Ihsahn "Ihsahn" (2024)

With the ominous lurch of self titled significance, esteemed musician Ihsahn, formerly of Emperor notoriety, returns on ambitious footing. Forging symphonies of Classical proportion, not just simple complimentary arrangements, we venture with restrained Extreme Metal aesthetics. Throaty screams and heavy percussion pave the way for swells of strings and orchestral instruments to land the powerful impact he would have once manifested through guitars on the likes of an Anthems To The Welkin At Dusk.

With colorful Jazzy inflections and Prog Rock inclinations, these dreary, sombre, atmospheric venture in a tangle between misty melancholic moods and multifaceted, mercurial melodies. Lead guitars often cut through this rich symphonic layer, playing a second expressive voice to the routine groans of Ihsahn's one dimensional cries.

The union of such musical depth and rhythmic force makes for consistent engagement as musical tugs between its two hearts dance a line that doesn't strike sublime balance, often leaning on Metal tropes. Anima Extraneae is a keen example of Classical influences painting scenic beauty without the cage of aggression. These moments are relegated to interludes, however that richness routinely emerges in breaks between the lonely, dark, brooding tangents Ihsahn frequently explores.

When breaking into a stride of glory, the uplift of his steely clean voice is a welcome delight. These pivots empower his symphonies with comforting gleams of colorful resonance, venturing close to something special but never quite fully committing. Despite hearing this inkling of greatness, Ihsahn is a powerful record, brilliantly composed and thoroughly engaging with its vision of dark and beautiful worlds.

Rating: 7/10

Arkhtinn "三度目の災害" (2023)

  

 Pulling no surprises, another intense installment of Symphonic Black Metal plunges into a familiar abyss. Using blast beats as its unrelenting propellant, rattling drums steer an unending wall of sound. Screams howl and distortion guitars roar. Choral keys gleam towards the night sky with an undying sense of rising epic. On occasion, glistening patterns of synths sparkle with astral wonder. The music sways, rarely taking its foot of the gas, predictably finding its way back to calamitous climaxes.

The second of its two twenty minute plus halves is more gratifying. The texture of its ferocity a dangerous concoction. Hopeful lead guitars tinge with shimmers of positive melody yet shrouded by a grim blackness. Its followed by glittery ascending, descending cosmic synths, an interesting arrangement stiring the pot on this frightening brew. After calms and void circling plummets pass by, the lead guitars return to unite the narrative, culminating in a last stand full of dying screams and relentless pounding that gives way to a bleak aftermath of pale distortions.

This track defines itself as the better of two but ultimately feels somewhat stale in the wake of all the other albums before it. Arkhtinn has mastered their own sound but now that mastery offers little new other than the comforts of returning to familiar footings.

Rating: 6/10

Ghosts Of Atlantis "3.6.2.4" (2021)

Following up on the competently executed yet mediocre Riddles Of The Sycophants, this debut record managed to grab more of my attention. Despite seeming a touch raw, its Melodic Death Metal leanings and keyboard driven symphonic elements play to its strengths. The latter coming as complimentary flare to primarily Metal songs that navigate the usual array of tropes with an overcast, stormy demeanor.

This metallic temperament allows for strings and orchestration, often muzzled by the guitars, to suggest a mystical swashbuckling theme. Songs feel frantic, at the mercy of howling winds, ocean waves and unending winds. Strip its symphony out and this could be an atypical Metal record for many stints. 2.6.2.4 frequently drops in with big riffs, stomping grooves, galloping chugs to steal the show from its watery theme.

Between it all, heathen clean vocals erupt with surges of epic intent that don't land with the gusto bands like Dimmu Borgir do. In the mid ground were aggression is subdued, a handful of symphonic melodies sway, mostly second fiddle to a rhythmic march, never a key focus. Its as if keys were written second to everything else.

As such, the songs rarely play with consistency but have moments that leap out. Halls Of Lemuria, The Curse Of Man, Poseidon's bow all leap out with roaring riffs not exactly inline with the usual template. In their infancy, this band had writing strengths that didn't fit their intended direction it seems. A curious listen, entertaining, energetic and fun, bustling with an energy lost in a better produced follow up.

Rating: 6/10

Ghosts Of Atlantis "Riddles Of The Sycophants" (2023)

 

Even as I sit to write, the words don't come to me. Riddles Of The Sycophants is fantastically competent and yet distinctly generic. The evolution of Symphonic Black Metal, spurred on by late era Dimmu Borgir, has ventured into metallic and orchestral extremity. Weaving mightily angular and rhythmic guitars with stabbing gusts of nightly symphony, the genre's songwriting has escaped the chains of its foundations. No longer simplistic jabs of synth melody and rhythm guitars, the sound has taken on a vivid theatrical intensity, best realized on Shade Empire's classic Omega Arcane.

