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December 24, 2013 2013, Best of, Black Metal, Blog related, Carcass, Falkenbach, Folk Metal, In Solitude, Melo-Death, Orphaned Land, Power Metal, Rotting Christ, Satyricon, Serenity, Suidakra, Tribulation 23 Comments

The Metal Pigeon’s Best of 2013 // Part Two: The Albums

And finally, in the thrilling(!) conclusion, I present The Metal Pigeon’s Best Albums of 2013, the second and final part of my overall best of the year feature (click here for Part One: The Songs). I listened to more new metal releases this year than any other, something I intended to do after missing the boat on so many excellent albums from the past two years until well after their release dates. The resulting list is as always what I consider to be the ten albums released this year that I enjoyed the most. I only ever do ten because it forces me to be critical, selective, and honest with myself. It also keeps me mindful of my listening habits and preferences throughout the year. After all whats a better gauge for how much you enjoyed an album than taking into account the number of times you’ve actually listened to it? And yeah, I do look at my iTunes stats to spot check myself just for kicks, but I really don’t have to —- I’m proud of what I enjoy and will gladly own up to any of it. Its been another great year for metal —- here’s what I thought made it so:

The Metal Pigeon’s Best Albums of 2013:

1. Serenity – War of Ages:

I know what you’re thinking. A prog-power metal album at the number one spot?! Wow, big surprise Pigeon! Fair enough, and your sarcasm is noted. But here’s the thing, my rule for these types of lists is that they have to be founded on the unflinching honesty of the present moment, as well as some incontrovertible truth, and so here’s the deal: This was my most listened to album of 2013—- far, far above other new releases, as well as any older records. War of Ages strikes me right in my musical heart, a record that encompasses the elements of what I love most about music across all genres. It has gorgeous melodies, smart songwriting, complex arrangements, and vocals that ring and soar. As a metal album, there’s heft and crunch provided by Thomas Buchberger’s less-is-more riff barrage, and the light symphonic arrangements that encircle everything else provide a sense of scale, tension, and drama.

Power metal has a generally accepted set of definitions, or aesthetic choices that collectively are its auditory makeup —- and ultimately that’s led to a certain amount of stagnation genre-wide over the years. But within the last decade there have emerged a small movement of artists that are trying to sidestep the traps that have developed from a result of time worn stylistic elements being overused to point of cliche. I believe Serenity are one of these select few that are knowingly aware of not only their strengths, but of what they need to do to sidestep cliches —- and its all reflected in their lean, refined approach to songwriting. They’ve had a core of songwriters in guitarist Thomas Buchberger and vocalist Georg Neuhauser that for three albums now have been making a run at equaling the near mythic legacy of Kamelot’s Youngblood/Khan era. But Serenity take chances and allow their newest member, co-vocalist Clementine Delauney to contribute to their songwriting process right away —- particularly in that she pens over half of the lyrics on War of Ages. Serenity have been on the cusp of challenging Kamelot’s claim to having the best lyrics in the genre for awhile now, and I think that with Delauney’s help they’re getting stronger and on a track to clear that hurdle a few albums from now.

In my best songs of 2013 list, I pointed out the album opener “Wings of Madness” as a particularly glorious highlight among many on this set, but the band really hits their stride in the second half of the album with a continuous streak of wildly diverse gems. Beginning with the quasi-ballad “Symphony of the Quiet”, where Neuhauser is able to flex his vocal dexterity over a moody piano bed and pronounced strings, almost Queen-like in its grandiose build up. It comes as a sharp contrast when the hard rock of “Tannenberg” kicks in, particularly in it’s strutting chorus where Delauney joins Neuhauser in a lead vocal duet —- her lilting vocals echoing his a split second behind. A lesser band wouldn’t be able to deliver such an upbeat, even fun sounding moment with nearly as much conviction. Ditto for the “Legacy of Tudors”, where the band really lets loose with an unexpected a capella intro, followed by a classically infused chorus where the vocal melodies are seemingly set to a waltz. On the closer, “Royal Pain”, Delauney takes another star turn with her emotionally shimmering delivery in the refrain —- perhaps the best moment by any female vocalist in metal this year.

Yes, I have grown up with European/American power metal as a part of my worldview of what metal can sound like. My appreciation for it sits alongside my love for death and black metal (check the rest of this list for proof). No, you don’t need to own a shiny, frilly-sleeved puffy shirt to be a fan of this music, or fall into some cliched stereotype that is so often thrown at those who enjoy power metal (nerd, basement dweller, etc, etc). All you need is an ability to appreciate music that is able to take you away from the often mundane realities of the daily grind, to remove yourself from the sheer staggering volume of irony, sarcasm, and self-awareness that engulfs society. Its the same reason you watch Game of Thrones and can’t explain why you love it so much: Escapism is something we all need and at times don’t realize how little of it we actually get. Serenity is a band made up of individuals that wake up each day and deal with the same amount of tedious crap that we all do; but when they get together and make music, they create a sound that seems like its coming from the pages of a book, of a world that we wish we could touch.

2. Suidakra – Eternal Defiance:

Germany’s Suidakra have a few important characteristics shared by many truly great bands: They aren’t easily categorized, and they don’t sound like anyone else. They’ve been perfecting a marriage of melo-death and folk metal for a long time now, and while that may not seem particularly distinctive on paper, its the way they’ve interpreted those sounds into something truly original that sets them apart. For starters they have nothing in common with Gothenburg melo-death or its stylistic traditions, and even more importantly they avoid the now cliche and trite “folk” sounds associated with Korpiklaani, Finntroll, Alestorm, and any other band of that ilk. And having seen what that genre turned into… it’s a smart move (before I get hate for that, I just saw Finntroll live the other week, and my concert enthusiasm plummeted when I saw them come out on stage dressed as elves, pointy ears and all).

I’d argue that their sound has more in common with fellow countrymen Blind Guardian than anyone else —- powerful and unafraid of being bombastic, as well as willing to indulge in pure balladry without a trace of self consciousness. This album is full of inspired work that exemplifies both traits: Take the militant headbanging stomp of “March of Conquest”, where lead vocalist Arkadius’ grim, harsh delivery contrasts with the clean female singing of Tina Stabel. Its one of the album’s catchiest moments, built around a folk inspired melody that is dressed up in brutal guitar riffs, juxtaposed by a chorus with a bagpipe arrangement that doesn’t overpower everything else. Stabel is a distinctive voice among female metal singers —- as opposed to being lithe and ethereal, her vocals are raspier and filled with what I can only describe as a metal attitude. And what I love in particular about Suidakra’s approach to songwriting is their embrace of diversity, such as the sudden mid-song drop in “Dragon’s Head” into near acoustic territory, replete with military snare drumming, distant orchestration, and possibly even a banjo being plucked!

Some may not enjoy the full on balladry of a song like “The Mindsong”, with its near maudlin lyrics about saucy, seductive Queens beckoning Roman rulers to come hither in their dreams but its a solidly crafted tune and I enjoy it for what it is. I have a high ballad tolerance remember? But those who didn’t enjoy that one will surely appreciate the rustic, elegantly understated “Damnatio Memoriae”, where Sebastian Hintz handles clean vocals with some of the best sung lyrics of the year: “Reflecting his desires / To roam the world / To travel from sky to sky / To make his mark in time”. I love that song and I really love the cover of “Mrs. McGrath” they decided to add on to the end of the digipak editions of the album. Yes its the traditional Irish ballad made popular recently by Bruce Springsteen, but Suidakra make it their own with a half acoustic, half metallic approach and unlike Springsteen, they deliver it with the original lyrics. Its almost swashbuckling with its organic instrumentation and an absolutely jaw dropping vocal by Stabel. I wish more metal bands would try their hand at unusual cover song choices like this from outside the instead of treating us to the umpteenth version of some metal classic.

3. Satyricon – Satyricon:

I’ve been fiddling with the damn ordering of this list on and off for the past couple weeks now, and a short while ago this was a few spots further down, but as I’ve gone through re-listening to all the albums on this list I realized something about Satyricon’s self-titled “comeback” record: This might be the bravest album of 2013. Tagging a record with that kind of adjective is confusing so I’ll explain briefly: Satyricon went away four years ago promising to come back musically renewed, having felt that they had taken the Now, Diabolical/Age of Nero era sound as far as it could go. Well that was already a rather simplistic sound when compared to their earlier, more symphonically infused back catalog, as well as in relation to releases by their fellow popular black metal peers. So the natural way to leap into a new sound Satyricon was to plunge back into the past with all the orchestral dressing of classics like Nemesis Divina, right?

Well not according to Satyr, who decided that the way forward into new sonic territory was to examine the structure of black metal itself and poke holes in it. Unlike the recent trend of American bands to copy the French and infuse black metal with shoegaze (or is it really the other way around?), Satyr has created a collection of songs that are built on the concept of addition by subtraction. Gone are the buzzsaw like guitars of the past, the hyper aggressive riffs and vocals, as well as the direct, in-your-face songwriting approach. Satyricon’s new sound is best described as muted, sparse, even spacey. The guitars mostly play open chord sequences, and when the rare riff pops up, its markedly less aggressive sounding than what we’re accustomed to a black metal riff sounding like. These songs are mostly atmospheric in nature, with a sense of awareness regarding the spatial relationships of instruments —- such as little in the way of multi-tracking or layering for example. The theory I summed up in my original review of this album is that “This is the sound of black metal’s moods, tones, and temperament, but purposefully stripped of its surface aggression.” In all honesty I have to be in the right frame of mind to be receptive to this album in full, but when the mood does strike I’m consistently amazed at what the band has accomplished here. Its unlike any album I’ve ever heard, black metal, metal, or anything.

4. Carcass – Surgical Steel:

You should all be aware of this album by now, and yes its worthy of all the hype and high placement on year end lists. This is one of those rare occasions where a reunion album actually manages to add to a legacy, not only by remaining true to the sounds of the most beloved era of the band’s history, but by delivering song really great songs that tower among Carcass’ best ever. I’m referring specifically to a handful of cuts here, such as “Cadaver Pouch Conveyor System”, “The Master Butcher’s Apron”, “The Granulating Dark Satanic Mills”, and of course the instant fan favorite “Captive Bolt Pistol”. If you haven’t heard the record by now (seriously?), imagine the melodicism of Heartwork with just a slightly crisper, more modern production. I wonder if the scattered naysayers of this record are more upset by that than anything. I had a hard time imagining that Carcass would come back sounding closer to their earlier Symphonies era. Maybe on the next record?

