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)

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)

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)

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)

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?)

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)

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)

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)

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)

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)

Pagan's Mind - Heavenly Ecstasy [2011]

Pagan's Mind has been one of my personal favorites for some time now. Their albums Celestial Entrance and Enigmatic: Calling still stand the test of time, two classics of progressive power metal that any fan of the genre should partake in if they've made the mistake of not doing so already. The following release God's Equation was a dissapointment, however, seeing the band grazing in groovier pastures. It wasn't really too bad in retrospect, to be honest, but I still hoped that Pagan's Mind would return to a realm more akin to their past. Well, they have and they haven't. Heavenly Ecstasy (notably the band's first album not to be clad in a blue cover) sounds and feels vastly different from their masterpieces of yesteryear. This is more of a verse-chorus romp of 80's influenced power metal, wrapped in the flawless atmospheric sound of modern times. Some progressive flourishes from their past still surface in varying quantities, but that side of their music seems to have been vastly extinguished in favor of uber-melodic leanings; and it works. It works so well, in fact, that the album is damn near flawless.

First on the agenda is the man behind most of this band's success: Nils K. Rue. Apart from Jacob Hansen and (the formerly brilliant) Roy Khan, no active vocalist in this expansive sector of music is even close to touching his pristine voice, which creates this sort of sinergized flow when complemented by the band's clean-cut leads. His high notes belt out pure power, but he also has the ability to subtly let himself take flight over the ethereal music below. He seems to have a natural ear for melody, smoothly and effortlessly singing his cheesy space lyrics. I mean that in an endearing way. Some of the effects-ridden screaming and growling from God's Equation still invade the otherwise shiny soundscapes, but when used in moderation as they are here, they're much more acceptable. Rue's overall performance is mesmerizing; absolutely top-shelf.

The music built around his voice ain't too shabby, either, which means to say that it's awesome. The sound has clearly been retooled to make it more accessible, which sounds like a bad move until you actually hear it. It seems that Pagan's Mind have taken an even greater amount of inspiration from their Norweigan neighbors, the almighty TNT, than ever before. The traditional structures and occasionally classic rockin' feel certainly contribute to this vibe, as does the very familiar opening riff to "Intermission." This is not to say that this is an entirely heaviness-free affair. "Into the Aftermath," "The Master's Voice," and the epic "Revelation to an End" all provide unmistakable power in great measure. Personally, though, I take the most solace in the wonderful dreamier tracks. "Never Walk Alone" is the most similar to Pagan's Mind's past on here, and a further testament to the band's ability to create elegant sound waves that resonate endlessly in our minds. These songs portray happiness itself, and not in the derogatory way often used to describe power metal, but in a pure emotional form. "Follow Your Way" is the absolute highlight for me, a keyboard-drenched wonder that never loses sight of the human element, with interesting twists and turns and a chorus for the ages only adding to its dreamwoven perfection.

If I have anything negative to say about Heavenly Ecstasy, it's that it may be too melodic, too accessible; but that really isn't that much of a problem in the grand scheme of things. This is a release that has met and exceeded my expectations. If you're a fan of this band that was lost due to God's Equation, then I highly recommend that you at least give this one a try. I still can't guaruntee that it will suit everyone's taste, given its simplified nature. As far as I'm concerned, it's among the best releases of the year, a release that truly lives up to its title. Now that they're on a fairly mainstream label, maybe they can gain a bigger following while keeping up their outstanding quality. Heres hoping.

  Overall: 8.5/10 (Great)

Portrait - Crimen Laesae Majestatis Divinae [2011]

Portrait is the latest retro craze in ballsy, old school metal, and their new (ridiculously titled) album Crimen Laesae Majestatis Divinae is a great showing as to why. What one realizes is that even the name is part of Portrait's retro persona; this is 80's power metal in its truest and most pretentious form (okay, so it falls short of Manowar in that regard). What I did not expect, however, is that the album doesn't flat out sound like a straight Mercyful Fate/King Diamond impersonation. Sure, the vocalist often sounds like a King dead ringer, and the band is quite liberal with using the Fate's distinctive riffs and leads, but there are enough little elements of classic US power metal, traditional (ala Iron Maiden or Jag Panzer), and progressive music to have the release feeling both fresh and nostalgic at the same time.

