Opeth "The Last Will And Testament" (2024)

 

This fine record has brought several weeks of routine enjoyment, however the latest offering from these veterans suffers its own familiar identity. Having toyed with distancing themselves from metallic roots, the journey back to aggressive aesthetics, befitting of their early days, brings little freshness to their distinction. The Last Will And Testament attempts to layer in a richer symphonic tone, which often gets swept under its gallivant lead guitar melodies and grandiose riffs. So to does a clear concept about class and inheritance get thrown around in spoken work sections between salient singing and meaty death growls. Neither of these elements seem to break the familiar spell Opeth cast, with their usual touch of majestic spirit. Thus the record spins its wheels through grand constructs of Progressive Metal that often feel recast from the depths of their extensive back-catalog. Strident and assured, the record plays exquisitely, its lead melodies often catching the ear as expressive motifs to set the tone for its big vision. Continuously we weave through intensities but sadly, all in the shadow of comprehension. For all the magic this band have bestowed, it lacks anything new to say. Enjoyable but none of these tracks leap from the page.

Rating: 6/10

Oscillotron "Oblivion" (2024)

This artist made quite an impression on me! Their crafty approach to dark atmosphere through delicate, minimal synths has been a delight to return to over the years. Now trading in the stellar visions of astral tension and alien mystique, Oscillotron returns eight years on to abandon inspired compositions in favor of a dull monotonous drone.

 

Oblivion is unrecognizable, a reeking fuzz of noise to drown too. A blurry haze of hellish bass distortion, muddling through the cracks within its own distortions. The wall of sound makes for brooding, ominous tension, until a few minutes in you realize this is the entire hour, offering rumbles and blemishes as its only discernible distinctions.

 

Drone Metal isn't my cup of tea and the bleak aesthetic on offer does little to impress as a lone offering. Although crafting this particular growl might have been a feat to accomplish, its enduring stay is not. Unlike some other spacey drones I have enjoyed, this pale vibe feels hollow an empty in comparison, a drab rot to rid oneself of.

Rating: 0/10

Moutain Realm "Frostfall" (2024)

 

A soft, recent fondness for Greyshadow Ruins had initial excitements lulled by the subdued nature of this tempered beast. Mountain Realm caught my ear for a shapely craft of Dungeon Synth venturing into the darker leanings of Fantasy themes with a meditative quality. Frostfall aptly achieves this again, yet to less fanfare with familiarity taking hold. This similarly structured set of short synth pieces is the quieter of the pair. Routinely drifting into glacial strides devoid of any urgency, a glum dankness steadies as its main thematic feeling, fit for the damp dark dungeon realms it clearly aspires to.

Stripped out are the moments of reprieve from a gloomy yet meditative nature. On the prior record, sparkly melodies would flux from ambiguities into focus, creating a sense of spectacle among these sullen tones. Here they are suppressed, present but drawn further into retreat. We trudge through fuzzy murmuring of ambling bass. Organ like synths drone with sombreness, even choral chants seems burdensome and lonely.

The whole record dials into its own shadow. Seemingly a negative, yet only when trying to focus on its present merits. Leave this on in the background and calmly, without notice, will it delicately transcend your surroundings, ascending to somewhere sequestered, cloudy and dead yet spiritually soothing and serine. Its an odd record to enjoy, brilliant in its own peculiar way, yet tired on these old ears for now.

Rating: 4/10

Mountain Realm "Greyshadow Ruins" (2023)

Imbued by the powers of thematic suggestion, Greyshadow Ruins' sleeve artwork and track titling aptly fits the dusky, seldom mood that awaits within. An array of Casio and Korg akin keyboard synths greets us, whispering cautious tales of what once lurked in this now abandoned place. Dressed in glum, dusty aesthetics, each of these brief stints ventures upon forgotten tales and mythic settings to fulfill its titles promise.

Mountain Realm takes an even handed approach, an acute balance of mystic synth tones, edging towards a minimalist design at times. I most adored this eerie, curious magical glistening sound that emerged from blurry shadows on tracks like Crystal Pool, Goblin Cave, Pyre & Mana Flask. Its other half, a more traditional castly vibe, conjures familiar nostalgia's with a smidge of Wizzards and Orcs battle fever.

