The Metal Pigeon’s Best of 2014 // Part One: The Songs

Sometimes in the mid-December barrage of lists for the best albums of the year, the best songs released this year get ignored and forgotten. Of course its likely that a handful of said songs played a key role in their respective album winding up on a “best albums” list, but what about the really great songs on the not-so-great albums? As with the past few years, I’ve committed to giving songs in both of those categories a chance to get another look via an end of the year retrospective. What makes a song one of my best of the year? It could be anything from simply masterful songwriting, great lyricism, or even a courageous attempt at a stylistic shift or experiment (of course, it still has to be a great song). To force myself to make honest choices, I limit the list to ten, and the order of the list has as much to do with play counts as it does the more intangible qualities I listed above. Now to quote Monty Python to myself: “Get on with it!”

 

 

 

The Metal Pigeon’s Best Songs of 2014:

 

 

1. Insomnium – “Lose to Night” (from the album Shadows of a Dying Sun)

 

[youtube https://www.youtube.com/watch?v=vw81mcIhDt8?rel=0&w=560&h=315]

 

Its safe to say that Insomnium’s Shadows of a Dying Sun was my most anticipated album of 2014, and while it ultimately didn’t live up to the glorious heights of its predecessor One For Sorrow, it was still a very, very good album with some truly spectacular moments. The moment that stuck with me the most was the troubled ballad “Lose to Night”, and I’m going to do something I hardly ever do and quote what I wrote about it in my original review:

The untarnished gem on this album is “Lose to Night”, a song with an achingly beautiful chorus and note-perfect encapsulating verses. This is my most listened to song on an album that I must have spun at least a few dozen times by now, its the track that practically bleeds out the core musical identity of this band. Everything about it is perfect to me, from its tribal-esque intro drum patterns, to the circular guitar melodies within the verses where Sevanen growl-speaks about a litany of regrets, to Friman’s shining clean vocal performance in the chorus with that delicately hook laden vocal melody. I love that during said chorus, subtly buried in the mix is an electric guitar gently echoing Friman’s vocal melody beat for beat, along with Sevanen’s distant growls adding just the right touch of stormy intensity. I love that its a song about the decay of a relationship, but Friman’s prose is sparse and interpretative enough for it to apply to any circumstance —- the narrator could be speaking to his parents, or his sibling, or his past. I love that instead of associating a barren heart with romance, Friman dishes a curve ball by singing “No more fear in me / This heart’s stone inside”, while adding that “Every day must lose to night / Fade and die”. Perhaps I’m reading too much into this here but these strike me as very Finnish in their inherent nature —- slightly gloomy yes, but beautiful sentiments despite their despairing tone.

Insomnium, as well as a few other fellow Finnish metal artists seem to have a grasp on illustrating bleak, inner turmoil better than any other artist within the genre. It must be something about living there that does it, a result of their cultural identity and environment perhaps? I don’t know and I’d bet that they don’t either, but what is amazing to me is how their artistic interpretations can sound so vivid and true to people thousands of miles away in places that are quite unlike Finland (ahem, like Houston, Texas for starters). This is a haunting song, and that’s precisely what it has done to me —- I wouldn’t be able to shake it off if I tried.

 

 

2. Allen/Lande – “Lady of Winter” (from the album The Great Divide)

 

[youtube https://www.youtube.com/watch?v=3_OvrGEbMvo?rel=0&w=560&h=315]

 

Something just occured to me a second ago when considering this singular masterpiece on Allen/Lande’s newest album —- maybe I love this song so much because it reminds me of Dio. It should be him singing this song, or at the least this should be a time-worn Dio classic that Jorn Lande decided to cover. Like many, I miss the departed legendary vocalist and metal icon, and maybe its more that I miss his particularly distinctive stylistic choices. On “Lady of Winter” you’ll get a sense of what I mean when you hear Lande croon out the lyrics in the second verse: “Winter lady crystal tears /In the shadow drawing near / Will you show me all your fear?”. It was noted that Lande himself contributed to writing lyrics and vocal melodies for this album, and if he did so on “Lady of Winter” then its no mystery who he was channeling.

