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

Enslaved "E" (2017)

Eight lengthy tracks clocking in at an hour make up this indulgent journey through abysmal rain and thunderous storms in a climate safe from harm. We swing from the calms of gentle, luscious melodies sung from soft synths and glossy pianos as they peak through gristly rock, sturdy distortion guitars in stretches that swell into grim plummets and measured fiery onslaughts of darkness. With gleam and triumph shrouded in ancient mystery the tone is set, a path of heathen spirituality in the roots of mother nature emanates in calmer passageways. Viking choral chants occasionally greet us as we wander through mystic terrain on an epic, inspired journey.

 At this point in their career Enslaved have little to prove, fourteen albums in with a solid track record the band are freed to home in on their craft and forge songs that achieve their inspiration with little to fault. The maturity and expanded pallet lets the core sound flourish with touches of influence that spread as far as Jazz with a saxophone solo on "Hindsight" fitting so snugly into the song it barely makes itself known as an uncommon instrument but rather a perfect touch to illuminate the music. Many Post-Metal guitar sounds emerge with flourishes of shimmering Shoe-gazing leads and even Sludge in scattered guitar grooves that move in menacing lugs of burly force, often accompanied by the harsh scream of Kjellson who doesn't charm with these strained and sterile screams.

These songs are progressive, expansive, they twist and turn, evolving as time passes, making for a wonderful listening experience that's cinematic. Enriched by the layering of soft synths and occasional organs below the guitars, the flavor and aesthetic is sweetened but this chemistry is lost when the album is swept into the stormy dark. Still holding onto their roots, the music often strips itself to the raw components, "Djupet" being a song comprised entirely between the guitars and drums. It makes a little more sense when these Black Metal moments emerge in the sways of wandering songs but shows itself to hold back an otherwise far more intelligent, spell bounding chemistry that is at its best in its denser, melodic compositions.

Rating: 7/10

Moonspell "1755" (2017)

The blunder is real, as you can imagine I was filled to the brim with excitement when I caught wind of a new album from Moonspell. Id never heard the Portuguese Gothic Metal outfit before and upon my first listen to 1755 I found myself thinking "this doesn't sound like them". Well that's because I made the catastrophic error of confusing them with Moonsorrow who's last record was a true gem, one to remember, unfortunately I had trouble remembering their name and so we embark on an expected journey with another band also inspired by the moon!

Getting past the initial "This wasn't what I wanted" phase, a strong record is to be found here. Drawing from symphonic, orchestral and fantasy influences Moonspell craft an inviting breed of Metal tinged with Gothic, Doom, Heavy and even Black varieties that never goes to strongly in any direction. Its compositions are heavily involved with the keyboards which elevate otherwise mediocre arrangements of riffs to cinematic, adventurous levels. The snarling beastly scream of front man Ribeiro cuts through with a commanders presence, steering the ship. Unfortunately his impact is muted by the language barrier, the lyrics could of made better sense of lively symphonies which create quite the sense of unfolding events. Given the name of the album I can't help but feel It may be about the earthquake that killed hundreds of thousands of people in Portugal's capitol, Lisborn.

The record plays with varying intensities and tempos, never a dull moment as its rich tapestry of strings, keys, distortion guitars and vocals forge imaginative songs but as the record comes to an end its best is in store, the closing "Lanterna Dos Afogados" elevates the record a deep and brooding passage of music in its build up, moving from a whispering voice over a soft piano into a dense wash of sorrowful instruments mourning in harmony. The back and forth between these halves culminates with an exotic guitar solo and then the song is plunged into a passing of darkness it recovers from with the returning theme drenched in thick organs and gothic male choirs. A very memorable, satisfying song from a decent record with little to fault.

Favorite Track: Lanterna Dos Afogados

Rating: 6/10

Samael "Hegemony" (2017)

From way back when I was first discovering Black Metal, I fondly remembered Samael's "Ceremony Of Opposites" for being rather different to the traditional scene, infectious doses of groove and sprinklings of synths gave it a memorable edge. That memory was my motivation to check out this release marking thirty years since the Swiss band's inception. Hegemony hasn't charmed me and much like most of their music I can't be critical, for some reason there will always be bands you don't vibe with, despite appreciating what they do. As a hybrid of Symphonic Black Metal and Industrial Metal you'd think this is right up my street but for unknown reasons it doesn't click.

The records plays with social themes and rebellion packaged onto an unworldly stage of theatrical lyricism delivered through the one dimensional, thin scream of Vorph, rarely altering his intensity or texture. The songs strive forward at mid-tempo, the thump and snap of the drums driving the pace as big clumps of blasting drums and busy guitar work sets a thick industrial metallic tone for the synths to resonate off with there lively range of sounds often empiric and epic, heightening the sense of scale wonder that strives for the feel of an evil empire on the warpath.