 Ghosts Of Atlantis failed to tell me why they are different. With the many spins, I've not felt a unique character emerge, or even defining moments in songs that grabbed my attention. Despite this, its lack of flair and originality hasn't hurt a single listen. Its been a welcome venture through turbulent terrain, traversed with elegance and a firm grasp on the dynamics of its varied instrumentation. They serve to aid its core vision, in doing so, lacks any individual magnetism. Its been quite the odd experience, a wonderfully executed record that fails to bring anything new to the table.

Rating: 5/10

Bal-Sagoth "The Power Cosmic" (1999)

 

Scouring the web for more unturned stones within Symphonic Black Metal, I found my way to fellow Brits Bal-Sagoth. Although not akin to my favored Dimmu Borgir incarnation, The Power Cosmic has been a lively listen! It possibly representing the band in their best stride, with an aesthetic production scaling a welcoming clarity.

Far from the dark depths of Black Metal's reach, its extreme nature, felt through bombarding drums, bombastic orchestration and howling screams, would feel unfitting elsewhere. The musics core characteristics are Fantasy and Epic in nature, weaving big symphonic adventures akin to the likes of recent discovery Fairyland.

Bal-Sagoth's identity lacks a distinction beyond the merits of its various textures and intensities, sticking firmly inline with much of the Fantasy music I've heard before. Its array of synthesized instruments emulate triumphant trumpets and battle horns in aggressive strides. Harps and stringed sounds deliver the swashbuckling adventurous melodies. Behind it all, a soft, ever present glow of choral airy synths.

The rhythm section mostly acts as a sturdy foundation. Lead guitars erupt into the music frequently with squeals and creative arrangements to add an expression less rigid than its symphonic counterparts. Its all stitched together with touches of Progressive Rock influence as the band shake up their own blueprints on occasion.

Overall the experience rarely transcends a sense of expectancy dark fantasy styling offers. Great as an album to serve a mood but lacking stand out moments. Its mostly a pleasant dazzle of upbeat, gleaming instruments sounding off battle-cries. At forty minutes, The Power Cosmic is a lean and concise offering, shy of true glory.

Rating: 6/10

She Must Burn "Umbra Mortis" (2022)

 

With sourness from Pain Remains still lingering, the timely arrival of She Must Burn's sophomore effort satisfies that yearning for this breed of darkly, fantastical orchestra punctuated Extreme Metal. New recruit Valis Volkova adds distinction, directing the play with a powerful operatic tinged effeminate voice. Her clean singing illuminating in regular intervals, grounding the bouts of aggression spewing forth from Djenty guitars.

Umbra Mortis' charm lays in its symphonies. When keyboards drop in with string, horn and bells, the music comes to life. Also mirroring adventurous lead guitar licks, its embellishment pays off. Without, the intensity feels unbalanced. When hung in the balance the music plays sweetly as bellowing roars, grunted shouts and pummeling percussion drives a furious place for darkly majesty to croon from the shadows.

Despite an excellent execution and fine production aesthetic, its peaks feel limited in comparison to where the genre has soared before, see Omega Arcane. Every spin has been a welcome companion however its adventures lack penetration beyond the expectant. These are rather typical plunges into familiar realms leaving me with little to comment on beyond its competent execution. I couldn't pick a favorite track, nor a weak one either.

Rating: 6/10

Dimmu Borgir "Puritanical Euphoric Misanthropia (Remixed & Remastered)" (2022)

 

You'd be hard pressed to get me excited about a remaster or anniversary release. My radar for its release was off, given the prior Puritania Kolbotn Tape was little to marvel at. It was only with a nudge from a friend that I leapt to check this project out. Not only a remaster of Puritanical Euphoric Misanthropia, its "remixed" naming has given the band creative license to expand the aesthetic pallet with sparkly new embellishments, adding a little spice to a familiar flame. Initially, it sounded utterly brilliant, an invigorating listen but is simply the magic brewed between enjoying a masterpiece.

With the dusts of adrenaline settling, its clear my excitement resonated from the familiar genius music I adore. Its polished edges and sprinklings of additional new instrumentation never steers the song writing to new avenues. Perhaps with one single exception, Shagrath's vocal treatment makes him far more audible on Puritania. Something about it has an edge. Otherwise, much of the music remains intact with a few guitar leads seemingly given extra notation, unearthed or added its not quite clear.

So whats changed? The mix is expansive, more room to breath and enjoy its textures. The drums are crisp and punchier, the battering of Barker's blast beats compliments, rather than imposes the demanding pace. Rhythm guitars remain mostly as is. It sounds as if the other instruments have given it more space, sounding mostly the same, its leads have a little more gloss and flair tho. Where most the action happens is with the Symphonic component. Practically every synth has been given new life. Either better sound banks or recordings of stringed instruments they sound revitalized.

