Introducing ‘Torment & Wonder – The Ways Of The Lonely Ones’, debut 10 track album, from Latvian-based symphonic power metal band, Crystal Gates. CG were founded in Montevideo, Uruguay, in 2013, by Benjamin Machin and Carolina Perez.
Following ‘Shadowborn’ (single) and ‘A Quest for Life’ EP, featured on ‘T&W-TWOTLO’ is just shy of an hour’s worth of the best and most futureal of CG’s work, yet.
The 6 track EP ‘AQFL’ was launched in 2015, to widespread positive public and press acclaim. Produced at Molecula Studios (Montevideo) and the renowned Finnvox Studios, Finland, by Mika Jussila.
That year, the line-up was complete, CG performed live, around Uruguay and Argentina and were awarded Best National Album, Best National Cover Artwork and Best National Female Voice, via a metal specific poll, presented by famous producer, El Lado Oscuro.
2017 brought single ‘Shadowborn’, attracting increased notice and more live shows and festivals, branching out to Peru and again, Argentina, where CG performed, alongside the likes of Epica, Xandria, Masterplan, Anneke Van Giersbergen’s ‘The Gentle Storm’, Blackoustic, The Agonist and Fates Warning.
Traditional, without being derivative, ‘T&W-TWOTLO’ is upbeat, melodically focused, incorporating power and speed metal, accessible, memorable classics, a ballad, prog, epic and experimental strands, with fantasy echoes.
Thematically, the album signifies the journey to find our own meanings of life, the emotions inherent and the discovery of comfort, even momentarily and how that can manifest.
‘T&W-TWOTLO’ is accompanied by 4 video singles, with the audio featuring the production skills of Sebastian ‘Seeb’ Levermann, Elisa C.Martin (backing vocals/arrangements) and Stan W. Decker’s cover art.
CG are now represented by Riga’s THP Production and their music’s distributed by Italy’s WormholeDeath Records.
The Ways Of The Lonely Ones – Only coming in 11 seconds in. A spoken word narrative, amidst the sounds of nature, in the background. Building up, to a big orchestral section and ending just a bit too abruptly. A very hopeful sound, though.
My Glorious Fall – Straight in, with a dynamic Celtic riff, speeding along, joined by beautifully sharp feminine vocals, starting off as a solo, evolving into a duet, then a backing choir. Heavily melodic. A very folky, fantasy feel, gorgeously performed. A brilliantly upbeat tone, conveyed via a combo of instruments, carrying intrigue. Operatic, symphonic, power, speed and melodic metal all covered, in an energised, urgent arrangement, driving forward, with an uplifting atmosphere, all the way.
Alive For The Journey – Sparky riff tones open, onto a landscape of wonder. An awe-filled journey, befitting the title well. Beautifully vocalised, with very fitting glockenspiel tones, within the huge orchestral backdrop. Truly lightning fast riffage, delivered in such a celebratory melody. A very hard-hitting picturesque audioscape. The choirs are so cohesive, boosting the melodies, further. Lead vocals hitting such impressive heights. Raining riffage, driving along, in hugely mood boosting style. The chorus is magnificent. The perfect fantasy film soundscape. Astonishingly well-positioned ending definition.
A Lonely Dreamer’s Wish – Exploding into life, with a burst of metal vitality)! Here, a more relaxed, contemplative structure enters. Beautifully placed shimmer effects. Tremendous vocal heights, well assisted, by that enlivening electric riffage. So atmospherically evocative. Drums making their presence known, more so, towards the end, featuring astonishingly handled high pitches.
The Stars Temple – A brief low depth intro’ing, before instantly bursting into vivid life, once more. Adding a curious Eastern vibe, now. That duet’s perfection, itself, as are the solo vocals. Getting right into the feeling, with a classic operatic choral section. Always, the fantasy fuelled metal travels, alongside it, adding more power and fire. Incredible vocal heights, a harp accompaniment, followed by a gypsy style Wurlitzer effect, built up, with strong cinematic backdrops. Slight flamenco vibes, in places. Growing vocals, now including masculine voices, adding to the atmospheric height. Just astounding sounds. All the time, rushing along, via urgent riffage, high-class melodies and a powerful ending drum hit.
Moonshine & Sorrow – A breezy piano intro, followed up by a moody riff and vocal accompaniment, with shimmering glassiness in the background. That gorgeous glassy glockenspiel effect adds extra twinkle and shine. Loving those electrifying riffs, more pronounced at the bridge. Once more, the vocals are indescribably impressive, hitting that shrillness, so naturally. Drums gaining volume and strength, 3/4 in, once again, as the vocals sing, as one. Very Aonia-esque. The perfect drum close.
Winter Ghost – Starkly delivered intro, with fast-paced speed riffage, as a slightly more melancholic, yet still uplifting tone. Reaching those vocal heights, with effortless ease, uniting, at the choral sections, again. Just varying the staccato rhythm, slightly, towards the bridge, before climbing back up, to an electric ascent, fuelled with Celtic flavour. Very melodically driven. Again, that whirling Wurlitzer effect adds more drama and light. Racing to another thrillingly theatrical end.
Nightmares – Strong opening, with an audibly powerful drum beat. Amazingly shrill vocal pitches, with a small, but notable bass note, underlining. A vocal duet takes flight, once more, punctuated by sporadic bass lines. Hitting the highest point, at the bridge, when the riffage grows even more frenetic and melodic, faster and more dramatic. Taking it up to the top of the mountain, on that final vocal scream.