The compositions are rock solid, the music cohesive but never sparking more than a muted emotional response from me. Bar the loud drums all of the instruments are given equal footing in a mix that muddies them together. The guitar work doesn't jump of the page yet with a keen ear you can hear some interesting leads and riffs burred in the heaving of sound. The synths suffer a similar fate with only the big backing synth chords making their way to the forefront of attention and over details creeping through with the listeners attention. There might be a good record In here, I don't have anything bad to say as every listen was enjoyable but little was memorable and without an emotional response it paled in comparison to other records Ive had on spin recently.

Rating: 5/10

Cradle Of Filth "Cryptoriana - The Seductiveness Of Decay" (2017)

The twelfth chapter of Cradle's legacy has been unleashed with another upturn in form that feels almost bizarre for Danni Filth's band who for the first time in their twenty six years release consecutive records with the same lineup of musicians. Hammer Of The Witches received a lavish amount of praise that I was equally impressed with, yet surprised to hear them turn it around after decades of patchy releases since their best output back in 1996. With Cryptoriana I again find myself taken back by how little there is to fault here, the real disappointment is in the familiarity of their sound, after fifteen years as a fan their isn't much of a surprise or freshness left.

Cradle don't venture much beyond their comfort zone, the guitars usher in the occasional thump of groove or tinges of Post-Metal in shredded tremolos but otherwise they stick to their guns. Eight tracks of solid songs around seven minutes play like back to back mini epics, well constructed songs with plenty of twists and turns, returning melodies and theatrics that end in satisfying conclusions. This lineups chemistry pulls together the best of their musical ideas, flushing out the mediocrity and settling for nothing less... for the most part, it has to be said the last two songs do drag a little in comparison.

They might be executing the same ideas heard plenty times over in their old records but the quality is undeniable, tight performances executed on a crisp production sounds gorgeous. It may be aesthetically pleasing but its true charm is in the inspiration. Genuine and passionate, the gleam of romanticized gothic melodies weave these songs together between there wanderings into the darkly shadows that manifest in metallic mania. Theatrical, vivid and bold each so is an adventure waiting to be known! Everyone gives a fantastic performance and the result is arguably their best in nearly two decades! I do however hope in the next release they could experiment a little! Cradle's defining sound has barely evolved a fraction over the years.

Favorite Tracks: Achingly Beautiful, Wester Vespertine, The Seductiveness Of Decay

Rating: 7/10

Septic Flesh "Codex Omega" (2017)

Greek veterans Septic Flesh have been at it since the early nineties and "Code Omega" is their tenth full length release and what a fine record it is! Being relatively unfamiliar with the band I don't know a lot about them bar an obscure EP I happen to really like. They play atmospheric and symphonic Death Metal with touches of other extreme sounds identifiable in the constructs of their sound. The symphonic elements of this record are exceptionally fleshed out, mind the pun. It borders on orchestral as the rich tapestry of music compliments the already high fidelity Metal production.

The band generally arrange the strings and symphonies around the rhythm of thunderous drums that pound tribal grooves in tandem with the monstrous thickness of the distortion guitars. When they are stripped back the orchestration arises to fill the gap and in turn dials it down when the guitars take lead. This rather mechanical sounding approach works ever so well as the melodies, grooves composed compliment each other well and work towards the same overall theme and sense of atmosphere, allowing them to be inherently different and playing to the strengths of whats needed in the progression of the songs.

The majority of these songs unfold like epic battles, the sirens of war call out alongside the crushing onslaught of chugging guitars and battering blast beats. Singer Antoniou roars his deep growling guttural words like a battle cry. Climatic break outs and shifts in direction create a true sense of direction as they spark the imagination to what events are unfolding in this cinematic experience. Its not all brutality and bludgeoning, bursts of light creep in as breaks to melodic lead sections are graced by the capable and authentic clean vocals of guitarist Vayenas.

There is little to falter, fantastic, sublime production brings crisp and bright instruments together in an extreme setting. My only complaint would be the occasional lack of charm, "Faceless Queen" chugs out a monotone syncopated groove with an incessant jolting of strings. It makes its point, creating a state of immanent fear and danger but does so with blunt force and a few other moments like this felt like the craft slipped for a moment. Otherwise its a sturdy collection of songs with the acoustic guitar lead "Trinity" closing the album on a throwback to the "Eldest Cosmonaut" EP I am fond of. This is probably because its the only other record of theirs I know!

Favorite Tracks: Martyr, Enemy Of Truth, The Gospels Of Fear, Trinity

Rating: 7/10

She Must Burn "Under The Shadows" (2015)

She Must Burn are a six-piece English Extreme Metal group from London who I caught at Download Festival this year. They put on a great show and their style of music is very palatable to my ears, fusing the symphonic styles of Black Metal with the rhythmic bludgeoning intensity of Deathcore, everything about their sound was very digestible to someone who has listened to a lot of the two genres they unite. I'm not sure why it didn't come to mind sooner but early Abigail Williams would be a comparable force, however She Must Burn have time on their side, the years gone by have allowed them to draw from the better qualities of the once cliched Deathcore scene to their aid.