Across the record, one will hear a few additional sounds, some previously smothered and others clearly new. Synth tones, stringed instruments and soft horns arose but most notably an effeminate voice chiming with Shagrath on Architecture Of A Genocidal Nature. That and the creepy haunting chorals that lurch through a few brief instances. None of it amounts to much more than enjoying the passing novelty.

Ultimately, its a fun reason to enjoy an old album again but is it necessary? Compared to the original recording, the limitations of the times are clear. All changes here beyond remastering are a good fit, however the song writing is champion. If you'd spin the original I'd still enjoy it just as much. Obviously Puritanical Euphoric Misanthropia a ten but on the merits of what this project brings, It's hard to argue too much is gained beyond the initial novelty. This is certainly not a folly that's for sure!

Rating: 6/10

Lorna Shore "Pain Remains" (2022)

 

With the huge springboard of viral success from last years To The Hellfire single, Lorna Shore have ample opportunity to stake claim in Metal's legacy with this new full length, Pain Remains. Leaning heavily into their breed of attention grabbing breakdowns, the lush orchestral thematic extremity on display gets smitten by sudden barrages of unmitigated brutality. Opening with a symphonic piece echoing Death Cult Armageddon vibes, its dark fantasy orchestration swiftly falls mercy to sporadic, murderous crashes of cold and cruel aesthetic abuse. Brazen pummels of lightning blast beats and unearthly demonic gutturals intrude, lunging its musicality into blunt, primitive howls. Carnal and crude in nature, its offering are slim past its inception.

And thus a truly interesting elevation of symphonic extremity gets subverted. The mighty, triumphant and mercilessly aggressive union has its fantastical themes abruptly diminished by these unconnected inhuman roars from an unforgiving abyss. Identity is lost as synths are stripped out, so to do melody and rhythm fall wayside to simplistic noise barrages. Seeming worlds apart, the immersive lather of strings, trumpets and horns integral to world building, slips into a void, in favor of brutal tropes.

For this listener, a sense of identity and direction for these songs failed to manifest. Where progressing with musical ascends and crescendos might be expected, all I found was the sudden dissolution of magic in the wake of its breakdowns. This was likely the intent, that all roads lead to their ugly abandon of over the top extremity. For me its a novel trope that undermined everything else. Fortunately its final three part title track ads a little saving grace, the best songwriting on the record where they have an opportunity to shine. But at the end of a grueling slog of intensity, it too wains.

Rating: 4/10

Lorna Shore "...And I Return To Nothingness" (2021)

 

In the coming weeks there will be entries here moaning my pains about the dull, repetitive state of modern Metal. Coincidentally, I decided to finally check out one band garnering a lot of attention within the scene. Lorna Shore have had viral success with their abhorrent demonic breakdown ending To The Hellfire. Bloated by filth, absurd screams and obnoxiously rapid blast beats, the monstrous conclusion was simply an obvious increase of Deathcore extremities that came before it to my ears.

My reluctance to dive deeper has not been without warrant. The breakdowns are the least appealing presence presiding within this EP. Each song finds a couple of breaks to murder tempo, unleash beastly gutturals and assault with nihilistic percussive blasts that sounds like precision machine gun fire. Its execution is exquisite with octane aesthetic however the trendy technique is just flash in the pan for this "Deathcore veteran". When new and novel, its a riveting blast but any meaning seems knee deep.

Fortunately, everything else to my taste. Shades of Blackened Death Metal collide with evil symphonic theatrics in the vein of Orchestral Black Metal, once pioneered by Dimmu Borgir. While I'm name dropping, this record felt like an aggressive succession to Shade Empire's brilliant Arcane Omega. Foul winds blown over fantastical landscapes flirting between devilish darkness and Tolkien like fantasy realms.

The production is sublime, letting a lot of densities dance as its instruments throttle alongside luscious symphonies. The tandem is extreme, hanging in a balance other bands might butcher. Yet they navigate the fantastical landscapes with an aggressive flight that's exhilarating in its stride. Melodies are sweet and adventurous, balancing out extremity and developing theme. Its terrific chemistry backed by great songwriting. I'm left rather excited for their next album, set to drop in a month and a day!

Rating: 5/10

Kirk Hammett "Portals" (2022)

 

If your as surprised as I am to hear of a Kirk Hammett solo record, then you're probably keenly aware that Metallica have had a strong no side projects policy. This attitude of total commitment played its part in the rift with then bassist Jason Newstead, leading to his departure. Times change and so do people. Unaware of any official policy chance, I think its fair to assume that in their age, attitudes have subsided. The result? The unleashing of a talent only previously heard through the Metallica lens. Kirk going solo is a delightful difference where Metal meets Classical for a cinematic experiences, four short portals into the realms of imagination.

