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

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

Dimmu Bongir "Dark Medieval Hash" (2024)

 

After running the For All Tid playbook, our comedic stoners return with an incremental progression on the nostalgic 90s sound I adore. Muddying up the parody, Satyricon's debut takes thematic focus in name and cover art alone. With Dark Medieval Has, these musicians start to express their own ideas. Chunky distortion riffs and majestic keyboard melodies not so easily identified, emerge from the evil dusky aesthetic. 

The apple doesn't fall far from the tree, little surprise awaits in construct or design. We essentially embark on another dark venture through the mystical imaginations of these rebellious Norweigns, inspired by paganism, the occult and merciless frozen forests.

Certain songs hit harder than others. Pipens Åpenbaring has a wonderfully esoteric synth melody at its opening. With a rather ambitious climax, the song amasses rich sinister organs. Along its way, a Spanish acoustic guitar is introduced, much like Old Man's Child once incorporated its brittle tone to the Black Metal architecture.

A Witch Is Stoned wins the "best song" competition. A clear favorite with a powerful, magical, mischievous synth hook. The keyboard riff toys with low to high dynamics reminiscent of Dimmu Borgir's Spellbound By The Devil. Its guitar solo, intentionally jarring, scratchy and shrill, also feeling reminiscent of that landmark record.

Dark Medieval Hash has been a blast but also shows this band can do more than just emulate. I hope they continue to expand on this nostalgic revival and perhaps venture into new terrain from that different point in time. If they simply continue with this formula, I will be entertained either way. Great stuff!

Rating: 7/10

Dimmu Bongir "Hvis Pipen Tar Oss" (2023)

 

 

What on earth is this? A stoner's parody of my beloved Dimmu Borgir? Perfect! Well, that's actually so... what comedic kicks are discernible through throaty howls and song titles, like Bongblåst, plays second fiddle to the music. The greenthumb humor is clearly an excuse to revel in early Symphonic Black Metal, which I happen to adore. With a rough around the edges production, Bongir capture the nostalgia in a bottle.

 

Reworking the For All Tid playbook, no surprises fluster this listener. Hvis Pipen Tar Oss plays a familiar beast, writing new incarnations steeped in its ancient architecture. Occasionally they encroach on plagiarism with a riff or melody, most notably with the opening guitars of Røk hans pip. Piano interludes, dingy acoustic guitar breaks and deep heathen vocals drop in Norwegian tongue just like Borgir did in their early days.

 

 Pagan Rips, a reference to Mayhem, holds astral swirly melodies and potent tunes uncannily close to The Kovenant. Its main hook a clear lift from the classic Bizzare Cosmic Industries. A win for this adoring fan but this does question what should classify as a cover or original? The song does eventually deviate in its own direction.

Another standout, Transylvanian Munchies, pays tribute in parody alone, to legends Darkthrone, who didn't venture into the Symphnoic avenue themselves. Its the one song where stars align. Throaty growls groan at just the right intensity to get its comical lyrics across. "And I'm Still Hungry" punchline a silly delight to smirk upon.

These appropriately named musicians Gahll, Tjalladdin and the all too obvious Hashiah, have done a stellar job resurrecting a niche sound with both passion and vigor. The project is clearly a love letter to this forgotten era. Their keyboard tones feel especially well selected, giving the record a soft freshness on that front.

Hvis Pipen Tar Oss has been a delight, a nostalgic reinvention reminding me of recent discovery Këkht Aräkh. Perhaps I should invest more time in seeking out other millennial musicians obsessed with 90s Black Metal. It never occurred to me that comedy could be a convenient excuse to launch such a project. Dimmu Bongir have done it to great effect and fortunately for me, another album lays in wait!

Rating: 7/10

Justice "Hyperdrama" (2024)

Still lingering in the shadows cast by Woman, an eight year wait hasn't yielded much excitement. The Disco-Funk inspired French duo return crisp and clear with a tight production to dazzle with stunning aesthetic clarity. The record sounds utterly gorgeous, rich in texture and smoothness. Its samples croon and instruments strike with fidelity and groove. A sweet indulgence but that can only take it so far.

