I’ve never done mid-year in review features before, but seeing as how we’re in year two of this blog mostly eschewing the reviews treadmill, and thus not actually getting to talk much about new music here (I tend to save it for the podcast), I figure it would be a good way to cast a wide eye on the past handful of months since 2024 began. I’m going to do this in as rapid fire a manner as I possibly can, though with a sharp ruler hitting my hand to avoid this becoming a massive reviews cluster type thing that I can frequently allow myself to fall into. Instead I figure this time I’d discuss in chunks the stuff that impressed me, the stuff that didn’t move me much one way or another, and finally the stuff that disappointed me.
I also want to take a moment to mention that I caught Blind Guardian on the Austin stop of their now finished North American tour back on April 26th, after a long, what… near six year drought since seeing them last! It was my fifth time seeing the bards and easily their best performance of them all. I’ve had some pretty rough luck with their tour stops in the past — first the whole 2002 tour cancellation of the Houston date which… makes me too sad to write about, then a couple times Hansi (captured in all his glory by me in the pic here) was sick and had to power through as best as he could vocally, and a few other times the mix wasn’t quite right due to the chosen venue (the old Warehouse Live in Houston) always being an absolute tin can for acoustics. This show was at Emo’s East in Southeast Austin, and shout out to the venue for delivering killer sound (kudos to Blind Guardian’s sound guy as well). Hansi was perfect in the mix, he also sounded the best I’ve ever heard him live, just ferocious and full of energy, and I heard every single note that Andre played to utter perfection. They busted out “Ashes to Ashes” live which was likely on my top five list of songs I’d never imagine the band would ever play, and damn do the songs off the The God Machine sound really excellent live (I gave the entire album a thorough listening the week before the show and came away feeling far more favorably about it than I did back in 2022).
It had been a minute since I’d been to a show, and I dunno, maybe seeing bands like Seven Spires and Helloween in the past couple years has spoiled me, but I really just crave seeing bands that I have a genuine emotional investment in (as opposed to just going to shows to go to shows). Seeing shows like those and Blind Guardian just shakes off the cynicism and jadedness and I feel real enthusiasm — those have always been the shows I’ve remembered the most. I don’t think this means that I won’t go casually check out a good bill just for the hell of it anymore, but I just long for more live experiences like this past one in Austin, because the older you get, the fewer and far between they seem to occur.
Anyway, onto our new music talk, I’ll try to keep this as breezy as possible for both your benefit and mine, here we go:
New stuff that impressed me:
So straightaway on the power metal front, there’s been a handful of big names with new albums out these past few months, but none have stuck with me the way that Opera Magna have with their newest Heroica. I vaguely remember this band from maybe over a decade ago when they were splashing around making waves as the second coming of Elisa Martin era Dark Moor. Their sound has morphed and developed in the intervening years into something that actually has more in common with Alfred Romero era Dark Moor and other influences such as Rhapsody of Fire and Angra. As with Sacred Outcry’s exceptional work these past few years, Opera Magna are a band that crafts power metal without wry ironic humor and self-deprecating pretense. Lots of tasteful symphonic arrangements that aren’t syrupy, with enough complexity in the songwriting to satisfy — but nothing that distracts from the effectiveness of a fantastic vocal melody (cue up “Volver” for a great example of this).
And though I’ve mentioned this on the podcast recently, I want to mention Myrath’s Karma here, because it’s maybe the best front to finish album they’ve ever made. They seem to really have nailed down where to emphasize their songwriting, that being with a focus towards their rhythmic strengths and Zaher Zorgati’s powerful vocal ability. They were clever on this album in avoiding trying to be overly heavy (unlike their last album where it sometimes seemed like they felt the need to prove themselves as a metal band), something which I don’t think is their strength anyway. There was an increased emphasis on bringing their middle eastern sound to the forefront as well, particularly with the rhythm section in conjunction with Arabic strings. Look, fans of their older, more Symphony X adjacent sound will likely hate the direction they’re heading in, but this poppy hard rock infused folk metal is the sweet spot for Myrath, and I’m glad they’ve finally landed on it dead center.
