Netherwards is made up of just four tracks, thoroughly lumbering through various shades, most of which evoking dark and evil feelings. The simple but effective lyrics obsess upon death and hatred of an elegant nature, never devolving into crude gore lyrics or the standard joys of killing. Interestingly, sorrow plays third fiddle to horror and ancient prose in these parts, directly contradicting the emotionally haunting music itself. However, that's not to say that Anhedonist never dwell upon terror in their auditory summoning. The faster paced bits, most prevalent in opener "Saturnine," wreak exceptional havoc in this way, and I'd be remiss not to mention the paralyzing last two minutes of "Carne Liberatus," which instantly cause the temperature in the room to drop by fifty degrees as V.B.'s woeful moaning depicts a dying giant's return to the bitter soil. Holy hell, excuse me while I get a blanket.

Anhedonist's most successful composition is ironically its only foray into undiluted depression. "Estrangement" is a highlight within a homogeneous concoction of highlights. It's unbelievable. Breathtaking. Building on an almost Warning-like melodic riff (which can never be a bad thing), the sweeping sorrow is immediately evident. It wavers on before reaching an even darker state of misery, searing with leads that rival the archaic antiquity of Septic Flesh's early records. Despite this, it only climaxes halfway through when the vocals break into eerie, bloodcurdling shrieks and the unforgettable chorus proceeds to possess your soul. The band manages to break into a sudden burst of speed whilst remaining depressive, something I've rarely found in doom metal. Once again, V.B.'s vocal hybrid of brute force and emotive lyricism creates an unearthly aura, transforming a simply kick ass song into a spine-chilling masterwork. "CAAASST INTO IMAGINED EXIIILE!" Unforgettable.

And to think that's only one fourth of the material included. Had the entire record been replete with quality of the same ilk as "Estrangement," surely the space-time continuum would have unraveled and I wouldn't be writing this review right now, but I shouldn't take any credit from the rest of the proceedings. "Saturnine" brings the record to life slowly with ripples of water, from which emerges the murky, decrepit initial riff. The song explodes into haste before settling into the pace at which most of the rest of the album moves. "Carne Liberatus" is relatively short and sweet compared to the other tracks, and it also bears the simplest structure apart from the aforementioned lurk that awaits you near its conclusion. Those praying an easy departure from this test of endurance will have to think again, because a staggering fifteen minute beast only known as "Inherent Opprobrium" will have you praying for the dismal end. Of course, I mean this all in the best way possible, though the weak of heart may grow weary of this monolith's relentless doom and gloom.

With this, Netherwards reaches its fatal end, not that my enjoyment of it ever will. Two more elements that only enhanced my adoration for this album are its unexpected level of truly catchy moments and the speed at which it seems to fly by. Seriously, you'd expect such a record to deliver the goods in painfully long increments of time, but in my experience, the treasures of Netherwards are distributed in a continuous flow. Therefore, it never becomes boring for a second. 'Old school' is a classifier I've consciously avoided, since its use always causes a divisive discussion in today's metal scene (which I've frankly grown tired of). Anhedonist does fit into this niche thanks to their suitably raw production values and noticeable influences, yet they offer so much more than another simple tribute to past legends. Components like atmosphere and emotion may be subjective in music, but for what it's worth, this album delivered for me in every conceivable aspect; and for the love of your imaginary deity of choice, at least listen to "Estrangement" just once.

   Overall: 8.75/10 (Great - forfeit the body)

The Foreshadowing - Second World [2012]


Gothic doom metal albums often fall into a safe lull of mediocrity, never really excelling or overtly failing at what they do. The formula is simple: apply simple but effective riffing, a guitar tone that straddles the line between accessible clarity and distortion, some formulaic A-B songwriting, and an "emotional" low-range vocalist (or if you want to get really stereotypical, a male/female vocal hybrid), and you're basically done. The Foreshadowing, a relatively newer group of this sort, isn't exactly reinventing the wheel here with its third offering. However, while Second World features many of the predictable traits listed above, it delivers them with a quality far above the norm and an appropriately otherworldly atmosphere without forgetting to compose some (but not all) great songs in the process. Thus, a must-have for fans of the genre has officially been bestowed upon us.

The most notable point of interest is the excellent sound at play here. Second World depicts its apocalyptic overtones in every forlorn, desperate note. The multi-layered tracks often dwell in a haze of ambiguity, as if the sun is just coming over the horizon and the world is stuck in limbo as the silhouetted figures (zombies? warlords? emaciated survivors?) stare beyond the screen with unseen eyes... okay, so maybe I'm taking the cover art a bit too literally, but it is particularly sweet and does portray the all-consuming mood of the record very well. One is subjected to a well of conflicting emotions here: the dreary sense of loss, the convincing hope that vitality will be restored, the universal fear of death, and the pathos of rage are all explored here in opulent quantities. And who better to explore such realms of thought than the amazing Marco Benevento, whose romantic and moving voice could sell out a stadium for a mere reading of a dictionary? Seriously, this guy would make the album even if the atmosphere didn't.

