Author: Darth

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Album Review Staff Review

SynlakrosS – Mental Parasites (Review)

The Spanish death metallers SynlakrosS have returned with their fifth and most unapologetic album yet – in the form of “Mental Parasites“. As the band have indicated: “The songs on this album are inspired by personality disorders, as well as thoughts and attitudes that parasitize our mind, turning it into a hostile place and making us live in hell.” Quite the departure from their previously sci-fi themed LP “0K4M1” (2021), although one senses this is par for the course with SynlakrosS, whose prior releases have all been substantially different to one another in terms of the topics and issues that have been addressed. Take for example, the Wild West-inspired “Death Bullets For A Forajido” (2016), or the supernatural horror of “Malice Murder” (2018). But an underlying thread which runs throughout their discography is an enduring message of rebellion and self-empowerment. While it might be less prominent, the same observation can be had of “Mental Parasites“.

The thematic changes are important this time, because they do apply a grittier sheen to the material here (and even an element of surprise as well). The band, for their part, provide the distinct impression of fitting in very comfortably with this new theatrical premise. Although especially lead singer Patricia Pons, whose multi-faceted vocals and personas paint her as a fascinating and complex frontwoman. She is a big reason for why the concept of “Mental Parasites” works so effectively – or at all, in fact.

While Pablo Fuentes (bass) is the main composer for most of the songs, and occasionally Iván Muñoz (guitarist), Patricia Pons is still the creative force behind the themes and lyrics. And on songs like “Bunnies And Bows“, it is obvious that she draws much of the inspiration from her own personal experiences. As we witness her unleashing some pent-up emotions and frustrations, whilst railing against societal stereotypes and those in positions of power. She lays it all out on the table – nothing is filtered or left unsaid. The fact this was released as the first promotional single makes this an even greater act of courage.

The song further highlights an interesting aspect of Patricia’s vocals, which take on an almost schizophrenic quality for much of its duration. Perhaps this is feeding into the overall theme of mental diseases, as it certainly seems like multiple personalities within Patricia are fighting to take over the microphone (including what sounds like a Japanese anime character). It makes for some immersive drama, but it could also alienate more casual enthusiasts. Those who grew up listening to Jonathan Davis should have no issues with her unhinged performance however. And there is just no denying the ferocity when she revs up her guttural death vocals.

It is clear right off the bat with album opener, “Cherry on Top“, that much of their sound has been inspired by melodic death titans In Flames. The influences rising to the foreground in “Paranoid“, in particular. But it is not the overriding characteristic. There are components of alternative metal, metalcore, and nu-metal mixed in too. And it’s safe to say that in addition to this, SynlakrosS have an inimitable music style that is all of their own making. The band is arguably at their best when they let loose, and push themselves to the extreme. Such as on the recent single, “Freak“, where Patricia Pons is seen doing her best Meredith Brooks impersonation, and labelling herself as a “bitch” (among other things): “I am a freak // I am a maggot // I am a bitch // I am a riot“. It functions as an anthem of acceptance for anyone who has ever been put down or cast as an outsider, but also doubles up as a showcase for the band’s technical brutality.

“Mental Breakdown” continues the devolution of Patricia’s fragile cognitive state, complete with demented panting and screams, making it sound like she recorded the voice track in a padded cell instead of a studio. She steals the focus once more on “Drama Queen“, with its insanely (no pun intended) catchy chorus: “All lights on me // All eyes on me // Adore me // Adore me“. The innocently titled “Popcorn“, on the other hand, belies a more sinister tale of predatory thoughts: “I’m the werewolf // You are my prey, my love! // I’m like poison // I’m like fog // I would eat you like you were popcorn“. Before the album concludes with the troubling “Razor Blade“, where the lyrics are of someone who is in pain and is contemplating suicide. It’s a heavy tone on which to end, and you definitely feel the impact when you are eventually left in silence, and given no closure as to the character’s fate.

Overall, the album executes its concept perfectly, and in a no-holds barred fashion. Proving once again the ability of SynlakrosS to pick a theme and deliver on it, without restraint. The music is equally well implemented and if you can handle the circus, it deserves to be heard.

Verdict: “Mental Parasites” not only gets under the skin, but burrows into the psyche, and some of the dark and twisted places where that can lead. SynlakrosS show an adeptness at putting a spotlight on these various mental health issues, and while the result may not be to everyone’s tastes, the LP is still a riveting and visceral shake-up in the metal scene.

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Album Review Staff Review

Fabulae Dramatis – Violenta (Review)

It is always refreshing to come across a band offering something a bit different to the norm, and Fabulae Dramatis from Belgium, certainly show distinctiveness with their latest album, “Violenta“. Released on September 7th 2024, the output draws in a wide array of influences, whilst still managing to remain very grounded and connected to its roots. With the aid of the album’s producers, Martin Furia (Destruction / Bark) and Gustavo Valderrama, the musicians have been able to metamorphosise their style into a more Latin/progressive metal approach. A transition that pays off exceedingly well.

The band’s line-up is now only four members strong, consisting of the spectacularly gifted Isabel Restrepo (lead vocalist), along with bandmates Daniel Díaz (guitarist), Teo Dimitrov (drummer) and Marco Felix (bassist). While each cohort is clearly exceptional in their own right, additional credit goes to Isabel, who accepted the challenge of learning harsh vocals for this production. A role that was previously played by Wesley Beernaert in the preceding release, “Solar Time’s Fables“. You would never pick that Isabel is new to the game though, because on “Violenta“, she proves that she can easily rage with the best of them.

