Wednesday, August 31, 2016
Tuesday, August 30, 2016
Monday, August 29, 2016
The Finns of Moonsorrow are now well established in the metal community, among others thanks to their vast discography. Fans had to wait a bit, but since April 1st and 5 years after “Varjoina Kuljemme Kuolleiden Maassa” their newest record, “Jumalten Aika”, is available.
5 songs of at least 7 and maximum 16 minutes fill the record, over an hour of music in total. Wow! But not unexpected – the Finns are known for their complex songs. So where to start? It’s a clear Moonsorrow record. Each song has its intro and outro. The musical style is the same (but different, but more about that in a bit), meaning that the guys play melodic black metal with folk influences rather than traditional pagan metal, as was already the case on their previous records. The “different” part: it still doesn’t sound like the previous records. The songs are more atmospheric and have some progressive elements to them. The songs develop slowly, atmospheres are created for the listener to close his eyes and dwell on. Those catchy riffs, which make you jump up and down, are used to accentuate the high points of the songs. The old Moonsorrow are thus still out there. But the atmospheric part prevails, and it will be interesting to see how these songs will work out live.
“Jumalten Aika” shows both facets of the band’s songwriting – both serious and lively – and it is a great and surprisingly harmonic mix. As said, style-wise it is nothing entirely new, but this album is more refined, harmonic, emotional and complex than ever before. Definitely a must-hear for every metal fan! 10/10.
Written by Julia Obenauer
Moonsorrow Official Website
Well, this album has been an interesting one to review. For starters, the album is groovy quite a bit, and the vocals do have a great variety in them, as the vocalist uses a variety of techniques in his performance. The songs have great variety in them, as there are songs with more groove, there are songs that start as acoustics and so on, and so on. The sound quality is close to perfect, as any imperfection that you can hear I am sure that it is deliberate. The guitar is sharp sounding and punches through the mix even in the groovier parts, the drums are dialed in perfectly and you can hear everything even in the slower parts and in the faster parts. The vocals do make a difference on this record, as the difference in the techniques combined with the song sections they were used in make the perfect sense. There are clean vocals, growl vocals, even some metalcore sounding vocals and all of that combined with the drums and the guitars make the magic here. And again, here as everywhere else, the bass can't be heard a lot of the time. Besides the bass, I do not have a big complaint here, everything else is pretty perfect and in every sense is really in line. In general, the album is great, and is a great addition to the groove metal genre, and by that I give the album a 9/10.
Written by Nikola Milošević
Powerstroke Official Website
Now that I have half the world’s attention, we now have Zombie Death Metal. Kind of redundant but, ok, I’ll bite: it’s a genre. I love the name: instant 7/10 just for that.
A great punk vibe to this and just what the hell is going on in their Twitter video ‘Zombies?’ (#12 on the album) I don’t know, but I like it. A tongue-in-cheek apocalypse piece, it is easier to watch than some of the seizure-inducing videos out there. The axes chop away with great power riffs and the vocals are harsh and sound like the singer, ‘Bone’ (of course), gargles with pure caustic soda.
The production is good, low and furry as is the norm for this genre, but technically a bit better than many. I can make the instruments out; they’re well played. Check their website and you’ll get the lowdown on their comic-book looks. It’s fun, refreshing and great to see some guys just having fun, but the underlying threat of their very adept playing looms. It seeps through their music such as in my favourite ‘Candle Lit Shit’ – brilliant. Some crunching guitars reminiscent of Razor are great at about 1:00.
‘Hello, I Want to Kill You’ pounds onward and is simply great, again reminding me of some old school Razor, but with their own twists, screams and raspies. This groove keeps going through all the songs including the super fast, ‘The Taste Remains’. The songs are perfectly short, to the point and leave you teased for the next one. This is an easy listen all the way through.
I simply am now having a better day after the intro to ‘Never Forget the Taste’. It’s an instant concert chant classic. The slow dripping add-on…love it. Some headache inducing, powerful, fast “zombie-rap” leaves me wowed and always respecting performers that can fire flaming word-arrows.