The one factor that just barely restricts Second World from masterpiece status is the occasionally repetitive and unimaginative songwriting style. Don't get me wrong; there are still plenty of catchy tracks and excellent melodies here, but some more variation could have gone a long way toward letting this one compete with the greatest greats of the genre. With that said, the majority of the record is made up of winners. "Havoc" builds the silkiest verse rhythm of the album right out the starting gate, with Marco's similarly rich voice gliding effortlessly above. The title track delivers a desolate and beautiful musical portrait and one of the best choruses on the album. Of all the tracks, "Ground Zero" has the most classically driven bombast, forging a sound most reflective of classic Gothic metal sounds. It's also memorable as all hell. "Colonies" escalates in tension and emotion, and "Friends of Pain" closes it all out with a dreary, miserable, and slow display of despair.

The only thing really missing from The Forshadowing is a bevy of noticeable emotional highs or lows. Thus, a few of the tracks fail to make much of an impact. All in all, however, Second World succeeds thanks to the excellent vocals and a mystery-provoking atmosphere. Add in highlights like "Ground Zero" or "Colonies" and you've got quite the hit on your hands, easily the best entry of this genre I've yet heard this year. Fans of the style are encouraged to pick it up, but those less tested should probably try it on before buying. This is certainly one to revisit during winter, curled up by the fireplace with a cup of coffee and The Foreshadowing's velveteen music simmering through the air. I'm not sure which element would be the most successful warming agent.

   Overall: 8/10 (Great)

Sunday, April 29, 2012

Kamelot - Poetry For the Poisoned [2010]


No streak can last forever. Eventually Queensryche released Empire, eventually Crimson Glory dumbfounded with the banal Strange and Beautiful., and eventually Coroner came out with... okay, so that's one officially spotless band. In the tradition of the aforementioned disappointments, Kamelot delivered this half-baked mess after one of the most staggering strings of stupendous albums in power metal's existence. Everything from Karma (and not a note before) to Ghost Opera was melodic metal gold through and through, especially The Black Halo, a perfect record that I consider to be among the greatest ever produced. I once thought of 2007's appropriately titled Ghost Opera as a watered down misstep, but my opinion of it has only grown with time. Unfortunately, after one and a half years, I cannot say the same for its followup, Poetry For the Poisoned.

As with the Nevermore album also released in 2010, pre-launch signs were ominous. Single "The Great Pandemonium" didn't exactly whet my appetite with its annoying whispered vocals or completely forgettable chorus; and although I like his work for other bands and love his musical work for his own group, I never could quite dig the confusingly dark cover art penned by Septicflesh's Spiros Antinou here. Seriously, what the hell is that and what is it doing on a Kamelot album? Upon finally listening to it in full, however, I found it all too reflective of the music held within. The most important element of Kamelot apart from the obvious, melodic curb appeal is undoubtedly the uplifting and often passionate emotional quality that goes into their music. That's simply missing here. It's all been hidden under some dark veil of false maturity, succumbing to mild-mannered ennui. The liveliness, the joy, the energy... for the most part, they're missing or at least obscured to the point of near absence.

Of course, in a simpler observation, the actual songs are neither as effective nor as memorable as on earlier efforts. First of all, many are simply recycled with lesser results. "House on a Hill" is the obligatory power ballad with female vocals, but it doesn't even get close to the beauty and emotion of previous tries like "The Haunting" or "Love You to Death." "Once Upon a Time" is a carbon copy of previous fast, energetic numbers "When the Lights Go Down" and "Silence of the Darkness," but this time the fun and bounciness is out of the picture. Such shortcomings are technically intangible, but when one experiences a record as free from feeling as this, there's really nothing else to say. The lowest point of the record comes with the four part title track, which is a confused and ultimately pointless attempt at being progressive. After wasting too much time with trying to be fancy and profound, the song just awkwardly fades into oblivion. It's all too weird for this band, and not in a good way.

Not all is bad, however, and I shouldn't make it sound as if Poetry For the Poisoned is some type of irredeemable travesty of the ages. Some embers of the blinding light we're accustomed to from Kamelot still flicker here and there. "The Zodiac" is a powerful and atmospheric tune helped by the legendary vigorous guest spot of Jon Oliva, and one of the only forays into self-aware darkness included that doesn't utterly fail. "If Tomorrow Came" is a strange but efficiently modern piece that shows a an odd side of the band. "Necropolis" possesses something largely absent from the rest of the proceedings: a riff, and a tasty Crimson Glory-like one at that. My favorite track is probably "Hunter's Season," a great power metal anthem that rolls as easily as anything else here. For one sudden flash, I could have sworn I saw the glory and prowess once so strong in this band; but alas, it's all too brief and we're stuck with the rest of this soggy setlist.

