Emerging West Australian outfit Ammify has announced that they have signed with Italian-based metal label, Wormholedeath, who will oversee global marketing and digital distribution for their forthcoming debut album, Lost, Not Hiding.
Featuring the musical pairing of Ammy Phoenix (vocals/lyrics) and Pete Renzullo (music/production) Lost, Not Hiding makes its way through the heavier genres. Still, the duo has themselves described it best as CineMetal.
Ammy says:
“I am so excited that Wormholedeath is taking us on as a band! I have never been more proud of any project as I am of Ammify, and I am so happy that thanks to Wormholedeath, we get to put it out for people to hear. There’s nothing quite like being able to share a piece of yourself like this and I really hope it makes people feel understood in a way they really need to be.”
The cinematic lyrics and crushing soundscapes of Lost, Not Hiding speak like a song cycle of those who have been beaten down by life, by love, by relationships and by society… but not broken. And clearly resolute.
Step into the immersive world of Ammify and watch the official music video for “Cowards Way Out” BELOW:
That it is the first album from Ammy and Pete is beyond impressive, the deep artistic connection between the two already speaks to the ages.
Part of the Warner Music and Sony Orchard Group, Wormholedeath has offices through Europe, the US, and Australia, distributing worldwide metal music, gothic metal, symphonic metal, and thrash metal.
Pete says:
“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.“Ultimately for me, the biggest thing about getting signed to a label is that they see what we have created here, which was essentially a passion project. As Ammy and I were writing the album we were saying, ‘There’s something about this’. The fact that an international label has found value in this is really exciting and just so promising.
“Lost, Not Hiding” is released internationally by Wormholedeath on June 14th, 2024.
Tracklist: 01. Homesick 02. Coward’s Way Out 03. The Truth Will Set You Free 04. Favourite 05. Hey! You! (Over And Over) 06. Evaporate 07. The King Of Always Wanting More 08. Fluffy Little Rats 09. Grief 10. Involuntarily Celibate 11. Ready, Set, Let Go 12. The Canary 13. Run And Hide
If you are not yet acquainted with Minneapolis-based symphonic metal band AfterTime, it is well past time to change that. And what better place to start then with their brand new studio album, “Arcane Horizons“, which just released following a successful crowdfunding campaign. This production promises to embark you on a thrilling adventure across uncharted territories and vibrant sonic landscapes. An invitation that is reflected not just in the album’s title, but also the picturesque cover art by Gogo Melone.
Your main companions on this mystical journey include the exceptional band line-up from 2021’s EP “Infinite Legacy. However, audiences will be pleased to know that members of the MPLS (imPulse) choir have also formed their entourage again. And rightfully so, as the 16-person choral ensemble brings an added layer of depth and gravitas to what is already an epic foundation. Combine all this talent with the sublime orchestrations of Vikram Shankar, together with the skillful mixing and mastering of Jack Kosto (Seven Spires), and AfterTime have all the necessary elements in place for a truly immersive, and blockbuster cinematic listening experience.
Which is exactly what this album delivers. At the very beginning, we are treated to a highly “visual” orchestral and instrumental intro titled “Ultra Terram“, so described because it will paint images in your imagination as the inspiring melodies resound in your mind. Acting as a prelude of things to come, it effectively grows your anticipation, and instils a heightened sense of drama. Featuring indigenous-sounding wind instruments and folksy percussion, which are then further adorned by angelic strings and glorious chants, your spirits cannot help but be lifted as you move into the ensuing number, “Arcane Horizons“. This is the title track of the album and our first taste of the music now that the entire band has entered the scene, and it instantly becomes clear that they are indeed deserving of the preceding hype. The vocals of AfterTime‘s fabulous frontwoman Sarah Wolf immediately catch your ear, as she wastes no time in showing off high notes unattainable by most other mortals. Though notably, it is a peaceful style of escalation, never feeling at all confronting or overpowering as can sometimes be the case with operatic singers. Instead she melds in nicely with the choir and orchestration. The same cannot be said for guitarist Brad Sturgis, on the other hand, who injects some much needed abrasiveness into the song with his throaty growls. Fans of Epica will no doubt enjoy this dynamic, as the energy is very similar.