Dungeon Synth has been thoroughly explored by this traveler, not much surprises me now. Competent executions of familiar inspirations like this are enjoyable but leaves me stumped when it comes to finding words. I end up repeating myself, as does a fair bit of this record in terms of retreading territory. There is potential here, yet currently it fits well within the confines of expectation from a genre I adore but lacks progression.

Rating: 5/10

Annihilation Of Self "First Orbit" (2021)

 

In search of more meditative astral ambiences, Annihilation Of Self caught my ear with an eerie, uncanny familiarity. The culprit? Song two, Condensate, one of Spotify's algorithmically inserted tracks. It had weaved itself into the unconscious musical map. A curious encounter with this new venture into unintentional listening behaviors. Either way, the full album merited a go, yet didn't yield quite the magic I was hoping for.

First Orbit checks all the spacey boxes. Airy, atmosphere dawning synths and a whirling array of buzz saw VSTs are present. They build a dark, technologically inhabited environment, on cosmic scales. A dynamic flow of intensities weaves the glittering melodies of stars between harsher tones of endless void. Its scales against itself, keeping moderate tempos and ushering a songs feel through many apt shifts.

Its darker moments felt more captivating. The buzzing oscillations brooded a tense yet distant distress. Brighter melodies and upbeat motifs felt off in comparison. One notable balance between the two sung personal inspirations. Emma weaves in a bright yet mournful piano melody to ascend the stars with a beautiful sorrow. It seemed deeply personal to me, perhaps the name hinting at a story behind the tune.

Despite a plentiful amount of listens, I've found myself lukewarm on the record yet writing up a "review" of my experience has highlighted its merits with greater intensity. The issue feels like a lack of distinct melodies or moments to cling too, yet the overall tone has the spacey drifting feel I adore. Perhaps I needed more time with it. First Orbit has been placed on my "temporal focus" playlist. Maybe it will grow on me.

Rating: 6/10

Carbon Based Lifeforms "Seeker" (2023)

 

 Thirteen years on from Interloper, now a classic in my collection, I wanted to hear if Seeker retains the infectious charm this breed of spacey downtempo ambient offers. With many consecutive spins, the dazzling repetition of whirling melancholic melodies did not meld to an intensity felt once before. Perhaps the familiarity dulled its impact. Seeker is loaded with wondrous music to inspire awe and astonishment, its astral evoking leading many compositions on a similar trajectory. Humble beginnings gradually bloom into emotional swells contemplating our mysterious universe and the roll we take within in. Far from existential, these emotive arrangements arouse a glorious curiosity, sparking the imagination on a galactic perspective whilst also reflecting inwards, as such incomprehensible scales often stir introspection.

Its aesthetic design and arrangement of electronic instruments is a web of details and intricacies one can get lost in. Timely reverberations and lofty tonalities feed into the themes tapestry. Human voices weave in on rare occasions, often with breathy wordless interpretations and an occasional hint of lyrics. The driving forces are its emergent key melodies and swells of percussion that amass intensity as peaks are summited in a songs climactic pass. Much of this could be applied to previous records yet despite similarity and familiarity birthed from my many spins, Seeker didn't resonate on that deeper level. Its a high bar to reach for and shouldn't deter from the soothing spiritual moods the music stirs. Definitely one for the Temporal Focus playlist!

Rating: 7/10

Fever Ray "Radical Romantics" (2023)

 

Either searching for the timeless nightly spell of Fever Ray, or listening with open ears for a new avenue, bar a few flashes of light, Radical Romantics plays like a reassembly of proven ideals. Lacking a distinctive spark, the music resemble the past, lacking a fresh feverish persuasion. On one hand I adore the blueprint, Karin Dreijer's unique, slightly quirky but madly primal voice, a transient experience among its oddity arrangements. Zany melodies, mysterious synth aesthetics and disjointed percussion converge on their frictions, birthing an atmosphere only this artist lays claim too.

That once mezmorizing soothing ethereal charm seems absent. In the lulls and quells, an atmosphere lurches distant and peculiar. An out of focus form in abstract forms. Karin's voice is often the unifying element, gluing the instrumental strangeness together with direction and expression. With its elements often on the minimal side, those moments between a human voice often feel lacking, as if awaiting her presence.

