Katatonia - Sky Devoid of Stars

http://www.secret-face.com/

#FOR FANS OF: Alternative Metal

Well, this metal is more on the alternative side of that genre, very eclectic! I liked this whole album, there were really no peaks and valleys in it, it was solid the whole way through. I didn't play favorites with any of the songs, either. They were all good, the 11 tracks featured a bonus song. I kind of didn't want this to end, it was so mesmerizing. It's anything but aggressive though the roots are still in that genre, I wouldn't call this alternative rock really like see more modern Anathema. This band is Swedish based and a lot of excellent albums are from that country, especially melodic bands. That would be At The Gates, Dismember, et al though those are really heavier bands. Dark Tranquillity and Arch Enemy are other metal bands that are melodic too!

 

The recording quality was quite good. The instruments were well mixed too, and I'd have to say that it's a more romantic sort of recording, featuring more clean vocals throughout. That's what made this album so appealing if you're not expecting anything heavy. It's just not there on here!

I kind of didn't want this album to end! But it met the mark in my top albums for 2023. It would be the one that I've held most in high esteem for that genre, and others that are a bit heavier would be Fires In The Distance. They're melodic too but a little bit heavier. And good news that yet another Dark Tranquillity album is coming out soon they've just finished with that recording so my sources say! It's a year that has done well with metal in 2023. This year, in terms of melodic bands, Everdying is another melodic band that's heavier though and much more aggressive than Katatonia. Anyway, all the songs on this Katatonia release are favorites. I can't site one that's better than another. They all have a special place in their discography.

 

Not to digress like I did previously, this is something that's so esoteric and surreal! They're not balls out intensity, it's wholly melodic with so many intriguing instruments in the mix that are essentially clean. Basically, they have light-to-metal guitars and keys that play well with the vocals.

I think this is my favorite release from the band. It's so consistent, just don't expect it to be balls out heavy the element here is "feel" opposed to aggression. These guys take melodicism to the next level with genius syndrome effects and essence, as I'll revisit my previous state. Check it out! (Death8699)

 

(Napalm Records - 2023)
Score: 85

https://katatonia.bandcamp.com/album/sky-void-of-stars

Crypta - Shades of Sorrow

http://www.secret-face.com/

#FOR FANS OF: Death Metal

This vocalist sounds like a female version of Dani Filth. There’s actually more than one tone of vocals. It’s mainly guttural throat with variations. I like it. This one tops their debut 'Echoes of the Soul.' I’m missing Sonia Anubis though but they’re still a great band. Melodies galore mixed with hardcore death metal. The leads are superb too. I weigh heavy on bands that incorporate leads in their music, a lot of them are whiskey washy but Crypta has technical guitarists that live up to their potential. The band is in their 20’s I don’t think older than this.

Everything seemed to fit in quite well the riffs, leads, vocals, production, mixing and more! They have a lot to contribute to the death metal community. After Sonia’s departure from the band, they seem to have a lineup that’s phenomenal. It took me a while to get used to the vocals on their debut but now I’m highly acclimated to them now! And they’re not just screaming they have a lot of variety. Really hardcore which goes well with the music. There aren’t many styles here, just death metal with the Dani Filth type female vocals. It goes well with the music. I like the deep throat onslaught as wel!

The riffs and leads are showing signs of immense progress since their debut came out. There’s just a lot of dynamics and variety in their music. The leads are quite technical like Sonia was. They’re not as good as her but they’re still lynching the metal genre with tremendous potential. I feel that if they continue on this path they’ll be successful. They’re a pretty new band that shows promise and hopefully people will buy their merchandise.

In some instances, the leads guitar work is wicked. Their switching off in the vocals to give the sound more variety. They shy no way but phenomenal in their efforts. I’m glad also that they have a longer album totaling in about 51 minutes in length. Every song on here has a noteworthy performance. Don’t pass this one up from your collection! (Death8699)

(Napalm Records - 2023)
Score: 80

https://cryptabrazil.bandcamp.com/album/shades-of-sorrow

Crypta - Echoes of the Soul

http://www.secret-face.com/

#FOR FANS OF: Death Metal

This is Sonia Anubis's former band now, she's ventured onto Cobra Spell. And what a solid old school death metal sound to this International act featuring Brazilian/Dutch natives. All woman band, these members but out some furious and intense death metal. I've not liked the album initially because of the vocals, but it kind of grew on me. The leads are fantastic too! Not too many points I'd take off due to mediocrity, these women are anything but that! The rhythms are fast and furious. There isn't a song on here that doesn't disappoint. The melodies are good and it's definitely a worthwhile release.

It's actually taken about 5-6 spins to come up with an intelligible content here because there's so many intricate parts to this LP. As I say, I wasn't a fan of the vocals, but it did kind of grow on me. They are unique and I guess I'm so used to standard death metal that I forget that this is a female band so they're going to have their own sound. Sonia kicking ass on lead plus the band writes some creative riffs. I'd have to say that this debut is admirable. I'm hoping that the departure of Sonia will embrace some new talent now on the next LP. They're touring (I believe) and I think that they'll pick up more good ideas to the person who fills Sonia's slot.

