Thunder and Lightning - In Charge of the Scythe album review

Thunder and Lightning - In Charge of the Scythe
Hammersound Records - 2013

I freely admit to not listening to much power metal.  There are a few bands here and there I enjoy but ultimately it's bogged down by two factors for me: the ultra-high vocal registers of many of the frontmen (and women) and the lack of aggressive riffs.  Enter Thunder and Lightning, whom I found on Twitter of all places!  I was drawn in by the cover art, as there aren't a number of comic book-ish covers that I've seen lately so I went to their bandcamp page and gave it a shot.

Low and behold, In Charge of the Scythe suffers from neither of the subgenre's two pitfalls I described earlier.  First, the vocals of Norman Dittmar never reach those high falsettos that grate my nerves, instead providing some bellowing power and charisma.  He can belt out a great heavy chorus like in the title track or "Soldier's Tired Eyes" yet keeps the ballad-y beginning of "Two Sons in My Sky" from from reaching cheesiness and providing some genuine emotion.  The guitar section of Dammrich and Wustenhagen provide some punishing crunch to a barrage of power and classic metal riffs.  Some songs like "The Unborn Truth" and "Booster Shot" have some real neck-breaking riffs in them and will certainly appeal to some of the fans of thrashier power metal such as Rage.  I also like that the drums are more thunderous (pun intended) than on many similar bands and makes the overall assault more intense.

All in all, this is a great songwriting package.  There isn't a chorus here that fails to hit it's mark, a lead or solo that fails to grab your attention, or riff that fails to get the neck muscles moving.  This is unfortunate, because this is the 4th album they have released and it seems they should really have a larger fan base at this point.  As far as I'm concerned, you won't find a better power metal album this year!  If it's strong enough to convince a non-power metal regular, that has to say something about the overall quality of the material right?  Strongly recommended!

Thunder and Lightning Bandcamp page

The Unborn Truth

Fit For An Autopsy - Hellbound album review

Fit For An Autopsy - Hellbound
eOne Music - 2013

Honestly, there isn't much deathcore out there at this point that I tend to enjoy.  Most really entirely too much on breakdowns or try to blend in djent elements to keep current and sound dime-a-dozen.  This is not the case with Fit For An Autopsy.  Their debut, 2011's The Process of Human Extinction was pure violence in audio format.  They tended to stick much more towards the death end of the spectrum rather than the core, and the only thing that seemed to hold that album back was a less than stellar production.  I also caught the band live back in 2012 on the Slaughter Survivors tour and their live presence was equally punishing.

This brings us to their newest offering, Hellbound.  If you enjoyed The Process of Human Extinction, you will love this.  Armed with a much more suitable production and much tighter and cohesive songwriting, Hellbound stands leaps and bounds above it's predecessor.  The songs, while they aren't covering any new ground within the genre, provide a visceral feast that never becomes too tech-laden or rely too heavily on providing breakdown after breakdown.  FFAA aren't afraid to pick up the pace on a regular basis (see "Dead In the Dirt" and "The Travelers") before slowing things down to a crawl and really giving a breakdown the breathing room it needs to be effective.  The ending of "Children of the Corn Syrup" has to have the most punishing breakdowns I've heard in recent memory and is truly as viscous as corn syrup itself.  Like their previous effort, the riffs tend to sit more at the death metal end of the spectrum, but there seems to be more character to them now, even occasionally dabbling into some dissonant and *gasp* melodic riffing.  Don't worry, it's still very angry and abrasive, but the variety keeps it from becoming one-note and monotonous.

It's hard not to make note of Nate Johnson's guttural vocal approach as well.  He has to have one of the most intense vocals within the genre at this point.  Incredibly in-your-face and abrasive, there are a number of guest performances from members of The Acacia Strain and Thy Art is Murder (among others) but nothing seems to take the spotlight away from him. The lyrics can be anthemic (see "Still We Destroy"), yet occasionally they tackle more socio/political issues with more impact than you may expect (see "Thank You Budd Dwyer", "Children of the Corn Syrup").

While there really isn't much new brought to the table here, you'll be hard-pressed to find a better sounding album in the genre this year than Hellbound.  FFAA has dotted all their I's and crossed all their T's with incredible conviction to the point that even non-genre listeners will stand up and hopefully take notice.

Katatonia - Dethroned & Uncrowned album review

Katatonia - Dethroned & Uncrowned
Kscope - 2013

Last year's Dead End Kings was not only one of my favorite releases of 2012, but one of my favorite releases from Katatonia period.  While some accused the band of being stuck in a rut, I viewed it as the coming together of everything the band had been trying to reach with their sound over the past few albums.  It was a real culmination from Last Fair Deal to the present.

As someone who has 'collected' all of Katatonia's EPs and singles over the years, I can't say that I have ever truly enjoyed these remixes so I was a bit hesitant when the band announced their concept to essentially strip all of the tracks from Dead End Kings and release them in a new form. My fears were calmed when they released the stripped down version of "The One You Are Looking For Is Not Here." and it seemed that the integrity of the original song was truly kept intact.