Anyway Bill Steer is the star here, flying all over the fretboard, turning in riffs and wild solos as only he can —- his sound is so identifiable its almost like a trademark at this point. Jeff Walker’s vocals don’t miss a step either, he sounds as vicious and snarling as ever… ageless I think I said when I reviewed this album upon release, listening to him alone you’d think this was recorded in the mid-nineties. New drummer Daniel Wilding actually manages to outdo Ken Owen, as crazy as that reads on paper. He’s inventive, has fills aplenty, and plays off Steer’s riffs in unexpected ways. I’d be remiss if I didn’t spend a few sentences gushing about the finest moment on the record, “316L Grade Surgical Steel”, which might be my all-time favorite Carcass song now. which is five minutes of metal perfection. My favorite moment comes towards the song’s end starting at 4:20 where Walker snarls out the catchiest, fiercest passage on the album. What an incredible album. Steel your heart!!!

5. Falkenbach – Asa:

The biggest surprise of the year for me personally, Falkenbach’s Vratyas Vakyas delivers the best album of his now two decade spanning career. What makes it so is equal parts excellent songwriting and a new emphasis on a clear, crisp, vocals-up-front mix and production. This is the first Falkenbach record that sounds equally as good on my car stereo as it does on headphones, something that couldn’t be said about past records. And when it comes to songs, Vakyas provides an array of styles and tempos, all inventive and unique in their own right. There’s an almost old school sounding black metal track in “Wulfarweijd”, which has a rather catchy riff buried underneath suitably blackened vocals courtesy of longtime Falkenbach screamer Tyrann / Philip Breuer (news to me, I always thought Vakyas did the screams). On other more mid-tempo songs, like “Bluot Fuer Bluot”, and “Bronzen Embrace”, I’m almost getting a Moonsorrow meets Otyg vibe.

Then there’s the Ulver-ian half-acoustic, sitting around the fire hymns of “Eweroun”, and ““Mijn Laezt Wourd”, two absolute gems that sail along on the power of Vakyas’ best clean vocal performances to date. “Eweroun” made my best songs of 2013 list, but its companion song could just as easily have been in it’s place there. Both have stirring, majestic, almost spiritual melodies set against a backdrop of warm, fuzzy, hypnotic riffing and delicate acoustic guitar. I love stuff like this and really appreciate it when someone just “gets” how to do it so well. I like that Vakyas has stayed true to his vision and refused to veer off into the cartoonish direction a lot of folk metal has gone into —- he doesn’t need to. Much like Suidakra’s Arkadius, Vakyas is one of folk metal’s pioneers, and his music connects to our ideas and conceptions of nature, the earth, and existence. Its criminal that this record is going to be overlooked by so many.

6. Orphaned Land – All Is One:

I doubt there is anyone who appreciated Orphaned Land’s All Is One album as much as I did. I wrote at length about my rather complex history with Orphaned Land earlier this year, and long story short I felt grateful to have another chance to really connect with the band that broadened my musical horizons well beyond metal. I’m aware that much of the band’s middle east following is due to their lyrical concepts and message of unification, peace, and brotherhood. I don’t have a strong opinion on that aspect of the band’s work as a distant American —- I think its a good thing in general of course, and I admire a metal band that dares to be purely positive without any trace of self consciousness, but my attraction to Orphaned Land has always been musical first and foremost. This is not a perfect album, (but then they’ve yet to realize one of those), it is however a really great one. I already gushed about the title track and “Brother” in my Best Songs of 2013 feature, so I’ll avoid repeating myself on both of them here. The rest of the album is just as interesting, filled with the kind of musically adventurous Oriental metal that this band has really pioneered.

Take the rich, cultural instrumentation and vocals in “Ya Benaye”, there is so much going on here musically that I couldn’t even begin to name all the instruments, I just know that its a beautiful, soulfully laid back moment of respite amidst an album full of drama, tension, and yeah, some fairly metallic riffs. Likewise in the instrumental “Freedom”, where the guitar vs oud interplay of Yossi Sassi and new guy Chen Balbus eventually turns into jaw-droppingly beautiful bouzouki outro (or hell maybe I got those instruments backwards, either way I want more of it). Speaking of guitars, those two guys turn in the best guitar dual guitar performance on any record released this year —- their ability to play off each other and complement one another is simply stunning, and a huge pull of this album’s appeal. Of course Kobi Farhi is his inimitable self here, delivering some fine vocals to some really excellent lyrics. And the decision to shell out for a full choir and string section was worth the additional expense, they lend a fullness to the sound that was lacking on past records. There’s so much to enjoy here, and the good news is that we’re promised a new studio record in a relatively short (for Orphaned Land standards) time frame —- I can’t wait.

7. Rotting Christ – Kata Ton Daimona Eaytoy:

This is the most bizarre album on this list, I’m not even sure I did it justice in my original review for it earlier in the year. Rotting Christ is a band that I had callously written off many, many years ago for reasons I can’t remember. This album brought me back into the fold as a cemented fan, and its the sheer audacious sense of anything goes, unpredictable blend of what I guess are Greek folk music elements mixed with a unique vision of black metal. Song structures here are uncommonly strange, eschewing traditional verse/chorus structures in favor of Burzum-esque repetition, except that instead of aiming for the hypnotic riff sequencing, Rotting Christ favor a vibrant, shouted vocal chant style approach. There’s a high degree of melodicism going on here as well, guitars deliver ultra-melodic riffs and are often laced over an intense bed of furious percussion, often not matching tempos which creates a very unique effect upon your sensibilities as a listener.

Perhaps what makes Rotting Christ’s take on black metal sound so refreshing is their rejection of genre tropes, such as blurring blast beats, tremolo riffs, and aural density. In contrast, the songs on this album have ample space to breath, to sound muscular, and to have sonic identities of their own. Take “Cine iubeşte şi lasă”, where Gypsy-like female vocals usher the song along over slicing guitar riffs and a chanting choir bed. Then there’s the Therion meets Rammestein march of “Iwa Voodoo”, where melodic guitar figures sit between brutal, gutturally chanted male choirs. I wrote in my review of this album that I found it fun to listen to, and I still feel that way. Its one of the catchiest records of the year for metal of all genres, and I can’t tell whether its solely by design or it just tends to turn out that way. Next to Therion, I can’t think of a band that’s come from the ranks of extreme metal that composes music with such interesting song structures. For all it’s accessibility, I have a hard time explaining this album in words —- just go listen to it yourself and you’ll understand why.

8. In Solitude – Sister:

I imagine that by now you’ve seen this record pop up on many year end metal lists, and have either scoffed or wondered what the big deal is. I got to see these guys alongside Tribulation as openers for Watain a few months ago, and they were an impressive live band, so much so that I was moved enough to check this album out as well as revisit their past two records. I found that Sister has held my attention far more than their previous more straight up retro-metal records could. I do hate using that term to describe anything I’m listening to, but really In Solitude was doing little more than Mercyful Fate worship back then. They must’ve gotten tired of hearing that, because they purposefully distort their sound here with a substantial infusion of goth-rock and post-punk aural aesthetic. Vocalist Pelle Ahman even adopts a looser, more punk-inflected lead vocal delivery to match their new musical approach. If all this strikes you as purposeful affectation to be suspicious of, I suppose I can understand that sentiment but then I’d pose the question of what’s a band that is accused of simply mimicking the past supposed to do other than try to redefine their own sound?

All questions of motive and intent aside, In Solitude know how to write some really fantastic songs. A track like “Pallid Hands” hums along on the back of a guitar riff that reminds me of The Cult’s “Rain”, heck even Ahman’s vocals sometimes come off a bit Ian Astbury-ish. I love the inclusion of their cover of an obscure Swedish post-punk band called Cortex, with the rollicking, jaunty “Jesus I Betong” (yes that’s the title). On the propelling title track, Ahman’s vocal delivery rests a half beat behind the guitars, creating the effect of loose, wild rock n’ roll more than anything remotely metal, which is okay seeing as how the song is rather excellent. There are metallic elements mixed in throughout this record, but they’re more textures and retro metal stylistic nods than anything outright heavy in the way of riffs. I can’t help but find myself enjoying it all, though I have to be in the mindset to accept the fact that its far less sonically heavy than even the shiniest of power metal.

9. October Falls – The Plague of a Coming Age:

This album was a complete surprise, being one of the few promo copies I received and reviewed in the second edition of my Pigeon Post series. I really walked in blind, with no background on the band nor having heard any of their past work. To be honest, I still haven’t checked out the band’s back catalog because I’m so engrossed in this album, a strange blend of melodic death with blackened vocals, under a doomy, atmospheric blanket. Its almost a mix of Katatonia, Agalloch, and early era Opeth, minus a lot of the clean vocals (though there are some). As I was listening to it over these past few months I realized just how much these riffs bring to mind that classic Opeth sound of yore, and how much I’ve missed that. This isn’t to say that October Falls is simply ripping off Akerfeldt and company, but they both seem to tap into a shared vein of beautiful melancholia. When listened to on headphones outdoors in cold weather, this album is as good as hot coffee.

This is a full album experience —- one really needs to sit down, pay attention, and listen to this thing from start to finish. Skipping around tracks tends to ruin the atmosphere that is gradually building as the album progresses. But if I’m going to point out highlights you might want to check out, then start with the title track where Tomi Joutsen of Amorphis does guest clean vocals midway through under a wash of well done studio effects that have him sounding distant, almost faded out. Its a great moment, preceded by another stellar track in “Snakes of the Old World”, where gorgeous, swirling guitar melodies convey anguished emotion with as few notes as possible. I’m re-listening to this album as I type this, and every song has some awesome, isolated moment buried in the cocoon of each song —- they’re all worth writing about. Like I said, this album expects your full attention, and with the amount of thought and craft put into it, I think it deserves nothing less.

10. Tribulation – The Formulas of Death:

I ended up being wrong in my early predictions for this record, which I’ve been listening to regularly since seeing them open for Watain a few months ago. I had figured that it would end up on a lot of the bigger best-of metal lists around the internet —- which it didn’t, turns out the band’s profile is lower than I thought. Secondly, I didn’t see myself having this album on my list at all, not that I didn’t enjoy it, but because it was taking me awhile to come around to acclimating to the band’s penchant for indulging in purely instrumental sections. But Tribulation really has great songwriting in spades here, particularly in the sense that they know and value a catchy riff or three, and are able to utilize them to create mesmerizing, hypnotic songs while using a variety of open chord flourishes as atmospheric soundscapes. Such as “Wanderer in the Outer Darkness” with its epic length and shifting riff sections which build up to unleash pure metal fury with one of the most killer riffs of the year around the 4:34 mark. Another highlight is the uptempo, aggressive “When the Sky is Black With Devils”, where a series of classic sounding riffs usher along the album’s most brutal vocal sections. “Randa” might be the best song here, a wild rocker that has the instrumental vibe of early, pre-Dickinson Maiden. And I’m slowly coming around to some of the aforementioned atmospheric, instrumental sections, which when planned out well add a lot to the creepy, near haunted vibe of the album. Give this one time and patience and it’ll reward you, its at the very least one of the most intriguing releases of the year.

