Author: Darth

Categories
Album Review Staff Review

Balance of Power – Fresh From The Abyss (Review)

Balance of Power are no strangers to the heavy metal scene, having released a string of albums from the late 1990’s to early 2000’s. But it’s fair to point out that they haven’t exactly been in the spotlight for a while. Their last album, “Heathen Machine” (2003) was released almost 21 years ago! So, when their new creative product comes out on April 19th, 2024 via Massacre Records, and is titled “Fresh From the Abyss“, just know that they are not kidding. It does feel as though they are crawling out of an abyss of sorts.

As you might well have expected, the band have returned from this hiatus with a brand new line-up. Founding members Tony Ritchie (bass) and Lionel Hicks (drums) are now joined by female lead vocalist Hazel Jade and guitarists Chris Young and Adam Wardle. Jade’s presence represents a major change for Balance of Power, which previously had only employed male vocalists, and is a big reason for why this album piqued my interest. On “Fresh from the Abyss“, she consistently demonstrates that she belongs to a class of hard rock singers that is all her own. And if there is anybody who can “wow” listeners and bring back attention to Balance of Power, then it’s definitely her.

Jade dishes out plenty of depth, emotion, and electrifying intensity on each of these tracks, but with a level of sophistication that avoids overshadowing the rest of the band members. In fact, you could say that the “balance of power” is just right. And for being able to achieve this, we should also bestow credit to Sam Lowe and Mike Plotnikoff for the mixing/editing. But whatever the reason, her voice fits perfectly with the music here. Something which will no doubt come as a relief to long-time followers of the band. While still on the topic of line-ups, it should be further noted that the album line-up differs slightly from the current band line-up, with two guitarists (Chris Masimore and Stoney Wagner) having contributed to the album recording before handing over the reins.

Balance of Power steps out from the shadows with opening number, “Last Man Down“, a defiant power anthem from a band which is surely looking to re-establish their profile, and pay acknowledgment to their long absence with the opening lines: “This is not the ending I was looking for // Unintended static cuts the air“. A “no-nonsense” affair with an edgy, hard rock groove serving as its backbone, in many ways it is the ideal way to kick off the album. It later culminates in a frenzy of guitar and keyboard solos, adding a distinctly progressive flavour to the traditional mix.

As if related, “Never Be Here Again” is the next track, and again ties into the band’s history somewhat by drawing our attention to the speed of time (and perhaps even showcasing a pining for lost time): “Suddenly it comes to me like a thunder in the night // We can never be here again, never be here again“. Indeed, the progression of time appears to be a constant theme on the album. “One More Time Around the Sun” is another such example. As Tony states, this track is all about “wanting to spend another year and then another and another with the person you love”.

It’s certainly heavy, and we’re not just referring to the music. It would appear that Balance of Power are not ones to shy away from dealing with the big topics. Another case in point is “Monster“, which focuses on grappling one’s inner demons. But it’s all wrapped up and presented in such a way that such depressive themes do not become too overwhelming to the senses. In fact, somewhat contradictorily, I caught myself grinning for much of my time with the album – so joyous was the experience. Particularly with more energising numbers, such as “Deadlands” and “Abyss“, which are both punctuated by a quicker tempo, and have some particularly sweet guitar solos. Rounding out the overall package is “Velocity“, which eschews the band’s typically classic approach for a more modern-sounding aesthetic, and “Rage of Ages“, with its slower rock n’ roll rhythm and big vocals. It’s an album that will no doubt be appreciated by fans of classic metal or hard rock. And regardless of whether or not this statement applies to you, there is no denying the incredible feat Balance of Power have pulled off with “Fresh From The Abyss” after being out of the game for so long. Not only does it serve the purpose of re-introducing the band to the world, albeit in a different guise than before, but it also makes a strong case for their reappearance and sets a solid footing for more to come. Here’s hoping we don’t have to wait nearly as long next time.

Verdict: A miraculous revival and rebranding for a band that has just emerged from a long hiatus. It matters little if you are already a fan of Balance of Power or hearing them for the first time, “Fresh From The Abyss” is the start of a new journey, and anyone who listens to traditional heavy metal will definitely want to tag along for the ride.

Categories
Book Review Staff Review

Edge of Paradise – Hologram And Slaves To Forever (Review)

Fans of American hard/rock heavy metal band Edge of Paradise are about to be given another reason to celebrate with the soon to be released “Hologram And Slaves To Forever” – a stunning new graphic novel written and illustrated by the multi-talented lead singer Margarita Monet. The signed pre-order copies are due to ship out this week, and the new novel does a truly excellent job of visually bringing to life the intricate sci-fi narrative of last year’s phenomenal “Hologram” studio album (which also earned our award for “Best Hard Rock Album of 2023”).

The genuinely original and thought-provoking story is presented across 36 gorgeous pages; broken up into 10 chapters corresponding to each of the songs. And to say this book is a veritable feast for the eyes would be a major understatement. If you have any familiarity with Monet’s original artwork, you will already have an appreciation of what I mean by this comment. Futuristic dark fantasy illustrations that stimulate your imaginative senses and curiosity, with a strong recognisable art style and vibrancy of colour which together leaves a lasting and impactful impression. And for anyone who is wanting to own several of her artistic masterpieces, especially those based on “Hologram“, the collection included within this hardcover novel certainly makes for an economical way to achieve that. Each of them are presented in colour, and while some serve as backgrounds to the text, others have a full page just to themselves. But even then there is usually a few small details and annotations which you will not be able to find anywhere else. Some pages feature QR codes too, which provide links to the relevant music (including alternate versions), and which have the effect of unifying the two mediums and creating a fully immersive experience for the reader.

Without spoiling any specific details, many of my favourite pieces of this era of Monet’s art are present in this volume. With quite a few new ones that I had not seen before. And if you were not aware, some of these artworks may even include cryptograph symbols which can actually be translated with Edge of Paradise’s very own cipher. Once again adding another layer of mystery and engagement to the proceedings. As if the beautifully rendered art was not already enough to warrant the price of admission, Monet also backs it up with a unique and thrilling adventure, which casts her in the role of the leading protagonist Psyla.

