TECH/EXTREME PROG METAL

Stylistically the material on "Kinship" is a natural successor to the material featured on "Access All Worlds". Progressive/power metal combined with both death, black, folk, and even doom metal elements, and all delivered in an epic and atmospheric package (it´s one of the better combinations of melodic tinged metal and extreme metal I´ve heard in a while). Lead vocalist Jón Aldará (Barren Earth, Hamferð) performs both epic clean semi-operatic vocals (both low end and high end cleans), death metal growling, and black metal snarling, and as a result the vocal part of the album is quite varied. The material on the 8 tracks, 68:23 minutes long album is both eclectic in style, epic in sound, but also powerful, heavy, and massive. It´s relatively polished, but still with enough rawness to pack a punch when that is needed. Other than the paatos filled and skilled vocal performance, one of the other great assets of "Kinship" is the harmony- and lead guitar work of the two Gräs brothers, Jens and Jesper. The album is loaded with soaring epic leads that´ll have you picture great mountains and beautiful valleys, fantasy castles and dark wizards. The scope of the music is almost cinematic in nature.

"Kinship" features a high quality production job courtesy of prolific Danish producer Jacob Hansen. This is a perfect sound production for this type of music. As mentioned above the sound is relatively polished and you can hear all details clearly in the mix, but there is still bite and rawness enough for this never to become a sterile listening experience. Combined with the intriguing, sophisticated, and powerful songwriting, and the high level musical performances, this results in a high quality sophomore studio album from Iotunn. A 4 - 4.5 star (85%) rating is deserved.

(Originally posted on Metal Music Archives).

The first half of this album passed me by without much of note. Songs like "Let Me Plunge" feel incredibly derivative of the progressive metalcore we've all heard a thousand times. "As a Cordyceps" was a little more interesting to me, but still nothing to write home about. I was tempted to give up and move on there, but I figured I would give them one more chance to grab me. The next song, "Fossil", is easily one of the highlights of the album. I think it best showcases what Benthos does really well: strange song structures, irregular breakdowns, and general chaos. I'm a big fan of the off-kilter but still somewhat familiar riffs, and I think Benthos is executing those as well as some of the greats (about half the time).

The second half of the album is leagues more memorable than the first, but that doesn't mean it is without the forgettable moments. I can confidently say that the last three true songs, "Athletic Worms", "Perpetual Drone Monkeys", and "To Everything" are the best three tracks on the whole record. All three paint a very odd picture, and it feels really exciting. It's almost as if an entirely new band wrote the three songs. I would love to see Benthos embrace their chaotic and original side more in the future. I could definitely see them combining their catchy metalcore choruses in a very effective way with the rest of their sound, but I did not hear this done very well on From Nothing.

Overall, I give this album a 6 or 6.5 out of 10.

I knew of Imperial Triumphant from their 2022 release of Spirit of Ecstasy. I liked that album, but not enough for me to revisit it over and over again. However, I was pleasantly surprised the moment I heard Goldstar, as not only was it really good comparatively, it made me more interested in checking this band out more in the future.

I've never been the most huge on dissonant black metal, but I have always been quite in favor towards avant-garde metal, and hearing them combined is always quite a treat admittedly. Imperial Triumphant creates a storm of chaos through each of their chords and percussion-lines that range from Gorguts-like technicalities, to old school Ulver blackness. It is honestly really enjoyable for what it's worth, and adds a lot of weight to a pretty short album.

I also really enjoy the concept here, being an album based around the quote unquote 'sounds of New York as we hear them'. They take the ideas of metropolitan United States, and mashes the commercialism and constant ads of the city's skyline as a sort of occult-like nature. In an offshoot way, this album did release at a perfect time when you consider American politics. I know, I know, we're all tired of political nonsense, but hear me out. With America politics becoming more and more in favor towards the rich and wealthy, especially when we have a bumbling rich idiot in office, with a fascist wealthy brat who cannot make a car for God knows what right by his side, viewing these aspects of American greed and consumerism as a sort of cult wouldn't be too far off. I mean, what's too different from a Satanic cult in comparison to the diehard bigots who support our current president's every move?