Whats more surprising however is that The Great Divide was penned by ex-Stratovarius guitarist Timo Tolkki as opposed to Magnus Karlsson who handled the previous three Allen/Lande albums. I can’t begin to remember the last time I enjoyed a Tolkki penned song, but kudos to him for keeping his extravagant tendencies in check and delivering one of the flat out greatest pure heavy metal songs I’ve heard in a long time. The album was okay, certainly passable, but “Lady of Winter” with its huge, monumentally towering chorus is the sort of gem that will be on my iPod for years to come. Its also the sort of metal song that I’m always afraid everyone will stop making one day, and so thankfully my fears are abated.

 

 

3. Falconer – “At the Jester’s Ball” (from the album Black Moon Rising)

 

[youtube https://www.youtube.com/watch?v=1rMhLO8JFPI?rel=0&w=560&h=315]

 

To understand just how truly masterful Falconer guitarist/songwriter Stephan Weinerhall and vocalist Mathias Blad truly are at their craft, take a listen to the chorus on this deep cut off 2014’s Black Moon Rising. Blad’s effortless clarion vocals skip and shuffle in a most waltz-like manner across Weinerhall’s ballroom imagery, “I am dancing in the waltz, come join in one and all” —- the song’s narrator a self-professed hypocritical, power-hungry misanthrope gleefully reveling in the chaos of corruption. Falconer leaned a little too much on aggression for Black Moon Rising to succeed as a whole, but there were a few moments when Weinerhall dialed back the heaviness to allow some songs to breathe —- the method in which their first four Blad-helmed albums were so excellently written. As on those albums, “At the Jester’s Ball” and “Halls and Chambers” were songs in which the melodies were placed well into the spotlight, and Blad was given ample room to let his voice blossom in its inimitably theatrical manner. This song makes the list not only because it was one of my most played in 2014, but because it gave me hope that Falconer hadn’t completely lost their mojo.

 

 

4. Sabaton – “No Bullets Fly” (from the album Heroes)

 

[youtube https://www.youtube.com/watch?v=uG2Snz9jkF8?rel=0&w=560&h=315]

 

This was not only the most musically riveting song on Sabaton’s surprisingly anti-war Heroes, but lyrically told a story that was emotionally bracing in its depiction of human decency bridging the divide between enemies. Its the story of Franz Stigler, an ace German fighter pilot one confirmed kill away from earning a Knights Cross, who chose to escort a crippled American B-17 back to friendly territory. Stigler had pulled level with the damaged aircraft and could actually see the wounded crew and pilot through the shredded airframe —- he was overcome with a wave of humanity that prevented him from carrying out his military imperative to destroy the plane. His presence prevented German batteries from firing upon it and once they were across the North Sea he offered the injured American pilot Charles Brown a salute and turned back. There’s quite a bit of information on the details of the story on the internet, and its worth reading up, but Sabaton’s musical treatment ratchets up the lump in throat quotient by incalculable amounts. The tempo itself emulates the lyrical depiction of two aircraft searing through the sky side by side, and Joakim Broden’s vocals are the perfect narrative device. You’ve gotta love the chorus, with its backing vocal shouted chants of ““Killing Machine!… B-17!”, they’re a strange juxtaposition when paired with Broden’s lead vocal singing ““Honor in the sky!… Flying Home!… Said goodbye to the Cross he deserved!”. The best part about this story? Stigler and Brown met forty-seven years later and became friends.

 

 

5. Edguy – “Alone In Myself” (from Space Police: Defenders of the Crown)

 

[youtube https://www.youtube.com/watch?v=zvmraiXxAyU?rel=0&w=560&h=315]

 

Tucked away in the middle of a pretty good yet admittedly inconsistent Edguy album was this glowing gem, a gospel-touched power ballad about loneliness and isolation written as only Tobias Sammet can. He’s proven throughout his career to be a tremendously gifted songwriter, and he’s one of the few power metal songwriters truly adept at writing emotional, stirring, and affecting ballads. As Edguy has leaned more in a rock direction in the past half a dozen years, he has adapted his once traditionally structured balladry to incorporate looser, more eighties-rock inspired musical elements. Here he expands his repertoire by including an almost 90s R&B meets soulful gospel motif in the song’s masterful chorus, juxtaposed against arena-rock ready verses built on Def Leppard Hysteria era pounding percussion and rhythmic guitar picking.

