Home Blog Page 2066

Neaera – Armamentarium (Metal Blade Records)

David E. Gehlke
-
0
Neaera – Armamentarium (Metal Blade Records)

At long last, the German metalcore scene is shedding its uniform and copycat image. For a short time, say two or three years ago, Maroon, Heaven Shall Burn, Neaera, Fear My Thoughts, and Caliban all came dangerously to sharing songwriting royalties for their amazing inability to separate from one another. Granted, some are still stuck in the mire, but Neaera and Heaven Shall Burn look like they’re ready for a coming out party.

The German metalcore sound is basically Swedish metal of the Gothenburg variety, with the occasional beatdown thrown in for the heck of it. For Neaera, their polka-on high approach is more akin to standard Swede-thrash like Terror 2000 or even Ebony Tears.

Blistering, spirited trucks like “Tools of Greed” and “Harbinger” have a certain ferocity to them that is both palpable and muscular. The crunch and down-churn of Neaera’s riffs set off the title track and “In Loss,” one of the more melodically-inclined numbers included.

If there was one complaint to be leveled at Armamentarium, it’s that a certain saminess creeps in towards the mid-to-end mark, as would-be punishing songs like “The Orphaning” and “Mutiny of Untamed Minds” lose their luster and pop simply for the fact that we already heard it a few songs ago.

No one is ever going to accuse Neaera of doing Swedish metal better than its forerunners, but their hard-nose and grinding approach to this style is commendable. Given the immediate breadth and heaviness of these 11 songs, it would be hard to dismiss Neaera. So we won’t and will save that for the other few bands of the German metalcore ilk who should just quit and form one big band in order to save on plastic and time.

 www.myspace.com/neaera

(This content originally appeared on Blistering.com)

Ihsahn – angL (Candlelight Records)

David E. Gehlke
-
0
Ihsahn – angL (Candlelight Records)

With both Emperor and Peccatum in the rear-view mirror, Ihsahn’s immense talent wingspan can now fully blanket the black metal and avant-garde metal realms. His first solo album, 2006’s The Adversary was a challenging, forward-thinking affair of proggy black metal; a minor obstacle-jumper considering the expectations. Now with a full album under his belt and the Emperor reunion now officially dead and gone, Ihsahn returns with the even more impressive angL.

Ihsahn’s flirtation with melody has been a common thread during his prior work, but it has never come to a head like it has here. Unabashedly poignant and striking melodies weave their way through album stalwarts “Emancipation,” “Alchemist” and epic album closer “Monolith,” with the first being a momentous departure from the man’s normally dissonant past. Even Opeth’s Mikeal Akerfeldt gets in on the act for “Unhealer,” where the Swede hunkers down with Ihsahn for a delicate, haunting number that accentuates Akerfeldt’s gentle clean vocals.

While on the subject of clean vocals, it is Ihsahn’s use of his clean register that emerges as the album’s second biggest surprise. His stated and eloquent clean vox shine brightly on “Elevator” and “Threnody,” a number that in its dream-like stance ranks as the album highlight. When combined with his imitable snarl, Ihsahn’s clean vocals emerge as the near-perfect blend of melodic restrain and folk talisman.

Backed by the considerable abilities of Borknagar/Spiral Architect drummer Asgeir Mickelson and fellow SA bassist Lars Norberg, angL feels less like an actual Ihsahn solo album than it does a full-on light show of sharp black metal barbs, modern prog metal, and subtle avant-garde flourishes.

There’s plenty to go around here; Ishahn has created an album not only superior to its predecessor, but has emerged with an album that can and will take on all comers. An absolute aural delight, angL is as every bit as glorious as those notorious salvos from the Nightside and Anthems… albums.

 www.myspace.com/ihsahnmusic

(This content originally appeared on Blistering.com)

Moonspell – Night Eternal (SPV)

David E. Gehlke
-
0
Moonspell – Night Eternal (SPV)

Since their rediscovery of the Wolfheart-era sound, Portugal’s Moonspell have enjoyed a career revitalization that is both surprising and deserving. Fact of the matter is, Fernando Ribeiro and co. have taken their fair share of chances, taken some lumps (the ill-conceived Sin Pecado album comes to mind) and still remained vital. 2006’s Memorial was largely a miss, but if Moonspell is good at one thing, it’s bouncing back.