You won’t need long to discover this fact out for yourselves, for her sultry sweet serenading in the opening track, “Fabula Violenta“, soon descends to a more hellish timbre – the South American influences proudly exhibited throughout the song, as its raw energy and primitive beats channel Roots-era Sepultura. Isabel’s vocal modulation is not the only shifting aspect in the piece either. The passages also regularly deviate between English and Spanish lyrics. With each change serving to fit a particular mood or expression. A technique that is artfully deployed by Fabulae Dramatis for much of the album’s runtime, and to great effect.

“The Jungle of Ego” engages listeners with some tribalistic chanting, before becoming superimposed with the haunting cleans of Isabel, who infuses a reasonably eerie vibe to this number. Close observers might also notice a sombre message conveyed by the lyrics as the song progresses – providing a cautionary statement about the impacts of social media, and the narcissistic qualities that it so engenders: “Addicted to demise // Victim of modern vice // Damned architect of pain // The human race is vain, so vain!”. “The City (Translucent)” is up next, and it continues the band’s reflection on modern-day society. This time lamenting about our general isolation and lack of connectivity / inter-personal relationships, despite having more technology to assist us in this regard.

A version of this song was originally released as a single in 2020 with the band’s previous bassist Hamlet. But the bass lines were specifically re-recorded by Marco for this album’s release, and he stamps his personality on the track from the very first bass slide. Fabulae Dramatis are also known for their award-winning music videos, having previously won the award for ‘Best Dance Music Video’ at the Cannes Film Awards in 2023 (amongst others). And that visual flair shines through on the video produced for “The City (Translucent)” for its initial release as well – depicting humanity trapped as puppets in a glass prison.

The album continues with “Lead Astray •l• Indigo“, a leisurely waltz of mellifluous elements and calm, acoustic-sounding instruments – its gentle ebb and flow somewhat reminiscent of Jinjer’s “Pisces“, albeit with less aggressive highlights. Although Isabel’s growling is still present at key points during the track, it does not take much away from its overall serenity. Following this up is “River of Despair“, which features a far more buoyant harmony than its title leads you to expect. The rollicking energy of the Guano Apes springs to mind if I had to compare this to something else I’ve heard. While “Pawn Out of Board” and “The Illusionary Spyglass” are the epitome of modern prog / post-metal. The crystal-clear production really emphasising each band member’s individual contributions and virtuoso throughout. There is just no denying that “Violenta” is both a surprising and impressive display of talent. Add in its undeniable uniqueness, and it truly solidifies into a must-hear experience.

Verdict: “Violenta” is a great progressive metal album, with a robust Latin influence, and plenty of heaviness and intrigue, which allows it to stand out from the crowd. With lyrics that also boldly speak to our current situation, and the importance of re-connecting with more traditional values – it makes for a daring release, both creatively and thematically.

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News Press Release

FROZEN CROWN Reveals Energetic Title Track “War Hearts” + Official Music Video

Rising Italian power metal outfit FROZEN CROWN have unveiled the guitar-driven title track “War Hearts” alongside a powerful official music video. Taken from their new studio album and Napalm Records debut, War Hearts, out on October 18, 2024, the uplifting track combines the strong message of fighting for your dreams with incredible vocal expertise and ultimate high-speed riffs. Determined to make it through the rough storm as war angels, relentless drums merged with a thrilling guitar solo by newest member Alessia Lanzone reflect the confident atmosphere.

With their youthful, raw and passionate approach to metal, FROZEN CROWN have garnered significant media exposure with their previous four albums and their massive hit, “Neverending”, which has gathered over 11 million views on YouTube to date. The band has further cemented their reputation with their dynamic live performance with legendary acts like U.D.O. in 2023.

Place your pre-order now and listen to “War Hearts” below for another taste of what’s to come!

FROZEN CROWN on the new single “War Hearts“:

“We’re overly excited and proud to introduce our new album’s title track ‘War Hearts’ and to unveil its official videoclip! ‘War Hearts’ was the first song we wrote for the new album and it’s meant to be a statement about how fast and uncompromising the rest of the album is going to be. It’s also the first song to mark the appearance of our young new guitar player Alessia and her blazing solos.

The video is once again settled in Italy, between the windy ruins of the Avigliana Castle, and once again portrays the band in the rawest manner possible, without any kind of post-production or artifice involved.”

Check out the Official Music Video for “War Hearts” BELOW:

Founded in 2017, the relentless band has performed at several festivals like Sabaton Open Air, Metal Fest Plzen and Rock Imperium Festival, headlined two Japanese tours and followed extensive European touring with significant bands such as DragonForce and Nanowar Of Steel – topped by an upcoming tour with Kamelot this fall! Joined by their newest member, 18-year-old guitar prodigy Alessia Lanzone, the band’s characteristic sound has been expanded by her skills, adding depth and complexity to their performances.

Featuring all members on the recording for the first time, War Hearts symbolizes a fresh start and pays homage to the legendary Children Of Bodom with its album title, a band that inspired FROZEN CROWN’s youthful, raw and passionate approach to metal. Addressing themes of self-improvement, awareness, personal growth and inner struggles, the fast-paced track “Steel And Gold” creates an uplifting atmosphere with energetic harmonies while “I Am The Wind” features soaring choruses with dual vocals from frontwoman Jade and guitarist Federico, ingenious guitar riffs, and perfectly blended drums, while the lyrics inspire listeners to let go like the wind and rise to shine again. To wrap up the album, tracks like “Edge of Reality”, inspired by the ’86 Highlander movie, and “Bloodlines”, referencing the Vampire: The Masquerade series of board and video games, showcase the band’s colorful storytelling.