Soul Of Rain – Banging opening, with dizzying, ecstatic riff melody. Lyrical narrative carrying a mythological element, now. Floating along, on that vocal melody, again, suffused with more delicious riff wizardry. Sustaining those impossibly high vocal pitches. Another fabulous, immaculately timed riff close.
Torment & Wonder – Slight 6 second delay, before a ballerina-esque fragility of sound enters, heightened by the glassy keys, taken over, by a strong masculine narration, followed by a flight of angelic, feminine vocals. As before, all melodically driven along, by lively riffage, racing onwards, bolstered by the drum hits. Just a glorious sound combo. Slowing things down, 3/4 in, with a newly poignant tone, with a big percussive backdrop. Gradually, rising, with fevered, frantic riffage and a touch of brass. Just before the bridge is where the drum pace speeds up, to meet the riffs. A huge orchestral section adds more and more flavour and diversity of versatility, with every moment. Reeling you into the ever rising atmosphere, from the mid-section, onwards. That immense riff solo’s just mind blowing. Such invested, impassioned vocals. Stacking up the energy, throughout. Choirs add pointed singular tones, creating more dramatic effect. Speeding its message along, at breakneck pace. A true epic. Slowing, as it reaches a close, with a palpable fantasy ending.
Overall – Such a genuinely epic production, it’s almost impossible to express its greatness, verbally. ‘T&W-TWOTLO’ is a truly stormbreaking sound, belonging right in the heart of classic fantasy epic territory. Beyond the highest level of accomplishment, even, verging on otherworldly qualities, ‘T&W-TWOTLO’ showcases other lands and times to which metal can be taken, reflected by the greatest versatility and natural born talent. A sparkling jewel of outstanding quality.
10/10 **********
For fans of Epica, Nightwish, Within Temptation, Aonia, Gaia Epica, Therion, Lacuna Coil, Evanescence, Emerald Shine, Feskarn, Urania Fantasia, Dark Forest, HROM, Erzsebet, Ignea And Ersedu, Veritas, Elkepath, Heirs Of Isildur, Marius Danielsen, Askvader, Adamantis, Silent Winter, Archer Nation.
Covering W.A.S.P. classic, ‘Restless Gypsy’, Detroit (MI) melodic power thrash band, Among These Ashes released the track on 8th March. It’s accompanied by a YouTube video and is now available, to stream.
Symbolising the metallic essentials valued by the band, ‘RG’ seemed the perfect track to cover. Confident they’ve balanced honouring the original with re-crafting sections in their own signature, ATA launched it ahead of their forthcoming 2nd album, expected in summer.
Forming in 2020, ATA released their debut, ‘Dominion Enthroned’, prior to their 2023 single, ‘The Enemy In I’, featuring a B-side Savatage cover (‘Sirens’). They’re very much about big, anthemic, hooky songs, with a heavy emphasis and lyrical food for thought.
Originally composed by Blackie Lawless.
Independently recorded. Produced by Matt Roach.
Featuring guest guitar solo by Matt Ries (Traveler).
Cover Art by Jason Cessna.
Photo credit – Aaron Lumsden (Akuro Productions).
ATA features: JP Abboud (vocals), Richard Clark (guitars and backing vocals), Dylan Hamann (guitars), Kane Bochatyn (bass) and Kyle Wagner (drums).
Restless Gypsy – Big, crashing intro. The energy’s there, from the start. Such similar vocal grit to the original. You feel that straight away. Great audio sound. The verses seem just incrementally slower, but those choruses are spot on, rhythmically. Power screams fairly well tackled. The drums stand out most, in accompaniment terms, with the riffage a close second. The riffs are most prominent, ¾ in. Pots of enthusiasm. Just missing some of the drum beats, at that ¾ point, but a great effort’s made, consistently. Certainly lots of melody, as in the original. An enjoyably uplifting listen. The verses just need a touch more speed, but otherwise, a well worked cover, well worth a spin or few.
8/10 ********
For fans of W.A.S.P., Warrant, Toto, Europe, Survivor.
Epic metal quintet, Melodious Deite now offer up their 5th album, ‘Demonology’, a magnum opus metal opera, out now, on Art Gates Records, globally.
Known for their accomplished sound and rare, cross-genre combo’s, MD features Max Cruz (vocals), Biggie Phanrath (guitars, keyboards, orchestra, session drums), Diego Zapatero (piano, keyboards) and Chanin Shinken (bass).
Demonology follows ‘Episode 1: Dream On’, ‘Episode II: Voyage Through The World Of Fantasy’, ‘Episode III: The Archangels and the Olympians’ and ‘Elysium’.
MD was founded in 2007. Acclaimed in the rock/metal music press, MD have toured the world, including their native Thailand and played at Masters of Rock 2023, in the Czech Republic.
Prologue Of The Devil – Chilling, yet entertaining intro. Very theatrical. Much in the vein of an old black & white silent film, with a gothic comedy emphasis.
Lucifer (The Fallen Star) – Right into an upbeat power melody)! Retaining that dramatic slant, with an uplifting speed rhythm. Vocals just a bit too low, in volume, on and off. Quite classic melodic vibes. The epic focus is clear. Those vocals do need to rise, though. Definitely more instrumental emphasis. Enjoyable accompaniments. Very enthused sounds. Lots of pressured beats. Well pitched screams, but again, the vocals need a volume boost. The arrangement works well. Reaching a Baroque phase, just before the end.
Knights Of Heaven – Even better opening)! Louder and faster, with even stronger energy. The classical influence hits, here, in a very Malmsteen-esque manner. A bit more palpable. More focused physicality to the beats and riffage. Perhaps verging on slight overkill, now, but even so, it’s wonderfully vibrant. Just a very slight delay, after the ending.