Whereas the next guaranteed hit, “Sons of Fenrir“, is bound to prick the ears of many Xandria fans, particularly those fond of the Dianne van Giersbergen-era albums. The MPLS choir prove their worth once again, with a truly astounding performance that will blow you away with its magnificence. They still fail to overshadow Wolf though, who somehow manages to ensnare your focus at all times. Except maybe during Chris Radke’s majestic guitar solo in the final moments. While on the topic of show-stealing appearances, the track “Lust and Rust” is definitely that for Wolf, who briefly splits off from the rest of the group so as to deliver what is essentially a heartfelt soliloquy, showcasing her theatrical side while also deepening her connection with the listener in a more direct manner.
This raises another important aspect of the album. The immersion you feel while listening is largely aided by the fact that AfterTime are not just esteemed musicians, but also great storytellers. Many compositions on “Arcane Horizons” guide the listener through common folklore and mythology, but they are also complemented by some original stories that have been written by the band as well, such as on “Armored Heart“, and my personal favourite “Goddess of Dark Horizons“. The latter tells the tale of a powerful goddess who rescues a tribe of warriors caught in a dangerous storm at sea, and features some truly well-narrated, and addictive verses by Wolf, who makes the act of story-time look easy. And the song is a most welcome sea change from the well-treaded mythology of Homer’s sirens.
As she looks out across the horizon The gray clouds appear and the high waves ascend A battle of will is upon them Their sanity tested through these endless times They’re watching the sun disappear!
AfterTime – Goddess of Dark Horizons
But if the lyrics don’t keep you glued to your speakers, then the music is sure to maintain your engagement level. Especially when it comes at you as energetically as “Amongst the Trees“, and full credit to drummer AJ Blakesley for his concussive pounding of the drums, which are likely to leave you feeling a little battered by the end. Especially when combined with the menacingly harsh vocal assault. (The trauma is real). But in all seriousness, I really enjoyed the heavier shift. And given that most of this album strikes a more serene vibe, it definitely stands out to me as a particular highlight. But it’s not the last surprise AfterTime have up their sleeve before the curtain falls, because “Verdant Siren” reveals another, much bigger revelation with the very special contribution of guest vocalist Lara Mordian (Shield of Wings, Mordian). A fact that until recently had been kept a closely guarded secret. Both singers pair wonderfully together, and the beautifully shot music video is a sight to behold.
It’s no wonder that we join next track, “Druid’s Dance“, in such a jubilant mood: “Come, let’s dance with the druids // The equinox is here // Join in the celebration“. If this number doesn’t convince you to get up and move, it will at least put a big smile on your face. Besides, you’ll get another chance to burn off some calories with “Under A Midnight Sun“, which presents itself as a light instrumental jig. I particularly appreciated the fiddle sections. Although just make sure you have some energy left in reserve, because next up is the absolute marathon of “A Prophecy of Realms“. Over a whopping 11 minutes long, it’s divided up into 3 distinct parts and takes several interesting turns, while still interconnected and linked by a recurring melody that pulses like a heartbeat at various occasions. It’s all impressively cohesive, and proves that AfterTime have no problems at all when turning their efforts to much lengthier compositions. There is one last track on the album, and one wonders at this point how they can possibly top what has already been served up. And yet, the band manages to pull it off with “By The Tavern’s Light“, a cheerful drinking song which produces a rather unexpected ending. As we find out that the previous songs of the album were all stories shared among a group of travellers, regaling each other at a tavern on a cold winter’s night. It makes for a brilliant closure to the album, and will have you wanting to raise your drink in solidarity and toast to the band’s success. They have unquestionably earned it.