Front loading the album with its best leaves a mediocre trail of songs experimenting with overt influences. Thumping dancefloor Disco sensibility, jolting Funk grooves, flushes of Progressive Rock melody, Classical frameworks and 70s Electonic music intersect with modern synth tones just short of the finish line. Every song feels unique, charactered and interesting but lacks the claws to sink their grip in.

Hyperdrama's Merits lay in the voices that illuminate a handful of collaborations. They add a dimension sorely needed on its instrumental counterparts. Two unions with Tame Impala strikes chemistry perfection! Kevin Parker's cloud sailing voice a snug fit for their tone. He, Rimon, The Flints and Miguel are classy fits that finish off these fine instrumentals, sounding utterly fantastic with an array of tender performances.

I have no complaints, perhaps my taste right now wasn't apt for this nostalgia tinted offering. Enjoyable, yet lacking a deeper connection after a fair few spins. One instrumental that struck gold was Generator, a Dubstep reminiscent nightly assault of unhinged jagged synths colliding with a dramatic string section. Reminded me of Carpenter Brut. I find myself desiring to enjoy these tracks more than I do. Strange.

Rating: 6/10

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

Enter Shikari "A Kiss For The Whole World" (2023)

 

Two decades have passed since Enter Shikari made waves playing in our local music scene. With an unwavering resilience, they retain a relevancy that took me by surprise, having grown comfortable in the silent interval between records. Re-arranging their youthful character once again, Shikari still have the bite to hook, line and sink one into their party-like carnival Rock-Electronic realm again. With fond familiarity and spicy seasoning, A Kiss For The Whole World blazes by this listener in a whirl of engrossing charisma. Topically flourishing, their restless offerings come woven with compassion and hope, matured out of once angered social political lyrics.

This positivity emanates instrumentally, made starkly apparent by Rou Reynolds' passionate pleas, warm wisdoms and mellow metaphors. Practically every song has an infectious hook, his catchy wordings deliver hope and uplift, arriving on a flush of creativity. Its fun, engaging, refreshing and keeps once locked in with its nimble stride as these apt thirty three minutes sprint by with every moment revealing its purpose.

Their pop sensibilities have matured to a level of class, leveraging the appeal of popular musics most gratifying structures against the rampant creativity of their eclectic musical pallet. Echo's from the web of early 90s electronica still loom boldly, most keenly The Prodigy. Some moments just cant escape their legacy. Shikari are further forging their signature sound, yet not exactly advancing on new territory.

This record signifies a peak in the assembly of Metal tinged Rock, echoing Hardcore. Club music, Drum & Bass weave their aesthetics and components dynamically. Splashes of classic instrumens align with a keen cheek and cheer. Playing a role for narrative and direction to blossom. In short, everything they have done before, successfully re-emerging on a creative high for fans new and old to be taken away by. With each of my many spins I wonder if the cracks will appear. Despite having favorites among the crowd, it plays wonderfully as a complete experience.

Rating: 8/10

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

Depeche Mode "Songs Of Faith And Devotion" (1993)

 

Moving on from the soaring heights of Violator, the English quartet Depeche Mode make a daring bold stride into a resonant religiosity that birthed their Personal Jesus hit. Further embracing the human gulls of guitar texture, they lean on darker acoustic vibrations, Gahan's subtle vibratos inhabiting numerous cold reverbs, wandering towards despaired lows the albums dominating theme seemingly rescues him from.

Songs Of Faith And Devotion is definitely of their vein. Shimmers of Gospel, Hymns and spiritual voiceings line its persuasions. Only with Condemnation do they take a solem plunge of baptism into its sways. A beautiful moment among other ideas that converge with mixes of ideals. One can observe an orchestrated component. Gallant and chivalrous string sections ascend the clouds, disconnected from its counterparts.

Swooned by the times, so too does one hear inflections of an emerging Trip Hop scene. Dense, snappy, popular percussive loops crowd the rhythm section of many a song. Get Right With Me goes hard on its Gospel choral chants, clashing hard with its clunky drum sampling. Rush too flurries a similar fate, its Electro-Industrial synths injecting a jolting energy against dark, steely guitars, Gahan on another frequency.