December 16, 2013 2013, Amorphis, Black Metal, Blind Guardian, Blog related, Edguy, Falkenbach, Fenriz, Folk Metal, Insomnium, Lord, Melo-Death, Omnium Gatherum, Orphaned Land, Power Metal, Queensryche, Roy Khan, Sentenced, Serenity, Todd La Torre, Tyr 7 Comments

The Metal Pigeon’s Best of 2013 // Part One: The Songs

And farewell to another year that’s flown by too quickly. Of course that means its time for anyone and everyone in metal writing, print or digital, to indulge their egos a bit and draft up their end of year lists. Now most writers will never own up to it but I’m a rather shameless sort, and will freely admit that I love creating these lists. I put an inordinate amount of thought into drafting them and end up changing around the entries and numerical ordering countless times before I ever hit publish. Self-indulgent? Absolutely. But I also hope that people who in anyway remotely enjoy reading what I write will check out my lists as a way to get into bands or albums they’ve not heard before. That’s ultimately the most rewarding aspect of writing about music, expressing your enthusiasm and passion for something to others and hoping they’ll hear what you hear.

As you can see from the title, to make everything more readable, I’m separating the best songs and albums of 2013 into separate articles (the albums list is on it’s way soon). Of course, some bands will overlap on both lists, with undeniable crowning jewels from great records being represented, but doing this separate list for just songs alone allows for a spotlight to be shined on those songs that were gems on releases that may not have necessarily made the best albums of the year cut. Anyway to quote Marti DeBergi, “Enough of my yakking”!

The Metal Pigeon’s Best Songs of 2013:

1. Darkthrone – “Leave No Cross Unturned” (from the album The Underground Resistance)

[youtube=http://www.youtube.com/watch?v=b0tsFqTulM8&w=560&h=315]

The extent to which this song towered over the rest of the tracks from Darkthrone’s excellent The Underground Resistance is such that whenever I think upon that album, the monstrous, cyclonic riff that anchors this battleship of a song is the ONLY thing that comes to mind. This song, more than any other released this year by anyone else epitomizes to me the pure, untarnished, unapologetic, hell bent for leather spirit of metal as I know it and have grown up loving. Its not just the King Diamond-esque vocals from Fenriz that encompass so much of this thirteen minute long epic, or the brutal series of incredible, bone shaking riffs one after another courtesy of Nocturno Culto seemingly on a mission to destroy, or the slammingly heavy midsection bridge at 4:24 —- its everything all together. I contend, with some expectation of hatred at the very idea, that this is Darkthrone’s heaviest song to date.

Its typical of Darthrone’s contrary spirit then that this song could only come now, many albums past Darkthrone’s turning of their backs on the traditional black metal sound. They’ve also moved on past the crust punk/black n’ roll they dabbled in for some years and have seemingly embraced traditional heavy metal. Gone too are the murky, muddled productions of past albums, replaced here by a crispness and clarity never before heard with Darkthrone music. There are some out there that speculate that these guys are taking the piss, purposefully trolling the black metal fans with their current musical incarnation. I reject those notions out of hand not only because the band have come across as rather earnest about their current direction in interviews, but simply because music that sounds this genuinely in love with heavy metal in all its ugly glory doesn’t know the meaning of irony.

2. Amorphis – “Hopeless Days” (from the album Circle)

[youtube=http://www.youtube.com/watch?v=gdKt1aw4BK8&w=560&h=315]

The shining gem on Amorphis’ 2013 effort, “Hopeless Days” is everything you’d want in a song built in this particular style of depressive, melancholic metallic hard rock. There were quite a few good songs on that record, but none as powerful and churning with dramatic ache as this one. Powerful percussion ushers you along over a bed of building riffs that explode in a supremely catchy chorus all whilst elegantly tinkling piano plays underneath —- a subtle yet brilliant juxtaposition. Vocalist Tomi Joutsen delivers his best vocal and lyric during this emotionally stirring moment: “I was born a captive / A captive of the night / In between / Hopeless days”. Gotta love the scale climbing guitar lines that kick in during and after the solo —- Esa Holopainen might just be the most underrated guitarist coming out of Finland right now. When Sentenced called it a day in 2005, I was worried that my supply of this type of rock inflected metal would dry up, but there seems to be a strong contingent of bands working in the same medium, Amorphis amongst the best of them. My iTunes count says I’ve played this song alone 79 times while the rest of the album’s songs sit at 30-40 (sometimes I wonder if the iTunes play counts of writers from taste maker websites would really back up their best metal of the year lists). Play count 80 starting…NOW!

3. Orphaned Land – “All Is One” / “Brother” (from the album All Is One)

[youtube=http://www.youtube.com/watch?v=Bds3FALcR7M&w=280&h=225]

[youtube=http://www.youtube.com/watch?v=qsPb1-uPIic&w=280&h=225]

How can two songs take one spot? Because they are to me inseparable, both in my mind as representations of my favorite moments on Orphaned Land’s surprisingly great All Is One album, and as micro representations of the core of the band’s progression through simplification both musically and lyrically. With the title track serving as both the lead off single and first song on the album track listing proper, Orphaned Land in four minutes and thirty seconds crafted a brilliant, euphoria inducing epic that perfectly encompassed their spiritual ideology (agree or disagree with it). What makes the song truly effective however are not just the direct, declarative lyrics, or the artfully done Middle Eastern instrumentation —- but the band’s embrace of clear, anthemic melodies and hair raising choral vocals ala Blind Guardian during the chorus. The infusion of that particular kind of power metal element is new for the band, as is their shift to a leaner, more direct method of songwriting, a complete 180 from the complex progressive metal of their last two records.

These newly embraced principles work to possibly greater effect on “Brother”, where singer Kobi Farhi’s inspired lyrics threaten to overshadow some truly great music going on underneath. The lyrics, as widely discussed by now, are intended to be the words of Issac to his brother Ishmael. Its a gutsy song for an Israeli to write, let alone record and perform on stage, as it’s lyrics essentially serve as an extended metaphor of the relationship between Jews and Muslims, brother faiths of the same Abrahamic father. Its a heavyweight topic to tackle but here its done with elegance, subtle apologetic notes, and a passionate vocal courtesy of Farhi that registers as the album’s highlight moment. The beautiful guitar interplay of Yossi Sassi and Chen Balbus that is to be found all throughout this album is the band’s best to date, particularly during the instrumental section where the guitars kick into an almost Slash-esque mellow solo. The band delivered an incredible one-two punch with both of these songs, and managed to wrangle an old fan like me back into the fold.

4. Serenity – “Wings of Madness” (from the album War of Ages)

[youtube=http://www.youtube.com/watch?v=vX5jsf3v9vw&w=560&h=315]

Serenity stunned me this year with their spectacular War of Ages album, and this inspired lead off track (and first single) was the highest among many high points to be found on the set. “Wings of Madness” is a complex, multifaceted masterpiece that twists and turns around the dramatic vocal duets of co-vocalists Georg Neuhauser and Clementine Delauney. The latter is the newest member of the band and the undeniable star on this particular song (and perhaps the entire album), her vocals equipped with both a light ethereal touch and a dark, rich, almost Lisa Gerrard-like quality that she can blend together at will. The song’s music video seems to suggest that the lyrics are about the infamous Countess Bathory and her blood bathing lifestyle (everyone’s got their thing). This is a band that directs its lyrical bent towards characterizations or accounts of historical figures, and as such, the quatrain in the chorus is unnervingly eerie and appropriate: “No sun is shining in your eyes / A shadow growing in disguise / I can’t stand the silence / Embracing you at night”. One of the many things I appreciate about Serenity is their commitment to a higher standard of lyricism than the power metal norm —- similar to what Roy Khan was instilling during his tenure in Kamelot.

5. Queensryche – “In This Light” (from the album Queensryche)

[youtube=http://www.youtube.com/watch?v=8LGaEOP86Kc&w=560&h=315]

That Queensryche was able to find a viable, credible future sans Geoff Tate was in itself a remarkable feat, but their creation of an album that is worthy enough to stand alongside their first six bonafide classics is still mind-boggling. This year’s self-titled comeback record was full of the classic elements long missed from Queensryche releases, and the band found that new members like guitarist Parker Lundgren and of course, life-saver vocalist Todd LaTorre could contribute to the songwriting process from the word go. Truthfully speaking, while I enjoyed the album, I had to admit it did have an array of weaknesses mostly stemming from the album’s length, and some songs that could’ve used a few more minutes. “In This Light” however stands out as a pristine moment, a deftly penned stately rocker with a chorus that could’ve come from the band’s Empire era. I mentioned in my original review for the album that this song was “a sort of distant cousin to “Another Rainy Night” and “One and Only”. Its perhaps the most accessible song on the record, yet also the most thoughtful, its lyrics a reflective paean on despair and hope.” Its curious to me that they haven’t released this as a single yet.

6. Omnium Gatherum – “The Unknowing” (from the album Beyond)

[youtube=http://www.youtube.com/watch?v=RsjHvaU5Aik&w=560&h=315]

These guys released a pretty solid record earlier this year with Beyond, but the highlight of the album was this singular gem, an arpeggio fueled, cinematic slice of melodic death metal nirvana. Not only is the guitar work stunning throughout in a general breathtaking sense, but they buoy a melody that is strangely melancholic and uplifting at the same time. Vocalist Jukka Pelkonen’s vocals here feature an extra degree of crisp clarity that is normally buried in his obsidian delivery (an acquired taste I admit). The Finns really have something going on right now with the amazing slate of fresh takes on melodic death metal that is very far removed from the now old-school Gothenburg scene in neighboring Sweden. Insomnium also released a fantastic new song this year that I reviewed earlier which will narrowly miss a placement on this list —- but its just more mounting evidence that both these promising torch bearers of modern melodic death metal have found a way to distance themselves from the negative associations that the original melo-death sound has unfortunately found with American metalcore.