Prince Of The Nightfall – Changing down, to a folky, mediaeval sense, now. Then dramatically segueing, into a much heavier style. Celtic and vampiric, all at once. Speeding it up and here, the chorus is comfortably conveyed. Veering between different genre sounds and styles, touching the wah pedal, slightly, around the bridge and intensifying the speed riffs. The male/female duet works well. Excitement factor ramped up, towards the end.
Warrior’s Heart And Soul – Down, into a gently sombre piano intro, now and quickly building up the background support, with strong defensive structures, accompanying. Scale ascents and descents with just the right physical emphasis. Powerful choral sections. Moving between rhythms, tensions and evocative senses, easily.
Full Moon Howls – Careful, physically atmospheric opening tones. Combining various instrumentals; unfolding, into versatile, unpredictable sounds. Darkening and lightening the atmosphere, as necessary. Utilising melodic elements, enthusiastically. Moving between sung and spoken vocals. Lifting the tone, timbre and tension, at the end.
Heroes Strike Back – Opening on a high point, with strong neo-classical aspects. Bright tonality. Suddenly laying down a thunderous drum roll, then breaking it down, into a frantic flurry of speed riffage. Again, that lightning fast era-jumping effect comes into play. Rising high and sustaining the colourful melody. Impressively dizzying scales. Even throwing in a couple of church bells and ending on a barely perceptible echo.
Witchery – Straight into melodic rain). A very classic symphonic style coasts in, with some pointed drum beats. Melancholic vocals, merging male and female voices. Boosting it up, with even stronger percussion and some faint growls. Piano sections providing more physical palpability. It’s a very strong vocal combo and driving instrumental force. Screeching riffs and a particularly pressured rhythm. Rarely used growl and sung vocal call and response, just before it ends.
March Of The Empire – Deeper synth tones and darkened atmosphere intro. Whilst it’s a softer delivery, the tribal warrior shouts are pressing ever forward, as the accompaniments join them. Still, it doesn’t quite rise to the expected level. Still, it builds the imagery well. A faint glockenspiel’s audible, in the background. Closing on a male/female choral vocal.
Overture Of Silence – Right back up and into a full volume, full power riff intro). Speed section in place). Here, the vocals are well projected and as prominent as hoped. Again, it’s a male/female combo and it works well. There’s a strong sense of ease, comfort and chemistry, here. Just the right emphasis. Light, glassy glockenspiel solo, leading into a frenetic riff section. Very Dragonforce-esque sound. Employing a combo of textures and gauging the tense and release, just right. Exactly on point, all the way, this is the stand-out track.
Prepare For Battle – A darker shade opens, in a very dramatically cinematic fashion. Huge riff emphasis, with a rainbow of colour. Big drum beats and entrancing keyboard sections. A large helping of enigma. Very much riff-centric, with huge drum rolls, adding a wall of power. In fact, it’s a pure instrumental and one definitely well worth its salt. Such enthused sounds. Fading out, gently, but very palpably.
Lament Of The Banshee – A wintry feel to this intro solemnity. Here, the piano and vocal sections meet, in melancholic mood. Beautifully emotive, but perhaps straying a little too far into sad poignancy. Luckily, it lifts, at around 2:18, with crashing drum waves, but the sadness returns and overtakes. Even with the drum boosts, the riffs take on a noticeably ‘Parisienne Walkways’-esque tone. In theatrical terms, it certainly succeeds, but at the expense of continued listenability. Still, no denying the power of expression behind it. Just a bit too depressive, at the fade.
Infinite Battle Cry – Big drum beats open, with a distinctly apt warrior sense to their sound and structure. Building that emphasis, as it continues. A complete instrumental, led by large percussion.
After The Rain (New Version) – Opening with a Baroque, mediaeval focus. Speeding riffs still strive forward. Once again, it’s very atmospheric. Vocal duets add more power to the sound. Lots of light and colour showing through this. A very melodic number. The arrangements flow well. Especially liking that vibrant, experimental riff bridge. Strong scale emphasis. Impressive power scream, ¾ in. That vocal duet really lifts the track; building in power, with another few screams, at the end.
Overall – A largely enthralling album, with a lot of powerful features and an impressive array of experimental flourishes, ‘Demonology’ has much in its favour. However, it does just stray over the border of poignancy and sombreity, in places. Otherwise, the melody’s very much key to this album, with the vocal duets it’s big draw, with the riffage. The vocals do need lifting, here and there, but ultimately, it’s a very well synchronised album. Stand-out track – ‘Overture Of Silence’.
9/10 *********
For fans of Yngwie Malmsteen, Dragonforce, In Flames, Silent Winter, Sirenia, Nightwish, Within Temptation, Evanescence, Epica, Lacuna Coil, Ice Sword, Ice War, Aonia.
Out of Sydney, Australia, Nobody’s Fool is a traditionally influenced rock band, with a licence to thrill.
Formed in 2002, they represent every hallmark of classic heavy metal.
Masters of raw, metallic, addictive carnality, NF have toured Australia, supporting bands as high-profile as Airbourne, Mental As Anything and The Quireboys.
‘Time’ is their 4th studio album, out now, on Battlegod Productions.
Represented by Black Roos Entertainment.
Cherrie – Electrifying slide bass intro, followed by consummate metal refrains, enhanced by effortlessly positioned wah. Vocals fitting, like a glove; already, their raw passion and smooth, sensual capability’s showcased. Those adeptly played drum rolls nail the bridge and the chorus is pure rock anthem. Quality contagion, in high definition.