Production-wise, everything is softer and more theatrical this time around, taking Ghost Opera's style and draining it of almost all of what made it interesting. Roy Khan's talent and range have sadly deteriorated over the years, but never have I noticed his inadequacy as I have here. Reluctantly I must say that his departure from the band might end up being a blessing in disguise. Hell, even the lyrics are worse. Where there were once eloquent stories of passion and pain (sometimes conceptual), Poetry For the Poisoned regresses into simplistic and often excessively enigmatic musings--rather ironic for an album with the word "poetry" right there on the cover. It all comes together as one cohesively mediocre, mundane release. I'd count it among my most significant musical disappointments, and a release that I'm definitely not confident Kamelot can come back from. To use a cliched expression, Poetry For the Poisoned sounds like a shark-jumping to me, and one that leaves a rather bitter taste after ingesting its poisoned contents.

   Overall: 5.25/10 (Mediocre - hit the brakes now)

Saturday, April 28, 2012

Deathhammer - Onward to the Pits [2012]


My indifference for modern thrash albums with spiffy clean, perfect production jobs is inversely proportional to my love for those records transparently seeking the archaic, occult overtones of the classic 80s sound, which is why I just love it when a band like Deathhammer drops a bomb like Onward to the Pits. This is nothing short of an exceptional recreation of an essence thought to have perished years ago. It's an album that sticks to its influences with uncompromising loyalty without directly copying or plagiarizing from the cherished source material. For the appropriate time allotted, one is submerged into hell and subjected to the punishing power and tormented shrieks therein. Nothing is particularly evolutionary or innovative about it, but it thrives in its unpolished, martial niche.

Without any exaggeration, Onward to the Pits could have dropped in 1986 to zero suspicion in regards to both the production and musical direction. Some may find issue with such a notion, but I could hardly have been more pleased. It's raw, pissed off, and fast, with little deviation wanted or needed. The riffs blaze with a certain rowdiness, going off the rails with unrestrained force and speed. It all comes together like the middle ground between Metallica's debut Kill 'Em All and Kreator's early bestial works. The over the top vocal performance  of Sergeant Salsten reflects the barbaric wrath of the music perfectly. One minute he's growling and shouting in first wave black metal fashion, and the next he's launching into insanely high pitched, ear-splitting cries, a style comparable to the anomalously popular Vektor.

All in all, Deathhammer's latest is a highly enjoyable time capsule for those longing to return to the days of thrash metal's golden age. There simply aren't enough albums of this style being released anymore. If I have one reservation with Onward to the Pits, it's that the consistent level of haste and dynamics doesn't allow for many distinguishable highlights. It all sort of runs--no, blitzes--together as one trampling entity. In any event, this record's strengths greatly outweigh its weaknesses, and it offers no choice but to succumb to its militaristic charms. The most comparable recent release I can think to compare it to is Antichrist's 2011 old school masterpiece Forbidden World, which, in a similar but greater ilk, marched onward to the seventh circle of hell and conquered it with ease. However, with this two piece following Asphyx's album of the same name as the second Deathhammer of worth this year, the pits definitely have a new king.

   Overall: 7.75/10 (Good - pray to your feeble savior)

Sunday, April 22, 2012

Running Wild - Shadowmaker [2012]

One should not underestimate the love I harbor for most of Running Wild's extensive catalog. The traditional metal powerhouse's absolute golden period stretching from Port Royal to Black Hand Inn competes with metal's best works in any arena, demolishing all revivalist wannabe bands with little effort and besting even competent modern attempts at creating their swashbuckling sound. It is with a certain degree of sadness, then, that my first write-up for this legendary group of pirates must come in the form of reviewing a release as shoddy and halfhearted as Shadowmaker. After a seven year absence, little has changed since previous contemporary Running Wild albums; the flame that inspired masterworks like Death or Glory is once again nowhere to be found, and the listener is left wondering what Rock'n'Rolf came back for at all.


To be honest, Shadowmaker isn't quite the irredeemable disaster it could have been, but if it weren't for occasionally entertaining and catchy tracks like "Riding on the Tide," this record might have fallen into the same chasm that Morbid Angel and Queensryche's latest 'efforts' now fester in.Where are the awesome riffs? Where is the gritty tone and atmosphere? Most importantly, where did the inspiration go? One thing remains certain: it's not here. The numbingly clean production and upbeat songwriting only serve to make the overbearing sense of "jolliness" here more prevalent. The painfully awkward brotherhood anthem "Me and the Boys" is the most overt display of this. This song is easily the nadir of the album, and frankly, it's simply embarrassing to listen to. Seriously, who thought this whole comeback thing was a good idea again?


The mediocrity doesn't stop there, though. Another tepid trend in Shadowmaker's musical direction is the constant lack of speed. Sure, I don't need every track to be booking 240 beats a minute, but this album is almost depressingly slow. Songs like "Black Shadow" crawl so free from haste that I nearly fall asleep before they reach their midway points. Speed up. I'm pretty sure Running Wild was in a contest with itself to see how boring they could get when they wrote this drivel. They won. "Dracula" would like to trick you with its 7-minute length that it follows the bloodline of the band's brilliant epics, but let's just say this isn't another "Battle of Waterloo." The song does nothing to justify its length or existence, plodding along linearly, and the most I can say for it is that it finally delivers the end of a misguided, sterile album. 


