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Coming Home (Digibook)

Coming Home (Digibook)

BY Pain

(Customer Reviews)
$24.00
$ 14.40
SKU: 3212-0
Label:
Nuclear Blast
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Limited edition digibook features a 10 track live bonus CD.

"Peter Tägtgren has had a long and storied career under the banner of a pile of different musical epithets, so his journey is best thought of as one continuous track, rather than a series of parallel adventures.  So, Hypocrisy and PAIN and Lindemann are all part of the same fabric for Tägtgren, each project feeding into the others for inspiration and creativity.

Still, there are certain distinct separations, especially as it relates to the dynamic of Hypocrisy, his main band, and PAIN, his…well, ‘fun’ band would be my words and not his, but you get the idea.  Hypocrisy albums are crafted and articulated, pillars of modern Swedish death metal in the pristine sense, where PAIN, in the vernacular of the youngsters, is just Tägtgren balling out (cross-genre reference! ‘Get Tägtgren on the court and he’s trouble / last week fucked around and got a triple double.)

Five years since the release of the excellent “You Only Live Twice,” and coming on the heels of the success with Lindemann, PAIN returns with “Coming Home,” which follows all of the usual PAIN blueprints, except that it incorporates some of Tägtgren’s usual experimentation with Hypocrisy.

First things first – Tägtgren, when writing for PAIN, excels specifically in one element, which colors all of the band’s records, which is that he knows how to write BIG.  Not just musical bombast big, like the full sound of Rob Zombie’s early work, or operatic big like the recent works of Turisas, but the kind of big that’s normally reserved for sporting events and award shows on American television.  Yeah sure, the album’s opener “Designed to Piss You Off,” starts simply enough, almost like KMFDM’s “WWIII,” but then absolutely explodes with a huge riff and an easy to follow vocal cadence.  It undulates through this pattern a few more times, knowing when to back off the gas and then to put the pedal back down for choruses.  This is the kind of thing that PAIN specializes in; mastery of pace and timing for maximum impact.

In early press, Tägtgren talked about “Coming Home” mixing in some elements that he hadn’t used much on PAIN records previous.  The album’s second cut “Call Me,” begins similarly to the some of the best work from countrymen Soilwork, but uses a little electronic manipulation and an orchestral backing to create a fast-paced and cinematic feel.  The liberal use of the dramatic backdrop certainly feels new.  At the risk of overselling the point, this is a ‘big’ song, equal to anything from “You Only Live Twice,” and showing just a hint of something new in the PAIN arsenal.

Of course, what makes “Call Me” intriguing on top of the music is the juxtaposition of this mammoth piece of dynamic songwriting with the utterly ridiculous lyrics, which center around booty calls and phone sex.  (This might be my only change to bring it up in context ever – speaking of songs about phone sex, if you’ve never seen the video for the Village People’s “Sex Over the Phone, go watch it now.  I’ll wait….)

Anyway, PAIN has always had a knack for writing a few lyrics that would make AC/DC proud, but “Coming Home” pushes that envelope even farther, between “Natural Born Idiot,” “Call Me” and “Pain in the Ass,” which concerns itself with…ahem…playing the back nine, shall we say?  By contrast, the album also mixes in some no-nonsense political dialog, and speaks very plainly about the nature of candidates (certain ones I’m sure you can think of) to posture and preen and speak well past their welcome.

But we’re getting off topic.  “Coming Home” sounds like a PAIN record, but turned up to eleven, if that seems possible.  “Final Crusade” would have been a fine song as it was, but the addition of the orchestral backing and the extra fuzz added to the guitar helps the riff sound like a real march, powerful and direct even if entirely misguided.

The title track though, is where this album will make its money.  “Coming Home” the song is an incredible journey of soft guitar, mood-setting atmosphere and lyrics, and an addictively anthemic chorus that ties the entire piece together.  That chorus, against the album, gets by without a big, metal riff and reminds greatly of the rallying theme from the “Avengers” films.  It’s one of the jewels of the record, and actually speaks to part of Tägtgren’s success with PAIN – he knows how to sneak pop constructions into his songs and make them sound aggressive, which is a fine line, especially when dealing with a pop-suspicious audience, but Tägtgren nails it on every part of “Coming Home.”

This is a great record.  There are no more superlatives to lavish on it without fawning.  It’s simply excellent, and deserves attention." - Bloody Good Music

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  • "The French group's third full-length album, Orakle's “Eclats” doesn't go the traditional route in nearly anything it does. Nominally a black metal release, the album goes the exact opposite of where it might be expected to at any given point, constantly changing from melodic to extreme and back again. Like a heavier version of the latest Subterranean Masquerade release, “Eclats” is a surprise hit that's musically all over the map and delights in meshing harsh and soft as often as possible.Experimental and genre-bending in the extreme, these tracks showcase everything from jazzy prog to full-on extreme metal, with a range of both clean singing and raspy growls. As should be expected by anything with the tag “progressive,” there's a strong bass presence across the disc, even with the black metal base sound. Those off-kilter, carnival style sounds that have become a staple in the avant-grade scene make a handful of appearances, and you should pretty much already have guessed that some sax comes out to play.Dynamic and always in the process of going somewhere else, the mixing of opposing forces brings to mind Ne Oblivscaris, and the little ethnic flourishes from time to time will evoke everything from Myrath to Orphaned Land, at least until the next change in sound just around the corner. The French language coupled with segments of clean singing will even occasionally remind a listener of that French pop covers album Therion released a while back.Orakle rarely fully switches gears all the way into separate genres, even when pulling heavily from them. Sure, there's a dab of power metal here, some gloomy Goth over there, a hint of groove metal pops up, a dash of some good old dark rock gets thrown in, then there's a sudden moment of industrial electronica, but the band keeps it all tightly together into a distinctive style that sounds like Orakle. Don't let that genre joyriding give the impression “Eclats” isn't heavy though, as the black metal parts easily have the legitimacy of underground gems like Eschatos, while still performing the melodic elements at an equally high level of proficiency.Only a couple of instances occur across the disc where the ping-ponging sound doesn't line up quite perfectly. The ending of “Apophase” for instance sounds significantly different enough from the rest of the song that it might as well be part of something else entirely, and the transition between the ending of “La Sens De La Terre” to the beginning of “Aux Eclats” is pretty jarring due to the huge and sudden change in sound.The constant variation takes place absolutely across the board, even in song lengths ranging from four to twelve minutes and everywhere inbetween. By the time the final weird guitar chords at the end of “Humanisme Vulgaire” finish echoing across your skull, you'll know you've heard something pretty damn unique in the metal world and its entirely likely you'll be ready to hit “play” all over again.Highs: Black metal, power metal, French pop and rock, electronica, and more all come together in this genre joyride.Lows: For the most part the experimental and progressive nature works, but in a few cases the opposing sounds don't fit together perfectly.Bottom line: Orakle goes as non-traditional as it gets and does everything you'd never expect for a black metal album." - Metal Underground