7. Týr – “The Lay of Our Love” (from the album Valkyrja)

[youtube=http://www.youtube.com/watch?v=9zd2rYcxXBM&w=560&h=315]

This was a bold, gutsy move for Týr, a band whose previous attempts at anything close to balladry were blanketed by singing in their native Faroese language, about subject matter that was really anyone’s guess. But Valkyrja is a thematic album about the role of the woman as Goddess and wife, in the life of a Viking warrior —- and to the band’s credit they are lyrically adventurous about it throughout. Not only are the lyrics in “The Lay of Our Love” essentially about a rather sentimental subject, in this case a pair of lovers sundered by impending death, but the music at work here is pure power balladry (I mean that in a good way!). I’m not sure whats my favorite part, the delicately plucked acoustic intro or the wild, passionate guitar solo mid-way through that ranks amongst the band’s best. Liv Kristine of Leaves Eyes fame is the lithe, delicate female voice you’re hearing, and her performance here is just immense. Its a shame that I seem to only be able to really appreciate her work when its in guest spots like these, but she contrasts well with Heri Joensen’s deep, soaring vocals. Týr should continue being brave with experiments like these if the payoffs are anything close to this.

8. Avantasia – “Saviour in the Clockwork” (from the album The Mystery of Time)

[youtube=http://www.youtube.com/watch?v=USkP6pT8UYI&w=560&h=315]

I pointed out in my review for Avantasia’s most recent album that in the past half decade Tobias Sammet has now released nearly double the amount of Avantasia releases in comparison to his main band Edguy. At some point, both of the projects were going to start blurring together stylistically due to having the same songwriter driving each, and as expected that is exactly what is happening with both of the newest Avantasia and Edguy releases. They’re still good albums, but at this point the only musical difference between both bands is the presence of guest vocalists in Avantasia, and you’ve gotta wonder if that will be enough in the long run. Of course, if you’re like me and just consider yourself more of a Tobias Sammet fan than a distinct fan of either one of his bands then you won’t really care all that much about such details as long as he keeps delivering the goods. Well, the bad news was that The Mystery of Time is the most uneven album in Avantasia’s now vast discography. The good news is that it did contain a handful of distinctive Sammet homeruns, including this awe-inspiring epic featuring vocals from Joe Lynn Turner, Biff Byford, and of course Michael Kiske. Its got all the elements a Sammet fan wants: thundering bombast, excellent songwriting, and lush vocal arrangements particularly in the group choir vocals during the chorus.

9. Falkenbach – “Eweroun” (from the album Asa)

[youtube=http://www.youtube.com/watch?v=mA5nN65B_eg&w=560&h=315]

I consider it a good quality that this song conjures up the feeling of sitting by some intense campfire under the stars at midnight (… ah lets face it, I’m really thinking of Skyrim). Gone are the murky, lo-fi productions of past albums —- 2013 Falkenbach has taken a page from Darkthrone’s playbook: Sometimes the way to progress your sound forward is to fully capture it in a pristine form, not hide it under layers of hiss and microphones. Sole member and creator Vratyas Vakyas’s vocals are the selling point on “Eweroun” (translated as “Evermore”), his plaintive, spacious clean vocals ushering in the song with a vocal melody I can only describe as soothing. He sets this over a bed of warm muted riffing, simple percussion patterns, and chiming acoustic guitars. The hook is not a traditional chorus either, but simply an altered acoustic guitar figure. Vakyas apparently pens most of his lyrics in old Norse, and a look at the translation of the lyrics seems to suggest an allusion to the passage of time set against the backdrop of changing seasons. It all conjures up a rather spiritual feel, and its not much of a stretch to actually call it something close to spiritual folk metal.

10. Lord – “Digital Lies” (from the album Digital Lies)

[youtube=http://www.youtube.com/watch?v=UR38tX6z6iI&w=560&h=315]

You may not have heard of Lord before, but many of you might remember Dungeon from Australia, the rather underrated power/trad metal band who in addition to building up a solid catalog of quality albums over the span of a decade also provided us with one of metal’s great covers in their take on Toto’s “Hold the Line”. Lord then is ex-Dungeon vocalist Tim Grose’s project born out of the ashes of his former band. They launched in 2003 and have done a few decent records now, but their 2013 release Digital Lies shows the band taking determined strides towards potential greatness. This title track from the effort is one jewel among many featured on the release that crackles with the kind of excitement that is harder and harder to find with newer power metal releases (and worryingly so at that). Over a rock steady bed of aggressive, pulsing bass and pounding riffs is a striking contrast between almost Alexi Laiho-ish vocals in the verse, and Grose’s wide open, soaring tenor in the chorus. He’s always been an excellent vocalist, displaying a heft and weight to power metal vocal delivery that is so often found lacking amongst the European ranks —- but his ability to switch it up here at will is even more impressive. Check out this song, and if you like it do yourself the favor of grabbing the album, its one of the better power metal records released this year.

August 26, 2013 2013, Blog related, The Pigeon Post 2 Comments

The Pigeon Post #2: Reviewing New Music from Civil War, October Falls, Pellek, Gyre, and ViolentorY

To those of you who are wondering what the hell “The Pigeon Post” is supposed to be, I’ll refer you to my introduction in its premiere edition many months back. For readers who prefer to preserve their retinas, its basically a recurring feature in which I can do a batch of shorter reviews (by my standards anyway) of promotional/advance release copies I get sent to me by various PR firms and record companies. I get into my ethics of why I’m doing it this way for now in that introduction, but suffice it to say, my main priority in writing about the things I write about on this blog is that they come from a genuine place of honesty and integrity —- whether its bands I’ve listened to for ages or as is the case here, artists I’m unfamiliar with. Basically what I’m saying is that I have no stake in the career trajectory of these artists or their associated business representatives, my opinion is being solicited, and for better or worse, I’m giving it. Time to open the mail!

Civil War – The Killer Angels (Despotz Records):

Sometime shortly after the recordings for Sabaton’s last album Carolus Rex were complete, the band went through a little restructuring. Actually, it was a fairly major change: gone were guitarists Oskar Montelius, Rikard Sunden, drummer Daniel Mullback, and keyboardist Daniel Myhr. Sabaton as Joakim Brodén and Pär Sundström continued on with new members and impressively they’ve seemed to keep the machine rolling with nary a hitch. What then of their cast off former bandmates? The tentatively phrased reasons for their departure was their lack of ability to commit to the demands that being in a heavy touring band would require. I don’t know if that’s the real reason or not, but its curious that these guys have gone ahead and started their own band, and seem hell bent on touring just as much as they did in their previous outfit. Joining them on this crusade is vocalist Nils Patrik Johansson, of Wuthering Heights/Astral Doors/Lion’s Share fame, a singer whose vocals contrast wildly with Brodén’s booming baritone. Johansson is essentially a higher register Dio with a touch of Michael Kiske, and while those are awesome names I’m dropping, the mix of their vocals looks better on paper than in practice.

Basically, these guys seek to pick up where they left off with Sabaton: military history themed, keyboard laden, melody infused power metal that is heavy on glory and all that jazz. Fair enough, go with what you know but it does suggest that the Sabaton split was perhaps more acrimonious than both parties let on through interviews. Oh and here’s the problem with their game plan —- Sabaton’s Brodén is one of the finest songwriters around in modern metal, both in terms of his ability to craft truly sublime melodies, as well as gripping, poetic lyrics. I’m not sure who’s handling the songwriting duties for Civil War, but after listening through the songs on The Killer Angels debut multiple times, I have yet to remember a single chorus. That’s a problem in this style of metal, you really have to deliver the goods there. I’m listening to it as I write this and musically these guys are experienced pros, everything sounds tight and there are nice melodies here and there, but you can only spot them in the moment. Nothings sticking! The other major issue is their choice of vocalist. I can understand wanting to do a 180 away from Brodén’s distinctive lower registers, but Johansson is a poor choice. Maybe its just my previous experiences with him coloring my opinion as well (I’ve only mildly enjoyed him in Wuthering Heights), but I’m getting nothing out of his work here —- he’s technically proficient, but there’s nothing there emotionally.

Maybe I’m comparing these guys to Sabaton and I suppose that’s unfair, but its also natural. I don’t think this is a bad record in the sense that its unlistenable. I could see myself returning to this a year from now and giving it another shot, and maybe with a second release they’ll find their footing and put out something really good. I’m aggravated here because reading over this review I feel like I should be more specific and detailed —- but that’s the problem, it all just glazed over me, again and again. That being said, these guys get a pass from me, because their work in Sabaton contributed to so many records I really love, and I got to see them live and meet them as well. I look forward to what they do next.

October Falls – The Plague of a Coming Age (Debemur Morti):

Really really late on this record, I think it came out in Spring. It sat in my inbox for awhile before I noticed that a lot of my usual metal website haunts were dishing out glowing reviews. This is October Falls’ fourth album, they’re from Finland yet sound like they should be from Sweden. I’ve seen Opeth thrown around a lot as a reference point for their sound, and while I’m not quite sure that’s a wholly accurate depiction, they do remind me at times of mid-period Katatonia. Anyway I’ve been enjoying the hell out of this album, its on regular rotation whenever I’m sitting here with the headphones on —- the kind of album that you set to play start to finish because its consistently good throughout. That could be seen as a weakness as well, for all its strengths as a seamless continuum of blackened (bleak-ened?) melodeath, there are no real standout tracks that jump up and slap you with their greatness. Oh there’s individual moments, such as the fantastic guitar melody at work towards the end of “Snakes Of The Old World”, and the awesome early Ulver-isms of “Boiling Heart Of The North” where we get our first real moment of quiet and space. Here guest vocalist Tomi Joutsen of Amorphis chimes in sounding rather un-Amorphis-like for an ear pleasing, echo-drenched clean vocal that still maintains the depressive tone set by the rest of the material. And I’m going to paraphrase Angry Metal Guy who described the sound of this album as a wet kind of heavy, like you’re listening to it from a distance through a cloud of fog. Guitars aren’t up front with heavy riffs, bass is more of a texture, and drums are slightly muted. There’s an ambient murkiness that suffuses the entire production, and I know that sounds dreadful, but trust me it works well.

Its interesting to note that many reviewers are touting this as October Falls most accessible release. They all point to the monolithic approach these guys took on earlier records, where for example a track listing could number three to four songs —- of ten minute plus lengths. The structure of this new record is far more conventional, nine tracks, the longest hitting the seven minute mark. Yet I wonder if people really listen to a record like this by skipping around various tracks. This is one of those albums that I can’t imagine driving to… and thus can’t imagine enjoying in spaced out chunks as on the random play of an iPod. Its far too hypnotic and enclosed in its own specific world of sound to be digested in that manner, and so it makes me think that all this talk of the album being accessible is a side-effect of what amounts to a cosmetic decision. In any case I don’t think I’m jumping the gun here to say that this will end up on my top ten albums of the year list somewhere, its really that damn good. Finland’s on a roll lately.