I do think sometimes the execution of this concept can be a bit too hamfisty, like with the 'hail satan my child' part, and the entirety of the title track. Kind of wish they did more subtlety within the lyrical aspects. It's a really good concept, again, but I don't think the lyrics are the best aspect here. In fact I do think they're kinda the worst aspect on the record. Great concept musically and conceptually, but written on paper'it could use some work.

Safe to say, Goldstar is a gold star of a black metal record. It has a lot of things one can love from a good ol' bm album, and many more. I definitely say check it out, cause it's not only a really fun time, but certainly an album for a modern day America happening right now.

Best tracks: Eye of Mars, Gomorrah Nouveaux, NEWYORKCITY, Industry of Misery

Worst track: Goldstar

While Tribulation started out playing death/thrash metal oriented music on their first couple of releases, they started to incorporate gothic metal elements to their music on "The Children of the Night" (2015). Over the course of the next couple of albums ("Down Below" from 2018 and the above mentioned "Where The Gloom Becomes Sound" from 2021), the extreme metal elements of the band´s sound have descreased and the gothic metal/rock elements have increased. On "Sub Rosa in Æternum" we´ve now reached a point where this can be fully labelled a gothic metal release. The only extreme metal element left on the album is the sporadic and very rare use of raw snarling vocals (for example heard on "Tainted Skies"). The vocal style is otherwise now deep register clean vocals in typical gothic metal/rock style. It´s artists like Tiamat, Type O Negative, and Paradise Lost who Tribulation are now similar to (or at least share similar musical element with). The less known New Zealand based The House of Capricorn and the equally less known Finns in Babylon Whores are valid references too. Dark, melancholic, and ominous sounding gothic/heavy metal.

The material is effective and well composed, although a few more surprises wouldn´t have hurt. There is a predictability to the song structures which isn´t always a positive feature. Tribulation are a well playing band and lead vocalist/bassist Johannes Andersson has a powerful, emotional, and convincing delivery. The sound production is organic, detailed, and well sounding too, so upon conclusion "Sub Rosa in Æternum" is a high quality release from Tribulation. I personally think they´ve lost some of their uniqueness by cutting the extreme metal elements from their sound, but it´s obviously a conscious choice and there´s probably a better chance to reach a wider audience with a sound like this one compared to the sound of the last couple of releases (and definitely a better chance compared to their early releases). A 3.5 star (70%) rating is deserved.

(Originally posted on Metal Music Archives).

While the material on "Celestial Death" is in some ways a continuation of the technical/progressive thrash metal style of "Bionic Swarm", Cryptosis have increased the progressive songwriting and mindset on "Celestial Death". It´s overall a much more polished, sophisticated, and above all keyboard driven release, almost to the point of being a symphonic oriented technical/progressive thrash metal release. The album features an epic atmosphere and the music is often multi-layered with guitars and keyboards filling every space of the soundscape. The keyboards are quite dominant on this one along with the raw shouting/semi-growling vocals. The guitars are often in the back of the mix and the same can be said about the drums and the bass. In that respect the mix is a bit uneven, and to my ears louder guitars and less keyboards would have made "Celestial Death" a more well balanced release. The sound production unfortuately ends up making the material sound less powerful and raw than it could have been.

With the negatives out of the way, "Celestial Death" is still a high quality release from Cryptosis, featuring high level musicianship, solid songwriting, and despite my issues with the production, a professional sound production. It´s definitely the sound of a band who have evolved and who aren´t afraid to try new things, and the adventurous mindset is admirable. I do hope they ease on the use of keyboards on the next album though, but it´s just my subjective opinion. A 3.5 star (70%) rating is deserved.

(Originally posted on Metal Music Archives).

This has been an interesting few weeks checking out their albums. KATATONIA is the one band that I kept being reminded of. Their debut was very much straight up extreme music, but on "Turn Loose The Swans" album number two they brought in clean vocals and sounds as contrasts. An improvement. "The Angel And The Dark River" in my opinion is their best. Clean vocals sure, but the compositions really impress. I was genuinely surprised at what they came up with on that one. Mentioning that IRON MAIDEN's Steve Harris was a huge fan of that one, inviting them to tour with them as a result.