Gotta heap praise upon Dialith’s new EP Alter as well, who were in 2019 if you recall, my album of the year list toppers with their still incredible Extinction Six. It’s tempting to pair this with 2021’s Atrophy EP and call both of them together the second Dialith album, but the three year gap there bothers me. I’m not sure whether or not the band’s plan is to keep sticking with the EP route (certainly a fine and understandable thing), but I won’t mind as long as they’re all as genuinely excellent as this one is. Krista Sion’s distinctive tone and delivery is so damn affecting to me, and Alasdair Mackie is still sticking with that melodeath guitar tone that’s so fantastic in a symphonic metal context. The combination of these two is so masterful that I didn’t even flinch at the saxophone weaving through the background of “Ironbound” (seriously maybe the best ever use of that confounded instrument I’ve ever heard in a metal context). My only gripe with the EP format here is that these are short EPs, I’ve heard K-Pop albums longer than this… so just as “Shadowdancer” has me banging my head, its all over and I’m longing for more new music. I can only hope more is just around the corner, nevertheless, do not sleep on this one.
On the extreme metal front, I have to thank Harsh Vocals for recommending Dödsrit’s Nocturnal Will, this is a beautiful record that blends together gritty black metal with washes of power metal inspired melodicism via gorgeous lead guitars that soar and ring thanks to the crisp and clean production on offer. There’s an often overtly Scandinavian folk metal influence flowing through the album here too, which befits the band’s own tagline for the album being “Mournful Hymns of Archaic Strength and Heroic Bloodshed”. I haven’t been able to stop listening since I heard it weeks ago, and the same goes for the new In Vain album Solemn, easily the best album of their career. This is a band that’s been on my radar since 2013’s Ænigma, but who have never before popped off as creatively as they have here. Remember Dialith using saxaphone to spectacular effect above? Well In Vain bring in a whole damn horn section and somehow make it sound right and natural amidst their blending of black and death metal elements into one big progressive blender. It is one of the most engaging metal albums of the year, one that’s worth checking out even if you’re not a fan of this type of extreme metal because I think there’s genuine crossover potential here (a surprising amount of clean vocals throughout as well).
New stuff that was either good, solid, or that I was indifferent to:
Hard to think of a more accurate subtitle to this section than that, though it may sound harsh. Look solid albums are fine, I mean, you’d rather they be great albums but solid is better than lackluster no? That being said, I’m a little bit uncertain about some more than others. But first, the actual good stuff here — first that comes to mind is the recent Borknagar album Fall, which is entirely mood dependent for me because there are some listens when I’m very receptive and will absolutely sing its praises, and other times where I just find myself impatient during a play through. Historically this feeling has always prevented an album from landing in my top ten list, but I do have to say that I enjoyed Fall way more than recent Borknagar albums so I’m a little puzzled as to where I’m really at with it. On a more certain note, the new album Honor. Power. Glory. by power metal newbies Glyph (though the band is comprised of veterans of the subgenre) is a fantastic USPM meets Euro merger that marries the best elements of both styles. If you liked Ravenous, you’ll recognize R. A. Voltaire on vocals here and he sounds perhaps even better on this album than he did with his other band (though I do dig them). Its nothing revolutionary but its solid power metal done really well and with that refreshing sense of earnestness that I know many of us have been seeking lately.