Pellek – Ocean of Opportunity (self-released/independent):

This is an interesting one. Pellek is the performer/stage name of the Norwegian vocalist Per Fredrik Åsly. It is also the name of his band (think Van Halen or more accurately, Dio), a vehicle for smoothly crooned melodic power metal ala Sonata Arctica and Seventh Wonder with their heavy emphasis on layered vocals. The striking detail of Pellek’s bio is that a few years ago he was a contestant on the Norwegian version of The X-Factor. I’ve not seen any footage of his time on that show, where he was apparently branded as the rock guy but ended up displaying a musical reach that extended to classic and contemporary metal. He became a recurring fixture on Scandinavian television after The X-Factor, often appearing alongside Swede Tommy Johansson (vocalist/guitarist of ReinXeed and Swedish Karaoke competition star in his own right). The two collaborated on parts of a compilation put together by Johansson called Swedish Hitz Goes Metal, which as you guessed it set cuts by the likes of ABBA, Roxette, and others to rock/power metal stylings. Keep in mind that there’s no official, easily digestible English bio for this guy, this is pretty much me doing my limited amount of Google research and to be honest its still all a bit confusing. I have no real indication of just how popular Pellek is in his native country, but I do know that his prolific array of YouTube uploads of himself covering rock and metal songs do garner some tens of thousands of views.

So anyway, this is Pellek the band’s sophomore album, I have not heard their first so I walked into this completely unaware —- and was pleasantly surprised. If my earlier description of Pellek’s sound piqued your interest, you’ll find a decent amount of stuff to enjoy here. There’s nothing mind bendingly awesome going on, but there’s a level of songwriting craftsmanship being achieved here that is mildly compelling. I’m referring in particular to cuts like the glorious “Northern Wayfarer”, a well executed syth line propelled rocker that supplements a catchy as hell chorus with percussive riffing, and an excellent acoustic dropped midsection that greatly enhances the epic aura of the song. The “Sea Of Okhotsk” has a striking verse and chorus that are purely dependent on the vocal melody, the underlying instrumentation working to conjure up an Oriental styled soundscape. Things do get a little too flowery for me on “Gods Pocket”, a tune so cheerful it makes Power Quest sound like a dark cloud… heavier riffing on the second verse here can’t disguise what essentially sounds like a children’s song set to rock guitars. There’s of course a ballad on offer here, the kind that can only be enjoyed by those of us who love our fair share of power metal ballads.

Pellek is clearly the star here, his vocals seem to take center stage on every song, but that’s not to marginalize the efforts of his backing band, who provide consistent, quality power metal musicianship all across the board (yet lack the creative signatures of say Sonata Arctica, or Nightwish.As for the rest… I dunno, there’s something just innocuously enjoyable about this whole affair. There are moments when I’m reminded of sounds of J-Pop and classic video game music, not in a blatant Dragonforce-d way, but more in the subtle textures that were recurring motifs in the work of the aforementioned Power Quest. Its an interesting feature that spices up what would otherwise be a fairly standard collection of Euro power metal. I’m surprised someone with Pellek’s past exposure and publicity remains unsigned, perhaps that’s by design but its a rarity in this genre. A nice surprise overall.

Gyre – Second Circle (Monolithic Records):

First of all, these guys have managed to manipulate the lettering of their chosen band name to look like the face of Cthulhu, which is awesome looking (and a fine marketing tie in!). Anyway, Gyre play a slightly technical, progressive blend of deathcore, which could mean absolutely nothing to you without a certain amount of experience in understanding what the connotations are to having “core” tagged on the end there. If I had to guess I would say the band must really hate that label now, but when I was doing research on these guys I’d see it thrown around everywhere. There seems to be an earnest attempt to transcend the limitations of that style and it comes in the small corners of these songs, the moments of time which are not filled with djent riffing.

Its like the band is interested in the textural depth of bands like Deftones, or even Opeth, yet can’t seem to allow themselves enough space within their interlocked framework of riffs to fully explore that potential of their sound. I could spend a paragraph worth of space going into the minutiae of what this sounds like but this is a particular style of music that I have always had a hard time writing about without boring myself, much less you, so I’ll just refer you here so you can take a listen. The strange thing is that there’s something to these songs that I find rather enjoyable. I try not to put a lot of weight on my first impressions, but I was surprised by how much I enjoyed these songs as a headphones listening experience. The production values here are very, very good —- a trait that only enhances the “progressive” tag that Gyre seem to court. Lyrically there are some heady themes being addressed here, and the few lyrics I’ve seen are thoughtful and well done. Its a shame then that no one will give them much thought because the vocal approach here is far more conducive as an instrument, lacking the breadth to give words and phrases enough enunciation to register beyond mere sound.

As enjoyable an aural experience it was, I have a hard time rating this EP so highly when it comes to appreciating it on the values of songwriting itself. I suspect this is what forms my overall apathy towards this particular subgenre of metal. Yes these are songs with structures but there’s such an inane amount of riffs for riffs sake that I lose sight of what the song is supposed to be. When you listen to a Death song, you understand what it is you’re listening to even though it written with extreme metal language. Riffs have a musical definition, and tempo changes have purpose or direction. When you listen to Emperor, yes its a wall of sound, but these are layers upon layers of cohesive music, and if you listen repeatedly your mind will finally process them all individually and at once to beautiful effect. Years later you’ll find yourself telling your buddy how you think In the Nightside Eclipse is rather catchy at times. No matter how many times I listen to the four cuts on Gyre’s Second Circle, the riffs were always the same violent collision of riffs, nothing more, nothing less. But maybe that’s the way its supposed to be, aural chaos for aural chaos’ sake and its my problem that I can’t find the value in that. I would blame it on getting older, except that I’ve always felt that way towards core and djent oriented styles. Still, fantastic logo.

ViolentorY – Theory of Life (self-released/independent):

Hailing from Bulgaria, the awfully named ViolentorY play a less keyboard drenched Children of Bodom-ish take on melo-death with power metal leanings. Think latter period CoB mixed with the wild vocal theatrics of classic Sinergy (except with a dude singer) and Tarot. This is their debut album, having premiered with an EP a year ago and even though I’ve pretty much summed up their sound in one sentence, its enjoyable stuff overall. Sometimes being an obvious product of your influences works well if you know what bits to pick and choose. Take vocalist Dimitar Belchev, who comes off as a mix of Alexi Laiho and Marco Hietala. As weird as that sounds it really works, and is a suitable complement to a musical approach that is heavy on symphonic melody.

I have a particular fondness for the oddly titled “Power Source”, a rock-steady slow builder of keyboard atmospherics and heavy riffs that culminate in the album’s best chorus where Belchev pours his guts out and almost gets all Jon Oliva on us. Its a killer moment that I’ll be coming back to this album for. They get close to the same level of awesomeness with “Master of Dreams”, an uptempo, King Diamond-ish slice of great tension building verses and soaring refrains. There is budding pop songwriting talent within the band (I’ll be honest I have no idea who’s doing the songwriting here) that will hopefully continue to get better and better. Its not all good though, as they misstep with “Over You”, which does seem to be exactly what its Europe-ish title suggests, a love lorn power ballad in which they try to channel Dio’s adamant statement to “Walk Away!” from the evil woman (Look out! Tonight!) except without the verve and panache of the master himself. And there is a bit of filler in the second half of the album that’s unfortunate, as everything starts off so well.

Its a shame about that band name… you’d think things like that wouldn’t matter but let’s face it, it is rather silly. I hope people don’t let it put them off if they come across it. And Theory of Life sounds like an album title by an American post-grunge band, and song titles like “XperiMental”, and “Psychical Decay” made me groan but now I’m just being a jerk. Hey its late and I’ve been writing for a long time! Seriously I like what ViolentorY is doing and while this album is far from perfect, its a promising debut. These guys are unsigned, but you can hear this album on YouTube I believe, go check out “Power Source” for sure.

April 27, 2013 2013, Blog related, The Pigeon Post 5 Comments

The Pigeon Post #1: New Music from Eclectika, Boneworm, Boil, and A Hero for the World

First, a brief introduction…

The Metal Pigeon blog is a relatively small endeavor. I am a staff of one; the writer, editor, and publisher. I realized long before I wrote my first article here that I couldn’t compete with the amount of content published on a near daily basis by metal sites that had multiple writers on staff. But it hasn’t been a drawback for me, as I’ve always meant for this blog to operate exactly as it has been, with an emphasis on long form opinion and criticism, and quality over quantity. I dabble in reviews for album’s I’m excited about and look forward to, or for bands that come out of the woodwork to surprise me and make me a fan, but I’m not on major metal record company promo lists yet (if ever) and pretty much have to rely on Spotify, YouTube, and yes spending cash to get access to music. No big deal really, but that’s a huge reason why I don’t review every noteworthy new album that comes out, or have something to post about every single day.

But lately, I’ve noticed more than just the usual clutter of metal related subscriber list emails in my inbox. Smaller metal labels — mostly ones I haven’t heard of before — have begun to take notice of this little site, for good reasons I hope, and have started sending me promos of their artists’ new releases. Its been rather flattering as well as very cool, and honestly it all took me by complete surprise. See I have no delusions of grandeur about this blog. Its simply a better, broader, and more visible soapbox for me to voice my opinions, as opposed to the confines of some dusty metal web forum. But I am proud of it, its my own creation and I’m still blown away by the scores of people that keep coming back to read my stuff and comment on it, and in that small way its been a success.

But here’s the dilemma I had: The promos these labels were sending me are for artists I’ve never heard of, let alone listened to before, and wouldn’t it seem just a tad strange that all of a sudden I publish an article about band “x” that YOU’VE likely not heard of before either? All while suggesting that it was something I was eyeballing down the pike months in advance as a possible album to review? I don’t pretend to have my fingers on the pulse of the metal underground, there’s just way too many releases, labels, and bands to even attempt to try. My time-learned philosophy for metal music has been to let the cream rise to the top. If a band is putting out good stuff they will garner interest from the community at large and at some point I will hear about it, check it out myself, and subsequently write something about it. Point is I have no overwhelming urge to be amongst the first ones to listen to and discover a band — that’s something you tend to grow out of, and for good reason.

However, I have a backlog of promos sitting in my inbox, and I feel bad about not having done anything with them. It got real when a French label sent me a physical copy in a nice envelope, with classy French stamps, addressed to The Metal Pigeon. I began to think about how to do something about all these promos, after all these people are spending effort and now actual money to get this out to me! I know how much it sucks to work on something, put it out there, and have it be ignored by everyone. If someone sends me something to listen to, it doesn’t take much of an effort on my part to actually find a moment to listen to it.