The mood created is one that has become something of a Sammet trademark by now, a song that’s simultaneously wistfully melancholic while still coming across as hopeful, and dare I say —- even inspirational. I’m a sucker for background vocals as many of you know, I find them to be delicious ear candy when done right and I love the decision here to approach them differently in the chorus. The choral sung “oooohs” in the refrain build up to one of Sammet’s most passionately sung turn of phrases in “No matter how hard I pray, I’m lost in translation”, while the organ-styled keyboards provide the underlying soundtrack to this unlikely church confessional.

 

 

6. Ghost Brigade – “Departures” (from the album IV – One With The Storm)

 

[youtube https://www.youtube.com/watch?v=Dph9H340_4c?rel=0&w=560&h=315]

 

My favorite moment on an incredible album, Ghost Brigade deliver one of the most urgent, passionate songs of the year with “Departures”. It treads similar territory to fellow Finnish bands like Insomnium, namely loss, regret, loneliness and despair —- but it done it in a way that is refreshingly unapologetic about its pop sensibility. This was the most accessible moment on a rather heavy, harsh vocal-fueled album, but it still has plenty of attack in its hook-laden passages. Consider vocalist Manne Ikonen’s performance as he alternates between tortured, guttural screaming vocals to add a touch of intensity to his distinctly plaintive rock inflected clean vocals. I’ve seen some people suggest that Ikonen gets close to yarling with his vocal choices here, but I’m unconvinced. There’s something deeper, darker, and less suggestive of affectation in his tone —- and truthfully I can’t imagine the song with another singer. The verses here are anchored by dirty bass and sharp percussion, and they lay down a framework upon which the band lets loose on the chorus with melancholic guitar figures over heavy, sustained riffs. At times I’m reminded of the kind of Finnish rock now championed by Amorphis, but created and perfected by the long-departed Sentenced. A perfect song for when you’re having a crappy day and need some empathy.

 

 

7. Freedom Call – “Follow Your Heart” (from the album Beyond)

 

[youtube https://www.youtube.com/watch?v=uu4TGlKrc1A?rel=0&w=560&h=315]

 

I was seriously thinking of nominating the title track of this album for this list, with its Blind Guardian-esque epic grandeur and gorgeous melody. Yet every time I considered Freedom Call’s surprisingly vibrant new album, I was reminded of this soaring, majestic paean to freewill and weathering the storms of life. This song brims with the kind of bouncy,kinetic energy so often found only in dance laden pop music, fueled by adrenaline surging backing vocal chants and wild Kai Hansen-inspired hard rock meets metal guitars. With Power Quest nothing but a memory at the moment, Freedom Call are perhaps the last men standing in this most marginalized of power metal strains —- that of ultra melodic, major key riddled, positive attitude infused “happy” power metal (its detractors know it by its given name “flower metal”). I apologize in advance, but once again I feel the need to quote myself,  this time regarding Freedom Call and their musical spirit:

“Whenever people accuse power metal bands of having only commercially minded interests, I’ll point out to them the careers of Freedom Call and Power Quest, who have eluded high chart positions, significant sales figures, and media attention —- ironic given their predilection towards writing undeniably catchy, ear wormy music. They’ve gone as long as they have with their too-commercial-its-noncommercial take on power metal for the sheer want of creating the music they want to hear, all while knowing and accepting that they are uncool and very unmarketable —- tell me, what is more metal than that?

 

 

8. Sonata Arctica – “Cloud Factory” (from the album Pariah’s Child)

 

[youtube https://www.youtube.com/watch?v=RO5FPHFI6sI?rel=0&w=560&h=315]

 

I have no delusions about this one, I know it will inspire some scrutiny and scoffing but let me explain. It could be argued that the best album released by Sonata Arctica this year was their re-recording of Ecliptica, and if you read my original review of Pariah’s Child you would think I’d feel the same. Time has changed my mind however and I now look upon that album with a little bit of fondness and understanding, largely felt by seeing them performing a few of it’s songs in an October concert here in Houston. It was seeing and hearing those select new songs that made me realize that what I perceived as strange choices in modern Sonata Arctica albums were actually an extension of frontman Tony Kakko’s own particular brand of humor and expression. His stage mannerisms helped to give “Cloud Factory” a sense of directional narration and it made me appreciate a complexity within its lyrics that I hadn’t noticed before.