As one might expect, you can hear the echo's of Metallica in its steely riffs and blazing guitar solos rocking Hammett's distinct style, the latter being quite a treat at times. Its not what stuns me about these songs tho. The instrumentation between metallic stints, strings, violin, horns etc. Its all orchestrated with vision, painting vivid dramatic scenes that emote, brood and evolve alongside Kirk's licks. How much of this classical composition is his own genius? A curiosity to wonder upon as it is quite adept.

 Much of this is said with Maiden And The Monster in mind. The whole composition is fantastically dynamic, gently building to climax with big chunky riffs, icy guitar solos, all built with chilling acoustics shimmering of The Call of Ktulu. The Jinn continues on trajectory but midway into the song, sketchy riffs on a brittle guitar tone disconnects from the subtleties of its cinema with an unfavorable Death Magnetic flavor.

High Plains Drifter reclaims glory, a Western piece echoing The Ecstasy Of Gold. Truly wonderful and immersive but then The Incantation leans on classic Sabbath vibes without success. Its an attempt at something broody and devilish that only Hammett's remarkable, epic solos can elevate. To be fair, its the main riff that leaves a sour taste. The rest of this exquisite instrumentation is again both remarkable and fascinating. Ironically Portals shows their is much more to Kirk than just a lead guitarist but its not rhythm that is his game. The unique blend with orchestration is class. His "big" metallic riffs play stiff and sadly muddy the waters, but its brief at least.

Rating: 6/10

Dimmu Borgir "Death Cult Armageddon" (2003)

 

A conclusion for now, the last of the great Dimmu Borgir records. Death Cult Armaggedon was the first release I lapped up as a fully fledged fan. Its nostalgia is immense for me. Having convinced my circle of sixth form friends to buy it on release, it became a soundtrack to our friendship exploring the world of extreme music. The reason I say Its the last of their greats is because DCA ventures into the lavish orchestral avenue, ditching traditional key tones. Both Galder and Silenoz's guitar styles undergo an evolution away from constant power chords too. Although these songs are a far cry from their classic sound, this stride is phenomenal and everything they tried is golden. I can't say the same for the following In Sorte Diablo.

Song after song is utterly embellished by the orchestral instruments. Dimmu's extreme metal aesthetic would sound lost without it. The union is wonderful, bringing a rich sense of cinema to the drive of Barker's batter drums and aggressive guitar grooves which stomp and grind from end to end. A couple songs, namely Lepers Among Us and Cataclysm Children, ride the storms without the Prague Philharmonic Orchestra behind them. Evenly spaced, they break up the albums flow, injecting more devilish brutality as Dimmu get into some of their hardest, crunchiest songs to date.

The album excels on all fronts but as Dimmu do, their song structures always lead to interesting places. Plunges of darkness and other abstract arrangements give each song a real trajectory to venture upon after the verse and chorus have been established. Each song has a defining component, a special musical passage, making it hard to skip a beat. Perhaps more so than any record before it, they get a little closer to a whole experience. DCA is one album I love to listen to all the way through.

Everyone is pretty much on their best game. Shagrath delivers his demonic howls as usual with some adventurous manipulations too, possibly with the aid of pedals. It contributes to the albums lean and mean texture, occasionally with an Industrial brush as mechanical noises and swells of ambiguity feature sporadically. Its a harsh, rapid storm of malevolent metallic music that evolves across its ambitious arc. First with Blood Hunger Doctrine, DCA open up. A slower tempo pounds out a thumping groove from the rhythm section and offers respite on journey to a fantastical conclusion.

ICS Vortex unleashes his beautiful heathen voice on the albums second Norwegian track. The chemistry with the pianos is stunning. I love how this band can fit illustrious melodies between rapid blast beat assaults. Eradication Instincts Defined is where the concluding magic begins. Its orchestra into so memorable and vivid. One can picture the devastation war brings over the natural beauty of mother earth, as if flying over the fields of war. Shagrath crashes the song into a fury with a length scream that sets this epic on its way. Its lengthy venture leads us into the sirens of war and devastation as the albums longest number unfolds after it.

Unorthodox Manifest's audio scenery of war depicted against the cry's of hail Satan sets off a chilling saga. The band pivot from what seems like a regular song into some of its harshest blasts, leading into a roaring epic, flush with melodies and amazing guitar solos that interchange and play off to the highest magnitude. Its such a surge of energy, that seems like only a fade out was appropriate, unable to land the beast they unleashed with a single strike. Its one of the bands more remarkable songs.

Although I often consider the three prior albums to be superior, writing my thoughts out on DCA makes me reconsider. This was a group of musicians with far more maturity and direction then they had armed themselves with before. Galder and Barker brought much to the band, transitioning them again to the frontier of Extreme Metal. Although Dimmu are considered Black Metal, its far from the tradition. They are their own powerhouse of evil and on this occasion manifested a vision to perfection.