FROZEN CROWN constantly define and refine their sound, pushing their trademark elements to new levels of complexity without forgetting the characteristic catchy hooks. War Hearts exceeds their previous successes and solidifies their place in the global metal scene!

Pre-Order Your Copy of War Hearts HERE!

FROZEN CROWN on their new album:

“War Hearts is our fifth album, but it’s also the first one as a 6-piece band and the first one on Napalm Records. It’s also the first album where all members actually make their appearance on the recording. For these reasons, War Hearts represents a new beginning, a fresh start, and it may be considered the first episode of Frozen Crown “reboot”. We wrote and arranged this album acting like we had no history at all, never afraid to repeat some of our trademark stylistic features. On the contrary, we highlighted and gave more value to them, to make our new songs sound 100% like us. We worked hard on the material to cut away all the useless parts and make the songs as catchy and straightforward they could be, and to make them sound like quintessential FROZEN CROWN.”

War Hearts Tracklisting:
1. War Hears
2. Steel And Gold
3. To Live To Die
4. Night Of The Wolf
5. On Silver Wings
6. Edge Of Reality
7. Bloodlines
8. I Am The Wind
9. King Of The Sky
10. Ice Dragon

FROZEN CROWN Live 2024

Awaken The World Tour 2024
FROZEN CROWN as special guest for Kamelot
w/ Ad Infinitum & Blackbriar
12.10.24 NL – Utrecht / Tivoli Pandora
13.10.24 DE – Munich / Backstage
15.10.24 DE – Berlin / Kesselhaus
17.10.24 SK – Bratislava / Majestic Music Club
18.10.24 CZ – Zlin / Rock Cafe
19.10.24 SI – Ljubljana / Kino Siska
20.10.24 IT – Milan / Live Club
22.10.24 ES – Bilbao / Santana 27
23.10.24 ES – Madrid / La Riviera
25.10.24 FR – Lyon / La Rayonne
26.10.24 CH – Pratteln / Z7 Konzertfabrik
27.10.24 DE – Oberhausen / Turbinhalle
29.10.24 DE – Hamburg / Markthalle
30.10.24 BE – Antwerp / Trix
01.11.24 UK – Wolverhamption / KK’s
02.11.24 UK – London / Kentlish
03.11.24 UK – Manchester / Ritz

FROZEN CROWN are:
Giada “Jade” Etro – vocals
Federico Mondelli – vocals, guitar
Fabiola Bellomo – guitar
Francesco Zof – bass
Niso Tomasini – drums
Alessia Lanzone – guitar

FROZEN CROWN online:
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TikTok

Source: Napalm Records

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Album Review Staff Review

Simone Simons – Vermillion (Review)

There’s something about the colour red that just screams attention. And clearly, Simone Simons is aware of this fact too. A marketing campaign for her third single “R.E.D” saw her social media accounts become awash with the hue (and little else) – a stunt so clever it even prompted some fans to initially believe they were experiencing a glitch on the platform. However, if the goal was to make her followers see red, the music on her debut solo album, “Vermillion”, which came out on August 23rd, 2024 via Nuclear Blast records, is guaranteed to trigger the opposite emotional effect. For despite the approach of some of her peers in the symphonic metal industry, this solo offering does not stray far from the artist’s established roots – and certainly never delves into the realm of mainstream pop.

That statement should be enough to convince you to hear the album. But more so, Simons has a storied career in this business for a reason, and her mere attachment to a particular project is often enough on its own to elevate it. The same words could also be used in the case of Arjen Anthony Lucassen (Ayreon, Star One), who acts as the other major piece of this album’s puzzle. These two megastars have produced music together countless times before, and that existing chemistry and familiarity is easily audible on “Vermillion” as well.

The key difference this time is that Simons is positioned in the creative driving seat as well. And she proves herself to be as equally adept as her progressive counterpart, as she crafts the exceptional lyrics of each of the songs on the album, in cooperation with Lori Linstruth (Stream of Passion, Guilt Machine). But her primary gift to listeners is still her otherworldly singing abilities, which have only got better with time. This preternatural quality allows for a perfect symbiosis with the sci-fi splendour of opening track, “Aeterna“, an epic introduction to the album that explores a supernova event from the perspective of a star, while touching on the interconnectedness of all things in our universe. Fans of both Epica and Ayreon will undoubtedly feel right at home with this one. Additionally, it would be remiss not to at least mention the spectacularly directed music video by Patric Ullaeus (see below).

If the opening number represented a conflict between the styles of their respective bands, then the next song, “In Love We Rust”, might trace Ayreon emerging as the declared victor. This electronic ballad sounds right out of Arjen’s songbook, and would not feel out of place in one of his space-operas. The only star you need worry yourself about in this track though is Simons herself, who outshines even the brightest of suns with her burning vocals. While “Cradle To The Grave” raises the temperature even more, enlisting Alissa White-Gluz (Arch Enemy, ex-The Agonist) for both growling duty and those distinctive cleans; also sounding particularly gruff during the harsher transitions in the composition. As if aware of the need to cool things down afterwards, Simons takes listeners on a calmer voyage with “Fight or Flight“. At least musically, as the lyrics still paint a somewhat different perspective.