In the story, her character is tasked with commanding a crew (portrayed by other members of Edge of Paradise) on an important mission through space in order to save humanity, which is already on the brink of its existence. The adoption of “HolloTravel” technology has allowed humans to project their consciousness into holographic vessels. But at great cost. Emphasising the lengths that we’ll go to in order to obtain freedom and immortality. So much so that we risk putting ourselves at the mercy of AI, and losing the one thing which makes us all human in the first place: our soul.

It’s a highly prescient and topical storyline given recent developments in this area. And fills in many of the questions and gaps that before were left to interpretation (when all we had were the song lyrics as reference). Indeed, it has given me a whole new understanding than what I had at the time of writing the album review. And quite honestly, it’s rewarding to be able to experience this shift in perception, and see the material from a different viewpoint now that it’s possible to have a better conceptualisation of the specifics. If you truly wish to comprehend “Hologram” – the novel is definitely a necessity. It answers almost everything, including the previously ambiguous nature of the alien artifact. And for that reason, and the many others listed above, it receives my highest recommendation.

Verdict: The must-have companion to an equally essential studio album. “Hologram And Slaves To Forever” means fans can now enjoy this experience in its totality, and as it was intended, on both an auditory and visual level. While also gaining a deeper understanding of the intriguing universe that Monet has constructed. I look forward to the next chapter!

Categories
Album Review Staff Review

Amaranthe – The Catalyst (Review)

Amaranthe is a band that has deviated little in its sixteen-year tenure. Having established their genre-mashing signature style from the outset with 2011’s self-titled debut album Amaranthe – a carefully orchestrated balance of competing influences including pop, EDM, power metal and core/death metal – the Swedish metallers have done pretty much everything in their power to adhere to this template ever since. And to their credit, they have been successful in replicating it again and again during their career (and some might argue with sparingly little to show in the way of nuance).

This level of consistency is perhaps something to be applauded. But on the flip side, it can breed predictability. And worse, a growing sense of tedium. Which brings us to their latest album The Catalyst, and my biggest question heading into this review: can it add anything new to the equation, or return to us some of the initial excitement of those earlier albums? Back when the music still felt a bit fresh and daring. The short answer is ‘no’. But at least it does make somewhat of an earnest attempt.

In the words of Amaranthe’s guitarist Olof Mörck: “We have done these things before, but we’ve never been as theatrical as we have this time”. And to an extent, this is true. There is certainly plenty of drama and build-up at the start of the opening title track “The Catalyst“, until the inevitable onslaught of the band’s trademark heavy dance rhythm punches out at you from the speakers. And no matter how many years have passed, their music is still as youthful and vibrant sounding as it has ever been. There is an infectious level of optimism as well. But this is nothing new for Amaranthe either. Something that is new however is the harsh vocals of Mikael Sehlin, who makes his growling debut on The Catalyst in place of previous member Henrik Englund Wilhelmsun. According to Sehlin’s Facebook page, he has previously been the lead singer for Engel, Degradead, and Paralydiu. But regardless of how the band found him, Amaranthe have clearly chosen wisely with Sehlin, for he comes across as a very natural fit, and transitions seamlessly into the role.

The vocals have always been an extremely strong feature of Amaranthe. So it’s good to know that this album is no exception. Sehlin joins the impressive clean vocalists of Elize Ryd and Nils Molin, and together their singing forms a harmonious chemical reaction that definitely needs no catalyst. We of course have to focus our praise on Elize Ryd though, who takes centre stage in this theatrical play, and for good reason. Ryd regularly pushes the music to unimaginable heights with her soaring high notes. And at an apparent ease that would make most singers jealous. “Outer Dimensions” is one such example of where Ryd’s voice lifts listeners above and beyond the stratosphere.

Perhaps that’s why the choruses remain such a highlight. Amaranthe certainly know how to pen catchy lyrics. Songs like “Insatiable“, “Liberation“, and “Damnation Flame” will have you singing along on your first listen, guaranteed. Whereas other tracks, such as “Breaking the Waves” and “Interference”, may take a bit more time to latch onto you. But at the end of the day, it’s still Amaranthe. And not a great amount has changed, despite some of the marketing hype. There are glimpses where the band does break away from this ‘rinse and repeat’ approach at various times, for instance on the cool, cyberpunk-inspired “Re-Vision“, or the more classically-inclined duet “Stay A Little While“, but these moments are rare and disappointingly transient in the grand scheme of things. The new found theatricality does at least show up strongly in the visual department, where Amaranthe have really taken their dramatic flair to the next level. For instance, on the video for “Damnation Flame“, which showcases some interesting transitions between live-action and illustrated animations.

Yet ultimately, your enjoyment of The Catalyst will come down to your level of tolerance for treading the same beats. I have no doubt that relatively new fans will absolutely lap this up. But if like myself, you have been following Amaranthe from day one, then it’s highly likely at this stage you might be starting to tire of the band. And it’s through no fault of their music, per se, which is still of the utmost highest order. But more a case of simply wanting to hear something different after all this time. And while this latest album hints at some promising moves in that direction, it’s sadly not enough to surpass the overriding sense of familiarity.

Verdict: The Catalyst is another slickly produced collection of highly catchy and upbeat power anthems. But now seven albums deep, it won’t do anything to cure your fatigue of Amaranthe’s sound. And for long-time fans, that’s really its biggest problem.

Categories
News Press Release

Canada’s FORSAKEN RITE Embark On Epic Folk Metal Quest with New Video “The Storm”

Forsaken Rite, the epic folk metal band hailing from the northern plains of Edmonton, Canada, is set to unleash a tempest of musical prowess with their latest single “The Storm” which comes from their forthcoming EP slated for release later this year. True to their high-fantasy roots, Forsaken Rite weaves intricate tales of adventure, battles, and travels with each song they create. The upcoming EP is a continuation of 2017’s “The Northern Saga”, and sees the band/war party heading West.

The band details what’s in store:

“New stories, new experiences, excitement. The adventurers are traveling West and encounter a terrible storm. As if something greater has other plans for their journey, they must weather its forces in order to survive and continue on their path. A catchy sing-a-long song with clean and distorted vocals and various folk elements. The instrumental section is percussive and brings together multiple folk instruments and melodies.”

Having undergone almost complete lineup change, “The Storm” serves as a beacon of the band’s evolution, showcasing their musical growth and creative ingenuity. With new members come fresh perspectives, and the result is an EP that will captivate audiences and leave them craving more.