Rating: 10/10

Hexenkraft "Gravity And Impact Volume I" (2021)

 

Within exception to the fifth of five tracks, this brief EP of two minute songs is quite the departure from the dark Synthwave sound Hexenkraft is known for. Still keeping its sense of diabolic mischief intact, the music pivots to a meld of momentous electronic aesthetic percussion and world building cinematic instrumentation. These brief encounters feel like an exploration into territory Ive heard with other artists before hand, an ambitious overlap between classical instrumentation, cinematic scores and lively yet ambiguous electronic production. The orchestration on Omega Arcane a keen memory of a style and feeling not to dissimilar from this one.

Retaining a little of its outer space evil chills, these compositions are grounded to earth by bold string sections, swells of horns and sprinklings of warm human melody. It feels at odds with its busy web of percussive noise that tend to equal the surges of sound its counterpart directs. The chemistry is just right, the two play off one another with tension and theatrics as the music ebbs and flows in a state of constant unrest. Quite the impressive step forward with more vision and image than melody or groove.

Its final song Light Of The Champion abridges the past with its arpeggio base synths and bright synthetic leads. With cheesy 80s synth tom drums it playing right into the Synthwave trope with not much of a connection to the chemistry heard in the four songs before. Perhaps it was the song that kicked off this new direction. Although brief in duration, this EP shows quite a matured evolution that I look forward to hearing more of in part two!

Rating: 4/10

Covenant "Nexus Polaris" (1998)

From The Kovenant to Covenant, as we roll the years back you undoubtedly noticed the change in name. This is down to a dispute with an equally named Swedish EDM artist who won the usage rights. Upon their next effort, that transition was made alongside a rebranding in image and presentation. Nexus Polaris, the groups sophomore effort, would then be re-released under the new and handy renaming. Interestingly their debut would receive an peculiar re-recording that attempts to shed the original music of its genre cast tone and rewrite much of the synths to try and capture the genius that first erupted here. Perhaps the magic was in that original record but this is the moment where a unique brilliance emerged from the cast mold of the then young Symphonic Black Metal sound.

As hinted at, the magic lies in a more elaborate sense of what the symphony could be, similar to Arcturus on paper, yet arriving with a different alien personality. The records eight tracks blaze with the roar and bite of ferocious Black Metal, mostly propelled by the rumbling barrage of Hellhammer's legendary percussive style. He debuts with the band here, unleashing his busying three arm style to propel the aggressive side with a dense layering of drum and cymbal strikes. Alongside him the vocals too deliver howling and wretched screams atypical of the genre but most notable is Lex Icon's withdrawing to a snarling throaty growling of his cosmic unworldly lyrics. This toned down temperament aids the balance of extremity and musicality the songs exude.

Snugly fit between the battering drums and gleaming synth work sit these subtle distortion guitars tinged by a Thrash Metal pacing. Arriving with melodic inflections and the occasional blistering guitar solo, they act a keen bridge between forces, the unifying element to give rise to the symphonic theme and anchor the aesthetic in aggression. Rarely are they the main focus but every riff chugs away choppy rhythms and grooves to see the theatrics on there way.

Front and center is the symphonic aspect. Where the genres artists once mirrored the general direction of their darkly music with gloomy and majestic Casio keyboard tones, Covenant strode to bring a cinematic experience. The awe and wonder can be felt in an instant, as The Sulphar Feast warms up with its shimmering acoustic guitars and it plunges into blast beats, Sarah Jezebel Deva, once of Cradle Of Filth, lends her wicked voice with an operatic presence that signifies much of the compositional genius to come. Rather than complimenting tonal aesthetics, the keys take charge as the lead direction of these thematic songs, often tinged with a carnival flavoring.

 Along the journey many keyboard instrument sounds feature, from the expectant choral synth tones to bright pianos and even an accordion on one song. It orchestrates wonderfully with an astral sense of wonder and touch of madness to tie it keenly to its extreme delivery. Its keen writing that packages big themes into simple repetitious melodies rolled off one another to keep that galactic sense of scale. Also featuring a few "electronic" tones in brief stints it does signify where the band may go but in this instant sits with me as a wondrous piece of music its hard to find fault with.

Its been such a long time this record has been with me, blowing the dust off again the magic hasn't weathered a fraction. Appreciating it once again I am particularly fond of Chariots Of Thunder, the first from the album I heard. The song has a leveling of elements as all its instruments feel integral to one another where the rest of the record dove heavily into its wonderfully bizarre and cosmic orchestration. Its a fair temperament to close on and always gives me an emotional stiring that the end of a powerful movie might do. I love it, a true classic!

Rating: 10/10

Metallica "S&M2" (2020)

 

Twenty years on from their now iconic S&M performance with The San Fransisco, the two reunite for an experience both recreating the original and throwing in some new elements with underwhelming takes on Classical Music and of course an inclusion of new material from Hardwired and Death Magnetic. Although it is impossible not to enjoy a Metallica set list, this project feels inferior, cast to the shadows of its former glory with some flaws present throughout that just let you know the original was a magnitude better. Ironically it is this release the press seemed to have gotten onboard with, heaping on praise where the first one was often misunderstood.

