Trial are a Swedish Heavy Metal band and this is their second album.
Trial play Classic Heavy Metal full of songs and steel.
The vocals are melodically clean and employ some very nice harmonies. The singer belts out the tunes with power and class. I really like his voice.
The songs on Vessel are very well written and performed. Trial are a clearly a professional band with a high quality threshold. These tracks are memorable even on their first spin and subsequent listens really allow them to get under your skin.
Trial have elements of Epic Heavy Metal, which comes out in the longer length of some of their tracks, as well as a slight Traditional Doom Metal feel to some parts of the songs.
There’s a good amount of variety on this album and the band show they have what it takes to produce enjoyable songs no matter what tempo they play.
Each song has a lot of content and there’s no filler to be found at all. They save the best track for last with the 13 minute epic Restless Blood. Quality.
The production is modern enough to be crisp and punchy but warm enough to not rob the band of any of their heart.
Trial are at that perfect sweet spot between old and new, giving them a timeless air. This is Heavy Metal as it should be played in 2015.
Vessel is a really enjoyable Metal album and I definitely recommend getting your hands on it.
All Seeing Eyes are a Power Metal band from the UK and this is their début album.
Well this is a whopper. 18 tracks, 1 hour and 48 minutes of music. So prepare yourself; get some snacks and disconnect all lines to the outside world. When you’re ready, press play…
First thing’s first – this is a band put together by the main chap from Neverworld, and if you enjoyed their spectacular début, (go get it now), then you’ll already have a good idea of the quality that you’ll find in All Seeing Eyes.
This is a very ambitious album, and one that could have fallen short of expectations if it wasn’t for the stunning musicianship on display and the advanced level of songwriting the band show.
This is a very strong collection of songs, something that’s a hard enough feat to attain if you’re doing a normal album, let alone what is essentially two in one go.
The flashy playing, complex guitarwork, swathes of keyboards, etc. only add sparkle and glamour to the tracks rather than deflecting form their quality in any way. This is clearly the work of musicians who are confident in their ability to deliver the goods.
For such a long playing time I’m very pleased to say that the band never sound stale, repetitive or samey. Everything they do fits within the Power/Heavy Metal framework, but within this framework there is a lot of variety and all of it is pulled off seemingly with ease. Oh I’m well aware that countless hours of preparation, writing, practice, rehearsals, etc. must have gone into the making of this album, but when you listen to the finished product…it just sounds effortless.
Some of the melodies on this album go beyond hooks and catchiness…captivating would be a very good word. I’ve said before that a good singer can make or break a band, and All Seeing Eyes have a great singer. This frees up the rest of the band to be able to play some mesmerising Power Metal with full knowledge that whatever they do the vocals have the strength to match up to it.
This is an album full of top guitarwork, be that solos, leads, acoustic parts or just plain solid rhythms; it’s all polished to a high degree but not so much that it doesn’t drip with emotion. A hard balance to strike but again, seemingly effortless in this instance.
The abundant and omnipresent keyboards could easily sound smothering in lesser hands; as it is though they simply complement, enhance and merge with the rest of the music to create a fluid whole.
If this sounds like an overly positive review, that’s because it is. Trinity Road is so far beyond what most bands are capable of it’s almost embarrassing. The feeling when you hear such a good Power Metal album like this…almost nothing can top it.
This is a stunning album and I absolutely love it. What more can I say?
Confident, emotive Power Metal never sounded so good.
This is the début album from German Heavy Metal band Involution.
This is galloping Heavy Metal with a good production and a singer who knows who to use his voice.
As I’ve opined about before, the singer can so easily make or break a band like this for me; a bad/sub-standard voice can easily let down what might otherwise be good music. No worries here though.
The singer of Involution has a clear, strong voice that fits well with the music. It’s largely more Heavy Metal than Power Metal, although the band do stray into Power Metal territory on occasion.
The songs are solid slabs of Metal with plenty of good riffs, leads, solos and energy. The band play like they really feel it and the overall songwriting is of a high standard. This is a band that seem to peel off hooks and catchy melodies with ease.