Definitely for any soft-skinned human not happy with their outward appearance, these guys rock and will hopefully have more rot for us. If you’re feeling a bit droopy, maybe the bass player, ‘CHOT’ can help as we don’t know his origins, but his name, ironically meshes with, The Center for Health Organization Transformation.
A definite 9/10.
Written by Alessandro
Evil Brain Taste Facebook
Evil Brain Taste Twitter
Dating back to 2011, Detroit-based traditional metallers Demon Bitch came together when three lifelong friends Mars Weston, Logon Saton, and Samuel Ceckowsk professed a love of traditional hard and heavy metal from the 80s. With several releases and second-guitarist Solon Saton in tow, the group is finally able to unleash their full-length debut album June 17, 2016 on Skol Records.
Almost from the opening riff-volleys, it becomes clear the band is content to throwing out the kind of throwback rhythms for the genre’s past as there’s a warm, infectious brand of riff-work present here that really moves the album along. Tracks like “Warning from the Skies,” “Devil Love” and the title track are filled with high-speed, swirling riffing intercut with a bouncy, buzzing bass-tone that adds an inherent melodic sensibility into the album, while really turning the album into a solid showcase for those rhythms as the continuous assault of trad-melodies and varied rhythm arrangements pounds out hard-hitting sections that are so inherently 80s-inspired, they should’ve been recorded back then. Also, there’s a nice bit of technicality to the rhythms that aids in this one generating the kind of old-school feel, offering a variance in the rhythms where “Beneath the Ice Caves” and “The Microdome” instead of delving into flashy showmanship to offer a more progressive edge that accompanies the tracks that manage to feature them twisting and turning over upon themselves, altering the tempos and managing to feature much more elaborate riffing patterns to fully explore their technical edge here. The effort really lacks a punch with the soft, faded production that saps some of their intensity, but by being such a well-rounded and enthusiastic retread of the 80s production sound it gets a pass.
With a fun and sometimes rousing blend of hard-hitting old-school attack that manages to ape nearly everything from that era down to near-perfection with some minor issues holding it back only slightly, this here is a must-have for any classic metal aficionado or anyone into the revivalist period of the genre. 9.5/10
Written by Don Anelli
Demon Bitch Facebook
Delain has just made the best album of their whole career! Of course, every album since their first one ‘’Lucidity’’ was already better than its predecessor, but Moonbathers seems to surpass all others. It’s clear from the opening song ”Hands of Gold” that Moonbathers is a very heavy metal album. The low and heavy guitars in this song are present throughout the whole album and have a lot of energy. It feels like the band is entering a new chapter and I like it. The beautiful banshee-like grunts of guest vocalist Alissa White-Gluz take this first song to a higher level. I would not think for a second that the band had some bumps in the road upon getting the album released in time. No chaos is present at all. All elements are carefully pieced together and the band put much consideration in the order the songs appear on the record. Heavy metal songs are switched off with beautiful ballads at precisely the right moment.
And then of course there are the vocals. All I can say about that is that Charlotte Wessels has grown a lot over the years! She found and developed her voice further and further to a point where she knows exactly what she can do with it. From high to low and back, without even breaking a sweat? There is nothing the passionate Charlotte Wessels can’t handle, and I haven’t even started talking about the amazing ballads yet.
“Chrysalis - The Last Breath” is without a doubt my favorite Delain song on the album. On this track, Charlotte Wessels confirms that telling a story and reaching the listener while doing so, is a big part of the Delain philosophy. The closing song on the album ”The Monarch” is very tasteful and melodic and serves as the perfect closer.
The song “Scandal”, a cover of rock legends Queen, deserves special attention in this review. The hair in the back of my neck stood straight up once I learned that Delain was going to cover a Queen song on the album. Never have I ever been impressed by people that tried to cover Queen in the past and no let’s keep our mouth shut about Adam Lambert please, let’s talk about how Charlotte absolutely nailed the song and did what very few people have done before her! I am extremely proud of the fact that a band from my humble little country the Netherlands has managed to cover Queen in such a gracious way and in the process turning it into a Delain song without harming its essence! Wessels fully respects Mercury’s vocals and makes them her own. It’s absolutely phenomenal! We can only guess if Freddie Mercury would be as proud as I am now, but I think he would have great respect for it!