I know I've been hard on Running Wild here, but they deserve it. This squad has shown the capability to deliver material of quality far superior to that found on this disc. About as much thought was put into this music as the amount of effort given to create its sub-par cover art. For every decent track like "Piece of the Action," there are three more bargain bin "Locomotive"s waiting right around the corner. Shadowmaker gets worse as it goes on, and each listen becomes increasingly tedious and difficult to bear. It only raises one all too appropriate question: what was the point of coming back if this is the final product? Having heard the album more times than I would have liked, Shadowmaker has convinced me that it is little more than the work of an aging Rolf seeking another check. After all, there is little inspiration to be found here to my ears aside from the quest for more green. Perhaps it's time to hang it up and go home.


   Overall: 4/10 (Poor)

Saturday, April 21, 2012

Unisonic - Unisonic [2012]



The Ignition EP released two months before Unisonic's debut blew me away, evoking melodic perfection while maintaining a decidedly non-heavy sound. The product was sweet and succinct, almost sounding like 80s Helloween boiled down to its most simplistic roots, and it was nearly as enjoyable. I'm satisfied to say that while the personally breathtaking EP might have raised my expectations to a point never reached here, Unisonic mostly delivers with dazzling finesse. This is carefree, hard rock music in its purest form, no shame or embarrassment about it. Sometimes it lingers close to the edge of airhead pop rock, but never does it plummet to the depths of abyssal songwriting stupidity.


My review of Ignition basically summed up the musical direction here, but I'll reiterate and expound upon Unisonic's style with further development. The most important thing to tell yourself before listening to this album is that this isn't Helloween. Yes, it reunites Kai Hansen and Michael Kiske, but Unisonic isn't exactly another Keeper of the Seven Keys. Only trace remains can be found from the glory days of the legendary German power kings, and their connections persist mainly in abstract elements like the sheer energy and jubilant nature of the performances. For the most part, this record is made up of light and generally radio-friendly material, forging its roots firmly in rock rather than engraving itself fully as a power metal entity.


That isn't to say, however, that the songs often suffer for it. The majority of the tunes featured here succeed thanks to capable songwriting and a penchant for having fun; hell, a lot of fun. There are numbers that will be stuck in your head for days (even if we already heard them two months ago). "Never Change Me" features a chorus that would sound appropriate in a Katy Perry song, but I just can't care when it's this catchy. "Never Too Late" and "I've Tried" are a similar pair of stadium stompers, the latter of which bouncing around like a track in a Persona game's soundtrack (which is a very good thing). "Renegade" summons some of power metal glory missing in the rest of the proceedings.

The true showstoppers disappointingly remain those that we already heard on the EP, making that release a little misleading and this one slightly disappointing as a result. Perfect opener "Unisonic," the instant classic "My Sanctuary," and the brilliant "Souls Alive" all dominate the meat of the album, offering more power and memorable hooks than the rest of the songs. This separation in quality is more noticeable as the record goes on, as the second half is a bit lacking in impact compared to the first. Closing ballad "No One Ever Sees Me" isn't the most despicable ballad I've heard this year, but it doesn't leave much of an impression, either. The only track I find myself actively skipping with each playthrough is "Star Rider," which is just about as close as this band comes to recording totally banal, commercial tripe.

Although Unisonic doesn't quite live up to the promise of its debut EP here, and this isn't the ideal comeback one would hope for from the talent involved, I still couldn't help but be entertained for the time allotted. Most of the songs are on and there's fun to be had, so what could be the harm, right? Michael Kiske, while not in prime dog-killing form, delivers the goods like a man of fewer years. As does Kai Hansen on guitar, even if you won't hear any fret-burning solos within the confines of this recording. Due to these reasons, Unisonic is kind of about settling, but luckily for us, it's worth settling for. Just don't expect the unattainable and you'll be good to go.


   Overall: 7.5/10 (Good - living on the edge)

Thursday, April 19, 2012

Dragonforce - The Power Within [2012]


Call it bandwagon-jumping, call it joining a lynch mob, call it whatever the hell you want, but I have always disliked Dragonforce's brand of ridiculously upbeat, speedy power metal nonsense. Granted, I never hated the band with the insane passion 80% of the metal community has since their mainsteam breakout with Guitar Hero (they were never important enough to me to get upset about), but everything I've heard from them did leave me with a seriously bad taste in my mouth, and a genuinely severe headache in addition. That ends with The Power Within, which is actually listenable thanks to a change of pipes and some minor (but noticeable) revisions to the band's songwriting. Interesting, considering that it's all behind some of the blandest, most generic album covers I've ever seen...