Kandy catches my ear with its tropical steel drums intersecting the peculiar nature with a beachy sunny warmth. Its the following Even It Out that excels. A tense bass synth and thumping kick drum creates the drive for warbling synths and her agitated repetitions to swell above. The breezy "woo-hoo"s a wild contrasting tension relief. So gratifying. Sadly the rest of the record lacks a spice to elevate beyond the expectant. A really enjoyable album for this fan but I felt it missed a mark so within its grasp.

Rating: 6/10

Örnatorpet "Evigt Fr​ä​mmande, Evigt Fj​ä​rran" (2023)

  

A passing listen sparked limited curiosity. Another ruinous bout of mystic woes? Örnatorpet caught my ear in the past but this latest release doesn't quite distinguish itself. Wedged between an ensemble of broody eerie synths, mysterious murmurings, cryptic voices and rustling ambiguities toy, as soft touches of Berlin School emerge infrequently... a strong whiff of Old Sorcery influence is in the air perhaps.

Its a competent execution of ideals, atmospheres built through steadily layering simple melodies, instruments treated to carefully crafted sound design, imbuing scale and distance between more intimate imaginations. The chemistry slants from creepy shadows to fantastical weirdness as brighter compositions create curious settings.

Sadly, among its nine tracks, none were able to leap of the page. For all its interesting sound design and zany Dungeon Synth vibes, the whole project remained in the background, unable to command ones attention. Although mostly appealing and capable of conjuring the mystic moods I love, this latest effort was either too reminiscent of a genre I've explored extensively, or just rather average.

Rating: 5/10

First Aid Kit "Palomino" (2022)

 

Four years on from Ruins, the Swedish sisters return on the wings of another Americana stride. Sadly for this listener, a comforting familiarity failed to offer novelty where necessary. Far on from the blinding lights of Stay Gold, their humble Country tinged Folk music seems stagnant. Navigated with salient maturity, lyrical themes offer endearing resonance once again. If ever needing a dose of rooted humanity, their sincere movements through relationships and emotions are as moving as ever.

The instrumental construct is calming, a soothing temperament of gently plucked acoustic guitars, warm roomy pianos, crooning strings and apt bursts of percussion find appropriation. Swaying from cinematic swells, to the intimate, bare and stripped back, variety is not lost. A couple of tangents into Country dance rhythms run a fair stride stiff and stale, lacking gusto from the rural tang of fiddles and banjos.

For all its pleasantries, Palomino is longing for a spark to ignite a fire. Without it, these songs play so mediocre despite no missteps. Perhaps routine inspirations manifested in a comfort zone, or a settled familiarity of identity are to blame. For this listener, my many spins couldn't find the magic this time around with. Retreading old tracks, only Angel stood head above the rest. For why? I couldn't tell you why...

Rating: 5/10

Sabaton "Father" (2022)

 

 "Father of toxic gas and chemical warfare", no surprises here, more plain faced descriptions and tunefully cheesy lyrics. Sabaton have returned with additional songs from this World War I themed era of theirs, which I have enjoyed immensely. Its the first of a few EPs to be packaged with additional tracks from The Great War and The War To End All Wars. Although only hosting one new song, the grouping of relevant tracks is a niche touch, another reason to their music once again.

Father is dedicated to Haber Fritz, a figure well worth learning about. Creator of synthesized crop fertilizers and chemical weapons he has brought about both suffering and flourishing for humanity on a grand scale. He is given a somewhat ambiguous reception by the band. The song has a soft lurching darkness and sinister tone as its guitars take a subdued roll, letting its symphonic tones roar. It pivots to quite an uplifting reprisal, led on by a brief guitar solo, the vocals roll into a brief swooning. Perhaps these contrasts are reflective of the scientists contributions to humanity. Weight is certainly put on the suffering he caused. Its a reasonable song, fitting snugly into their current focus. Can't wait to hear more on the coming EPs!