Verdict: “Arcane Horizons” shows that AfterTime are a cut above the rest, and capable of matching the finest European symphonic metal, in both their production and songwriting. The album is an enchanting experience from start to finish, and wholeheartedly deserves to elevate the band’s stature and recognition amongst fans of the genre.
Germany-based melodic death metal unit ACT OF CREATION has announced the first details about their forthcoming, fifth studio album entitled “Moments to Remain”! The album will be released via Massacre Records on July 19, 2024 as CD Digipak, Ltd. Vinyl LP and Digital formats, the pre-sale has just started at: https://lnk.to/momentstoremain
“Moments To Remain” can be considered as a continuation of the last three ACT OF CREATION albums, but it should still be seen as a stand-alone release.
Lyrically, all the songs revolve around the theme of time, which is also picked up on the cover in the form of a clock slowly dissolving in a lake. The “Moments To Remain” album cover once again depicts the girl who was reborn on “The Uncertain Light”. Now, however, she is already grown up, sitting in front of a lake, and reflecting on life. The whole album is based on the concept of reviewing an entire day and thinking about certain topics while sitting by the water.
Watch the official video for “Moments To Remain” BELOW:
Vocalist Jess tells us:
“This is the title track and deals with the topic of memory loss and how important and beautiful memories are as well as the moments in life that you might not immediately remember. With a short intro and outro in the song, we transport the listener to the scenery from the album cover, namely the lake of memories.”
At the beginning of the songwriting process, the band decided not to be constrained by past successes and, as usual, began to express their current feelings and thoughts through music. In order to give the album the maximum of energy and intensity, all songs on the album were recorded directly at the intended live tempo for the first time, so that every last bit of energy could be extracted from the material, thus ensuring that “Moments To Remain” reflects the intensity of ACT OF CREATION‘s live shows.
Furthermore, attention was paid to an even finer blend of all the band’s influences within the songs, which increases the progressiveness somewhat, while transporting the listener even more intensely into their musical world. With the new songs, ACT OF CREATION have succeeded in presenting a logical and consistent further progression of the band’s sound.
In close collaboration with audio engineer Dennis Koehne, a massive wall of sound has once again been created which, despite its incredible power, always leaves enough room for the subtle nuances of the band’s signature sound. The result is an album that, despite all its complexity, makes no compromises when it comes to a powerful performance and thus invites the listener on a highly emotion journey through the musical world of ACT OF CREATION!
CD Tracklist:
1. Awake (Bonus Track) 2. Come With Me 3. Under Friendly Fire 4. Egoist 5. Moments To Remain 6. Cry Of A Peacecrow (Bonus Track) 7. Dying Inside 8. Confront The Truth 9. Lost Little Soul 10. Beyond Reality 11. Agonizing Slumber 12. Into Dreams (Bonus Track)
ACT OF CREATION live: 25.05.2024 DE Bochum – Matrix 19.07.2024 DE Weil am Rhein – Baden In Blut Metal Open Air 06.-07.09.2024 DE Barleben – Metal Embrace Festival 13.09.2024 DE Siegen – Vortex 14.09.2024 DE Frankfurt – Schöppche Keller 28.09.2024 DE Wermelskirchen – AJZ 11.10.2024 DE Trier – Luckys Luke 12.10.2024 DE Marburg – KFZ 19.10.2024 DE Ahrensburg – Unleash The Kraken Festival 26.10.2024 DE Meinerzhagen – Metal 4 Meinerzhagen Festival 09.11.2024 DE Erfurt – Club From Hell 16.11.2024 De Duisburg – Parkhaus Meiderich 07.12.2024 DE Osnabrück – Bastard Club
ACT OF CREATION is: Jessica Nicole Kork – Vocals Carsten Schluch – Guitar Göksel Hamali – Guitar Holger Fischer – Bass Sebastian Nienaber – Drums
Fast-rising modern metal unit AD INFINITUM sets the stage for a brand-new chapter in the band’s history with their new single, “Outer Space”, out now on all streaming services worldwide. “Outer Space” arrives with a visually palpable music video that opens the gates to an exciting and unexpected universe begging to be discovered!