I shouldn't imply that Dragonforce's many haters will magically be won over by this new release, because really, little has changed musically in this camp. This stuff is still built upon (mostly) blistering speed, obvious melodies and hooks, an overabundance of rapid fire keyboards, and an insistence to punch the listen in the face with a dense sound containing more instrumentation than the ear can possibly perceive at once. The sheer excess has been limited a bit this time around, though, getting to the point faster with considerably shorter songs, making Dragonforce's polarizing sonic force a bit easier to swallow. The biggest improvement, however, comes in the vocal department. ZP Theart always annoyed me with his grating, nasally singing, but his fortunate departure has yielded the much better Marc Hudson, who delivers vocals with a more restrained, Americanized accent. He knows how to hit the notes and when to hold back, the latter of which I can't claim for any of the other band members.

Individually notable tracks are few and far between in these parts, but I do favor the dashing duo of the more mid-paced (!) "Cry Thunder" and the glorious "Give Me the Night," the best song here and probably the best in Dragonforce's entire discography. All in all, The Power Within was surprisingly enjoyable despite my initial reservations. However, I still don't find this band's style very captivating, myself usually preferring the more powerful crunch of American power metal. Certain bands like vintage Helloween and Labyrinth have broken this negative spell, but I doubt that Dragonforce, even in this reformed state, ever will. Still, it's not the worthless flower metal I might have expected, and I would definitely recommend it to genre fans. Just skip that overstuffed disaster "Wings of Liberty," though.

   Overall: 6.75/10 (Fair)

Tuesday, February 28, 2012

Lord Wind - Ales Stenar [2012]

Ambient music of any kind is not an area I've paid much attention to, for no better reason than the simple fact that I prefer the immediate thrill and satisfaction of something more structured when it comes to hectic, day-to-day life. Rarely in my free time do I consider listening to mellow, hour long (or more) affairs of instrumental music just for personal enjoyment, and that's a truth I've become disappointed in myself about as of late. Well, I'm delighted to say that Lord Wind's new effort Ales Stenar might just be my spiritual awakening to this sprawling and intoxicating genre of cerebral tones.

To be fair, however, Lord Wind isn't your typical ambient soundscape creator, and it's certainly not even close to the metal realm; no intensity or distortion is at play here. Ales Stenar is simply comprised of ten medieval marches through a calm and inviting setting, with no modern interference or electronic elements to be found. The contents could be a video game or film's soundtrack, and I mean that in the best way possible. Imagine the most epic scene in your favorite movie; that's where this music belongs. It conjures up images of ancient glories. Vikings marching in blizzards, Scandinavian gods ascending the skies, Egyptians treading across wide expanses  of burning sand, etc. You'll close your eyes and see it all under the influence of Lord Wind.

Ales Stenar is a very cohesive, consistent effort, however, so don't expect much variety in terms of pacing or overall sound here. Most of the songs, which are just about equally concise in length, progress in congruent fashion. The formula? Take one simple, rich melody and repeat it in slightly varying ways as faint female voices chant above the caressing cello and violin and slow tribal drums beat below. What may sound like a repetitive, overly bare sound actually creates quite an intoxicating and overwhelming musical embrace, at least for me, anyway. Not one minute after hitting play (and I've pressed play a lot) do I find myself unconsciously swaying back and forth, transfixed by the rhythmic push and pull of these ancient concoctions.

There's just this irresistible atmosphere of royal joy and wonder that never fades for the 58 regal minutes in question. I might have liked to see a more harrowing, tear-jerking moment or two among all the subtle emotional highs, but I can't reasonably fault Ales Stenar for what it is. I'm continually surprised by how functional and relistenable this album is. Doing homework? Check. Reading? Check. Going to bed? Let's just say that if I'm listening to this during the nighttime hours, I always fall asleep with a smile on my face and bright dreams behind my tired eyes. Lord Wind is a vision many will understandably find unappealing and boring (and it should absolutely not be confused with metal in any way), but those looking for an arresting escape from the modern day definitely need to look into this shiny, medieval gem. A treasure as good as gold.

   Overall: 8.75/10 (Great)

Saturday, February 25, 2012

Pharaoh - Bury the Light [2012]

As many already know, American power metal is my favorite genre of all time. Bar none. Of course, when people think of the glorious creation known as US power metal, they don't think of the modern bands that carry the title, and for good reason; the original purveyors of the style from the early-to-mid 80s bore a mystique and whimsical force that simply doesn't exist anymore. Frontrunners like Queensryche, Fates Warning, Crimson Glory, and Savatage brought into the world such flawless creations as Operation Mindcrime, Awaken the Guardian, Transcendence, and Hall of the Mountain King respectively. I hate to spew out elitist statements like 'they will never be topped,' but in this case, it's absolutely true. Unfortunately, the style is dead. It's over. Even the few actually good power metal bands from the US today don't really evoke it. Example? Kamelot, whose best days are in the past anyway.