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  • "He who must not be named ere the twilight hour, The Shogun of Sorrow, The Angry Metal Arbiter himself recently bestowed on us brief mortals a missive of momentous proportions. In it, he explained that his natural response to absorbing music is an intellectual one, cerebrally stimulated instead of emotionally. I couldn’t be more diametrically opposed. I can heartily appreciate the often overwhelming, dexterous intelligence that engineers so much of this music we love – but it remains so that I better connect via the feeling it elicits from my rusted ferrous heart. As long is it’s stirring in some way, I can happily enjoy minimalism in all its prolonged glory. Prog metal’s best kept secret, the Andorran Persefone strike the perfect balance between both worlds, forging infinitely technical, highly progressive yet innately poignant extreme metal. I’ve been a fan since 2009’s Shin-Ken and almost equally adored follow up Spiritual Migration. Now, with the help of some sterling guest appearances, Aathma arrives to once again set the bar impossibly high.Cherry picking the best parts of acts as diverse as Symphony X, Opeth, Arcturus and even Pain of Salvation, whilst focusing them through an unmistakably melodeath filter, Persefone manages to be impressive from pretty much all angles. Aathma (the soul) begins with dual instrumentals “An Infinitesimal Spark” and “One of Many…,” which bleeds into the first traditional song, “Prison Skin.” Busy furores, ever-changing time signatures and grandiose keys combine with distinctly Gothenburg inspired cyclical riffing to make up the body of the track and album. It manages to utilize the band’s myriad musical principles in one: high technicality, distinct melody, Carlos Lozano’s blazing scale solos and the double vocal attack of lead vocalist Marc Martins, whose voice has plateaued at a less belligerent but more versatile rasp, and the increasingly powerful cleans of keyboardist Miguel Espinosa.The appropriately named “Spirals Within Thy Being” twists and contorts through various time signatures, alternating between moments of furious tech-death riffing and Espinos’s stunning piano. The presence of odd syncopated rhythms that were introduced on Spiritual Migration, has, this time around, been handled with a mercifully minimalist Djentle touch, striking the balance between jagged chugs and traditionally explosive riffs. Paul Masvidal of the legendary Cynic puts in an appearance, notably on the elegiac “Living Waves,” supplying signature robo-vocals and lead guitar. The song represents Aathma at its most fluid, extolling the virtues of a transcendent existence, presupposing Masvidal’s spiritual philosophy and taking clear cues from Cynic themselves, who are surely great inspirations for Persefone. Emotional and plaintive in its technical proficiency, the mid-paced song offers an oddly bittersweet glimpse beyond the mirror at what could have been, had Masvidal and Reinert continued down the path they paved with Focus. Either way, it’s a clear album highlight.Clocking in at just over an hour, Aathma makes for a demanding listen. The busy and convoluted nature of the music coupled with the run time lays down something of a gauntlet upon first inspection, and I’ll admit that it took me a while to truly penetrate the material, which is somewhat denser than its predecessor. But, as with all good prog, the album reveals more of its nature upon multiple plays, and after a gestation period, shows itself to be increasingly multi-faceted. Making full use of Jens Bogren’s crystalline mix, even the four instrumental interludes are syntactically placed throughout the record, grammatically punctuating the narrative until the album reaches its zenith in the “Aathma” suite – a 20 minute epic dissected into 4 parts that encapsulates the spiritual concept of the album. Worthy of particular mention are parts III – full of foreboding palm mutes and ever changing landscapes, juxtaposing uplifting vocal passages with blast beat heaviness and emotive leads – and part VI, a perfect piano piece featuring the velveteen vocals of Merethe Soltvedt for a brief and resolutely beautiful conclusion.Persefone are, I suspect, a band instinctively incapable of the bare minimum, and in Aathma have further fortified their already considerable discography. Possessed of emotional resonance and preternatural ability, here is an album to challenge the casual listener, an album to abide by and an album which will almost certainly make umpteen end-of-year lists. Having already spent considerable time with the record, I still find something new upon each and every listen and, although gestalt by nature and dense in its complexity, Aathma is also uninhibitedly musical. Given the time it deserves, this is an album of potentially cosmic proportions." - Angry Metal Guy
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  • "‘Idiosynchratically beautiful’. These are two words that have stuck with me for nearly 20 years and which I recall almost every time I hear or read the name Arcturus. These words were quoted on an advert for the Norwegian band’s 1997 release, ‘La Masquerade Infernale’ within an issue of either Terrorizer or Metal Hammer magazine; I can’t remember which. What I do remember was that I was deeply into a stage of black metal discovery at the time and this quote resonated with me for some reason. I took the punt and received the album as a Christmas present. It wasn’t love at first listen; instead it was a slow and steady slog that has ended in a lasting and deep love affair. It was the track ‘Ad Astra’ that was the catalyst for repeat listens. Full of drama, avant-garde vaudevillian oddness and a compelling crescendo, it impressed me and forced me to listen to the remainder of the album more than perhaps I might otherwise have done.It is arguable that in the intervening years, Arcturus have never managed to hit the heights of ‘La Masquerade Infernale’. Neither 2002’s ‘The Sham Mirrors’ nor ‘Sideshow Symphonies’ spoke to me in the same way and despite containing some outstanding moments, I came away both times with feelings of slight disappointment. And that, as they say was that. In terms of original studio albums, nothing has been released since; indeed after the release of ‘Shipwrecked in Oslo’ in 2006, the band called it quits with the individual members going on to do different things. And so it has remained until now.Rumours were rife from around 2011 when various members made comments that alluded to a resurrection of the band and later that year the rumours were confirmed. However, for one reason or another it has taken until 2015 for a new original recording to see the light of day, a development that has been greeted with great euphoria amongst the loyal Arcturus following.Arcturus version 2015 is comprised of Steinar Sverd Johnsen (keys), Hellhammer (drums), Knut Magne Valle (guitar), Hugh ‘Skoll’ Mingay (bass) and ICS Vortex (vocals). Together, they have created an album very much worthy of their lofty status and one that I would argue just about manages to match the quality of ‘La Masquerade Infernale’. The only reason I hedge my bets and say ‘just about’ is because I’ve only had about three days with ‘Arcturian’ as opposed to the 18 years I’ve had to enjoy ‘La Masquerade Infernale’. That said, I’ve listened to ‘Arcturian’ more times than I care to mention in recent days and it gives me chills on each and every listen. It is complex, quirky, brilliantly composed and professionally executed. I have no doubt that with even more time and attention, it’ll delight and captivate me even more than it does already.The one thing that perhaps I wasn’t expecting was the sheer amount of melody and accessibility that ‘Arcturian’ displays. It’s no exaggeration to say that for all of the complexity and raw heaviness, almost every track on the album contains a melody, lead vocal or some kind of hook that makes me sit up and take real notice. When I listen to new music, I have a tendency to make an ‘oooh’ noise and smile broadly if something excites me. I suspect that there will be some of you out there who do something similar. On ‘Arcturian’, I admit to ‘ooh’-ing all over the place.One of main reasons why this album feels so melodic and accessible is, I believe down to vocalist ICS Vortex. Yes he is an acquired taste but so unique is his delivery and so impressive is his range that seemingly very little is off-limits. He complements the music beautifully, managing sound both majestic but also a little unstable, as if he could spiral out of control at any moment. I mean, at times, he sounds like he’s yodelling for heaven’s sake; it’s superb.Onto the compositions themselves, they are all dense, multi-layered affairs that contain an abundance of richness. There are no songs that tend to extend over six minute mark and yet, such is the ambition of Arcturus that it feels like a million different ideas are injected into each composition, testing the listener and toying with them at every turn. I strongly suspect that this has been done with a certain playful, yet mischievous intent. Those strong Vaudervillian overtones of the band’s past make a welcome return, as do a number of various influences that pull Arcturus away from being simply discarded as a black metal band. As they demonstrate on ‘Arcturian’, there are elements of black metal to their underlying sound but they deliver so much more that to pigeonhole them in such a way would be inaccurate and disingenuous.Opening track, ‘The Arcturian Sign’, starts off somewhat disconcertingly with weird electronic noises and sounds. It’s a typically eccentric beginning which soon gives way to those unmistakable vocals of ICS Vortex and, at its core, a black metal meets prog composition. Dominated by powerful synths and relentless double pedal drumming, those odd sounds like laser guns nevertheless re-surface throughout. But within the tumult and idiosyncrasies is a really catchy, hook-laden chorus.