Watch the official Lyric Video for “The Storm” BELOW:

Listen to “The Storm” at the following links:

In additional news, Forsaken Rite will be performing their first show since August 2022 along with their new lineup on May 24th in Edmonton, AB at Rendezvous Pub with Ashes of Yggdrasil, Hyloxaus. Event info can be found here.

Forsaken Rite online:
Facebook
Instagram

Categories
Album Review Staff Review

Nocturna – Of Sorcery And Darkness (Review)

Double, double, toil and trouble. Fire burn, and cauldron bubble. Two years after the surprise success of their debut album, “Daughters of the Night“, Italian symphonic / power metal band Nocturna are back with a fresh concoction of ‘dark fantasy’ metal tunes. Luckily for us, many of the key ingredients are still present, so if you liked their first effort, then you’ll no doubt want to check out “Of Sorcery And Darkness” when it releases through Scarlet Records on April 19th.

Songwriter, guitarist, and multi-instrumentalist Frederico Mondelli (Frozen Crown, Volturian & Be The Wolf) remains the mastermind behind these magical songs. But it is the bewitching duo of Grace Darkling and Rehn Stillnight that is once again responsible for bringing them to life. Together they stir up a potent mix of theatrical and operatic vocal harmonies. And it is near on impossible to resist their charm, which could explain why they are the main focal point in all of the promotional material for the album. To the extent that other members of the band are even donning masks (which fans have eagerly likened to Slipknot). Filling out this mysterious line-up nonetheless is Hedon (guitar), Antares (bass) and Deimos (drums).

The album kicks off in high gear with “Burn The Witch“, a title which doesn’t exactly bode well for our two witchy frontwomen. The song is very much of the power metal variety, and immediately draws quick comparisons to Frozen Crown due to its brisk and majestic feel. We are greeted with the vocals of Grace Darkling first, who hits all the right characteristics in her slick and histrionic belting style. Conversely, Rehn Stillnight embodies a lighter, more classical touch as she chimes in moments later. Both voices are fundamentally different, but they are equally matched, and have an undeniable synergy whenever brought together. Yet “Sapphire” confirms that they are more than capable of carrying these songs on their own, as we are given the chance to treasure each of the vocalists individually while they take turns with the verses. “Noctis Avem” ups the drama, along with the heaviness. There is an impressive wail that leads us to the opening verse. And the song has a steady, upbeat rhythm that sporadically ramps up with the drums in order to accentuate certain moments. But it was actually the bridges that garnered most of my attention, as the harmonic pitches here sound absolutely divine. On that note, “Creatures of Darkness” is practically biblical. Not just for its grandeur and scale, but also for its many lyrical references.

Our Solace, For Long Denied
Lies In Heaven’s Night
As Falling The Brightest Knight
Lucifer’s Demise
We’re Burning, Sons Of The Light
Daughters Of The Night
Returning To Grace And Might

Nocturna – “Creatures of Darkness”

The almost acapella start of “Midnight Sun” introduces us to yet another powerful banger. When the band kicks in with full-force, the listener is whisked away at a heady tempo. The track also features a fast breakaway guitar solo, and the wait has definitely been worth it. The key change towards the end is the final icing on the cake to heighten the exhilaration. A brief instrumental interlude ensues with “First Disobedience“, showcasing haunting bird sounds, whispered words, and some acoustic, neo-classical elements later on in the track. The atmosphere is suitably set for “Seven Sins“, the first single and already monstrous hit, with its thunderous bass and “Phantom of the Opera”-style piano notes enshrining it as one of the more memorable pieces of the album.

“Through The Maze” leans even more significantly into this stagey, neo-goth operatic vibe, with Stillnight commencing the number with her vocalised scales and epic high register. It is perhaps my favourite performance of hers in the whole album. But Darkling also brings something new to the table, so as not to be outdone, with a more sultry and commanding tonality to her clean singing than we’ve heard from her up to now. And more than a hint of chic in the intonation. The song is a definite highlight. But it doesn’t stop there. “Strangers” gets the blood flowing again, with a pumping rhythm and anthemic melody. The start-stop delivery of the chorus lines giving it a similar mood to Nightwish’s “Wishmaster“. Whereas final track “The Last Day On Earth” brings it home, with a touching ballad and a reminder to make the most of every moment and treasure them with those we love: “Life’s just the blink of an eye // A memory to be erased in time // … Never forget who wiped your tears // Like it was our last day on this Earth“. It’s a moving finale, and a brilliant way to close the curtain on this already magnificent opus.

Verdict: The second time is the charm for Nocturna’s “Of Sorcery and Darkness”, which manages to improve on its predecessor in every way. Converying a darker aesthetic and deeper maturity, plus better performances all round, Nocturna look ready to cast an even more powerful spell over the metal scene.

Categories
Album Review Staff Review

Gallia – Obscura (Review)

If ever there was a band you could recommend to fans of Nightwish’s Anette Olzon-era albums (Dark Passion Play / Imaginaerum), then Gallia would most certainly be it. Founded in Belgium, this four-person strong cinematic metal project independently put out its first full-length album, Obscura, all the way back in September 2, 2022. So obscure was this release that it managed to escape our attention entirely. Until very recently, that is. And we’re happy to have found it, as it’s clearly an album deserving of greater visibility. Even if it leaves a strong feeling of déjà vu.

The term ‘cinematic metal’ is still a relatively new label, but one that we have started to see bandied around by a couple of other bands – most notably Catalyst Crime and Malevolent. And while we are not sure if Gallia can claim to be the earliest progenitors of this particular term, they certainly embody it in every single aspect of what they do. From the epic choirs and orchestral symphonies to the bombastic arrangements and soaring melodies, all of it screams Hollywood production. Almost as though you are listening to the soundtrack of a mega-blockbuster movie. And at the epicentre of it all is our cast of visionary performers: Yannic Maris (Guitar), Laurens Vandebroek (Bass), Ties Jehoul (Drums), and last but not least, the impeccable leading lady which is Elyn Vandenwyngaert (Vocals).