Involution seem to have an Old-School base for their brand of Metal but still manage to come off relatively fresh and exciting at the same time.
A focus on classic songwriting and song structures means that Involution have all of their bases covered; everything shines brightly on this album and Evolution of Thoughts is a bit of a stormer.
I love it when you find a really decent Heavy/Power Metal band like this. Involution have quality written through them in large, metallic letters.
Primordial are from Ireland and this is their eighth album.
A new Primordial release is always a bit of an event to be greeted with great anticipation. They’re a band who have carved out their own niche in the world of Metal and can rightfully say they’ve achieved what they have through their own hard work and individuality.
The first thing that always comes to mind when thinking of Primordial is the talented and dramatic vocals of their singer. This is not to belittle the musical content in any way, but this has always been the focal point of the band for me.
On Where Greater Men Have Fallen he’s on top form as always; power and passion are the cornerstones of his delivery. His performance is first-rate and he still has a great turn of expression and a strong theatrical presence.
The music, as always, is bold and striking whilst simultaneously having nuance and depth. The driving riffs will be instantly familiar to Primordial fans and the colourful, emotive world the band exist in is welcoming from the get-go.
The songs cover upbeat charges and more atmospheric, considered parts. Primordial do both very well and both get equal consideration on the album.
Primordial’s Black Metal background has allowed the band to retain a certain edge to their songwriting, even though these days there’s only a few Black Metal traces left in their sound. For the most part this is roaring, passionate Heavy Metal through and through, but without a cliché in sight.
Nobody really sounds like Primordial, and Primoridal don’t really sound like anyone else. A lot of this is down to the singer, but musically this is true as well. When you hear them you just know who the band is.
This album is a jewel in the crown of Primordial’s considerable back catalogue. Their previous album, (Redemption at the Puritan’s Hand), was good but not quite up to the usual Primordial standard for some reason. With Where Greater Men Have Fallen they’ve corrected this slight dip in quality with an album that sits alongside the best of their work.
If you already know Primordial then you’ll need little convincing to get this album. If you’re new to the band then this is a perfect introduction.
This is the début album from Italy’s Epitaph, only a mere quarter of a century or so after they first formed…
Epitaph play Doom Metal, Black Sabbath-style, with a decent amount of Heavy Metal thrown in. It’s ancient and grand sounding, with mystery and the occult bleeding out of every wicked pore.
Resolutely Old-School, this is nonetheless infused with vitality and interest as if fresh out of the mortuary. You can always tell a good album when you can quickly point out individual songs because each one has its own feeling or unique twist to the formula.
You can tell that some serious time and effort has gone into this album as each song has character and style. The album feels very complete and has a lot of personality to it.
The musicianship is at an advanced level, as is the songwriting, with the tracks being very well developed. Dynamics, pacing, hooks and melodies; all are here in abundance.
Each instrument is represented clearly, even the bass, and the subtle keys add further atmosphere to what is already a strong selection of riffs and song structures. The guitars are heavy and the beats are solid.
The singer has a strong voice that handles the tunes with ease.
Epitaph may have only just produced their début after such a long time, but now that they’re here they have the potential to become a force to be reckoned with in the Metal scene.
Let’s hope that this isn’t the band’s epitaph, and let’s hope album number two doesn’t take as long.
This is the début of Heroes of Vallentor. They’re from Sweden and play epic, heroic Heavy Metal.
It’s starts with an intro to end all intros, one that’s so full of heroic themes and fantasy imagery that it’s quite staggering.
When the music itself starts it’s no let down as it’s just as theatrical and heroic as I was hoping for. This is big, bold and brash Metal that owes as much to Manowar and Conan, (not the band though), as it does to European Epic Power Metal.
However; although the Power Metal aspect of Heroes of Vallentor’s sound is there, it’s not that large compared to the gritty and unpolished Heavy Metal that makes up the main part of their music. This is real Metal made my men who carry swords and axes to the supermarket.