Fight or flight, I’m cast in stone
My heart is racing, I’m blood and bone
Fight or flight, rise up or fall
Embrace the danger, or lose, lose it all

Simone Simons – Fight or Flight

The multilingual and deeply introspective “The Weight of My World” is up next on the list, and its mass is certainly felt as it comes stomping out of the speakers with its “hammer and tongs” industrial metal beat (a la Rammstein). But beneath this confident veneer lies plenty of insecurity, with Simons perhaps providing her biggest hint yet of the pressure of expectation and striking out on your own: “Time rolls on, and years go by // Will I ever dare to spread my wings and fly“. It’s hard not to comprehend these thoughts. You could argue after all that this album has been decades in the making. The fact we are now all bearing witness to it, means this question has already been answered of course. And Simons not only proves that she can fly on “Vermillion“, but that she can rise and soar to new heights. Perhaps on cue, her vocals take flight again, building to an epic crescendo on “Vermillion Dreams“. The final tracks on the album are no less exhilarating. As Simons is reunited with Epica bandmate Mark Jansen, who provides his signature growls throughout the turbulent tempo of “The Core“, and the air-punching chorus lines of the hit-single “R.E.D.“.

Wedged between these two juggernaut tracks is the more modest, synth-laden “Dystopia“, which seemingly sounds the alarm bell of Artificial Intelligence (A.I.), and its willingness to take over from humans as world leaders fail and our society declines. Bringing this release to a close is “Dark Night of the Soul“, the only song that has been wholly written by Simone Simons. As such, it feels like the most personal track, with only some strings and a simple piano accompaniment serving as the backdrop to her enchanting voice. It’s a fitting end to the proceedings, but it also highlights perhaps the biggest problem with this album, in that it does not fully encapsulate her own identity. There is still much DNA belonging to another artist, and while I cannot argue with the final product, it does not feel like a “solo” project in the truest sense. Hopefully next time she will bring more of herself to bear, without needing quite as much outside support.

Verdict: While the packaging and presentation of “Vermillion” might stir up some feelings of danger and excitement, Simone Simons actually plays it relatively safe in her first solo affair – leaning heavily on the input of Arjen Lucassen. Yet the release provides precisely what fans would be expecting from a collaboration between these two legendary musical figures, and does not betray the goodwill of either fanbase, and for those reasons alone it should be considered a monumental victory.

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Album Review Staff Review

Mezmik – Unlikely Hero (Review)

One of the perks of being a music journalist is stumbling across exciting new artists that you may not have otherwise discovered, and it’s fair to say that symphonic / melodic metal quintet Mezmik from Brisbane, Queensland, easily fits that bill. Their debut EP, “Unlikely Hero“, which was just released on the 15th July, is a dutiful collection of their previously released singles (along with the titular song and an intro track). It’s a neat package, which boasts a surprisingly unified sound and cohesive vision – therefore making it the ideal introduction for first-time listeners such as myself.

Digging into the band’s history, the 5-piece ensemble came together in 2019, and quickly generated a buzz in their local metal scene. Their most recent accomplishments include winning the 2023 Wacken Metal Battle for their home state, and supporting power metal titans Blind Guardian on the Australian leg of their ‘God Machine‘ tour. Mezmik can chalk up yet another victory with “Unlikely Hero“. The EP’s sonic landscape is fresh and modern-sounding, while importantly remaining distinctive and avoiding the pitfalls of imitation and trend-chasing. Their down-tuned guitars and rhythmic groove make up a large part of their identity, but the existence of orchestral and synth parts also adds a nice symphonic flavour to this musical compound. Their secret weapon, however, is undoubtedly Jolene Turnbull, and her hauntingly beautiful vocal work, which raises them to an all-new level completely.

The brief instrumental intro, “New Dawn“, heralds the start of this new enterprise with these relative newcomers, and appropriately sets the tone and anticipation. The choral voices are epic, if a little synthetic-sounding. Still it’s difficult for you to not be immediately drawn in by the high-stakes drama of it all. Seamlessly merging into “Unlikely Hero“, where you’ll hear a playful (or mischievous) symphonic flurry that reminded me of Epica, before being joined in with the full weight and power of the rest of the band behind it. It’s a thick, solid beat. Made for the headbangers out there. With only the sweet, delicate performance of Jolene teasing a bit more lightness, and a brief reprieve in the opening verse. Her voice striking at a similar tonality as Beyond God’s vocalist Meryl Foreman on first impression. A bit more subversive and doom-oriented than your stereotypical symphonic metal vocals. An assessment which holds until the chorus at least, where Jolene opens up her chords and shows off a different dimension again; the core strength and versatility of her singing on full display, as she belts out this wholly empowering anthem: “You’re an unlikely hero // Time to stand your ground // Never backing down // You’re an unlikely hero!“.

Speaking of contrast, guitarist Christopher Fowler delivers an abundance on this track with his coarser vocals ripping through the mix during some of the heavier moments. Plus the guitar work of Fowler and Andrew Mackenzie are both given adequate time to flex within the last minute-and-a-half outro; as the symphonic elements take to the fore again, and are overlaid with soothing tones by Jolene before heading into a triumphant guitar solo and chunky breakdown riff. This track is definitely going to get some repeat listens, and it’s clear to me why they would name the EP after it, given its chart-friendly nature. So far, so good.

Mezmik quickly follow up this high point with “Flames & Fury” – convincingly showing that the previous track was by no means a fluke. This one has a longer build-up at the start. The soft synths and gentle drumming of David McGuinness all working to lull you into a sort of peaceful trance. But of course we all know how this story goes, and sure enough Mezmik drop the hammer at around the minute mark. Sounding just as full and weighty as before. A quick shoutout also to Luke Wilson‘s pounding bass lines for helping to bring the heavy. The song traverses a more modern soundscape, with a few subtle electronic touches that have been placed here and there, and more rock-oriented vocals from Jolene. Her stamina while vocalising the word “Unleashed” in the chorus is particularly impressive.