Thank you Delain for this amazing and groundbreaking album!
Written by Glenn van der Heijden
Read our interview with Martijn Westerholt from Delain here.
Read our interview with Charlotte Wessels from Delain which is about Phantasma, a project she's also part of, here.
Delain Official Website
This one is again one of the weirdest album I’ve ever reviewed, only four songs and a total length of almost 40 minutes. It is a bit on the noisy side as for the whole length of the album it is basically a single song divided into four parts. And one of the most notable features is that it is slow quite a bit. Leaning on the doom metal side with the slowness and the noise always alluding from the back of the wall of sound you are exposed to. The quality of the recording of this album is not that good, but on the other hand, I presume that was the idea of the album and the quality of the instruments does give a unique spin on things here. There will be people who will not enjoy this album and similar ones also, as music like this is an acquired taste and needs some time getting used to. The thing that especially gives into this feel is the long intro and outro songs which are 17 and 12 minutes respectively, and even the two songs in the middle do not have a feel that the intro song finished. The album can make the listener confused as where in the album he is, but for me it was a great addition and gave me a real spacey feel with the random noises and echoes while listening. All in all, if you are into some more doom metal leaning stuff and maybe some experimental stuff, I wholeheartedly recommend this album.
Written by Nikola Milošević
Mhönos Official Website
Necrocosm Official Website
Avatar is a metal/rock band from Sweden. This is their 6th studio album released on May 13, 2016. After several tours supporting 2014's Hail the Apocalypse, Avatar entered the studio in December 2015 to begin recording a then unnamed follow-up studio album. The band split their time between three European studios — Castle Studios in Rohrsdorf, Germany, Finnvox Studios in Helsinki, Finland and Spinroad Studios in Lindome, Sweden. The artwork of the new album with the release date was posted on instagram several times.
On to this album: "Regret" is the first song on this album it's very melodic and sets the mood for this whole album. In the middle the vocals come with rhythmic drums, you just get goosebumps already. The song "The Eagle Has Landed" begins with drums and guitars the way you would expect from an Avatar song. Very rhythmic with the vocals, it keeps you head banging slowly and the lyrics are just to the point "Your hero has returned again". "New Land" is a more progressive song, with hard riffs and drums. The shortest song on this album is "For the Swarm" with 1.54 min. that starts with very grunty vocals and fast paced riffs. In the fast paced vocals parts he says: "Gotta go to work, work, work, work, gotta work". The last song on this album is "Sky Burial". The first 40 seconds softly singing the opening lines from "Regret" without any instruments is very breath taking. The instruments then slowly and softly start playing. This is a perfect song to end this beautiful album.
This is a great album from Avatar everything you would expect from them. If you like metal/rock with a touch of rhythmic.
2. House of Eternal hunt
3. The Eagle Has Landed
4. New Land
5. Tooth, Beak & Claw
6. For the Swarm
7. Fiddler's Farewell
8. One More Hill
9. Black Waters
10. Night Never Ending
11. Pray the Sun Away
12. When the Snow Lies Red
13. Raven Wine
14. Sky Burial
Written by Nathasja Voerman
Avatar Official Website
The melodic death metallers from Art of Deception are hailing from Norway with their first full-length album “Shattered Delusions”, including the single “Killing”. It was released on the 17th of June via Crime Records and comes with great artwork. Let’s give it a go!