The next two releases continue with the clean vocals, but then '99's "The Light AT The End Of The World" brings them back to the extreme vocals which will continue here with "The Dreadful Hours" and the next one "Songs Of Darkness, Words Of Light". It's really interesting reading the different opinions from reviewers on here for those five records. The '01 release is a long one at 71 minutes, and I'm not sure why they didn't call the close to 15 minute closer a bonus track. Since it was on their debut already, but re-worked here. Sounding like it doesn't belong though. Very extreme vocals and sound throughout. A tough way to end it.

I do like the way they use the synths on this one. It provides some cool sounding atmosphere, which is a nice addition. Sadly, the violinist is gone. I miss that flavour. He left after my favourite release in '01. The one track that really stood out for me was the 10 minute "Le Figlie Della Tempesta". Spacey for the first 1 1/2 minutes, then bass, drums and guitars kick in. Clean vocals after 2 minutes. Catchy and melodic here. It turns heavy duty before 3 1/2 minutes with more passionate sounding vocals. A nice groove with that bass around 6 1/2 minutes. Then atmosphere again as themes are repeated. Just a great track that would have fit nicely on "The Angel And The Dark River".

Just my two cents on this very talented band. They deserve the accolades. This album may not be in my wheelhouse as far as Metal goes, but it was awesome to find an album from them that is in that wheelhouse in "The Angel And The Dark River".

If you're going to check out just one MY DYING BRIDE record, "The Angel And The Dark River" is the one. I was so impressed with how melodic it is. But also I feel they spent much more time on the instrumental passages. It's just so much better than "Turn Loose The Swans" in that regard. It was really cool as well to read about IRON MAIDEN's leader Steve Harris being a big fan of this album. So much so he asked them to open for them on their European leg of their tour for "X-Factor". Three months on the road with MAIDEN! Aaron Stainthorpe the leader of MY DYING BRIDE called that experience brilliant. He said they were all fans of IRON MAIDEN as it was.

So we get around 52 minutes of music over six tracks. Lots of down-tuned guitars and crying vocals. But these guys let it rip often. Really this comes across as a Prog Metal album, but only in the way they contrast sections and repeat themes. This has more in common with KATATONIA right after their "Brave Murder Day" record. I still don't agree with the lyrics, but that is neither here nor there. This is a keeper! That opener "The Cry Of Mankind" is my favourite. I am so surprised at how patient this band is, especially those last five minutes of this over 12 minute piece. It just goes on and on, but it's amazing. Headphone music as well. Great drumming on this tune, and the guitars cry out. The piano is a nice touch as well. I like the haunting section around 10 1/2 minutes. Oh, and that repetitive guitar line that comes and goes.

"From Darkest Skies" is where the violin comes in. The violin is such a huge part of the mood here. It helps make this band stand out from the rest who play in this style. A bass intro is joined by that violin then vocals before kicking in with power. I just really appreciate the way they mix things up, the way they transition to a different section. Again, I feel the instrumental compositions have improved big time over their first two recordings.

That is heard again on the next song "Black Voyage" where again the violin is huge, but also the heavy riffs that come and go. An eerie section with creepy vocals arrives around 5 minutes in. Not liking this part of the voyage. But then it turns heavy again, as the violin, drums and driving guitars impress. "A Sea To Suffer In" rocks pretty hard over the 6 1/2 minutes. "Two Winters" contrasts the heavy and relaxed passages really well over the 9 minutes. Finally "Your Shameful Heaven" is a interesting title. Makes me think of Revelation 13:6 and my reading today Psalm 75:5. A great way to end the album though with solo violin to start as vocals and a full sound follow. The tempo picks up at 2 1/2 minutes as they rock hard followed by a calm that doesn't last long.

A very solid 4 star record, and my favourite from the band. A keeper.