“Broken Love” keeps this winning streak going. A hard-hitting, mid-tempo number, featuring crisp guitar hooks, punchy drum work, and a solid bass rhythm. And Jolene’s notes soaring high above the mix, full of potency and confidence whilst simultaneously sounding at ease. But still adding the emotional gravity mandated by the lyrics: “Running for your soft touch // To become lost in your eyes // I feel your heartbeat // While embraced in your arms // This is where I know I belong“. Subsequent track, “Hollow“, takes it down a few more notches with a tender metal ballad. The symphonic accompaniment is still present, but takes more of a backseat this time, providing a more intimate (almost vulnerable) setting for the band. The harsh vocals by Fowler return, yet in a manner that is appropriate for the calmer ambience. A pleasant circuit-breaker before the final onslaught of the last two tracks. The first, “Heart Once Torn“, promptly re-establishes the pummeling heaviness which whacked you over the head in earlier tunes (although it sounds like it may have even gained a few more kilograms since then). Whereas “Killer” comes at you with a rolling, almost Devin Townsend-y groove. The juxtaposition of Jolene’s and Fowler’s disparate vocal styles works really well here too. And you sense a feeling of accomplishment as well, as the song ends with the lyric: “Time has come”. And in a very real sense, I think this is true for Mezmik. With the release of this EP, they have certainly arrived and demonstrated their absolute value. I am pretty sure that they will make a name for themselves – even if I don’t understand what the name ‘Mezmik’ actually means.

Verdict: Mezmik’s debut EP “Unlikely Hero” rises up from the most unlikeliest of places to prove once again that you should not underestimate the potential of the Australian heavy metal scene. A powerful statement of intent, and an invigorating first offering which puts them in good stead for the future, I’m keen to see where this band goes next.

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Album Review Staff Review

Unleash The Archers – Phantoma (Review)

Unleash the AI. It’s been just shy of two months since Canadian power metal band Unleash the Archers came out with their latest studio album “Phantoma“. Long enough for any hype to have settled, and the surrounding AI controversies to have dissipated (…more on this later). Neither of these factors contributed to the delay in writing this review. But truth be told, I’ve found it harder to connect with this album than with past titles in the band’s discography. So it took more time than usual to fully evaluate this release.

“Phantoma” is the fourth conceptual album by Unleash The Archers. They first experimented with this format on 2011’s “Demons of the AstroWaste, but it was the connected saga of “Apex” (2017) and “Abyss” (2020) where it was undeniably perfected. With “Phantoma“, Unleash the Archers had the prescience to craft a fictional story around the topic of artificial intelligence, not knowing that the world was on the cusp of being changed forever with the arrival of ChatGPT. As you could likely imagine, this technology presented some unique opportunities for Unleash The Archers whilst they were in the midst of producing their album. Though you can rest assured, for it was only ever used very sparingly when it came to the songwriting process. Only a few AI-generated words (or phrases) were incorporated into one of their songs, and it was mostly added for the novelty value. The music and lyrics that you hear on “Phantoma” is still very much from the magnanimous minds of lead vocalist Brittney Slayes and company: Grant Truesdell (Guitars, Vocals), Andrew Saunders (Guitars, Vocals), Scott Buchanan (Drums), and Nick Miller (Bass).

With that disclaimer out of the way, let’s discuss the new album. As soon as “Human Era” starts, it’s obvious that Unleash The Archers are trying something a bit different this time around. It’s a slower start, easing you into the album with a mid-tempo, prog-rock number. The sci-fi influence is easily prominent, thanks to the electronic synth elements helping to give it a more futuristic vibe (in much the same vein as “Abyss” before it). As a means of setting up the tone and atmosphere for the album, it largely succeeds. However, you can also feel the narrative weight of this song. A burden which Slayes as the narrator does her best to carry, but it’s ultimately just too much at times. There is precious little in the way of memorability here as well, at least by typical UTA standards. The next track, “Ph4/NT0mA” fares somewhat better. Bringing us closer to the more “classic” Unleash The Archers style we all know and love, with the soaring vocals and fast drum beats leading listeners into the mammoth chorus: “I long to be free at last // Searching inside me to find // Phantoma“.

But third track “Buried In Code” is the first real highlight for me. It appeals to my inner programmer. Especially in the chorus. “Line by line // I’m working it overtime” are lyrics which I can definitely relate to during my day job. And it’s the only song on here with ample catchiness to get stuck in my head, even when I’m not listening to the album. “The Collective” is another high point, in large part due to its second half, and the repetitive loop of the lyric: “We are the collective“. It’s worth noting that Slayes also reaches a few satisfying high notes at the end, and it’s important to savour these kinds of moments if they occur, because they are less of a norm on this album.

Indeed, her vocals sound more subdued on the whole. They are still great – don’t get me wrong. But they’re lacking the same intensity that we’ve come to expect from her over the years. This makes a nice segue for talking about the next track, “Green & Glass“. As this is where the problems I have with this album return, and the band starts to lose me again. I’ll be honest and just say that I really don’t like this song. It’s the weakest song on the album, which makes its promotion all the more perplexing. At any rate, it epitomises my previous criticisms. Slayes’ performance sounds very wishy-washy, and at times, effect-heavy. And it’s almost as if her role as narrator has taken precedence over her kick-ass singing duties.