Production quality was good, solid and tight. It did the musicians' justice and there really wasn't any parts to this LP that are boring. The energy is all there and the leads were tight as well. I don't think that any of the music was unoriginal. I think it was creatively captivating. And just to know that they're active is positive. The rhythms were solid and the overall songwriting was admirable. However, I don't think that this is higher than a "72" rating. Again, it took a while to get into but as I see they were reaching for their own sound in the death metal arena and did so in achieving that. Much kudos for that!

I purchased this a while ago even though they're on Spotify and Bandcamp. I always say support the band and buy the physical copy but that's up to you. If you want to hear some fresh talent in the arena, Crypta is where it's at! They have so much to offer and have enormous energy! I applaud them for giving their own sound as an International death metal band. Key into the music, not so much of the lyrics as most death metal bands don't sing about very meaningful topics. If you're able to overcome this dilemma, you will most likely be totally into this band. Check 'em out! (Death8699)

(Napalm Records - 2021)
Score: 72

https://www.cryptaofficial.com/

Destruction - Diabolical

http://www.secret-face.com/

#FOR FANS OF: Thrash Metal

On the first few hearings, I figured this is going to be another "recycled" Destruction album but it grew on me! The only founding member left is Schmier as Mike departed from the band after being a founding member for 39 years. Some of the material on here remind me of 'Release From Agony' as some riffs are similar to that title track way back then. The album itself is somewhat brutal in the sense of thrash brutality. It's not as hard as 'Born To Perish', but it still has its highs and lows. I enjoyed the whole album though despite the fact that it's hit-or-miss with the songs themselves. They really haven't invented anything new.

I still dig Schmier's vocals over the music it's sounding pretty good! I think that he's the driving force in the band. They're never going to play another 'Infernal Overkill' or the EP's 'Mad Butcher' and 'Eternal Devastation'. But the fact that they're still around making music is impressive. I suppose once you've got the fire it stays and even if it doesn't at least it's relatable at least the anger and fury in metal. The leads on here are pretty impressive. They remind me of their old guitarist Harry Wilkens. Now that guy can shred! But Damir does a good job on his own ground with some of fury!

The studio recording sounds pretty solid. The fact that Mike didn't show up means that they've done what they can for this album and he's out. Schmier's comment about Mike not looking healthy is right. He didn't want to change his lifestyle even at the age of 56. It's creeping up on him and it's time for the new generation of Destruction with a solid lineup. The whole album sounds solid in respect to its quality. They really tore it up but like I said not as hard as 'Born To Perish'. Still, it's got some sick riffs and leads. That being said, they still have time before they hang-it-up totally and retire. I mean Metallica is talking retirement too!

I had to order this one on CD because I enjoyed what they sounded like on here. There was one cover song by the punk band GHB the final track on the album. Destruction is showing success in the charts hitting up there! Amazing, they just released this and it's already soaring! I'd have to congratulate on another solid studio album! Wondering about the touring that they're going to be doing. If you're into thrash or some of Destruction's previous works, I'm sure you'll like this. Even though it's sort of like I said "recycled" but it still has a long of good songs on it. Check it out today! (Death8699)

(Napalm Records - 2022)
Score: 75

https://www.destruction.de/

Destruction - Live Attack

http://www.secret-face.com/

#FOR FANS OF: Thrash/Death

Better than live sounding Destruction with the last release featuring Mike Sifringer on main guitar. Mike left or was reported disconnected from Destruction this year. So I bought this release capturing him on the guitar department. It would've been nice had he stayed with the band since they'd become a 4-piece once again. But oh well. This release features a lot of the classics from early Destruction to 'Release From Agony' and 'Cracked Brain'. Most of the songs are from the 80's and early 90's there weren't many modern ones maybe 3-4. I guess since they may have felt that since touring has been a no-go since Covid-19 they'd play the classics.

I really enjoyed 'Live Without Sense' also, maybe even more than this live album. And I favor Harry over Damir though I have the utmost respect for both guitarists. These guys formed in '82 or '83 and remained together up until recently that two of the founding members they've had till Mike's departure. This album features some of the classic songs such as "Mad Butcher" and "Bestial Invasion" to name a couple. Like Schmier said they've covered a lot of history with this live show. To longtime fans they are of no surprise but yes, this album newer listeners get to hear the classics which they've only changed up a little bit on the guitars, but not much.

Schmier sounds pretty much the same as he always have though his voice is a little bit deeper than featuring past stuff. His work with Panzer (first two releases) has him sounding like this live release. And both new musicians Randy on drums and Damir on lead guitar perform solos showing their strength on each instrument. Olly (ex-Destruction) still favors the band and Harry (ex-Destruction) also is featured on many lead guitar appearances on their more current releases. Olly is in mainly a support but Harry was guest up until recently. Damir has filled that slot but I don't know who's taking Mike's place, I don't even think the band knows.