Rating: 4/10

Darkane "Inhuman Spirits" (2022)

 
For some time I've wanted to get around to this band. Born out of the Swedish Melodic Death Metal scene, I found their Thrash adjacent approach enthralling in my early days of exploring Extreme Metal. Crossing my path in the early naughts at the peak of their freshness, they join a handful of bands that share that inexorable link to youth. All thanks to Nuclear Blast records no doubt, who signed and promoted a lot of decent Metal in that era. After nine years of silence they are still brandishing the same intensity and character with little new to offer. Although I'm keen to hear innovation and new ideas, I'll hand it to them that sticking to their guns worked out for the better against a popular Djent seven string sound you might expect them to onboard.

I'll save my enthusiastic descriptions for another day when nostalgically reflecting on their discography. Although Inhuman Spirits plays to the Darkane sound strictly, its only brief moments of carbon copies that conjure the adrenaline. The lead guitars have its distinct melodic flavor and battering drums team up with the rhythem guitar for choppy, pacey grooves just as before. Its only the vocals that venture into a new territory with fitting deep guttural roars akin to fellow Swede Akerfeldt of Opeth. 

Alas this blog mostly serves as another entry to catalog the memories of a never ending journey. The early Darkane records are far from remarkable but bring enough distinction and character to give them some edge if Melodic Death Metal is your thing. With my apatite for Metal dwindling, this was a nice reminder of their competency. A Spiral To Nothing had some cracking discordant riffs held within, one that stood out. Possibly a better re-emergence than most returns but my excitement was quelled.

Rating: 5/10

Tiamat "Clouds" (1992)

 

My metallic ventures of late have leaned towards nostalgia. This path however, id not previously indulged with. Uncovering this European scene of melodic Gothic Doom and gloom, unearthed parallels capture much of my attention as the tapestry of influence enriches. Yet to devise the matured atmospheres of Wildhoney, Clouds builds on the heals of Thrash Metal. Its weaker songs burdened by the tempo and intensity of the 80s scene, a hangover needing a cure. The dusky keys and tuneful melancholy struggles with reflexive sways into choppy aggro and sluggish groove.

Magic emerges when its macabre themes blossom. Funeral synths and grievous melodies paint its Gothic graveyard blues vividly. The record finds stride with songs like The Sleeping Beauty as its distortion guitars lean into the lurching terror Doom Metal. In other chapters the spell is broken by pivoting guitar solos. They wail dazzling flushes of theatric on the gallop of thrashing riffs and doubled drumming tempos.

To my ears, Clouds suffers its influences. Aching from within beautiful, inspired song writing emerging stiffly in its calm and dark temperaments. Stitched together through tropes not quite suited this vision, my ears can't help but linger on the disparities. One of which is Edlund's wretched poetic "cleanish vocal" readings and lightweight guttural growls, the latter of which surprisingly suited the dreary cumbersome tone.

In brief glimpses, its keys yawn similar to a favorite of mine, Always... I especially loved the arrangements utilizing cheap and effect Casio keyboard tones for its Gothic cast. I wouldn't consider Clouds great but It seems fitting that adoration can be bestowed if discovered in the right time. For me, that probably would of been in my youth when reveling over Cradle Of Filth's starkly Gothic take on Extreme Metal.

Rating: 6/10

Tiamat "Wildhoney" (1994)

 

Upon reading comments and critiques on Almost A Dance lay proclamations of a broader movement in Metal at the time, one that promised more of that niche, early The Gathering sound. If Wildhoney is anything to go on, it seems these musicians were expanding on the slow brooding gloom of Doom Metal with a contrasting lushness through symphonic melancholy. With a tinge of Gothic mystique, it seems between the crevasse of Metal's many sub genres, lies another calling my name. Hailing from Sweden at a time when the Melodic Death Metal scene was blossoming, Tiamat developed their initially Doom and Death Metal sound in this renewed Gothic, Symphonic direction. Wildhoney being their commercial peak and my entry point.

Delivering on exactly what I was looking for, the opening tracks lunge forth with broody grooves in slow tempos haunted by darkly effeminate vocals. Drawn out power chords lay foundations for the keys to chime and adorn the mysterious chemistry that once spellbound me on Always... . Soundscape alike tangents gets the imagination turning with shadowy horrors early on. A curiosity in Johan Edlund's challenging vocals hint at something more. His sway between wretched doom gutturals and earthly heathen "cleans" show an artsy side to the music. It gets its moment later on after a string of big atmospheric songs, sailing deep emotions, a swelling mix of loss and beauty.