We start off into the 9 songs on the record with “Lunar Eclipse”, which starts with a soft acoustic guitar solo. Don’t be deceived! After 1:30 minutes the growls of Marius Ofstad kick in, and it’s a great death metal song from there. The second track is their first single, “Killing”. This one starts off quite brutally for a melodic death metal song, and shows strong influences from oldschool death metal. This holds true for the remainder of songs. Art of Deception can be called a melodic death metal band, but that wouldn’t do justice to the diversity of their songs. Melodic passages are mixed nicely with more oldschool death riffs and even some rock’n’roll influences (“Øyekast”). While sound-wise, these guys definitely found their style, the songs are still diverse and unique. Nevertheless, all songs on “Shattered Delusions” blend well together. The lyrics range from pirate times (“Kraken’s Awakening”) to religious criticism (“Organised Chaos”). There’s really nothing much negative to say here... Maybe some songs could be a bit shorter, to increase their intensity even further, but that would be complaining on a high level.
Overall, Art of Deception generated a very impressive first record, and I’m certain that the guys will come up with great stuff again in the future. Definitely a band to keep an eye on! In the meantime, “Shattered Delusions” is highly recommended - 9.5/10.
Written by Julia Obenauer
Art Of Deception Facebook
Art Of Deception Twitter
Emerging from the depths of the underground, Swedish death metallers Gorgosaur showcase their love for the old-school with their selected name from an actual creature of the earth’s history. This is more than appropriate on display in their first full-length album, which was released April 25, 2016 on Memento Mori, as this impressive beast rumbles and strikes like a true dinosaurian attack.
From the outset, this here is given the classic Swedish death metal charge that appears so fervently in the country’s acts, and the inclusion of the classic chainsaw-churning groove litters the album from start to finish. Tracks like “Terror Incarnate,” “Body Snatchers” and the title track display of these traditional riffing and frantic full-throttle rhythms that allows them to move forward at the typical tempos and still generate the kind of effective atmosphere typically associated here. This attack lets it to delve deep into the rather frantic display of attacks from the old-school wave where the charging riffing and dynamic drumming were all at the forefront of the style found there, and it brings this out in raw form here. The problem here is that the album is indeed too raw for it’s own good, with the short, blitzkrieg-style found here not really allowing it the chance to really get a much more distinctive rise out of these tracks. Granted, a lot of that is perhaps due to the fact that this one just doesn’t really have any kind of time to get this done with the brief track lengths with only a few of these songs breaking the three-minute mark so it doesn’t get to really do much.
While running into yet another common problem found in so many of these Swedish death metal projects of not being inherently original about itself, there’s still a good deal amount of positives found here to make this a select choice for anyone even remotely appreciative of that particular scene or just old-school death metal in general. 7.5/10
Written by Don Anelli
Ok. Only a 3 song demo and I’m not impressed. While the title seems impressive, it is NOT a mix for trance…why would you call it ‘trance’ anyway? Sound like Tarja trying to sound like Darby Mills trying to sound like Venom.
Classless and formulaic…I’m not swayed so far. The synth is ok, but again, just rip off female metal vocalists. I’d rather, and have seen, Lee Aaron and Darby Mills…The music is somewhat suppressed and the vocals…like she’s trying tooooo hard to sing like a metal queen.
‘Scions of the Scorn’…nice attempt at the cool title but you’ll never bring it to the level of melodic metal. Unless you come up with something original…It just doesn’t resonate and I’ve listened to this at least 18 times.
She sounds like she’s TRYING too hard, while we know there’s only one….Lee Aaron..The long riffs are tedious, the keyboards out of this world, but the sudden ROARRRRR! in the middle of ‘Scions of the Scorn’..too little too late and weirdly placed.. The Iron Maiden-ish riff at about 3:50 is ok, but reminds me of… Iron Maiden. Not these folks.
What do I know…I don’t sing or play…
Not my fave. 4/10
Written by Alessandro
Nyx Aether Facebook
Before we begin! Not to be confused with another Toronto, ON Canada based rock band ‘Wildheart’. (I saw them, front row, open for Killer Dwarfs September 20 2014, I hope this will be a review for another time)!
Some confusion may lie in the difference in a capital letter ‘H’ in the name. I don’t know what prompted this similarity, if anything or if either has heard of each other, but ‘Wildheart’, Canada has been around since 2012 and ‘WildHeart’, Belgium was formed somewhere around 2014. Interestingly, I was seeing a ‘wildheart’ perform as another was being born in those close time frames.
