Carving An Icon

BY Viper Solfa

(Customer Reviews)

$7.00

SKU: MASCD0889

Label:

Massacre Records

: Category:
Black Metal

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"I actually found Carving an Icon quite the retroactively blind purchase, suspiciously ironic since I had been tracking this project for quite a while and assumed I knew what to expect from Morfeus in regards to his avant-garde songwriting and abstruse, distinctive approach to the axes. From this isolated point of view, his sonic handprint is indeed all over Viper Solfa, making the unreasonably long wait for Dimension F3H’s This Mechanical World somewhat easier to mitigate since the dude has at least kept the old creative mind juiced as ever. What I wasn’t quite able to ready myself for was the remaining contributions, hardly something to just gloss over, as Viper Solfa is presented as something of a “supergroup” after all as opposed to a mere side-project.

Ronny Thorsen supposedly leads Viper Solfa for all formal intents and purposes, the proclivity for many a conflagration granted by his burly speaking timbre and rousing death roars is a concerted force to be reckoned with. It can be argued that he is just another head in the pack, hardly boasting the standalone merit to turn one’s knees to jelly, but Viper Solfa isn’t done yet. The centrepiece of the band isn’t actually Thorsen, but Miriam Renvåg, whose swaying, affecting timbre opens doors unexpected for the band both conceptually and stylistically. So while I can’t feign shock now, I do recall bemused skepticism at the introduction of such audaciously disparate factors. Renvåg’s voice is very sleek and refined, with an almost pop-caliber cadre of appeals that land Viper Solfa closer to bands such as earlier Sirenia once the vocal trade-off between Thorsen is taken into account. It isn’t what I expected, having come into this project for Morfeus alone, but I certainly applaud Viper Solfa for attempting to merge sodden, opaque, death growls with avant-garde female vocal idiosyncrasy.

With nearly all preconceptions espoused by this point, and with Renvåg’s quivering and psychedelic banshee wails taking their mental toll, I realized that there are plenty of parallels that can be drawn between Dimension F3H and Viper Solfa. Symphonics are used sparingly and as punctuation as opposed to the primary arsenal. Morfeus is basically the main songwriter here, and he is still shipping out crunchers of high order in the modern black/death format he began employing in earnest on Legacy of Evil during his waning years with Limbonic Art. In fact, the hard-lined, basal distortion sounds very similar to that record, and as the rollicking, flighty webbing of tremolos grow thicker and denser, Carving an Icon hammers out a welcoming mat to the most unexpected clientele.

This ends up being the album’s tripping point, however, as far too much time is spent grooming vocal melodies that sound almost shoehorned in just for the sake of keeping the singers occupied. Thorsen’s petulant rasp gets one-upped by Renvåg’s (sometimes sorely overacted) caterwauling, and the end result borders on the monotonous more often than it should. The band still makes a good show of their missteps, what with a dense, abysmal grandeur pervading the nether reaches of what is honestly a relatively compact and easy listen on the whole, but these shortcomings remain. Carving an Icon may not be a masterpiece, or even the best outlet for all of the talents involved, but I can promise that it sounds like absolutely nothing you have heard lately, or likely will in the near future. At the end of the day, a neat project that delivered at least a few truly lethal numbers like “Whispers and Storms,” “Deranged” and most notably the floods of choppy, aggrandized viscera that embody the aptly-titled “Vulture Kingdom.” My expectations are not in line with the norm due to my familiarity with Morfeus’ back-catalogue, so take of this what you will, but Carving an Icon got more than a few spins out of me."

