For the first time in a couple of weeks, there is a decided album of the week! This time, the honor goes to Turisas's new record, Stand Up And Fight. This is the first album by the band that I've really delved into, but I have enjoyed past efforts Battle Metal and The Varangian Way. This latest relase seems to be more of a stripped-down, unmasked version of the band. The symphonic trappings are still there, but this is a completely unpretentious, utterly enjoyable, and incredibly FUN pile of music that just keeps growing on me!
This one's been a long time coming. I'm a big fan of Nils Patrik Johansson's vocals, and I think that Lion's Share at its best is his ideal setting. The gritty, powerful style of heavy/power metal on Dark Hours is a great listen when I'm in the mood for something less flowery and more dark. "Napalm Nights" is a particular favorite of mine, and never ceases to entertain me.
It's true I tell you! I've received my Korean pressing of the new Power Quest and I can't get it out of my head! Review to (hopefully) follow quite soon, but enjoy this album teaser in the meantime!
I've been on a frenzied Ensiferum kick after seeing them live last week (that concert review should be posted shortly), and their latest work has been sticking with me day to day. The title track itself is one of the most blistering examples of supremely good power/melo-death that I've ever heard. There's no mistaking the folksy instrumental sections, the scathing vocals, the heroic viking atmosphere, and the sublime speed: this album is Ensiferum at their best.
... I know it has been a little while since I have posted anything here, however, a number of roadblocks have recently found their way into my personal life and, unfortunately, such things weigh heavier on me than some, perhaps even most; no less, I am still around, though a bit more quiet than usual. With that, here's my album of the week:
Underoath
Ø (Disambiguation)
2010
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Although I imagine a fair number of readers probably don't care for this sort of thing, I've always enjoyed Underoath's musical expression and, perhaps more significantly, their perpetual state of growth and progression; each album has been a leap into new territory whilst also keeping the band's core very much intact, resulting in something that has become, over the years, genuinely original (and, when we're talking any -core genre, that is quite a feat). This is their latest and, in my opinion, greatest; expect a full review soon. ;)
Elvenking's first release is kind of a strange one. The best way to describe it, as was mentioned to me by a friend, is probably "chaotic". Damnagoras' vocals are all over the place here, he slides around and doesn't stay in sync with the instrumentation much at all (the instruments themselves seem a little bit disorganized). The more that I listen to Heathenreel over the years, the better it gets, despite this lack of firm organization. This is the album that first got me into harsh vocals, and I haven't really looked back since. Of course, it's largely a power/folk mixture that doesn't spare the violin or the catchy chorus. Still Elvenking's strongest outing after a lot of muddling around, and I don't know that any album will have quite the wild spirit that this one achieves. Check out these classic tunes, if you haven't heard them already.
In preparation for the imminent Finnish invasion, I've been spinning Finntroll's latest a few times this week, and darn if it hasn't grown on me immensely. I used to think that this was a little too harsh for me, but it's actually now becoming downright charming, as perhaps Andrew can attest to. Lately, this has been one of my favorite folk albums, a fantstic mix of whimsy and dark folk metal. Of course, the percussive work on Nifelvind is singularly brilliant as well. Check out this quality track, one of my favorites!
I think this might have been my album of the week a while back right after I saw them live with Blind Guardian. I can't quite remember and I don't want to go check. Besides, they've earned it again. This is such a fun listen, swinging back and forth between some great melodic female-led tunes to more aggressive melo-death. Definitely a top-notch album, and really looking forward to their 3rd release coming up this year if all goes well!
Last Tribe will always be one of my favorite metal bands, but they've been hitting me particularly hard again this week, especially the band's final work, The Uncrowned. Both this and its predecessor Witch Dance are phenomenal examples of "hidden gems". So far as I am aware, these were never very popular, and yet for the power/prog fan, it is very hard to find much better music. They're not overly proggy at all, nor too repetitive, but rather a happy medium. More importantly, they feature fantastic choruses that are almost sorcerous in their ability to get stuck in your head. I can't find it online to link, but "The Chosen One" is one of my very favorite songs anywhere. Here are a couple that you can enjoy:
I have had a long love affair with Black Tape For A Blue Girl, which began in the mid-2000s when I first heard The Scavenger Bride; it was, at the time, much different than what I was used to (predominantly black metal), though the stunningly sincere and sentimental remnants of sadness, loss and despair scattered throughout the album pulled certain heartstrings that were, as of then, untouched. As is obvious, I am still very much a fan of Black Tape For A Blue Girl, and have especially found comfort this week in their latest effort, 10 Neurotics.