WildHeart Belgium. Good. Rock. And. Roll. 8/10 – easy!
The musical intro is revving and the mixe’ of news clips is cool, culminating into an awesome concert-ready rock scream, leading into the road-rocker, ‘On the Run’. The screaming vocals and guitars are excellent and these people can play.
The band is a perfect mix of rock, glam, sleaze such as the likes of Ratt, Poison and LA Guns but has integrated their influences into their own personal styles. ’Never Let Go’ is a shining example of this with blistering trade off solos from about 4:00 to 4:50(!!!), driving beats and decent lyrical content for a concert-chant song.
Wildly reminiscent of Dokken, ‘On My Way’ is my favourite; beats, guitars bass and vocals all around. ‘Stone Cold Fox’ had to be there; I was almost disappointed not immediately hearing a song about a hot girl, but these guys do have one.
The hard rocking guitars and pulse-pounding beat of ‘Get Up (Fight Back)’ are awesome to work out to on my heavy bag and the musical arrangements are well done, a must for any anthem mixtape.
The slow song: ‘Beautiful Regret’. This is a decent enough ballad but not impressive or hair raising enough to make it to my rock ballads of all time tape. Almost a sad-assed country, lost-my-girl concept, it is simply, ok.
The title track ramps it back up and thankfully so! There is some solid pounding on ‘Save Me’ and easily my second favourite song. ‘First Glance’ is a very soulful guitar solo and would make a cool ringtone – well liked here almost as much as my third favourite song, the next one, the blistering Lovehunter’. ‘Hang’em High’ is solid close and concert finisher with screeching intro scream and face-melter licks, this rounds the album out nicely. The chorus is sure to get the chants going!
Would definitely like to see these guys live!
Written by Alessandro
WildHeart Official Website
Darkwell really needs no introduction. Everyone with a thing for gothic rock and metal knows this Austria-based band that has been in hibernation for many years, since 2007 to be precise. Being established back in 1999, they immediately made a name for themselves when they released ‘Susperia’ only a year later. Having toured with some of the big league players in their genre, their future seemed bright and in 2002 they released an MCD called ‘Conflict of Interest’ which proved to be a bit predictive title, because in 2003, Darkwell parted ways with singer Alexandra Pittracher due to personal and musical difficulties. Stephanie Meier took over and, with her, Darkwell continued following the path through the world of gothic music they have been paving for themselves since they came into existence, resulting in Metat(r)on, another great release that was highly valued by many reviewers. They toured for a couple of years and then, just like that, they decided they needed a break due to personal issues and reasons, ending Darkwell’s golden career prematurely. They never officially split up though, and some four years ago the fire that had been smoldering for all those years was relit initiating a resurrection. Singer Alexandra returned to the line-up and the drum stool was filled by Michael Bachler, who replaced Moritz Neuner. Guitarist Mathisa Nussbaum, bass player Roland Wurzer and keyboard man Raphael Lepuschitz completed the quintet we know as Darkwell. Now, four years later, they have completed their resurrection with a new full-length release called ‘Moloch’, which, I assume, refers to the eponymous biblical idol to which children were offered. How cosy…
‘Moloch’ gives you eleven solid gothic rock-and-metal songs in true Darkwell style, which to me means they did not stay on the more progressive path they were exploring when they released ‘Metat(r)on’, but instead seem to have reconnected with their earlier style. This makes the songs on ‘Moloch’ more coherent and therefore easier on the ears as the ones on its predecessor, however, they did not abandon the progressive influence completely. In my opinion this a good thing, I like the earlier Darkwell better, their more progressive style seemed a bit unnatural to me. ‘Moloch’ opens with the title song, a catchy piece of work that, with its speed changes and Alexandra’s hypnotizing, enchanting vocals, is a more than capable opener, raising my hopes and expectations for the rest of the album. My enthusiasm gets tempered a bit when the next song, ‘In Nomine Serpentis’ (In the name of the snake) fills my headphones. It’s not a bad song, but it seems to drag on a bit, mostly due to the slow, somewhat monotonous chorus. Luckily that proves to be an incident rather than a habit, because ‘Yoshiwara’ brings back the energy from the first song.
