Vidian are a Polish Post-Metal band. This is their second album.
This is Post-Metal with some Progressive and Modern Metal elements, as well as a minor Death Metal influence, making for an interesting album with quite a few good ideas and interesting avenues explored.
If bands like Gorguts and Dementia Senex are Death Metal bands that are slowly evolving their Progressive Death Metal styles into Post-Death Metal ones, then bands like Vidian have already taken the next step. There’s hints of Death Metal lineage in some of the heavier parts, but for the most part this is firmly in Post-Metal territory.
Think of a band like Isis, then make the heavier bits heavier, the vocals harsher and throw in a trumpet here and there; now mix in a pinch of Tool and a few Modern Metal elements on occasion; Vidian don’t sound too far away from this description.
The vocals combine cleans and shouts, both being performed well. The shouts are tinged with a raw emotion and hark back to a more aggressive influence – almost Death Metal but not quite. The cleans have a certain amount of grit to them, allowing the songs to have an edgy feel even when there’s no shouting involved.
These songs are heavy and dark while also being surprisingly melodic and actually quite catchy on occasion. Post-Metal is not usually a sub-genre that lends itself to catchiness, but Vidian manage it in places on Transgressing the Horizon.
The light/heavy, build/release Post-Metal mechanics are maturely done, and the band have an advantage on the heavier parts as they’re just that little bit more crushing than the norm.
This is a solid album that probably won’t convince you of Post-Metal’s merits if you’re not a fan of the sub-genre, but nonetheless displays depth and skill throughout the 52 minutes playing time. Vidian have a knack for this kind of music and there’s a lot of decent material here.
Esotherisst are a Progressive Metal band from Poland. This is their début release.
Esotherisst’s Progressive Metal is polished and has a modern sound and production.
You Have Never is the first song. It’s the shortest of the three and it has a kind of Threshold-style, although this is mainly in the music rather than the vocals. The guitars are rhythmic and solid, with the leads and melodies used to add colour to this strong base. The singer has a good voice; it’s relatively low in the mix and used in an understated way throughout.
The second song is How to Fly and this is the longest track here at 6 minutes in length. This has more of an epic feel than the first one, with stronger keyboard backing and reminds me of Kamelot in some ways, although a more restrained, Progressive version and still tinged with a Threshold feel. Frenetic guitars and hyperactive keyboards are the centrepieces of this track and really drive home the Progressive tendencies of the band, like the 70s have been dragged into the modern day. This is bookended by lighter, more relaxed sections where the singer really comes into his own.
The final song is In Winter’s Arms. This continues the feel of the second track with an epic introduction and then a lighter verse, (although without the extended Progressive workout in the middle that the second song boasted). This is a theme developed throughout the 5 minutes playing time, ending on a softer note to finish.
The weakest link for me in this is the singer, although that sounds worse than it is. It’s not that he has a bad voice, quite the contrary in fact; I just feel he is slightly lacking in confidence and needs to develop a little more presence and force in his delivery. This is not insurmountable though and he has the necessary attributes for success, they just need to be brought to the fore a bit more. This is only a minor quibble though, and might actually be less about the singer himself and more due to the recording – the music has such a strong production that he can sometimes sound overshadowed.
Overall, Esotherisst have impressed me with this release. With a few tweaks to the songwriting and vocal delivery their début album should be an extremely strong release if this is any indicator.
Doomed is a solo project from Germany and this is his fourth album playing Doom/Death Metal.
Doomed’s third album Our Ruin Silhouettes was a good example of quality Doom/Death that ticked all of the right boxes for the genre. Curiously, this new release has a song on it called Our Ruin Silhouettes yet the actual album named this did not.
So how has Doomed progressed on this new release? Well, it’s still the familiar Doom/Death style that lovers of the sub-genre will be so familiar with, (how could it not be?), although on this latest album this seems a bit more riff-hungry in places, with a little more of the Death Metal side of the Doom/Death equation coming to the fore.
The Funeral Doom marches and depressive moods are still present and correct. Doom/Death is a very specific sub-genre, and once you move too far away from the core of this style you’re not playing it any more. The guy behind Doomed knows exactly what he’s doing though and these compositions milk the most from the emotional misery while at the same time allowing for sufficient variation in writing and pacing so that these 51 minutes don’t feel as agonisingly slow as the music can be.
Guest vocalists add further interest to the songs, and these compliment the main Deathgrowls which are as deep and as enjoyable as they previously were.
Due to the ramping up of the Death Metal influence, the guitars have a bit more energy to them in places and as it’s all wrapped up in a crushing production. The riffs seem to jump out of the speakers like eager puppies. Although admittedly, these are dark, misery-drenched puppies determined to drown you in woe.