After the rocking sway and colorful gleam of Visionaire, the music descends from peak to valley as interlude Kaleidoscope puts the break on all momentum and sets a new tone for its final songs. What wordings come by feel more poetic, performative, so to say. Do You Dream Of Me? leans into European cultural sounds. Planets dwells on mystery, pivoting from loneliness to wonder in its progression. Then we have A Pocket Size Sun. Performed as a tender poem on the loss of innocence, its whole framing feels so profoundly different from all that came before. The exchanges with an effeminate being highlights charm well but again, feels like a complete departure.

With every spin this record has always felt like it had more to offer. A third of the record is its final four songs and although they are instrumentally wondrous, the obvious shift leaves one feeling like not enough was explored early on. Perhaps that is just a burden of slow, doomy music. Tiamat navigate something beautiful here, finding the sweet spot between its dark gloomy distortion guitars and all the lush keys gathering around. On the journey, there is much to marvel at. Its ending though, somewhat derailed. If this style of Metal is your cup of tea, as I have discovered its mine, then Wildhoney is a gem to be adored! This one can only grow on me, I'm sure!

Rating: 8/10

Meshuggah "Immutable" (2022)

 

The Swedish extremity is back! This ninth installment Immutable has been out for over a month now. In that time Ive spun it plenty, trying to let this record settle in a little deeper before sharing my thoughts. Why you ask? Because this band have in all likelihood had the biggest influence on the shape of modern Metal. Pioneering the use of virtual drum rigs, reshaping guitar tones with amp modeling, the popularization of seven and eight string guitars, most of all, the so called poly-rhythms. Meshuggah have carved an undeniable legacy among musicians and fans in the know. That reputation perhaps soured my expectancy of more fresh ground to be conquered that The Violent Sleep of Reason, released six years back, sadly did not offer.

As a lengthy one hour bludgeoning of deafening groove, incessant percussive pounding and hypnotic rhythmic sways, Immutable surfaces now as a more encompassing record that reflects back over the bands trajectory. Little is new is offered. The tweaking of tone and subtle realignment of their now formulated brutal aesthetic goes to battle with new mathematical ideas. Chopped and twisted riffs hide their numeric patterns in a vortex of overlapping measures, techniques and chugs that tend to loose that simplistic primal charm in a pursuit of new complexities.

Wedged between the new ideas, or lack of, the record shines when the group fall back onto previously explored tones and ideas. Reaching as far back as Nothing, the last two decades of ideas reemerge with riffs, grooves and textures that could easily slip back into those eras. Its not the soul focus but seemingly a regular intervals the dulled bludgeoning gives way to familiarity. This manifests best with lead guitarist Fredrik Thordendal's fantastical, zaney, mesmerizing alien melodies. On a couple of occasions the vibes reach back even further into the 90s stretch of their back catalog.

 Stripped of its bloat and stretches of monotony, this could of been quite the satisfying experience yet sadly a lot of the runtime feels stale. Many grindy section pound away lengthily with the best arriving from the overlapping with those alien lead guitars. Ironically the lengthiest They Move Below instrumental is one of the best tracks. Its scaling nature meanders and adventures through tricksy grooves and timings that go far beyond the droning low end groove. The albums shortest, Black Cathedral, plays like a guitar tone demo that got left in by mistake. The closer Past Tense is a nice throw back to previous acoustic works but not terribly interesting.

Haven given it a fair time to sink in, its clear these musicians can still churn out what they do so well. Keeping it fun and exciting but as expected seeking to expand on this with complexity just doesn't work. The best riffs and moments seemingly always come from the easier to digest time signatures and primal groove that made records like obZen pound so hard. I am definitely glad I gave this one adequate time but my conclusion is id much prefer a trimmed down version.