Since the band lost its first vocalist after the debut, they've found a suitably similar replacement in Per Karlsson. If any were worried that a change in pipes would be indicative of a decrease in quality, they really shouldn't; to my ears, at least, he's the superior singer. Not every falsetto and evil spoken part is perfectly on, but the guy gives it his all, and the outstanding choruses show it. The guitarists find a comfort zone using a somewhat involved string of rhythms and leads. I wouldn't call it a wall of sound per se, but there isn't a whole lot of space in there, either; but that's okay: the result is a near perfect emulation of 80's metal production. When you see the somewhat long song lengths, the first question you probably have is, are the songs memorable? The answer is a rousing "hell yes." It's almost surprising how swift the tracks seem to end considering this factor. An eight minute thumper like "Darkness Forever" will come and go without losing your interest. The refrains are apt to be trapped in your mind; just listen to mega-catchy numbers like "Beast of Fire" and "Bloodbath."

Of all the tracks here (just eight in 54 minutes), only "Infinite Descension," "The Nightcomers" and the atmospheric instrumental "The Wilderness Beyond" (see "To One Far Away") seem to be torn directly from the Mercyful Fate playbook. The rest aren't breaking new ground or presenting new ideas, but what Portrait does works. No need to be too critical about originality when that isn't the point of the band in the first place. Crimen Laesae Majestatis Divinae is never quite as glorious as Ghost's Opus Eponymous, but that's a different beast entirely. If you like the edgier side of retro Swedish things, such as In Solitude, then you shouldn't hesitate to check this album out.
  
   Overall: 8.25/10 (Great)

Heavenwood - Abyss Masterpiece [2011]

Abyss Masterpiece is an album that immediately reminds me of Septicflesh's 2011 release The Great Mass, not only because of its recent freshness in my mind, but because of its similar integration of orchestra sections with death metal elements. Many factors differ between the two, however. For one, Heavenwood falls in the gothic doom genre with only hints of death, most of which being inspired by vocals alone. There is a lot of variety here, which is a characteristic that many of Heavenwood's similar contemporaries lack. It's an important one on Abyss Masterpiece, too, considering that the album runs for twelve full tracks and just about an hour of music overall. Though each and every song may not quite match up with the rest, this is a remarkably conisistent and entertaining piece of work.

The material fluctuates between heavy, dark symphonic pieces and more catchy, accessable songs. This is a formula that often leads to weak filler tracks when used by a mediocre band, but Heavenwood does it so well that any discriminating gothic metal fans should enjoy the lighter parts as much as the night-shrouded ones. Take for example the opening one-two punch of "The Arcadia Order" and "Morning Glory Clouds." The former is a cinematic showing not unlike "The Vampire from Nazareth" while the latter opts for a highly listenable melodic death single approach; it's a perfect way to foreshadow the styles to come. This structure also opens the way for a multitude of different vocals. A bludgeoning but not too unintelligible growl is present for most of the duration, but it's additionally accompanied by full clean vocals and a sludgy 50-50 style somehow appropriate for the occasion. The female vocals in "Leonor" make it a pleasent surprise and one of the more memorable showpieces here.

To be honest, I prefered the cleaner cuts from Abyss Masterpiece, an aspect of Heavenwood they should take with great pride. Few do these types of songs better. Tracks like "Once a Burden" and "Like Yesterday" are great enough already, but when "A Poem for Matilde" plays, it brings with it an emotion power I've only seldom heard elsewhere. This is a beauty of a track, a sweet, moving display of genuine passion. As with the rest of the album, the lyrics show an adept knowledge of longing and promise.