So Wrong – Sliding right in there, with sheer vocal sensuality. Very Van Halen-esque! This is the stuff metal dreams are made of. Just a silky smooth, diamond-studded rock performance. Riff scream, catchy melody and edgy grooves, all the way and even a perfectly placed reverb effect. Taking it up to the heights, at the end.
Time – Another hit of electricity, opening. Drums nailing it, from the start. Reaching that point of peak precision and purity of melody, instantaneously. Dripping grooves of sensuous infectiousness. That edge is so palpable and all the best features of high-quality rock are laid bare, here.
Eye For An Eye – Yet again, they nail that riff intro. Straight back in, with that shiny, rock ‘n’ roll grit. Anthemic melody makes this chorus. You’ll be singing along, in no time. Screaming power, precise production and streamlined anthems, right to the end). You’ll fall on this track and devote your metal soul to it.
Call It Love – Sleekness opens, once more, with raining drum hits, following. Grit and gravel infused vocals, at the outset. Proper rock ‘n’ roll percussion. A simple, but memorable rhythm, with a touch of wobble, here and there. Sealing the melodic deal, from beginning to end, with a final spoken word flourish. Injecting carnality, in the most traditional rock way.
One More Lie – A careful cymbal vortex intro’s and the mood of the melody dips down, into palpable, poignant pain, yet still delivered in that same sensual way, pulling you right back into its lair. Sincerity stacked screams; smooth, sensuous singing, sealing the deal, throughout. A hook-filled, contagious chorus line, yet again.
Cry For Me – Steel strings intro a sad ballad, laced with poignant melancholic misery. A bad decision, given the pure joyfulness of previous tracks. Of course, the production and performance are still at peak point precision, but this just wrecks the mood and the chorus is too repetitive. Argh!
Free – Thankfully, taking it right back up to full groove drum rhythms and riff refrains. Some shameless lyric borrowing, there, with that Cov/Page-esque verse, but it is, of course, crafted into a unique line. Very upbeat stuff going on here, with a fighting talk approach. It’s that consistent, underlying groove that nails it, beginning to end, with that hard-driving action.
On The Road – Another steel string opening. This time, it’s a gravel-studded offering, complete with catchy paced rhythms. That’s the crux of this track. Grit-encrusted grooves, embedded into the lining, smoothly finished. In fact, this is something of a lyrical tour anthem. Hitting it, precisely, again.
Smoke And Mirrors – Smooth, sliding bass intro and into a mid-paced rhythm. Aptly placed effects, with a solid groove dictating the flow. Such consummate, effortless drumming. As before, they’ve nailed that chorus delivery. Adding the vocal reverb, in just the right places and topping it off, with a final scream.
You’ve Got Another Thing Coming – Sustaining that same smooth slide, on the opening of this Priest classic. The comfort level’s crystal clear, here. A niftily placed closer, ensuring memorability. Has to be said, they nail this, too. Bringing their own energy to the atmosphere, it just works. Bass bringing prominence, towards the ¾ mark. Fading out easily, employing a touch of return, before the final fade.
Overall – A sharply defined sensation, (excepting ‘Cry For Me’), ‘Time’ excites and entrances, from beginning to end. Its diamond-studded quality meets its silky smooth delivery, right in the middle. Within this album, you’ll find every classic rock feature, sexily displayed, with effortless panache. Skip track 7 and the rest’ll take you all the way to Valhalla.
9/10 *********
For fans of Judas Priest, AC/DC, Aerosmith, Airbourne, Queensryche, The Quireboys, Def Leppard, Van Halen, David Lee Roth, Sammy Hagar.
Released on 17th May, ‘Last Or Later’, debut EP, from multi-instrumental soloist, Greg Green’s one-man project, Burnt Sherpa features a potent cocktail of rock ‘n’ roll, 80’s underground, 90’s grunge and 00’s stoner rock.
Crafted as a nostalgia trip, back to the 90’s, ‘LOL’ is imbued with that sound and energy.
Taking the rough with the smooth, in its evocations, ‘LOL’ leans on varied inspirations, including Soundgarden, ‘Siamese Dream’ era Smashing Pumpkins, Jeff Buckley, Led Zeppelin, Pink Floyd and even vague neo-soul hints.
Ex-Mr Plow, Greg had initially intended to complete some original Plow concepts, via BS, but it rapidly evolved, into a project, in itself. ‘LOL’ was then produced, in collaboration with Dean Dichoso (Candlebox).
Memories Collide – Considered intro, slow paced, with slide riffs digging deep. Quite surprisingly Plant-esque vocals. Comfortable, rhythmic drum bounce. A low-slung central key, with a laid-back emphasis. Very much a combo of stoner rock groove, grunge and traditional rock focus. Ending on a slide riff.
Difficult Gift – Similar slow, but groove-loaded rhythms open. The bass is clear, from the start. The production’s a bit murky, it has to be said, but it’s definitely a very relaxing vibe. Some tinny sounding cymbal action, in there. Very ‘Houses Of The Holy’ era Zep-esque quality to this track. It’s very grungy and casual, in its delivery; fading out on a singular slide riff.
It’s Not The Heat – Intro’ing on light cymbal touches, as if just the very edge is engaged. Into a slide section, with another casual emphasis. As subdued as it may seem, there’s still something fairly inviting about that laid-back fluidity. A bit of wah, around the bridge and more bass emphasis than is usual. Throwing in some stop-start stuff, ¾ in, with a bit more wah and some fuzz tones, bouncing into earshot. Definitive drum hits, ending.
Florida Room – Single finger-picking riff tones open, casually chased by the rest. Vocals very bluesy, with an old school rock tinge. A comfortable confidence infuses them. Sustaining an accessible beat and again, more bass presence than is usual. That same fluidity swims into view. Utilising touches of riff shimmer. It may just be a little monotonous, tonally, but it’s undoubtedly restful.