This records ambitions land it in a variety of places. The better written songs seemingly closer to a formula that served them well before. Its soft religiosity a crooning charm better served the harder they leaned into it. As a whole experience, it holds over with a meaty persuasion but blemishes show on numerous repetitions. Seems the group were pulled in multiple directions, by emerging scenes of the time, yet sticking with their guns and faithful inspiration may have worked out best.

Rating: 6/10

Mortiis "Spirit Of Rebellion" (2020)

Somewhat stiff, direct in execution, Mortiis' so called embrace of Dungeon Synth feels a step behind the ruinous, mystic wonders he helped inspired. Often sighted as a precursor to the movement, the Norwegian musician often remarked indifference to his obvious influences. This castley affair of medieval fantasy pumps might, magic and vitriolic spirit from its bold and cheesy synths. Alongside fractures of foggy, murky key tones, an aesthetic veneer glimmers in its own reflection. The unshaken instep march of looped melodies, perfectly aligned in MIDI notation, evaporates the humanity.

Its first half, A Dark Horizon, toys with the moody abandon. Gentle tempered spirits of estranged worbling VSTs venture on lonely meandering journeys, intermittently struck by thuds and drum strikes. Its lonely, occasionally frightful but mostly shy of striking a nerve. With a barer construct, its repetitions become a blemish of its pristine presentation. Simplistic looping melodies swiftly a gnawing gripe, sucking charm and magic other low fidelity production aesthetics of the genre would offer.

Visions Of An Ancient Future embarks on ambitious conquests. Deep gongs, perpetual echos of militant percussion and a stoic stature march forth with the might of glorious battle horns guiding its way. The shift from esoteric curiosity to kings and castles would make for an interesting record if both halves did not endure the lifelessness of such stiffly executed virtual instrument performances. In a nutshell, appealing ideas but a lack of immersion.

Rating: 4/10

The Gathering "Nighttime Birds" (1997)

 

Shrouded by the swift abrupt judgements of youth, my initial contact deemed Nighttime Birds unfit for consumption. Supposedly not cut from the cloth as Mandylion, one of my all time favorite albums, it has sat snugly in the shadows, patiently awaiting me all these years. Like a broken record, past judgements have failed me once again. At this point, it might just be worth conducting a list of all prior dismissals...

Nighttime Birds is the broody matured brother of a band once ripe with color and youth two years prior. With a touch of restraint and a seclusion of craft, the band withdraw their eternal melodic delight to initiate songs with darker morose tones. Heavier guitars lean in shadowy chromatic, luring Anneke's sublime, luminous voice to a weighty pensive reflection. The duality explores a beautiful and burdensome contrast. Its a measured friction that compliments, coming to fruition with increased exposure.

Where its synths once adventured with bold punctuation, the keyboards now withdraw to a subtle, powerful role. Lurching behind steely distortion guitars, they await a turn to chime, often guiding the music from its beautiful gloom, soaring to blossom its hidden hues. Each song journeys to blushes of sequestered warmth. Familiar simplistic lead melodies gush from guitar and keys with their classic, distinctive personality.

Comprised of mostly lengthier tracks above five minutes, the album locks in a mood and explores it in beautiful increments, each exploring this darker chemistry. A union of thick power chords and cold acoustic guitars is explored early on. The May Song introduces a powerful, emotive organ tone to set off one of Anneke's most delightful performances. She wails sublimely, ascending with spirit much like that of Leaves. In fact, I'd go as far as to say its this albums equivalent, given the familiar guitar solo.

The following songs invoke soft computerized effects expertly, characterizing synths with subtlety. Later on a soft violin can be heard too. Each song finds subtle shifts to define them. The band fire on all cylinders. The shuffling contributions from its instruments explore so many ideas within a snug sound. Even moments of heavy metallic groove emerge in climatic beat downs and sluggish power chord brooding.