Hmmm. Misery puppies?
What the Hell, let’s go with it.
Strong leads, melodies and solos abound. As one of the cornerstones of the style, the forlorn melodies are carried out really well. The songs do a laudable job of manifesting the negativity that sits at the core of the music.
The album showcases the Atmospheric side of the band in addition to the depressive. Synths and keyboards add extra layers to parts of the songs and there’s even a hint of a Progressive Metal slant on some parts of this release. If this is further developed even more on future releases then this would be a valuable addition to the Doomed sound, as it already seems to be becoming.
Wrath Monolith is a very impressive album that’s pretty much at the top of its game. I find Doom/Death to be a sub-genre that can easily become a little stale, so I’m pleased to report that this is not the case here. The music holds the attention easily and this is an album that has a lot to offer. As stated, there’s a surprising amount of variety and interest to be had here and it seems that Doomed’s songwriting is just getting better and better.
This is the third album from UK Progressive Metal band Seven7.
This is Modern Progressive Metal that’s big on riffs and melodies.
These songs are clearly well-thought out and are well-balanced between classic song structures and more adventurous Progressive explorations. Down-tuned riffs and heavy guitars work alongside lighter, introspective moments and a Rock sensibility that gives the songs an energetic vibe.
At 50 minutes in length, there’s a lot of different influences and ideas on The Follower. Under the overarching Progressive Metal aegis the band are able to work in a whole manner of different elements from a whole host of different genres and sub-genres, from Metal, Rock and otherwise. The amount of variety on display is still consistent with their overall Progressive core, and it takes the learner on a very involving journey.
The singer has a powerful voice and presence, coming across as somewhat of a mix of the singers of Metallica and Alice in Chains. His singing is dark, infectious and merges with the music symbiotically throughout this album. His vocals are flawlessly executed, much like the music itself.
In some ways this makes me nostalgic for the inventiveness of commercial Metal in the 90s. Seven7 sound like a 90s band updated for the current age. It’s as if a fledgling Nu-Metal band was consumed by the spirit of Progressive Metal, transported forwards in time a few decades and then unshackled and let loose. Don’t let the Nu-Metal tag fool you though; it’s part of their sound but doesn’t define them. The Follower is intelligent and passionate music that shares part of Nu-Metal’s once-essential vitality and incorporates this into Progressive Metal just enough to energise it.
There’s a lot to enjoy on this release and the band have worked hard to craft a collection of songs that have emotional depth and maturity while at the same time featuring enough instant energy and impact to snare the listener.
Fuck the Facts are a Canadian Grindcore band and this is their tenth album.
Fuck the Facts are always a good listen. Playing by no-one’s rules but their own, they play Grind with their own agenda and are wonderfully individual.
They combine most different aspects of Grind, including some non-Grind elements too. Labelling them as Progressive Grindcore is not too bad of a description. From blasting brutality to melodicism to experimentalism; Fuck the Facts have got it covered somewhere in their discography, (and on this release), and they do it very well indeed.
These songs are largely, (but not exclusively), short blasts of aural carnage, although there’s much more to the band than just this. Longer songs and more experimentally diverse songwriting, (including solos, melodies, Death Metal, Progressive Metal, atmosphere, noise, cello, piano, etc.), mean that there’s a lot on offer here.
Sitting pretty among similarly individualistic Grindcore such as Cephalic Carnage, Cloud Rat, Antigama and the like, Fuck the Facts have built an impressive legacy for themselves over the 16 or so years of their existence and Desire Will Rot only cements their sterling reputation further.
The vocals alternate between the main singer’s acidic shriek and the bassist’s deathgrunts. It’s a combination and team effort that works very well. The main singer has a very individual and charismatic high scream and her voice sounds as nasty as scraping nails.
This is 39 minutes of challenging and impressive Grindcore. It’s not for people who just want the latest scene-clone; this is thinking Grind for the discerning connoisseur, and yet it still remains its visceral nature despite this.
Bearstorm are from the US and play Progressive Black Metal. This is their second album.
Bearstorm. Say it again, slowly. Bearstorm. Fantastic name. I was expecting something utterly ferocious with a name like that, but Bearstom are nothing if not surprising. They do have a ferocious element, but for the most part there’s a whole lot of other stuff going on here.
The music is a curious mix of Progressive wanderings, Blackened bite, Technical Death Metal Jazz-wizardry, Post-Metal experimentalism and Southern Sludge.
Their sound is pleasingly hard to pigeon-hole actually. The Progressive Metal influence is apparent from the start and infuses everything else at a deep level. The Black/Death/Sludge/Post-Metal influences in their sound take their cues from this and the band have interesting music at the very core of their being.