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Sabaton
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Power Metal

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Redemption
Live From The Pit (CD/DVD)

Progressive Metal

Redemption is one of the leading progressive metal bands in the world today. Formed in Los Angeles, California in 2000 by guitarist / keyboardist / songwriter Nicolas van Dyk, the band features legendary progressive metal vocalist Ray Alder of Fates Warning, as well as guitarist Bernie Versailles (Agent Steel), and the phenomenal rhythm section of Chris Quirarte (drums) and Sean Andrews (bass).Redemption’s combination of heaviness not usually found in progressive metal, irresistible melodies and emotional urgency has created a unique and resonant voice for this band that sets them apart from the many clones in the genre, and which has gained them the attention of fans, critics and musicians.Through the band’s first three studios CDs (2002s self-titled first release, 2005’s The Fullness of Time, and 2007’s The Origins of Ruin), Redemption gained a loyal fanbase and garnered rave reviews worldwide from critics, who describe Redemption’s music as“one of the best progressive metal acts to emerge in the past decade” – DPRP“magical aura and incredible songwriting” – BLABBERMOUTH“it's powerful, catchy, enslaving, technical; it's the whole bunch” – LORDS OF METAL“the new star on the US prog-metal sky” – SQUEALER ROCKSAfter touring in support of Dream Theater and documenting at headlining show at tour’s end entitled Frozen in the Moment, the band returned to the studio to release 2009’s Snowfall on Judgment Day and 2011’s This Mortal Coil.Performing in support of that record, in 2012 Redemption co-headlined the world-famous ProgPower Festival in Atlanta, where the band recorded a unique show featuring nearly 80 minutes of material and staged with complementary visuals that drive home the compelling emotional impact of this band. That performance is now being released as a CD/DVD set with additional bonus material through Sensory Records, the band’s original label. From fan favorites such as the never-before-performed Parker’s Eyes to the crushing emotional weight of Stronger than Death, Redemption’s performance captured the special ability of its music to deeply connect with fans. In the words of one concert-goer, Redemption’s show “was definitely the most exhausting, personal and emotional musical experience I’ve ever had.”
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AnnaMy
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Folk Rock

Woodpecker is the debut release from singularly named Swedish vocalist AnnaMy (her spelling not mine). Its a gorgeous album. This is beautifully recorded gentle, melodic psychedelic folk. Plenty of electricity here - most notably on electric guitar courtesy of Reine Fiske. Undercurrents of flute and organ spice up the mix but the focus is on AnnaMy's stunning voice. The overall sound pays homage to the greats of the 70s. Think in terms of Trees, Mellow Candle, Caedmon, and Vashti Bunyan. This one is a real grower. Highly recommended.
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Trail Of Tears
Oscillation

Gothic Metal

"The seventh studio album for Norwegian dark gothic metal band Trail Of Tears comes fresh on the heels of a new label deal with Massacre Records. Beginning their writing sessions in 2011, the quintet would record again in the familiar French Sound Suite Studio with Terje Refsnes behind the boards who they've worked with on and off since 2002's "A New Dimension Of Might" record. "Oscillation" is a 13 song, 59 minute plus platter that travels through dynamic gothic metal pastures, incorporating a slew of extreme and commercial elements that should keep the listeners on their toes.The cascading, echo guitar passage that opens "Waves of Existence" quickly gives way to this thumping gothic charge, Bjorn Erik Naess using a myriad of heavier picking and clean transitions on his guitar while extreme vocalist Ronny Thorsen and female clean vocalist Catherine Paulsen trade off the verse and chorus work to heighten the contrasts within the song. "Scream Out Loud" as a follow up is slightly more commercial in nature, the keyboard hook and alluring high melodies more in line with long-time Nightwish fans (although the whispering vocals from Ronny bring classic Moonspell to the table).Many will appreciate the heads down emphasis on aggressive guitars and semi-progressive/ tribal transitions for the title track (some of the best drumming on the album courtesy of Bjorn Dugstad Ronnow) and the upper soprano vocal delivery from Catherine on "Room 306"- wrenching out all of the drama that makes this sub-genre appealing to a wide swath of the populace. Trail Of Tears belong in the metal genre as they are unafraid to approach these arrangements with ferocity- emphasizing darkness and despair through all facets while adding outside influences from the symphonic world as texture and not overpowering the mix."Oscillation" is a strong effort from Trail Of Tears- packed with an assortment of dark gothic metal colors and professionally executed from a veteran act. Let's hope we don't have to wait 4 years between the next recordings." - Eternal Terror
$15.00