Nighttime Birds promptly made itself apparent as a lost classic from my youth, one I would have adored. However, I persisted. With my love of its saddened tone growing, I couldn't put it down. Weeks turned into months and that emotional evocative magic kept oozing. I feel so fortunate to have discovered it now. The Gathering's spell is truly eternal with me. Although a fraction behind the charm of Mandylion, this record has a clear sense of maturity and direction locked in by a fruitful yet cold concept.

Rating: 10/10

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

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

Secret Stairways "Enchantment Of The Ring" (1997)

 

Following on from the now unearthed demo Drifting..., we have another eight track cassette. Released two years on, Enchantment Of The Ring does little in terms of evolution but gives us another insight into the imagination of this lone musician operating outside of any scene. Conjuring the music of moonlit slumbers and fantastical daydreams, Mathew Davis delivers a string of gentle journeys that peer into the crevasses of alternate realms. Led by mystery evoking tones, his keyboard arrangements tend to linger on steadily looped, calming melodies, slowly brooding into big symphonic swells of lush, cloud swept atmosphere.

Within this context notable tracks emerge, Amongst The Waterlillies fondly reminds me of Adrian Von Ziegler with the music being accompanied by the persistent sound of bird and cricket chirps in the background. Not as lush but an interesting idea to hear earlier on. Before it, Finvarra's Chessboard musters up a militant percussive drive led by bright pianos and gleaming strings. Its thematic resonance reminding me of Lord Lovidicus on the Daulu Bûrz-Ishi record.

With a begrudged, crawling bass and snare kick alternation, its opening track rips right into Ethereal and Doom Metal territory with gloomy funeral synths and a hazy distortion guitar weeping its sorrows in the backdrop. Its deeply captivating, with an engulfing sense of impending melancholy. Quite the different vibe from the rest of the songs but shows a remarkable talent perusing their inspiration in multiple directions.

Its final closing song, Onward, To Hy Breasail, peaks my interest as a link between the records opening and songs in the middle. Returning with livened percussion and another gloomy atmosphere, that fantasy magic spirit is woven into the mix as its lead melody glistens a little fairy dust over the despaired mood lingering below it. The bass synth wobbles on with a mesmerizing quality and the whole thing is captivating.

As a record, or demo, its blemishes are in its dilution. Its most fantastical musical moments sway from the path laid out and thus makes shadows for its main theme to reside in, however with these divergent being start end, it does feel like an adventure but its clear the whole thing didn't land consistently with the best musical ideas. Either way, its a wonderful demo to check out from a musician who would of struggled to find an audience for this at the time. RIP Mathew!

Rating: 6/10

Secret Stairways "Drifting..." (1995)

 

If you've followed this blog for Dungeon Synth and Fantasy music, then today you are in for a treat. The micro-genre's resurgence over the last decade seems to routinely unearth forgotten artists, demo tapes and prototypical material from time gone by. Secret Stairways, a name so fitting for this genre, is one mans symphonic vision. Sadly now diseased, Mathew Davis's work has been shared with the world again, finding a new audience over twenty five years since its creation.

Mathew certainly leans more in the Fantasy direction with a dreamy direction and melodic gleam. His keyboard work here is stunning yet amateurishly produced to suck the cheese out of Korg and Yamaha tones, embellishing them in soft reverbs to create a classy, magical yet fidelity lacking sound that is utterly charming. With no percussion or base in sight, the music is mostly a stream of string arrangements, yearning with beauty and natural wonder, fit for the scenic beauty of secluded forest covered mountains, blossoming with life fed from gushing rivers on a summers eve.

 Each song brings a different temperament with an icy chill breezing in on its closing track to see these scenic moments off into the night. Before it, Dream Of Lorien is a standout, deploying an illusive, mysterious melody on repeat. Shimmering instruments pass by in the dreamy haze of its backdrop. The atmosphere is wonderful, a brief peering into a wonderful imagination with a soft touch of darkness.

As a five track demo it leave one with an appetite for whats next and curiosity for what inspired these musicians at a time of great disconnect, in comparison to the Internet age. Although not strictly Dungeon Synth as it leans in a different direction, this piece of music predates even Depressive Silence. The roots of this music seem to deepen and enrich as time passes and more discoveries are made!