That energy remains throughout the remainder of the album. The interaction between Alexandra’s distinct voice with its hypnotizing timbre and the varied, yet coherent music creates a special, ever-changing atmosphere that will keep you alert and entertained the entire time. Mathisa’s strong guitar work is leading the dance in almost every song, giving guidance rather than forcing direction, thus allowing the bass, the drums, the keys and Alexandra’s vocals to roam fee within its borders. Raphael’s keys are making the most of this freedom, sometimes even claiming the leading role, but Michael and Roland’s combined rhythm section and Alexandra have no problem frolicking around the guitar lines either. The execution of all this give Darkwell their personal yet recognizable sound, resulting in high quality music, both structure-wise and composition-wise. Proof of this can be found all over the album, but most specific in two of the best songs on the album: ‘Save My Sight’ and ‘Bow Down’, perfect examples of what I mean.
It’s obvious that a lot of care, dedication and time has been put into ‘Moloch’ in an effort to translate the complicated composition into a coherent album and it’s equally obvious they succeeded for the most part. I’m not sure if the 5-year hibernation has been the right thing to do for Darkwell, let alone been of any influence, but I have to say I’m impressed with what they have conjured up since their resurrection. The decrease of progressive elements in favor of more coherent structures are spot on in my opinion. The style on ‘Moloch’ is Darkwell at its best, roaming free within the borders of what they have adopted as their genre. Apart from the one song that never really grabbed me, there’s only one more point of interest as far as improvements or pitfalls are concerned and that is the vocals. Alexandra has a fantastic voice, with, as is audible on ‘Moloch’, a great reach, but monotony is lurking when there’s not much to vary in a song. I had a few moments on this release that made me come to this conclusion, especially in, again, ‘In Nomine Serpentis’, but rest assured it was never a problem. Not even close. All in all I’m more than happy with the new (and improved) Darkwell. Definitely recommended.
Written by Henric van Essen
Darkwell Official Website
Lead by one of the genre’s figurehead, Finnish black metal onslaught Korgonthurus has been a showcase for the mighty Corvus to display his prowess following his leave from Horna. Battling through line-up changes as well as a seven-year gap between previous releases, the long-awaited second album from this mighty beast arrives May 27, 2016 from Woodcut Records.
Continuing on from their previous release, this effort continues to showcase the band at it’s best exploring the Finnish brand of black metal. With their propensity for deep, swirling tremolo riffing and a gravelly, raw production highlighting the chaos, this gets a solid backbone here with the riff-work offering the kind of feral savagery and intense tremolo lead-work as in “Kaaos” and the title track manage to dive around chaos-riddled tremolo patterns and relentless blast-beats all given a superbly raw and tortured tone that best describes the Finnish style. The inclusion of more light, laid-back tempos in “Puhdistuksen Tulet” and “I.K.P.N.” serve as the appropriate buffers against the insanity to make them appear far more explosive and energetic by barely moving along with the whispering vocals and trinkling riffing barely sustaining any kind of life. That in itself is the album’s single major downfall, in that when it does employ these it’s way too downbeat and barely energetic at all which is thankfully only on a few tracks but still manages to come away as the biggest problem outside of a near fifteen-minute epic closing track that really doesn’t need to be that long and could’ve been shortened significantly.
With most of the problems here relating mostly to the few minor issues in terms of life-less sections, while there’s a lot more to like here when it does go for the blasting-heavy sections, it gets plenty of enjoyable elements that will undoubtedly appeal to fans of the Finnish wave of raw black metal or those that like that sort of genre to begin with. 8/10
Written by Don Anelli
Korgonthurus Official Website
I never heard of this band before, but apparently, they’ve already been active from the start of the 2nd millennium. Coming from Australia, they play Black Metal. They recorded 5 full albums and one EP so far.
Listening to the songs, I can tell these guys have passion for black metal, but aren’t afraid to do it their own way. The sound of the album is therefore, in my ears, a bit ...let’s say, different.
