Progressive metal – Page 54

Konkeror – The Abysmal Horizons (Review)

Konkeror are a Death Metal band from the US.

This is their début album, almost 49 minutes of music – 8 originals and a Bolt Thrower cover.

When it starts it’s immediately impressive with the sheer musicality and flowing riffs; then the brutality kicks in and everything shifts up a gear.

Konkeror merge Death Metal with a Progressive/Thrash influence that allows the songs to have technical flourishes and melodic edges concurrently occupying the same space.

The songs are catchy and have lots of hooks, proving that just because a song might be Brutal or Technical doesn’t mean it has to sacrifice song structures in order to be so.

The recording perfectly balances a band that play both brutally heavy and subtly melodic. Everything sounds great and the sound allows the musicians the freedom to do what they do best.

The most enjoyable thing about this album is just how Metal it is; they are clearly Death Metal but add sprinklings of Progressive, Technical and Thrash Metal into the melting pot. Mix these all up with some great songwriting skills and all that’s left to do is sit back an enjoy as the band shred, rip and dazzle with the songs.

The songs are all of a decent enough length so that you have time to get your teeth into them, (or the other way around…), and there’s abundant opportunities for the band to demonstrate just how good they are.

Once you know about this album it’s important that you get it. If you’re into Death Metal and don’t get this album…well…I’m not sure how that’s possible…

Brilliant.

Withem – The Point Of You (Review)

Withem come from Norway. This is their début album of Progressive/Power Metal.

It’s orchestrated, complex and obviously talented. This is melodic and colourful with frequent keyboard ostentation that recalls Pagan’s Mind at their sparkly best.

The songs make an impression with their enthusiasm and passionate Metal delivery. They’re well composed with lots to hold attention and frequent changes/alterations in the musicianship to keep things interesting. They do manage to keep this coherent enough to fashion into songs that have a direction though rather than just sounding like a mishmash of conflicting instruments.

The musicianship cannot be faulted and all instruments have the opportunity to shine. The leads and solos are represented well, as is to be expected with this style; the guitar riffs and rhythms are interesting and changeable; the drums are not just a backbone to the band as they seem to have a life of their own on occasion; the bass isn’t just going through the motions and is an audible enhancement to the tracks; and the keyboards…well they’re simply everywhere but manage to not get in the way at all. None of this would be possible of course if it wasn’t for the strong songwriting.

But what of the vocals? Well, the singer has the kind of voice that soars effortlessly and has no problem at all reaching the higher notes. It’s very fluid and sounds a treat.

This is a remarkable achievement from a band that are still relatively new. With this being their first release it’s an impressive one.

Tragodia – Mythmaker (Review)

Tragodia are from Italy and this is their third album of Progressive/Power Metal.

Featuring good songs and a strong sound, Mythmaker is an album that delivers the goods.

On the slightly heavier side of the spectrum, Tragodia recall bands such as Nevermore and Angel Dust with their thickened riffs and impressive vocals.

The band are melodic and tight, with some nice elements of Classic and Modern Metal finding a way into their sound on occasion. The Power Metal side of things is kept in check by the heavy guitars and the Progressive edge is felt in the musicianship.

The song structures themselves are the most important thing of course and this is an album that has all of the strengths of the genre but none of the weaknesses. This is quality Metal done right and played well. There are no slips into cheesiness or retro-worship. This is thoroughly state-of-the-art while dragging all of the essential classic elements of the genre into the here and now.

The singer is one of the best I’ve heard in a while. He has depth and range was well as being capable of full emotional delivery.

I’m just blown away by this album. Tragodia: Please receive your mark of A+ and go to the head of the class.

The Parallax – Obliquity of the Ecliptic (Review)

The Parallax come from Canada and this is their début album of Extreme Progressive Metal.

The closest band for comparison would be the mighty Between the Buried and Me, although to the credit of The Parallax they manage to use the template but don’t sound like a rip off. Another good example of this would be a band like The Odious who also share the Between the Buried and Me influence but like The Parallax they have their own sound built onto it. Other bands that The Parallax are reminiscent of in places are the more recent Strapping Young Lad material and Lascaille’s Shroud.

Like Between the Buried and Me the band are hard to categorise as they have so much going on, but I suppose you could brand them as playing Extreme Progressive Metal, if you really wanted to pigeon hole.

