Akhenaten play a hybrid style of black and death metal that’s been spiced up with Middle Eastern folk influences. The music brings to mind a cross between aspects of bands such as Nile, Melechesh, Arallu, Orphaned Land, Rudra, Septic Flesh, and the like. In other words, bands that use their extreme metal for more than simple brutality. Continue reading “Akhenaten – The Emerald Tablets of Thoth (Review)”
Symphonic death metal shouldn’t work, and mostly doesn’t. Elegy is different, however.
Orphaned Land play music that’s inspired and influenced by Middle Eastern melodies and ideas. These elements are skilfully woven into the band’s progressive metal in natural, effortless ways, resulting in characterful and Continue reading “Orphaned Land – Unsung Prophets & Dead Messiahs (Review)”
Impureza play death metal mixed with Iberian musical influences. This means we get acoustic and flamenco guitars, folk melodies, and Spanish lyrics, all combined with a brutal/technical death metal core. Also featuring some additional guests Continue reading “Impureza – La Caída de Tonatiuh (Review)”
This is quite a varied release that essentially boils down to about 40 minutes of epic extreme metal.
The music takes Continue reading “Divine Element – Thaurachs of Borsu (Review)”
First impression – the album art is amazing.
Featuring members of Demonstealer and Albatross, Demonic Resurrection play epic blackened death metal with flair and style, influenced by Hindu mythology in both theme and sound. Continue reading “Demonic Resurrection – Dashavatar (Review)”
Despite being around for a very long time at this point, and despite having first heard of them an almost equally long time ago, this is my first actual encounter with Rudra and their so-called Vedic metal. Continue reading “Rudra – Enemy of Duality (Review)”
Shokran play modern groove metal with a hearty djent influence, as well as having neo-classical, progressive, technical and Egyptian-themed aspects to their sound. They have a lot going on across these 35 minutes, and it’s all Continue reading “Shokran – Exodus (Review)”
This is an interesting release. The band play Death Metal that’s brutal and is not without technicality, yet also features a good amount of melodic and atmospheric sections and even clean vocals on occasion.
It’s a winning combination. The blasting brutality of the Death Metal core mixes surprisingly well with the more restrained, melodic parts.
The band seem to be talented musicians and there are no shortage of solos or technical wizardry.
The more atmospheric sections have the aura of Nile or Behemoth if they experimented with background clean vocals a bit more. They definitely have an exotic flavour to these parts and it’s great to see a band spread their wings to incorporate wide influences as well as the more traditionally brutal aspects of their sound.
They’re not afraid to show their Classic Metal heritage either, with a few riffs that would do Iron Maiden proud lurking here and there, albeit heavied-up some.
Sort of a cross between elements of Behemoth, Nile, Atrocity, Orphaned Land, Melechesh, Gorguts and Misery Index. Quite an eclectic mix in some ways when you see it written down, but when you hear it it all slots together quite naturally.
You’ve gotta love an Extreme Metal band who are willing to push the boundaries a bit. Kill the King fuses blasting extremity with melodic abandon and exotic atmospherics to great effect. Importantly they get the ratio correct. It’s mainly heavy and brutal, contains a good amount of flashy solos and leads, with the more atmospheric sections used sparingly for maximum effect.
Very good stuff indeed. Listen and enjoy.
Lighter than most of the bands reviewed on this site; this is for moments of introspection and contemplation, and fans of Tool, Porcupine Tree, (new) Opeth and (elements of) Orphaned Land should lap this up.
Firdous is an involved concept album documenting a young man’s journey towards attaining Mukti, (liberation or release), and the lyrics are entirely in Hindi. This story spills out into the detailed artwork and even the tracklisting, where the optimal order of the tracks is a puzzle to solve using clues from the complete digipak artwork. A lot of thought has gone into this release.
None of which would matter a damn if the music didn’t meet these high standards, but it so obviously does from the first track onwards. Coshish create a rich tapestry of sound and impression via expansive Progressive Rock.
The songs are very well crafted and full of an array of instrumentation and harmonic flourishes. The content of the compositions is warm and textured, and the tracks uplift and hearten without sounding trite.
The vocals are highly melodic and accomplished, providing the icing on the proverbial cake throughout this delicious album.
As Progressive Rock goes this is an exquisite release brimming with delicacies to satisfy even the most jaded palette. If this is to your taste then there is a feast to be had with Firdous. Eat up.