I mean, the guitars don’t sound hard or heavy, but more like they try to tickle my ears.
I know that sounds strange, but I mean that some colleagues of them play like there is a wall of sound, and heavier upon heavy, but this band sounds all in all quite gentle.
Even though the speed is good, the vocals do a nice crisp black scream and the influence of thrash metal is heard (which can be heard often in Black metal in my experience).
So, let’s talk about the songs. Or some of them, to say the least.
The first track of the album is called “Shadows of a Former Self”.
I will admit that my preview version didn’t have a lyric sheet and with black metal is hard to know what the theme is.
But that said, the speed of this song is good, the drums are played neat, but not really powerful. This music they play also doesn’t ask for it, like I said, the guitars are playing with a gentle more background sound, so the drums just add to that.
There are some weird riff twists here and there that I never heard before. Overall, I would say this song is very interesting and definitely worth a few more listening sessions then just one in a record store. The another song is called ‘’Crossroads’’: A nice strong thrashy black metal song and I would say one of the heaviest of the album. I would say it has a sound and a melody that would also be possible on “Death Cult Armageddon’’ from colleagues Dimmu Borgir), but then with some slower atmospheric parts in it. And from this album I would like to point out another song:
‘’The Fires of the Battlefield to Survive’’; It is a true black metal song to me, with a little bit of that wall of sound coming at you which I referred before.
Overall, I would say this is an interesting band.
Although I liked the music and the experimental guitar playing in some songs, this is not really the black metal I like. I like it dark and deep and, if possible, with a lot of orchestration..or with some folk in it. But for fans of the genre I am sure this is an album worth to get.
Written by Maurice Hermans
Honestly this is one of the better thrash albums I have heard in a long time, and I am into thrash metal bands. This band is bringing in a sound of thrash I have not seen or heard since the old days of Sepultura. With the very harsh vocals for thrash and really clean sounding distorted guitar tone, the album is really sounding like Sepultura. Going into the individual songs now, the sound quality is superb. All the instruments are heard, the guitar is razor sharp, the bass is roaring in the mix, the drums are surprisingly clear and punch though the mix very well for me at least. The vocals may be a point of contention for someone, as they are more to kin for a band like Kreator, as they are more similar to death metal style of vocals than to thrash, but they do fit the album like a glove, as if you had normal thrash vocals it would leave a pretty big dent in the songs. All in all, even though this is the age of thrash in the mainstream of metal, it is really difficult to find good thrash bands, and this one is certainly one of the better in the modern thrash times. I give this album a 9/10.
Written by Nikola Milošević
Ravenia is a 9-pieced band that plays epic film score metal & trailer music. This band was founded in December 2013 by singer Armi Päivinen and guitarist Samuli Reinikainen. After the first, two track EP ”Wingless” was released in January 2014, the band decided to take the music from the more traditional symphonic metal to something bigger. This album came out on april 29th 2016.
This album opens up with "For Those We Forsakened", where drums and violins begin to play and deeply catch your attention. The feel of film music is strong with this opening song. The whole time everything flows into it's plays, the vocals and drums are just perfect. You can hear a lot of hard work has been put into the production of this record. In every song, the rhythm and percussion are impressive, the double bass drumming always comes to its right. "There Is but One Path" is a song that opens strong with fast double bass drumming and guitars. The vocals are calm and go with the fast and calm parts on this song. "When Darkness Reigns" starts with a very low drum and it holds a dark feel. If you just added a little part with guitars, this would have been an epic film soundtrack. The last song "We Stand As One" opens fast with the drums, then it slows down to where the vocals begin. Later on this song it starts to speed up again, but yet again, when the vocals starts it slows down.
I’m surprised to hear this was actually good and they have a lot of potential. This was my first time listening to epic film score metal & trailer music and I enjoyed it. If you love symphonic metal and epic film music, this is a band for you.
1. For those we forsakened
2. Into oblivion
3. We all died for honor
4. There is but one path
5. In silence
6. When darkness reigns
7. The fallen
8. We stand as one
Written by Nathasja Voerman
Ravenia Official Website