So here’s my solution, The Metal Pigeon’s Pigeon Post, a randomly reoccurring feature in which I will listen to these promo copies of releases by artists unknown to me, from small labels you’ve likely never heard of either, and review them with total unabashed honesty — even if what I end up writing is not complimentary. I throw that out there so that if any promotional reps are reading this, you’ll know what you’re getting into. I don’t make a habit of slamming bands whose music I’m not into, and I do try to provide understandable reasons for any criticism I dish out, but I will call a spade a spade if I have to.

So onwards, the premiere edition of The Pigeon Post!

Eclectika – Lure of Ephemeral Beauty:

This didn’t do much for me at first. So maybe its a good thing that I slacked off on the thinking up of a feature to talk about this album in, because time has slightly changed my opinion for the better. Eclectika is essentially a one man project based out of Corcelles-les-Monts, France, apparently a rather tiny hamlet in the middle of the Burgundy countryside. A suitably pleasant environment for creating atmospheric, symphonic, yet minimalist black metal right? In case you were wondering my nice envelope from France had this album in it. Sebastien Regnier is the driving force behind the project, apparently handling most of the lead vocals and all the instruments, but he’s joined by two guest vocalists, the most notable of which is a female singer named Noemie Sirandre whose high operatic vocals are scattered throughout the album. On paper, music like this should be right up my street, and when I listen to these songs I find myself liking a riff here and there, noticing a well done atmospheric moment, and admiring the range of Sirandre.

The problem is that those things occur by themselves, in scattered moments and never at one time altogether. I know I sound like a broken record in my reviews, but quality songwriting trumps everything else! If you don’t have that, then all the cool sonic elements musically and production wise never have a chance to coalesce or gel into anything memorable. The worst offender here is a song called “Cyclic Anagnorisis”, which features a really great atmospheric intro + riff + harsh vocal entrance that gets you thinking that the ceiling is about to shake, but nothing develops. Operatic female vocals come in awkwardly, the riff never deviates into anything interesting, the underlying ill-chosen bass tone is mixed waaaay too loud (so much so that it becomes distracting). The guitar solo halfway through is a surprise and actually interesting, but can we get some ‘heavy’ on these rhythm guitars please? What am I listening to? It sounds like someone playing guitar through a Super Nintendo. I know that low budget productions have their limitations, but when the guitars on Entombed’s late 80’s demos can sound so massive and crushing, I wonder how much a guitar sound like Eclectika’s is marred not by financial limitations as it is by selection of a guitar amp and head.

Its baffling because when Eclectika get it right, as they do on the brutal, punishing “Les Sept Vertus Capitales”, extra crunch on the guitars would add extra power to what is an already awesome series of riffs. On this track, all the disparate elements that make up this band’s sound find their appropriate points of entry and overall place. Unfortunately it comes more than halfway through the album, a revelation that strikes you with an impact of suddenly realizing at age 50 than all the ingredients that make up a hamburger actually taste better when put on top of each other. Argh, okay so maybe I’m being a bit ridiculous, but you can tell that this band has some quality influences, Therion, Paradise Lost perhaps? I’m not sure about their choice of song titles, like “Handicapped Sex in a Mental Orgy”… I don’t know what I’m supposed to do with that. A metal band wearing industrial clothes is a terrible look — knock it off. But despite this being a critical review, the band accomplished the difficult task of capturing my attention: I am looking forward to what they do next. My earnest hope is that they work on the simple, yet challenging and demanding craft of songwriting… they’ve got all the ingredients ready, they just have to learn how to cook.

Boneworm – s/t:

Still not sure what to make of this resurgence in throwback doomy/Sabbathy metal that’s been popping up all over the place. The biggest local metal band in my home city of Houston is the recently signed to Napalm Records Venomous Maximus, who write good songs, have built up their following in a smart, savvy way, and yet seem to draw more hipsters to their live shows than actual metal fans. Whatever, its all about attracting an audience right? And they’re succeeding more than any other hard schlepping death metal band in our city’s infernal toilet of a local metal scene.

So maybe Portland’s Boneworm are on to something here. One glowing review on their bandcamp page described their music as “treacle-slow” (is it just me reading that as a Harry Potter reference?), and it certainly is paced similarly to traditional doom metal. But to me this is essentially sludge rock with a fondness for tritones, and when the gang shouted/barked vocals kick in, the whole affair takes on a punky vibe. And that’s when it sounds good —- I was interested in the parts where the vocals almost took on the challenge of delivering an actual hook. The final sections of “The Call” feature some attention grabbing vocal runs with alarming intensity, and I wanted more of that. Its everywhere else where my attention wanes.

I just don’t think I’m cut from the same type of cloth as these guys are when it comes to what inspires me musically and captures my imagination. To each his own and all that, and these guys got my attention with a really politely written email, and I certainly wish them well — but music like this is as exciting to me as doing laundry. On their page their lyrical concept is described with the following statement: “Which is the more terrifying, the intricate words of a sinister hex being cast, or plaintively being told that nothing matters because time is already against you?” Just so you don’t think I’m no fun at all, I actually take the bait for things like that more often than not, I like a band with ambition. But when you’re promising something bold like that, don’t attempt to deliver the goods with a musical approach that makes me go to the Bleacher Report to check out the latest picks in the NFL draft. Its boring. How about some vocal melodies? What if the musical tempo all of a sudden shifted in the middle of one of these fifteen minute long sludge n’ trudge behemoths? Something, anything to generate some interest.

When you’re on the outside looking in, as I suppose many people are with this particular style of rock/metal music, you find yourself wondering what kind of wiring the musicians creating this stuff are built with. Its as if I’m trying to understand an entirely different language. Am I missing something, and if so, I wonder if I could be talked into it? I lay this challenge down for fans of this style of music or indeed for the band and its fans: There’s a comment section below, someone help me see what I’m missing. Of course the thought occurs that maybe this is music meant for inebriated listening experiences —- to which I can only say: Fair.

Boil – aXiom:

This is an interesting one, and perhaps a band that some of you may already know. This is Boil’s third album apparently, a fact I couldn’t find on the Encyclopedia Metallum… which I thought was strange until I started listening to them and realized that this was a blending of progressive metal and alternative rock stylings. The folks at the metal archives can be a choosy bunch I guess. If you absolutely detest anything alt-rock related, you might be put off by singer Jacob Løbner’s tendency to sound as much like Maynard as he does your stereotypical melo-death vocalist. First thought is that I’m surprised at how tolerant I am for that type of stuff these days, especially considering I’ve spent the past decade slowly getting away from anything associated with “alternative” and “modern rock”. Not out of arrogance or elitism mind you, but simply because the deeper you go into the metal world, a lot of rock starts to sound safe, sterile, played-out, and well… boring.

I guess we all come back around to our old interests at some point to indulge some sort of facsimile sweet tooth that we’ve been neglecting. Its why I go back and listen to Garbage’s Version 2.0 album every few years or so. Boil remind me at times of Soilwork, Tool, latter-day Amorphis, and American alternative rock in general — but its a smart mix because Boil focus on songwriting and when they get it right, they REALLY get it right: Cue “At the Center of Rage” and “Heretic Martyr”, two songs where the balance between the metal and alt-rock elements are handled thoughtfully. Løbner’s vocals soar when they need to, lower to a soft croon for delicate moments, only to get surprisingly guttural in moments. The closing cut, “Almost a Legend”, is another highlight with its excellent recurring melodic guitar motif set against a stately tempo, a sort of rhythmic power ballad that ebbs and flows.

Boil are well served by choosing Jens Bogren to helm the production (he’s done Opeth, Soilwork, Katatonia, and Kreator’s Phantom Antichrist just to name a few), as everything sounds clear and well separated, and the vocals are given just the right amount of attention in terms of the right amount of reverb and not overdoing the filters. I suspect this isn’t a band I would’ve found out on my own, because despite all our good intentions, inner bias towards superficial things like a band name, or style of cover art often have a role in determining what we’re willing to spend time checking out. I’m pleasantly surprised at my enjoyment of this record. While its not something that I will be listening to non stop, I can see it being an album I’ll come back to when I’m in the mood for this particular blending of musical styles.

A Hero For the World – s/t:

Winners for the most ridiculous cover art and band name of 2013 thus far, A Hero For the World (that’s a mouthful dammit) deliver a debut album of rather typical modern power metal that is a mix of Firewind style musicality with Dragonforce goofball lyrics. I have a love for the best of this type of stuff, and a very high degree of tolerance for the mediocre versions. This band falls right above that mediocre category — they have promise but are mired in genre stereotypes to a fault. There are some occasional good moments on offer that suggest that on future releases they’ll manage to find their own sound and make a fan of me. Power metal is supported and nourished in Europe, its modern and ancestral home — so one reason to pay attention to the course of A Hero For the World’s career is that they actually hail from the Philippines. I applaud any new power metal band that steps onto the metal stage from a non-European territory, because lets face it, the very idea is not exactly welcome in local metal scenes anywhere in the United States.

I can hear some slight nods to the geographical cultural impact of the Philippines on a ballad like “Free Forever”, which is carried along by a slightly Asian sounding melody that is actually quite appealing, overriding the triteness of the lyrics. Sadly, there are no other infusions of the music of their region, something I’d think would add some uniqueness to their approach. Oh well, there’s nothing wrong with power metal for power metal’s sake, and whomever is the songwriting force in the band certainly has the budding talent to only get better. I think whats telling for me right now is that I really can’t think of anything else to say about this record… there’s nothing glaringly awful about it, but I highly doubt I’ll be coming back for more listens… there’s just better stuff out there in this vein. Keep trying dudes, I’ll check the next one out for sure.

December 26, 2012 2012, Alcest, Anathema, Asphyx, Barren Earth, Be'lakor, Best of, Blog related, Borknagar, Dawnbringer, Enslaved, Finland, Grand Magus, Insomnium, Kamelot, Kreator, Orden Ogan, Pharaoh, Sabaton, The Darkness, Therion, Tommy Karevik, Wisdom 11 Comments

The Metal Pigeon’s Best of 2012!

Before I started The Metal Pigeon, my end of year lists used to be relatively private, only meant for me and anyone else within earshot who’d listen. But I chose to start a blog and with the power of social networking and the viral nature of the internet, my opinions are now very much up for public discussion and dissection. So it didn’t come as a surprise to me that I took a bit of flak for my 2011 end of year list for various reasons. Regardless, I was happy with myself for delivering an honest appraisal of what I listened to and enjoyed most that year.

What I’ve learned since however is that a published best of list is often a temporal thing in terms of the albums on it and what number you rank them at. That 2011 list was accurate for the time frame it was published within, but come now to a full year later and I’ve realized that it was severely lacking in its estimation of what I really considered the best albums of that year — simply because I was late to the party on several key releases (Insomnium, Man-Eating Tree, and Theocracy for example). So having said that, I am certain that this 2012 best of list will aggravate just as many people as my 2011 list did, and equally as certain that I’ll miss several releases that I’ll realize should’ve been on it come next December. Oh well.