‘Crashland’ has a light and breezy feel to it, taking in influences from space rock, folk music and more extreme climes. The sweeping synths are immediately reminiscent of the ‘La Masquerade Infernale’ era, as they are during my personal standout track, ‘Game Over’ with its addictive melodies and the way it builds and morphs so elegantly from one guise to another almost imperceptibly, ending in a crescendo of sorts that elicits another ‘ooh’ from my lips.‘Angst’ is a powerful and more extreme slab of metal, dominated by a blistering tempo, tortured screams atop another strong synth melody and the threat of a descent into chaos on more than one occasion. ‘Warp’ on the other hand introduces more electronic influences but has such an imposing and catchy melody that it’s impossible to ignore. ‘Demon’ has demonstrable Gothic synth pop overtones whereas ‘Pale’ delights with a marvellous driving central riff, a great chorus of sorts and some of the most varied and brilliant vocals on the entire record. The album ends with ‘Bane’, a track that further backs up the gorgeous ‘The Journey’ by providing amongst other things, some truly beautiful and subtle acoustic guitar playing which is a real joy.For all that, I have to say that ‘Arcturian’ is an album that’s best enjoyed in its entirety rather than picking and choosing individual songs. The album has a distinct flow and overall feel that helps to make it as special as it is, something that could be lost if listened to in a piecemeal manner.For the sake of balance, my only small gripe relates to the production which I think is a little on the weak side and robs some of the aforementioned richness from the music. Occasionally, the layers of music come together is a slightly messy muddle of impenetrable white noise which is a bit disappointing. But then again, there’s a certain ‘old-school’ charm to the mix too, reminding me of their heyday more than once. Maybe therefore, the production is entirely deliberate, those naughty scamps.It’s almost impossible sum up ‘Arcturian’ in a concise manner and do it the justice it deserves, except to say that if you’re a fan of Arcturus at their most original, challenging, audacious and quirky, prepare to take ‘Arcturian’ straight to your heart." - Man Of Much Metal
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  • "More than any other artist to emerge from the fertile black metal scene of the early '90s, Ihsahn has firmly established himself as an unpredictable maverick. Frontman and chief composer with the legendary Emperor, he re-wrote the rulebook on epic extreme music across a series of albums that are still widely regarded as classics. Ihsahn's unique approach and liberated musical ethos ensured that when he embarked on a solo career, fans were primed to expect the unexpected. Full conceptual album, presented in two versions: Metal and Orchestral. Ihsahn has created his best and most unique and powerful album to date. "With this release, I wanted to dig deep into the core essentials of my musical background; black/extreme-metal and my love of orchestral music and soundtracks. I approached the writing with the intent to present the material in it's full-blown metal expression, but also to arrange the orchestral parts in such a way that they would work independently. Somehow an attempt to write a soundtrack within the structures of the full production, allowing me to explore different, and sometimes contrasting, variations of essentially the same music." In line with the cinematic inspirations, music and lyrics follow two parallel narratives with recurring themes throughout. The main story is presented in the metal version, whereas the secondary story is rooted in the orchestral version, although bleeding into the main story.""Introductions to Emperor’s creative mastermind Ihsahn, as he drops his eighth (and ninth) solo LPs, seem unnecessary. However, a small note is needed for this review because there are two, entirely separate but inextricably related, versions of Ihsahn and I am reviewing only one of them. Ihsahn’s solo work has always involved a significant symphonic component, as did his writing for Emperor albeit to a lesser degree, but he has gone all-out orchestral for his selt-titled offering. Literally. Collaborating with a symphony orchestra,1 the blackened progressive metal of the main studio version is set to a full orchestral score, with those latter parts deliberately written to work as a freestanding release also: Ihsahn (Orchestral version). Here, I am reviewing the studio version only2 but it is impossible not to take into account the scale of the task Ihsahn set himself here. Did he bite off more than he could chew?As Ihsahn opens on “Cervus Venator,” you could be forgiven for thinking you’ve put on a John Williams score. It sounds almost like the “Dune Sea of Tatooine” or something. However, these moments of the orchestra operating solo are limited to three points across the studio version of Ihsahn: opener, mid-album breather, and closer. For the majority of its run, the orchestra is a fully integrated component of the whole. They are not a mere adornment, as we see some bands doing, but an integral part of the composition. On first track proper, however, “The Promethean Spark,” I am dragged back to the first time I heard “Called by the Fire” from The Adversary, as a dancing tremolo plays over progressive drumming, and Ihsahn’s now trademarked gravelly rasp opens up. The orchestra soon returns though, adding both depth and scale to the sound that, for all its greatness, The Adversary can never match.As the record progresses, this pattern repeats, with its harsher edges recalling much of Ihsahn’s earlier—and Emperor’s later—material, with significant portions of “Pilgrimage to Oblivion” and the back end of “A Taste of the Ambrosia” sounding almost like they come off Prometheus. However, Ihsahn’s more progressive tendencies, accompanied by his ever-improving clean vocals, are at work here too. These would border on ballad-y rock in a few places (the quirky “Blood Trails to Love”) were it not for orchestra, which imbues the whole with a faintly threatening, overblown aura that holds the record together. Meanwhile, the sawing ominous violin work that opens the sprawling album highlight, “Hubris and the Blue Devils,” sets up almost eight minutes of gorgeous experimentation, as jagged guitar work and dual-tracked harsh vocals writhe around the arrangements at its core. Longest cut, “At the Heart of All Things Broken,” is also great, feeling vibrant and emotive, the multi-tracked clean vocals building towards a crescendo that never quite arrives.There is a lot to Ihsahn, more than I can convey within the confines of this (already overlong) review. If I were to try to contextualize it within the expansive confines of Ihsahn’s solo discography, it’s the bastard love child of The Adversary and Arktis., recently awarded its masters in classical music. More brooding and less percussive—though also featuring fewer guitar fireworks—than last outing Àmr, this album has contours to it but they flow like rolling hills, rather than the mountainous peaks and troughs that characterized Das Seelenbrechen. However, while there is no poor material on this record, it’s not without its flaws. The sparing, (relatively) stripped-back “The Distance Between Us” drags, lacking focus and bite, even when it steps up the intensity halfway through, while sections of “A Taste of the Ambrosia” feel like Ihsahn briefly wasn’t sure where to take the song. I’m not going to get into the production here because I’m working with a thrice-cursed, label-provided stream.3 Suffice to say, however, that I trust Ihsahn’s ear for how he wants this to sound but I hope that, on a hi-res version, the guitars have just a little more crunch.Flawed but never less than captivating, this album is absolutely worthy of being Ihsahn’s self-titled opus. Cuts like “Twice Born,” “At the Heart of All Things Broken” and the stunning “Hubris and the Blue Devils” stand shoulder to shoulder with anything from his solo career to date, while the sheer ambition and skill that it takes to write a full orchestral soundtrack that backstops the progressive metal of the record, but also stands alone, cannot be overstated. Do I love Ihsahn? Not yet but I like it a lot, and I respect the hell out of Ihsahn." - Angry Metal Guy