You can get this on the digital Spotify streaming release or buy the CD on 3 discs 2 Live Attack CD's and one Blue-ray all in one case. I bought the physical copy to support the band. And because I support bands that allow you to get their physical CD's. This one was too good to pass up. I think the production quality was good and the guitars/vocals were quality as well. This album is almost 2 hours total and as I mentioned a lot of history and a lot of classics. They really are strong on this. The energy is all there and Schmier leads the way on vocals giving a great live performance. I'm glad he re-joined the band back in 1999 and let's all say good-bye to Mike! Get this album! (Death8699)

(Napalm Records - 2021)
Score: 80

https://www.destruction.de/

Warbringer - Woe to the Vanquished

http://www.secret-face.com/

#FOR FANS OF: Thrash metal

This is by far my favorite Warbringer release to-date. It's really dynamic and full of energy! The riffs are super-tight and the vocals more manageable than on the first few albums! This maybe around 40 minutes in length but it was worth every minute. I'm not biased because I prefer thrash and melodic death over other genres of metal. I just think that they had come up with some riffs thought to be to me as being inconceivable! Totally an annihilation to the eardrums but really they tore it up on the rhythms. The leads were catastrophic to the ears as well, they simply dominated!

The vocals were something that I disliked for their first few albums and not they seem to be a lot less annoying. They go well with the music on here. And keep the album underground, that's for sure. Pretty much all of the songs are very intense but yet versatile. The all are well written, probably some of the riffs that they've had written out of their entire discography. I think that what sets this album apart from their prior releases is that their riff-writing is more of their own, they're not duplicating anything or any other bands. They're showing their influences but their songwriting is all original. ABSOLUTELY.

The production quality is top notch so it makes the instruments and vocals better heard altogether. I like a lot of the riffs that they show on here, they're totally kick ass and fast. The writing is definitely versatile and unique. I like how they constructed their songs and made them way unique and all-encompassing. The music is what takes precedence over everything, though like I said, the vocals are the most changed and best compliment to the music. The quality of the sound makes this a lot better and well done! This album by far is their most noteworthy compilation of songs to this date.

You're able to listen to this on Spotify and YouTube, but buy the CD for better audio quality as well as support for the band! It's worth it and it'll be easy to see the changes that they've made to better able to be heard. These guys just keep getting better and more mature over their prior material album in album out. You'll hear it too immediately that they've made a comeback to superb thrash that they throw out there! That's why it's a better idea to get the physical copy of this album is because you can hear it in full roar. Don't pass this up, it's my favorite one and it won't disappoint! (Death8699)

(Napalm Records - 2017)
Score: 80

https://warbringer.bandcamp.com/album/woe-to-the-vanquished

Warbringer - Weapons of Tomorrow

http://www.secret-face.com/

#FOR FANS OF: Death/Thrash

This is probably their most versatile release ever. Not only are the riffs good, the vocals and sound quality are as well. Plus the leads are way technical. Everything packed in one great thrash outlet here. The music is what is the most captivating! The tempos range from fast to moderate to slow then some even clean tone. Some bass reminds me of Metallica from the 'Black Album', not quite that but that's just what it seemed to show as an influence. Every song on here is good and the intensity is high. It's a whole 5-piece putting together the full effort, ABSOLUTELY! They shred this one!

I'm surprised I didn't hear more about this, but it seems like the current reviews are dead on rating-wise. Though I do think this one is close to perfect. After full-length after full-length this is my favorite one! It seems to be the most coming into their own with the sounds. The riffs are right on check the most catchy sounds out of their entire discography. Not everything is fast, but they show a little more influence to crossover metal as well as primarily thrash metal. Some songs aren't fast at all, but the intensity is all here. Some riffs seem to be otherworldly. That's how much I esteem this compilation of original tracks.

Sound quality is way awesome and it seemed that every member put forth a dynamite effort. They just keep getting better and better. All the songs you should be forewarned about how many of them are blasting away. Contrast that to their slower stuff that's equally impressive. I was appalled to hear a somewhat ballad on here. But what's weird are that the clean guitar is going alongside that hoarse vocals. It makes it even more interesting and dynamic. They've come into their own in terms of originality. Especially on that one. But for a bulk of the songs, they are pretty much original sounding showing their influences.

I ordered a copy of this to support the band because I felt that Spotify isn't doing them justice streaming their music. But if that's all you can do, then Spotify or YouTube is it. I collect CD's so this one needs to show up in my CD wall. This one is definitely their best one to date. It's just so unique and killer sounding. The riffs are what stole it for me and the leads were phenomenal. The vocals are tolerable where on previous albums the screak sound was a little annoying. It's a little bit different on this one. Do the band some justice for putting out a monumental release buy their album! (Death8699)

(Napalm Records - 2020)
Score: 82

https://warbringer.bandcamp.com/album/weapons-of-tomorrow

Visceral Evisceration - Incessant Desire for Palatable Flesh

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#PER CHI AMA: Death/Doom

Nonostante il nome Visceral Evisceration accenni a riferimenti grind-splatter gore, questa band austriaca, con il loro unico album, 'Incessant Desire for Palatable Flesh', ci regalarono nel 1994 (remixato e rimasterizzato poi nei primi anni '90) un intrigante connubio grind-death-doom, dalle tinte grigio scure. Testi anatomo-patologici, accompagnano eccellenti e sofisticate linee melodiche di chitarra; le voci si alternano tra il growl e il pulito, e fa la sua prima comparsa in un genere cosi estremo, la voce operistica di un uomo e di un soprano donna. Musica bizzarra, intensa e mai banale che vi saprà sorprendere con le sue continue geniali trovate. La band ahimè si sciolse dopo quest’unico album per riformarsi nel 1995 sotto il nome di As I Lay Dying da non confondere però con gli omonimi metallers statunitensi. Il neo formato combo austriaco rilasciò un promo e poi sparì del tutto dalla faccia della terra. Un vero peccato, perchè suoni del genere in futuro, non se ne sono più risentiti. (Francesco Scarci)