The songs are varied and individual affairs. There’s a lot of ideas on display and Bearstorm never shy away from being different or going their own direction. It’s to their credit, as too many bands simply ape what has gone before them, so when a band like this comes along it’s a real pleasure to see them doing something different form the norm and attempting to forge their own sound.
Vocally the singer has a largely Blackened scream that’s supplemented with pitch-black growls on occasion. In many ways the guitars are the focal point of Americanus and the vocals provide an undercurrent to these. They’re done well though so there’s no real complaints from me on this score.
Clearly a lot of time and effort has gone into Americanus, to the point that the band have re-recorded the entire album for maximum effect; this is a re-recorded and re-issued version of their 2013 album. Having never heard the original version all I can say is that this version sounds pretty damn good.
An interesting, exciting and fresh-sounding record; Americanus is more than deserving of your attention.
Favourite Track: Glacial Relic II. An epic that’s Progressively atmospheric and even contains a Country influence. Amazing.
Moanaa are an Atmospheric Sludge Metal band from Poland and this is their début album.
This is an interesting and multi-faceted release that combines elements of Sludge, Post-Metal and Progressive Metal together into an overarching framework of Atmospheric Sludge lasting just under 60 minutes.
Soft acoustics and Post-Metal melodies clash with harsh Sludge and Progressive workouts. Heavy riffs and ethereal melodies create soundscapes that merge the best of both. This is a richly textured and layered album and the songs have a lot of depth and dark energy. Even when the tempo drops there’s a brooding undercurrent of repressed power and understated grandeur.
The vocals snarl and gnash their way through the songs. Ugly, vicious and essentially Death Metal in style, they’re juxtaposed against cleaner vocals nicely, in the same way that the music trades brutality with transcendence, darkness with light. There’s a lot of shading here though and the vocals pretty much run the whole spectrum from ethereal cleans to deep growls and everything in the middle.
The playing is tight and the recording perfectly judged. The album sounds great in every way.
I love albums like this. Quality songwriting and flawless execution combine to result in an album that’s an engaging journey and a real treat for anyone into atmospheric music, be that Sludge, Doom or Post-Metal.
Tempel are from the US and this is their second album. They play Progressive/Post-Black Metal.
Tempel are an Instrumental Black Metal band. Their music is a combination of the Melodic and Progressive styles, giving The Moon Lit Our Path an epic scope and even epic-er, (it’s a word, honest), songs.
Their tracks harbour provocative imagery in the music. Without vocals to hide behind, the music is laid bare for all to see and relishes in the fact. Tempel are as expressive with their music as many singers are with their voices.
This is music that you can get your teeth into; music to get involved with; music to get lost in. Involving, engaging and compelling; Tempel have created a richly textured musical landscape across these 54 minutes.
Tempel are slowly shedding their Black Metal roots. This album still has its fair share of Blackened influences, but less so than their début release. On The Moon Lit Our Path there are more Post-Black Metal and Progressive Metal elements to their sound. It ultimately doesn’t matter, of course, as the important thing is the music itself and the journey it takes you on as you get absorbed by it.
Riffs, solos, leads, atmospheres, moods…Tempel excel at each of these and the songs on this album are filled to the brim with musical content and features.
This album may have a Blackened base but it transcends Black Metal, as Post-Black Metal must, As such, this has a potentially wide-reaching audience and any fan of Progressive Metal can and should enjoy this.
Neck of the Woods are a Progressive Metal band from Canada and this is their début EP.
Music like this is an exciting prospect; birthed of Metal in all its glorious forms, Neck of the Woods don’t constraint themselves with just one style and instead coherently incorporate lots of influences into their musical framework.
This is interesting, stimulating music for fans of Converge, Between the Buried and Me, Devil Sold His Soul, Mastodon, etc. – essentially any band that’s pushing the envelope, playing music from the heart and daring to be a bit different.
Under the overall aegis of Progressive Metal, Neck of the Woods pack Modern Metal, Melodic Death Metal, Post-Metal and Technical Metal into nearly 29 minutes of playing time.
The throaty roar of the singer’s voice carries the deep resonance of Extreme Metal while the music explores the boundaries of its self-created domain.
The band can certainly play and they have a good side-order of technicality dished up with their meals. The complexity serves the songs though, rather than the other way around; the guitars carry the listener through landscapes that are familiar and yet fresh at the same time.
For all of this, the band are a very easy listen. The songs are vibrant and satisfying in the way that only good Metal can be. They have personality and seem to have been created purely for the love of it, as should be the way. Yes, there is aggression here, but it’s not of the nihilistic, hate-fuelled variety. Although I’d stop short of describing this as friendly music, it certainly is personable and agreeable. If you’re into heavy music, that is; the average person on the street would probably just view this as noise, as they tend to do with anything even vaguely Metallic.