    $16.00
  • "Since their founding in 1993, Ulver have been something of a continuous enigma. Their first three records put an elevated spin on black metal, incorporating folk and ambient components. From there, however, the course of the band’s career has been anyone’s guess. They have consistently expanded upon their artistic palette, integrating numerous styles of music throughout their songwriting. And now some 25-plus years later, Ulver continue to build upon their legacy, crafting intellectual, yet mystical music.The band’s eclectic 2017 record The Assassination of Julius Caesar was primarily centered around dance, rock and electronic elements. And much like the pop-centric experience that record was, Ulver’s latest release, Flowers of Evil, is truly hypnotic. From its sexy guitar progressions to stimulating beats and dreamy synthesizers, Flowers of Evil is intoxicating. Even in the more laid-back moments of the record, there’s a vibrant core to the material. It’san experience that provokes the listener to swing their hips, all while embracing the emotionalism of each song. This is thought-provoking pop at its finest.“We have seen the burden/ God is laid upon the human race/ All the oppression that has taken place under the sun/ He tests us so that we may see we just like the animals/ All go to the same place, all come from dust and to dust return.” These lines that make up the beginning of “One Last Dance” speak to an existential despair that haunts us today. It is only a matter of time before the instrumentals shift from abstract atmosphere to a steadier beat progression. The clashes and synth distortion exude a gloomy aura, yet also lure one into a rhythm of movement. “Russian Doll” carries over that vibrancy, laying down a smooth flow that paints the image of a nighttime drive soaked in neon light.Between the programming and instrumental work of Kristoffer Rygg, Tore Ylwizaker, Ole Alexander Halstengård and Jørn H. Sværen, Flowers of Evil covers a wide range of moods. Whereas the group is capable of producing contemplative material, they also know how to write catchy tunes. “Machine Guns and Peacock Feathers” and “Apocalypse 1993” should send listeners into full swing; between flourishing synth keys, silky vocals, seductive guitar tones and buoyant beats, these are ideal cuts for the club. Given the flavor and chemistry in each song always remaining fresh, Flowers of Evil displays an impeccable sense of pace—more upbeat cuts sequenced one after another, later transitioning gently into the moodier pieces. These tracks, though they don’t always lean heavily into dance territory, still offer a sense of movement.“This is the story of two young lovers/ On a beach, who found each other by the end of the war/ They set out to explore/ The bodies on the shore,” are the opening lines from the record’s closing track “A Thousand Cuts.” The lyrics stir with eroticism and darkness, the musical rhythm further playing into that tension. The tempo doesn’t speed to the momentum of a club jam, but still offers an alluring physicality. It makes for a powerful conclusion that embodies the band’s ability to intertwine engaging instrumentality alongside striking lyricism.On Flowers of Evil, Ulver once again deliver a work of music whose strongest unifying quality is the caliber of the songwriting itself. Each song breathes with emotion and movement; hypnotic force of these compositions and the band’s instrumental prowess is undeniable. Flowers of Evil is as catchy as it is insightful, a sincere testament to Ulver’s ever-evolving artistry." - Treblezine
    $16.00
  • Shiva Appreciation Society is the third album from this somewhat mysterious but fascinating instrumental metal ensemble.  The band keeps their identities hidden and I believe perform live with masks.  For this new album the band has added a new member called "The Maximalist" performing on mridangam percussion.  This clearly has an impact on the band's sound as it has a heavy skew into Indian modality.  Whoever is playing guitar clearly likes using a fretless - lots of crazy note bending going on.  This is a rather unique sounding mix of djent, jazz, and Indian styles fused together within a metal framework.  Richard Henshall of Haken guests on one track and he fits right in.  If you are looking for a band doing something a bit different within the metal universe you need to check out Art Against Agony.  Highly recommended."I am totally in the dark about this band. and the more I read about them the less do I understand. I guess there is only one way to deal with this band and that is head on. With an album title that include the word Shiva makes me take heed. Not because I have anything against Eastern philosophy. More because I remember what it did to The Beatles back in times. And there are more recent examples of how bands have been lost in the wilderness of the mind’s eastern journeys. ART AGAINST AGONY are no exception. This is a journey. Both musically but also emotionally. I honestly don’t know where to put it genre-wise but I guess post metal would do. If you have issues with music that is progressive and all over the place you should stay away from this. if you on the other hand don’t mind your mind wandering all over the place, this should fit you like a glove. I might not have total control of my mind just yet, but I do find this soothing. It kinda allows for the chaos in my head to just be. No need to trying to control it. This was a nice surprise." - Battle Helm
    $13.00
  • Fourth studio album from Leprous reinforces the fact that they are one of the most innovative and cutting edge bands working in the prog metal idiom.  The music of Coal has already kicked up a bit of controversy from the early listeners.  The music isn't quite as angular and frenetic as Bilateral.  Atmospheric passages similar to Tall Poppy Syndrome are perhaps a bit more prevalant as well.  All in all it's clearly identifiable as Leprous.  Ihsahn guests on one of the tracks - don't forget Leprous is his backing band.  Nice guys - great band.  Highly recommended."Considering Leprous‘s previous album Bilateral is considered by many to be a masterpiece of progressive metal; Norway’s Leprous had a tall order in front of themselves. Coming up with a followup to such a critically acclaimed and beloved album is no doubt a daunting task. Despite that, after two long years of waiting, Leprous have conjured the successor to Bilateral, and it’s called Coal. Usually, when bands release an album after their magnum opus, the result is either a “version 2.0″ of the previous album, or it’s a return back to the normal style of the band. Leprous have taken a bold turn instead, and they have reinvented themselves. Coal is clearly a Leprous album, carrying all their trademark touches, but it’s also very fresh and unique.With Bilateral, the band were clearly rooted in a sound that has been defined by the big names of progressive metal. By applying their characteristic syncopation, moody riffs and singer Einar Solberg’s haunting and powerful vocals, they were able to perfect an already existing sound. With Coal, the band have taken a different direction. The album is very dense, emotional, and quite avant-garde at times. While there are some more traditional songs similar to Bilateral, there’s also an air of neo-80s on some songs, while others carry some characteristics of modern Scandinavian indie bands. Longtime fans of Leprous will definitely see the direction that has been present since the band’s inception, but listeners who know of them only via Bilateral might be slightly confused. In the end, Leprous have always been about mood, and Coal is oozing with it.In terms of structure, Coal is more similar to Tall Poppy Syndrome than Bilateral (but not too similar to either in the end). The songs are slow burners, setting up a mood, then deliberately building on it until overwhelming the listener with the climax. Everything is very subtle, the production making every hit of every instrument matter. Each song is an exercise in building an atmosphere by slowly adding layers to form a very powerful sound. Einar Solberg is at his best here, he has taken his voice to the next level. He was already an amazing vocalist, but Coal sees him becoming a master of expression. There are many progressive metal bands nowadays with clean singers who can hit insanely high notes and execute amazing melodies. But what is often lost is the soft touch, the control over timbre that makes one’s voice special. Einar is a master of timbre, and he uses his abilities to their full extent in Coal. While this is an album