Spellcaster’s third album Night Hides the World is a release that I’ve found so very easy to get on with. The high energy delivery, the sterling, soaring melodies, the insanely catchy songs…it all makes for an album that’s got high-repeat value and is just really, really good. Guitarist Bryce VanHoosen gave me a bit more background to the band and what makes them tick…
Tell us a bit about the background of Spellcaster
SPELLCASTER was started in 2009 as a fairly traditional speed metal band and released their debut, Under The Spell, in 2010. I joined in early 2013 after there was a fairly severe lineup shift. Tyler, our vocalist, originally played guitar, but moved to vocals after we parted ways with the original singer. I jumped on second guitar, and Colin took over on drums after the first drummer quit. We released our second album, SPELLCASTER, in 2014 and started a touring cycle for that album. We caught the attention of Prosthetic Records and signed a deal with them for our newest album, Night Hides The World, and are starting a touring cycle for that album now.Continue reading “Interview with Spellcaster”
Spellcaster are a US heavy metal band and this is their third album.
This is traditional heavy metal with a good pinch of NWOBHM. Spellcaster have created a fiery and passionate modern take on the classic style, meaning that the band play music that’s instantly recognisable as what it is, but with an up-to-date production and youthful vigour.
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 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 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.
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.
Wonderbox Metal 