19 Seconds – Short, but echoed meditative ambient tones enter. More shimmers echo into the following space, with careful touches of very light percussion. There’s a smoky aura present within this sound. The slide emphasis is strong. A bit more vocal peak, here and there. Ending on what feels like a bit of a loose end, but it’s a pleasant listen.
Sugar Rush – Changing things up, here, with a slightly sharper riff style, but the accompaniments still emit that stoner vibe. Cymbals sounding even tinnier. A bell-like tinkle emanates from them, at times. Again, that traditional rock vocal returns, with a bluesy sense inherent. It could be much stronger, though. Strengthening the riffs, at the end.
Overall – A much murkier offering than is standard, ‘LOL’ definitely emits a stoner vibe, though there’s a strong sense, throughout, of being trapped underwater. Very muffled sounds persist, with a lot of tinniness in the cymbals. Even so, it does intrigue, whilst assisting wind down moods, with its restful tones. Stronger production would do it a big favour, in audio terms and a bit more tonal experimentation. So, a vaguely intriguing, but slightly underwhelming EP.
6/10 ******
For fans of The Smashing Pumpkins, ‘Houses Of The Holy’ era Led Zeppelin, The Jon Spencer Blues Explosion, Soundgarden, Pearl Jam, Faith No More.
Out on 26th, ‘Reflections In Sound’ is the debut EP, from Bridgend, Wales alt rockers, Edit The Tide.
As titled, it reflects global events of the last few years, their effects on the band’s lives and the contemplation they’ve triggered, for everyone, around the world.
‘RIS’ also charts EDT’s progress and development, in the scene, the bonds they’ve created and how things have evolved, for them.
An eclectic listen, ‘RIS’ features varied themes, conveyed via combined melodic approaches.
Just a year after formation, EDT have delivered a sucker punch, with ‘RIS’, marking their anniversary.
Their live Welsh tour continues, till 30th June.
‘RIS’ was recorded and produced by Sam Kilby (Valhalla Awaits), at Unit 13 Music Studio and mastered by Abe Fihema, at Luna Crown Audio.
Photo credit – Camphaus Media.
Ambience – An unexpectedly light intro, soon segueing into a very Foo Fighters-esque sound. Definitely melodic, with well produced output. Uplifting grooves, with clear Biffy Clyroe influence. Modern sounds, with hopeful tinges. A little bit derivative, but well conveyed.
Unite And Rebel – A quick drum roll opens, onto another melodic landscape. Dropping down, to a melancholic tone, but picking it up, at the chorus. Again, it’s very typical alt rock stuff, now with a very slightly growly section, in places. Very capable delivery, though not hearing anything new, so far.
Paradigm – Low bass rumble, at the outset. Straight into another samey alt rock sound. As before, it’s very proficient, in both performance and production, but just nothing to mark it out from the crowd. Still, it’s undoubtedly melodic and more upbeat than the last.
With Regret – Slightly heavier intro. Mixing up the higher and lower tones. A touch of riff scream, adeptly executed. As with the rest, though, it lacks originality and that vital spark. Unarguably competent, but without fizz, or any individuality.
The Moment – A vaguely lively drum roll opens, onto a bleak audioscape. Just lifting it up, a notch, with a bit more groove. Same story again, though. Although the delivery’s good, the song structure and defining melody are defeating. Smooth fade, but nothing quirky, or individual within it.
Overall – As proficiently performed and produced as ‘RIS’ clearly is, sad to say, it’s lacklustre and lacking in any discernible uniqueness, or excitement. Samey, throughout, with large helpings of derivative echoes, it’s technically astute, with a clear melodic centre, but ultimately, disappointing and a touch tedious.
5/10 *****
For fans of Biffy Clyroe, The Foo Fighters, Kasabian, The Kaiser Chiefs, Green Day.
North Carolina heavy-metal band, Mortal Man introduce their new EP, ‘Dawn Of The Time Immortal’, out now. Founded on a basis of stoner, doom and southern metal groove, with epic battle tales, woven within, via powerful melodies.
As indicated by the title, ‘DOTTI’ delves into the topics of mortality, immortality and the fight to live; transporting you, to the darkest depths of our basic human instincts and primal urges.
Influenced by Thin Lizzy, Judas Priest and The Sword, MM aims to emulate some of those sounds, while incorporating natures soundtracks and essence into their material; ultimately depicting, aurally, an in-between world.
Co-mingling fantasy with reality, MM’s experimental style enables opposite worlds to merge; evoking the atmospherics of those worlds.
‘DOTTI’ will catch you, unawares, with its metallic power and imagery.
Insular World – Bounce effect opens, with ocean waves surrounding it and light riffs play out, amid intriguing spoken word lyrics. A slightly anthemic chorus precedes typical power/speed metal refrains. Heavy melodies, loosened bass tones and slower rhythms add an almost grunge form to the sound. Fluid rhythmic alternations keep it interesting and imaginative. Injecting slight stoner vibes, here and there. Fading smoothly, with a slight mystique.
Elixir – Instant speed metal hit). Very classic stuff. Very decent, melodic chorus and some well delivered anthemic shouts. Lots of enthusiasm. A strong Maiden-esque quality to this, with a Savatage-esque edge of darkness. Good strong narratives. Those shouts are increasingly catchy. Well conveyed atmospherics. Slowing it down, some, with a more quiescent section, towards the end, before blowing it back up, to an explosive close.