about the big picture and constructing an ambiance with the convergence of all instruments, his unparalleled vocal skills definitely deserve a special mention, because he is what hammers down the emotions and makes this album so special.As mentioned before, Coal is a deliberate album, where attention is paid to every instrument. And the production, by Ihsahn (who also has a stellar guest appearance on the closing track), is perfect for this. Especially of note are the drums, they sound very real and quaint. The intimate feeling of some of the songs can directly be attributed to the unconventional drum sound. The drumming has also taken a turn for the more subtle, with small flourishes and cymbal runs building tension in the more atmospheric sections of some songs. The bass is also clearly audible and adds to the sound. The guitar work isn’t as flashy as Bilateral for the most part, but it also has more character because of that. It should come as no surprise to longtime followers of the band, but Leprous are masters of doing more with less, and all of the instruments reflect this. Another production detail worth noting is the presence of keyboards. The keyboard work is more prominent now. In Bilateral it was used mostly to add some extra layers to parts driven by the guitars, but here the keyboards form the building blocks of the sound. This is perhaps what sets the album apart from Leprous’s previous work, the heavier focus on atmosphere and a dense aural landscape. This might be disappointing to some who preferred the more direct approach of Bilateral, as Coal is less “metal”, but the more developed sound suits the band.In terms of songs, Coal is a very diverse album. The first three songs and the closer can be interpreted as a direct evolution of the band’s sound from their previous work, then there is the extremely moody and emotional masterpiece “The Cloak”. This is where the album takes a turn for the introspective, as the rest of the songs are quite experimental and ethereal. Overall, the album has a very clear journey with a defined start and end, and it works quite well. Some of the later songs can feel like they last half a minute too long, but the deliberate pacing of the album makes more sense as is.In the end, it’s hard to deny that Coal is yet another masterpiece by Leprous. The songs ooze character and deliberation. Coal is expressive, emotional and brave. It might not be what everyone expected after Bilateral, but Leprous have defied expectations and raised the bar again." - Heavy Blog Is Heavy
    $14.00
  • The Diablo Swing Orchestra dates back to 1501 in Sweden, where history tells the tale of an orchestra that played like no other, with music so seductive and divine that the ensemble overwhelmed audiences all over the country. Their performances rapidly earned a reputation of being feral and vigorous and gained the orchestra a devoted crowd of followers. Their concerts attracted more people than High Mass in church and as a result the orchestra was accused of being treacherous and in league with the devil. The members were accused of being everything from heretics to the spawn of Satan. “The Devil’s Orchestra” was the epithet used by the church in it's attempt to halt the orchestra’s success. However, this eventually became a catchphrase that spread throughout the crowd, and before long it was the popular name of the orchestra. With the accusation of heresy a bounty was put on the orchestra, and as the hostilities from the church grew stronger the orchestra finally felt the need to flee. But they decided that if they were to disappear they should go out in style, by giving one last concert. Before doing so they all signed a pact saying that their descendants were given the task of reuniting the orchestra in 500 years, and that they should continue the orchestra’s work of spreading thought-provoking music. Six envelopes were sealed and given to trustees of the orchestra to pass on to family members. The final concert was a great success. Thousands of people came to see it, and the massive sing-along of the crowd made the performance the most talked about in history. Eventually, the armed guards arrested the orchestra. They were subsequently sentenced to death by hanging. Stockholm 2003. By mere accident two of the original orchestra descendants met in a music shop and began to discuss music. It later turned out that they both had received a strange letter from some ancient relative containing instructions on how to reunite The Devil’s Orchestra. By searching through archives and records they managed to track down the other ancestors. Daniel's sensibility for words and melodies made him the main composer. Annlouice's angelic yet powerful operatic voice gave a bombastic feeling to the music. Andreas swinging and energetic drumming provided the orchestra with a deep and solid foundation. And together with Andy's powerful finger style playing and funk-oriented slapping they made sure the songs had a steady groove. Pontus electronic and experimental influences proved useful as the orchestra wanted a contemporary sound. Johannes's emotive cello-playing, theoretical knowledge and stunning technique completed the orchestra. With reference to the old catchphrase they took the name Diablo Swing Orchestra and are determined to honor the legacy of their ancestors. Since the release of their debut “The Butcher’s Ballroom” in 2006/2007 the orchestra has gained a loyal fan base of their own. People have embraced their sound with open arms and they have been perceived as a fresh breath of air in a genre getting more and more stale and formulaic. The album was also well received among critics earning many rave reviews recognizing the new ideas the band brought to the scene. DSO’s sophomore effort titled “Sing-Along Songs for the damned & Delirious” proves that they are no one hit wonder but are here to stay. The new record set to be released in September 2009 is a smörgåsbord of different levels of musical insanity building on the foundation laid down on “The Butcher’s Ballroom”. Touring will begin in September starting with Progpower USA and will continue in Europe later in the fall.
    $13.00
  • "More than any other artist to emerge from the fertile black metal scene of the early '90s, Ihsahn has firmly established himself as an unpredictable maverick. Frontman and chief composer with the legendary Emperor, he re-wrote the rulebook on epic extreme music across a series of albums that are still widely regarded as classics. Ihsahn's unique approach and liberated musical ethos ensured that when he embarked on a solo career, fans were primed to expect the unexpected. Full conceptual album, presented in two versions: Metal and Orchestral. Ihsahn has created his best and most unique and powerful album to date. "With this release, I wanted to dig deep into the core essentials of my musical background; black/extreme-metal and my love of orchestral music and soundtracks. I approached the writing with the intent to present the material in it's full-blown metal expression, but also to arrange the orchestral parts in such a way that they would work independently. Somehow an attempt to write a soundtrack within the structures of the full production, allowing me to explore different, and sometimes contrasting, variations of essentially the same music." In line with the cinematic inspirations, music and lyrics follow two parallel narratives with recurring themes throughout. The main story is presented in the metal version, whereas the secondary story is rooted in the orchestral version, although bleeding into the main story.""Introductions to Emperor’s creative mastermind Ihsahn, as he drops his eighth (and ninth) solo LPs, seem unnecessary. However, a small note is needed for this review because there are two, entirely separate but inextricably related, versions of Ihsahn and I am reviewing only one of them. Ihsahn’s solo work has always involved a significant symphonic component, as did his writing for Emperor albeit to a lesser degree, but he has gone all-out orchestral for his selt-titled offering. Literally. Collaborating with a symphony orchestra,1 the blackened progressive metal of the main studio version is set to a full orchestral score, with those latter parts deliberately written to work as a freestanding release also: Ihsahn (Orchestral version). Here, I am reviewing the studio version only2 but it is impossible not to take into account the scale of the task Ihsahn set himself here. Did he bite off more than he could chew?As Ihsahn opens on “Cervus Venator,” you could be forgiven for thinking you’ve put on a John Williams score. It sounds almost like the “Dune Sea of Tatooine” or something. However, these moments of the orchestra operating solo are limited to three points across the studio version of Ihsahn: opener, mid-album