(Napalm Records - 1994)
Voto: 90

https://www.facebook.com/visceralevisceration/

Trail of Tears - Free Fall Into Fear

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#PER CHI AMA: Gothic/Symph Black, Dimmu Borgir, Tristania

"Che fine ha fatto Catherine Paulsen, ma soprattutto che ci fa Kjetil Nordhus, cantante dei Green Carnation, nei Trail of Tears", questo è ciò che pensai al tempo dell'uscita di questo 'Free Fall Into Fear', quarto album per i norvegesi. Queste anche le novità sostanziali della band che, scaricata la bella e brava cantante per le solite divergenze stilistiche, pensò bene di assoldare, per le clean vocals, il vocalist della band di Tchort e soci. La musica dei nostri ha quindi subito una notevole sterzata stilistica, prendendo le distanze da quel filone death/gothic che vedeva in Tristania e Within Temptation i maggiori esecutori, e proiettando i nsotri verso lidi leggermente più black metal. Rispetto al precedente e ottimo 'A New Dimension of Might' si può infatti notare una leggera diminuzione della melodia, causata anche dall’assenza della bellissima voce di Catherine, e un incremento della cattiveria, sorretta da un feeling maligno spesso presente ma ben bilanciato da break tastieristici ed inserti melodici. Da sempre sono un fan della band, li ho seguiti dai tempi del primo 'Disclosure in Red', quindi devo essere sincero su una cosa: al primo ascolto di questo lavoro sono rimasto spiazzato e un po’ deluso. Tuttavia ai successivi passaggi, ho potuto apprezzare il nuovo taglio dei sette norvegesi, coadiuvati peraltro dalle ottime vocals di Kjetil che entrò in pianta stabile nelle file della band. 'Free Fall Into Fear' alla fine è un album che si avvicina, se mi passate il paragone, al tanto contestato 'Spiritual Black Dimension' dei Dimmu Borgir, anche se qui la voce di Ronny Thorsen è più gutturale rispetto a quella del suo collega Shagrath, la base ritmica è potente, veloce e melodica. Ascoltandolo e riascoltandolo mi è venuto in mente anche il bellissimo e sottovalutato 'The Shepherd and the Hounds of Hell' degli ottimi Obtained Enslavement, e anche qualcosina degli Arcturus. Sì insomma, a me quest’album è piaciuto perché riesce a coniugare violenza sonora e melodia. Il voto non è più alto solo per un paio di pezzi non all’altezza. (Francesco Scarci)

(Napalm Records - 2005)
Voto: 74

https://www.facebook.com/trailoftearsofficial/

Trail of Tears - Existentia

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#PER CHI AMA: Gothic/Symphonic, Tristania

Era il 2007 quando a distanza di due anni dal sorprendente 'Free Fall into Fear', i Trail of Tears, con il solo membro fondatore, Ronny Thorsen, tornavano sul mercato con la registrazione di 'Existentia'. Il sound della band norvegese non sembrava discostarsi più di tanto dai precedenti lavori, mantenendo quel feeling oscuro di fondo, costituito da riffoni di chitarra di chiara estrazione black sinfonica e da maestose tastiere di ispirazione Therion. Il dualismo tra le growling vocals di Ronny e le sempre brillanti e melodiche clean vocals di Kjetil (singer dei Green Carnation), completavano il quadro, contribuendo a fare da collante tra queste caratteristiche. Una dolce voce femminile, quella di Emmanuelle Zoldan, dava poi il suo contributo aggiuntivo, per un esito finale dell’album davvero convincente. 'Existentia', cosi come il suo predecessore, andava ascoltato e riascoltato per essere apprezzato fino in fondo; non fu un album così diretto, semplice da percepire, perchè parecchie erano le sfumature che si palesavano nella musica del combo scandinavo: si ritrovano infatti certe influenze provenienti da una corrente avantgarde che approdano come essenziale novità nel sound dei nostri. Echi riconducibili ai The Provenance, o ancora, ai Green Carnation, erano udibili nei solchi di questo notevole 'Existentia', un capitolo che ha preceduto una vera e propria rivoluzione in seno alla band. Si trovano peraltro anche reminiscenze power ed una bella dose di death goticheggiante che confluivano nel sound compatto dei nostri. Dal punto di vista strumentale poi, la band si presentava come sempre ineccepibile: ottima la prova dei singoli, anche se devo sottolineare la performance del tastierista, davvero bravo, cosi come l’inimitabile ugola di Kjetil, vero e proprio strumento musicale dall’enorme talento. Una produzione bombastica chiudeva un disco e forse un’era in casa Trail of Tears, visti gli scarsi successi ottenuti con i successivi due album che hanno condotto la band allo scioglimento nel 2013. Un peccato. (Francesco Scarci)