Black Tape For A Blue Girl are predominantly rooted in ambient and classical music, though their sound is all their own, wholly and completely. 10 Neurotics is the band's most "energetic" release since their debut album, released in 1986, entitled The Rope; the songs are more concise than we have heard since the 80s, turning over many stones that were, up until this point, untouched.
The album's theme, as is perhaps implied by the cover artwork, revolves around sexuality; it is a brilliant theme brilliantly executed. Most albums and/or songs dealing with sexuality are shallow, distant, cheap and predictable; they take intimacy at face value rather than delving into the seemingly infinite well of emotions surrounding sex, and all of the potential (and often very real) darkness therein. The songs speak for themselves, so I do not feel providing interpretations is necessary, however, I will say that the tension, anxiety, fear and pain surrounding the topic represented within this album is absolutely stunning, and unlike anything I have heard elsewhere, anywhere.
A truly beautiful, essential and painful album that is highly recommended to all of you truly open to genuine, overwhelming and emotive music.
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"... and I'm gonna die out here in these fuckin' woods,
and I'm gonna die out here in these fuckin' woods,
and I'm gonna die out here in these fuckin' woods ..."
Dominating my computer and car speakers this week is the one and only album from short-lived Italian power/prog outfit Odyssea. This is relatively typical power metal, but distinguishes itself via extremely smooth melodic lines and a nice dose of progressive-infused shredding from time to time. Not phenomenal, but professional and catchy! Enjoy their opening track, "Fly":
As anyone who has known me for anything length of time can certainly declare, I absolutely adore and cherish the music of Akira Yamaoka; its purely emotive sensibilities transcend at least half of my library instantly, relying on an awareness of atmosphere, arrangement and composition I have yet to hear from another electronic-based artist. The Silent Hill 2 soundtrack is arguably his most popular work, though I admit I am a bit too invested to a choose a favorite amongst his other offerings; nevertheless, I've been playing this particular recording a lot in an attempt to cope with the bleak feelings that haunt my days and nights, and recommend it most highly to those with a similar emotional canvas.
All right, so this is a little embarrasing. Royal Jester's debut is the sort of album that makes one look at their feet and shift uncomfortably from foot to foot after admitting to enjoying it. This is mostly because the cheesiness of this album lacks a lot of the conviction or more intelligible lyrics of bands like Power Quest, Stratovarius, and countless others. The singer's English is difficult to make out at times, and he slides around his consonants with abandon, making Alessio Garavello sound at times like a native speaker.
Despite these drawbacks, Royal Jester have written a very catchy album, akin to something like Freedom Call's Eternity, only with a little less pomp and more straight-up cheery metal melodies. Say what you want about the unoriginality that abounds on this album, it's hooky and memorable. Sometimes, we have to appreciate an offering like this just for paying homage to its roots. Imitation is as they say, the highest form of flattery. This is an imitation that I'll be listening to for a fair while.
...and my obsession with Arjen Lucassen's work continues, with my acquisition of Star One's latest release Victims of the Modern Age. I had pretty high expectations when I first put this album on, since I've heard a multitude of whispers praising it as one of the better prog works of the year.
To sum up my feelings on this album briefly, I was slightly disappointed on the whole. This album is heavier, more extreme (death vocals on a couple of tracks), and less saturated with the spacey sounds of the original (I really enjoyed the feel of Space Metal). Despite this, Victims of the Modern Age is most clearly a Lucassen album, and continues to employ the same complex yet catchy patterns (as well as the layered vocals) that I've come to expect from his compositions. Instead of bringing you the same spellbinding, cosmic journey that he did on the first Star One album, Lucassen substitutes a voyage of darkness and intensity this time around. Good right off the bat, and a grower as well!
Here's a sample of the album's opener. Or rather, the first song as well as its instrumental prelude.