“Aperture” gives us a preliminary peek into the fully realised musical realm that Gallia have created, with a short one-minute introduction that includes a ticking clock amidst a melody of sparkly keyboard notes, instilling that “Disney” magic and sense of childish wonder. It’s not long until we are suddenly in the thick of it, as the prelude flows directly into “Return of Time“, with its forceful guitar parts and momentous epicness. The sheer weightfulness of the downtuned riffs displaces a significant volume of air particles in front of your speakers, and gives rise to a new definition of the phrase ‘wall of sound’. It feels absolutely massive. And the interplay between Elyn’s vocal lines and the crunching distortion within the verses is also perfectly executed. With “Blackout Queen“, we start to witness the band’s knack for storytelling break out in the lyrics, proving once again that the idea behind cinematic metal is not so baseless or outlandish. And it’s around this moment that I discover there is a fully-fledged storyline that runs throughout the production, which has even been fleshed out in a fictional novel with each chapter of the book representing one of the songs. I can’t help but be impressed by the scope and ambition of this project, and part of me definitely wants to explore this further to see if it adds a new dimension. But for the purposes of completing this review within a timely manner, I must be satisfied with solely basing my opinion on the music. The theatrics continue on “Mirage“, which has a distinct carnival-esque flavour to it, again harking back to Nightwish’s Imaginaerum, and focuses on themes of deception and masquerading as something else.

Disillusion caught me once more
I have been here before
I’m familiar with your disguise
Tell me no more of your lies

Gallia – “Mirage”

As you may have noticed, favourable comparisons have been drawn between Gallia and Nightwish, and while that observation absolutely has merit, it’s also a disservice to imply the material here is simply derivative. There are indeed many similarities. Yet flourishes of originality do exist on the album. But unfortunately for the next track, “Reflection“, this is not one of those times. To the extent that we even see Gallia winding up a music box, as we approach this mid-way point of the tracklist. “Path of the Nomad” brings us back to a much stronger footing, with tribal drums and an acoustic set of instruments and various wind accompaniments bestowing a distinctly natural sound. This is played out even more with the folksy interlude of “Free Me“, which creates an earthly, mystical atmosphere that guides us to the next track, “Spirit of the Sea“. A song that is a sea shanty of sorts, except interspersed with far heavier passages. But the real highlight is next with “Chaos“.

This track showcases a hefty rhythm, plodding guitars, and an abundance of machine-gun double-bass drum kicks, which are all presented in synchronicity with the opulent backdrop of angelic choirs, and heroic-sounding orchestral movements. While not operatic in nature, Elyn’s singing still fits the song perfectly, and her high notes are impressive. The half-point breakdown is followed by an arabesque passage, once again adding another twist to this song, in addition to highlighting the band’s immense versatility. Gallia picks up this Middle-Eastern thread again for “Euphoria“, while “Tears of Gold” is the designated ‘epic’ song of the album, clocking in at just over seven and a half minutes. And it doesn’t disappoint. As you would expect, the longer-form allows for more shifts and changes, and the band does well to flex its creative muscles. The ticking clock returns towards the very end, signalling that our adventure is soon coming to an end. There is just enough time for one more song.

It takes the form of “New World“, and this time it’s a far simpler affair. Think along the lines of Nightwish’s “Eva“, and you’ll be getting close. It’s a smart way to cool off from an album that has been mostly full-on since it commenced, but there is still a triumphant send-off in the final minute or so. And Gallia has every reason to want to celebrate with this outing. It’s an incredible first chapter for any band, and a truly astounding achievement if you consider the high production value. It’s only real downfall is its strong resemblance to that which has come before, and for many listeners, this may not even be an issue.

Verdict: Gallia’s “Obscura” wears its influences a little too evidently on its sleeve. But you can’t deny the quality of this production. If you look closely enough, you will also see that there is a deeper underlying creativity. Here’s hoping this is less hidden in future.

Categories
Album Review Staff Review

Beyond God – The Great Divide (Review)

“The Great Divide” is evidence that you should never judge an album by a band’s self-ascribed genre. Beyond God are labelled as a symphonic metal quartet from the Netherlands, which sets the expectation that they will sound stylistically similar to other notable groups emanating from this region (Within Temptation, Epica, Delain or Stream of Passion). But the fallacy of this pre-conception becomes abundantly clear once the euphony of their latest release starts to grace your conscience, and it dawns on you that this is an altogether different type of proposition.

Released on December 8th, 2023 via WormHoleDeath, “The Great Divide” unshackles itself from the typical conventions that you may be accustomed. It is far more dynamic, complex and difficult to predict. No doubt, this could make it a more challenging listen for some. But you should not let this fact deter you. Your main guide through this album is the captivating lead vocalist, Meryl Foreman, whose sombre tones go against the grain, and work to imbue the music with a much darker, and more foreboding energy. Her companions are as equally distinguished, with the line-up featuring Mariusz Krawitowski on guitars, Dennis Winkel on bass, and founding member Ferry Guns in charge of drums, piano and orchestrations.

Starting with the hectic “Cronos“, based on the Greek mythological figure, it is immediately apparent that Beyond God are unique. It is a song that continues to mount in pure intensity throughout its runtime, with no obvious crescendo or release to ease the pressure. There is plenty of orchestration, but most of the power and magnitude is provided by the rest of the band’s performance, which leans more heavily into death metal. It’s not quite on the same level as Fleshgod Apocalypse, but it’s heading in that direction. The furious riffs and blast-beat drumming are clearly dominant in this track, yet it still succeeds in pulling you deeper into the album despite the lack of any clear hooks or payoffs. There is the sense this might all be an exercise in delayed gratification for you are left simply wanting more by the end of this opener. Thankfully, it sets up “Frostbite“, the next track and more accessible single. It is here that we finally receive a more typical song structure and a few noteworthier moments.

The composition follows the story of someone that is caught in a negative situation, and is unable to escape on their own. It is relayed using the analogy of the four stages of frostbite and reaches the conclusion that only the warmth of love can act as saviour. Foreman is the standout in this track, and her hostile barking of the word “Frostbite” on top of the music is a particularly cool touch (no pun intended). Things slow down somewhat on “Coronation“, which is perhaps fitting given that it is about the Covid-19 pandemic and the struggles that this entailed. The crushing heaviness is still as present as ever, but there is less going on in this track for your brain to interpret, and a better cohesion between the disparate elements. This simplified approach also bleeds into the intro of the subsequent track, “Heartbreaker“, and the guitar solo played during this piece is beyond good (Ed – I see what you did there). But it’s not long before the band’s death metal tendencies are on full display again, and we are bombarded by more blisteringly fast-paced riffage, and another battering drum assault.