The architects of elegant and brutal chaos return with 'Goldstar', a work directly inspired by the vast monstrosity of their hometown New York. In just under 39 minutes, the trio builds a wall of sound that feels like Manhattan beneath skyscrapers warped by madness.

The album proves that avant-garde can be accessible without losing its edge, deploying their signature extreme metal with jazz elements and dissonant sections efficiently and concisely. The production is raw, one thanks the controlled maelstrom that so characterizes their style. The atmospheres are built with precision, and harsh textures and arrangements are integrated to enrich the final result. Furthermore, contributions from figures such as Dave Lombardo and Tomas Haake add interest to the album.

Despite its dense layers and evident complexity of execution, 'Goldstar' feels direct. Part of this is due to its length, which is long enough for the band to develop their approach without overwhelming the listener, something many of their contemporaries fail to grasp. Shorter pieces, such as "NEWYORKCITY" and "Goldstar" (for some reason, the latter giving me a mental image of the video game 'Fallout',) serve as effective transitions, ensuring a steady flow. In "Gomorrah Nouveaux", the phrase "High class, low life" encapsulates the band's critique of the decadence they find in their surroundings; they translate the combination of superficial luxury with deteriorating morality into music that is precise but, at times, could take more risks.

In the end, this album stands as a new sonic cathedral, built upon the crumbling foundations of the city that so inspires them. IMPERIAL TRIUMPHANT remains consistent in its form, but too comfortable within its own limits. The execution and the idea are impeccable, but the lack of creative boldness leaves the feeling that they fell short of their own potential. It's a good album, although one that leaves the impression that they could have gone further if they had dared to challenge their own rules.

Music: 3 stars

Lyrics: 3 stars

Execution: 4 stars

Emotion: 2 stars

Production: 3 stars

Artwork: 3 stars

Average: 3

They were a five piece on that debut, but that one guest Martin Powell who added violin becomes the sixth member here on album number two. He also adds piano making him an important part of their change in sound. This record has plenty of violin and piano. We get just under an hour of music over seven tracks. This album is hugely influential. That doesn't mean it's good of course, it just means that a young band at the time like KATATONIA suddenly has new heroes, along with PARADISE LOST who were from this same period. Some bands mention early ANATHEMA as well, again this is all during the early nineties.

So we get lots of slow and repetitive music that has more in common with DEAD CAN DANCE than the Prog Metal going on at this time. They are about creating as depressing a mood as possible. Hopeless music. I think there are comparisons to be made between this band and KATATONIA. Both released debuts that were their most extreme, and both are my least favourites. Album number two for both would be what hard core fans consider their best. Their classic records in "Brave Murder Day" and "Turn Loose The Swans". Both bands bring in clean vocals and music that is less abrasive that at least create some good contrasts. But it's the third albums from both where they find their signature sound and where I feel they start releasing their best music.

Like KATATONIA's "Brave Murder Day", 3 stars is all I got for this one. Now "The Angel And The Dark River" is another story.

Stylistically Memfis continue to play a progressive post-hardcore/metalcore style, with both nods toward artists like Burst, Mastodon, Gojira, and Metallica, as well nods toward 70s progressive rock. They operate in a musical area which isn´t just described with a single genre tag. So, "Imperium" is for the musically adventurous listener. Those who enjoy their music dynamic and featuring both heavy aggressive parts and mellow/atmospheric progressive rock parts presented within reasonably assessible song structures. Memfis have been building towards this sound throughout their discography and "Imperium" is the culmination of that development.

"Imperium" features a well sounding, powerful, and detailed production, which suits the material well. The band are well playing too and the vocal part of the sound is pretty varied, ranging from aggressive hardcore screaming, to semi-death metal growling, to clean vocals (all male). Memfis have included a session saxophone player to a couple of tracks, which is quite effectful and adds even more variation to their already eclectic sound (which in addition to vocals, guitar, bass, and drums also features synths, piano, and mellotron). "Imperium" is upon conclusion a high quality release from Memfis and a 3.5 star (70%) rating is deserved.

(Originally posted on Metal Music Archives).