Heed The Call – Drum rolls intro, straight onto another traditional melodic metal audioscape. A well arranged track, deftly performed. Sustaining that upbeat sound. Brief spoken section, after the bridge. A strong sense of comfort, in this track’s flow and execution. Just a very easy rhythmic groove.
Sacrifice – A quick-fire drum roll opens, onto a speeding bass line and riff refrain. Very classic stuff, again, with a powerful melodic thread. Speeding up, some more, employing a bit of stop-start and wobble. Sustaining those groove rhythms, all the way. The bounce returns, around the bridge. Some great experimental twists and strands, here and there. Clear vocal passion, handling the grit as well as the melody. Ending on a well worked reverb effect.
Leviatron And The Sentient Lake – An unexpected turn, to gothic darkness, with a haunting horror theme. Slowed pace, befitting the unsettling lyrics. Some spoken sections, evoking terror. Suddenly segueing, into a quicker, lighter riff tone, at the bridge, but darkening the lyrics, further. Several moments of silence, at the end, as it ends too soon.
Transmogrification – Back to a happier, melodic metal tone, at the intro). Very acute riffage, while sustaining the fluidity. The speed returns, with the melody). The same high quality, retaining the conviction. Still a slight sinister essence, in places, but encased within a lighter, more uplifting tone. Peak vocal precision and prominent bass, on the way to the echoed end.
Overall – A great listen, with a lot of passion and an assuringly traditional heavy melodic metal sound, ‘DOTTI’ also features numerous original twists and turns. Though the change of direction, from track 1, to 2 seems a little too stark, there’s no faulting the performance of either, as with the rest. Sustaining interest, via unique touches and effects, throughout, its experimentalism matches its comfortable accessibility. Leaving aside those few moments of dead air, at the end of track 5, ‘DOTTI’ could be said to be a classic, with individuality.
9/10 *********
For fans of Iron Maiden, Voltax, Savatage, Metallica, Cast Iron, Blakenstein, Black Sabbath, Satarial, Altheniko, Portrait.
Melodic prog rockers, Balance Of Power return, with their latest album, ‘Fresh From The Abyss’, out now, on Massacre Records.
A glitzy, dramatic offering, ‘FFTA’ was co-produced by Toby Jepson (Little Angels, Wayward Sons, Planet Rock DJ) and Lionel Hicks, mixed by Mike Plotnikoff (Halestorm, Black Stone Cherry, Fear Factory, Papa Roach), mastered by Simon Francis, with cover art and design by Stuart Dilley and Antz White. Photos by Neil Jackson.
As heavily impacting as it is complex, ‘FFTA’ is designed to speak to people, relatably, in real-time; focusing mainly on life and death. It stands as their best melodic work, yet.
Featuring guest contributors, Pete Southern and Adam Wardle (additional guitars) and John K (additional keyboards), BOP is: Hazel Jade (lead vocals), Chris Young (guitars), Adam Wardle (guitars), Tony Ritchie (bass/vocals) and Lionel Hicks (drums).
BOP will play Bloodstock Open Air Fest, in Derby, on Saturday 4th September, alongside many prestigious bands.
Last Man Down – Huge sonic intro, building in catch, straight away. Sleek guitars, propulsive drums and gritty power vocals throw out the volume. Very confident delivery. Extra sound effects accompany the rest. Strong melodies. Hooks aplenty, solidified by those anthemic backing vocals. Utilising reverb, perfectly, at the end. Great start).
Never Be Here Again – Minor explosion opening. Into a sombre refrain, before lifting, to a higher vibe, while sustaining the meaning. Tense and release well handled. Natural grasp of catchy hooks. A fragile bridging section yields, to louder heaviness. Plenty of vividly vibrant riffage. Happily memorable lyrics, easy to capture. Ideal close, embedding contagion).
Monster – Synths intro; groove-laced slanted riffs follow. Once again, sealing in that catchy contagion. Good Halloween material; stacked with passion and more memorable hooks. The bass is just audible, creeping in, around the bridge. Got to admire that huge vocal powerhouse. Drum rhythms knitting in, comfortably. That chorus is idyllic hit territory. Closing definitively and dramatically.
Rage Of Ages – Hitting the peak, immediately, with a perfect vocal height! Moving, fluidly, into a more contemplative tone. Those melodies are perfectly pitched and passion-infused, from the start. Once again, although there’s a more melancholic strand to this, the choruses blast it upwards, infectiously. Lots of colourful riffage; long enough to absorb and immerse yourself in. That vocal close is just tremendous.
Abyss – Banging drum intro! Straight into the feeling. Lyrically, Halloween-esque, again. A gothic strand inserts itself into this, much like before. As much catch and chemistry as the rest. In complete sync, throughout, with screams as gritty as they are sharp. Drums emphasising their point, while a coarse extremity adds to the vocal edge. Another blistering end.
Velocity – A synth intro, with a bit more drum impact, booming out the violence. Vocals killing it, once more. Well measured rhythms. So much passion pours from every note. A cinematic vibe to this track. Loaded with powerful, accessible melodies. Another thoughtfully crafted chorus, as memorable as before.
Deadlands – Laying it down, instantly, with that hard rocking groove. Equal strength in each component. Real empowered passion in those vocals; never wavering. A little more breathing space, in places, but the heat and energy never let up. Brilliantly placed riff scales, after the bridge. The drum rolls cement the whole sound; building and sustaining the rhythms. Taking it to a dizzying end and fading out, smoothly.