Its a challenge to keep up with new releases if you aren’t on promo lists, and special thanks go to my favorite metal websites and blogs (Angry Metal Guy, the Metal Meltdown Show, and Metal Rules in particular) and the excellence that is Spotify for keeping me musically updated. I’ve expanded this year into two parts, first albums, and then songs (the idea for the latter being that sometimes you’ll find a gem that’s worth talking about on an otherwise average to good album). So settle in, here we go!

The Metal Pigeon’s Best Albums of 2012:

1. Therion – Les Fleurs Du Mal:

When the French critic and poet Charles Baudelaire published his first book of poetry in 1857, he ruffled quite a few scandalized feathers within mainstream French society due to the then taboo themes of sexuality and mortality that permeated his work. Six of the worst offenders were deemed unfit for publication and soon deleted from the next printing of the collection. Over a hundred and fifty years later, a metal band from Sweden who share a not dissimilar esoteric personality with Baudelaire himself find themselves ruffling the feathers (leathers?) of the metal community over a new album that shares its namesake with the poet’s greatest work.

While its unlikely that anything off Therion’s latest record, a collection of covers of old French pop songs, will be banned or deleted, the album as a whole has been met with the digital age equivalency, that is a furious panning across the internet. But like the reaction to Baudelaire’s poems, this was merely the initial reaction upon the album’s release, and while these critics were loudly heard, their opinions were not universally shared among all Therion fans or metalheads who were understandably interested in the album’s unusual description. As weeks passed by, something really interesting happened — the subsequent reviews were increasingly more favorable than not, and it seemed that latecomers who wondered if the album could really be as awful an experiment as those first initial reviewers proclaimed it was found themselves more impressed than they thought they’d be.

I wrote in my initial review of Les Fleurs Du Mal that Therion fans would have to make do with this “art-project” album because it would apparently be years before a new “regular” Therion album was released. Now I look back at that statement with bafflement and regret, because what Therion has done with this album is redefine the idea behind what metal should, and could sound like. This is an album that has an unexplainable allure, a pull to it that I can’t really explain in any meaningful way. My first listening experience was as expected, surreal and marked with amusement at what I was hearing. But I found some ear-catching melodies in a handful of tracks that I latched on to and marveled at how, French language aside, the whole affair sounded very Therion-esque. This is a band that has developed its own unique musical language across a spectrum of albums throughout their career. And while to the uninitiated certain tendencies and nuances may seem jarring, unexpected, and bizarre even, fans of Therion’s original work revere such things as definable trademarks that set the band apart from well… everyone really. As I kept listening to this album, out of an incessant need to hear it again and again, I began to realize that Therion had achieved something truly great — the convincing interpretation of such a disparate musical genre as classic French pop through their own metal based Therion language — all without losing in translation the sound, style, and spirit of the originals.

Therion has a long history of dabbling in covers, and what is remarkable about their impressive list of remade songs on previous albums and EPs has been an innate ability to tear a song apart and rebuild it from the ground up in the classic Therion style. Whether it was with their operatic, cinematic take on the Scorpions “Crying Days”, their epic, yet delicate rendition of what was Accept’s clunky ballad “Sea Winds”, or their powerful re-imagining of ABBA’s lesser known classic “Summer Night City”, Therion’s Christofer Johnsson proved himself to be metal’s most radically creative interpreter of song. Yet on Les Fleurs Du Mal, Johnsson chose instead to preserve the core of the original songs and to retain their essence as much as possible to ensure that they were recognizable — well, in a manner of speaking. The reality is that except for those musically clued-in listeners in France, or erstwhile or current Francophiles, these relatively obscure songs aren’t recognizable to most of us in the English speaking world. We haven’t heard the originals to make comparisons to, and as a result are not filled with predispositions towards these songs, negatively or positively — its really all new to most of us (they are on YouTube however and are worth checking out after the fact).

Our unfamiliarity is part of Johnsson’s underlying strategy: These are foreign cover songs in a language that is new even for Therion, French chansons and yé-yé music, but because they are reinterpreted through the right amount of Therion’s musical language we find ourselves enjoying the music of a genre that perhaps we would normally ignore, or even disdain. It all illustrates another motive of Johnsson’s art-project element of this album, to demonstrate that the attributes that separate one style of music from another are often times not so far apart or drastically different. I hear in this album the core things I love about Therion, the only major difference being that the normally dark, epic, and cinematic moods the band usually dabbles in are here replaced by love-lorn melancholy, dramatic longing, and a subtle literate sophistication. This is a front to back exhilarating, darkly beautiful, and addictive listening experience, and its not only the best album of 2012, but one of the greatest entries in the Therion canon.

2. Pharaoh – Bury the Light:

This album is so excellent that upon its initial release in early 2012, I had it as my album of the year by a mile. I figured that while there was still a lot of the year left, it was unlikely that anything would be able to top the sheer metal greatness that is Bury the Light. Make no mistake, just because its not number one on my list, doesn’t mean that I feel its value as a listening experience has diminished. These guys are part of the minority population within metal of US power metal bands, but before you let that pigeonholing genre label turn you off, know that this is not power metal in the modern Euro style, instead Pharaoh draw more from old-school American and Euro trad metal influences and their sound at times comes off as more thrash-influenced than anything. For more specifics check out the original review, there are too many details to adequately cover in this short space.

Pharaoh has metal’s jack of all trades Chris Black on drums, so its not surprising that a band that features in its ranks the mind behind High Spirits and Dawnbringer also focuses on crafting a reinvigorated approach to an old style. In all the reviews I’ve read for this album the one thing that hasn’t been stressed enough is just how well Pharaoh is able to look to the past for musical inspiration and come up with something fresh, way more so than the scores of fashionably-retro-thrash bands popping up everywhere. Personally what I took away from every listen of Bury the Light was this feeling of what it first felt like when I was being introduced to heavy music — in the sense that I found simple joys in the most meat and potatoes of metal. After so many years of hearing countless bands and albums, its sometimes hard to find excitement in old styles and motifs that you may think are being drawn from a dry well. Pharaoh proves that notion to be wrong, and gives me hope that metal will always be able to look backwards to go forwards — if it needs to.

3. Be’lakor – Of Breath and Bone:

Proving that its not just Finland that is taking over as the country behind the melodic death metal resurgence, Be’lakor hail from Melbourne, Australia, a country more known for barroom AC/DC-ish rock bands than anything extreme metal related. If anyone has a hope in changing that perception, its Be’lakor, and albums like this one will do it. They are clearly influenced by whats going on in Scandinavia, as well as some nods to the original Gothenburg sound as well, but what these guys seem so adept at doing is making you forget about that as you listen. The music here doesn’t invoke old wintry, desolate landscapes — instead it paints abstractly, with musical light and shade that move against each other, often over frenetic rhythms that are set against a modernistic Gothic inspired storyline etched throughout the lyrics.

As expected there’s tons of great melody here, and it serves as the songwriting anchor for the band’s sound, as opposed to being merely window dressing. Whats unexpected however is the bizarre nature of the rhythm section and its insistent shifting both in terms of tempo, as well as the tendency to have syncopation both in the guitars and percussion. Something that took me a few listens to catch was the realization that these guys are eschewing the standard verse/chorus format. Songs start in one direction and follow it for awhile before veering off somewhere else without ever returning. It all results in an unsettling sensation, but its kept in check by their ability to craft songs with memorable motifs throughout that are haunting in their eerie, dark beauty.

4. Sabaton – Carolus Rex:

This was a watershed moment for Sabaton, in terms of ambition, sonic production, and of course, quality songwriting. Joakim Brodén IS one of the best songwriters in metal to come about in the last ten years, and so the hooks and memorability quotient is never in doubt when it comes to a new Sabaton release. What was in doubt upon first hearing of the unusual concept behind Carolus Rex was whether or not the band had the ability to deliver a bi-lingual concept/thematic album that wasn’t weighed down by its own lofty aspirations. We should never have wavered in belief, because Brodén not only masterfully crafted a compelling lyrical story of the rise and fall of the Great Swedish Empire and one of its more iconic rulers, Charles XII, but reinvigorated Sabaton’s musical attack to match the grandness of the theme as well. Lush keyboard orchestral arrangements, smartly executed choral vocal sections, and a spot on production job by Peter Tägtgren were all locked into matching the nationalistic epic march of the historical narrative.

It was said that the lyrics on the Swedish version were far superior due to the language’s ability to weave in greater nuance, subtlety, and religious overtones; compared to the straightforward historical bent of the English lyrics, and though that may be true for native Swedish speakers, the rest of us hardly noticed. In fact I’d go as far as to say that this album featured some of Brodén’s most deft word play and intelligent diction choices to date. He has a way of crafting lyrics that when set to his stirring, rousing, powerfully anthemic melodies find a way to simultaneously fill you with adrenaline, melancholy, triumph, and exuberance often at the same time. I’m about to see these guys live again for the fourth time in two years (!), and I’m honestly hoping that they play most of this album. Sabaton gets a lot of flak online for being exactly who they are, a poppy, at times simple power metal band that obsesses about World War II and all things war related. To those detractors, here’s something different subject matter wise and this is the band delivering arguably the best shot in their cannon thus far. You owe it to yourself to pay attention to this history lesson.

5. Barren Earth – The Devil’s Resolve:

This came out of nowhere for me personally, I hadn’t even heard of the project until this release, but I owe it to my recent resurgent interest in all things Finnish melo-death for having stumbled onto this brilliant gem of an album. Barren Earth can be called a super group of sorts in Finland, in that they’re two parts Moonsorrow, two parts ex-Amorphis, and one part Swallow the Sun. To the rest of us, they’re just a relatively new band who are part of the resurgent melodic death metal landscape. Like their fellow countrymen, Barren Earth aren’t content to merely recycle old Gothenburg tropes, instead they’ve managed to find their own unique sound by melding into their work what naturally feels comfortable given their members’ other musical experiences. There’s generous portions of folk-metal infusions laden throughout, some slight doom touches, and even some progressive rock influences particularly within the guitar work.

In fact, whats most striking about The Devil’s Resolve is its retro-without-sounding-retro 70’s prog-rock style and production, no better example than on the lead-off single “The Rains Begin”, where ELO-ish keyboards anchor the melody against Mikko Kotamäki’s light and airy clean vocals (and whose death vocals here are far more upfront and untouched by production wash than they ever were in Swallow the Sun). I’ll throw this out there, and I think many will agree: This is the kind of album that Opeth should, and possibly could have made with Heritage. If you were one of those people who were intrigued by Akerfeldt’s descriptions of that album before its release, and massively disappointed after listening to it, you will find what you were hoping for in The Devil’s Resolve. Barren Earth seem to remember something that the Opeth founder forgot — its all about quality songwriting, everything else comes after. This is a highly satisfying album.