The band have epic, sprawling songs full of high speed Metal and highly melodic riffing, where the solos and leads are plentiful and played better than most.

Keyboards and effects wash over the music in waves. Piano sections and 70-s style duelling synths are common.

Harsh vocals roar and clean vocals soar. The singer has a very good voice and ably manages the vocals whether they be Power Metal cleans, abrasive roars or anything else.

It’s all very well done and very proficiently played. As you can probably tell from the above the band are certainly not lacking in ambition. There are only 5 tracks but there is an hour of music here, including the epic 23 minute splendour of The Reformatting.

The sound is clear but my only slight complaint, (and it’s only a small thing really), is that it could do with a bit more depth to the sound; it sounds curiously compressed. It stops registering after a while, but when you first listen to this album after another band who, say, have a rounder sound to their recording, it stands out. Definitely not the end of the world, and it might not even be an issue for some people, but just a note for next time.

All in all this is a talented band who have produced a whopper of a début. I have no hesitation in recommending this album at all. If your tastes run to the Progressive and the interesting then Obliquity of the Ecliptic is for you. I fully expect this band to be snapped up by some enterprising record label soon, so get in on the action now.

N. Tesla – Lux Manifesto (Review)

This is the début album from Russia’s N. Tesla, and they play Post-Metal.

For a relatively short release, (33 minutes), this is an ambitious and exciting release from an obviously talented band. As soon as the first track Ør-vænn begins it’s clear they trying something a bit different and have the ability to carry it off.

N. Tesla take the basic Post-Metal template of a band like Cult of Luna and make it their own with succinct, dangerous expressions of melancholy and rage.

The dynamics are all there and they add their own character to the compositions, as well as some haunting percussion, electronica and effects, that really help to build atmosphere. The songs here are shorter than the Post-Metal norm and N. Tesla accomplish much in a short period of time.

In fact, if you take Cult of Luna, shorten the songs, add an element of danger via the scathing, shrieking vocals and build in a Progressive Metal edge you’ll have an idea of where N. Tesla are coming from, and also an idea of why they’re so damn good at what they do.

The vocals are highly accomplished no matter the style that are being performed and the music follows suit with flawless delivery of all instruments.

A professional recording and production job rounds things off and all that’s left to say is that this is a hugely talented band that deserves much, much wider recognition. Let’s see what we can do about that now, shall we…?

Memories Of A Dead Man – Ashes Of Joy (Review)

Memories Of A Dead Man are from France and play Modern Progressive Metal.

Here we have a band that merges Metal, Post-Metal, Hardcore and Sludge into one big compelling whole.

This is ambitious music that has the talent to back it up. This is Modern Progressive Metal in the style of Gojira or the excellent Eryn Non Dae – both also French; I wonder if there’s some strange conspiracy to inflict interesting, thoughtful music on the world…? Where do I sign up?

The songs meander and bruise, wander and startle. A pounding rhythm section backs up emotive guitar riffs and a voice like leather. At least that’s when the singer’s not softly crooning at you that is, which he doesn’t do very regularly but when he does it sounds very intimate.

The band will take you on a journey through melancholic atmospheres surrounded by walls of guitars and heavy riffs. The length of the songs work in favour of the band as they make the most of the freedom allowed them, irrespective of genre constraints or rules.

Music like this is full of ideas and quirks, whether it’s as simple as a certain riff in one song or the addition of female operatic vocals in another; the band create an impressive soundscape in which to dwell, and invite you to come join them and sample their world.

Memories Of A Dead Man have crafted a modern Metal treasure with Ashes of Joy. Let’s hope many people get to find it.

This is music for adventurers and explorers.

Super Massive Black Holes – Calculations of the Ancients (Review)

Canadian band Super Massive Black Holes play Experimental/Progressive Jazzy Death Metal, and this is their début album.

This is bright and shiny music that’s technical but also slightly whimsical in nature; there’s something of the Devin Townsend about it.

The band manage to mix disparate elements of Devin Townsend, Opeth, Ephel Duath, Gojira and Cephalic Carnage; schizoid jazzy breakdowns, atmospheric interludes, Stoner vibe rockathons, pseudo-Grind workouts and heavy melodic cyber Metal all collide on this album.

The songs are surprisingly cohesive for all this. Sometimes an idea or a section can feel a bit half-formed or unfinished, however, although from the sound of it this could very well be intentional; to keep the listener guessing or to stop them becoming complacent?