 For a relatively small band the albums production is top quality. Their sound is stacked as layers of synth are wedged between octane rattling drums, raspy tonal screams and thick, dense and choppy guitars that rip pummeling grooves with a high noise gate with a Djent like tone and rhythm. They buzz and whirl away under cinematic strings and serine keys that play romantic, majestic melodies. The two work off one another, like the light and dark, often shifting onto the same path for climactic moments. The keyboardist chips in with female vocals to give the music a more melodic front, her technique very pop alike but the tone just right for something a little darker. It plays up the fantastic symphonic elements that illuminate the music. The lead vocalist has quite a range, from bludgeoning growls to shrill, coarse screams. As the record grows he expands with a character similar to Oli Sykes of Bring Me The Horizon, the screams turn half shouted and the lyrics become a lot more self centered and social.

The songs play through the typical motions of dizzying riffs and frenetic blast beats that the keys give direction, structure and theme to. Without them I'm not sure quite how they would sound, even the most intense and impressive licks get their spark from the symphonic overtone. All these songs pack a lot into the mix, not relying on repetitive song structures and forging genuinely impressive music that shows nothing but promise for them moving forward.

Favorite Tracks: Possessed, The Misery

Rating: 6/10

The Gathering "Always.." (1992)

"Always..." may not be so, against the grain of our half life this record will be one of the first to fade from memory. Its no classic, far from it, nor the sort of record you'll hear anyone talking of again. For me? Its a personal gem, a diamond for my eyes only, an album to adore every second of. Its the Dutch bands debut record released two years before their landmark "Mandylion". At this time they had a different vocalist, Bart Sims, who growls and groans in a very typically tonal, textured and slow guttural Doom Metal way. At their inception the band were very much in this category however they stand apart from other Doom acts with a layer of synth that's inspired, melodic but always a touch cheesy with its cheap and rigid tones. Mostly though, they charm and bring a mysterious atmosphere, vibrancy and a nostalgic character to the record.

The records production is dingy, dusty and moody. Its got just the right amount of meat and punch to have an impact as the instruments get themselves across with volume in a rather low fidelity affair, much of this is thanks to the synths which fill the spaces the low, brooding distortion guitars leave in their wake. The drums have volume that comes with a bit of clatter, the snare and bass kick punch through but the cymbals are a little dizzy, the toms thin and weak, sounding pale in comparison. Bart's vocals are dominant, strong, ample. Alongside him Marike Groot puts in a stunning performance as an effeminate compliment, often singing notes to chime with the synths but then whisked into the spot light to show her sublime range that soars with a wild streak.

The true champion here is songwriting, the aesthetics are an acquired taste one could get used too but so frequently does the magic come from the progressive shifts in song direction. The mood and tone is set, the song is in its cycle and a few instruments break away from the mold to then unleash a transition and the atmosphere is transformed, we are elevated to a new plateau. These songs also drop back into their routine brilliantly. Not a note of this record feels out of place or any musical avenue forced, its a sombre, Gothic melancholy without the romanticism. Some of its best moments come as more instruments get involved. The bass is very active with a bustling tone and attitude that has it scaling the fret board to accent the guitars and cue musical shifts. In these shifts and breakaways short lead guitars or solos often drop in with a knack for being within the moment and climaxing with licks that drop right into the chemistry, not taking a spotlight but sounding akin to all that's going on around them, flowing like a river with the music.

I know this record like the back of my hand, I discovered it at a time when I was getting into the next wave of brutal music, so it never seemed all that heavy to me. Now its become apparent that the dense meaty guitars, Bart's slugging growls and the crunching drums were probably rather dark for the time however the melodic synths and appropriated use of reverberated acoustics play that down. As well as drawn out, doomish power chords the guitars have moments of heavy, head banging chugging with a touch of Groove which was growing prominent at the time.

If the record has a weak spot, perhaps the interlude track "Always..." is a touch weak in comparison, the soft synths and synthetic toms over crashing waves feels a little thin without the full band. My favorite song "In Sickness And Health" gets a nod for pitting a somewhat Death Metal riff against  a swirly synthesizer effect that sweep phases back and forth for a truly magical, astral moment. Its been a year or two since I last enjoyed this personal favorite and I'm happy to share this with anyone who cares, however Id totally understand if someone didn't see eye to eye with me on this old gloomy record.

Favorite Songs: In Sickness And Health, King For A Day, Second Sunrise, Steongarden

Rating: 10/10

Justice "Woman" (2016)

Drenched in the glossy ooze of indulgent synths, illuminated by soft swooning vocals, "Woman" takes us on a retroactive trip through the Disco dance floors of old with an infatuated re-imagining of that era. French House duo Justice probably can't get by without mention of another French House duo, Daft Punk, who's influence can be heard boldly on the noisy crunching club tune "Chorus". Daft Punk are known for their inspirational roots in Disco & Funk music but in their long absences this pair fill the void with no imitation craft. Similar in stature and matching in talent, Justice go down the smooth and swooning path with a bright and colorful set of instruments, electronics and strings  cruising over tight, rock steady softly thudding Dance beats.