breather, and closer. For the majority of its run, the orchestra is a fully integrated component of the whole. They are not a mere adornment, as we see some bands doing, but an integral part of the composition. On first track proper, however, “The Promethean Spark,” I am dragged back to the first time I heard “Called by the Fire” from The Adversary, as a dancing tremolo plays over progressive drumming, and Ihsahn’s now trademarked gravelly rasp opens up. The orchestra soon returns though, adding both depth and scale to the sound that, for all its greatness, The Adversary can never match.As the record progresses, this pattern repeats, with its harsher edges recalling much of Ihsahn’s earlier—and Emperor’s later—material, with significant portions of “Pilgrimage to Oblivion” and the back end of “A Taste of the Ambrosia” sounding almost like they come off Prometheus. However, Ihsahn’s more progressive tendencies, accompanied by his ever-improving clean vocals, are at work here too. These would border on ballad-y rock in a few places (the quirky “Blood Trails to Love”) were it not for orchestra, which imbues the whole with a faintly threatening, overblown aura that holds the record together. Meanwhile, the sawing ominous violin work that opens the sprawling album highlight, “Hubris and the Blue Devils,” sets up almost eight minutes of gorgeous experimentation, as jagged guitar work and dual-tracked harsh vocals writhe around the arrangements at its core. Longest cut, “At the Heart of All Things Broken,” is also great, feeling vibrant and emotive, the multi-tracked clean vocals building towards a crescendo that never quite arrives.There is a lot to Ihsahn, more than I can convey within the confines of this (already overlong) review. If I were to try to contextualize it within the expansive confines of Ihsahn’s solo discography, it’s the bastard love child of The Adversary and Arktis., recently awarded its masters in classical music. More brooding and less percussive—though also featuring fewer guitar fireworks—than last outing Àmr, this album has contours to it but they flow like rolling hills, rather than the mountainous peaks and troughs that characterized Das Seelenbrechen. However, while there is no poor material on this record, it’s not without its flaws. The sparing, (relatively) stripped-back “The Distance Between Us” drags, lacking focus and bite, even when it steps up the intensity halfway through, while sections of “A Taste of the Ambrosia” feel like Ihsahn briefly wasn’t sure where to take the song. I’m not going to get into the production here because I’m working with a thrice-cursed, label-provided stream.3 Suffice to say, however, that I trust Ihsahn’s ear for how he wants this to sound but I hope that, on a hi-res version, the guitars have just a little more crunch.Flawed but never less than captivating, this album is absolutely worthy of being Ihsahn’s self-titled opus. Cuts like “Twice Born,” “At the Heart of All Things Broken” and the stunning “Hubris and the Blue Devils” stand shoulder to shoulder with anything from his solo career to date, while the sheer ambition and skill that it takes to write a full orchestral soundtrack that backstops the progressive metal of the record, but also stands alone, cannot be overstated. Do I love Ihsahn? Not yet but I like it a lot, and I respect the hell out of Ihsahn." - Angry Metal Guy
    $16.00
  • "Ephel Duath are a notable group, in that every one of their full-lengths has had its own distinct sound and style. There is a core Ephel Duath sound, primarily a product of guitar player and mastermind Davide Tiso’s style; however, each release has taken a strong influence from another musical source also. The initial forays of the band’s only metal release(s), Phormula/Rephormula, borrowed many of the aesthetics and techniques of black metal, although the spirit of the songs, and the use of a contrasting, almost carnivalesque melodic influence ensured that this was never more than a superficial aspect. The same base sound was combined with jazz in the highly-acclaimed follow-up, The Painter’s Palette. A more cautious and yet simultaneously more extreme stylistic leap was taken to produce Pain Necessary to Know, which showcased yet another aspect of the band’s sound, taking an almost free-jazz approach to song-writing, despite the fact that this release doesn’t actually have much of a jazz sound for the most part. In some ways that was the most pure iteration of Ephel Duath’s basic sound, despite some quite experimental use of electronics and a severely uncompromising approach to freeform structuring.Their 2009 release, Through My Dog’s Eyes, represents yet another new and remarkable direction for Ephel Duath, performing as a three-piece on this release. The dominant influence this time around is blues-rock—perhaps not the first component that would be suggested for hybridisation with the sharp, angular, aggressively unpredictable sound of the previous releases, and yet it has worked startlingly well. This is largely due to a drift away from the strong instrumental technicality and erratic micro- and macro-structuring of the previous releases, and a general softening of the harsher riffs’ edges. The influence is not applied evenly across the entire album, and is very strong in some tracks, but is only used sparingly and fitfully in others. Overall, however, it has had a fairly extreme effect on the sonic impact and cumulative flavour of the release. Indeed, given this change (in addition to the new vocal style—discussed presently), when I first listened to the album, I thought that I had been sold an incorrectly-pressed disc; it was not until I noticed some instances of Tiso’s very distinctive glissando-laden style that I was fully convinced otherwise.An immediately-noticeable aspect of the release is the atmosphere which dominates throughout. Although there is a fairly wide range of dynamics and themes, the prevailing mood is a dreamy, smoky-sounding groove, which drifts from phrase to phrase serenely. A gentle but persistent pulse is provided by the double-tracked guitars, which do still display most of the techniques that make Ephel Duath distinctive: the frequent pauses and subsequent precise rhythmic or melodic shifts; the very mellifluous, almost slinky-sounding melodies, filled with slides; and the use of strange, awkward, almost broken-sounding time signatures and rhythmic ideas. However, as previously stated, all of these elements have been toned down quite a bit—the music is much easier to follow than on the previous release. It’s not a ‘dumbed-down’ take on these Italians’ usual style, however; the music is still highly intricate, and takes many, many listens before it fully reveals its more subtle elements. Furthermore, the instrumental parts are all still extremely complex, in a technical sense. The presentation is simply more comprehensible (and aided by a nice, clear production), which is not necessarily a bad thing. I don’t find this release quite as enjoyable as the far more opaque Pain Necessary to Know, but there’s a fair chance that many listeners will disagree with me on this.Sadly, this less involved approach to rhythmic and melodic composition has been accompanied by a change-down in gear by the rhythm section. The bass guitar on this release appears to have been performed by Tiso himself, and it’s inferior to the performances by dedicated bassist Fabio Fecchio on the previous two full-lengths (discounting the remix album, Pain Remixes the Known, of course). Although it’s still performed very well, it doesn’t have the same spark and individual identity displayed previously. To say that it simply follows the guitars would be inaccurate, but it does seem leery of truly venturing into territory of its own, and the slightly funky solo sections and underlying textures are very much a thing of the past. The drumming is also less intriguing, being performed by new member Marco Minnemann, whose credentials lie primarily in the technical death metal arena. Indeed, there’s no issue with his ability, and the drumming is extremely solid—but it still lacks the flair of the jazz-inspired releases, where Davide Piovesan’s very intricate, complex, and yet almost laid-back sounding style was allowed to shine. Although Tiso’s guitar work has always been the heart of Ephel Duath, the less exciting rhythm section contribution is still somewhat disappointing.As a final comparison with previous releases, the decreased use of contributions, particularly programming, supporting the primary instruments is quite notable. This isn’t necessarily a bad thing, although I do sometimes miss the intense electronic and synthesised sounds interwoven into the tapestries of Pain Necessary to Know, and Phormula/Rephormula. This album has a more natural sound, comparable to that of