That isn’t to say that I thought it was a dud beforehand —- its one of the best songs the band has delivered in years with its slightly Japanese sounding melody and wonderful mid-song bridge at the 2:42 mark (which is promptly followed by one of those aforementioned “strange choices”, yet it works in context of the lyrics). I strongly considered placing the major-key fueled, heart-string tugging sappy ballad “Love” on this list, but as brave as that song is in its boldly sung sentiment it didn’t have the musical complexity of “Cloud Factory”. But both songs are perfect amalgams that represent exactly who Kakko is as a songwriter: He’s the Rivers Cuomo of metal, a man so willing to present raw, open nerve endings through his unflinching delivery of lyrics many would consider too heart-on-sleeve, too emotionally naked. Both men are willing to intermix truth and fiction in their songwriting, and its that mask that hides the mirror.

 

 

9. Anathema – “Ariel” (from the album Distant Satellites)

 

[youtube https://www.youtube.com/watch?v=AjAHS4pNUY8?rel=0&w=560&h=315]

 

It would be disingenuous of any of us to begin to exclude new Anathema music from year end metal list consideration simply because of their stylistic shift towards modern progressive rock. Yes the vocals may be softer and sweeter, the melodies more gentle and hushed —- but the complexity and thought behind them has roots that extend far back into the band’s Peaceville three doom metal past. It would also just be plain wrong to ignore a song as singularly beautiful as “Ariel”, the highlight of their rather good Distant Satellites album. The band has been on a creative tear since their comeback in 2010, and they’ve seemed to find their milieu in soundscapes like this one, one of delicate piano and strings, and panoramic washes of screaming Porcupine Tree-esque guitars.

The echoing, soaring voices of Lee Douglas and Vincent Cavanagh are powerful enough to get solo turns each, but its when they join together for the song’s emotionally dizzying climax that they transcend genre and labels. Guitarist Daniel Cavanagh turns in the most inspired performance of his career during the song’s outro-solo; a wild, unrestrained moment of passion where its mirroring of the primary melody seems to continue the sentiments that both singers could not express. Anathema play with live emotional ammunition —- there’s nothing faked or phony here, certainly nothing that is subject to the shallowness of self-aware ironic detachment. That they’ve ceased to be a metal band sonically is arguable sure, but in spirit they’re still very much one of us.

 

 

10. Vintersorg – “Rymdens brinnande öar” (from the album Naturbål)

 

[youtube https://www.youtube.com/watch?v=Eg-iau4D52I?rel=0&w=560&h=315]

 

I mentioned in my original review for the latest Vintersorg album that his work isn’t the most accessible or instantly palatable. His albums take time and patience to sit through repeated listens before they begin to reveal themselves to you, and even then you have to be in the right head space to be receptive to it. Sounds daunting, and take it from a decade long disciple of his strange blend of avant-garde, folk-black metal —- it is. But occasionally Vintersorg will surprise even me with a blast of poppy goodness so catchy and memorable that it requires no time at all to enjoy. Case in point was this gem, a hummable duet with an enchanting female vocalist named Frida Eurenius that boasts a refrain so beautiful and breezily effortless that you wonder if Vintersorg could just potentially knock out songs like this all day and specifically chooses NOT to. I could see that happening, he has always been geared towards hyper-progressive ideas within his songwriting, a mad scientist that piles on layers of swirling sound and keyboard washes under furious black metal screams… even his distinctive clean vocals have been sung in Swedish since 2004, making them practically indecipherable for most of us. Take a moment to enjoy this brief respite from his madness then, and to revel in one of the most ear-pleasing choruses of the year.

 

Spring Cleaning Part One : New Music from Iron Savior / Freedom Call / Behemoth / Grand Magus

Apologies for the delay, the daily minutia of everyday life prevented me from publishing sooner. Also, I’ve learned that a negative drawback produced by a continuous flurry of new releases like we’re experiencing in these early months of 2014 is that it exposes what a terrible job I sometimes do in terms of managing my listening time. See, I have a hard time force feeding myself to listen to albums if I’m not in the mood to be receptive towards them (for good or bad). Sometimes I want to listen to anything but music, and chose instead to listen to the new Wait! Wait! Don’t Tell Me episode, or back episodes of the Nerdist Podcast, or catch up with sports radio. I’ve long considered that I’m simply not very good at handling the abundance of choice that we all currently preside over, but that’s another topic altogether.