(Napalm Records - 2007)
Voto: 76

https://www.facebook.com/trailoftearsofficial/

Legion of the Damned - Sons of the Jackal

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#PER CHI AMA: Thrash/Death

Sentivo la mancanza dell’ennesima mazzata nei denti. Questa volta dovrò presentare il conto del mio dentista ai Legion of the Damned (LOTD), andando a ripescare il loro secondo lavoro del 2006. La band ci spara tra capo e collo un death violento e incazzato, oscuro e morboso. Potenti riff erigono un muro sonoro devastante, capace di assalirci alle spalle e lasciarci inermi e annichiliti. Cupe growling vocals si stagliano su una ritmica pesante con una batteria che ricorre spesso ai blast-beat. Per chi non lo sapesse i LOTD non sono altro che la reincarnazione degli ormai defunti Occult, band olandese di discreto valore negli anni ’90, che per ragioni contrattuali decisero di sciogliersi e riformarsi sotto altro nome e ripartire là da dove avevano lasciato, appunto con un death thrash dinamitardo che si rifà ai nomi sacri del genere. Niente di nuovo quindi sotto il sole: tanta rabbia e colate laviche di riff che ci percuotono e ripercuotono, lasciandoci tramortiti per terra. 'Sons of the Jackal' è un mortale attacco ai sensi, che alla fine dell’ascolto ci lascia totalmente privi di fiato. Sebbene non ci troviamo al cospetto di nulla di nuovo, devo rilevare l’assoluta perizia tecnica di una band che ormai da oltre 25 anni calca la scena metal con grande dignità. Ultima nota: il cd contiene anche un bonus DVD con più di due ore di materiale inedito estrapolato da backstage di vari festival estivi del 2006, due video e tre gallerie di immagini. Per soli amanti di album tritaossa. (Francesco Scarci)

(Massacre Records/Napalm Records - 2006/2015)

Voto: 65

https://legionofthedamned.bandcamp.com/album/sons-of-the-jackal

Tristania - Beyond the Veil

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#FOR FANS OF: Death/Gothic

Drastic and bombastic, Tristania provides a fine example of the breadth of heavy metal in sinister symphonic tones, gothic theatrics, and a classic example of cleanliness and propriety meeting the hazy gloom of such an inverted style, making its simultaneously catchy and esoteric visions transform from an alluring siren into the violent succubus as its sinister other side appears. Flirting with the many tropes in classical music from startling operatic highs to a symphony of strings, sometimes synthesized and other times implied through an electric and acoustic guitar combination, 'Beyond the Veil' is a descent into perdition promising the privations populating such a plane with angelic allure.

Simultaneously, Tristania denies the classical sound its monopoly with a tinny drum recording that becomes the catalyst for more techno oriented exchanges later in the album and hazy harmonies that swell in short bursts. The schizophrenia of loosing fire at such gorgeous constructs is a common theme in metal, a juxtaposition that relishes the relationship between carefully created beauties and a destructive counterpart. In Tristania this becomes a major focus as subtle hints of the harsh reality 'Beyond the Veil' become a world of strife as the album progresses.

From this approach is a worthy wellspring of fresh and tantalizing variety, decadent and arousing while also crisp and cutting in spite of such lengthy and expansive riffs and harmonies that diabolically document the derangement of one's descent into a world of ritual and death. A long swinging churn to the title track brings unmistakable choral highs and tinkling cymbals, the wailing web of guitars delicately settles along a middling pace that easily worms into an ear and, in reaching apogee through soloing while buffeting such cries with double bass, finally finds the sonorous swing expand into a prickly deluge to satisfy even Satyricon with its torrents of grain. “Aphelion” and “A Sequel of Decay” make obvious the turn of intoxicating tones and inviting momentum into the demonic as you enter the embrace of the succubus, a creature literally fucking her way through “Opus Relinque” before tearing out swollen hearts. To say that Tristania's approach is transparent is an understatement, the obvious balance of harmony and hatred is belted across your face like domestic violence at the opera, but that doesn't diminish the theatrical enjoyment of the theme or the profane potency of “Angina” when a cavalcade of choirs clash for control.

The creativity and craft employed through this album ensure a consistently inventive approach that allows the band to experiment at times but also limit itself to only its most presentable attempts. Where “Aphelion” drags at times, its methodical sound accentuating a dormant beauty far from the heat of the Sun, its subtle movements enchant in symphony from the flowing chorus punched by double bass to a heart melting interlude where beautiful highs and a weeping verse pluck at each artery. The nearly eight minutes of this song shows the band patiently holding itself back until its dam breaks and ducts overflow. A piece that by far outruns the track lengths of the rest of the album, “Aphelion” becomes a staple show of the careworn strife breaking into rage that tantalizes Tristania and appropriately harbors its drastic breadth.

Shining in the spotlight are the sopranos from Vibeke Stene, her incredible vocal delivery brings beauty and strength with every cry and fulfills a an enticing half of a filthy combination when joined by Morten Veland's growls. Opening “A Sequel to Decay” with a choir of intense cries easily shows the rhythm employed in this nearly chanting operatic while Veland's range is more protracted, embracing the decadence and magnificent sound of a gruff and massive presence similar to Peter Steele of Type O Negative. At other times Veland employs heaving growls and, with a choir aided by drummer Kenneth Olsson and guitarist Anders H. Hidle, the ensemble completes its medieval majesty. The twinkling apogees and insidious abysses greatly compliment the instrumental deliveries showing that Stene and Veland's contributions are among the many masterstrokes in structuring as well as sounding out the album to make it such a memorable and astounding experience.

