Artist:  Amorphis
Album:  Circle
Genre:  Progressive Metal
Label:  Nuclear Blast
Release: April 19, 2013

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The last Amorphis album I have listened to chronologically was Silent Waters. What is found on Circle is basically the same concept, but they manage to keep things fresh. There is  no bad song on the album, though not every track might grasp your attention immediately. That being said, some of their finest and prettiest melodies ever are on here. It seems that several melodic metal bands have been exploring Japanese  melodies these days; think Wintersun’s Time. Amorphis follows suit, with the beautiful “Narrowpath” being one of the highlight tracks. A lovely flute intro that could easily be the voice of a nightingale is followed by crushing guitars that take it from there and develop it into one of their best songs ever. “A New Day” is another example, which serves as an excellent closing track. The band’s folk influence continues to show, and they continue to find new methods in doing so.

Songwriting should universally be considered the most important aspect of musicianship. Whether or not one can rightfully be called a musician should be based on their actual ability to make music. In this context, the guys in Amorphis are excellent musicians; they are ace songwriters, something that cannot be questioned. Their diverse musical background is constantly on display in their material, as they do a lot of stuff! They play their instruments very well, and utilize them in fun and creative ways. It’s always a real treat listening to an Amorphis album, because you never know what you’re going to get with each track. They take a song-by-song approach, execute it well, and don’t allow labels to limit their writing. One song might be composed of soothing piano melodies, while the track after could be popping out heavy riffs and vocalist Tomi Joutsen’s powerful death growls. Circle is like a box of chocolates; you never really know what you’re going to get but chances are it’s going to be sweet and savory.

Melody has always been the concept to Amorphis, so this is basically the same story, but a different version. That’s the keyphase: a different version. Amorphis always brings something special to the table, and they constantly push themselves to achieve excellence. The band is composed of a great group of songwriters who work with a very unique formula. They continue to exploit it well, and while the songs may be something in vein of their earlier work, Circle proves to be an additional solid effort to add to their extensive catalog, which goes to demonstrate that Amorphis is great at what they do. If the shoe fits wear it, and few can fill Amorphis’ big footsteps.

Highlight Tracks: Mission, Narrowpath, Enchanted by the Moon, A New Day

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Artist:  Thy Art is Murder
Album:  Hate
Genre:  Deathcore
Label:  Nuclear Blast
Release: April 2, 2013 (North America)

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While I already sound pessimistic, I come to you with good tidings, Thy Art is Murder is more than your average Deathcore band. With bands like Whitechapel and Winds of Plague making some of the largest influences on the scene, and not to mention the gravity that the passing of Mitch Lucker (Suicide Silence) has had on people across the spectrum, it often becomes difficult to stand out.  After playing Hate a few times, I see that TAIM combines technicality with melody much like that of a talented Melodic Death Metal band.  But this is far from Melodeath, so before the elitist begin to rant, just know that you can expect something more than just breakdowns, repetitive down-tuned riffs, and generic gutturals. 

Personally I got some grindcore vibes throughout the album, which reminded me of the newer style of Cattle Decapitation.  The open track “Reign of Darkness” is approachable and interesting, with fast and brutal drums provided by Lee Stanton.  The guitar work is technical, with some sweeps and scales thrown in to add melody to the “in your face” approach to opening up the album.  “Shadows of Eternal Sins” has subtle hints of black metal thrown in which is a bit refreshing, since songs like these really begin to merge together is played consecutively.  “Defective Breed” sounds more like a Death Metal song, a bit reminiscent of Decrepit Birth, if there wasn’t already enough pulsating metal in Hate. 

The boys in Thy Art is Murder have brought us something a bit off the beaten path for those who followed the footsteps of Suicide Silence.  They turned back the clocks and brought out the original influences from Suffocation, and making their breakdowns more than just a change in time signature that sounds hardly more interesting than a lawn mower.  It could be something in the water, over there in the Southern Hemisphere, or it could be an understanding that music is only music if it has substance.  And substance shouldn’t just be borrowed, it should be made.  That’s what Thy Art is Murder has done, they’ve created Hate, a great attempt at refreshing a rapidly staling genre.  Expect these Aussies to bring forth hatred in a venue near you with the Nuclear Blast team behind them every step of the way.  Crack open a Foster’s and begin the Hate!

 Check out our interview with THY ART IS MURDER 

The band has a request for you!