The album really drops off in the second half too. “Gods in Decay“, for example, takes the commercialised approach introduced by prior album “Abyss“ to even greater depths. Plus, how about the rather clichéd 80’s power ballad, “Give it Up or Give It All“? All of these are troubling signs. That’s not to say that “Abyss” was a bad album by the way. It had lots of highlights. “Legacy“, in particular, will forever be one of my all-time favourite UTA songs. But I’m not sure that this style should be pushed any further. Even the likes of “Ghosts in the Mist“, which should be a fantastic tune in theory, falls disappointingly flat. There is an interesting enough guitar hook, but the rest of it sounds bland. And it doesn’t help that the band seemingly put little enthusiasm into the track. This is something of a recurring theme now. It all feels like a muted affair. The production does not help in this regard either. As the usually incendiary vocals of Slayes are sometimes extinguished by the rest of the mix. The sound engineer can’t take all the blame though, as there is a concerted effort on the part of Slayes to scale back her vocal intensity as well. One can only wonder why. And I admit it is likely a relative observation too. It’s probably much more striking to long-time fans who are more familiar with the band’s backlog. “Seeking Vengeance” at least restores some faith that the old UTA are still alive and well. Although it’s almost too little, too late at this point. And is immediately counteracted by the plodding energy of “Blood Empress” in any regard. Although I did appreciate the referential nod to Slayes‘ stage-name in this last song’s lyrics.

I stand before my people, fresh out of the fight
I’ve taken every step to put wrongs to right
And though at times I may have lost sight of the way
With no one there to stop me, I came to slay

Unleash the Archers – Blood Empress

Despite this proclamation, it still feels like that killer instinct is missing somewhat. They no longer sound hungry. Everything is a bit more rote, like a band that is just going through the motions. Perhaps that’s unfair to say, but I cannot help but to compare this release to their past work, and the difference is palpable. It may simply be a reflection of where they are at in their lives right now. And maybe this change is an inevitable part of their evolution. But I still wish that Unleash The Archers would show us a bit more fire in their belly. After all, it was this type of energy that initially attracted me to the band. And I’m just not getting that vibe this time around. At least not consistently. Slayes, for her part, sounds like she could be running on low power mode at points. Here’s hoping that they can still regain some of that original vitality, and put out another record to rival the exuberance of “Apex“ or “Time Stands Still“.

Verdict: The archers have been unleashed, but it seems that they could be running low on ammunition, as this album rarely fires. Though when it does, it usually hits the mark. Still, as a longtime admirer of this band, I just can’t shake the feeling that Unleash the Archers, with “Phantoma”, are becoming a ghostly apparition of their past glory.

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News Press Release

Symphonic Metal Collective IMPERIA Shares Details & First Video of Upcoming Album “Dark Paradise”

Symphonic metal collective IMPERIA has revealed new details about their forthcoming studio album “Dark Paradise“, that is slated for a release on July 26, 2024 via Massacre Records! Coming as CD Digipack, Ltd. Vinyl LP and Digital formats, the pre-sale has just started HERE!

“Dark Paradise” marks a continuation of the musical style established in their previous release, “The Last Horizon“. The core of the album revolves around mid-tempo rock songs, some leaning towards a heavier sound while others adopt a poppier approach. Additionally, two power ballads are included in the album, adding depth to the overall composition. The album is characterised by its emphasis on guitars and orchestral elements. Helena’s vocals shine as she effortlessly transitions between operatic highs and brutal grunts, showcasing her versatility as a vocalist. Despite its concise length, “Dark Paradise” is a cohesive body of work, seamlessly blending symphonic and rock elements into a unified musical experience. While the album takes a step back from the more extravagant progressive elements of their past releases, it remains true to IMPERIA’s signature symphonic and rocking style.

Watch the music video for the first single “Better Place” BELOW:

As the band celebrates their 20th anniversary with their seventh full-length album, “Dark Paradise” stands as a testament to their evolution and enduring commitment to their unique sound. The collaboration between IMPERIA and Jacob Hansen for mixing guarantees a high-quality sound, given Hansen’s reputation for excellence in his field. Meanwhile, the band’s guitarist, Jan Yrlund, brings his artistic vision to the forefront, ensuring that the visual aspect of the album matches the depth and complexity of the music. The album also features guest musician Oliver Philipps (ex-Everon) on Piano, orchestrations, and additional guitars as well as additional vocals on the track “Lost Souls”.

With this collaborative effort, “Dark Paradise” is poised to deliver both sonically and visually, promising a captivating experience for fans of IMPERIA’s music!

Tracklist:
1. Better Place
2. Reach My Tears
3. The Family Chain
4. The Tree Of Life
5. Reflection
6. Soldiers Of Hell
7. Void Of Emptiness
8. Hope Of Joy
9. Lost Souls
10. The Demons’ Fireplace

IMPERIA is:
Helena Iren Michaelsen – Vocals
Jan “Örkki” Yrlund – Guitars
Gerry Verstreken – Bass
Merijn Mol – Drums

IMPERIA online:
Website
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YouTube

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News

Dutch Orchestral Metal Band DemUnillusions Releases New Single “Who Are You With Now?”

The new track is a realisation of old ideas finally finding the band’s current sound. The release includes the original version of the track and an instrumental version. This time there is no traditional symphonic version of the track in the release, and the overall sound has become both more aggressive and rock’n’roll at the same time.

The release is available on all current music platforms. Listen HERE

CREDITS:
“Who Are You With Now?”: 

  • Music and lyrics by DemUnillusions.
  • Produced by DemUnillusions.
  • All recorded by DemUnillusions.
  • Mixed and mastered by Andrey Brodsky at Slaughtered Studio, Dmytro Gerasimov
  • Cover artwork and logotype design by DemUnillusions.
  • Photo by Vitaly Alexandriysky.
  • All music arranged, drums, bass and orchestrations by DemUnillusions.

DemUnillusions – Ayracsana (vocals), Thomas (vocals, guitars), JK (drums).