With a backbone for the dance floor these songs play out with events, transformations and lucid progressions that may pass you by given their seamless chemistry. With a keen ear for strings many repetitions are brought to life with cinematic strings rumbling in with melodies like a lead guitar. The many layers of instruments interchange their focus to convert what could be simplistic, repetitive dance tunes into woven tapestries of symphonic dance night groove as one instrument takes the lead over from the next and the music continuously unravels before us in electronic wonder. The album has strength in variety and consistency tone, it flows like a river while taking us many places, some with hints of astral vibes as if gazing to the stars above.

 With little to flaw one can only marvel at the balance of elements here. Bright, modern production breaths life into old sounds and ideas. Its romantic, elegant and nostalgic, the duos singing, velvety high pitched harmonies, are sublime. On the song "Randy" they sound very much like the vocal style of Kevin Parker from Tame Impala. This record grew slow on me, which I find rather strange in reflection. With each familiarity the bigger picture became clearer I guess and I get the sense it will continue to grow on me with time. "Woman" is a very sturdy record, I can only sing its praises.

Favorite Tracks: Chorus, Randy, Heavy Metal

Rating: 8/10

Austra "Olympia" (2013)

Following up on the Canadian trio's darker leaning debut "Feel It Break", we arrive two years later at "Olympia", a measured refinement of style that steers the ship to a slightly brighter, broader appeal, while still retaining the core of their identity. Its a fitting follow up, no leaps, tricks or wild cards in store, just another collection of short songs where the synths lighten up in tone and dazzle with chirpier, friendly melodies.

Even though the instrumentals are rich with layers of complimenting melodies and a memorable tunes, it is singer Stelmanis who once again becomes the focal point of the emotional narrative, crowning the songs with her infectious hooks that hit with magnitude as a sublime energy and character resonates through her empowering vibrato. She carries on where the last record left off and bar a few sharper ideas its a predictable performance, one that's unsurprisingly indulgent as the melodies flow around her swooning vocal lines.

The biggest progression felt is the instrumentals, tuned for a brighter ear the record feels a little looser and organic in reflection of "Feel It Break". The drums especially, including bongo arrangements and less electronic kits. With a lighter pallet of sounds the band often resonate short Neoclassical melodies over pulsating dance baselines. Soft strings, flutes and plucked strings illuminate these cohesive moments of indifferent styles that otherwise sound odd on paper. Its very much a more obvious extension of what came before it.

"Olympia" is a strong record, however the bands approach to songwriting limits what feels like an obvious potential for them to do much grander music. Short, verse, chorus song structures and a lack of theatrical progression leave the songs contained within the walls of repetition that doesn't expand on the magic of Stelmanis' voice. The last album had a stand out track "The Beast" where convention gave way to inspiration and that is what I was hoping for more of. Even where potential feels disappointing this record is fantastic and very enjoyable, one I'll return to often.

Favorite Tracks: Painful Likes, Home, Reconcile

Rating; 7/10

Old Corpse Road "Of Campfires And Evening Mists" (2016)

If ever Ive heard a band that captures the spirit of early Cradle Of Filth it is Old Corpse Road, who I discovered during Bloodstock festival back in 2014. Hailing from northern England, they invigorate that early extreme gothic sound once erroneously coined "British Black Metal" when Cradle were still wearing corpse paint and drawing links with the Norwegian scene. It is a rather formulaic similarity where shrill, piercing screams accompany guttural growls and burly spoken word over the extreme metallic music, aggressive, visual and drenched in symphonic keyboards. As the title suggests its a romanticized vision of British folklore and natural beauty expressed through the the typical tropes of such a sound, however the band execute it all with a touch of class a richer approach to the less Metal oriented moments.

With four ten minute plus epics the eight track record is quite a meal, clocking in at sixty four minutes it rarely lets up with a dull moment to pass. The songs are equally expansive and across the record a lot of variety is to be found, sometimes the guitars lead with groove and aggression, in other moments they let up for the synths to build atmosphere and furthermore drop out entirely for many symphonic or acoustic passageways enriching the musics scope. With all of the members pitching in on the vocal front a barrage of styles become possible as the ever progressing instrumentals are narrated by many voices. For all the variety on hand, these songs have structure and direction, they cohesively unfold, often from driving guitar riffs and gnarly blast beats into expansive atmospheres and soaring moments that certainly deliver.

All of the songs are dense and well fleshed out with a lot going on at once for your ears to pick through. The production is reasonable, the instruments have nice tones, the synths are stark and loud and at time it feels a little muddy with so much going on but it holds together well for the music to shine and shine it does. Each song has its own merit and one of my favorite aspects are the folklore and mythological themes that resonate superbly alongside the gothic vibes. Solid record that I can't falter, excellent for the right, specific mood, best enjoyed in the winds of cold English nights.

Favorite Track: Herne Of Windsor Forest

Rating: 7/10

Irreversible Mechanism "Infinite Fields" (2015)

There is a reason Ive waited a while to talk about this record, It reminded me so fondly at the time of Dimmu Borgir's "Puritanical Euthoric Misanthropia", I wanted to write about that one first. PEM is the sort of record that paths the way for these high octane, Extreme Metal and Symphonic hybrids. In the time thats passed Ive paid more attention to the bands Death Metal traits and perhaps it bares more of a resemblance to a band like Aeons Confer but whatever similarities it has, It's part of a musical niche I adore. I spotted this on Blood Music's bandcamp page, the same place I discovered Kauan, instantly I knew it was for me. Irreversible Mechanism are a duo from Minsk, Belarus. The first music from this country I am proud to add to my archive, which is organized by country. "Infinite Fields" is their debut dropped last year.