Pharaoh is another example, except for one thing: their best days are far from behind them. In fact, they've been busy forging a legacy of unfathomable quality for about the last decade, and they haven't even come close to failing in that regard yet. Bury the Light is the band's third practically spotless album in a row, yet another testament to Pharaoh's dedication to bringing all killer and no filler to the modern American arena. Curiously enough, however, their style has less in common with classic US power metal than it does with the New Wave of British Heavy Metal. The Iron Maiden influence is unmistakable as a result, of course, but there are enough distinguishable and unique characteristics to Pharaoh's music that they never come off as a clone or another revivalist wannabe. Instead, they simply deliver a sound that perfectly marries excellent songwriting, aggressive power, and elegant melodies.

Sound like a no-lose situation? That's probably because it is. Bury the Light presents the band in its rawest and heaviest form. At first I thought the rougher production was an out of place disappointment, but then I realized how well it really fits the album. The foundation of Pharaoh is definitely in the guitar department, an area expertly provided by Matt Johnsen. His performance is so consistently sharp and fine-tuned that it continues to dumbfound me that he's the only guitarist in the band. The riffwork is deceptively straightforward, yet there's always these little technical subtleties to his playing that are a joy to slowly unlock from listen to listen. I wouldn't make the mistake of calling this music simple; it's stunningly complex in ways that aren't obvious upon first listen. Don't worry, however; once it clicks for you, it really clicks. The inevitably fulfilling nature of the songs will soon follow.

Of course, a foundation doesn't mean much unless there's true quality to sit upon it, an intangible thing Pharaoh is luckily bursting at the seams with. Tim Amyar is, in my approximation, probably the most committed member to the vision of the group. Want to know why? Because he's not afraid to put his life on the line and himself into harm's way in the process of making this band great; and by himself, I mean his poor vocal cords. And by poor, I'm not referring to the meaning of the word that represents quality. This guy scratches, tears, and maims his throat with every painful note, utterly owning this thing and showing no age in the act of doing so. I really don't know how he does it. I've heard his voice described as 'strained' or 'old' in the past, and I never fail to scoff at such a notion. These doubters don't seem to realize the emotive and enduring qualities of his style, one I'd liken to that of the Primordial frontman. Simply amazing.

The final essential component of this delicious brew is the songwriting. You can probably guess where this going: broad, gleaming generalities, fanaticism galore, etc. Well, what else can I say? Once again, I can't trace any noticeable shortcomings in the Pharaoh ensemble. Bearing a tight but diverse set of songs, Bury the Light brings the heat and the artistic prowess to each and every corner of the tracklisting. There are no highlights, for the entire album is a highlight. Heh, well that's pretty pretentious, so here are some examples. "The Wolves" is the fastest and most over the top song made by the band yet, going almost full-on thrash in the verses before busting out a vicious mid-paced riff during the relentless chorus. "The Year of the Blizzard" is simply epic, the longest track here and a narrative journey through many styles and moods. The 70s rock influence is strong in this one, as is Amyar's beautiful clean singing.

I always attempt to refrain from doing track-by-track analyses, but boiling an album as great as Bury the Light down to its bare essentials is an extremely difficult task. "Castles in the Sky" reflects its title flawlessly, soaring to the heavens with unforgettable melodies and a penchant for boundless energy and adventure. Surprising, then, is the somewhat cynical nature of the lyrics. "The Spider's Thread" is a short but free form track of sorts, traveling in a story-like manner to new heights. It's moments like the arresting melody at 2:56 that cause me to call this band a pack of musical geniuses, and the reprise at the album's conclusion ties it all together. My absolute favorite track of the lot, however, is "Cry," one of the most straightforward here, managing to reach the emotional zenith of this masterwork at the same time. Damn, that chorus. "Cry! For what we could have been..." Sound like an Adele lyric? Ha, just listen, you unenlightened fool.

No, this isn't fucking Crimson Glory. Pharaoh isn't trying to be, and they never will be. Believe it or not, bands can be judged upon their own merits rather than being lumped into or trying to revitalize movements that have been dead for over twenty years. This band doesn't exist to emulate, and I think Pharaoh has proven that at last with Bury the Light by falling into a comfortable groove that can only be defined as a sound all their own. Asking if this album sounds too much like predecessor Be Gone would kind of be like asking if this gold looks too much like that gold; it's simply irrelevant and, if anything, yet another tribute to its pristine quality. It may be a microscopic hair short of that masterpiece, but that's it. The small circle of people who criticizes this band looking for things they won't find makes no sense to me. Put simply, it's heavy metal, and it's some of the finest material in this expansive genre's resume.

Not listening to this makes you stupid. Don't be stupid.

