Morthus are an old-school blackened death metal band from Poland. This is their début album.
Now this is quite exciting. I’ve been looking forward to hearing something more from this band ever since their début EP The Abyss arrived in 2014 and floored me with its combination of death, black and classic metal. Continue reading “Morthus – Over the Dying Stars (Review)”
This is the début album from this Italian death/thrash metal band.
Gnosis mixes the death and thrash styles and adds a bit of progressive metal into the mix as well.
The songs merge their thrash and death metal heritages together, taking aspects from both and adding some progressive structures into the gritty mix. There are some classic metal Continue reading “Psycho Scream – Gnosis (Review)”
This is the eighth album from this Swedish heavy metal institution.
How’s that for an album cover, eh? It certainly paints a pretty picture of what the album sounds like.
For twenty years Grand Magus have been blaring out their brand of heavy metal in one form or another, and they Continue reading “Grand Magus – Sword Songs (Review)”
This is début album from Indian heavy metal band Eclipse.
This is melodic heavy metal played in the old-school style and backed up with bright keyboards that add some ostentation and punctuated highlights to the music’s already colourful charms.
The singer has a powerful and clear voice that soars above the music with character and passion. A good singing voice can make or break a band like this, and I’m pleased to say that there are no real issues in the vocal department. Continue reading “Eclipse – Clandestine Resurrection (Review)”
Overtures are an Italian melodic Heavy Metal band and this is their fourth album.
Overtures play melodic Heavy Metal with nods to both progressive and Power Metal in their style. They know how to rock out when they need to, as well as exploring wider pastures and grander climes as appropriate.
This is an album strong in Continue reading “Overtures – Artifacts (Review)”
This is the second album from Tothem, an Italian gothic/heavy metal band.
This is the band’s follow up to their début album Beyond the Sea, which was a polished collection of gothic metal tracks.
As with their first release; no matter how enticing the female vocals are, Tothem still remember that they’re first and foremost a metal band. This means that the music is just as important as the singing, and the guitars are present and correct as they should be.
This is the début album from Canadian Metal band Gottweist.
Gottweist’s music is somewhere between the classic Iron Maiden-influenced Metal style and a more modern one, as played by bands like Killswitch Engage, Bullet for My Valentine, As I Lay Dying, Atreyu and the like. The balance is weighted towards the latter, but the former has enough of a presence to give Future Is in Our Hands more impact than is normal for a band like this.
The album features a bright sparkly sound that might not be quite as polished as those aforementioned groups, but still works in concert with the songs themselves to present a band who clearly have a passion and energy for what they do.
The singer’s voice is melodic and smooth, backed by the odd shout or harsher vocal. The Heavy Metal influence counteracts the more modern Metalcore one in various ways, one of the more notable being the fact that the harsh vocals are very much in the minority here, whereas normally it’s the other way around, with cleans usually being restricted to radio-friendly choruses. Gottweist go the other, less-usual route; the majority of the vocals on this release are sung, and when harsher ones do appear they typically back up the cleans on the choruses.
Leads and solos are used well, adding much to the hearty songs and catchy melodies. Indeed, there’s so much enthusiasm here that it’s hard to feel jaded and dislike what the band are doing, (unless you’re just not into this kind of thing, of course).
All of the above results in an enjoyable and slightly different take on the more commercial side of melodic Metal/Metalcore. I have enjoyed their slightly-atypical spin on the modern Metalcore sound; with the traditional Heavy Metal aspects of their delivery lending a bit more depth and longevity to the music than is typical for a band of this ilk.
Given the right backing and exposure, as well as a bigger production and a slightly more adventurous songwriting outlook, Future Is in Our Hands might actually be potentially quite prophetic for their next album.
Check this out.
This is the fourth album from this Italian Death Metal juggernaut.
If you haven’t encountered Fleshgod Apocalypse before, apart from having an extremely striking band name, they play an exciting and intriguing blend of symphonic and brutal Death Metal that has few peers and really does get the juices flowing.