After undoubtedly raising the bar with the release of their cherished third record, Chapter III – Downfall, in March 2023, and ruling stages at Europe’s biggest festivals like Wacken Open Air, Summer Breeze and Masters of Rock, the four-piece is back with a new cycle and an outstanding, unexpected fresh sound. Lead by the chameleonic voice of vocalist Melissa Bonny while surrounded by prestigious guitar riffs and heavy patterns. “Outer Space” introduces the listener to matchless modern metal soundscapes, spliced with djent vibes and captivating melodies. The song smashes from the very first second and shows that AD INFINITUM will shine stronger than ever in 2024!
“Outer Space” also underlines that AD INFINITUM is hitting the road for an epic musical journey across the continent to support KAMELOT on their Awaken The World Tour 2024, kicking off in Baltimore, MD, US, followed by Europe and UK this fall.
AD INFINITUM ON “Outer Space”:
Welcome to a new page of the AD INFINITUM story where a new era begins. A journey from the ominous darkness of the Abyss to the freeing and energizing dreamscapes of Elysium, passing through the hope and empowerment found at the Surface. Discover our new single ‘Outer Space’, a song that resounds like a sincere and intimate piece of a diary. A grey lullaby tinted with a few drops of hopeful colours.
Watch the impressive official music video for “Outer Space” BELOW:
AD INFINITUM LIVE 2024 Supporting KAMELOT on their Awaken The World Tour 2024:
North America ** = Featuring Seven Spires, No HammerFall 25.04.24 – Baltimore, MD – Rams Head ** – LOW TICKETS 26.04.24 – Huntington, NY – Paramount ** 27.04.24 – Boston, MA – Big Night Live ** 28.04.24 – Quebec City, QC – Theatre Capitole ** – LOW TICKETS 30.04.24 – Harrisburg, PA – HMAC 01.05.24 – Montclair, NJ – Wellmont Theatre – LOW TICKETS 03.05.24 – Columbus, OH – The Bluestone 04.05.24 – St. Louis, MO – Delmar Hall 06.05.24 – Fort Worth, TX – Tannahill’s 07.05.24 – San Antonio, TX – Vibes Event Center 09.05.24 – Albuquerque, NM – El Rey Theater 10.05.24 – Tucson, AZ – Encore 11.05.24 – Anaheim, CA – City National Grove – LOW TICKETS 12.05.24 – Las Vegas, NV – House of Blues 14.05.24 – Denver, CO – The Summit 16.05.24 – St. Paul, MN – Myth 18.05.24 – Cleveland, OH – House of Blues 20.05.24 – Pittsburgh, PA – Roxian 21.05.24 – Richmond, VA – The National 23.05.24 – Cincinnati, OH – Bogarts 24.05.24 – Atlanta, GA – Heaven – Masquerade – LOW TICKETS 25.05.24 – Tampa, FL – Jannus Landing
Europe & UK: 12.10.24 NL – Utrecht / Tivoli 13.10.24 DE – Munich / Backstage 15.10.24 DE – Berlin / Kesselhaus 17.10.24 SK – Bratislava / Majestic 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 / Riveira 25.10.24 FR – Lyon / La Rayonne 26.10.24 CH – Pratteln / Z7 27.10.24 DE – Oberhausen / Turbinenhalle 29.10.24 DE – Hamburg / Markthalle 30.10.24 DE – Antwerpen / Trix 01.11.24 UK – Wolverhampton / KK‘s 02.11.24 UK – London / Kentish 03.11.24 UK – Manchester / Ritz
Get your copy of the latest album, Chapter III – Downfall, HERE!