The Painter’s Palette, which only used synthetic sounds dominantly on a couple of tracks. Some notable programming is also present in only two tracks on this release—some fairly understated synth and programming found in and under most of the slightly disappointing Nina, which fail to rescue this mediocre track, and some almost jungle-sounding snare effects in a couple of sections of instrumental closer Bark Loud. These have a really strong, positive impact on that loud, proud, extroverted piece’s structure. The other notable guest slot is the saxophone provided by guest musician Stefano Ferrian for the track Breed. Not unlike the distinctive trumpet work on The Passage from The Painter’s Palette, this is more about texture and atonality than pure melody, although it does not have nearly so dramatic an impact as the trumpet had.Ceasing the comparisons to previous work, and focussing now on Through My Dog’s eyes for itself, the structuring of the songs deserves special mention. Most of the tracks are relatively short and fairly concise, and yet many of them go through strong changes in dynamic and mood. Each song has its own distinct personality, ranging from the very introverted and shy-sounding Spider-Shaped Leaves to the loud, proud, outgoing Bark Loud, which greatly aids the character of the release, also. The structures are interesting for the most part, and balance gentle, dreamy bluesy sections with the harsher, riff-dominated portions in a fairly interesting manner. However, these louder sections are one complaint I have about the album—they’re simply not nearly as good as the more restrained, often quite beautiful bluesy or simply laid-back portions, and indeed sound quite crude in comparison. They seem more like a tacked-on throwback to the band’s roots more than anything, and frankly I’d have preferred that they be left out or at least trimmed significantly. The really shining moments are usually the slightly protracted bittersweet instrumental sections, where the guitar playing is allowed to really breathe and excel. The heavier, more riff-based portions just sound clumsy following such brilliance. They sound especially out of place on what is ultimately not a particularly heavy album, although it must be said that it does pack quite a bite nonetheless.The overall album structure has clearly been considered also, and while it’s not a hugely impressive example of a perfectly cohesive, well-planned album, it still manages to encompass a decent sense of build and development. In keeping with the relatively short and concise nature of the individual tracks, the album itself clocks in at a reasonably brief thirty-two minutes. I’d honestly have liked to have seen a little more meat included in the release, however.A lot of the music is actually quite catchy, a trait which is but rarely exhibited by Ephel Duath. The glowing guitar leads are the primary source of this catchiness, supported by some of the more memorable vocal hooks. Many portions of the music are also not so much catchy as they are enthralling; the delicate melodies and throbbing, pulsing character of the music leads to a sort of nod-along, foot-tapping involvement with the music. Unfortunately, some parts, particularly vocal parts, are repeated quite a bit, which makes it feel like they are being drilled into the listener’s head. This can be annoying, especially on songs like Nina and to a lesser extent Breed. It does work very well on Bark Loud, however, where the instrumental repetition serves to enforce the soaring lead guitar phrase as a key melodic expression. The result is an extremely exciting piece of music. Thus this repetitive quality provides both one of the album’s most gripping, exciting aspects and also one of its most irritating. It’s quite the dichotomy, and is really rather unfortunate.One hugely distinctive aspect of this release is the vocal approach. In keeping with the canine gimmick of the release, they are delivered in a kind of gruff bark, usually fairly low-pitched. It’s somewhat unusual, despite straying into more familiar hardcore-styled territory occasionally, but fits extremely well. Having heard it performed as such I really wouldn’t have it any other way. Incidentally, this is a more versatile, varied approach than my description makes it sounds like, and is supported by a limited amount of spoken word. I haven’t been able to find printed lyrics for this release, but they’re actually fairly audible. As the reader is no doubt aware, this album presents everything from the point of view of various dogs. This has actually worked surprisingly well—despite the occasional bouts of silliness and odd-sounding ideas, most of the songs manage to deal quite meaningfully with abstract themes such as death, love, loneliness, and the nature of freedom. I was actually very impressed by how mature this release is on that front, for the most part. On the other hand, it is not without its silly moments. Lyrics like “I’m wagging my tail so hard, my whole body seems to be dancing” conjure up mental images of excitable puppies and, while quite cute, detract from the more weighty lyrical themes. Overall, however, the product could best be described as a fairly light-hearted treatment of fairly serious themes, which works quite well for the most part.Through My Dog’s Eyes is a real breath of fresh air, being one of the most interesting and unique releases that I’ve heard from 2009’s crop to date, as well as representing an exciting new direction for Ephel Duath. It has received a lot of negative press for the less intricate style, but this is only a superficial change, and careful listening reveals a great depth and wealth of complexity to the music. Additionally, while many mourn the loss of jazz influences, I would suggest that those listeners give the album another careful perusal, since the new-found blues-rock influence has given it a fresh and unique character and vitality that complements the underlying style every bit as well as the jazz stylings ever did. Another major point of contention is the lyrical gimmick, which many see as silly or needlessly gimmicky. However it’s actually far more worthwhile than would be expected. I myself approached this release with a great degree of trepidation and scepticism, both of which turned out to be misplaced. It’s worth noting that the DVD ‘C’era una volta…’ which accompanies many copies of this release contains a track-by-track explanation, presented by Tiso, of what the songs are about, and sheds some light on the underlying meanings (without spoon-feeding the listener, mark you). Through My Dog’s Eyes is a very worthwhile addition to Ephel Duath’s discography, and a relatively accessible showcasing of what the band can do. It’s surprising; it’s unique; it’s unabashed; and it’s excellent." - The Metal Archives
    $3.00
  • "Hail Spirit Noir is no stranger to experimentation. Right from the get-go with their first full-length album Pneuma, the Greek trio (now sextet) introduced a blend of black metal, progressive rock, and psychedelic music. Regardless of this apparent contradiction, their sound was fresh, intricate, and captivating. The subsequent albums maintained this very trend. By Mayhem in Blue, however, some of its tracks were developed in a more collected and deliberate fashion. Enter Eden In Reverse: an album that is as bizarre as their preceding efforts, but not in the way that one might think.From the first few notes of the opener “Darwinian Beasts”, one might assume that Eden in Reverse would become yet another consistent record for their already solid repertoire. Yet as the song progresses and transitions onto the second track, “Incense Swirls”, there is an evident change of pace. Instead of their familiar black metal endeavors, we are greeted with… Kraftwerk-esque synth leads? This is quite a departure from their earlier efforts, though do not let that become a hindrance. These two tracks are a daring milestone for Hail Spirit Noir, as Eden in Reverse is a surprisingly expansive record where dynamics and textures are favored over the perceived abrasiveness found in past records.Synth-ridden in its entirety, Eden In Reverse guides the listener through layers upon layers of soundscapes, unlike anything a band of this nature has put out before. Be it the warping and spacey elements embellished on “Alien Lip Reading” or the fierce and otherworldly sounds the Moog synthesizer belt out on the closer “Automata 1980”, these stylistic choices elevate each and every one of these tracks, instilling a sense of otherness that is uncomfortable to the senses. Complementing the synths is a production that is crisp and encompassing, all while sounding unexpectedly crushing! Although not exactly in the way one would expect from a typical metal record. To kick it up a notch with all the changes, growls are barely present here (save for the outro of “Alien Lip Reading”), as new vocalist Cons Marg brings a meditative approach to the overall sound that further accentuates the uncanny qualities presented on this record.The essence of black metal is not completely abandoned, being subtle in its ebb and flow among the retrofuturistic synths. Yet there are moments where one has no choice but to wear a smug face and grunt out the word ‘kvlt’. Take “Crossroads” for instance. Featuring none other than Lazare from Borknagar fame, it is one of their more straightforward cuts, with a mighty infectious chorus and energetic riffage, only to end with a kick in the face from a violent blast beat.  