 

As the band age so do their performances and all too often can you hear Lars struggling to keep pace, Kirk's solo's become a little scattered and sloppy and James too struggles with his voice infrequently. At the live show, its hardly an issue given the immersion and event but taken to wax, its all too noticeable. What is also very apparent is the often meager and timid nature of the symphony. Its either the mixing or composition but these numbers feel far more like a Metal songs with some added sparkle. I wasn't keeping tabs on if the symphonies were identical for songs that were featured again but overall it just felt quiet and less involved than before.

That being said one delight to behind where the new songs. They sounded fantastic! After a couple of years its proven they fit in alongside Metallica's many hits and the symphonic gloss worked ever so well, even if just a complimentary element. S&M2 is hardly a bad experience but it really doesn't offer anything more bar the newer songs. There was also an opertunity to take the two Classical songs and spice them up with some Metal but the one track they did this on was simply a disappointment. Its hardly surprising that retreading old footsteps hasn't yielded anything special here.

 

Rating: 5/10

Metallica "S&M" (1999)

 

With S&M2 out and on my playlist, I wanted to relive again this remarkable collaboration between Metallica and the San Fransisco Orchestra. My impression of it today comes with more appreciation than ever. How has this record not become a yearly ritual. Between the Metallica binges, it would bring a whole new dimension to their arsenal of classic songs. More so, I think its the newly found adoration of what the band attempted with Load and Reload that lifts a fair portion of the record from depths I once skimmed over.

Symphonic Metal and the like may have been in relative infancy but to this late 90s period its no stranger. However the collaboration doesn't even resemble how strings and orchestra instruments had been paired with Metal music to date. The San Fransisco group orchestrate on their own terms, acting as another layer of musical identity with in songs already brimming with stature. The music is embellished, a real treat for those who appreciate a union of style often perceived of opposite despite many emotional similarities.

The album's opening is brilliant, Ecstasy Of Gold followed by the instrumental Call Of Ktulu gives ample time to take in the added dimension before ripping pace with Master Of Puppets, possibly the best way for James to bring his iconic voice in. From there the record ebbs and flows with refreshing changes of pace and also involvement from the orchestra, not every song and moment requires a layering of symphony and it too breathes with the set list. One thing to say, there is no fear in getting right in the weeds of some of the bands most iconic music.

There are many favorites each listener will find, among them a couple originals, Human and the adored No Leaf Clover, two fantastic songs, the last before St. Anger. No foreshadowing there. S&M is not without its flaws though. The seventeen minute passageway of Wherever I May Roam and Outlaw Torn drags its feet a little with the plodding repetitive baseline reminding me of a festival jam session giving the crowd ample time to take a trip to the bar and refuel on booze before the closing hits.

Being one to continuously move forward with music, a few nostalgic trips to old records have had me worried of magics left behind. I knew S&M stood in great stature among fans and myself, not so much critics at the time. Listening to it again, its almost as if I forgot about the endearing sparkle the whole experience has, especially the goosebumps educing enthusiasm from the crowd who James lets sing on the record with him. Must of been one heck of an unforgettable experience to have been there!

Rating: 8/10

Shade Empire "Omega Arcane" (2013)

I've sunk my teeth in deep on this one, enjoying its immersion over and over. Some albums present a charm that once familiarity sets in it can vanish. In the case of Omega Arcane it has a gift that will keep giving for years to come. So rather than write up my thoughts on this excellent record, I thought Id keep it in rotation for some time longer and with that has come a great appreciation for this meaty CD filling seventy four minutes of Orchestral Black Metal. Hailing from the UK, Shade Empire have out done Dimmu Borgir at their own game, specifically the Abrahadabra era where the Norwegians steered their iconic Symphonic incorporation of keyboards to actual in house orchestras. I do however feel they lost their charm in this transition.

Alongside the commonplace barrage of relenting blast beats, howling screams and aggressive guitar work, Shade Empire deploy a range of tonality in the symphonic avenue. String sections, brass instruments, trumpets and horns, even striking orchestral drum strikes. It has a rich depth that effortlessly blends into the metallic cascade of intensity. This also extends into more typical keyboard synths, electric pianos and on occasion furthering into the tonality of synth led music as no idea seems out of reach if it fits the billing. Its best heard in interluding journeys where drum machine deployment reminds me of the E.S. Posthumous fusion of Classical, modern indulgent Electronic elements and atmosphere aiding drum machines.