I can't help but be impressed at how well this turned out after repeated listening to the entire album.  Not quite an acoustic album due to it's use of brooding atmospheres and synths to replace the distortion, you will find this significantly more mellow than the album from which it came.  The way that they shifted the riffs or put some sort of a variation of them and brought them to a different instrument is occasionally breathtaking.  Undoubtedly the strongest 're-imagining' to me is that of "Leech".  While I thoroughly enjoyed all of the songs on Dead End Kings, "Leech" was never my favorite but that has changed here.  The addition of piano and strings as well as pulling Jonas' vocals to the forefront creates one of the most poignant and emotionally charged choruses from the band to date.  Keeping in mind that the vocal lines were kept the same (though occasionally some additional effects were added in), this is quite a feat.  It truly speaks volumes to how much Jonas' vocals have improved since the Discouraged Ones days and the entire album finally pulls them out of the background.  Some of the other songs that seem to benefit the most are "The Racing Heart" and "First Prayer" (though it does feel more like acoustic versions).  Truth be told, the only song that doesn't really seem to mesh is "Buildings".  Every time I hear it, I just keep yearning to hear the rather identifiable distorted guitar riff before the chorus but it never comes.  I do like the dark ambient vibe in it's place but it just can't replace the original that has burnt it's way into my brain.

All in all, this is a very creative offering from Katatonia that any fan of Dead End Kings should immediately check out.  It's a great experiment and they really nailed what they were going for here.  If they can figure out the best way to blend what they have accomplished here with returning a bit of the distortion back with the next album, it could be simply incredible.

Necrogoblikon - Power EP review

Necrogoblikon - Power
Independent release - 2013

I was first introduced to Necrogoblikon with their 2011 album, Stench.  Like fellow folk-metallers Trollfest, Finntroll, and others, Necrogoblikon tread the fine line between crushing metal and absurdity quite well.  Their musical chops are there to back up the goofy humor and quirky infusion of some traditionally nonmetal instruments.  The guitar crunch on tracks like "Bells & Whistles" and "Nothing but Crickets", the bass lead on "Powercore", or the frantic soloing of "Friends (in Space)" will surely knock the notion that Necrogoblikon is a gimmick band right out of your mind.

The two big changes from Stench are the increased presence of clean vocals and the goofy factor seems to be turned up to 11.  I think the clean vocals actually work quite well, particularly on "Nothing but Crickets" and "Powercore".  They do seem to add some uniqueness and add to the overall upbeat nature of the songs.  The lyrics are undeniably goofy but it does add to their charm.  Really the only thing I can find to fault the album concerns the lyrics of the opener "Friends (in Space)" where they frequently namedrop themselves in the chorus but it's not a deal breaker by far.

If you are looking for some catchy, upbeat metal that is as fun as it is heavy, pick up Power immediately.  Unfortunately it only lasts about 19 minutes so hopefully that means a new full length isn't too far down the road!

Purchase Power at Bandcamp

Shadecrown - Shadecrown demo review

Shadecrown - Shadecrown
Independent release - 2013

Shadecrown is a melodic death/doom metal band from Finland.  I recently discovered them on bandcamp, where this demo is available for free (though it's always nice to throw the band a few bucks if you can).  If the opening sentence wasn't clear enough, Shadecrown does sound quite a bit like their other Finnish peers (Insomnium, Rapture, etc) but it's done quite well, especially for what appears to be their first demo.  If there is one thing that could separate them, their songs do have a bit more of a 'kick' to them and when they go all out (see the end of "Ghostlike Existence" for a prime example) it's a bit more aggressive and upfront. I enjoyed how "Silent Hours" opens with a nice acoustic guitar before gracefully moving into that signature melancholic crunch predominantly found in the style.  Of the three songs here, "The Sun Shines Cold" strikes me the most with it's rich atmosphere and gloomy riffing at the start and a short keyboard break towards the end of the song.  This is certainly a band I look forward to hearing more from in the future.  Go check it out!

Shadecrown at Bandcamp

Shadecrown facebook

Ghostlike Existence

Albums You Should be Listening to: I Legion - Beyond Darkness

I Legion - Beyond Darkness
Independent release - 2012

I Legion is the mastermind of Canadian Frederic Riverin, who got some help from Chris Clancy (Mutiny Within) to produce this foray into melodic death alongside Bjorn Strid (Soilwork) and Jon Howard (Threat Signal).  Additionally, some songs feature some additional guitar work from Andy James, Peter Wichers, Angel Vivaldi, and Brandon Jacobs.  If that doesn't give you a slight caliber of the music presented on this album, I'm not sure what will.  This is melodic death metal of the highest quality.

The 13 tracks provided, there is one instrumental opener ("Hexagram") and the remaining tracks are broken up between Chris Clancy (5 songs), Bjorn Strid (4 songs), and Jon Howard (3 songs).  One of the strongest features is how easily the songs mesh with each other despite jumping from vocalist to vocalist, and I believe this is a real credit to the songwriting strength of Riverin.  The songs themselves aren't really anything out of the ordinary for the genre in theory, ranging from the mid-tempo to the occasionally quicker bursts, but again, the execution is basically flawless.  All three vocalists are on top of their game, giving the growls and sung vocals they are known for.