"Blessed and divine, my world your eyes
I'm distinguished
I'll never let you down
Your hand in mine, we'll rule the time
Autumn or Winter
I'll never let you down"

For haters of symphonic or orchestral utilization in their metal, all I can say is that Abyss Masterpiece is less of a full symphony than The Great Mass and that you shouldn't let a rather unimportant qualm get in the way of a great album. Heavenwood knows when to use additional instruments and when to keep them quiet and play with sheer simplistic feel. The final result plays like a highlight reel of gothic metal's best aspects. This may not be the heaviest nor most stylish pig in the excellent 2011 litter, but it certainly isn't the runt, or even close, for that matter. It has enough meat on its bones to feed your ears for many listens, probably en route to winning "best in show" accolades for its genre. So, that about does it: an epic metaphor for an epic album.

   Overall: 8/10 (Great - I adore a soul that doesn't feel)

X Japan - Art of Life [1993]

So, what was the logical next move for a band slowly devolving into commercial tendencies? Apparently, they thought that coming out with a 29-minute song that would limit marketablilty and eradicate the chance of a popular single would be the way to go. Against all odds, the "album," Art of Life, was both a commercial success in Japan and a high quality piece of material. Unlike the American bands who seemed to degrade even further, X Japan realized that popular metal was dead and just decided to do this ambitious escapade on a whim. It certainly isn't the most accessable thing in the world; in fact, I'd say it's one of the hardest things to listen to while still managing to be so good, a factor influenced not only by its length, but also a couple of parts that make it a bumpier ride than it needs to be. It's a flawed masterpiece.

The structure is somewhat like (Edge of Sanity's) Crimson, if Crimson was shorter, had fewer choruses to repeat, and had a little less thought to it's composition. The song begins slowly with a balladic introduction. Although this is one of the few efforts on which the heavier parts outstage the balladry, the intro is rather nice. The first two things to notice are the pristine production and how good Toshi sounds this time around. He's sings extremely clean all the time here, and shows off how good his pure voice is. Once the guitar kicks in, we're introduced to the what the bulk of the song is made up of. All of the metal parts plain kill. If they dropped about ten minutes from Art of Life, we'd be left with one of the finest, most epic speed/power metal songs in history. The riffs are fire-powered, Toshi's singing his ass off, and when one of the finest choruses ever written comes, time seems to stand still.

"Through my eyes
Time goes by like tears
My emotion's losing the color of life
Kill my heart
Release all my pain
I'm shouting out loud
Insanity takes hold over me"

A spoken sample seems to separate the different parts from the first half, providing some of the darkest lyrical themes. This is a concept album, but it's more of an idea than it is an actual story. Things slow down for a magical postchorus, and it doesn't stop here. We get about eight more minutes of progressive metal wonder, a couple repeated parts for added enjoyment, and some nice orchestral elements before all fades but two pianos. For any fan of X Japan, this isn't a cause for concern, as some of their finest work has been accompanied by piano. All's well until about the eighteen minute mark, when a two minute chaotic cacophany of keys drowns everything and punctures your previously comfortable eardrums. I couldn't imagine a worse way to harsh a mood.  Luckily, the actual song reprises for the last six minutes and we get to hear the end of that awesome speed metal song again. I don't know why they ever left it.

You've no doubt noticed that I've been strongly hesitant to call Art of Life an album, and that's probably its biggest obstacle. It feels more like a really long song than an actual full-length. Granted, it's a brilliant really long song, but that doesn't change what it is. It's no Crimson, but you know what? This came before Crimson. It was the longest song ever in metal at the time, so it has to gain some style points just for ambition and originality. Some parts could be tightened up (especially the vile piano "solo"), but you get what you get, and we still got a wealth of superb songwriting with this release. This is just the slightly violent calm before the storm.

   Overall: 8/10 (Great)

Obscura - Omnivium [2011]

There are few bands in the realm of death metal that I take a shine to, but I can usually get into a good progressive or technical death outing. Cosmogenesis easily vaulted Obscura to a level of universal notice, swerving with artsy finesse to spare. As such, I've definitely been anticipating Omnivium, expecting nothing but another quality release; luckily, that's exactly what we have. Omnivium outdoes its predecessor in many ways and takes Obscura into new and exciting directions, managing to do so all without altering their unique vision of spacey metal. This is the perfect example of a band changing just enough. This will probably not, however, do anything to change the minds of those who despised Cosmogenesis, but the willing might as well try anyway, because Omnivium is a release that a deathhead should not miss.