I've owned a few Ayreon cds for a while now, but this last week has been my real musical baptism into the works of Arjen Lucassen (the mastermind behind Ayreon, Ambeon, and this, his science-fiction inspired progressive metal project).
I can't quite describe why I love this album so much, just like I can't quite describe why I love British neo-prog band Arena so much. There's something about them that is consistently catchy and intriguing while remaining innovative, complex, and wholly refreshing. Listening through "Space Metal" isn't like listening to anything else (ok, except maybe some Ayreon), and it's actually accessible!
I've also been spinning Ayreon's "Into the Electric Castle" a fair bit as well, but Star One takes the cake here. Everything I've hear suggests that the new 2010 album from this project of Lucassen's is even better. I can't wait to get my hands on it.
Please enjoy a couple of great clips from "Space Metal", they're longish, but totally worth the listen:
Apologies for the late post this week, but this is still worth getting out there. Keldian has been unapologetically filling my ears the past few days with their enchanting and light-hearted take on power metal. This album, their first, tends to be somewhat space-themed in terms of lyrics. With a hearty dose of keyboard, songs like "Sundancer" (which I posted in my overview of Norwegian power metal) and "Crusader" are rich and uplifting compositions that match or exceed the memorability of their peers. Keldian's vocals are a bit different from others, very pure and clean, but lacking some of the richness and fullness that is heard in some bands. Luckily, this is probably the most objectionable thing about their music. It's well worth hearing, and I hope you enjoy this sample from "Heaven's Gate".
I've had this album for a fair while now, but haven't really given it that much of a listen until recently. Olympos Mons is a Finnish symphonic power metal group that has a rather aggressive take on the genre. As with most Finnish metal, this band hits a soft spot for me. It's not exceptionally stellar, creative, or catchy, but I still haven't been able to put it down lately, especially today. Here's one of my favorites, the title track "Medievil".
From almost literally out of nowhere, a Canadian band titled Instanzia has released a full length album titled "Ghosts" that has taken me entirely by surprised and left me out of breath and wanting much more. Since acquiring this album a couple of days ago, I have been able to listen to nothing else. Though this won't be the case for long, this album needs to be mentioned. I've already been in contact with the band's guitarist and vocalist, Alexis Woodbury, and I don't know that the band has had a great deal of publicity as of yet.
Unfortunately, I haven't any way to give you a sample of this album other than to refer you to the band's Myspace page. This is melodic power metal at it's best. Fast, catchy, complex, and with excellent vocal work, this band's work is comparable somewhat to early Sonata Arctica and Dreamtale, but with a distinct sound all their own. Though there isn't a sample of it online, the very best track is the final "Desert Fox", something of a narrative on the life of German general Erwin Rommel, and a fantastic track both musically and lyrically.
I will be penning a review for this album to be posted at The Metal Observer, as I fully believe that it deserves more popularity and views than our small site can provide. Please look for the review there within the next week or so. If you sample the songs and like them, please support the band! This is the very sort of talent that needs to be spread around!
An album that I reviewed this past couple of days for The Metal Observer, "Generation X" really surprised me with the punch and aggression that is not typical for power metal coming out of southern Europe. Still, they remain melodic and with some pretty good fretwork. Even better, they've got Ian Parry of various projects (Ayreon, Elegy, Infinity Overture) on lead vocals, and man does he ever tear it up!
Good power metal with a few thrashy moments in the vein of bands like Primal Fear. Check this stuff out, it's got a lot of promise!
I consider "Rebirth" to be Angra's magnum opus, their swan-song, etc. Whatever you want to call it, it is one of the works that I feel is nigh-unequaled in metal. This is Angra after their schism. The departure of Ricardo Confessori, Andre Matos, and Luis Mariutti paved the way for their replacements. Aquiles Priester, Edu Falaschi, and Felipe Andreoli respectively put the band into overdrive with their arrival in 2001, releasing a speedy and emotive power metal masterpiece. While less progressive than most of Angra's catalog, "Rebirth" proves that Angra are also absolute masters of the power metal genre in a simpler form as well.
Reviewing "Aqua" earlier this week put me in the mood for some of the rest of Angra's work. It's not that often that I return to listening to "Rebirth" in it's entirety, and this week marks the first time in a long time. If you're not so familiar with this album, please check out a couple of these links!