Much like the aforementioned bands, this one exists in the technical ecstasy of high precision, energetic performances of tight, sturdy musicianship and guitar shredding that requires much skill, dexterity and musical understanding to execute. There's not to much to distinguish them from the genres expectations, they have a more Death Metal leaning and don't over emphasize any instruments but what is apparent is the level of excellence that never lets up from start to end. Its experience is pragmatically dark and sinister, with a tinge of that astral charm where choral synths bring a sense of vastness only known in space and time. The flow is consistent and rarely breaks for any form of tangent, the guitars however often drop out to let composed symphonies to shine through, which are ever present, but sometimes out shined and drowned out by the metallic intensity.

Over soft lush strings beautiful pianos chime in the moments between the blistering guitars and the record has a stunning production of which the snare drum has a punchy, cutting chop that slices through stunningly on many of the blast beats the records drummer turns to in between a continual barrage of fast, interchanging technical beats, fills and rolls. It is quite the onslaught with all instruments firing on all cylinders with detailed levels of instrumentation. It all finds its place in the balance to make remarkable atmospheres perfect for a fan of this particular type of Extreme Symphonic Metal!

Rating: 7/10

Dimmu Borgir "Enthrone Darkness Triumphant" (1997)

Norwegian Symphonic Black Metal outfit Dimmu Borgir have been my absolute favorite band for many a year but with a recent inspired lust for their music I am reminded as to how remarkably well I know the ins and outs of this record and how much pleasure and joy can come from the depths of familiarity. Their music is my catharsis, an escape from any burden, a spiritual experience and the bands following record, "Spiritual Black Dimensions" is the greatest of musics to ever grace my ears. Of course music is subjective and personal and it is my personal experience that has solidified my love for them as waves of memories and nostalgia hit me with intensity listening to this one again. At a time when music sharing over the internet was in its infancy, songs like "Morning Palace" took me by storm with a flood of exhilarating noise that rocked my perceptions of music forever.

EDT is the bands most important record, taking a definitive step away from the low fidelity, traditional style of 96's "Stormblast", into the lush and lavish world of fine tuned, ear melting production that would bring their ambitious musical ideas to life in a new dimension. Refining their approach to songwriting and taking full advantage of a gorgeous production sound the band forge a masterful chemistry between guitar and symphony. Soaked in majesty, blasphemy and wonder these hellish dark anthems are engrossed in inspired melodies and harmonies that tunefully wist us into riveting musical worlds to paint the mind with an endless depth of emotion. Its significance and influence on the direction of the growing European metal scene is their to be seen. Taking Black Metal to a more accessible place, while expanding the possibilities with intelligent and thoughtful musicianship.

As mentioned, the chemistry of symphony and guitar is a key component in this records brilliance. The synths are thick, bold and shapely, carving distinct signatures that define the atmosphere. Beside them dense, burgeoning distortion guitars are tightly performed, oozing and melting into a shimmering harmonized wall of sound with the synths, and standing vibrantly on their own feet when commanded too. Behind them whirling blast beats and dizzying drums rattle away with precision force, joining the barrage into the glorious wall of sound. The bass is the think underlining to fill the dimension with a low warm boldness that has a few moments to inflect its own lines, but mostly acts as the dense undergrowth.

Leading the charge is vocalist Shagrath, who's praises I will sing from the highest mountain. His voice and scream is one so familiar the nuances are all known to me. Its in the finer scrutiny of his tone, snarl and delivery that a true charm can be heard through passionate delivery that has a fair few moments on this record where the words and meaning move through him. "Relinquishment Of Spirit And Flesh" for example, the growls and guttural screams through the songs mid section bellow, roar and howl with dimensions other screamers just can't reach. Its a moment of true inspiration and his voice surpasses the mortal realm, lunging us deeper into these devilish songs of eternal darkness.

The records theme, as you might of guessed, is of evil and darkness, however its forged through bright and intelligent melodies that make for memorable hooks and endless unforgettable riffs, harmonies and moments. The song structuring is smart, mixing the basic elements with some unraveling passages that make for continually exciting and easy to comprehend music. It can be a little rigid with section repetitions but not to a flaw. If this record does have a criticism it might just be the track "Entrance" which despite being a damn good song is overly simplistic in structure and feels somewhat like a rehash of "In Death Embrace" echoing a similar vibe between guitar and bright pianos.

Ive listened to this record well over a couple hundred times. Its an insatiable and riveting experience ripe with luxurious synths, rocking aggression from the guitars and that pummeling swell of darkness from Shagrath's evil screams and the menacing blast beats that have plenty a moment. The vivid atmospheres conjured have been endlessly inspiring and just hit me on that indescribable level. Its been an absolute pleasure to have enjoyed this music for so many years and I will continue to do so for the rest of my time!