 This superb cohesion provides stunning depth with its rich layers of symphonic sound, underpinned by the crushing pummeling of crunchy guitars chugging tempered grooves. The slick rattling of rapid, dexterous drumming shudders like a pulse, slaming through it all with a commanding guidance to hold everything together. Its all rather intense, with each instrument the potential to overpower is present but they slickly achieve a balance and let the musical writing beneath elevate the aesthetic chemistry. The screeching vocals too have intensity but fortunately variety favors as deep guttural whispering tells tales, playing up the epic fantasy narrative the record has in droves. With a few voices at play, it shapes up well, avoiding staleness.

With such an engrossing musical construct, everything is set in place for endearing song writing to play out a rather diverse set of songs that meet in this fantasy realm of snow and storms. With many measures of temperament the songs can shift intensities while never letting up on a luscious layer of orchestral sound. It all feels rehearsed to deliver stunning swells of emotion as the so called crescendos and peaks seem to roll out in frequency. Its seventy plus minutes never seem to drag feet, each track firing up its unique take on the pallet available and with the start of each new number comes the reminder of the moments in store, yet to unravel there treausres. It also arrives between slews of ambience leaning atmospheric passageways that enrich the theme.

So far its all been praise and the reality is I can't think of anything to criticize. At first I may have had thoughts of preferring certain ideas to be executed differently but with time absolutely everything about this record makes sense to itself. There isn't even think there is a song worth gutting, the bar of quality is that high. The best tracks are however rolled up in the albums opening but even at the other end Slumbering Giant and the title track are very convincing songs that have just as much immersion.

What we have here on Omega Arcane is an excellent execution of intense Metal music but also a true understanding of the orchestral, electronic and atmospheric side. It feels like a mastery from its both perspectives, perhaps more so the latter. Rather than being used as an accent or aid, this thematic avenue has been fully realized. The chemistry between its two sides is sublime, that's where it stands apart from others who lump in synths as a layer of color. This is a gem I'll cherish for times to come!

Rating: 9/10

Wolf Hoffmann "Headbangers Symphony" (2016)

There is not much for me to say on this record other than commending it on being a stellar execution of an idea many have flirted with over the years. Given the musical similarities between Heavy Metal and Classical music, not aesthetic of course, It is not to uncommon to see these worlds collide but what Wolf Hoffmann of Accept has done is tastefully unite crunching guitars and battering drums with its symphonic counterpart in a way that relishes the common ground. It will undoubtedly be more appealing to Metal fans as the aggressive instruments have a habit of dominating the synergy but the string arrangements and orchestra get to have a say in how these songs land.

The line up is impressive, not the most best known Classical songs but certainly ones from big names... Mozart, Tchaikovsky, Bach, Vivaldi and Beethoven to name a few. Most adaptations work on the darker leaning of Heavy Metal aggression but Swan Lake and the closing Air On The G String yield a classy uplift from his burly distortion instruments. Its actually what I would like to of heard more of as the likes of Night On Bald Mountain and Double Cello Concerto In G Minor lend themselves all to easily. Either way its a fantastic record, well produced with clarity in mind as the two worlds collide in style. A must listen for fans of both genres.

Rating: 7/10

Devin Townsend "Empath" (2019)

On occasion one may ponder the powers scarcity and availability has towards the seduction of an artist. Perhaps a life taken early leaves one divine piece of work behind illuminated and in the case of those blessed with good health and abundance of opertunity, quantity is an excellence. In the case of this Canadian musical genius, we have been spoiled rotten by decades of continual output. From Strapping Young Lad to Casualties Of Cool and back to the Devin Townsend Project, his band and solo adventures has made it feel like every year is graced by something new. After the disbanding of DTP, Dev has taken a short two year hiatus to return with no shortage of inspiration and an almighty seventy four minutes, a collection of his most diverse sounds and extremities that I admittedly had a slow time coming around to.

My problem was simple, I know his music all to well and admittedly little within Empath surprised me on the first few spins. Perhaps I was expecting some new frontier to be conquered, a turn of the path. Thus I found much of the music reminding me of the parallels to his other works. The production however was immediately impressive, a most luscious and crystal clear, perfectionist craft. His best to date. The gravitating walls of sound deliver delicious slabs of glossy sound, distortion guitars and synths expressing weighty grooves and movements in tandem. Devin deploys his typical range of styles again with an added exuberance that reaches into the extremes, both of the entertainingly ugly and not so skin deep pretty aesthetics.

Through the record Devin reaches back to the blistering mania of SYL, occasional demonic gutturals are ripe with a textural fortitude unheard before. On the other end of the spectrum his ever powerful and grandiose voice soars to new heights imploring a range of serene and beautiful melodies. It is in this calmer side of the music that he makes his biggest progressive stride, creating stretches of unbelievably beautiful, glossy soundscapes that have a natural tone, the soundtrack to the animals of the cover. This may be prompted by the inclusion of cat meows and dolphin cries at certain milestones of the record. There are also many colorful, exotic bells, xylophones and whistles that drop in another dimension to his chunky rhythm led music. Its sense of theater and classical composition also takes strides with stretches of orchestral thematic music taking center stage on a wildly diverse album that can flip the switch on its opposed ends in an instant.