The music is solid and played well. Leads and solos come and go and the riffs are Metal to the core. There are some catchy moments and lots of hooks to ensnare the unwary.
Each of the songs has clearly had a lot of thought put into it with the music the backdrop for the epic saga the band are spinning. The musicians attack their muse with passion as the tale unfolds.
The sound is warm and satisfying; gritty and raw but well-rounded and full nonetheless.
The singer tends to alternate between rough cleans and histrionic wailing. It does the job and ticks all of the right buttons for this kind of music.
At 56 minutes in length this is a long album, but if you’re in the mood for bravado and epic, heroism then these are the men for you.
It’s a very rough and ready album and certainly won’t appeal to everyone as this is a very niche form of music really. I can’t help but find it endearing however, and if you aren’t completely adverse to this kind of thing I suggest you check them out and make your own mind up.
This is US band Dawnbringer’s seventh album. They play Heavy Metal.
Night of the Hammer has a strong 70’s vibe and mixes Heavy Metal with a good dose of ancient Doom to create something that’s drenched in the past yet remains potent today.
The brittle-sounding production lends the proceedings a proto-Blackened aura and enhances the feelings of authenticity and sheer audiophile-esque pleasure that this record gives off.
The important thing about a band like this is the quality of the songwriting and Dawnbringer are not found wanting in this regard. These are simple songs that are all the more powerful and effective for it.
Each track is stripped-back Heavy Metal as raw and emotive as when the genre was born. The rocking riffs and solid drums breathe life into the songs. The bass provides a firm bedrock for the band to build on and the solos and leads add colour. The odd Black Metal influence raises its head, mainly on Not Your Right, and strangely only sounds a little out of place.
The band play upbeat, downbeat and all kinds of mid-paced riffs in-between. The songs have plenty of darker moments but Dawnbringer are not afraid to sound chirpier on occasion also. True, it never reaches Power Metal levels of happiness or Folk’s sometime’s jauntiness, but they can certainly sound brighter than a lot of Metal when the need arises. Xiphias is a great example of this.
The music and exceptional vocals definitely have a 70’s vibe but the album also transcends this to have a certain timeless quality about it.
This is a most enjoyable album when you want a Classic Metal sound that harkens back to the time when Metal was born.
Northern Crown’s début EP In the Hands of the Betrayer is a thoroughly enjoyable slab of Metal that any Doom/Heavy Metal fan should rightfully have in their collection. I wanted to find out more so I quizzed multi-instrumentalist Zach…
For those who are unfamiliar with your band – introduce yourself!
Hey there! So we are Northern Crown from the US. We’re based between South Florida and Nashville, TN. We play what we like to call “Epic Doom Metal”.
Give us a bit of history to Northern Crown
I formed Northern Crown in January of 2013…it had a different vibe initially. It was more of a jammy stoner/sludge vibe. It was a 3 piece with me on vocals. That lineup didn’t really work out and as I was writing this album, the sound really transformed. As I began recording the album, I was put in touch with Frank and Josh through a mutual friend. Randy, Sally and Roberto are all friends of mine. The lineup for this record end up coming together really quickly.
What are your influences?
Classic heavy metal, classic doom metal, 70’s rock. Specifically, Black Sabbath, Dio, Candlemass, Rainbow, Uriah Heep, Deep Purple. Really, anything epic and heavy.
What are you listening to at the moment that you would like to recommend?
I’ve got a few things…I’ve been in a bit of a 90’s mode, so I’ve been listening to Edge of Sanity Crimson on endless repeat. It’s a great album…and if you’ve never heard it, you’re missing out.
I’m also big into the hard rock/proto metal stuff that’s coming out of Sweden like Witchcraft, Graveyard and Horisont.
What did you want to achieve with your new release?
Fame and fortune? Barring that, get our name out to the metal public and build some momentum for our next release and hopefully some live performances.
Tell us the meaning behind the title.
Without getting SUPER specific, the title “In the Hands of the Betrayer” is about me putting a great trust and responsibility in another person and they failed in the worst way possible.