Neck of the Woods are an exciting new addition to the worldwide Metal scene and I’m eager to hear what they do next.
Oh, and they also have a song called I Know Where I’ll Bury You. Class.
Third Ion have recently released their début album 13/8bit. Theirs is a brand of Progressive Metal that’s a little different form the norm and very enjoyable because of this. I downloaded the latest data on them…
For those who are unfamiliar with your band – introduce yourself!
Hey, I’m Justin Bender, guitarist/producer for Third Ion, a progressive metal band full of nutty space nerds.
Give us a bit of history to Third Ion
I’ve know our drummer Aaron for about 5 years, and we always talked about doing a project together. We live about 6 hour drive from each other, so it took a while for us to get our shit together and actually start a band. Now that we have though, it has been snowballing and we have a really good pace going on. I’ve known Mike for a few years too, and he was my bass player of choice, even before a single riff was recorded. I am still so thrilled he wanted to start a band with Aaron and I! Basically the band officially formed around this time last year, once we figured out who we were going to have sing, and Tyler has been a great fit!
What are your influences?
Mainly Dream Theater, Meshuggah, Alice In Chains, Tool, Opeth, Faith No More, Pantera, Saga, Toto, Satriani, Rush, Katatonia,
What are you listening to at the moment that you would like to recommend?
A band from my area, Sparky, just put out an album called #Humanimation and it is incredible. I love it, and I can’t stop listening to it. I’m not just saying it because they are my friends either! It is legitimately one of my favourite records right now.
What did you want to achieve with your album?
Our main goal was to write whatever came to mind, with a really “no rules” approach, and to incorporate musically, visually and lyrically whatever nerdy things interested us at the time. I didn’t have huge hopes of getting signed or anything, I just really wanted to make this music for the love of it. The fact we got a deal and it’s been getting a lot of attention is a total plus, though, and if people enjoy it that makes me very happy.
Are you happy with the end result?
Absolutely!! I am especially proud of the artwork, which was done by my best friend. We are almost done writing the second album as well, and a lot of it is recorded already too, so as happy as I am with the first album, I haven’t sat back and really enjoyed it as I dove right into album two.
How does your songwriting process work?
I’ll drive to Aaron’s studio for the week and we will record drums and guitars as we write the music. It’s a very cool and open way of working. Very expressive, I love it. Plus, he brings out all my best ideas. There’s just something about him that makes me come up with guitar parts I would never come up with on my own. He is the best writing partner I have ever had, bar none. Due to this process, there are a LOT of “first take” magic moments that ended up on the final mix. That seems to happen more and more as we write, as well.
On 13/8Bit we managed to write one song together (PDM) with Mike all in one room, but him being in Vancouver makes that much more difficult. For album two he has contributed a ton of great riffs, he emailed us a bunch of ideas, that we have used. So then after Aaron and I track in Winnipeg, we send Mike the stems of what we did and he does bass and keys and sends it back for me to mix. I write the lyrics and Tyler comes up with most of the melodies. I can just put words on paper and trust that he will come up with something I love. It’s a very easy operation, all in all.
How and why did you decided to incorporate a video games/chiptune influence in your music?
We all really love the 8bit and 16bit classics that we grew up playing. I think every one of us knows Megaman 2 like the backs of our hands. Metal bands sing about all kinds of things from dragons to demons to mutilation and horror, so really it feels like there are no rules. Which we dig, so we incorporated it simply because we felt like it.
What can you tell us about the lyrics?
That’s another one of those “nerdy thing because I just felt like it” kind of answers. As an artist, I’ve always felt more comfortable with my guitar than with words. I feel like I can say more with music than lyrics, and I never really aspired to be a lyricist. When I listen to music, I rarely even pay attention to the message, I get absorbed in the sound of it all. So, being like that, I just write what comes to me and what interests me. I covered black holes, sci fi particle weapons, video games and even some politics on the first record.
What’s your favourite song on the album and why?
I think maybe Zero Mass because it’s the first song we wrote, and the main heavy tech riff with the little keyboard stings is just so fuckin’ cool. I’ll always be very proud of that one.
How do you see your songs/direction developing in the future?
So far the next record has a lot more technical stuff, a lot more insane drum ideas. I plan to record more vocal harmonies, but maybe not, we’ll see how that plays out. We also want to do a concept record to cover the backstory of our mascot character “Dr. Zero” who is featured on the cover art. So, album three or four will be that album.
What’s next for Third Ion?
We have a few shows lined up for July but after that it’s just more work on album 2, and planning more shows for the end of the year, with hopes to tour more extensively in 2016.
Vidian are a Polish Post-Metal band. This is their second album.
Wonderbox Metal 