One More Time Around The Sun – Bringing it down, to a more relaxed vibe, now, with acoustic riffs and an emotional vocal poignancy. There’s breath inside this track, almost ballad-like; showcasing versatility. Impacting percussion, again. Still as strong, with extra meaning imbued within; lifting higher, in places. That extraordinary power never leaves it and those impassioned riffs scream with feeling. Yet another intelligently crafted chorus, replete with memorability. The acoustic sections blend, so artfully and beautifully with the electric landscape. Fading out on an acoustic dream).
Overall – One listen and this will hook you. ‘FFTA’ is one of those masterpieces that were born to shine. Just immense, from beginning to end, with flawless and extraordinary talent. If you’re looking for authenticity and soul-forged passionate conviction, this is the place to come. A hotbed of unyielding, rock-drenched grit and melodic contagion and charisma, ‘FFTA’ is an exceptional album.
10/10 **********
For fans of Lesbian Bed Death, SIVA Addiction, Space Parasites, Arapacis, Halestorm, Hole, Dogma.
Incoming new material, from Belgian thrashers, Tensor, ‘The Damnation Song’ is the 2nd featured track, on their forthcoming album.
‘TDS’ also comes with an associated video.
The Damnation Song – Crashing, heavy intro! Troll-like and instantly extreme. Still pouring the thrash down, while slicing slits in the atmosphere, with that excoriating extremity. Everything turned up to the max, adding a combo of melodic riffage and blackened vocal style, with a real serrated edge. Dark atmospherics, ominously delivered, at the fade-out. It’s definitely sharper and stronger, with each new track. ‘TDS’ has an extra touch to it, though; uncompromising, in intent and execution. Tensor have turned things up, a notch and tuned the dial, to maximum strength. Face-ripping quality; acutely performed.
10/10 **********
For fans of Carcass, Orange Goblin, Skeletonwitch. Iron Monkey.
New York/Pennsylvania melodic metal warriors, Severed Angel bring you their 2nd album, ‘Skyward’, released in early May.
Developing their compositions, within the same signatures, ‘Skyward’ follows 2023’s self-titled debut.
A DIY band, SA take great pride in their work; ensuring they only release material of the highest quality.
Recorded and produced independently, in collaboration with Joel Wanasek, ‘Skyward’ combines all SA’s inspirations, crafting a modern personal twist from them.
Deliberately written as the conclusion to the debut album’s closer, ‘With Wings Anew’, intro track, ‘From The Inside’ forms a smooth course to the rest of the album.
Featured single, ‘Tyrant On The Throne’ includes an associated video animation, created in collaboration with Frostbite BC bassist, Mandeer.
Designing the track, ‘Never Look Back’ as a strike back against doubters and detractors, it’s also a rallying call to others, to pursue their dreams.
Featuring guest vocalist, Gail Bourque, on ‘Citipati’.
‘Skyward’ will be available, from 3rd May, both digitally and physically. CD’s are available for pre-order, from the band’s website, from 13th May.
SA is:
Alex Repetti (vocals, guitar), Lou Mavs (guitar, vocals), George Dimitri (bass), Mark Muchnik (keyboards) and Wayne Noon (drums).
From The Inside – Slight delay and then into meaningful sounds; segueing, smoothly, from contemplative, to full force metal. Interweaving between the two. Pressured, cave-like roars add greater power to the sharp acuity and bass depths. Easy fade-out.
Live Your Imagination – Slamming thrust hits, at once. Straight out, full pelt speed, with powered metallic force. Still as melody driven, with more cave-like roars and consistently fast rhythms. Lots of intensity. Never relenting, for a moment.
A Perfect Disaster – Moving in, gradually and building intensity. Slight echoed suggestion, in places. Well held vocal tones. Just a hint of stoner style, here and there. Deeper, darker vocal sections, at times and a few more effects. Stretching out the melody and stylistic quirks. Continuing to build the pressure, rattling on, till the end, closing with a shouted lyric.
Skyward – Heavy drum hits open. Into an upbeat melody. Synth effects, on and off. Good, breathy sounds. A bit grittier, in places. Very decent delivery. Accessible enough rhythms. Could do with a few more hooks. Smooth fade.
Life Is Here And Now – Moving in smoothly, with a bigger drum presence. Here, death roars interact with sung lyrics, from the start. Backing choirs add a little more variety. Synths add more strength to the sound. Dramatic phases, here and there and sporadic roars. Well hit screams and a rainbow riff scale, ¾ in. Drums booming, some more. Just an edge of melancholia creeping into the vocals and supportive synths boost it, some more, at the dramatic end.
Move Through The Dark – Banging intro. Stronger rhythms and touches of screech. Slanting riffage. Sleaze-tinged sounds and rhythms. Quick pace and a darker lyrical slant. Adopting an aptly darker delivery. Choruses as dark as the verses. Monster roars, conveyed like Masters of the Universe forms. A slight touch of Eastern enigma, in the riffage, ¾ in. Some good slanting riffs hit, before the final fade.
Tyrant On The Throne – Intro’ing on some background noise and a wah-filled riff. Staying with that slight stoner essence. Building it up, to a fuller sound, with darker underpinnings. Taking the vocals up, to new heights; injecting more of that Marvel Heroes essence, here and there. Adding a bit more wah, in places. It rolls along well enough. While it’s definitely got a commercially popular sense about it, it could just use a stronger metallic bent and slightly more memorable variety.
Never Look Back – Good intro compression; possibly, the strongest, yet! Here, those rhythms roll, comfortably, from the first. Similar structures to the rest, but now, adding a well-fitting Celtic element and raising the mood, with more uplifting tones. This may well be the stand-out track. Much clearer feel-good melodies). Even a hint of a suggestion of Viking metal threads. Sustaining that uplift, right till the end.