Rating: 6/10

Ghost "Impera" (2022)

 

 

Ghost's evolution through the shades of nostalgic Metal has been remarkable to say the least. With humble beginnings emerging from the lurching fog of old-school Doom Metal, the band have navigated a musical history pinching inspirations from Heavy Metal, Scandinavian Pop and Psychedelic Rock. Led by the outfits brainchild Tobias Forge, this fifth full length Impera strides forth boldly off the back of Prequelle's Arena Rock encroachment. Fully embracing American Rock vibes of the 70s, they dazzle once again with a little touch of Glam Rock echoing in the passing winds.

On the first few spins it all felt so obvious. Kaisarion's intro baked by sun soaked guitar leads, an ascending falsetto yell and the epic build to crunching Hard Rock riffs felt like a page out of someone else's book. But who? Spillways's piercing piano chops and Tobias's vocal line again echo's some creative genius of the past. It goes on throughout the album. Queen, Led Zeppelin, Boston, Dio? These songs continuously evoke the emotive rumble of classic Rock anthems. Yet not once do Ghost plagiarize.

As more repetitions sunk in, I couldn't deny how fantastically written these songs are. Even the initially disappointing Hunter's Moon finds its place in the track listing. The album swoons through one vibe another another. Tobias's impeccable singing, both in pitch and persuasion is accompanied by a fine and expansive instruments. These arrangements have their key distinctions glistening in the forefront with a lush backdrop of soft synths, organs and glittering acoustic guitars. The whole affair is a slick and dynamic groove, adapting to a songs purpose. Instruments drop in and out to perfectly compliment one another when it is apt to do so.

The variety is stunning. Most song pivot of the Arena Rock vibe with detours into Power Ballads and the like. The one true Metal song that hails back to Opus Eponymous, Twenties, suffers its own stiffness. Led in by a dramatic break in tone, Dominion's grueling trumpet orchestration bluntly pivots out of the utterly anthemic Watcher In The Sky. The metallic lurching riff and ghoulish key tones set a stage for Tobais's creepy groans but the chorus is woeful and garish. All to kitsch for my taste.

Other than that blemish Impera is a mostly flawless embark further into the depths of musical history. Knowing this is their angle made me initially skeptical but pure class of songwriting is undeniable. Every song is flush with sing along hooks, stunning melodies and memorable lead guitars lines. Its got me excited for where they might venture next but as for now its another quality collection of song to enjoy for the coming months and years. Ghost have more than proven themselves as legends!

Rating: 8/10

Sabaton "The War To End All Wars" (2022)

 

As a newly indoctrinated Sabaton fan, getting exactly what you wished for isn't always perfect. Released one hundred years after the end of its inspiration, their last album The Great War completely engulfed me. Understanding the historical context, learning about the individual history of each song through their history channel turned me into a believer! Much to my initial delight, The War To End All Wars simply continues that theme. The Swedish group dove deep into the history of World War I, leaving them with a wealth of inspiration, becoming the ten tracks of this newest album.

As I mentioned, this isn't a perfect scenario. With three years to dwell on the glory of its predecessor, the lack of shift in tone or aesthetic gives these new songs a large shadow they struggle to emerge from. Although its been less than a week since its release, I've wrapped my head around these songs on repeat and felt as if the formula of their War inspired Power Metal style prevails but only with the hallmarks and cliches very visible. Its no longer has the impact of surprise, muting much of my excitement.

That's not a put down on the music. These are fine metallic strides of fist pumping power and might, aligned with sharp, riveting rhythms to carry forth a sense of epic and glory. The group dominate with Joakim Brodén's triumphant vocals. The glossy melody resonating from its synths and lead guitars gives it a great sensibility. Sabaton are seasoned and it shows in both writing and execution. Its a stellar production, bold and bright, a gleaming aesthetic for their excellent song writing, which again does show its own tropes now that I am more accustom with their particular approach.

With every listen the last four tracks seem elevated to my ears. Starting with Lady Of The Dark, their tribute to Serbian combatant Milunka Savić kicks a little fire into the tone. Something about Joakim's plain faced, descriptive lyrics seem to strike a nerve, as they do again on Christmas Truce, a subject with immense significance. The lead piano's inflection of seasonal tone is very well handled. Versailles then asks the important questions of peace and loss and life, a powerful subject the band approach with a brimming jollity that then collapses into hints and what is to follow historically...