Vote for us to open the Summer Slaughter tour 2013! If we win, it will be our first US tour which means we can all hang out and go fucking mental! Vote here: http://bit.ly/taim-summerslaughter

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This is the first album to feature new guitarist Brandon Ellis, and what a debut he makes! It’s worth pointing out that he’s only 20 years old, and he’s scarily good for his age; his phrasing is excellent and his technique is definitely right up there with the masters. Playing in a band with James Malone, who of course is a phenomenal player himself, will only benefit him; who knows how good he’ll be ten years down the road!  Case in point, the guitar-work on Unwelcome is absolutely brilliant. The leads on this album are simply killer, with tasty arpeggios being sweep-picked and tapped with squeaky clean efficiency. They even manage to slow it down at times, with some mighty-fine melancholic melodies on display. The riffs are a relentless onslaught of melodic technicality that you never get bored with. Guitar-wise, this album is definitely one of metal’s recent highlights, and is quickly becoming one of my personal favorites.

James Malone doesn’t give himself enough credit as a vocalist. In one of his online guitar lessons regarding his multitasking, he proclaims himself a felon at singing but he’s overlooking one important point: this is freaking death metal. Who the hell wants to sing? His harsh vocals are vicious and the fact that he can sing while playing guitar at the level that he does is monumental in itself. The drumming is predictably excellent, as it would have to be to suffice for a tech death band. It’s worth pointing out that the technicality lies more in the guitars than complex time signatures though.

There’s a good blend of juicy flavors to be found on Unwelcome.  King Diamond and Mercyful Fate have repeatedly been cited as a major influence to Arsis, and it rubs off on this release to a shocking degree. Many of the riffs are extremely reminiscent of King’s bands (on Sunglasses at Night especially), and it certainly adds to the overall darkness of the album. If King Diamond was trying to make a death metal album back in 1984, it might not have sounded far off from this. The level of atmosphere is surprising. Instead of sounding completely polished, Arsis retains a degree of old school death metal atmosphere, an element that is largely forgotten about by bands of this day and age. Needless to say, Unwelcome is surprisingly diverse for a technical death metal album.

relentless onslaught of melodic technicality that you never get bored with

Front to back, this is easily Arsis’ finest album. Everything about it is just so well done; the balance of songwriting and technicality, the excellent production, and perhaps most importantly, the guitar playing. Everyone in the band is excellent at their respective instruments of course, but it is really the tag-team of Malone and Ellis who steal the show here. Here’s to hoping this is the beginning of a long and shredtastic partnership. Arguably, the best heavy metal album released thus far in 2013, it should be picked up and enjoyed by any fan of extreme metal. And also by all those cookie cutter tech death bands on the scene right now (you know who you are). Take a leaf out of these guys’ book. This is how it’s done.

Highlight Tracks: Unwelcome, Choking on Sand, Sunglasses at Night, Martyred or Mourning

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Attic’s debut album, The Invocation, is an album that King Diamond could listen to, think he himself had written and then also performed on.  The songs presented here are filled with horror/occult inspired lyrics, a singer that sounds as every bit as strong or stronger than King Diamond, has well written songs and excellent guitar work.

Artist:  Attic
Album:  The Invocation
Genre:  Traditional Heavy Metal
Label:  Ván Records
Release: December 7, 2012

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I will be the first to admit I never was a very big fan of Mercyful Fate or King Diamond.  I was always attracted to the theme of the bands work and the great guitar work but it was the vocals, especially the ultra high pitch vocals, of King Diamond that always turned me off.  They never felt they fit in with the song or they just took me completely out of the mood that the song was striving for.  So with Attic I am actually surprised at myself that I enjoyed their debut so much.  Though Cagliostro’s vocals do hit the glass breaking levels that King Diamond does, they somehow seem to fit in better with the songs presented here, along with when he sings in a lower key.  Does this make me a hypocrite?  I’m not sure.  I have tried many times over the years to go back and listen to King Diamond and Mercyful Fate but just could not get into them.  Attic on the other hand, I found myself listening to multiple times, and though there are still times the high pitch vocals didn’t sit well with me I still enjoyed what I heard here. 

I think one of my favorite tracks on The Invocation is ‘Satan’s Bride’ where Cagliostro’s vocals hit all spectrums and really showcase his abilities.  The other tunes, ‘Funeral in the Woods’, ‘Join the Coven’ and ‘Ghost of the Orphanage’ all are strong tunes and boast the occult/ black magic themes fans of both Mercyful  Fate and King Diamond should instantly take to.

As for the music itself you will find The Invocation offers a classic Heavy Metal style that is straightforward, boasts talented guitar work, with an accessible sound, and catchy melodies/leads.  All packaged nicely together to make a nice metal record for all fans of the genre.