It is with the last few of my many habitual listens to Empath that it occurs to me barely a second of the record hasn't lost my interest. My familiarity with what to expect perhaps blunted its blow at first. Even now much of the music feels shades beyond my memory of it but this is something new to cram into a crowded space of classics this man has forged. I now go into my second decade of spins feeling like this may only have the potential to grow on me. Much of what I love is spread across its wide pallet and I do think it has pacing issues where its direction changes. It feels more like a spin of the bottle but its continued exuberant energy also lets it make total sense. Its just all a little overwhelming, Empath is all of Devin's work rolled into one with a cool new breeze thrown in. I should think less and enjoy more!

Rating: 8/10

Summoning "As Echoes From The World Of Old" (2018)

To compliment their new full length album, With Doom We Come, the Austrian duo Summoning release a fifteen minute, two track EP from the same recording session. The first a steady burning flame of nine minutes journeying its burly guitar droning and hunching Nazgul screams through an epic landscape marked by the pounding of deep Orkish drums and continual melodic inflections on a mysterious harp like instrument. Its climaxed by a warm flute melody that rides above the music and ads a focal point for the song as it drops in and out with more accompanying instruments harmonizing like empowering trumpets each time.

It gives the song a sense of linage which the second track doesn't get close to. With a gloomier, thicker guitar dominance and the returning pounding of tribal drums its similar construct and steady pace doesn't achieve the same charm as its complimenting melodies stem from a more sorrowful, uneventful source of imagination. These two, more primitive songs, could of made the final cut but you can see why they are bonus tracks, they are rather simplistic and repetitive. A fair setting is conjured but it doesn't scale near the heights of the full length.

Favorite Track: As Echoes From The World Of Old

Rating: 2/10

Summoning "With Doom We Come" (2018)

To know the Austrian duo Summoning is to know this record. Forming in the early years of their Norwegian Black Metal scene, they infused the shrill and ghastly Metal of the time with a seemingly polar opposite sound, that of symphonic fantasy inspired the literature by Tolkien's middle earth realm. Symphonic Black Metal existed at the time but Summoning's adventurous use of melody and choice of keyboard aesthetics brought to life vivid visions from their inspired fantasy world. It took the band time to develop and evolve, over several records they grew to unite the contrasting sounds, rather than awkwardly shuffle between the two. Distortion guitars ended up following the mood the keys conjured and the clattering drums eventually gave way to the iconic booming tribal war toms performed on drum machines. "With Doom We Came" is a triumphant venture back into that familiar realm. With the bands output slowing drastically since 2001, it marks five years since their last release, an obvious sign that quality and inspiration comes first as there is no shortage of it here.

 

The roaring epic that is, comes to life again as we delve into the realm of mighty beasts, brave adventurers and breath taking beauty in the revel of mother nature. With gleaming horns and trumpets the tone of another realm is mustered as dense, ripping guitars elevate the darkness alongside Protector and Silenius's tormenting throaty screams that howl over the bleak guitars. Despite their grim nature they seemingly co-exist with otherwise, bright luscious and inviting instrumentation in the symphonic region that paint visions of the most serine and stunning places. Its spell bounding and enchanting as flutes, pianos and the like usher in timeless melodies of folksy tales from the beyond.

This harmony is what Summoning have grown to forge and it comes with little surprises. The usual rise and fall of grandeur occurs as guitars and screams drop out entirely, sometimes the other way around, allowing for a great sense of scale and scenery to bestow the listener as the elements disappear and return again. Its marked with the usual delights of choral reverberated chants, spoken word quotes from the books (i presume) and the epic roaring of dragons, filling great halls with its quaking echo. These ideas have been executed to perfection before but they are always welcome as they give the music another cinematic and visual dimension.

From the first listen and still today I am a little taken back by some production choices, firstly the distortion guitars come on so strong with a thick, dense and dark tone, its excessive, it has that gritty FL Slayer sound and I'm not keen. Perhaps they are still routed in low-fidelity ideals, much of the music clashes and peaks a little with a lot of noise crammed in between, smothering the lush instruments that rub right up against the shrill screams and gritty guitars. It can become a relief when they drop out. This album is ultimately exactly what you'd expect, with no tricks up the sleeves and a couple of stand out tracks among its many lengthy songs, this next chapter is more of the same, very enjoyable but leaves me with a feeling that it would be nice to hear some evolution in their ideas, especially when it comes to production as the dark Black Metal side of their sound greatly weighs on the fantasy realm the so vividly inherit.

Favorite Tracks: Silvertine, Barrow-downs, Night Fell Behind

Rating: 6/10