Rating: 10/10

The Gathering "Mandylion" (1995)

Casting my mind back across through all the years this record has been with me, time may have gotten the best of my memory. How I found this band is hazy but of the ten plus years Ive been listening to them this record has always been a real treasure. The Gathering are a Dutch band with a patchy history of style and direction that started with a Death / Doom Metal debut that would be short lived as the group progressed through different Metal sounds before switching to Progressive and Alternative Rock after this record. In their beginnings they had trouble securing the right front man before uniting with Anneke Van Giersbergen who's voice is a free spirit with a charming purity and spirited power.

Despite the line up changes and wandering direction, on their third record, Mandylion, The Gathering created a magical record complete in concept and bearing. Anneke is the star of the show, her voice glides freely over the music, dazzling and mesmerizing with every word she utters. She guides the emotional narrative of the songs through the lows and highs with an impeccable range that gets the feels running every time. So soft and pleasant yet powerful and moving, soaring at times. Even though shes the star, the instrumentals are on an elevated level too, captivating, inspired music which we have the pleasure of hearing them both firing on all cylinders with a unique vision and chemistry that creates a "place".

The instrumental compositions are deceptively simple, aiming for an easy to digest experience with an approach to riffing and symphonics that pieces together simple ideas, often repetitive in delivery but with quality in mind over fleshing the songs out with needless complexities. The gorgeous aesthetic of the mix and Anneke's voice chime together to create a spirited and organic sound with another world feel that strays far from its metallic roots. The guitars have a tight tonal distortion thats played for its texture as the riffs take a far from aggressive approach, focusing on simple drawn out chords and melodies. The dense symphonies intertwine and weave around one another, allowing the two to both guide the songs, either in turn or together and its a real treat when all three fire with Anneke's voice.

On the track "Mandylion" the electronic instruments strike up a rich atmosphere of tribalism cultures and natural spirit that evokes vivid images of a forgotten meaning of humanity and our ancestors. Its a powerful track, but this power is their throughout the record, working with the guitars and drums which sound big and commanding on this record, holding together the pacing like a sturdy strut. The snare has a sharp and dense tone that sounds great in the mix alongside some big and yet not overpowering symbols that crash away prominently. The bass guitar has a big and warm tone that gets plenty of exercise under the guitars, not always mirroring them and adding a rooted variety that doesn't have much impact, but sounds great when its noticed.

 Its a special record to me, one that gives me a ton of inspiration, especially Anneke's voice which always gives me goosebumps. Listening to it again reminds me of all the times I used to play my guitar along with it and the youtube videos of them playing live in the 90s with Anneke dancing on stage with a youthful innocent energy that would captivate the crowd. Its a real gem, a beautiful and unique blend of Symphonic Metal with a tinge of Gothic on the side that I've never heard anything quite alike. Can't praise this one enough, its as perfect as it gets.

Favorite Tracks: Strange Machines, Eleanor, Leaves, Mandylion

Rating: 10/10

Adrian Von Ziegler "Vagabond" (2013)

Looking for the next record of Adrian Von Ziegler's to spin, I noticed "Vagabond" had a similar format to our recent enjoyment "Wanderer". Four tracks, each twenty minutes in length, this was another seasonally themed ambiance of indulgence mixing gentle scores with the winds, chirping of birds and even the waters washing up on the shoreline. Where "Wanderer" charmed with its balance of environmental ambiance and passing melodies, "Vagabond" find a much more direct approach with a stronger presences from the stringed instruments that give the record a symphonic vibe.

"Winter Breath" is the most striking song, a deep howling wind paints the night black, lead by echoing xylophones as the sounds of frozen caves and landscapes glisten in the spooky quiet beyond the twilight. It steadily builds into big theatrics with strings, choir aahs and dramatic leads that intensify gently before unraveling back into the snowy, dusk bound track led by the winds.

The other three tracks are not quite as impressive, however "Autumn Forest" has some big Celtic folk leads that feel as if they have been cherry picked from traditional folk songs. They come to dance in between quite moments which is what all the songs do here, drift between calm and climactic moments, intensifying in depth and volume. Its a great ambient record, but one that's more demanding of your attention than "Wanderer". Both make for great choices when in the particular mood.

Favorite Song: Winter Breath

Rating: 6/10

Anthemon "Kadavreski" (2005)

A while back I picked out "Dystopia", an all time favorite record of mine, to cover here on the blog. It occurred to me that Id never given their other records much attention. I picked out the follow up record, and subsequently their last, to listen too. It has a very familiar pallet with similar tones, the acoustic and distortion guitars, the operatic vocals and a wall of symphony through the electronics all feel very much of the same page, the only difference are some rougher guttural growls on the opener.

Consisting of four tracks the record opens up with an ambitious 23 minute piece that develops from a majestic traveler into a dark and hasty aggressor accompanied by vicious growls and hammering snare drums as the track unravels back and forth between somber acoustics and doom drenched crawlers crying out unsettled melodies over thick, symphonic chords plastered in distortion guitar. The progression is ever shifting in direction like schizophrenia, as if fighting between different parallels. At around fifteen minutes the song breaks its form with a lush, dreamy laden of piano sweeping in fast flowing, gorgeous form before confining itself to a simple melody that sets a tone for the final part of the track that fails to make sense, or climax the song with any meaning.