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News Press Release

FABULAE DRAMATIS Reveals New Single & Video “Fábula Violenta”

Picture by Gustavo Adolfo Valderrama

A chronicle of a childhood during war. A single that is part of the new upcoming album by Fabulae Dramatis entitled ‘Violenta‘ and that is a chronicle of Isabel Restrepo’s childhood during the drug war in the 90s in Aranjuez, Medellin – Colombia.

It tells a story full of contrast about experiences between the childhood world that she tried to lead but yet having to face a harsher reality where she wanted to play with dolls and at the same time tried to protect herself from bullets.

The video clip for this single reveals a memory of that Colombian war scenario in which at one point she found a stray bullet on her pillow, making her realise the fact that she had just escaped death.

Watch the official video for ‘Violenta’ BELOW:

The songs on this new album, which will be released on September 7, 2024, are full of personal, private and intimate experiences. This is what we felt was about time to do in order to reflect a more mature aspect of ourselves. A true, honest and at the same time cathartic musical process. In which we dare to present ourselves vulnerable in certain ways; simply as human beings and sharing our experiences with the public.

Fabulae Dramatis’ upcoming album has been produced by Martin Furia (Destruction & Bark) & Gustavo Adolfo Valderrama (Mixer / Live Engineering / FOH / Producer).

Fabulae Dramatis are:
Isabel Restrepo | voice
Daniel Díaz | guitar
Teo Dimitrov | drums
Marco Felix | bass

Fabulae Dramatis online:
Website
Facebook
Instagram
YouTube
Spotify

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Album Review Staff Review

Ammify – Lost, Not Hiding (Review)

When WormHoleDeath announced the signing of Australian-based duo Ammify last month, I’ll admit that I was immediately intrigued by it. Not least because of the Italian label’s proven track record when it comes to finding superb artists (especially from Australia), but also because of the uniqueness and scale promised by this new musical endeavour. The debut album, “Lost, Not Hiding“, which is set to be released on June 14, represents the cumulative expertise of Ammy Phoenix (vocals/lyrics), who no doubt inspired the band’s name, along with her counterpart, Pete Renzullo (music/production).

The latter, recalls the response from the label when they first heard their music: “They said it was a very powerful album and they mentioned Ammy’s voice, of course. They were just very impressed that the style was quite unique. One of the guys said that we’ve managed to find our own universe and that of the artists they’ve previously signed, nothing like this has come across before.” And that analysis is spot on. This is something quite different. But if you had to categorise the production somehow, then it would broadly fall under the banner of cinematic metal (or CineMetal as the band themselves have affectionately coined).

And while this makes the third album of this style that I’m reviewing in as many months, I’m too far down this rabbit hole to stop now. Particularly when “Lost, Not Hiding” seems to be pushing the boundaries of this new trend more than ever before. There are times when I’m not even sure what I’m listening to, or if it even really qualifies as metal. But one thing that I do know for certain is that it’s constantly engaging. And considering the album itself is just shy of 60 minutes long, that could be considered an achievement on its own. One reason is because of the strong storytelling, which seems to be synonymous with this genre. Even if the thematic content here trends towards darker and more intense topics. Such as on first single, “Cowards Way Out“, which sounds like the recital of a suicide note by Ammy, ending on the weighty, and chilling lyric “I had no choice“.

In fact, much of the album follows this sadder tone. But it is also coupled with a feeling of resilience, and resolving to find the inner strength to overcome one’s struggles. As seen on “Canary“, where Ammy musters up the will to go on: “Even though you clipped my wings // Nothing can keep me from the sky // I’ll never stop until I rise // I’ll never hide away // I can reach the far horizon“. A message that is overwhelmingly positive. So it comes down to how you’re willing to interpret the atmosphere at the end of the day. Just be prepared for an emotionally-affecting journey either way. Other hard-hitting moments include the song “Grief“, featuring a clearly distraught Ammy, which she expresses through her mournful (verging on wailing) vocal work. No words are spoken, but neither are they needed. The message and associated feelings are powerfully received all the same.

You can’t help but wonder how much of this might be autobiographical. The phoenix tattoo on Ammy’s shoulder suggests that she has been through some of life’s ordeals. And she is clearly able to tap into some raw emotions. Though her singing always possesses a serene tranquility, despite what she might be feeling at the time. And again, the implied notion is to keep holding one’s head above water, much like the album’s illustrated cover. This leads me to another point that is worth discussing, which is the attention to detail in the band’s visual presentation. The epitome being reached with their music video for “The Truth Will Set You Free“, which is a direct reflection of their cinematic aspirations, making use of green screen technology and cool props and costume designs so as to bring the medieval setting to life. These scenes are interspersed with performance clips of Ammy and Pete, who are joined by several other musicians. It does make me wonder how practical it will be for Ammify to tour, given the large contingent apparently required to replicate their sound in a live setting.

It’s entirely understandable though. There is a lot going on in their music. And the truth is that there is a lot to dissect on this album. More than I can realistically cover in this review. Even if I could, doing so would probably deprive listeners of the gift of discovery, and that’s part of the appeal of this album. It is the type of release that encourages repeat listening, notwithstanding the allure of the high-quality musicianship. Each subsequent playthrough reveals something new that you maybe hadn’t noticed before. Ammy and Pete have surely packed a lot in here, and it’s obvious that they make a formidable team together. I haven’t even mentioned one of my favourite tracks yet, which for the record is “Hey! You! (Over and Over)“, with its laidback jazz-lounge infused passages. There’s even a hidden track in here. A concept which may seem foreign to most people brought up on streaming, but which I’m absolutely grateful to see supported again (and it’s definitely worth seeking out). As this is their very first album, you really couldn’t ask for anything more from Ammify. It sets up the band perfectly for the future, and highlights a creative freedom that already differentiates them from the rest of the competition.