AD INFINITUM are: Melissa Bonny – Vocals Adrian Thessenvitz – Guitars Korbinian Benedict – Bass Niklas Müller – Drums
Malevolent is the newest band to join the ranks of the so-called ‘cinematic metal’ trend, with its debut self-titled EP released on 21st December 2023, courtesy of Necktwister Records. Mostly an offshoot of symphonic metal, which has also been merged with components of gothic metal, fans can expect the usual dark undertones, epic harmonies, and rich orchestral arrangements of these styles to be at the core of their identity.
You might think ‘Malevolent‘is a rather strange choice for the band’s moniker at first, given the symphonious nature and overall pleasantness of their music. It feels like it is perhaps more befitting of a technical death metal band (or something to that effect). But it starts to make a little more sense when you take into account the basic underlying theme for this release, with the lyrics of each song revolving around a “post-apocalyptic malevolent world”. Even more of a surprise though is that at the heart of Malevolent’s line-up lies just two integral band members: the veteran Belgian composer, guitarist, and producer, Nikolaas Van Riet, and Spanish lead vocalist Celica Soldream.
However, they are helped out in the studio by a few session musicians, and you can easily imagine this needing to be the case considering the sheer size and scale of their sonority. Amongst the recruited talent is none other than Mark Jansen (guest vocals), who scarcely requires any type of introduction for fans of this style of metal, due to his highly influential work in After Forever/Epica. Also contributing to this project is Koen Herfst (drums), Jan Verschueren (lead guitar), and legendary producer/mixing engineer Joost Van den Broek (Powerwolf, Epica, Ayreon). Each of their qualifications ensures that the finished product embodies the highest possible standards, and has an extremely polished quality.
The EP has a total of 4 individual tracks (or more, if you are lucky enough to have access to the bonus song “The Awakening“). The first of these is “Gaze“, which commences with the sacred-sounding chants of a male choir, soon immaculately overlaid with the graceful, and angelic singing of Celica’s silky voice. As the number picks up momentum, so too does the fullness and heaviness of the created soundscape as the band swings into a full offensive. The Spanish-influence of Celica’s voice also becomes a little more noticeable, and at times is reminiscent of Mexican singer Marcela Bovio, though with a smoother, softer edge. As a peculiar sidenote, each of the song titles may seem a tad nondescript on their own, but one assumes this is because they are designed to be read in combination with the band’s name (i.e. Malevolent Gaze, Malevolent Ways, etc).
Wherever you look, a malevolent gaze Whatever we try, a lost race We are the last suffering against unholy ruthless kings A rush of fear is taking control
Malevolent – “Gaze”
The introduction to “Ways” indulges in a more neo-classical sound palette, whereas “Light” is sprinkled with a healthy profusion of piano notes and catchy, vowel vocalisations atop a swirling symphony of orchestral strings and crunchy guitar distortion. It is easy to observe the Celtic/Medieval influences of Celica’s tonality throughout the EP, but especially so with songs such as these two. And she delivers a much needed calm and heroic atmosphere to the crafted compositions, particularly given the tense subject matter. The greatest song is saved for last in my humble opinion, as “Creations“ features both Celica and Mark singing the most memorable vocal melodies in unison over the heavy and ornate instrumentation. Despite this fact, I feel compelled to point out that the artistry is better consumed as whole package, rather than as individualised items. The songs are kind of lacking the commercial elements that are required for any one of them to be a sure-fire hit single. Malevolent may want to hone their efforts in this area to enhance their marketability, and have a chance at making a more immediate impact on potential listeners. But aside from this critical detail, this is still a highly absorbing first entry that is likely to leave you salivating to hear more.
Verdict: Malevolent’s eponymous EP is an ambitious new endeavour that already matches the industry benchmarks laid down by their more illustrious peers in the symphonic metal sub-genre. However, due to its brief running time, it shall only serve to whet your appetite, instead of truly satisfying it. Here’s hoping we get to experience a longer release from this promising band in the very near (and hopefully still apocalypse-free) future.