Rating: 7/10

Ghost "Call Me Little Sunshine" (2022)

As one of my most cherished band of recent years, even a two track single garners my attention! After all, Ghost did release a duo of non-album gems with Seven Inches Of Satanic Panic. Sadly, this pair do not live up to the hype and also feature on the upcoming Impera full length. My initial, unchanged, reaction to the title track was a soft disappointment. With Meloria and Prequelle the band took significant strides of excitement as their sound matured. This song feels like it didn't make the cut on the last outing. Reciting the same 80s inspired vibes, its easy tempo and molded melodic temperament delivers its average chorus and verse on stride to a guitar solo, a lull and then return. For them, its an all to common structure lacking a spark.

The following Hunter's Moon feels a more lively in comparison with instrumental shake ups unleashing broody guitar grooves and twisted church chorals. Its still the same overall structure but the chorus hook arrives more vibrant as the lead guitar rolls out a grabbing lick. Don't get me wrong, I adore this band and the niche they occupy but this sounds like a group on autopilot, simplifying their sound into very digestible music that lacks the flash and surprise that has made them unmissable over the last ten years. Its not got my hopes up for Impera. I am hoping these are the weaker cuts.

Rating: 2/10

Hypocrisy "Hypocrisy" (1999)

 

I know little of any lore or significance behind the self titled naming of this sixth full length outing by the Swedish group. Perusing their catalog in my youth, this quickly caught my attention as one I should give more time too. Before long it was my absolute favorite and picking it up again all these years later, its got legs. Mostly, its the streak of bluesy emotion emanating from the voice of Peter Tägtgren that resonates the strongest. Alongside an arsenal of both galloping and broody atmospheric Metal, the record offers up a varied landscape of song styles that Hypocrisy have recycled since, all hinged around extra terrestrial paranoia and conspiratorial themes. Hearing it all again on Worship, I was keen to spin it again!

Opening track Fractured Millennium is an anthem of its own creation. The grand synths that open it up brew in anticipation of the epic riff that grace the highs and lunges into the low chords with great effect. Its a slower, atmospheric track peaked by a wonderful guitar solo reminiscent of Ride The Lightning. The rest of the record is scattered with a few more helpings of blazing guitar leads that always arrive just on time. Apocalyptic Hybrid pivots sharply into menacing Death Metal with a galloping pace tinged by melody as much of the record is. Although these tracks get tough and mean with hard hitting guitar grooves, its always a break or two away from a melodic theme, making its mark so much more enduring and memorable than brutal acts.

Later in the track listing Time Warp brings back that frenetic energy but otherwise the group lean into the atmospheric and find some unique magic as Peter opens his voice up to a burly, heathen, cleaner side. Elastic Inverted Visions and Paled Empty Spheres ushers in acoustics to take lead on sombre songs with darkly lyrics of struggle and tones of redemption seeking. Until The End and Disconnected Magnetic Corridors straddle the slow tempos with grandiose as the depressive, downtrodden tones struggle on in the rainy atmospheres that brood with no light in sight. The variety is magnificent and the track arrangement used to puzzle me. It always felt like you could chalk the songs into three distinct camps. Now I see that it offers a change in pace and respite from remaining in one lane continuously.

For the year of its production, the album reflects the Symphonic Black Metal sound, with Peter being a key influence on Enthrone Darkness Triumphant and Spiritual Black Dimensions. Probably speaks volumes to why I like it so much. The constant inclusion of synth lines behind the roaring of blazing mighty metal to much to resist! All these years later its magic has dulled a touch, more of a nostalgic affair than something to whip me off my feet but its still utterly terrific and full of fantastic peaking moments, usually those guitar solos which remind me of Kirk Hammett in some ways.