None of this is particularly alarming, of course, except for the fact that it does take a while to acclimatise to the sonic dissonance on initial playthroughs. The melancholic timbre of Foreman’s vocals is something you would expect to hear in more of a gothic/doom metal context, which can make it difficult to reconcile with the instrumentation in the beginning. But it also adds a uniqueness to this band, and is one of the reasons why they so diverge from their peers. The opposing influences are no more evident than on the title track, “The Great Divide“, but somehow they all still come together in a beautiful harmony, in defiance of the song’s title. And indeed, the main thrust of the song is in fact a message of unity.

Stop the spread of fake
News will be your guide
For all the lives that are at stake
Left and right unite
Brightest light of dawn
As we’ll be building bridges

Beyond God – The Great Divide

A smooth transition leads us into “The Siren’s Cry“, and Foreman matches the brief of the alluring Siren perfectly with her enchanting singing and persuasiveness: “Come to me // Come to me // Come to me“. But as we know, there is a more sinister undertone, and this soon asserts itself as Foreman shifts back to her menacing vocals to issue the following command: “Now jump! // Jump // Come to me // Jump into the sea // Jump!“. Not only is this an entertaining twist, but I can also see this going over particularly well in the mosh pit. Next track “Pierced” gets under your skin a little, with its social commentary on the shifting perceptions of beauty. While “The Elder Tree” is a musically gloomier affair, with Foreman being especially in her element here, and sounding most at home vocally. But it also hits hard thematically, as it is a deeply personal number which deals with the loss of Foreman’s beloved grandfather during the Covid-19 pandemic. The band picks up the pace again with “Aphantasia“, a song which centres on the phenomenon whereby a person’s brain is unable to visualise any mental images. Before concluding with “After Love Ends“, a song exploring how to move on following the end of a romantic relationship with someone. It is the final track of the album, and while it strikes a sorrowful tone, it does not feel like a breakup – as something tells me that listeners will be back again to spend more time with these tracks.

Verdict: “The Great Divide” certainly succeeds in creating some relative distance between Beyond God and the rest of their symphonic metal peers. Some effort may be required by listeners to bridge the gap, as these are not your stereotypical melodies, but anyone who puts in the time to comprehend them will be surely happy they did.

Categories
Album Review Staff Review

Infected Rain – Time (Review)

“Time, what is time?” A question that Moldovan metalcore band Infected Rain seek to explore in their latest opus, “Time“, which was released on February 9, 2024 via Napalm Records. While we may never have the answer, it’s certainly ripe for philosophical debate, and is a concept that this group values, especially when it pertains to their listeners. So, you needn’t worry about wastefully burning through it on their new album.

One thing we do know about time is that it has a tendency to bring changes. And in that regard, you should expect to witness a different line-up this cycle. It was announced by Infected Rain back in May 2023 that two of its long-serving members Sergey Babich (guitars; 2010-2023) and Vladimir Babich (bass; 2008-2023) had exited the group. No explanation was given for the departures, though to soften the blow it was simultaneously revealed that Alice Lane (Hand of Juno) would be joining them on an indefinite basis to take up bass duties. Anyone who has familiarity of Lane’s work will know what a boon this is to the band. The downsize to a four-piece composition doesn’t seem to have affected them either (although I can’t speak for the live implications). Vadim “Vidick” Ojog and Eugen Voluta both return on guitar and drums respectively, and of course most importantly – the enigmatic and prolific frontwoman Lena Scissorhands is back on vocals. And as long as she remains attached to the project, then it is safe to say that Infected Rain retains much, if not all, of its identity and appeal.

It’s a little strange to be reviewing an album where the first handful of tracks are already so well known to me thanks to their pre-release, but it is a validation of their standards that I’m happy to sit through and enjoy them again, instead of eagerly skipping to the new material. So, first up we have the hit singles “BECAUSE I LET YOU“, “DYING LIGHT“, and “NEVER TO RETURN“, and it’s an easy hat-trick for Infected Rain, who are simply out here kicking early goals with each of these headbangers. There is plenty of aggression on display in all, both in terms of the brutality of the instrumentation, and also with respect to Lena’s venomous screaming. At the same time, there are still many of the band’s signature lush harmonies, and mesmerising electronica elements to lull you into a blissful ‘trance-like’ hypnotic state. “NEVER TO RETURN” also throws a curveball with its distinctly far-Eastern flavour, as Lena shares a realisation: “Time, a lesson that we’ll never learn // Moments lost, never to return”.

The rest of the album holds up just as well. Infected Rain obviously saw the commercial potential of the next track “LIGHTHOUSE“, as this was dropped as a new single and music video shortly prior to the album’s launch. As a result, it was still relatively new to me at the time of review, but I could still instantly appreciate the more relaxed and mellow approach. The band fires up again for the curiously titled “THE ANSWER IS YOU“, indicating that their break is now over, and its back to the usual business of crushing skulls and taking names. “VIVARIUM” continues in much the same vein, and is another familiar tune given its reveal and single release about a month ago. It says a great deal about the calibre of this album that so many tracks are worthy of individual promotion. And indeed, practically any song on this album could fit that purpose if the band were so inclined. They are in the zone, it would seem. And their performances display a certain freedom and fluid mobility, even if the lyrics would tend to suggest the opposite mentality sometimes.

In this cage we call our own
We are surrounded by a world of stone
Like birds that cannot fly
In this poisoned, empty sky

Infected Rain – Vivarium

There is still plenty of time left on the clock for Infected Rain to impress, but the band are already well ahead on that front. “PANDEMONIUM” is simply that, as cascading metal riffs and EDM synths attempt to occupy the same moments in space and time. Lena’s guttural vocal fry effortlessly rips through the resulting chaos like a dagger, but she is also equally capable of switching gears, and melding the various layers together like glue, utilising the harmonising powers of her serene-sounding clean vocals. True to their titles, “ENMITY” is unmistakenly oozing with its hatred, whereas “UNPREDICTABLE” takes many unexpected twists and turns before it has completed. The surprises continue in the form of “GAME OF BLAME“, which begins with an ethereal keyboard section, before shifting into an addictively rhythmic groove and some Djent-y breakdowns in its final moments. The bilingual “PAURA” introduces further interesting moments to ponder over, and is more calmly paced as Lena offers the sage advice: “Remember to stop and breathe // Fear cannot tell you how to live”. We are then left with our thoughts on the instrumental outro “A SECOND OR A THOUSAND YEARS” which I strongly suspect is the band’s way of providing a moment to reflect on our recent aural experiences. The name also implies the variability of time, and that despite its constant nature, our sensation of it can change due to our own perception and subjective enjoyment. And this will no doubt be the case when judging the album itself. But from my perspective at least, “Time” is a worthwhile activity, and one I will gladly repeat in future.