Canadian blackened death symphonic metal band Valfreya is proud to announce the release of their sixth album “Dawn of Reckoning” on May 24, 2024. To whet the palettes of those who enjoy epic dark metal, now they are releasing a lyric video for the single “The Rise“. The concept album sees the band take their darkest turn as they lean into the blackened end of the metal spectrum and follow the goddess Hel as she wreaks havoc upon humanity.
The band comments on the album:
Dawn of Reckoning is a concept album. The main theme revolves around the anger of the goddess Hel which plays the metaphorical role of a fatal justice towards a guilty humanity. The songs convey this anger, but also a range of intense emotions related to the execution of humankind. Musically, you will hear dark symphonies, epic choirs, versatile vocals alongside tumultuous guitars and violin riffs.
Known for their fervent performances and epic storytelling, Valfreya has been delighting fans since 2009 with their unique blend of metal genres. In “The Rise“, Hel is raising her army because humanity had enough warnings. Its denial is its obsolescence. It is its turn to be threatened and face extinction.
Watch the Lyric Video for “The Rise” BELOW:
In conjunction with the single release, Valfreya is launching an Indiegogo campaign to fund the production of “Dawn of Reckoning“. Fans will have the opportunity to contribute to the creation of this monumental album and gain access to exclusive perks and rewards. Those with an interest in Septicflash, Xaon, and Fleshgod Apocalypse should take a listen.
Track Listing: 1. Dawn of Reckoning 2. The Rise 3. Warcry 4. The Fate 5. The Fall 6. Equilibrium 7. The Fallen Kings 8. A New Era 9. Le Périple 10. Reus es
A lot of fans were naturally disappointed when Kalidia, one of Italy’s best power metal groups, announced they were splitting up in 2023. But change can sometimes be a positive thing, and looking back on the news now, it is difficult not to view it as anything but a blessing in disguise. Seeing as the formermembers have now risen up from the ashes, brushed themselves off, and forged ahead with separate metal acts. One of these ventures is the recently revealed Xeneris, featuring ex-Kalidia members Frederico Paolini (co-founder, composer/guitarist) and Roberto Donati (co-founder, bassist). While the other is Nicoletta Rosellini’s (vocals) very own Alterium project, accompanied by former bandmate Dario Gozzi (drums), which just released its first full-length album “Of War and Flames” on March 8th, 2024 via AFM Records/Soulfood Music.
This ‘two for the price of one’ deal is not the only happy side-effect, since the breakup also seems to have given both parties a revitalised purpose and vigour. That’s certainly the case when judging Alterium‘s debut album, but one could also make the same early inference from Xerenis’ first single “Eternal Rising“. With regards to Alterium in particular, it seems as though the new setting has done a world of good for frontwoman Rosellini, who sings like she has been given a whole new lease on life. Rounding out the band roster is: Paolo Campitelli (guitars), Alessandro Mammola (guitars) and Luca Scalabrin (bass). Each of whom brings their past experience of working with other bands in the power metal genre (e.g. Draconicon, Kaledon, and Altair). And like the mathematical summation symbol (Σ) present in the band’s logo, Alterium benefits substantially from the accumulation of this combined wisdom. Because the end outcome is a highly cohesive and formidable new quintet, equipped with a near limitless amount of energy and creativity at its disposal.
A fact apparent from the beginning, with opening gambit “Drag Me To Hell” immediately breathing new life into the genre. The flying pace and boundless exuberance of the track will definitely get a few hearts racing, while it barrels through your speakers and stealthily earworms its way into your head. Those of a geekier persuasion may also pick up on the references to Warcraft lore in the lyrics, which describes the crowning of a new Lich King. It’s not the last time Rosellini exposes some of her gaming interests on the album. Another example later on is “Crossroads Inn“, which serves as a fun, light-hearted metal tribute to a management video game bearing the same name. Only in the power metal genre could a game simulating a medieval tavern be conveyed so earnestly, and the Italian group spare no effort or detail in recreating the atmosphere in an accompanying music video as well.