Rating: 6/10

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

Mushroomhead "XX" (2001)

With a new album released, I though I'd hear the group out and see where they are at these days. I've always been fond of Mushroomhead but mainly for this record alone. XX is their major label debut but also a collection of remastered songs from their first three independently released albums. As another masked Metal band emerging in the Nu Metal era, they are often unfairly cited as a Slipknot clone or rip off, despite being musically different and predating them on both record and in dress.

Often lumped into Metals most contentious category, Mushroomhead are actually more unique than credited for. Industrial, Alternative and Groove strains of Metal influence their dystopian sound with strong syncopation elements being the closest resemblance to Nu Metal, yet they carry none of the tropes. Best of all their keyboards deploy classic tones, bright beaming pianos and symphonic strings are a prominent and contrasting feature, often joining in the syncopation. More often than not they are the touche delivering the memorable and quirky melodies that set these songs aside.

A lot of Mushroomhead's music is not immediately gratifying, they have the mosh friendly stomping tracks with big grooves but often their songs are about atmosphere and tension. Steadily unfolding moods are birthed from chugging guitars of industrial weight and intention, while drawn out guitar chords and subtle synths set a slow and moody tone for the two singers to exchange on the stage. Not always looking for a crescendo or conclusion these numbers make for a great slow burn experience.

When they do ramp up the intensity in a metallic direction, the dystopian mix of clean synths and dirty, gritty aggression is a persuading one. These tend to be the more memorable songs for obvious reasons. XX is a record I've enjoyed for decades and Is worth a listen for its unique chemistry alone. This band where never able to capture my interest with anything else they did but I've got their newest record to give a try but almost twenty years on I'm not sure much of this era will remain.

Favorite Tracks: Before I Die, Solitaire Unraveling, Xeroxed, The Wrist, The New Cult King, Born Of Desire, 43, Bwomp 2

Rating: 8/10

Enter Shikari "Nothing Is True & Everything Is Possible" (2020)

Reeling back upon The Spark's softening shift in tone, Enter Shikari return with a spicy self historical mix up. Nothing Is True has rolled up a little bit of everything tried so far in their five records leading to this sixth installment. The four lads have been together since their teenage years, forging a unique identity that can be felt through the chemistry. I have a deep affinity for their music. Ive seen them go from local pubs, clubs and schools to headlining festivals. Its been simply magical and I will always have a soft spot for them, making it hard to not enjoy anything they do!

The albums sentiment comments on our technology driven age haunted by science denial, trolls, bots, fake news and social media hysteria. Its a finger on a pulse that has been pounding for a while, the perspectives often shaped through a dystopian lens seem second fiddle to the groups excellent song writing. The power of hooks and catchy lyrics are better felt through the passion Rou delivers them with than there content. That may just depend on how deep you've dove into these topics beforehand.

Its fifteen songs are cracking, a constant roll out of fun, energy and passion with a retroactive array of aesthetics, keenly from the synths that pull from the best of electronic oriented sounds experimented in the past. Its a framework around songwriting that periodically dips into trendy Alternative Pop stylings. Despite all being good songs, Crossing The Rubicon, The Pressure's On & Satellites reek off imitation with a direction clearly emulating others, rather than perusing that Shikari purism.

The rest of the record has that uniqueness intact with a fair spread of experimentation that occasionally gets a little wild. Elegy For Extinction breaks things up with a moment of pure symphonic wonder as a dense orchestral composition builds a fiery intensity to propel the music into its most bipolar moment with rave synths and dirty pounding dance floor percussion firing off under modulated vocals. Its a wild treat that shows the band still have a knack to pull together all aspects of influences.

If their is anything left to be desired, perhaps the group didn't do anything unexpected. As fantastic as their endlessly youthful and exuberant style is, this unifying sound of all attempted before misses an opertunity to surprise which is something each record has had to it before, a new territory to uncover. Despite that, its familiarity plays like a group of old friends returning to give you new stories you'll cherish. Nothing Is True is loaded with songs to subtly slip alongside the best of their setlists.

Favorite Tracks: The Great Unknown, The Dreamers Hotel, Apocaholics, T.I.N.A, Elegy For Extinction

Rating: 8/10