Why am I making a point of telling you all this? Because it partially explains why my reviews of these four February releases are arriving in this third week of March, and this is only half of the new albums I’ve been juggling! With every album I review for The Metal Pigeon blog, I make an effort to hold myself to multiple front to back spins of an album with enough time allotted to formulate an honest opinion. Just when I was feeling like I had a grasp on the new Behemoth and Grand Magus albums, along came the release dates for both Freedom Call and Iron Savior, so I decided to give myself a little extra time to catch up and now I’m sweeping out a load of opinions with one big broom. Part two coming soon! Here we go!

 


 

 

Iron Savior – Rise of the Hero: I was so blown away by Iron Savior’s previous offering, 2011’s The Landing, that I met this album with a great degree of trepidation that only comes with metal fan experience. See its not at all unexpected or out of the ordinary that a veteran band should find another spark of inspiration many albums into their career —- it happened with Accept and their near masterpiece Blood of the Nations in 2010 for example. However,  it is highly unlikely that such a resurgence carries over into more than one album, again I’ll reference Accept by pointing to the rather mediocre follow up they delivered in 2012’s Stalingrad. Iron Savior unfortunately walks into this same trap, and in unusually clumsy fashion as well. I honestly don’t understand some of the thinking behind a few of the songwriting choices on this record.

 

So many of these songs have the exact same tempo and structure, and while its a decent template, it gets utilized way too much here. There are good riffs to be found but they’re spread apart over the entirety of the record and never consolidated to make one knockout track. I’m thinking of songs like “Firestorm”,  “Iron Warrior”, and “Thunder From the Mountains” —- is it just me or does anyone else have a hard time distinguishing one from another? This is a twelve track, eleven song album that probably could’ve fared better being only an eight or nine song record. Maybe this is naive, but isn’t the music industry getting to a point where its far more cost feasible to focus on smaller track listings of better material than worrying about trying to give people more bang for their buck? Compact discs full of filler at twenty dollar price tags was one of the main reasons the bottom fell out of the recording industry once peer to peer file sharing rose in prominence. Of course Piet Sielck has his own recording studio, so I guess that argument is dead upon arrival.

 

I’m irritated at this album, actually bothered by how much its just blah to me. I want to be swayed and moved, I loved the first few Iron Savior albums, I even thought they handled Kai’s departure well on 2002’s Condition Red. When the band entered a mid period lull, they would still come up with a few occasional gems throughout each record, and as I mentioned before, they really seemed to right the ship with their last record in a big way. I’m disappointed to say that Rise of the Hero is startlingly the first Iron Savior album that does not contain at least one sure fire killer track, and that’s alarming. To be fair, there are some ideas that are relatively interesting and halfway to good on here, some even bizarre, like “Dance With Somebody” —- an oddly catchy song if you can get past the jarring juxtaposition of silly lyrics about dancing set against a fairly tight array of riffs (way more tight than dancing would suggest, but whatever). Then there’s “Dragon King” with its hard rocking strut and unabashedly AOR chorus, its the only song I’d consider loading onto the iPod. Unfortunately, after more than seven spins, I’ve yet to come away with any lasting impression of the music on this record, a really bad sign —- I can’t remember these songs when I’m not playing them. That speaks volumes.

 

 

Freedom Call – Beyond: On paper I should enjoy the work of Freedom Call more than I actually do, as they are one of the happiest sounding bands in the genre alongside the now defunct Power Quest —- whom I loved. But what Power Quest had in spades compared to their European mainland cousins was the sheer pop songwriting brilliance of Steve Williams, who through his simple yet ultra-melodic keyboard lines not emulated and transcended the best of the eighties pop-rock bands he loved. Freedom Call is by this point the sole project of the only remaining original member, vocalist and guitarist Chris Bay, who does good work in his own particular milieu, if nothing truly remarkable. Freedom Call albums are predominantly spotty affairs, but they will usually guarantee a handful of good songs, an on occasion, some really great ones. They receive my attention as a power metal fan in spite of their flaws, mainly because I feel so passionately about the era they were born in.

