The Ruins of Beverast’s music is an intriguing and exotic combination of atmospheric black and doom metal. Okay, so what’s so exotic about it, you might ask? Well, it’s the artist’s sublime ability to combine lesser-heard influences, (an occasional touch of Continue reading “The Ruins of Beverast – The Thule Grimoires (Review)”
This is the eagerly awaited follow up to 2017’s Medusa, which was a thoroughly enjoyable album through and through. Back with 45 minutes of new material on Obsidian, this is a great time to be a Paradise Lost fan. Continue reading “Paradise Lost – Obsidian (Review)”
The music of Midas Fall is a thing of shimmering, ethereal beauty, replete with resonant emotion and resplendence. Continue reading “Midas Fall – Evaporate (Review)”
Taking an electronic and keyboard powered approach to their music, The Taint is an enjoyable trip to places that I haven’t visited in quite some time. Continue reading “Nexus – The Taint (Review)”
Just take a look at that album cover. I mean, how could you not be intrigued by that?
When you delve in, you’ll find that Diablo Blvd play a mix of classic and Continue reading “Diablo Blvd – Zero Hour (Review)”
What can you say about this album if you haven’t already heard it? It’s just so good.
Following up the metal masterpiece that was 1995’s Draconian Times was always going to be a tricky proposition, but the band certainly didn’t opt for Continue reading “Paradise Lost – One Second (Review)”
If you haven’t encountered Mono Inc. before, then I suggest you prepare yourself. This is a larger than life band that need to be approached in this context. Continue reading “Mono Inc. – Together Till the End (Review)”
Combining doom, dark ambient, Gothic rock, post-metal and neo-folk, Worm Ouroborus are the kind of band that easily stand out from the rest of the herd. This is not typically something you hear every day. Well, unless you listen to them every day from now on, of course. Continue reading “Worm Ouroboros – What Graceless Dawn (Review)”
According to the promo blurb – “This album is an amazing blend of doom and goth rock that takes the melodies of The Cure and combines them with heavy metal, into a unique whole.” Now, I don’t always put a Continue reading “A Province of Thay – Atonement (Review)”
This is bright, upbeat and cheery Progressive Rock with Gothic elements and just a tinge of Metal. Good songwriting and the abundant energy that the band pour into the tracks mean that Verisimilitude is a winner.
Although there are Gothic elements, these are only added in for extra colour as the main base of the band is a Progressive one. This is good, as Gothic Rock/Metal has been so thoroughly done to death over the years that it’s a style that’s usually simpler and duller in many ways than what we find on this album.
As the band’s songwriting is based mainly on Progressive Rock rather than the Gothic variety, this allows them to avoid the obvious pitfalls of the Gothic Rock/Metal style. On this album the band have the mix just right, concentrating mainly on the Progressive and just adding a bit of the Gothic in here and there.
Verisimilitude is a well-done and enjoyable listen, with each of the songs having character and presence. The Progressive Rock influence is evident in the guitars and the keyboards, as well as the overall feel and style of the songs.
There’s a rich tapestry of orchestration and added layers of atmosphere to the songs and a good amount of diversity and variety of feeling and moods on the album. This is also true of the singer’s voice, which is used to great effect throughout. She has a top quality voice with a good range that’s more than capable of dealing with whatever is thrown at it.
Impressive and professional; Embassy of Silence have created a cohesive and compelling album that’s based around energetic and impassioned songs with bright hooks, catchy melodies and music with substance and depth. Who can ask for more?