Synth plays a prominent role from tinkling classical piano keys and symphonic strings to the wild jarring horns later in its hellish progress. Employed by Einar Moen, one of the major forces behind the songwriting, the placement of synth enlarges the range of this album by giving it the unmistakable theatrical characteristics that capture the magnitude of Tristania's ambition. The snare drum, pacing the percussion at a laborious and lamenting step, has the sharpness of shattering glass and compliments these bouncing rhythms as guitar joins symphonic strings, winding around a choir to create machinery of chaos and hatred by the turn in “. . . Of Ruins and a Red Nightfall”. Like the heartless clanging denoting the fires consuming Fangorn Forest, Isengard melts and molds metals into a new mechanism of conquest.

An ever-energetic motion below the snare finds constant implementation. Double bass brings personality to the central hammer as it pumps like a bellows and brings heat to make malleable the clanging cymbals overhead. Like an endless ride down winding trails in “Lethean River”, the clip clop of double bass is where one notices how riding these percussive fills and interludes typify the bridges between verses and choruses. As majestic as mounting an eagle to escape from the imploding Mount Doom, these amorphous undulating movements create in sound the defined, sinewy, and romantically detailed image of Pegasus taking flight.

Where the band made emotions meander through its opera early in the album, things become more straightforward and streamlined through the back half. A personal favorite, “Angina” brings Stene's voice so high that it nearly becomes as comical as “Take On Me” and its high C. Still, the cascade of choir tumbling down from such a gorgeous summit is the epitome of Tristania's unusual and calamitous sine wave. Cymbals dancing in concert with piano keys while walled into a pit by a crowd of double bass conjures images of a stately show where metalheads meet aristocracy and all gather in lively celebration of the music. Distant organ and marching guitar riffing conjure images of a “Heritique” transported across space-time as flames engulf the stake, a raucous crowd receives its satisfaction, and a star bursts from a blasphemous chest.

Tristania's treble is mainly concerned with an energetic and elaborate labyrinth of strings, upheld by Morten Veland and Anders H. Hidle who tirelessly strum through lengthy lamentatious riffs that harmonize and break from one another with a smooth and studious flow, sometimes finding frenzy or chomping into a juicy rhythm, but never disabusing itself of the bountiful beauty found in resonating strings. In its most frantic moments, clarity is lost in the very treble oriented mix making such a saturated end become slightly hazy and indistinct. In a song like “Aphelion”, where its lumbering gait holds court for the majority of the song, this grandiose sound has a crispness that becomes muddled as layers are added on. Still, the majority of the production is listenable enough though in need of a bit more range on its low end to lend a tighter fist to this expansive energy and bring the necessary punch.

Tristania is a succubus in sound, one that many a man would happily embrace. Wearing a sinister grin as it consumes your soul, its once alluring form quickly contorts into a vengeful demon. Brimming with brief but compelling moments, 'Beyond the Veil' happily babbles like a brook throughout its enticing bubblegum bits, a denial of the darkness lingering behind the lovely cover of stark-naked sirens seemingly sleeping among the rocks of a hot spring refuge. Where the woman in the foreground appears to be enwrapped in a peaceful slumber, the fog settling across the background has begun to obscure bodies unceremoniously lying where they stood showing, as one figure lords herself over the fallen, that slaughter must take place in order for one's ascension. Like its magnificent music, Tristania's foreground of beauty belies the sinister reality that awaits 'Beyond the Veil'. (Five_Nails)

 

(Napalm Records - 1999)
Score: 90

https://www.facebook.com/pages/Official-Tristania/124865974216395

Hurtlocker - Embrace the Fall

BACK IN TIME:

#PER CHI AMA: Thrash/Metalcore

Anche la Napalm Records ha avuto la sua fase thrash/metalcore, un genere quest'ultimo che ha saturato il sistema a metà anni 2000. Era il 2007 quando gli Hurtlocker, provenienti da Chicago, a distanza di un anno dal loro 'Fear in a Handful of Dust', hanno rilasciato questo scialbo 'Embrace the Fall' (peraltro anche loro canto del cigno). L’aggettivo scialbo non sta però a definire una band priva di rabbia o con un sound povero di potenza, più che altro sottolinea una release spoglia di inventiva. Qui c’è del discreto e selvaggio thrash metal, estremo nelle sue accelerazioni che sfociano nel brutal, grazie alla presenza di blast beat, riff ronzanti (non del tutto soddisfacenti), growling rabbiose e tediose (il vocalist canta troppo per i miei gusti), poche linee melodiche e una sana dose di cattiveria. Per quanto mi riguarda, il disco è tutto racchiuso in queste poche parole: aggiungo inoltre che le dieci tracce qui contenute, risentono come sempre dell’influsso metalcore americano, non creando quindi nulla di nuovo alla fine. Importante sottolineare il lavoro in consolle di Zeus, già all’opera con Shadow Fall e Hatebreed. Nonostante la buona preparazione tecnica, gli Hurtlocker risultano sì cattivi, ma anche estremamente noiosi. Cambiamo Cd! (Francesco Scarci)