 

Freedom Call are one of many power metal bands that arose during the genre’s spectacular European mainland rebirth in the late nineties. Now eight albums into a career many never saw going this long, they are one of the genre’s enduring veterans. Whenever people accuse power metal bands of having only commercially minded interests, I’ll point out to them the careers of Freedom Call and Power Quest, who have eluded high chart positions, significant sales figures, and media attention —- ironic given their predilection towards writing undeniably catchy, ear wormy music. They’ve gone as long as they have with their too-commercial-its-noncommercial take on power metal for the sheer want of creating the music they want to hear, all while knowing and accepting that they are uncool and very unmarketable —- tell me, what is more metal than that?

 

So regarding Beyond, fans of the band’s early period should rejoice, gone are the hard rock stylings of the past few releases as the band returns to a more traditional power metal sound. Right away it seems as if it works: This is the best opening to a Freedom Call album that I can remember —- the first five songs are rather great. Both “Union of the Strong” and “Heart of a Warrior” have a fiery kick to their uptempo, aggressive deliveries, the latter being a particular favorite with its Europe (the band) like tendencies. And “Come On Home” has an almost Irish punk style feel to its melody lines and choir-shouted vocals, and I’m rather keen on a cappella vocal sections being utilized more within metal as they are here. The title track is really worth checking out, featuring a beautifully melodic piano fed intro with cascading melodies that swiftly transition into string orchestral accompaniment, its the most epic track on the record. But the best song here by far is “Follow Your Heart”, a Power Quest caliber melodic gem that has a chorus that practically defines the essence of positive power metal.

 

And then we have the rest of the album, there are fourteen tracks total and about six too many as filler abounds. You wonder if Bay’s dual role as band member and producer in the studio has contributed to that over the years, because it certainly has here. There just doesn’t seem to be anyone in their camp that can point out that perhaps its better to release an eight to ten track album of mostly great stuff, rather than a twelve to fourteen track album that is severely undercooked in parts. My advice to Bay would be to look at doing the next album with an outside producer in mind, it might be an expense that is hard to justify on paper but I’d imagine that it would yield positive musical results. This is a band that has pretty much self produced throughout their career, with both longtime (and now departed) drummer Dan Zimmermann and Bay sharing producer duties. They’ve used Sascha Paeth and Charlie Bauerfiend as mixing engineers before, why not try working with either one in an expanded capacity?

 

 

 

Behemoth – The Satanist: This came as a total surprise, not it’s release mind you, but just the fact that in 2014 Behemoth may have just released the best album of their career, and for sure a contender for being considered one of the best albums of 2014. My history with this band is spotty at best, I’ve largely found their discography to be inconsistent, and for a few records, even uninteresting. I have always appreciated that they try their best not to be pigeon holed into one specific subgenre of metal, instead choosing to play with both black, death, and doom metal stylings… its just that those kinds of mergers require a rather steady hand at the songwriting helm, which I’ve never suspected Behemoth of having. The band’s songwriter is frontman, guitarist, and vocalist —- Nergal, who seems to have approached this album with a dose of inspiration undoubtedly gleaned from his near-fatal brush with leukemia in late 2010. On The Satanist, Nergal infuses not only death and black metal stylings, but adds in doses of ambient noise and even hard rock simplicity together in one of the most alluring and provocative blendings in recent memory.

 

I think what I’m enjoying the most about this record is the fact that it actually sounds quite different from Behemoth as I remember them. Gone is the sheer brutality for brutality’s sake, and Nergal seems to eschew any focus on technicality in favor of a more visceral focus on organic soundscapes and instrumentation, as well as an atmosphere that borders on cinematic, even theatrical. The guitars aren’t layered quite as heavily as in the past, nor are the vocals, where Nergal favors a far more black metal approach —- a choice that works in concert with another black metal trait these songs have, a focus on hypnotic, repeating riffs and motifs. Drummer Inferno can still pummel us with blast beats, but here he holds back, only using them in rare, blistering moments. Instead he utilizes space, plays with interesting percussive patterns that can breath and not suffocate the song themselves.

