Skelator - Death to All Nations [2010]

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

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

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

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

   Overall: 8/10 (Great)

Lantlôs - Agape [2011]

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

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

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

   Overall: 5.5/10 (Mediocre)

Battle Beast - Steel [2011]

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

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

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

   Overall: 5/10 (Mediocre)

Riot - Immortal Soul [2011]

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

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

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

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

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

Septicflesh - Esoptron [1995]

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

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

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

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

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

Septicflesh - Mystic Places of Dawn [1994]

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

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

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

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

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

Iced Earth - Dystopia [2011]

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

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

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

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

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

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

   Overall: 7.75/10 (Good)

Dream Theater - A Dramatic Turn of Events [2011]

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

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

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

   Overall: 5.75/10 (Mediocre)

Anubis Gate - Anubis Gate [2011]

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

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

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

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

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

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

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

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

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

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

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

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

   Overall: 7.25/10 (Good)