(Napalm Records - 2007)
Voto: 55

https://myspace.com/hurtlocker1

AtomA - Skylight

#PER CHI AMA: Dark, Space Rock, Ewigkeit, Tiamat

Uno degli album più attesi da parte del sottoscritto, si vede finalmente materializzare nella mia collezione personale di cd, dopo un attesa durata ben otto anni da quello che fu il debutto degli svedesi Slumber, successivamente scioltisi e dalle cui ceneri, sono sorti questi AtomA, che ancora una volta, come i predecessori, mi prendono per mano e mi conducono verso un viaggio ai confini dello spazio. “Skylight” è un’altra magnifica perla nel sempre più florido panorama metal, un lavoro che apre con la bellissima intro omonima (cosa assai rara di questi tempi), che unisce trance music con musica elettronica. Poi ecco il cd, aprire ufficialmente le danze con la title track, che riprendendo il suono emozionale degli Slumber, lo amplifica enormemente in un turbine emotivo da urlo, in cui una bellissima musica mi avvinghia, mi scalda il cuore, mi fa sorridere, mi rende felice. Melodie arabesche si avviluppano ad uno space rock, che sa molto delle ultime performance degli inglese Ewigkeit, il tutto spruzzato da quel magico feeling che solo i primi Amorphis erano in grado di emanare. Tiepide growling vocals si alternano con uno splendido cantato pulito in una mistura di suoni che sono in costante crescendo emotivo. Partono dall’anima e poi su, più su toccando ad uno ad uno tutti i miei sensi, attraverso dieci splendide tracce, che tra incursioni progressive, escursioni al limite dell’EBM, reminiscenze dark dei Tiamat di “A Deeper Kind of Slumber” (“Highway”), labirintiche e disorientanti scorribande nel cyber metal, senza dimenticare i forti influssi della musica classica, psichedeliche reminiscenze dei Pink Floyd ed infine frangenti al limite dell’ambient, ci regalano un’altra pazzesca release in questa primavera infuocata. Da sottolineare, oltre alla già citata performance del vocalist, a suo completo agio, nelle porzioni pulite, da premiare anche la prova del tastierista, vero artefice di questo capolavoro. AtomA, gli alieni venuti dallo spazio infinito… (Francesco Scarci)

(Napalm Records) 

Voto: 85

http://atomaweb.com/

Saltatio Mortis - Des Konigs Henker

#PER CHI AMA: Folk, Gothic, In Extremo

I Saltatio Mortis sono conosciuti per suonare musica “gothic medievaleggiante” con strumenti storici: cornamusa, flauti e corni fanno infatti, parte integrante dell’organico strumentale della band, andandosi a miscelare egregiamente con la componente elettrica. L’attitudine del gruppo tedesco è assai vicino a quello di band conterranee quali In Extremo e Subway To Sally e come accade per queste band, il cantato in tedesco paga un fortissimo dazio all’esito finale dell’album, a chi, come me, fatica a digerire la lingua germanica. La musica del combo tedesco non è affatto male, con quelle sue ritmiche heavy metal, su cui s’inseriscono interessanti parti elettroniche e i già citati strumenti popolari, di cui però alla fine se ne fa largo uso. Tra i lati negativi, c’è da rilevare una certa ripetitività nella struttura dei brani: strofa, coro, strofa, coro e bridge con l’inserto persistente e alla fine stancante della cornamusa, il tutto condito ahimé, dal classico orrido cantato in lingua madre, a dare la mazzata ad un disco che se non fosse per le liriche in tedesco, si farebbe tranquillamente ascoltare e apprezzare. I Saltatio Mortis sono, infatti, abili nel trasmetterci le loro impressioni di un tempo lontano ormai dimenticato, e bravi a fondere queste suggestioni con i suoni moderni, le schegge elettronico-futuristiche, i breaks malinconici e i momenti trascinanti vicini al pop rock. Nonostante le critiche, “Des Konigs Henker” è un album che merita sicuramente il vostro ascolto, se volete calarvi in una dimensione popolare d’altri tempi... (Francesco Scarci)

(Napalm Records)
Voto: 65

http://www.saltatio-mortis.com/

Tristania - Rubicon

#PER CHI AMA: Gothic, Alternative

Che dire, ricevere il nuovo album dei Tristania direttamente dalle mani del Franz mi ha acceso la libido non poco. Premessa, "Widow's Weeds", "Beyond the Veil" e "World of Glass" sono i tre album dei Tristania che ho ascoltato con piacere quando il Gothic mi prendeva particolarmente. I successivi "Ashes" ed "Illumination" li considero "non classificati", quindi immaginate la mia ansia nell'inserire questo "Rubicon" e ascoltarlo... Poteva essere il loro riscatto! Infatti, poteva... Tralasciando storia e passato dei Tristania su cui non mi soffermo, apriamo quindi una discussione su questa ultima release. L'arrivo della nuova vocalist sarda, Mariangela Demurtas, alza il livello estetico della band ma non porta un gran giovamento alla qualità. Con questo non dico che canti male ma di voci femminili valide ce ne sono una marea, ma per distinguersi dalla massa bisogna sempre avere quel qualcosa che gli altri non hanno. E lì non è che si può fare tanto, o c'è o non c'è. Generalmente la voce è abbastanza carica di effetti, quindi è difficile capire se le doti siano tutte naturali oppure no. Nel contesto è tuttavia azzeccata. Comunque, parliamo delle canzoni. Abbiamo undici tracce tutte molto veloci, ben bilanciate tra chitarre distorte e acustiche, uso di cori e seconda voce maschile. L'aria che si coglie ascoltando l' album non è quella della ricerca di novità a tutti i costi, sembra che i musicisti si siano messi a fare del loro meglio in sala prove e ne sia uscito un discreto prodotto. Certo, quando ti firmi Tristania, i vecchi fan sospirano pensando a certe canzoni. In "The Passing" ho apprezzato il fraseggio di violino, non i classici archi sintetizzati ma un buon vecchio violino struggente, come quelli dei suonatori di strada. Valevole, forse perchè il concept richiama i Within Temptation e vecchi Nightwish, come altre tracce. "Illumination", l'ultima traccia di Rubicon è l'unica ballata del lavoro ma manca di sostanza perchè nessun strumento crea una linea melodica meritevole di tale definizione. Quattro note e alternanze di suoni puliti e distorti possono andare per un gruppo di livello inferiore ma non è questo il caso. Sarà che il Gothic non lo ascolto più, ma forse è proprio perchè non trovo più gruppi che lo suonano bene, sta di fatto che tolgo questo cd dal lettore e vado verso nuovi orizzonti, alla ricerca del suono perfetto... (Michele Montanari)