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The Mystery of Time boasts a large roster of heavy metal heroes that Tobias sought out to help bring it to life. You have Biff Byford (Saxon), Michael Kiske (Unisonic, ex-Helloween) and Joe Lynn Turner (Deep Purple, Rising force) among others. All of whom either co-sing with Tobias or you have tracks that you’ll have a full chorus of singers.

I found the additional singers a nice touch and several songs to be really strong on the album, such as the opening track, ‘Spectres’, which has a great catchy chorus. I found the songs featuring Byford and Kiske being the predominately stronger tunes with the exception of Turner singing in the opening track and Eric Martin’s ‘What’s Left of Me’ also being a highlight of the album.

What I found The Mystery of Time to be, is an album featuring many guest musicians weaving a fantasy tale, written by Sammet, that would be cool to see conceptualized live. I compare Avantasia to the likes of the Trans-Siberian Orchestra especially with the German Film Orchestra-Babelsberg performing on this album. I’m not sure as to the budget Avantasia would need to pull off a show that TSO could, but I think what would really bring The Msytery of Time all together would be a stage show that helped visually conceptualize the album. As it stands the album is a good listen featuring some great songwriting and talent. It didn’t grab me as much as I would have liked but I still enjoyed listening to the songs and the amazing voice of Tobias Sammet and the other singers.

Maybe one day we will get lucky and Avantasia will write a story about the movie Labyrinth.  Sammet will rake in millions, produce a stage show to visualize the concept, and David Bowie will reprise his role as the Goblin King singing ‘Magic Dance’ tossing around a baby.

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Artist:  Finntroll
Album:  Blodsvept
Genre:  Pagan/Folk Metal
Label:  Century Media
Release: April 2, 2013

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Since their first release, Midnattens Widunder, in 1999, their black metal style has been incorporated in each album, but not always at the same density. That terminology implies a weight that black metal carries, and that’s exactly what it does.  It adds a certain atmosphere that can shroud and lead through a song.  This was very evident on Finntroll’s last release, Nifelvind, but it carries over into Blodsvept in a different fashion.  It’s less dense, allowing more room for the folk/humppa melodies to provide more than just a fun sound to troll-hop around to when no one is looking.  Now that troll-hop adds a groove that feels almost as natural as it is otherworldly.  

The title track “Blodsvept,” was made  streamable online last month on Valentine’s Day, which I’m sure we all used to woo our dates.  It opens up the album with  ominous sounds and encroaching footsteps that end with a sudden, crunchy, delicious growl to break into the beginning of the song.  It’s a bit different than one would expect, yet it has a familiar sound, if that makes sense.  It’s a combination of that layered repetition of dark sounds found in the song “Födosagan” from their second album, Jaktens Tid and the aggressive riffage in “Mot Skuggornas Värld” from 2010′s Nifelvind.  

I find that Finntroll has always had a bit of a mischievous sound infused with their music, like these trolls are up to no good! “Mordminnen” feels like there is an influence from American Big Band/Swing music with its fun jazz line, though the traditional jazz instruments sound like they’ve received some trollish modifications.  ”Häxbrygd“  is just one fantastically evil song about witches brewing a devilish broth.  If played live, the crowd should break into tribal dancing moshes filled with mass hysteria as Vreth commands his menacing growls over all in sight.  

The rest of the album follows a similar suit, jazz-influenced with hints of punk rock, and of course the ever-so welcoming folk metal assault that this band so graciously provides.  ”Ett Folk Förbannat“ paints an atmosphere of insanity, full of dynamics, and the impending urge to dance lurking its head around every beat.  The death march of “När Jättar Marschera” merges Beast Dominator’s hard-hitting drum beats with Trollhorn’s catchy troll synths.  

Blodsvept closes with a peculiar track “Midvinterdraken” and by peculiar I don’t mean that the song does not belong, rather, that is is a bit off the beaten path for Finntroll.  It’s a longer track that is very dense in atmosphere, extremely dark, but very grand.  It has such a large sound that it is almost like a Finntroll Epic, if only it was longer.  

What does it take to enjoy this album? Not much.  While there is definitely room for scrutiny in the more distinct change of sound from previous efforts, it should be embraced and understood.  Even though their instrumentals have pickpocketed from other less relative genres, the same Finntroll spirit of debauchery, bloodshed, and mischief runs through the veins of Blodsvept.  You can be assured that the Rivfader lore, masterfully crafted into their music by the original vocalist Jan “Katla” Jämsen, is still present in this release.  Should you get this album? Yes you should.  Whether or not the album meets your expectations is up to you, but you cannot go wrong in owning a copy of Blodsvept.  It’s familiar, fun, and fresh all in one.  And how often are you able to let out your inner troll? So go now and get blood swept!