The vocals are mainly between a shout and a growl, with the vocalist reminding a little of the singer of Gorod, or even Gojira on occasion, only not quite as emotive.

I like this album, although it definitely needs time to reveal its charms and won’t be to all tastes. Give them a listen and see what you think.

Scars Divide – Scars Divide (Review)

Scars Divide are from Switzerland and play Melodic Metal/Metalcore with Progressive tendencies.

The riffs are melodic and meaty and don’t get reined in for safety purposes when they get a bit randy; rather they’re unleashed like the proverbial dogs of war and let loose to do what they may.

This is a key difference between Scars Divide and some of their more commercial cousins; Scars Divide are less concerned with opening in front of a big stadium, (although I’m sure they’re like to given half the chance), and more interested in creating modern Metal songs that entice, challenge and bludgeon.

It’s clear the band have an intimate relationship with their instruments and know exactly what they’re capable of. This is state-of-the-art Modern Metal that’s a refreshing change from all of the Djent/Lamb of God/At the Gates clones that seem to have been around forever.

The songs are inventive, interesting and above all Metal. Heavy guitars and a pummelling rhythm section keep things flowing nicely as the band get to work doing what they do best.

The vocals are impassioned and emotive without resorting to cleans or gimmicks, reminding of the Darkane singer on occasion.

Call me cynical, jaded, or whatever, but I am surprised at how good this is; I was expecting more Metalcore-by-numbers and I’m very pleased to be wrong. This is a premier league release that should hopefully see the band earning plenty of positive reviews.

Get in on the action while they’re still small, and help support a talented Metal band. This gets my vote.

Grey Skies Fallen – The Many Sides of Truth (Review)

Grey Skies Fallen are from the US, and this is their fourth album of Progressive Metal.

The band combine a form of Anathema relaxi-prog and a Melodic Death Metal influence with sharp, rasped vocals and heroic cleans. On paper it looks a bit incongruous but in practice it works surprisingly well.

It’s a tribute to the talent of the band that they can combine the soft introspective nature with the heavier Metal parts of the songs and have it sound cohesive and complete.

Elements of Nevermore and Septic Flesh clash with the aforementioned Anathema influence, add to that a bit of Doom and Melodic Prog…basically they have a lot of fingers in a lot of pies and are talented enough to pull it off.

Subtle keyboards accompany the sometimes epic riffs to create a larger than life atmosphere that also manages to stay compact and manageable as the band flex their musical muscles.

The songs are well composed and have a real feeling of grandeur to them. The music is very operatic in scope and ambition, which means it’s a very satisfying listen.

Grey Skies Fallen have produced an album that demands closer inspection. Check them out and hear what they have to offer. You won’t regret it.

Merkabah – Ubiquity (Review)

Merkabah come from Canada and play Symphonic/Power Metal.

I must confess that upon seeing the words “female fronted” and “symphonic” in the description I immediately feared the worst and was expecting some form of Nightwish rip-off. This deplorable state of affairs is caused by the sheer abundance of such clones, so maybe you can forgive my cynicism. You should already be able to tell, however, that I was wrong, and happily so.

This is not a what I was expecting, as it’s far more of the Power Metal genre than the Symphonic/Gothic Metal one and as such it’s a very fresh, energising and downright exciting release!

I’ve stated previously that Freedom Call are one of my favourite Power Metal bands, and although Merkabah don’t sound especially like them, I get the same feelings of happiness and excitement off both bands.

This is life-affirming Metal, that deserves the capitalisation more than most.

Melodic Power Metal, with keyboard/Symphonic accompaniment and top drawer songwriting; this was never going to be anything other than a winner with me, notwithstanding my initial erroneous assumptions.

The singer has a fantastic voice that wipes the floor with most Power Metal vocalists. Her voice is a perfect combination of beauty and power.

The songs are on the longer side, especially the final title track which clocks in at 12:00. These lengths give the band ample room to explore their chosen musical territory and flex their creative muscles, expanding their horizons into more Progressive waters on occasion. Red Letter Days is a great example of this, although at 5:44 it’s actually one of the shorter tracks.

The songwriting is immaculate and the album blazes bright, burning away any false Metal daring to stand in its hallowed presence. I can’t recommend this enough.