Night Eternal stays within Moonspell’s brutal Goth metal boundaries, with Ribeiro relying heavily on his devilish growl, which has always outshined his sometimes syrupy Peter Steele vox. Ribeiro’s roars on the memorable “At Tragic Heights” (the main riff slays) and “Scorpion Flower” to great effect, remaining discernible and commanding.

The bulk of Night Eternal is convincing, well-worn, and atmosphere. The title track, “Moon In Mercury” and album highlight “Spring of Rage” demonstrate Moonspell’s imitable style, especially “Spring of Rage” which reverts back to the vaunted melodic Goth template used so well on the classic Irreligious platter.

No major complaints can be doled out here; Moonspell have dipped back into their roots for another round of charming, exotic Goth metal that while not as immediate or as gripping as Irreligious, is proof that Moonspell, backs to the wall and all, thrive under pressure.

 www.myspace.com/moonspell

(This content originally appeared on Blistering.com)

Testament – The Formation of Damnation (Nuclear Blast Records)

David E. Gehlke
-
0
Testament – The Formation of Damnation (Nuclear Blast Records)

It seemed like this would never come. Testament have taken almost a decade to produce the follow-up to 1999’s mammoth The Gathering, having endured a cancer scare for Chuck Billy, some lineup shuffles, and eventually the return of guitarist Alex Skolnick and bassist Greg Christian. Somewhere in between was the promise from Eric Peterson that the album was being worked on, a statement he made a handful of times going all the way back to 2003, but we’ll digress…

Not many surprises abound on The Formation of Damnation. It’s an obvious step from The Gathering with a little more emphasis on the band’s polished late 80’s thrash template. The return of Skolnick was a big score, but he never cuts loose like you would expect, even if the solos on “The Persecuted Won’t Forget” and “The Evil Has Landed” are top-notch.

Drum nomad Paul Bostaph (ex Slayer, Exodus) holds things down admirably, but man, what a treat it would have been for Nick Barker to play on this thing as opposed to having his visa papers denied. Bostaph does unleash an array of jet-propelled drum work on the title track and “Henchmen Ride,” however.

No major duds here and lead single “More Than Meets the Eye” is one of the more enjoyable, immediate thrash tunes to emerge of late. Same bodes for the title track, where Peterson employs his vaunted rhythm skills during the song’s main riff.

Some early ideas are revisited, as in the Low stomp of “Killing Season” and “Afterlife,” two songs that give nods to the band’s underrated 1994 album. Same bodes for “F.E.A.R.” which bears more than a passing resemblance to “So Many Lies” off The Ritual.

Bay Area thrash has hoisted the revitalized thrash scene on its shoulders thanks to three albums: Exodus’ The Atrocity Exhibition, Death Angel’s Killing Season and now The Formation of Damnation. With Forbidden threatening to release a new one (which will hopefully be better than Green), it appears the circle will be complete. Testament remains at the head of that group and The Formation of Damnation was worth the wait and should hold up for another, oh, nine years.

 www.testamentlegions.com

(This content originally appeared on Blistering.com)

Zero Hour – Dark Deceiver (Sensory)

David E. Gehlke
-
0
Zero Hour – Dark Deceiver (Sensory)

A great idea on paper: the combination of over-the-top tech metal ala Cynic, Atheist, et al, with clean, progressive vocals, Zero Hour are now coming dangerously close to perfecting their own indelible brand of hyper-prog metal.

2006’s Specs From Pictures Burnt Beyond was a largely enjoyable affair, relishing in more than a few “kitchen sink” forays into the depths of over-the-top prog metal. Its follow-up, Dark Deceiver follow suit, but in more rationale and gradual fashion.