I find it hard to come up with favorite tracks, but I thought I'd comment on a few tracks.  "Night Calls" (Clancy) has to be the album's catchiest number and features some of Clancy's best vocals on the disc.  I cannot get enough of their cover of "Love is a Battlefield" (Strid).  The song has been metalized and Bjorn's vocals are a perfect fit.  "Despite Your Grace" has some major toe-tapping groove going for it along with possibly Speed's best chorus.  One of the faster numbers has to be "Escape as Deliverance" (Howard) and shows the riffs are just as gorgeous at top speed as they are with the more mid-tempo melodies.

Perhaps the best testament I can give to the album is that it has been out now for almost a year and I am still listening to it fairly consistently, despite the banner year that we have been having in 2013.  While I am not sure whether there will be another I Legion release, I can certainly cross my fingers and hope, though Frederic is currently involved with another project with Bjorn Strid by the name of Bear River.  One of 2012's greatest hidden gems, this is not to be missed!

I Legion Bandcamp page (you can listen to the entire album here for yourself)

Signs from Above (Bjorn Strid)

Snippet of Night Calls (Chris Clancy)

Fleshgod Apocalypse - Labyrinth album review

Fleshgod Apocalypse - Labyrinth
Nuclear Blast - 2013

After 2011's Agony, Fleshgod Apocalypse became a force to be reckoned within the metal community.  Sure, Orales and Mafia were quite well received, but jumping to Nuclear Blast for Agony and the sonic shift that accompanied it made them much more of a household name so to speak.  I personally gushed all over Agony when it was released but found myself more drawn to their back catalog after the initial 'spark' of Agony had disappeared a few months after it's release.  This was mostly due to the flat production of Agony and the shift that saw the band surrendering all of the interesting musicianship from the guitars to the synths.  Still, when Labyrinth was announced, you could toss my name in among the many to set skyscraper-level expectations and the earlier release of the track "Elegy" did nothing to change that.  Now after listening to this an embarrassing large number of times this week, I feel comfortable saying that Labyrinth pretty much wipes the floor with Agony and sees the band at the absolute top of their game.

Instead of simply being Agony part II, Labyrinth cranks up everything in the band's arsenal up to 11.  The orchestration is notably more epic in scale, with more operatic vocals in place from Veronic Bordacchini. While Agony had a slight concept to it, Labyrinth tells the tale of the Labyrinth of Knossos and has a very unified feel to it.  Most importantly, the guitars, which felt slightly neutered last time around, have found their way back into the mix.  The union of the orchestra and the guitarwork is much more synchronized and it seems the band has found a way to create a middle ground between that of Oracles and Agony.  Don't get me wrong, the orchestra has certainly strengthened itself and sounds fantastic, but instead of the guitars just surrendering and chugging along (as they frequently did on Agony) they occasionally pick up the harmonies and it is goosebump-inducing (see "The Fall of Asterion" or "Under Black Sails" for the best results of this).

In terms of the songs themselves, Fleshgod Apocalypse have not lost their love of speed but they are beginning to learn when to kick things down a notch.  Burners like "Elegy" (the most Agony-like track on the record), "Kingborn" and "Warpledge" sees Francesco Pauli's blasting, seemingly inhuman drum work at it's best.  There's just something to be said for the slower numbers, like "Epilogue" and "Minotaur" that forgo the usual balls to the wall speed and trade it in for more atmospheric bludgeoning.  Fleshgod at slower pace just has a crushing sound to it.  "Minotaur" in particular has such grandeur and scope I feel like it should have been included somewhere in the last God of War game.  Of course, in Fleshgod tradition, the album closes out with the title-track piano piece, which provides some needed reflection time at the finish.

If Labyrinth does face one problem, it's that it is a very densely packed and ambitious listen.  This is basically a death metal opera.  Don't expect to truly "get it" for a number of spins.  There is so much going on at any given moment that the first few listens to it as a whole left me somewhat disappointed.  You've got thunderous drumming, operatic singing, orchestration, bass lines, guitar leads, and growls all competing for your attention in a very compressed space.  There is no track like "The Violation", which immediately catches the ear, on this record due to it's more unifying theme.  This is the type of album that high-quality headphones were made for.  It demands an active listener in order to give you the complete version of itself but it is ultimately the more rewarding for it.  I've listened to this at least 20 times at this point and I'm still discovering new things in some of the songs and am changing up favorite tracks on a regular basis.  

Despite the initial overwhelming nature of Labyrinth, it's obvious that Fleshgod Apocalypse set out to really raise the bar with this one.  While they are certainly not the only ones to use an orchestrated sound (a style that seems to be growing in leaps and bounds over the years), they are the ones that have lately set the standard for it.  With all of the copycat and sound alike bands out there, especially in the technical death scene, you can hear a Fleshgod song and immediately identify it.  They have become masters of their craft and I can only wonder how they will eventually top this one.  I'm all but certain this will be one of the best metal albums you'll hear this year.