The lack of direction or cohesion gives this one an unusual taste, despite being a little erratic and shifting, whatever is taking place sounds great for the most part. The group deliver a similar taste of melody and mood to the predecessor, but not the song structure and emotional narrative. The following songs feel second fiddle to the colossal opener and feel easier to digest and understand in their small length, despite continual shifting mood, melody and tempo that turns in a heart beat. The final track "Weight Of The Feather" has the simplest of song structures present and from the mid point draws the record to a close with a big crunchy riff chugged over and over as the growing magnitude of symphony is cut short by the strike of a gong.

"Kadavreski" is a confusing record, one that's hard to form an opinion on. Its ambitious opener doesn't sit right with the other three songs and they all shift and turn a little to fast to follow. That being said at all times the record provides a lush dense wall of swallowing sound to get lost in, with moody brooding melodies leading the way.

Rating: 6/10

Graveland "Raise Your Sword!" (2001)

Taking a little nostalgia trip back to "Prawo Stali" my research led me to this Graveland record which consists of three tracks from the same recording session. It's labeled as an "EP" and clocks in at thirty minutes, not far from what could be considered a full record however these songs were left off the record for a reason and despite being such, they make for an enjoyable listen.

"Till The Final Death" marches to the same warlike anthems of the full length, parading battle horns and war crys under the focus of tempered guitars that don't have quite the same groove and momentum, but bare a colder vision with riffs that lurk into higher octaves, rattling and fuzzing away at the mercy of the low fidelity distortion. Between these moments the familiar shifting riffs chime away with the symphonic elements and make for a solid song.

"Temple Of My Hatred" dives into darker regions with a relatively similar style of track, utilizing the same lengthy song structures and compositional choices, but homing in on a darker tone through a memorable lead rift that once again comes through a wash of fuzz and rattle as the distortion's higher end struggles to contain. A selection of moodier riffs give this one a different twist but its a very familiar feel.

"W Objecia Simerci" is the records most distinctive song with a different mix that has the snare snapping through the mix and more space between the guitars and synth. The composition is a little more sparse too with plenty of passages for just the guitars, or for them to drop behind the synth which has some brilliant choir tones singing out booming chants in their moments. Overall its really enjoyable, but a definite mark behind the full length which had the pick of the sessions best songs.

Favorite Track: Temple Of My Hatred

Rating: 6/10

Arcturus "Arcturian" (2015)

After a ten year silence since "Sideshow Symphonies", the chaotic carnival sideshow Arcturus emerge for the abyss to unleash another full length record upon a niche group of adoring fans. Arcturus has been a group I've held in the highest regard for their unique flavor and artistic evolution across the four records that proceeded this one. Forming under the moniker "Mortem" in 1987, it took the group almost a decade to find their sound and release their debut "Aspera Hiems Symfonia" in 96. It was a raw Black Metal power ride of haunting atmospheres and playful melodics that fused the symphonies with the raw power chord distortion, howling screams and thunderous drumming. Having established a unique identity, the group took a huge stride into unknown territory with the follow up "La Masquerade Infernale". Using electronics, sampling and taking a more theatric approach to their music they created a modern masterpiece unrivaled by anything alike. The two follow up records further experimented and refined their sound and set a high level of expectation before there split in 2006.

With the stakes so high I was both dreading and anticipating this record which took me a fair few listens to warm around to. What hit me on the first play through was how familiar and "right" the music felt, as if the the band had been frozen on ice, put on hold, and returned ready to fire as if not a moment had passed in their absence. It only took a minute for the opener to throw me into a classic Arcturus atmosphere, rattling drums blitzed in the background as discordant guitars ring out with descending synths, throwing us into a symphonic hook led by ICS Vortex's adventurous, and still so charming vocals. Everything about this record as it played through made sense, the opening half having a lot of familiarity with different approaches and styles executed on previous records, the quality good enough to call its own. There were one or two moments that felt a little like carbon copy, the track "Archer" feeling like an outtake from sideshow symphonies, and "Angst" from "Aspera Hiems Symfonia". Ultimately its the shock of getting exactly what you wanted that feels a little surreal and the ten years apart feels almost non existent. "Arcturian" has sheltered itself from the world and let the band continue exploring them selfs, the only noticeable influence being the drum-step beat sampled on "Demon".

With the music doing so much right it manages to mask a big problem this record has. The production. Lets be blunt, its pretty appalling. From the get go its apparent there are issues, instruments fight for volume, bleed into one another and a lot of clarity is lost as the instruments collide in a messy mix that is inconsistent on multiple levels. The drums firstly, they sound different from track to track and often drown themselves in a rattle of noise. The guitars sometimes feel like an incoherent fuzz under over powering symphonies. For all my complaints, I am left with puzzling thoughts. The production doesn't ruin the music, but does it hold it back? Maybe it even adds to it? This isn't a case of low-fi production where the aesthetic is an edge, but the inconsistencies on a track by track basis perhaps suggest intentional manipulation of instrumental clarity, which in a few moments does work. Arcturian was an initially puzzling record, but from the get go its undeniably decent, a fine work which any fan would adore. It will be interesting to gauge the communities reation, and although I hope to hear a remastered release one day, I am undeniably satisfied by "Arcturian".