The guitar/bass shred tandem of Brothers Tipton (Jason and Troy) is on full display on opener “Power to Believe,” with the duo reeling off a flurry of sweeps and manic bass fills. “Inner Spirit” is full-on Zero Hour, as labyrinth of adventurous guitar maneuvering segues into a call-and-response bit from singer Chris Salinas, who again proves to be the right man for the spot.

The graceful “Resurrection” ranks as one of Zero Hour’s more melodic moments, while the bass solo “Tendonitis” (more please) only serves to solidify Troy Tipton’s place as a prog metal virtuoso. The stop-start frenzy of “Lies” and potent “The Passion of Words” keeps Dark Deceiver off-balance and unpredictable, making the album more enticing as things move along.

Zero Hour’s balls-out approach may turn some people off initially, but further listens reveal a band putting actual songs into their structure, with hooks coming from all areas, especially those jaw-dropping bass runs. Dark Deceiver is another notch in the belt for Zero Hour, who again, are becoming ever so close to putting this into absolute perfection.

 www.myspace.com/zerohourband

(This content originally appeared on Blistering.com)

Septicflesh – Communion (Season of Mist Records)

David E. Gehlke
-
0
Septicflesh – Communion (Season of Mist Records)

The holy godfathers of the Greek metal scene (Rotting Christ is a very close second), Sepeticflesh return after a short breakup with Communion. As far as natural dark metal bands go, few are more invigorating or adventurous as Septicflesh; their career marked by gradual development and change during the late 90’s. No further proof is needed than the seminal Ophidian Wheel and A Fallen Temple albums, two bodies of work that are indelibly unique and helped create the symphonic black metal template we know today.

Communion is a marvelous comeback, with the band capitalizing on the pile-driving sound it purveyed on its last studio album, 2003’s Sumerian Deamons. Credit the Studio Fredman (Dimmu Borgir, In Flames, et al) production job for this – Communion has a sonic ‘oomph’ that resonates across the board. Throw in the quirk that the band’s amalgam of black metal and thick, chunky melodic death metal has been given a boost by the inclusion of a real orchestra courtesy of the Philharmonic of Prague and what you have is something to behold.

The orchestral movements here are monumental – “Persepolis” being the obvious benefactor of this addition. “Sangreal” reigns in as the true album highlight, with Seth Siro Anton’s harmonious and unique clean vocals colliding with a stream of classic Septicflesh melodies. “Narcissus” follows suit and leans towards some of the band’s earlier work, especially in those dastardly leads and twin guitar harmonies.

Perhaps the real trick to Communion’s power and glory is its versatility and penchant for the dramatic, which is obvious on lead single “Anubis.” Here, the band takes a driving, murky main riff and transitions into a flowing, booming chorus that seemingly is trying to fend off the orchestra.

Already getting rave reviews from the Euro press, Blistering will follow suit and dub this an instant entry into discussion of 2008’s best albums. Fact of the matter is, Communion is in a league all its own – the perfect and righteous combination of the symphonic black metal and dark metal worlds, wrapped up beautifully in an exotic Greek metal package. Credit not only the band’s intuition, but their locale as well – there is some seriously heavy and moving stuff coming from this album.

 www.myspace.com/septicfleshband

(This content originally appeared on Blistering.com)

Distorted – Voices From Within (Candlelight Records)

David E. Gehlke
-
0
Distorted – Voices From Within (Candlelight Records)

Oddly reminiscent of Amaran, a now-defunct melodic death metal band with clean female vox, Israel’s Distorted are a cool mix of the aforementioned sound and haunting Goth metal. Distorted is a bit more progressive and sharp than any regular female-fronted Goth band would care to be, but there are some rather charming hooks floated about on this 11-song sophomore effort.

Vocalist Miri has a nondescript whistle; never straying too far from her comfort pitch zone. She does weave some nice melodies on the excellent “Fading” and “Consistent Duality.” At times, her approach becomes redundant, but is cancelled out by Raffeal’s marauding growled vocals.