 

Everyone’s talking about “Blow Your Trumpets Gabriel”, with its artfully provocative video (seemingly a Behemoth trademark at this point), and its a good song to serve as the album opener and single, its the most representative track on offer. But I’m more taken with the title track and the album closer “O Father O Satan O Sun!”, with their mid-paced tempos and dare I say even catchy prog-rock riffs and accessible vocal approach. Don’t get me wrong, these are certainly extreme metal songs, but they’re open and immediate in ways that demonstrate Behemoth’s willingness to ease the learning curve for their music. On “The Satanist”, Nergal’s vocals are percussive to match the riff sequences, an effect that results in some headbanging passages —- against a backdrop of almost Cradle-esque ambient arrangements. But my favorite is “O Father…”, with its almost Judas Priest-esque guitars that usher us into a procession of excellent verses all carried by Nergal pairing his blackened vocals alongside almost angelic sounding female background vocalists. The chorus is dynamic, shifting tempos and accelerating into wild, flashy rock n’ roll guitar soloing —- this isn’t something I typically associate with Behemoth. In fact, I get a real flashback to Enslaved’s recent Riitiir album when listening to this, both bands endeavoring to expand their sound by subtracting elements in their music.

 

I’m sure there are power metal fans that will skip right over this review and even some extreme metal fans that find an album with a title like The Satanist to be too on the nose. But power metal fans might find that complexity within this recording rewarding, there are melodies to be found as well —- if you give the album more than just a cursory listen. And as for those who find Behemoth’s insistence on public blasphemy in any shape or form (including album titles) too schlocky, well I can see your point, I’m not particularly impressed by those kinds of things, especially when in 2014 it feels like we’ve seen it all and there’s nothing surprising about it. But I do admire the band’s commitment to being artistic in all aspects of their art, be it in music videos as well as album titles and artwork —- it takes far more work than just the standard black jeans/black button up shirt combo that is the default setting for a lot of metal bands. And its a rare, wonderful moment when those aspects of a band coincide with an album that is this rewarding on an artistic level.

 

 

 

Grand Magus – Truimph and Power: I’ve grown to enjoy Grand Magus through their previous album, 2012’s The Hunt, it wasn’t a perfect record, but it had very high highs and no lows. I checked out the rest of their discography and found myself liking the older albums a little less, I wasn’t wild about their doomy past I suppose. Lucky for me the band seems hell bent on moving further and further away from those stylings and more into traditional metal territory on their newest, Truimph and Power. There are still doomy moments present, but they’re more touches and flourishes, ingrained within song structures themselves instead of being central to them. Apologies perhaps to fans of their older works, but this is an album that is hitting me right in my comfort zone.

 

The record opens with the one two punch of “On Hooves of Gold” and “Steel Versus Steel”, both rockin’, mid tempo stompers with highly memorable refrains. The former features a rather tastefully done acoustic intro, before hammering you with martial drums, simple yet effective riffage and Janne Christoffersson’s excellent vocal melodies. While the latter track boasts one of the album’s best choruses, all set to a hard rock bed of riffs and rhythm, to such a degree that its difficult to call it metal at some points (despite the subject matter very much suggesting otherwise). There’s something very satisfying about hearing a three piece band deliver music that other musicians would usually deliver in five piece band setups (at the least). It means that Grand Magus have to work hard at keeping melodies pure and instantaneously appealing, there’s little to no layering at work here —- either they work or they don’t. And I don’t think I’ve ever heard lyrics about the clash of battle set to such a loose, dare I say relaxed bed of music —- somehow it works.

 

The highlight is the title track, with its slow, tension building rise to an absolutely epic chorus, with the album’s best lyrics “For the triumph and the power / Spoils of war / For the hunger and desire / A blood red throne!” Its a euphoric moment, the kind that makes you long for seeing them live, when you can throw your glory claw in the air and act like a total goof. And check out the cascading guitar transitions in “Holmgång”, where they’re more of a player in the song’s refrain than the vocals are —- I love  stuff like that! The album closer “The Hammer Will Bite” is one of the rare moments where the lead vocals are supplemented by layering and the effect is brilliant, elevating an already killer chorus. Honestly almost every song on here works for one reason or another, there are only two cuts that could’ve been left off, namely the instrumental “Ymer” which is nice sounding but nothing all too compelling, and the just above average “Fight”, which sounds like one of the merely good tracks off The Hunt. This is a pretty great record all told however, and is already a candidate to make the end of the year list.

 

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