   Overall: 9.25/10 (Outstanding)

Unisonic - Ignition [2012 EP]

My attachment to golden era Helloween was perhaps one of the single most important developments in my youth as a growing metalhead. From the intro of "Ride the Sky" to the closing notes of "Keeper of the Seven Keys", rarely has a band given me so much joyous mileage as Helloween, and I think it's all right to say that no small amount of sentimental value has come along for the ride. I may not have lived through the tragedy myself, but you could probably predict my horror at the nightmarish descent into the musical abyss Kiske and company decided to take after such a flawless run of albums with travesties like Pink Bubbles Go Ape (sorry, I'll always hate it) and Chameleon. Michael Kiske had a lot of explaining to do, and it appears now that he's trying to make amends--and with Kai Hansen, no less. You can imagine my girlish squeal of joy at the though of such a reunion.

However, from the sound of their debut EP Ignition, Unisonic isn't about to unleash the followup to Keeper of the Seven Keys Pt. 2; and you know what? I'm perfectly okay with that. I came to terms with that the minute I pressed play and heard "Unisonic" for the first time. Suddenly, auditory power erupted, along with the highly hard rock influenced riff, and last but not least, Kiske let it loose over that groovin' verse. And so the chills began to descend my spine. This is what the metal world has been missing for the past two decades. It's an entirely simple track, arguably absentminded even, yet its absorbing power cannot be mistaken. Fuck, it destroys. Even as it treads dangerously close to Pink Cream 69 levels of glam-influenced cheese, "Unisonic" comes off as closer to early era Riot goodness: fun, not afraid to let loose and be casual, but completely serious about what it's doing at the same time. Perfect and infinitely enjoyable rock/metal music.

Carrying along in a similar manner, "My Sanctuary" changes things up a little bit. Slower and slightly more atmospheric than the opening barn-burner, the song mesmerizes with an emotive and unforgettable chorus while never truly approaching ballad status. Kiske is in great form, not really hitting his old high notes but finding a comfortable and ultimately satisfying middle ground. It's really just euphoric hearing his voice attached to a full-time metal (or rock, whatever) project again, giving the already spotless songwriting another touch of reinforcement. Really, this material is all about the great songwriting, reminding me of TNT's late 80s material. Straightforward, but stunningly elegant and catchy to boot. "Souls Alive" carries on in the same manner as its predecessor, and I don't think I'm crazy to believe I hear some Kamelot influence in that balladic section near the end.

The EP is capped off with a filler live version of "I Want Out," an obvious attempt to attach Unisonic to the Helloween name and show that Kiske can still come out and do what he was born to do. His performance here isn't quite perfect, but I'm still rather impressed. To be honest, I am trying to restrain my excitement and joy for this new outfit, but Ignition is making the task hard. I looked and looked, but I can't find one damn flaw (musically) here. The only problem with this release is that it'll be completely useless once the full-length is bestowed upon us, since all these tracks (save for the already useless live song) will be featured on that self-titled album. Therefore, its purchase is impractical and unnecessary (literally the only reason for my somewhat modest score). However, it has made me aware of an album I probably wouldn't have had the slightest expectations for previously. Thanks for ruining the surprise.

If you're expecting Keepers era Helloween, you're going to be sadly disappointed. However, if you're seeking a fun and exuberant time, it almost never gets better than this. We could have an Immortal Soul caliber comeback pretty soon, but I'm going to do myself a favor and try not to think about it too much. Oh, who am I kidding, I'll be counting the days.

   Overall: 7/10 (Cool - must...stifle...excitement...)

Abazagorath - s/t [2012 EP]

I've quite taken to the more experimental and progressive breed of black metal grown so rapidly in the past decade, worshiping bands like Enslaved and Klabautamann to no end. Such groups have evolved a genre not known for its technical courage to new heights of creativity and melody, increasing black metal's relevance in the present day. That doesn't mean, however, that a storm of bestial intensity can no longer enthrall the senses in our stuffy, elitist age of innovation equaling quality. Sometimes you just want a consistent torrent of sucker punches to the face, and in that light, Abazagorath has delivered in spades with their self-titled EP.

It would be fair to say that Abazagorath possesses a one-track mind, and luckily for us, that track is a mighty fine one replete with brutal yet catchy finesse. No screwing around is committed here. After a brief, subtle intro, "The Antigod" kicks it up a notch, blasting and pounding its way to the top with some melodic relief provided by the slower sections in between. In fact, this isn't just a voyage made by straight speed and aggression; the band expertly mixes in mid-paced riffs and patterns, making this swarm a bit more memorable and the tracks more distinguishable. Nihilist, if that is his real name, gives an appropriately tortured performance behind the microphone, and his vocal lines complement these tracks well. Sorry, weaklings: no clean vocals or ballads here. Heartbreaking, isn't it?

It's all cloaked in a modern (but not too shiny) production, so Abazagorath isn't exactly a second wave time capsule, not that it needs to be. The highlights are many, even for an EP. "Storms of Destruction" crawls from creation with a haunting and crafty intro, evoking the morbid resurrection of an ancient, evil spirit. The bludgeoning growls thrown in about halfway through only further such a vision as the subtle acoustics elucidate   it. "Lapse" is the shortest complete composition here, and it doesn't fail to make a stirring impression with its blazing rhythms. Out of the 23 sharp minutes offered here, I can't really fault one, even if I found "Immortals" to be the least toxic of the bunch; not bad, and it certainly congeals with its surroundings, but it's not quite as memorable as the others.