Verdict: Infected Rain’s “Time” is a brilliant way for listeners to while away this precious commodity. It’s a highly focused album that is completely devoid of filler – and ironically timeless. The sheer strength of the compositions guarantees that it is not just an album to satisfy the present day, but one that will surely last the ages as well.

Categories
Album Review Staff Review

Elettra Storm – Powerlords (Review)

You better batten down the hatches. A storm is brewing on the horizon, and it’s gaining in size and intensity. The debut album of Italian power metal unit Elettra Storm is forecast to arrive on the 16th February 2024 and it bears the suitably self-aware title of “Powerlords“. Led by industry power metal veteran and SinHeresy co-founder Davide Sportiello, alongside the charismatically sensational frontwoman Crystal Emiliani (Re-X), it is obvious there is no shortage of talent or experience in this new musical ensemble. Their initial venture is further supported by the skilful mixing and mastering of mastermind producer Simone Mularoni at Domination Studio (Wind Rose, Elvenking, Twilight Force), plus cover artwork handled by Beatrice Demori/Oround Media (Moonlight Haze). With star-studded credits like these, you would be right in thinking this project is on a path bound for victory.

Elettra Storm hits the ground running with relentless enthusiasm on album opener “Higher Than The Stars“, and it’s not long before they build up sufficient speed to take off and soar into the clouds. It’s almost impossible not to get swooped up with them in the whirlwind of blisteringly quick guitar/keytar-fuelled notes left behind in their wake. But if that should fail, then the heavenly and empowering vocals of Emiliani are surely fated to lift you higher.

The ascendency felt in this track could turn out to be emblematic of their career trajectory, for even at this earliest of acquaintances, it is clear Elettra Storm have the potential to rise to the highest echelons of the metal scene. A first impression that is only reaffirmed again and again as the album continues to play out, and they consistently hit the major jackpot – with winning numbers like “Redemption” and latest single “Origin of Dreams” following in quick succession. Guitarist Francis D. Mary steps up his duets with Emiliani on both these songs, and the two pair up beautifully in the vocal department. The harmonies continue in “Powerlords“, which marks its arrival with the type of pomp and ceremony that one might expect from such a boastful title. But it’s hard to argue with this confident self-declaration when the band has the receipts to back it up.

We are the Powerlords
We bring magic to your eyes
We heed the freedom calls
Standing stronger by your side

Elettra Storm – “Powerlords”

“Alone” sees the band break out their acoustic instruments, if only momentarily. There is a distinct Blind Guardian-esque feel to this power ballad, and both the sweeping guitar solos and Emiliani’s vocals sound the most weighty and emotive we have heard them so far. The mid-tempo “Heirs of the Descent” is memorable for its repeated catchiness, while ensuing track “Sacrifice of Angels” reaches Dragonforce-levels of crazy speed metal. I hate to think how challenging this would be for the band to perform live, but there is little doubt it would be an energetic crowd pleaser if they could somehow pull it off. Emiliani does well to keep up with the chaotic pace of her bandmates, who seemingly push their abilities to the max. We draw closer to the album’s conclusion with “Spirit of the Moon“, and Emiliani hintingly reflects on this fact in her opening lyrics: “The end of my quest is near // The end of all“. It is not without a touch of sadness that we have reached this point, but the band provides us a worthy send-off, especially with the slightly lengthier “Voices in the Wind“, delivering some of the catchiest vocal lines yet. Each member of the band is an expert artisan of their craft, whether you care to mention the gallivanting drum work of Matteo Norbedo, or the nimble-fingered fret work of guitarist Matteo Antoni, and this last track serves as a final reminder. The real highlight throughout the entire production, however, is Crystal Emiliani, who has a natural affinity for this style of music (considering this is her first foray into the genre) and possesses the uncanny ability for blending emotion with raw potency.

We were right to list “Powerlords” as one of our most anticipated metal albums for 2024. Combining the splendour of early 00’s power metal, which was made famous by the likes of genre heavyweights such as Stratovarius and Rhapsody of Fire, with the more modern stylings of female-fronted power metal bands like Unleash the Archers and Frozen Crown, Elettra Storm have hit upon a magic balance between the two. It’s still power metal at the end of the day, and still features all the typical fantasy tropes and enchanted stories that are par for the course with this genre – and could perhaps even make Luca Turilli blush. But if that sounds like your cup of tea, then you simply can’t go wrong with “Powerlords“. It’s an escapist’s dream, and a pure joy from start to end.

Verdict: “Powerlords” is all but guaranteed to take the world by storm upon its release, especially when buoyed by the rising star power of relative newcomer Crystal Emiliani. A strong first outing for Elettra Storm, and a worthy addition to any power metal collection.

Categories
Album Review Staff Review

Exit Eden – Femme Fatales (Review)

You would have been forgiven for thinking that international supergroup Exit Eden was just a flash in the pan after 2017’s Rhapsodies in Black. Sure, the album was fantastic fun, as well as highly popular, but given that it also consisted exclusively of cover songs, a follow-up always seemed rather unlikely (especially if you take into account the individual schedules of those involved). Yet it’s times like these that I’m happy to be proven wrong. So here we are roughly six years later with their sophomore contribution, Femme Fatales, which seems to be aptly titled considering the band’s makeup: Clémentine DeLauney (Visions of Atlantis, ex-Serenity), Anna Brunner (League of Distortion), and Marina La Torraca (Phantom Elite).