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Almah
Unfold

Power Metal

I'm not the biggest fan of speed metal but this one is surprisingly good. Almah features former Angra lead vocalist Edu Falaschi. The music has good intensity and movement. Lots of hooks, staccato crunch and shredding solos. I'm suprised at how melodic it is. Falaschi was always a more than able replacement for Andre Matos and he does a great job here fronting his own band."Allow me to begin with a quote: "There comes a moment in a man’s life when it is necessary to make a radical decision in order to move forward with dignity and renewed energy”. This is from the statement that famed Brazilian Metal vocalist and composer, Edu Falaschi, released, upon his departure from home country metal giants, ANGRA. I had been a fan of them for a long time, and also Falaschi's newer solo work. His leaving of one of my favorite bands managed to turn from a disappointment to a renewal of hope for some of my favorite music, for he, if I may say, as one of the musicians I most genuinely admire (that title does not get thrown around) continued on with his solo band, ALMAH. The previous releases with the band, now a permanent act, marked a step away in style from his ANGRA, not only in compositional style, but also in vocals; no longer was he constrained to the high-pitched, soaring melodies 'required' by a power metal band; in ALMAH, as he has already said, he has found his niche.This brings me to the release of the band's latest release, "Unfold". Different again from the modern, progressive and heavy "Motion", this new piece appears to combine the elements most exquisite found in his previous solo work, and even some ANGRA-like hints. As I could have expected, it was a thrilling experience; and yet, not one piece of it was predictable. "In My Sleep" is one hell of an opening track, that is riled up with a technical drum roll by a monster on the battery, Marcelo Moreira, that explodes into a lightning-fast and energetic power metal riffage, that tends to (rightly) dominate most of the song. Falaschi once again proves his vocal abilities are nowhere near restricted, and floats between gruff baritones and soaring melodies; this kind of versatility is found on each of the album's exquisite tracks. Upon listening to the balladic "Warm Wind", I am pleasantly reminded of ANGRA's "Wishing Well", one of my favorite ANGRA tracks of all time. In part, this new piece is stylistically similar, but retains that slightly heavier, slightly more unpredictable, "ALMAH" touch, and is smoothed over by one of my favorite Falaschi vocal performances of all time."Raise the Sun" rightly chosen as the single to showcase "Unfold" in all its glory. It begins mid-tempo and graceful, but quickly ascends to a progressive grove rife with riff mastery that pops up from time to time, and contains some beautiful bass lines. Raphael is certainly an expert at his instrument, which is saying something, since ALMAH's former (and current ANGRA) bassist, Felipe Andreoli, is a bassist most influential to me. "Believer" once again pushes the musical envelop within this album, and is a brutally intricate and furious track, full of powerful, thrashy riffage, yet also infectiously catchy vocal melodies; one of my two most favorite track on the album. Finally, I cannot finish writing this up without touching on "Treasure Of The Gods", a meaty, nine-and-a-half-minute composition, made up of many passages that, while are stylistically different, amalgamate to create my other favorite piece. On this track, I hear some of the most complicated and intricate drum, bass and guitar interplay, and beautiful guitar solos, and stellar vocal belt-outs. This song is metal personified."Unfold" is one of the albums I have ever had the most pleasure writing about and listening to. It is a reminder to myself and other fans why Brazil is ultimately a metal powerhouse; after leaving ANGRA, continuing ALMAH was the best thing Falaschi could have done, and I hope 'that, with them, he continues to belt out more masterpieces in the future." - Metal Temple
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Iron Mask
Fifth Son Of Winterdoom

Power Metal

"IRON MASK stand out from many other artists of the neo-classical metal genre because they manage to combine high musical ambitions with a certain kind of accessibility and lots of variety. With 'Fifth Son of Winterdoom', Dushan Petrossi and his band manage the musical claim to be very catchy, so fans of Firewind, Dio, Iron Maiden, Yngwie Malmsteen and Rainbow will all have their joy in this extraordinary album."
$15.00

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