Verdict: Ammify’s “Lost, Not Hiding” continues to establish the legitimacy of cinematic metal as a genre unto itself. The album brings listeners a truly unique soundscape and narrative structure, while simultaneously presenting it with an impactful honesty that’s bound to foster a deeper connection with the audience.

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Album Review Staff Review

Dál Riata – Dál Riata (Review)

Dál Riata is a band from Glasgow, Scotland that formed in 2017, and have just brought out their first full-length album on April 12, 2024. In case you were not aware, their name refers to an old Gaelic kingdom in the Middle Ages, that used to encompass north-eastern Ireland as well as the western seaboard of Scotland. It should come as no surprise to anyone then, that their songs are steeped in Celtic mythology and traditional folk-inspired melodies.

Their style of music could best be described as melodic death metal, while at the same time, it is heavily infused with robust power metal elements. This makes for quite an interesting combination, and bears some resemblance to Ensiferum if you need a near comparison. The band is spearheaded by Carys Serries, who is also not your stereotypical frontwoman. Wielding her six-string bass guitar like a trained warrior in the heat of combat – a lethality which is matched only by her blood-curdling death vocals – Serries definitely brings plenty of presence and personality to each of these compositions. Her pitch is much deeper than you might expect as well, almost in the same vicinity as the impressive low notes that she produces from her thunderous bass strings.

But there is one thing that I would care to mention while we’re on this particular subject. It’s probably intentional, but I would have preferred for her voice to have been higher in the mix. Not that it would have helped all that much in understanding what she is singing, but I just believe that it would have produced a far nicer balance overall. As it stands, the production tends to favour the lead guitar above everything else. It forces you to listen to the album at a slightly higher volume, which by itself is probably not a bad way to soak in the experience anyway. And this might have been a much bigger criticism were it not for the undisputable fact that guitarist Scott McLeod is simply great at what he does. It is difficult to complain, and really that’s not what I’m doing, but it might be something just worth considering as an improvement for any future releases. Meanwhile, guitar enthusiasts can sit back and enjoy.

There are plenty of hooks in here for you to be caught on, and they show up early in the runtime. Take the opening track, “Hound of Culann”, which lures you in with its Maiden-esque guitar licks, before happily snagging you and stringing you along. Or the merry-sounding leads on “Destiny’s Cry“, which accurately replicate the precise feeling of charging off on a huge adventure. It’s also worth praising Scott McLeod again for lending clean vocals to the chorus along with Serries, adding a more classical feel. “Trial By Water” is yet further bait for your senses, with its instantly enticing riffs. Although one of the guitar solos in this song does end a little flatly in my opinion, and could have used a bigger exclamation point. It’s perhaps a small reminder that the band still have room for growth.

“Andraste’s Favour” introduces some acoustic elements, which also make a reappearance on later tracks too, such as “Nine Maidens of Dundee“. The contrast this provides is great, and endows the proceedings with a more naturalistic flavour. Halfway through the album, and the band are still slugging away with plenty of passion. “Light Blind Sorrow” is a total belter of a track, but my fondest feelings are reserved for “Otherworld“, given its thrashier approach, and throwing-down-the-gauntlet, “Come at me, bro!” attitude: “I will stand // I will fight // Until I wear the crown of all Mankind”.

After a few false starts in “Mag Tuired“, Dál Riata continue on their bloody march. And this time it is the gods they have in their sights within this mythical plain. Yet another powerful number, with some heavier riffing and light orchestral elements on display. “Nine Maidens of Dundee” brings the album to a close with another Celtic tale. The story here is about a farmer who loses all nine of his daughters to a dragon or snakelike creature after sending them to a well to fetch him some water. Perhaps linking back to the album artwork, which is fantastic too by the way. In summary, I really liked this first offering by Dál Riata. While I felt the production could have perhaps been done a little differently, it still doesn’t diminish from this very solid collection of tracks.

Verdict: Dál Riata’s self-titled debut album wears its Celtic heritage proudly, and succeeds in its cultural representation. An intriguing melting pot of mythology and varying styles of metal, it’s an impressive introduction for the band, and one that deserves to be heard by a wide audience of metalheads.

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IRONWILL Debut New Single And Video Clip “Sad Night” From Their Upcoming EP

The Rock against Bullying project was born in 2018 from an initiative by Salvo “Ironwill” Dell’Arte. The band is part of a wide kaleidoscope in which all artistic forms are involved: music, photography, video, comics, illustration, and works of art. IRONWILL‘s aim is to bring together the best artists who are able to express the importance of the themes dealt within each phase of the project through their emotions.

IRONWILL believes that rock music and other forms of art are the best way to communicate with people, especially young people and teenagers, the light of the soul that everyone needs on the evolution path of their lives. Art is part of life and is the best way to help us give true meaning to our journey on this Earth.

IRONWILL aims to deal with personal and psychological issues, offering different points of view into the depths of one’s soul, trying to shine a warm light at the audience.

The first chapter dealt with bullying, in 2019 IRONWILL recorded the concept album “The Jonathan’s Journey“. The second chapter released in 2020/2021, called “Breakout“, is about the evolution of souls; 10 songs (plus an introductory single) linked by the same perspective: a positive evolution. In the meantime, IRONWILL are experimenting with a return to blues with a set of singles in which the crossover between rock and blues allows them to explore the themes musically. This fascinating exploration is called B2B Back to Blues.

The third single and video clip from IRONWILL‘s upcoming EP has just premiered…

IRONWILL online:
Website
Facebook
Instagram
Spotify
YouTube