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Band: Stratovarius
Album: Nemesis
Genre: Power Metal
Label: Armoury
Release Date: February 26, 2013

Anyone familiar with the history of Stratovarius knows of their huge anthology of work, including 13 albums spanning an illustrious career. Even with a fairly tumultuous line up change the last few years, saying goodbye to many a lifelong member, the band has produced a new sound that not only is more mature and modern, but gives flashbacks to the past sound that created a new genre.

Each of the 11 tracks are as “primary” as it gets, no filler, no let down. It can be titled as a best of album and unreleased tracks compilation simultaneously. “Abandon” sets out the pace as blisteringly catchy. “Unbreakable“, “Out of the Fog“, and each subsequent song adds another catchy hook, blistering speed, all time great choruses and precise musicianship.

“It has a darker more modern sound. We, as a band, have gone through a lot and have matured as songwriters. Making the album this time was easier because we gave it as much time as it needed. We have worked our asses off to make this and we hope the fans will like it.” – Timo Kotipelto

Comparable to other power metal releases as of late, Stratovarius has really incorporated a magnificent amount of keyboard melodies to their work. Johansson, who is famous for his active key work, raises the bar in this album, adding a backing level of intricacies and upbeat riffs that any fan of power metal can enjoy.

Another beauty of this album, however, is its approachability. I, myself, am a longtime power metal fan, and this album isn’t lacking. The sound isn’t “softer” nor does this album put the discography of Stratovarius to shame. For a new listener, this album is very enjoyable, upbeat, and most of all fun and a great entry to a legendary genre. This album follows suit with Elysium‘s approachability and without Jorg Michael, the band is as strong as ever.

Rating

Track Listing

1. Abandon
2. Unbreakable
3. Stand My Ground
4. Halcyon Days
5. Fantasy
6. Out Of The Fog
7. Castles In The Air
8. Dragons
9. One Must Fall
10. If The Story Is Over
11. Nemesis

Personnel

Timo Kotipelto – vocals
Matias Kupiainen – guitar
Jens Johansson – keyboard
Rolf Pilve – drums
Lauri Porra – bass

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Band: Coheed and Cambria
Album: The Afterman: Descension
Genre: Alt. Metal/Prog Rock
Label: Hundred Handed
Release Date: 2/5/13

The album starts off with some atmospheric acoustic guitar playing that leads into the energetic “Key Entity V: Sentry the Defiant,” which I’ve been excited to hear ever since Claudio released an acoustic version on YouTube a year back. I must say, it didn’t disappoint one bit and it was most impressive to see the end result in studio form. The added distortion and lead guitar parts do it magnificent justice and it makes a compelling case as the strongest track on the album. The entire first half of the album is actually incredibly solid, with the band sounding creative as ever in parts. There is no doubt regarding the ambition of this album; it certainly covers a lot of ground musically. Coheed has always shown great versatility in their music; a trait that is on full display in “Number City” which is a cool, groovy little song that incorporates funk and jazz elements. The following track “Gravity’s Union” is surprisingly epic, and fans will be singing along and crowd surfing to this one for sure. Upon its conclusion, I was convinced that I was halfway through what was easily the best Coheed and Cambria album since Good Apollo Vol. 1.

Unfortunately though, it turned out that I had already reached the climax; from here on out the album pretty much goes downhill. While I genuinely like how the songs flow together very nicely, the end result is consequently rather generic. The sixth track “Away We Go” reverts to their softer format and is a good song in itself. But then we’re treated to an additional two consecutive songs in the same mold, so much that they really don’t stand out at all. Coheed, I love you guys to death but I’ll never understand why on earth you picked “Dark Side of Me,” as your performance on live television.

[youtube=http://www.youtube.com/watch?v=j_Ls7RQBq_E]

“2’s My Favorite 1″ offers a degree of redemption upon conclusion of “Descension.” It’s not exactly a highlight track but it gets the band back on its feet for their exit, and the ending outro section does an effective job at bringing the two-part album full circle. Overall, the album is an ambitious achievement by a truly excellent and remarkably consistent band who are every bit deserving of the praise lavished upon them. These guys are not only phenomenal songwriters, but the chemistry between them is undeniable and is a big factor of what makes Coheed and Cambria the definition of expertise and professionalism in rock music today. Not many bands can make two-part albums on this scale anymore, which just goes to show the hell of a band Coheed is. While “The Afterman: Descension” may be the weaker album of the two, it will still receive a welcome reception from fans and critics alike and effectively concludes part II of a fantastic double album in satisfying fashion.