Musically, there is some very tasteful stuff going on, especially during the solo section of “Consistent Duality” where Mr. Raffeal busts out a flurry of flashy solos and melodies. “Escaping the Mind-Grid,” odd title and all is a solid balls-and-chunk number, while the more hard-nosed “What Remains” and reserved “Reveal My Path” demonstrate Distorted’s versatility.

Voices From Within certainly won’t break any new ground, but Distorted’s formula is can’t-miss. When done right, female-fronted metal can be more than the usual fare of symphonic pomp and Gothic morose and Distorted finds themselves hovering around both areas. Good stuff – let’s hear more down the road.

 www.myspace.com/distortedband

(This content originally appeared on Blistering.com)

Midnattsol – Nordlys (Napalm Records)

David E. Gehlke
-
0
Midnattsol – Nordlys (Napalm Records)

erhaps best known for featuring Carmen Elise Espenaeas, the sister of Leaves Eyes’ Liv Kristine, Midnattsol (that’s “midnight sun” in case you were wondering), return after a three year layoff with Nordlys. Quite impressive, this sophomore album, as Midnattsol find themselves in the crossfire of both the symphonic and Gothic metal scenes, never giving too much attention to both, but instead straddling a very defined and striking line.

Espenaes is more operatic than sister ever was, a trait that creates some powerful results on “Konkylie” and the big, booming “Race of Time.” Behind her is a streamlined brew of power metal bravado and those palpable symphonic elements that make Mindnattsol sound large and in charge.

Kudos to the aggressive, Gothenburg-friendly “Skogens Lengsel” and valiant “Wintertimes,” two songs that produce a myriad of hooks whether it’s a carefully-crafted chorus or stroke of melodic flair. The obligatory campfire jam “New Horizon” takes up the folk end of the album, while “River of Virgin Soil” follows suit, with Midnattsol ditching the amped-up determination of the first half of the album for something more Guardian-like and epic.

Nordlys will take one by surprise, as Midnattsol’s comforting, reliable mish-mash produces results greater than anticipated. Lots to go around and soak up,Nordlys is one of those albums you almost figure will be overlooked, but then those hooks and caress of sympho-Goth steel creep in and you’re stuck. Bravo.

 www.napalmrecords.com

(This content originally appeared on Blistering.com)

Mourning Beloveth – A New Disease For the Ages (Prophecy/Grau)

David E. Gehlke
-
0
Mourning Beloveth – A New Disease For the Ages (Prophecy/Grau)

One of the pillars of the slo-mo doom style, Ireland’s Mourning Beloveth return with A New Disease For the Ages, a vast improvement over the inconsistent A Murderous Circus. Rife with prolonged, sobbing emotional passages, Mourning Beloveth relishes in repetition, as each of the five songsfeatured literally repeat ad infinitum, creating a hypnotic lull that is hard to elude.

Centered mainly around the winding guitar harmonies duo Frank and Brian (no last names, apparently…), A New Disease For the Ages capitalizes on MB’s penchant for morose, monolithic numbers that maintain a slow-footed stampede.

Case in point, the overbearing opener “The Sickness,” which alternates between post-Sabbath destruction and early My Dying Bride jaunts through the darklands. The thick “Trace Decay” benefits from vocalist Darren’s throaty rasp, which burrows in those saucey riffs like a bear in the bush, while the absolutely devastating “Primeval Rush” churns out dicey melodic intervals as if they were being served for breakfast.

Now the direct line between the old guard (My Dying Bride) and new (The Prophecy), Mourning Beloveth have gotten themselves back on track with a sonically dense gut-check that forces the listener to check their emotions at the door, ‘cause once those spine-tingling riffs come a knockin’, it’s time to pay the piper – Mourning Beloveth are modern day doomsayers.

 www.myspace.com/mourningbelovethmusic

(This content originally appeared on Blistering.com)

1...2,0652,0662,067...2,071Page 2,066 of 2,071

© Copyright Dead Rhetoric 2025 All Rights Reserved