Obscura's technical insanity is rarely matched. This is crazy music that might easily scare away many avid death metal fans, so be warned. If Coroner was stationed in space, slowed down the riff speed, and equipped a growling vocalist, this is likely what the result would sound like. Those familiar with Obscura know, however, that they are not about heaviness. In fact, some could (and do) claim that they aren't very heavy at all, which isn't exactly true. Obscura just knows how to fuse jazzy and artsy elements into their metal, and as far as I'm concerned, it isn't boring; not at all. Omnivium extends the use of these elements, adding more softer parts than ever, which include more clean vocals (low key and added only occasionally for atmosphere) and acoustic parts. These never lose my interest or distract me from the rest of the music, only increasing my appreciation for the album even more. Omnivium certainly isn't for those with an aversion for prog.

The album enters with "Septuagint," which begins with an elegant acoustic intro, forshadowing the increased amount of lighter elements to come. This track is a progressive maelstrom of interwoven parts both heavy and artistic, still managing to retain that level of catchiness I expect from Obscura. "Vortex Omnivium" is next, probably the most set on lowering any musician's self-esteem, delivering a fast, over the top showcase of insanity. "Ocean Gateways" takes a slow, drawn out, but ultimately crushing voyage channeling the "water metal" it no doubt draws its title from. A couple tracks later, "Celestial Spheres" arrives, the piece here that provides the greatest lighter relief. This song is the first of Omnivium's second half, where the album truly finds its rhythm and shifts into legendary territory. "Velocity" is no doubt my favorite of 'em all. The sweeping verse and the repeated "this is the end" phrasing gets in my head for days, and the soloing is absolutely incredible, drawing visions of Watchtower in all the right places. The following instrumental "A Transcendental Serenade" is another highlight, never losing my interest even with the lack of vocals. "Aevum" is a fine progressive track, rounding out the album nicely.

For me, Omnivium is just another awesome album. Some might be disappointed with the softer aspects of this release or the longer lengths of each track, but neither leave me cold in the least. The release's middle section (Euclidean Elements and Prismal Dawn) doesn't quite wow me the way the rest of it does, and it doesn't have extremely high relisten value. Luckily, neither of these factors maim the album of its worth all too much. Great work.

   Overall: 8/10 (Great)

Artillery - When Death Comes [2009]

Artillery... Just hearing the word come up in common conversation gets my heart racing, my mind going, and my blood pumping. Most of those reasons would be greatly influenced by their 1990 anomalous masterpiece, By Inheritance, an unbelievable collection of timeless rampages and jaw-dropping riffs. So, when you're reviewing a newer release by the same band that made your all-time favorite thrash album, one has to be careful about being over judgmental and critical of the smallest flaws. Fortunately, I found absolutely no need to do that. When Death Comes is simply superb fun from start to finish. Obviously, it's no By Inheritance, but that wouldn't be possible to recreate in this day and age, anyway. People need to accept that these bands will never recreate their masterpieces. If one enters this release with that mindset, I'm certain all he or she will find here is an outstanding display of thrash.

This is thrash only the way Artillery can play it. There's no mistaking an Artillery riff; from the very first note, you know who it is. Basically, nothing has changed in the guitar department, thank god. Immediately one recognizes riffs that would feel right at home on the band's 1990 opus, and all possible anxiety I had that this might be another disappointing comeback dissipates. Here's the makeup of a typical Artillery riff: 25% Egyptian, 10% melodic, 40% technical, and 35% INSANE. Add that up, and you've got a perfect 110% on the pure heaviness scale. Now multiply that by about 30, and you've got a full-fledged Artillery album. Well, I can tell you now, When Death Comes is a full-fledged Artillery album.