In earlier moments of the album, Rosellini lends her enchanting vocals to “Siren’s Call“, where she makes a truly compelling appeal: “Hear my cry // Flowing with the winds and storms // Once you’re mine, forever you will be“. The song is of course inspired by the scene in Homer’s “The Odyssey“, where Odysseus is forced to tie himself to the mast of his ship in order to resist the dangers of the siren’s call. Honestly if the sounds he heard were even remotely close to Rosellini’s enticing performance here, then I could fully understand the necessity of this measure. The following track “Of War And Flames” takes us from Greek mythology to Egyptian mythology. The song shares the same title as the album, and once you hear it you’ll understand why, as it’s definitely the main highlight. The tune focuses on the story of Sekhmet, a goddess of war who embodied the powers of the sun god Ra, and was said to be capable of vanquishing her enemies with her fiery breath. If you need help visualising her, the album artwork also depicts Sekhmet as she is entering her temple. You could argue that she bears a likeness to Rosellini herself, who is similarly renowned for the characteristic warmth of her singing voice, and whose vocal delivery is regularly a force to be reckoned with as well. The track is further enhanced with regal choirs and symphonic parts, and blessed with a multitude of hooks and catchy vocal lines, including in the pre-chorus bridge showcasing Rosellini’s range and impressive ability to sustain notes:
Her bloodlust never ends Not even after the revenge Surrender to her rage
Alterium – Of War and Flames
Alterium continues to impress elsewhere on the album, turning up the heat and intensity again with “Firebringer“. In typical power metal fashion, it is a fast, robust track – but with some added symphonic flourishes to give it that richer dynamic. Rosellini’s melodious and powerful tones also fluctuate between a tight, lower register to a more open and airy pitch. “Shadowsong” guides us into the latter half of the album, introducing a plethora of intricate instrumentation, and mighty face-punching drum beats, whereas “Crystalline” finally slows down the tempo a bit, and gifts us with beautifully drawn-out, soaring guitar solos amidst a touching piano-laden ballad; a sound that admittedly has more in common with Rosellini’s gothic metal band Walk in Darkness. Nevertheless, “Heroine of the Sea” quickly pushes it back to a more power metal focus, with a bobbing, mid-tempo number which takes you on a pirate voyage across the seas: “Sailing on, to a new adventure // Time to fight, time to die”.
Alterium rachet up the speed and technicality for one more power metal jaunt in “Chasing the Sun“, the last original composition on the album and one of the more interesting due to the meter changes and neo-classical arrangements throughout its duration. I also need to give particular credit to the mixing and production of this album, for everything sounds so crisp and neatly balanced. It really does have a completely fresh sound – even after over a month of listening to it before writing this review. Alterium close out their debut album with a final cover of Sabaton’s “Bismark“, and while this Swedish band are probably a little over-represented when it comes to covers of their songs at this point, it is still an admirable and enjoyable rendition. Plus it is very much consistent with the band’s affection for performing songs that contain a story or historical context. On the whole, Alterium have impressed on every conceivable level with “Of War and Flames“. I’d always had an inkling that they would create a great album, but I was wholly unprepared for them to go a step further and deliver such an epic masterpiece. I couldn’t have asked for a better continuation of their previous legacy, and I’m personally more excited than ever to see where they take us next.
Verdict: Alterium’s “Of War and Flames” is mandatory listening for every power metal fan. The decision by ex-Kalidia members to found this new entity has not only borne out to be a calculated and beneficial manoeuvre, but has surprisingly culminated in the best power metal album I’ve heard for a long time. A triumph of both perseverance and adaptation.
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 offering 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.
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!
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 EnglundWilhelmsun. 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.
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:
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.
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.