Rating:

Track Listing:

1. Pretelethal
2. Key Entity Extraction V: Sentry the Defiant
3. The Hard Sell
4. Number City
5. Gravity’s Union
6. Away We Go
7. Iron Fist
8. Dark Side of Me
9. 2′s My Favorite 1

Personnel:

Claudio Sanchez – vocals, guitar
Travis Stever – guitars, backing vocals
Josh Eppard – drums, keys, backing vocals
Zach Cooper – bass, backing vocals

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Band: Wintersun
Album: Time I
Genre: Epic Metal
Label: Nuclear Blast
Release: October 22, 2012 (USA)

     Man, what is it with all these incredible metal bands coming out of Finland? There must be something in the food or water over there; I don’t know how else to explain how music of such majesty can formulate inside the mind of a human being. I promised myself that I wouldn’t make this a kiss-ass fan review, but I just have to take a moment and state the obvious when I say that Jari Mäenpää is an absolute genius as well as one of the most gifted guitarists and musicians to ever walk the earth. I don’t for one minute doubt the abilities of the other musicians in this band, but Wintersun as we all know, is Jari’s show.  Besides his technical brilliance, his compositional skills are what set him apart. His guitar is calm yet heavy and powerful, fast and downright furious at times. His style is dynamic and untouchable, with Time I being an ideal illustration of his great capabilities.  I would also like to add that Kai Hahto, also of Rotten Sound and Swallow the Sun, is a constantly overlooked, and highly talented drummer.  His technical prowess, and bombastic beats are legendary, and he does it all with a smile on his face!

     The album begins with the Japanese folk influenced “When Time Fades Away,” which serves as an atmospheric interlude to the powerful “Sons of Winter and Stars.” I can’t even remember the last time I was so moved by music. No matter how many times I listen, “When Time Fades Away,” continues to send chills down my spine. It’s a divine piece of music in itself, which climaxes with a heavy symphonic section that actually brought tears to my eyes the first listen. The subtle Japanese melody infused with the deep and passionate orchestration is truly moving. And the guitars crashing in at the beginning of “Sons of Winter and Stars,” thunders the resounding clarity that Wintersun has truly arrived.

     I could go on forever about the brilliance of “Sons of Winter and Stars,” which could make a strong argument as the greatest Wintersun song ever. The combination of Jari’s vocals, melodic power metal riffing, and backing symphonies is the anthem of the gods. This will without a doubt turn out to be a fantastic live song. Expect the crowd to be singing along every step of the way.

Click the image above to Pre-Order! Vinyls sold out, as well as the Bonus DVD Edition. Grab this sweet T-shirt deal before it’s too late!

     “Land of Sorrow and Snow” is interesting because it transitions to a very melancholic sound as opposing to the charging vibe of the previous track. Jari is frequently praised as a guitarist, but I’ve always felt that his vocals are overlooked. He is by no means a very technical singer, but his deep voice is very solid and conveys Wintersun’s themes of sadness with great effectiveness. This is on perfect display throughout this song, which is probably his strongest achievement in terms of clean singing. “Darkness and Frost” is yet another beautifully composed instrumental piece that paves the way for the eleven minute conclusion track, “Time.” While it may not be quite as catchy as the rest of the album, “Time” is nevertheless an epic and satisfying conclusion to a phenomenal album that features some very nice soloing from Jari as well as an extended atmospheric outro that is perfect foreshadowing for Part II, reminding us that the next chapter is not far off.

     Everything about this album is perfect and everything a Wintersun fan could want. The production is outstanding, and after having listened several times, it becomes more and more apparent as to why the gap between albums was such a lengthy process. Nitpickers will of course find things to complain about. Go ahead, bitch that it doesn’t match the equivalence of its predecessor (it does), that it tries too hard to be grandiose (it doesn’t), and that it’s too short (Part II in six months people). The bottom line though, is that Wintersun has created a masterpiece. “Time I” succeeds not only as a pleasant reward to patient fans after years of waiting, but as an intriguing prequel to what should turn out to be an outstanding double album. Let’s just hope it’ll only actually be a six month wait for part 2! In the meantime, come out to see the tour with Eluveitie and the almighty Varg this December, as the sons of winter gather to see this magical spectacle of a band beneath the sleeping stars!

Rating:

Track Listing:

1. When Times Fades Away
2. Sons of Winter and Stars
   1. Rain of Stars
   2. Surrounded by Darkness
   3. Journey Inside a Dream
   4. Sons of Winter and Stars
3. Land of Snow and Sorrow
4. Darkness and Frost
5. Time

Personnel

• Jari Mäenpää − vocals, guitar, keyboards
• Teemu Mäntysaari − guitar
• Jukka Koskinen − bass
• Kai Hahto − drums

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