Okay, okay, so an album would be nothing if it was just a random collection of riffs with no regard to songwriting. Well, worry not, friends; we have ten doozies. No filler, all killer, if that old adage is even in use anymore. Cutting it down to the more specific highlights, one only has to press play. The opening title track is the perfect way to kick this festival off. With riffing the most similar to BI of all the songs and an awesome chorus that I can never get out of my head, this gets one in the thrash mood right away. Look ahead to "Rise Above It All", which does exactly as its title proclaims with the insane display of soloing about halfway through, seeming to go on and on just for the fun of it. Couple that with Adamsen's convincing snarls and we've got another winner on our hands. "Delusions of Grandeur" is the semi ballad of the album, which in general tends to be thrash suicide with most bands. Artillery, however, knows how exactly how to do it. I can't help but sing along to that insanely melodic chorus every time. Also, Adamsen shows his great ability to really sing on this one.

Finally, "Damned Religion" arrives, my favorite on the album and quite possibly the very definition of the term badass. That riff during the verses makes me want to start destroying anything unlucky enough to be in the nearby vicinity. This thing rivals the sheer energy of the break in "Back in the Trash", something I previously thought to be impossible. All in all, When Death Comes is just freaking awesome. I almost feel guilty just trying to narrow down the highlights to meager few, because they're truly secreting out of every filthy, heavy corner of this album. The performances are tight, the songs are killer, and the production is perfect. What more can one ask for? I believe the biggest concern fans had coming into this release was how Adamsen was going to perform as Ronsdorf's replacement, but as far as I'm concerned, he lives up to the legend, doing both the fans and the band no disservice. The killing spree will only continue...

   Overall: 8.5/10 (Great - 3300% on the riff etiquette test)

Stratovarius - Polaris [2009]

Stratovarius's 2005 self-titled release was the worst album I've ever heard by far. It was absolutely abysmal in so many ways that it was hard to write an appropriate summary of that album's utter failure to convey any emotion or effort in any sense. After such an unspeakable release, what was there to expect from this new album? I faced a similar dilemma after hearing the dreadful Fourth Dimension, and that was answered by the good, solid Episode. So isn't it just right that their very worst album would be answered by one of their best? That's just what Polaris is, as, despite all odds, this really is good, and there's a lot that makes it that way. It was painful being forced to go through this entire catalogue, but at least it ends on a good note. Well then, shall we?

First of all, the production of Polaris is wonderful. By far the best of any Stratovarius album, the sound generates this very approprate spacey feel. The atmosphere is what truly carries the music within it, and Polaris uses its environment perfectly, crafting every song with a light, playful air, a refreshing change from the horrible faked seriousness of the self-titled. The result is an album that has all its songs (and its heart) in the right place. Polaris is probably one of the most consistent albums they've ever released, too, as it goes the entire fifty-five minute runtime without losing too much steam once. There are a lot of tracks that aren't really all too exceptional, but they're also not boring and manage to hold your attention for just enough time to get to the highlights...

And what good highlights we have here! King of Nothing is an awesome, epic fist-pumper that culminates in the spectacular soaring chorus. Semi-ballad Winter Skies is pure excellence all around, probably the best song here. Floating on dreamy verses and feeding off the elegant atmosphere, this song always inspires awe. Another ballad, Somehow Precious is a also another great track thanks to its slow moving, ambient passages. The two part Emancipation Suite is rather nice as well (although it borrows heavily from their previous song Babylon in its epic buildup). Finally, we have the closer ballad, When Mountains Fall, which greatly succeeds despite the fact that it's an obvious attempt yo recreate Forever. It's a really good obvious attempt, though, almost reminding me of the arcane beauty of Elements Pt. 1.

If you noticed that I named just about the entire second half of the album, then good for you; here's a star. That is another good quality about Polaris, admittedly, as most second halves of albums fail to live up to the first ones, especially with the consistently inconsistent Stratovarius discography. I wouldn't call myself a Stratovarius fan, as such a title would bring shame and humiliation onto myself, but if half of their releases were this good, then I might. Polaris is just about the best a band such as Stratovarius can accomplish at this late date in this dated, overplayed genre. It's a nice collection of good songs from a bunch of old guys that doesn't feel too forced in its nostalgic display of archaic, familiar-sounding songs. If they can continue at this speed, then we'll have another good release on our hands soon. There; everyone's happy.

   Overall: 8/10 (Great - they never fail to surprise me)