Are you happy with how it turned out?
As someone who drives themselves really hard, I’m never totally happy with anything I do, but I’m really proud of this record and everybody that was involved.
What can you tell us about the lyrics?
The lyrics are all pretty personal…and I won’t get into specifics as I want people to take their own meaning from the songs…but each original track on the record tells the story of 3 particularly bad, life altering days in my life. Dramatic? Yes…but also cathartic.
Give us a bit of information on the songwriting process.
This album was written by me and the songs were basically finished before anybody else got involved. Frank wrote all the vocal melodies. My hope is to be more collaborative on the next release.
Tell us about the cover song on In The Hands of the Betrayer – why this band and why this song?
Firstly, I love Candlemass and they’re obviously the single biggest influence on this band. Epicus Doomicus Metallicus is one of my all-time favourites and Crystal Ball is such a heavy, powerful and groovy song.
How do you see your songs/direction developing in the future?
We’re a traditional Heavy Metal and Doom Metal band…and I want to continue to explore that sound while keeping it modern. I don’t think we’ve scratched the surface yet in what we can do with arrangements, whether it be vocals, organ or guitars.
What does the future hold for Northern Crown?
The near future is going to be spent promoting the début. I’ve already done some initial writing. Hopefully next year we get out and play some gigs and release a follow up to the EP later in 2015.
Our début EP, “In the Hands of the Betrayer” is out on October 14! You can find us online @ http://doommet.al
Kattah are a Power Metal band from Brazil and this is their second album.
This is Power/Heavy Metal with varied and exotic world influences and an Iron Maiden flavour. Mix in a bit of Kamelot and Queensrÿche and you have a good idea of the area Kattah inhabit.
The singer does his best Bruce Dickinson/Geoff Tate impression and for the most part pulls it off admirably. It allows him to have an instantly recognisable charisma without sounding like a clone.
Kattah have an ear for a good chorus, with plenty of the songs having decent hooks and catchy melodies. The band obviously have well-developed songwriting skills and they put these to good use.
The songs are able demonstrations of the Power Metal style with the Heavy Metal influence reining in the more extravagant tendencies that Power Metal seems to have. The songs are not devoid of ostentation, however, and the musicians are definitely a capable lot.
There are lots of good riffs and more than enough leads and solos to appeal. I’m very partial to some good shredding and this album features enough to satiate.
Another strength of this release is that it’s certainly no one-dimensional affair; it may stick within the Heavy/Power Metal template but it’s a much more varied release than most offerings from similar bands.
At 56 minutes in length there is a lot of material here and the band obviously have both ambition and talent. Given the right exposure Kattah have the potential to make quite a mark on the Metal scene, as they have both extravagance and accessibility in their favour.
Overall it’s a good collection of songs and Lapis Lazuli is a strong album.
Execration’s latest album Morbid Dimensions is an impressive, multi-faceted beast. After I’d picked myself back up off the floor, I scribbled down some hastily-scribed queries onto broken parchment and launched them into the ether. Somehow, somewhere, Cato Syversrud responded…
For those who are unfamiliar with your band – introduce yourself!
We’re four people from in and around Oslo, Norway playing metal of death. We focus on atmosphere and feeling over technical wankery, and share more in common with the bands of the eighties than most modern death metal bands. Still, we’re no retro-act, and we keep trying to take our music new places.
Give us a bit of history to Execration
Execration took its first steps in 2004. By 2006, we’d recorded our first EP, Language of the Dead. Immediately after that, Jonas joined on bass completing the band. After Jonas joined, we quickly wrote songs for our first album, Syndicate of Lethargy, which came out in 2008, over a year after it was recorded. In 2010 we did a split with fellow Oslo-area bands Lobotomized, Diskord, and Obliteration, called “Oslo We Rot”. In 2011, we released our celebrated second album, Odes of the Occult, and now we’re on the verge of releasing our latest album, Morbid Dimensions.
What are your influences?