Rating: 8/10

Raunchy "Vices.Virtues.Visions" (2014)

Danish group "Raunchy" snuck this one, their sixth full length, right under my radar last year. Raunchy are a six-piece group whos sound would lump them under the "Future Fusion Metal" name coined by Mnemic, describing the sound in the European scene. Combining many of the energetic elements of Industrial, Metalcore, Djent, Death and even Progressive Metal, their sound would be atypical if not for the Electronics present in the form of backing symphonics and Trance like leads that add a engrossing layer of electronic melodics. Their 2006 release "Death Pop Romance" impressed me immensely and earned them a reputation as a band I should always take the time to check out what they are upto.

The best of Raunchy comes from their clean melodic vocal lead hooks and infectious, poppy trance like melodies that ring out an uplifting mood along side aggressive, modern Djent metal riffage that pounds and grinds chugging rhythms with aggressive drumming. Its the moments that give way to the electronics that Raunchy find their niche, and they create these vibrant sing along moments song after song, but its the moments between where things don't move so smooth. The Metal side of their sound is relatively generic and the guitars lack a spark to create something with an energy or idea thats fresh to an experienced metal listener. It flicks like a switch as the songs build up with varying riffs and structures that lead to the implosive moment where the electronics drop in and time and time again this is where the magic happens.

"Vices.Virtues.Visions" is a decent effort, one that taps into the best of their unique sound, but drifts into mediocrity when the Metal takes lead. Clocking in at over an hour with a couple of lengthy numbers the moments between can drag, however the hooks and melodies are right on point. Another strength this record developed were some pounding festival like beats, you can envision the crowd clapping and fist pumping along to the bass kick that rings out as the music calms before the storm. Sound wise its representative of modern production, very audible and clear, the drums having a punchy and crisp tone about them. The electronics sounding superb alongside the crunchy guitars. Raunchy do a lot right here, but tiring of typical Metal guitars made a lot of this record dull for me. 

Favorite Tracks: Truth Taker, Digital Dreamer, Anasthesia Throne, I, Avarice

Rating: 5/10

Anthemon "Dystopia" (2004)

Today we write about a personal classic, an album thats been with me for many years and has also been a little bit of a mystery as to how I actually found my way to this one, but over the years it's served as a record I can revisit time and time again. Anthemon were a French band from Paris who fused Symphonic Doom Metal with a operatic vocals, with a distinct sensibility for tuneful, moving melodies and lush, glacial atmospherics that gave them an identity unique to anyone who has been lucky enough to stumble across this now defunct group. After recording three records in three short years the band split up during the writing process of a fourth for reasons never expressed.

"Dystopia" is a concept, sound, an identity created through an aesthetic the entire album sticks too. A niche touch in creating a record that feels like it can only be best enjoyed listening all the way through, more so than nit picking songs. Although a couple of tracks stand out, this is eight tracks of steadily paced, lush doom, playing out crafted melodies and theatric, moody operatics in absorbing strength. The sound oozes a sensuous wall of symphony as brooding, dense, low distortion guitars ring out against uprising, bold, audacious symphonic strings that create a warm, absorbing air of wonder for captivating melodies, and melodramatic performances as the operatic leads soar high and exchange with beastly growls and screams from the harsh vocals, as sturdy drums and solid baselines steady the ship.

The melodics are infectious, tuneful leads that burst out from both the guitars and symphony in between brooding moments that move with the anticipation of the next tune. The craft is astounding, each riff, lead and vocal progresses with ease to the next state with a true architecture that far exceeds the atypical Metal approach to song structure and writing. Anthemon forge their music like a matured wine thats been brewed to the fullest of flavor. Guitars play out giving rhythms that lend themselves to the structure and progression while breaking out into glorious leads with the strings and synth. The mood of the record is a strange one, overall bright and uplifting, with an undercurrent of sadness, mostly heard in the operatics, that flirts with darker feelings as the lyrics brood and ponder on pain and the psyche of the mind.

From a technical perspective this is a grand sound that may feel a touch clustered at times, but does a tremendous job allowing the bright, gleaming leads to play out in unison alongside moody guitar distortions as the symphonies shine through with a bright hazy wall of bliss. The drums play an important roll, sounding crisp, punchy and big, yet playing a moderated roll, providing these songs with a sturdy backbone thats theatric, without stealing the show. The chemistry in the mix may really be in the music, but the lush sensuous aesthetic of this record does nothing but reinforce magical compositions that master their own conception. Truly a work of art that could be easily overlooked, but years of listening has shown me the wonder never dies with this one.

Favorite Songs: Above Us, Tuned To Dead Channel, Sereve Eves

Rating: 9/10