Although regrettably the lineup has not returned entirely unscathed, with previous member Amanda Sommerville (Avantasia, Trillium, Kiske/Sommerville) deciding to pull out of the project and focus on her three children instead. It’s a shame that she could not be involved in the production this time, but her reasons are understandable, and the remaining singers do such an outstanding job in filling the void that any pain caused by her absence is quickly forgiven as soon as the album unfolds.

What makes this release a step up from its predecessor is the presence of original songs. This is evident from the get-go with the spectacular single “Femme Fatale” leading the playback, co-written by Brunner and Hannes Braun (Kissin’ Dynamite), as is the case for the majority of tracks here. Each of the singers is afforded time to shine and add their own style to the tune, while coming together during the choruses to deliver the knockout punch. The origin of the term is not wasted either, with DeLauney speaking in her native French language in a brief passage towards the end of the song. The other original material that is presented by the band is equally as strong. “Run” is simply a runaway hit, with its folksy strings and catchy lyrics, which also happens to be blessed by the incomparable vocals of Marko Hietala (ex-Nightwish). Whenever he is listed as the guest vocalist on a track, you just know that it’s going to be amazing. And he doesn’t disappoint here either. As always, his voice serves as the perfect counterweight for the brighter female vocals.

But you’ll be pleased to know that Exit Eden have not left behind the covers altogether, and there are still plenty to enjoy on “Femme Fatales“. Depending on your respective tastes in music, they are an arguably better selection as well – with fewer modern pop numbers. It’s always a risky affair whenever a heavy metal band decides to cover hit songs, but just like they demonstrated on “Rhapsodies in Black“, Exit Eden manage the task with ease. Even when that task means matching the vocal powerhouse of Ann Wilson with their brilliant take on Heart’s “Alone“. Their version is so incredible that they can naturally deflect calls of sacrilege for attempting such a beloved classic. In addition, Exit Eden almost completely transform “It’s a Sin” by the Pet Shop Boys, making it sound uniquely their own, while still retaining the song’s essence. The cover of “Separate Ways” (Journey) brings back some of the folk elements, and has that massive “sing-along” quality. It’s the song with the closest resemblance to “Rhapsodies in Black“, which is probably why it was released as a single in order to bridge the gap between albums. But it is their cover of Alice Cooper’s “Poison” that is my personal favourite, even beating out Tarja’s previous effort on “My Winter Storm” in terms of quality, which was definitely not something I had on my bingo card for this year.

“Buried in the Past” and “Hold Back Your Fear” help to further establish the songwriting credentials of Exit Eden, both powerful metal anthems with memorable melodies that are superbly bolstered by this holy trinity of extraordinary vocalists. “Dying In My Dreams” is the only track co-written by Torraca, and is just as impressive in its composition, with a particularly impassioned plea in its chorus: “We are lost in life // There’s nowhere to hide // I’ve been carried away by the fear // Can anybody wake me up? // ‘Cause I’m dying here in my dreams“. “Elysium” is the last of the original Exit Eden songs, and also the final track on the album. And what it may lack on the tempo front, it more than makes up for in terms of epic power and intensity.

With half of the album consisting of covers, and the other half originals, “Femme Fatales” is a perfect balance of old and new and should easily satisfy both camps. But the fact they are producing their own songs is definitely a game-changer, and means they can finally leave the “covers band” label behind for good. On the other hand, I’m convinced that this band could make anything sound like it’s a masterpiece, which is why the vocalists are so deserving of our respect and admiration. Each voice is formidable and distinctive in its own right, yet together they are immensely complementary and somehow manage to produce an even greater whole. Though extra credit should perhaps go to Brunner for her greater input in the songwriting. She is also the Mel C of the group, often interjecting with a harder edge and enthusiasm with her screaming blasts when the music needs that extra little jolt. (I apologise to everyone for using a Spice Girls reference). Still it’s very much a team effort, and I cannot wait to see what they come up with next.

Verdict: With “Femme Fatales”, Exit Eden have graduated to the next level of their career. Paying respect to what made them a huge success, while pushing forward and testing the waters with their own material, it’s a riskier proposition for the band, but one that pays off in spades. And when it comes to nailing those big-name covers, nobody does it better.

Categories
Album Review Staff Review

Metalite – Expedition One (Review)

Metalite can be regarded as old hands now when it comes to producing the type of slick, pop-infused power metal that appeals to the mass market – and new album “Expedition One” (which was released on 19th January 2024) is absolutely no exception. As the artwork would tend to suggest, the project is mostly a vehicle for the beautifully talented lead vocalist Erica Ohlsson, and there is little doubt in our minds that she acts as the biggest drawcard for audiences to embark on this galactic space voyage. But in any event, we strongly recommend that you buckle up and prepare for launch, because the Swedish metallers are ready to blast off, and you definitely don’t want to miss out on this journey.

Before the countdown commences, let’s quickly meet the rest of the crew. In addition to Erica Ohlsson at the helm, the band’s lineup consists of Edwin Premberg (Guitars), Robert Örnesved (Guitars), Robert Majd (Bass), and Lea Larsson (Drums). The five-piece outfit has fortunately remained unchanged since 2019’s “Biomechanicals”, so you can rest assured that this expedition is in extremely safe and capable hands. Although you should still expect a reasonable amount of turbulence, and this is clear within seconds of the opening title track “Expedition One”, which joyfully propels you into the album with an abundance of G-force and kinetic energy. Listeners are thrust into outer space as the protagonists in the story leave behind their dead planet: “We’re looking back through the frozen glass // The earth we know has turned to stone pitched black”

Metalite clearly have plenty of propellent in the tank too, as this energy level is maintained into the next track “Aurora”. The pumping tempo even kicking into overdrive at a certain point, as if the band have just punched the ship into hyperspace. They serve up a flurry of other smash-hits in quick succession as well, including the previously released headbangers “Blazing Skies”, “New Generation”, and “Disciples of the Stars”. Sandwiched between these monster arena anthems is the unassuming “In My Dreams”, which provides a rare occasion for the band to show off their more delicate side, and ease back on the throttle. It’s all very slickly produced, which is no real surprise when you learn that Jacob Hansen is responsible for the mixing and mastering (Delain, Epica, Amaranthe, Arch Enemy). The choruses sound huge and multi-layered, the drumming is tight, and the guitars are suitably crunchy and high octane, with plenty of poppy synths and keyboard effects adding to the overall atmosphere. It’s a successful combination, and one that Metalite rarely deviates from. Even a track titled “CtrlAltDel” does little to change the band’s routine function. But when the music is this good, there is really no need in the first place.