Tranquillity In Conflict – Fast-paced drum rolls and riffage intro, with feeling packed into them. Taking the mood down, slightly, with a change of melody; this time, adding a keyboard section. Well handled rhythms; just fast enough to retain accessibility. Sustaining the pace quite well; injecting another Eastern touch. Plenty of obvious proficiency. Not sure about those closing screams. They’re just slightly out, from hitting the right tones, in melodic listenability terms.
Citipati (Funeral Pyre Lord) – An intriguing mechanical, cinematic opening, bringing the right atmospheric power, from the beginning. Better build-up and melodic intensity. That male/female vocal duet works well; fitting the style. An unusual vocal quirk appears, in places, but still, it fits this track’s stylistics. Yielding and driving forward, in the right places; centralising those drum rolls well, while emphasising the riffage. Stronger execution, to the end.
Overall – In itself, ‘Skyward’ delivers well, with enough of the right ingredients; even featuring a stand-out track, or 2. (‘NLB’ and ‘Citipati’). However, it does need more individuality, still and a few more memorable hooks, to make its mark and sustain that originality and signature creation. More than proficient, but further development and a bit more imagination would boost its appeal, more.
8/10 ********
For fans of Immortal Empire, Def-Con-One, Resurrecturis, Amon Amarth.
Austrian Italian Tyrolean melodic metal meisters, Feline Melinda go right back to 1986, growing from a trio, to a quartet, in 2014.
With a long history of releases, stretching back to 1988, FM now bring you their current album, ‘Seven’.
As upbeat, contagious and riff driven as ever, ‘Seven’ also features enough variety to sustain the spice.
A self-release, ‘Seven’ embodies their mission, of keeping it real and non-conformist.
Featured single, ‘Seventh Heaven’ comes with an accompanying video; having evolved, from a duet, to a collaborative trio, featuring guest vocalist, Doris Albenberger.
‘Seven’ was produced by Sascha Paeth (Masters Of Ceremony, Tobias Sammet’s Avantasia).
Doris also features on ‘Before The Dawn’, as does Francesco Pinter, who also plays the solo, on ‘Black Sun’.
‘Seven’ is now available, on Digi pack CD, digital and streaming formats.
FM is:
Rob Irbiz (vocals), Chris Platzer (drums), Headmatt (rhythm and lead guitar) and Gschnell (bass).
Welcome To The Show – Full impact hit of metal gold, at the outset). Classic melodic power. Tip-top production. Catchy, dizzying riffs; strong, confident vocals; infectious rhythms; the perfect package. Tumbling, rolling, towering rhythmic movements, all the way, sealed with powerful anthemic flavour. That’s how to create a classic).
Blinded By The Beauty – Steering right into the skid, at the intro, with zero hesitation). An epic theme enters, here. Lively and energetic, with plenty of colour. Contagion hits, invading every note. Drums reinforcing that irresistible fervour. Smooth, from start to finish, steering, sleekly, into that final skid).
In The Shadow Of The Moon – Feedback reverb riff opening and straight into full frontal speed. That European vocal tinge just strengthens it, further. Well chosen lyrics. Pumping percussive power. Just relentless rhythms, joyfully delivered. Pouring metallic rain. Sharp, sexy and searing, till the end).
Can You Feel My Eyes On You – Laying down the law, from the first, with those energised, powerful riffs. Great lyrics, again. This has classic hit written all over it. Electrifying riffage. Catchy choruses; power-stacked, to the nines. Perfect vocal symmetry. Yet another sleekly executed ending).
Seventh Heaven – Opening with a beautiful piano movement, then steering it right back into another traditional power metal refrain. So smoothly vocalised. Injecting more of that irresistibly delicious contagion into every beat. You’ll join in with that chorus, till the last.
Jolly Joker – Active drum rolls intro, refreshing the bounce factor. A real upbeat feel to this, with uniquely fresh lyrical themes. As powerful as the rest, with a wildcard emphasis, finishing on triangle hits and a sense of happy mystique.
Black Sun – Sharp, slick intro riff. Expanding the sound, outwards. Pointed percussion, emphasising the point. Exuberant vocals, conveying authentic joy. More of that inherent contagious catch. Piano section, after the bridge, before the riff harmony; interweaving with it, till those exultant vocals follow. Leading, smoothly, into the end.
She’s Like A Thunderstorm – Opening with a driven, motorbike engine-like force. The rhythms connect, completely, with the rest. Memorable lyrics; highly catchy choruses. Speed sustained, throughout, throwing out that feel-good atmosphere. Taking it right up to the top, all the way to the very end.
Higher – Intro’ing a slight symphonic aspect, here, overtaken by speed, without losing the strength of the symphony. A theatrical theme enters; dramatically conveyed. Always, the melody’s central. Such skilful riffage and vocal panache. Fading out, smoothly.
More Than Ever – Banging opening. Right into the fray, once more. Speeding rhythms, intensely conveyed. Vocals staying strong and heartfelt. Such melodic, upbeat drive. Charged with electric fire; blazing along, right till the end.
Before The Dawn – A soft ballad, now, filled with just as much authenticity and passion. So much feeling and purity of heart sings through each and every note. Guitars singing and screaming to you, meeting the lyrical essence, right in the middle. A gorgeous riff solo completes the track.
Overall – Words can’t possibly do this album justice. ‘Seven’s one of those productions so incredibly and indelibly imprinted with signature style, so skilfully and authentically perfected as to lie beyond description. It’s majestically metallic mastery’s literally too good for words. So just listen and be captivated.
10/10 **********
For fans of Silent Winter, Judas Priest, Ice Sword, Ice War, Avantasia, Trivium, Reign Of Fury.
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