There’s a lot of content on this release, lasting almost an hour in total. Now fully embracing their Classical influences, the songs on King merge both symphonic and Extreme Metal worlds in ways that very few bands could pull off. Septic Flesh, Therion and a handful of others are in the same league, but for outright speed and brutality combined with Classical influences, none really come close to Fleshgod Apocalypse, none that I’ve heard at any rate.
This is high operatic art, as applied to the realm of Extreme Metal. With a bombastic production the band’s compositions are nuanced and subtle, all hiding behind a ostentatious veneer of brutal Metal. Strength and power are exemplified on these tracks.
The deep growling vocals keep the aggressive elements at the forefront of their sound, while the soaring cleans make for uplifting and powerful additions. These clean vocals masterfully avoid the commercially-tinged climes of bands that usually incorporate them into an Extreme Metal framework and instead allow them to enhance and merge with the busy, complex music. Operative female cleans also appear in places, further impressing.
The symphonic elements are ubiquitous and relentless, providing an epic backdrop onto which the Metal is writ large. This is more than just one style being added to the other though, as the merging appears to take place at the cellular level, with both styles embracing each other. In places this even verges on the kind of symphonic territory that certain strains of Heavy/Power Metal have occupied so well over the years.
All of this on its own would be impressive enough, but the real test of longevity is the quality of the songs. After all, if it was all flashy style and no substance, then sure it would sound impressive on first listen, but it would soon get old. All of this is, I suppose, a rather long-winded way of saying that the songs are well-written in addition to everything else, and it is this more than anything else that will allow King to pass the test of time and multiple listens. These songs work, and work very well.
King demonstrates a band at the peak of their creative powers in many ways, and it will be interesting to see what paths they tread in the future. I personally hope they take the Classical/operatic angle even further and become even more epic in scope. We’ll see. For now though, King is a suitably majestic release for something that bears such an appellation, one that I insist you listen to as soon as you can.
Essential.
Stigmata are from Sri Lanka and this is their fourth album. They play Heavy Metal.
Wow, okay, so here we have a bit of everything from Death to Nevermore to Iron Maiden. The band play technical and involving music that’s as varied as the influences suggest, all within the overarching template of Heavy Metal.
At 58 minutes in length, and touching on a wide-range of Heavy Metal bases, there’s a lot going on here.
It’s clear that the band are Hellishly talented and have grand ambitions for their art. Frequent musical sidesteps are taken so that you never quite know what’s just around the corner. Some of the playing on this release is jaw-dropping.
Full of grand melodies and even grander ambition, The Ascetic Paradox is a wild ride through various corners of Heavy Metal’s map, paying tribute to the greats while also spinning the threads of the Metal fates to their own ends.
The vocals are equally as varied, taking in everything from shouts, slithering screams, cleans to air-raid siren howls.
The production is a little uneven in places – I could do with the guitars feeling a little fuller and larger, but it doesn’t spoil the songs, just doesn’t let them reach their full potential I feel.
This is very impressive, but I feel would benefit from being re-recorded and tightened up in a few places. Don’t let this put you off though as Stigmata have produced an album that wins more than it doesn’t.
A flawed masterpiece.
Rebel Wizard is a one-man Black/Heavy Metal band from Australia and this is his latest release.
This is a combination of Black, Thrash and good old Heavy Metal. It’s a rollicking and boisterous listen that boasts a strong sound, a lot of catchiness and plenty of hooks. Think traditional Heavy Metal, only with a Black/Thrash influence.
The music is sleek, energetic and sharp. This is what you’d imagine Iron Maiden sounding like if they were brought up on a staple diet of Black Metal.
Screeched vocals scrape like nails down a blackboard as the music powers along at a frenetic pace. The high-energy leads never seem to stop as the music reaches greater and greater heights of Metal devotion. The riffs are infectious and the music sticks in the mind almost instantly.
These songs are well-written and damn enjoyable. Before you realise it you’re tapping your foot and getting carried away with the tunes.
This EP is only 18 minutes long, so I can’t think of a single reason why you shouldn’t check it out. Off you go.
Wonderbox Metal 