(Napalm Records)
Voto: 55

http://www.myspace.com/tristania

Fairyland - Score to a New Beginning

Ricevo questo album da recensire. La copertina, con una nave sullo stile vichingo e cavalieri in armatura con la spada sfoderata, mi fa subito pensare ad una delle tante band scandinave, magari female fronted, piene di canzoni un po' mielose e speranzose... Invece scopro che la band è al maschile, è italo-francese (ci sono un paio di elementi italiani, per la precisione il bassista Fabio D'Amore e il cantante Marco Sandron, entrambi di Pordenone o zone limitrofe) e assomiglia in modo pauroso sia ai Dragonforce che ai Rhapsody; oltre a suoni sinfonici sono anche presenti parti strumentali che ricordano molto le atmosfere di Danny Elfman: ne è un esempio la prima traccia, che ricorda ampiamente il villaggio di “Nightmare Before Christmas”. “Across the Endless Sea” fa un ampio uso di synth e batteria, mettendo in secondo piano le chitarre e avvalendosi di cori stile orchestra. Il ritmo spazia dal pacato al power, sostenuto anche da assoli di nota modulata (ovvero la tastiera che fa le veci della chitarra) e voce con finali acuti. “Assault on the Shore” si caratterizza di tastiera per il 70%, con la voce che alterna un quasi growl agli acuti che tanto riescono, mentre tutto il ritmo segue perfettamente le orme dei Dragonforce: tutto il brano è incentrato sulla fine del viaggio, un viaggio in barca che ricorda gli attracchi vichinghi alle terre inesplorate ed aride. “Master of the Waves”, più orchestrale delle prime due, rimembra le epiche avventure per mare, verso una destinazione sconosciuta, in balia delle onde e delle speranze: qui il cantante si avvale dell'aiuto vocale femminile di Elisa Martin, female vocalist che in questo album fa solo delle comparse. Accanto alla sua voce, Philippe Giordana decide di tralasciare gli acuti e preoccuparsi di tenere un tono più basso e roco, con un buon risultato. “A Soldier's Letter”, malinconica come non mai, presenta un testo che verte sul difficile addio alla persona amata, soprattutto quando si è distanti e non vi è alcun modo per rivedersi. Tutto il brano riprende il ritmo di “Across the Endless Sea”, riportando di nuovo l'apporto vocale di Elisa Martin e i cori che accompagnano gli acuti, fino a sfumare verso la chiusura. “Godsent”, con violini ed altri elementi orchestrali ed in puro stile Therion, ci ricorda la nostra effimera esistenza verso la grandiosità ed eternità degli Dei, impersonati da una voce grave e profonda. Ascoltando “At the Gates of the Morken”, mi vengono in mente le scure montagne di Mordor, mentre la guerra in fine menzionata nel testo, mi ricorda tanto le vicissitudini di Frodo e Gollum contro l'armata di Sauron (probabilmente si saranno ispirati a questa saga per stendere il testo). “Rise of the Giants”, strumentale, fa un largo uso delle note messe in successione in modo tale da far immaginare qualcosa di grandioso, di immenso, di epico: insomma, l'apertura di un film fantasy con mondi in un'altra dimensione e altri costumi. “Score to a New Beginning”, la penultima traccia, ha un mood più ottimista pieno di speranza come si evince dal testo: persino i cori sono più enfatici ed entusiasti, trasportati dal testo e dall'immagine che crea. Tra attracchi a lande desolate, viaggi per mare verso l'infinito e oltre, tra lacrime e tristezza e nuove speranze, si arriva così all'ultima traccia, “End Credits”, ancora una volta song al femminile, che chiude in dolcezza l'album e per decantare la nuova vita ricreata nelle lande desolate: un bel happy ending e tanti saluti. In sé l'album non è affatto male, anzi: per gli appassionati di questo filone, direi che un ascolto lo merita. Il timbro di Giordana non mi convince granché, forse perché sono più abituata ad ascoltare i Sonata Arctica o i Dragonforce, ma ripeto, un ascolto (e anche più di uno) l’album se lo merita. (Samantha Pigozzo)

(Napalm Records)
voto: 70