Musically, I think we cover a lot of ground, as the four of us have our own tastes. I mean, we all share lots of bands in common that we all love, but each of us also have influences that the others don’t share. We all prefer things that sound “real”, things that have an edge and some dynamics to it, and that hasn’t been produced to a brickwalled piece of plastic. This means that we do enjoy quite a bit of vintage metal, but there’s also lots of cool new things coming out. Except for the metal stuff, there are of course bands in other genres as well, and I guess our tastes are less unified in this manner. Aside from other bands, we also find our influences in movies, and even to some degree other forms of art. These can inspire certain kinds of moods and atmospheres that we will try to incorporate into our music.
What are you listening to at the moment that you would like to recommend?
In the close future we will be sharing stage with Swedish Nifelheim at the Krater festival here in Oslo, so I’ve been playing their “Envoy of Lucifer” a lot recently. It’s really good stuff. Diskord’s newest EP has also gotten heavy rotation on all of our headsets, and I (Chris) have also spent some time with the latest Mastodon album. It’s not as great as they used to be, but it sure beat the previous one. Other than that bands like Bölzer, Twink, Circus 2000, Damian, Thorne, Old Razor, Sarcofago have been spinning a lot lately
What did you want to achieve with your new album?
We wanted the album to stand out in its own right, and to have an identity distinct from our other albums. This was a clear goal right from the beginning when we started writing the album, and to be honest, I think we’ve been pretty successful at this. We didn’t have in mind exactly how we would set this one apart, but we did have some ideas for moods and aspects of our music we felt we hadn’t explored fully on previous releases. As always, we also wanted the album to have a solid atmosphere, and not just be a riff-heavy metal album. On songs like Tribulation Shackles, this aspect has really been allowed to sit front and center, and on other tracks, it’s more subdued, integrated into otherwise intense and hectic songs.
Are you happy with how it turned out?
Quite so. Writing is a creative process, and the process itself has taken us places we couldn’t foresee upfront. It’s always exciting to be able to sit down and review the final product once it’s all over, and this time was no different. We’ve achieved our main goals, which was evolving our sound and evoking a deadly atmosphere.
What can you tell us about the lyrics?
We like to keep the lyrics on the obscure side. I will simply point you to the album title, the cover art and the overall feeling of the album, and let you make up the meaning of the songs for yourself.
Give us a bit of information on the songwriting process.
We always write as a group. Typically, people will show up at rehearsal with a riff or two, or maybe even a series of riffs stringed into a part. We will then work on what we have, and start looking to combine riffs into parts. In the early phases, we will even occasionally switch instruments when someone has an idea for something, and work like that to hash it out. Eventually these parts clump up into songs, and eventually the creativity shifts gears from writing new material to moulding the raw songs into more refined arrangements. This will include rearranging things, working with tempos and shifts, and the little details that separate OK songs from really great songs.
You have a very diverse and accomplished sound – how did you decide what you wanted to sound like in each part of the different songs?
We tend to think in songs more than in individual parts. So the individual parts exist to support the overall dynamics of the song. I don’t think there’s so much consideration of how we want to sound in this part and that part, it’s more how do we create good dynamics throughout the song. This plays into all the aspects of a song/part: tempo, keynote, mood, and so on.
How do you see your songs/direction developing in the future?
Well, that’s for the future to tell. All we know is that the next set of songs won’t sound like missing out-takes from Morbid Dimensions – that’s the drive of Execration, creating something new. On the new album, we made some drastic changes to the guitar sound by using a completely different tuning than the previous album. This may not be a permanent change. We’ll see where life takes us.
What’s next for Execration?
The album is about to come out, so first up is playing a few gigs to support them. Next year we hope to make it to more places further away. We also plan to write new material shortly, but what will come of it is impossible to say at this point. Rest assured, you have not heard the last of Execration.
Trial are a Swedish Heavy Metal band and this is their second album.
What are your influences?
What can you tell us about the lyrics?
How do you see your songs/direction developing in the future?
Wonderbox Metal 