Futuristic sci-fi themes have been typical fodder for Metalite in the past, but this is the first time they have ever released a concept album. Even so, you can hear the masterful execution. Weaving a thought-provoking and visionary story across 16 tracks, which relates to humanity’s desperate struggle to find a new home amongst the stars (after being responsible for the destruction of their previous one). It is all highly topical, and at approx. 68 minutes it is a significantly lengthy exercise, but the infectiously exuberant music guarantees that there is never a boring moment. There is no discernible drop in song quality either, and I can say this because the chorus of the penultimate track “Take My Hand” has been stuck in my head for the last few days. However, the usual criticisms about Metalite’s brand of metal being too clean and pristine still apply here. Indeed, the metal on display can often be so bright and polished that it does dazzle you with its shininess at times. But assuming that’s not a problem, there is little to actually pick apart on the album, and I imagine that most people will have an amazingly stellar time with it.

Verdict: Whether this is your first expedition with Metalite or not, “Expedition One” is destined to surprise and delight in equal measure. It’s a lengthier ride than some fans might be used to, but the album is always lively and entertaining enough that it will never put you into stasis. A cosmic splendour, and a powerful way to launch into 2024!

Categories
Album Review Staff Review

Neocracy – Pure Organic (Review)

In the midst of the Covid-19 pandemic, a trio of intrepid musicians came together in Germany, and accidentally made a new album. I say ‘accidentally’ because at the time there had been no greater goal or ambition in mind than to simply do something productive with themselves during the lockdowns, and maybe try to have a bit of fun in the process. But as the music began to take form, and the band became more heavily invested in the project, they realised it shouldn’t be withheld from the public, and so an album was released on August 10, 2022.

Given this context, “Pure Organic” is an obvious choice for the title of the band’s debut album. But it goes deeper than just the organic way in which it came together. The album’s production has a very real and authentic feel about it as well (a rarity in this day and age with all of the new technology available). It’s nearly a “live” sound, but not quite as raw or unfiltered as that either. Still the emphasis is clearly on the instruments and the talent of the individual performers, who in the case of Neocracy is a line-up consisting of the father/son duo of Volker Pannek and Tim Pannek (Bass/Vocals), along with skilled frontwoman Franziska Stolze (Lead Vocals).

“Run” brings some early momentum to the album, starting with a riff-heavy intro and a dose of progressive quirkiness that eventually subsides into a much more-laid back rhythm and style, as Franziska’s smooth vocals and calming influence begin to take centre stage. The chaos makes an inevitable return, with bassist Tim adding in some raspy death vocals, but in truth I find myself drawn more to the acoustic passages in the track, and the quiet harmony achieved between the guitar, bass, and drums. “Sleep Awake” features a similar light/heavy dynamic, but without the psychedelic riffage this time, and a much harder edge thanks to the presence of more distortion. It’s less unique perhaps, but it works better in my opinion. The bassist also does some rapping, which I’m not the biggest fan of usually, but it does provide an extra layer to the music here, and harks back to the bygone ‘nu metal’ days of the early 00s if you’re feeling particularly nostalgic.

“Trust” is the next song to blare out of the speakers, and this one has a confident guitar groove and more established hard-rock footing. However, my personal feeling is that the track did not need a reappearance of Tim’s growling, since they only serve to distract from Franziska’s belting vocals, and bring down an otherwise uplifting melody. The ‘less is more’ principle should have been applied here in my view. This is not a concern for the more minimalist “Shallow Hearts“, which has a lighter touch, yet still a rich tone. By foregoing the heavier elements of their sound, the focus is instead on Franziska’s beautiful singing and the emotional lyrical content, which is made even more entertaining by the interesting way she elongates certain words and syllables.

Somehow I don’t have a clue
How this critical life can be good for you?
Egotistical decay
We remember everything you say!

Neocracy – “Pure Hearts”

“Fate“, on the other hand, tries to take a few notes out of Dave Mustaine’s music sheets, for it has a pointedly choppy guitar hook that is combined with Franziska’s staccato conversation-like singing over the top. However, her vocals don’t quite have the same grit or attitude necessary to make the effect sound convincing. The song eventually opens up a little, letting loose with a galloping pace, before disassembling itself once again with some slow, but purposefully strong bashing of the drumheads, and Volker embellishing these thunderous beats with a few slick guitar harmonies. Though to be honest, it’s not quite enough to save the track. On the flip side is “Respect”, a song punctuated by its surprisingly brighter soundscape, and deep country-rock influences, including an overtly positive message that can be attested by its chorus: “Show your respect // to everyone who treats you correct // Accept yourself // for what you are“. The band diverges from the norm again with their final track “Nordic Sky“, a folksy tune that has a bit in common with Nightwish ballad “The Islander“, right down to the ambient sounds of seagulls and crashing waves, and serves as yet another reminder of their acoustic aptitude.

One thing that stands out above all else with this album is Neocracy’s willingness to experiment with their sound and explore a variety of different styles. It’s as though the band gave themselves complete freedom with their music, with no limits or constraints on where it could take them. And in a way that makes sense when you recall that all of this originated from loosely structured jamming sessions where presumably anything was accepted. But while it obviously takes talent to be this versatile, it does make for a somewhat confounding and inconsistent introduction to the band considering that this is their debut album, and most listeners will be trying to get a handle on their music for the very first time. Furthermore, in trying to cover such a wide variety of styles, there is the danger of spreading themselves too thin, and never really satisfying fans of any one of them in particular. The effort to bring a more natural and realistic feel to the album’s production is still admirable, but using fewer effects and tricks in the studio also means there is less capacity to hide some of their shortcomings. Yet while it is not perfect, there is definitely the seeds of something special in this release that needs to be nurtured. And hopefully with a bit more focus and refinement, the band can find a way to blossom into its full potential.

Verdict: “Pure Organic” is a promising, yet somewhat disjointed venture that may still leave you pondering the true nature and identity of Neocracy afterwards. It introduces plenty of ideas, some of which work better than others, but they never fully amount to a satisfying or cohesive whole. Here’s hoping the next album is more focused, and leans into the band’s considerable strengths, whilst leaving behind some of its weaker traits.