I won't comment on this EP's place in Abazagorath's discography, as I'm not familiar with the older work of the band, but I really can't see this release disappointing any fan of primal, no-BS black metal. At any rate, Abazagorath should be a clear indication of a band alive, well, and thriving after four years of silence. I might like my black metal stirred with psychedelia and weirdness, but who's to say I can't pour a smooth glass of well-executed, abrasive chaos every once in a while? It's simple, it's relatively straightforward, but it's also sick and easily replayable. What could be wrong with that? A full-length release of this caliber could make some serious waves. Sure to provide a necessary component to your secret cult meetings.

   Overall: 8/10 (Very Cool - Any more, please?)

Wall of the Eyeless - Through Emptiness [2011 DEMO]

One probably wouldn't guess at the sight of the mind-bending, abstract, and rather awesome cover art that a raw and heavy wall of death metal hid behind it. However, Wall of the Eyeless (kudos on the name) doesn't follow the 90s low-fi tribute wave that so many of these genre bands have been drifting effortlessly upon as of late. Through Emptiness is a fascinating and promising demo that isn't afraid to deliver some surprises and progressive elements; and while its general heaviness isn't to be questioned, this two-piece mixes the style up with free form structures and melodic flourishes.

Through Emptiness moves in mostly mid-paced and sometimes slower speeds, capturing an epic mood appropriate for the music herein. Alongside the more traditional riffs, the songs feature acoustic guitar galore, often focusing on passages of instrumental elegance rather than vocal-driven, pummeling rhythms. Some of the more droning and repetitive guitar parts would give off an essence of black metal if it were not for the deep, bellowing growls of SL, the talented head honcho here who also provides bass and guitar duties. The drums are par for the course: simplistic, but not distractingly so, and effective overall. Nothing here will blow your mind with overt technicality, but the band shows a flair for good songwriting and diverse influences.

With four tracks at twenty-four minutes, Through Emptiness would already make a fully functional EP even in its demonstrative state. I think a cleaner production may suit the lighter parts of this release, but that's not much of a fair criticism considering the fact that this is a demo, and a debut one at that. Personally, seeing a few more hooks and really memorable parts here would have been nice, because even though the group definitely provokes thought while listening, much of this demo will not haunt the memory for long. However, Wall of the Eyeless is still a vision of considerable promise that I'd like to hear more from.

   Overall: 7.25/10 (Cool)

Tuesday, February 21, 2012

Ecliptica - Journey Saturnine [2012]

I do have to give Ecliptica some credit. After looking at that band name, that vaguely (ahem) familiar logo, and even the somewhat flashy cover art, I think most would reach the same hypothesis as to what to expect here. However, Ecliptica throws an unexpected curveball; they are, in fact, not an exact copy of Sonata Arctica, as you no doubt noticed I was suggesting earlier. However, they don't completely escape the lull of humdrum genericism, either. Journey Saturnine is a (mostly) inoffensive, but entirely predictable and formulaic album.

For the most part, Ecliptica plays par for the course, safe power metal songs. This isn't the kind of PM with extreme, florid keyboards or speed, however, and frankly I'm not sure whether the band could handle such a style. There isn't exactly evidence of a plethora of unique talents showing through here, but that could simply be the result of just how restrained this material is. Nothing is particularly offensive about Journey Saturnine (apart from one abysmal song); it's just sort of... well, there. Too many midpaced clunkers with shoddy, simplistic riffs crowd the track-listing, and too few of the songs deviating from this repetitive scheme contain any convincing hooks to remember.

The most questionable department here is definitely the vocals. They're so hit or miss it's almost unbelievable. Thomas Tieber gives a decent effort without showing too much range, reminding me of Evergrey's vocalist in some respects. Apart from his average, clean performance, however, the other attempts fail on a sometimes humorously awful level. Some harsh vox are provided in a few tracks, and both their utilization and execution are awkward at best. The female singing is absolutely atrocious. I can't tell if their overt throatiness or tone of apathy are intentional, but I do know for sure that it's not working. Like, at all; maybe for a 70s blues band, but not Ecliptica.

The absolute nadir of Journey Saturnine comes in the form of "Without You," which basically redefines how low one can go with a power ballad: putrid vocals, coma-inducing melodies, and truly mind-numbing songwriting. If this track had come in the middle of the album, I honestly would have stopped listening to it entirely. It's that bad. As it stands though, this is just a slightly below average power metal album that will fade from memory shortly after listening to it. It's not bad to affront the senses, but I was in Ecliptica, I certainly wouldn't quit my day job just yet. Just try harder next time.

   Overall: 4.5/10 (Poor)