Rating: 9/10

Hypocrisy "Worship" (2021)

 

Of all the familiarity fatigue I've endured of late, I was actually itching for an unchanged dose of Hypocrisy's alien paranoia breed of mid-tempo Atmospheric Death Metal. Led by a key figure in the Scandinavian Metal scene, producer Peter Tägtgren resurrects his passion project after an eight year absence to show the formula is still fun. Thematically, the conspiratorial inspirations are oddly relevant again,  finding some adaptations to fraught social topics of our pandemic age. Where they are less relevant is in the Metal scene itself. Despite Peter's many accolades, Hypocrisy have always been an underdog in my eyes. Spotting a shirt or jacket patch at a Metal festival can be a perils task despite their relative consistency over decades.

Worship is business as usual. The dynamic melding of its thrashing, pummeling rhythm guitars and the soaring gleam shining from tangled melodic leads tinged in astral inflections are the riveting experience I adored this band for. The pallet sways between its heavier riff led intensities and thematic melodic gloss that embellishes its perpetual sense of other worldly matters. Over top roars Peter with his earthly guttural shouts. They are dense growls but the slower cadence lets the words decipher and emanate a brutal forcefulness to intact his conspiratorial words. The percussion reinforces everything with timely patterns and grooves, playing a subtle roll as blast beats and even double pedals are a little less infrequent than one might expect for Death Metal but of course Hypocrisy's angle has always been an emphasis on atmosphere and scenic imagination. The drum grooves emphasis that sense of scale.

These tracks don't have much in the way of variety between them. With straight forward song structures the album rolls on with not a lot of flash in the pan. The songs mostly rely on trixy dazzling guitar licks and stomping grooves with the occasional intensity change ups leaving the guitars out for a baseline to rumble. They recycle their identity for the most part with We're The Walking Dead feeling like a rehash of many previous takes of slow brooding mood and atmosphere. In fact much of the record dives into compositions that feels very akin to previous songs you could cherry pick from their extensive discography. They Will Arrive does spring a surprise with its gritty low chord chugging groove setting off an alarming horn of some sort. It was something different of which Worship doesn't have much, however I turned up to hear Hypocrisy do what they do best. All of these songs are class without a weak link.

 

On the lyrical front its conspiratorial topicality and confrontation with our modern ills of disinformation and institutional distrust seems like a headache avoided. There is on claim of injecting two million people with HIV but otherwise its mostly the classic tinfoil hat tales of Illuminati and shadowy cabals of conspiring between alien demigods and corrupt elites. Essentially the traditional themes are tainted by modern polarization. However the third track Chemical Whore strikes right on the nerve of the still ongoing epidemic of dangerous pharmaceutical drugs peddled for profits by a increasingly dubious medical industry. To my ears its all a fair game of perspective and expression with nothing nefarious within. Worship is a solid delivery on exactly what I was in the mood for. A great band to check out if your a Metalhead who's not crossed them before. Their self titled album is my favorite, one I'm tempted to write up on soon.

Rating: 7/10

Forest Shrine "Forest Shrine" (2020)

 

I don't recall ever hearing a record so suited to being labeled a Burzum inspiration. Right from the offset its distinct Casio keyboard tones resemble that lonely spell cast by classic Tomhet. The second song then does a remarkable job emulating the timeless gristly low-fi guitar tone that made Filosofem. The heart of this seven track record seems magnetized by the vision Varg had, with his searingly disparate and oddly spiritual music. Both with the chilling cold aggression of Black Metal and the yet to be named keyboard compositions now known as Dungeon Synth.

 Forest Shrine feels like a convergence of the two, dealing in a nostalgia of both theme and one mans creativity. Its all there in the tone choices and composition style but loses sight, or perhaps never aims to recreate that peculiar esoteric loneliness Burzum captured. Instead, through its melodies and sense of scale, finds the more castles and crypts side of Dungeon Synth with big scores of synth notations drummed into action by loosely military percussive marches of driving snare rhythms.

As I dissect the record for "review" it becomes clear to me I've gotten hung up on the first two track and the resemblance to Varg's works. The second is the only use of distortion guitar and beyond them the album blossoms into its own thing for the most part. The melodies and general direction gather quite the upbeat tone with its militant percussion giving off castle and king vibes. One can see the vast landscapes of forests leading to the hill on the castle. It fondly reminds me of Sequestered Keep with far less of the jovial medieval vibes. All in all its a great little record to enjoy, however being so impressed by the opening likeness, I would love to hear more of that!

Rating: 6/10