I similarly enjoyed the debut album Of War and Flames by Alterium, an Italian symphonic power metal band headed up by former Kalidia vocalist Nicoletta Rosellini. I loved Kalidia’s The Frozen Throne album back in 2018 and thought Rosellini had a knack for crafting clever vocal melodies. She brings the same spark to her new band, and though its music that adheres fairly strictly to that particular style, they execute it pretty damn well. And same goes for the new Firewind album Stand United, where Herbie Langhans pulls off his best Jorn Lande impersonation in a killer vocal performance throughout. I know my cohost on the MSRcast Cary is big on this album, and he just caught their recent Houston gig as a testament to his Firewind fandom. I dug the album, Langhans is a joy to listen to, and Gus G is well, awesome in his own right. I was a little less wild about the new Einvigi album Monokroma, a band who if you’ll remember landed on my best albums list in 2022 with Yö kulje kanssani. I’m missing all the gorgeous, melancholic moodiness that characterized so much of that previous album, because it seems like the band went off on a rather strange direction on the new one. April saw the release of the new Tyr album, Battle Ballads (which isn’t a collection of ballads, and I’m a little bummed about that), and its a solid Tyr album if not exactly a very good one. Although there were moments here that I did enjoy, “Hammered” and “Torklis Dotur” for example, I found myself wishing the band would ditch the overly layered sound they’ve been mining for the past many albums now (2013’s Valkyrja seemed to be the pinnacle of this approach) and get back to something a bit more stripped down and primal.
New stuff that disappointed me:
And so we get to the downer section, first there’s the new Sonata Arctica album Clear Cold Beyond… and I suppose I’m one of the few people out there who didn’t think this was any kind of return to form (in the sense that it was being touted as such before it’s release). There’s a few potentially good moments in the first half, but the last half of the album is the kind of meandering modern Tony Kakko-ness that drives me up the wall. Part of the magic of those early Sonata albums was that energetic, nigh-frenetic bursts of speed that characterized so many of those classic songs. I know that the band has changed, gotten older and understandably this is reflected in their sound — but then what’s with all the return to their power metal sound pap that was swirling around this album? Mistaken fan hysteria? Incredibly disappointing in the end. It all just made me think of Jani Liimatainen’s collab with Tony on the former’s solo album last year and what could be if those two could join forces again for a full length album. With Liimatainen out of Insomnium, the door is open to him pursuing something like that, a new side project perhaps? I don’t know what it is that makes him so keyed in on being able to write great power metal (Cain’s Offering, The Dark Element in addition to his era in Sonata), but Tony needs a balancing songwriting partner like him who can help unlock his potential as a songwriter and vocalist like he did in the past.
And finally, I wanna say my piece on the new Amaranthe album here, a band who in the past have garnered their own full length reviews for their new albums. I realize looking back that much of that had to do with how well their lineup clicked with former vocalist Joacim Lundberg (now in Cyhra) and just how much I enjoyed his contributions to the band’s songwriting. In his new band, I hear echoes (and sometimes bangs) of what he brought to the Amaranthe table for their first four albums, particularly the still excellent and joyously fun Massive Addictive. His replacement, Dynazty’s otherwise excellent vocalist Nils Molin is on album three of his tenure with the band, and look, that’s enough of a sample size now to declare that it just doesn’t work. The transitions from Elize Ryd’s lines to Molin always sound jarring, lacking the smoothness that Lundberg was able to somehow craft. Ryd and Molin’s vocal tones might be the warring factions here, to my ears anyway, because they sound like they’re fighting each other, not complementing one another in the slightest. Screamer Henrik Wilhelmsson bounced last year, replaced by Mikael Sehlin who does a decent job in balancing texture and enunciation, but he’s really not the issue here. Molin’s a pro and he’s likely not going anywhere if he doesn’t want to, but Olof Morck and company need a clean vocalist who works with their sound, and sadly, I just don’t think Molin does. As a result, my enjoyment of their new music has diminished exponentially over the past three albums (“Outer Dimensions” being a sole exception on the new album, a decent tune).
That wraps it up, I know we’re in a little early before the true halfway point of the year in June, but screw it, there was more than enough music to talk about and quite a bit that I didn’t really listen to enough to comment on. Shout out to Blaze Bailey for delivering another decent album, given all the health challenges he’s had lately, that’s a win in its own right. Really looking forward to what the second half of 2024 brings, possibly some new Avantasia, Hammerfall, and Nightwish even… it will be interesting for sure.