While on “The First Ape on New Earth”, the grittiness enveloped in the track showcases a band that is keen on maintaining their calamitous roots.Eden in Reverse is not merely an effort to further delve into new sounds. With this new record, Hail Spirit Noiralso excels in worldbuilding. The nightmarish landscapes manifested in “The Devil’s Blind Spot” channels a sense of urgency that is as bewildering as it is unnerving. This is much more evident in the aforementioned closer “Automata 1980”, which evokes a feeling of falling in a distorted time-warp onto the unknown. Keyboardist Heris mentioned that Stanely Kubrick’s 2001: A Space Odyssey was a source of inspiration for their overall sound in an interview held by The Independent Voice. With “Automata 1980”, it is damn hard to be convinced of otherwise.Bands often expand their horizons and influences when fleshing out new records. This is inevitable, necessary, and encouraging for a band’s growth, but it is quite an impressive feat when their craft exceeds any expectations and transforms the way one approaches listening to music. Of course, their past three records greatly showcased their flexibility and their creative prowess, but in Eden in Reverse, it is executed with great confidence. The care and attention they put into this record brought forth an array of sounds that is immersive, piercing, and surreal to the senses. It is safe to say that Hail Spirit Noir delivered once more an ingenious proposal to the ever-winding music genre of avant-garde metal." - Everything Is Noise
    $15.00
  • "I stumbled blindly onto Subterranean Masquerade‘s brilliant debut Suspended Animation Dreams eleven years ago. It stuck with me for almost a decade, despite no new material appearing from the band. There was a peculiar brilliance to the music, a quirky, avant-garde, orientally-inspired tale from an asylum, that weaved a psychedelic tapestry from an incredible array of instruments, both Middle-Eastern and Western, helped by the massive growl and bronze voice of Paul Kuhr (Novembers Doom.) The creative mind behind this endeavor was the versatile Israeli artist Tomer Pink, who spent the hiatus traveling, and used his experiences to craft The Great Bazaar in 2015, ten years after the release of Dreams. Thankfully, Vagabond came a lot swifter.Twelve years down the road from the debut, Subterranean Masquerade no longer sounds the same. The psychedelic has lost ground to the Oriental, and the introduction of Green Carnation vocalist Kjetil Nordhus has brought influences from his main gig into the songwriting. The subtle madness and looming shadow have made way for a scene of sunlit clay houses in a strange, vaguely Middle-Eastern land. The record immediately establishes this atmosphere with bright strings and street sounds, as the titular Vagabond greets us on opener “Place for Fairytales.”One thing I was missing on Vagabond‘s immediate predecessor was the richness of the instrumentation. That issue is soon eradicated here. Something that sounds like a sitar, a dulcimer, clapping, hand percussion, electric guitar and drums, saxophone and piano all appear within the first two minutes, coming and going as the flow of the music commands. They don’t feel artificial or tacked on; on the contrary, it’s a rich, organic composition, an initially bewildering but ultimately effective aural adventure. This was always the strength of SubMasq and Tomer employs his arsenal effectively, moving back and forth on a sliding scale from metal to Oriental.The songwriting and performances are consistently strong on the front-half of the album. “Nomad” is the most immediately likable as both the most straightforward and the most metal song on the record, making extensive use of rolling bass drums and Eliran Waitzman’s growl, who dispelled my anxiety over Paul Kuhr’s exit immediately with a booming cauldron of a roar. “Kippur” is the most ominous song on the record, right up until danceable synth music washes the darkness away. “Ways” stumbles on the words in the beginning, but recovers with a segue from Gazpacho-like folk music into a roller-coaster of progressive instrumentation. For the most part, the songs barely have choruses, instead of concocting an eclectic train of thought and barreling headlong down the tracks, spilling saxophone solos, violins and string instruments of indeterminate origin.There is a dip in quality during the second half of the album. “Daled Bavos,” based on a traditional Jewish melody, is a bit too repetitive by its ritualistic nature. “As You Are” opens a smidge too saccharine for my tastes, and while there’s a lot to enjoy about the moody-going-on-bolstering “Hymn of the Vagabond,” it doesn’t feel quite as focused as the first half. My main gripe with the album is the cover of David Bowie‘s “Space Oddity.” It’s been purposely slowed down to an almost doom-like quality and doesn’t incorporate as much Oriental music as the rest of the album. These shortcomings make it drag, something unheard of for the rest of the record.The production, on the other hand, has always been a strong suit of the band and that is no different here. The master is rich and warm, and though so many instruments come and go, none of them feel out of place in the mix, which is in a Heisenburgian state of simultaneously organic and calculated. This is the first time Tomer has not done the production himself, but it doesn’t feel like the sound of Vagabond is out of place compared to the previous records, and I suspect his input has been substantial.Subterranean Masquerade was a milestone for me, the first truly underground artist I’d discovered myself, and although it doesn’t feel quite like that timeless debut, nor is it quite that brilliant, Vagabond shows a band who still have a lot to offer the more adventurous among us. Some may find it wanders too much, or consider the amount of Oriental music overkill, but I’m not among them. It’s a little front-loaded, and the covers (song and art) are disappointing, but it doesn’t significantly dent my enjoyment of the album. It takes me on a journey to a mysterious land, a place for fairy tales. Maybe it will take you too." - Angry Metal Guy
    $17.00
  • When seven Greek charlatans get together, the musical visions that springs from their minds, can only be described as a true freakshow.Back in late 2004 the idea of a band that could develop a theatrical attitude and combine different musical elements with the dynamics of metal and rock sound, brought DAKRYA to life ....Following the usual demos and local live shows, the band released its debut album "Monumento" in the spring of 2008. Receiving great reviews and good support from both the media and the fans in and around Greece, DAKRYA started touring on a broader scale, supporting such bands as MOONSPELL.In 2009 the band began to work on new material; the main goal was to put even more emphasis on the 'theatrical' style of DAKRYA, and in January 2010 the band entered the studio with engineer George Bokos (Rotting Christ) to record their sophomore album, "Crime Scene".Come March 2010 the band find themselves sitting in a studio in Sweden mixing the album together with Pelle Saether (Diablo Swing Orchestra, Draconian, Madder Morten), followed by a trip to other Swedish sound-guru Göran Finnberg (Opeth, Dark Tranquillity, In Flames, Arch Enemy) for the mastering of the disc.CRIME SCENE is actually a metaphor about the world we live in. So simple and so complicated at the same time. A person has to change so many faces in order to obtain a “socialized” and “normal” image, that if you think about it a little bit… we all look psychotic. In CRIME SCENE we improvise against reality! Snapshots taken from our everyday lives.From the opener "The Charlatans", over the obvious hit of "The Urban Tribe" to the final notes of the closing soundscape "A Dreadful Sidescene", the album is a one-of-a-kind musical experience. Ranging from the psychotic and cinematic melodrama heard in bands like Diablo Swing Orchestra and Unexpect to the orchestrated gothic metal comparable to Therion and Theatre Of Tragedy, DAKRYA paints their mark all over the canvas.
    $4.00