6. Anathema – Weather Systems:

Before anyone starts to yell about how can I possibly include modern day prog-rock Anathema in any metal-related context I’ll remind them of this: Most metal sites cover new Anathema releases, as once a band has been a part of the metal world, it seems we find it hard to let go of them — and also, I see no difference between Anathema’s recent output and something like Opeth’s Heritage, which found its way on to many sites’ best of 2011 lists (geez thats the second time I’ve mentioned that record). And finally, to be blunt, its the Metal Pigeon’s Best Albums of 2012, not the best metal albums of 2012 (even though they’re generally all metal-related anyway).

So yeah Anathema, while I was always lukewarm on these guys’ doom metal past, preferring the more refined Paradise Lost as my English doom cup of tea, I’ve found a newly realized admiration for their post-metal work. I was enamored with much of 2010’s We’re Here Because We’re Here, though I found the album on the whole to be severely lopsided in favor of the first half. The follow-up here then directly remedies that defect with a front to back album of excellence. Its slightly darker and yes, even at moments heavier than its predecessor as well, yet still presents beautifully written songs that are elegantly arranged, with an ear towards minimalism in all respects — the key to modern day Anathema’s sonic success is a less-is-more approach. This is music that is haunting, elegiac, yet brimming with hopefulness — the entire record seems to be a meditation on mortality, and as such it has a cohesiveness that really captures your attention.

The clear standouts here are the twin album openers “Untouchable Pt 1 & 2”, songs you’ll revisit again and again, but not to be overlooked are the gems “The Gathering of the Clouds”, and “The Beginning of the End”. Vocalists Vincent Cavanagh and Lee Douglas share a more balanced split on vocals here, with Douglas even carrying a few songs herself — she is a strength that they’ve realized was under utilized on the last record. A lot has been written about how emotional this music can get, and at times it may even skirt the edges of being a touch maudlin for some listeners, something that I suppose is left up to everyone’s personal tolerance for that kind of stuff. Weather Systems is deserving of a wider audience, and it does seem to be getting some looks from mainstream media, a first for Anathema. Look at it as spiritual music for us metal heads.

7. Kreator – Phantom Antichrist:

This is arguably the best 21st century Kreator album to date. That it took a few releases and perhaps a touch of inspiration from other extreme metal styles to achieve says more about just how difficult it is to successfully reinvent/reinvigorate your sound than it does about any lack of inspiration on Kreator’s part. If there’s a band that knows anything about failed reinventions, its Mille Petrozza and company. Through much of the nineties, the band released record after record of various flavors of misguided quasi-industrial-maybe-doomy-metal. The rebound started with Violent Revolution eleven years ago but like a struggling pro football team trying to rebuild, it takes several incremental successes built over a span of years to get back to championship-caliber form again.

With Phantom Antichrist, the band found a refreshing mix with an extra dose of Gothenburg-esque melody in such heart attack inducing tracks as “Death to the World”, “Your Heaven, My Hell”, “Civilisation Collapse”, and of course the truly stellar title track. Of course some Kreator fans will never be happy, much like fans of any metal band who created their classics in the 80s, and as such some have found reason to complain about the band’s increased focus on melodicism. With songs this detrimental to your neck and spine, I can’t understand those complaints…great songwriting trumps everything in my book.

8. Dawnbringer – Into the Lair of the Sun God:

Chris Black is one of metal’s more enigmatic musicians, a low-profile Chicagoan whose involvement in a multitude of projects means he is releasing new albums at a rapid pace, and all of which are actually really, really good. Whereas he shares the creative role in the above listed Pharaoh with Aymar and guitarist Matt Johnsen, Black is the sole creative force behind projects like the Scorpions-style rock of High Spirits, and the now-on-the-radar Dawnbringer (who have apparently existed since 1999!). If you’re not familiar this is musically speaking a mix of classic metal and NWOBHM traditions, all laid as foundation for Black’s dry, at times almost punk rock-ish deadpan vocals. Its hard to put a finger on why, but somehow none of it sounds purposefully retro, possibly because there is a single-mindedness to the whole enterprise that almost guarantees that irony and self-aware winking isn’t allowed in the Dawnbringer world.

Case in point is that Into the Lair of the Sun God is a concept album, in the most direct Mindcrime-ean terms. It is literally from start to finish the tale of a battle-less solitary warrior who is apparently insulted by the sun (sorry… Sun) and decides to seek his revenge — on the Sun. Musically there is a direct line to classic Maiden, Priest, but also 70s era classic hard rock — its not groundbreaking or original in spirit by any means, but thats not the point. Black is nothing if not a traditionalist who cares more about quality songwriting in that old school metal style that he clearly adores. That this album is a Profound Lore release is a credit to the people at that label for being able to see that not all of the bands on their roster need to be Wolves in the Throne Room and Liturgy clones. If you’re noticing a theme developing this year on metal sites and blogs best of lists, with bands that make old school traditions fresh again, its really something that’s been bubbling under for awhile now — its only now just boiling over and grabbing its well deserved share of attention.

9. Enslaved – RIITIIR:

I had an up and down relationship with this album, loving it immediately upon release and then tiring of it quickly. After putting it away for a few months I came back to it and was surprised at how much more I enjoyed it and was able to see through to the album’s core strengths. Its hard to understand why stuff like that happens, but if I were to guess I’d say that its because this is a good to great at moments album that you really need to be in the mood to listen to. It doesn’t have the straight forward accessibility to override a person’s mood or temperament like Axioma Ethica Odini had, but when you’re in the right frame of mind for it these songs leap out at you. There’s great stuff here, the hypnotic, addictive near drone lull of “Veilburner”, the utterly bizarre title track, and my personal favorite, the otherworldly AIC-meets-Gn’R-meets-Borknagar fusion of “Materal”, where it seems like Slash himself has a terrific guest solo spot.

Enslaved find a perfect melding of Axioma punch and the controversial Vertebrae’s soundscapes and simultaneously deliver some of their most memorable hooks to date. Contrary to most reviews I’ve seen of this record online, I don’t really believe that Enslaved is really breaking new ground or anything remotely resembling that type of hyperbole — they have however managed to expand the boundaries of their sound. And while this isn’t their best work by a long shot, its in their top five for me, and I recommend anyone who felt put off by its strangeness at first to give it another shot sometime down the road. There is something to be said within the context of metal about the redeeming value of albums that take awhile to sink in.

10. Alcest – Les Voyages De L’âme:

Well I really have no excuses here. I believe at some point or another I’ve taken a pot shot or two at the worshiping of so-called black metal coming out of France. Alcest are one of, if not THE key figure in that musical movement, and though I don’t believe I’ve ever said anything about them directly, they were certainly among the culprits in my mind. The thing is that this album came out really early this year, and a friend of mine who loves these guys was playing them in his car on the way to some show somewhere, and I found myself enjoying it despite myself. I couldn’t remember what album it was when I got home but I figured that he was playing me the newest one — fast forward eleven months later and when I look at my ITunes play count this album has gotten so many spins that I simply couldn’t ignore the fact that I had quietly been enjoying Les Voyages De L’âme way more than I realized (that title by the way translates in to “The Voyages of the Soul”, not “The Lame Voyages” — you were thinking it).

It would serve throughout the year as my soundtrack to writing articles, playing Skyrim, general internet nonsense, and at times in the car as I’d drive to work. Upon thinking about what albums would be on this list, I tried in vain to think of another album that I could have justifiably placed at my ten spot, but the reality is that you can’t lie to yourself. Whereas past Alcest albums failed me and couldn’t keep my attention (might be time for a revisit), this is perhaps the band’s most instantly accessible work to my ears. I won’t go into adjective filled sentences here about what they sound like, you’re not an idiot, you know what this band is about by now just from seeing their name enough. What I will say is that songs like “Autre Temps” and “Faiseurs De Mondes” are undeniable in their beauty and epic majesty. If you like myself had found no truck with Alcest in the past, their latest might be what you were waiting for all along.

The Metal Pigeon’s Best Songs of 2012:

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

1. Anathema – “Untouchable Pt I/II”: The opening duo from the Weather Systems record is one of many high points on a near flawless album. It may be too light and positive for many metal heads, and it is a complete 180 from Anathema’s Peaceville doom days, but they’ve found their footing here and seem comfortable in it. I know I’m squeezing two songs into one spot here, but both parts are inseparable really — a gorgeous pairing that I’ll never tire of.

[youtube http://www.youtube.com/watch?v=E6hzsrqyGPs?rel=0&w=560&h=315]

2. The Darkness – “She’s Just a Girl, Eddie”: I love the Darkness, I have no shame in admitting it. I was thrilled when they came back and finally released new music. I believe that I’m in a small minority when I say that I don’t believe that The Darkness are as have-a-laugh and ironic as most people seem to believe. The mix of Def Leppard/Queen/AC/DC rock n’ roll that these Englishmen crank out can’t be done as well as they do it without there existing some genuine love for the stuff. I believed that back when they first came out, and I believe it now. These guys write well-crafted, lyrically deft, and humorous songs that don’t skimp on the hooks. I grew up listening to pop-rock like Leppard, Bon Jovi, and Europe long before I listened to heavy metal, and a love of straight-up hard rock has never left me. This album cut off their newest, Hotcakes, is an oddly touching paean to their once heart-broken drummer, Eddie, and its a personal highlight off of a fantastic album.

[youtube http://www.youtube.com/watch?v=RbWYtuSaWL0?rel=0&w=560&h=315]

3. Wisdom – “Heaven and Hell”: This rousing singalong by Hungarian trad/power metallers Wisdom can rightfully claim its title as the owners of the second best song named “Heaven and Hell”. It was the highlight off their most recent album Judas, and it boasted a fairly tasteful music video to boot. The draw here aside from the exceptionally catchy hook is new vocalist Gábor Nagy’s unique blend of prime Ozzy, Dio, and slight Hansi Kursch. This is one of those songs that was tailor made for a field of fist pumping maniacs at Wacken — anyone wanna buy me a plane ticket?

[youtube http://www.youtube.com/watch?v=WZMY-YXLa38?rel=0&w=560&h=315]

4. Sabaton – “Carolus Rex”: “I was chosen by heaven/ Say my name when you pray / To the skies — see Carolus rise!” The chorus of the title track of Sabaton’s masterful new album is alone filled with the kind of bombastic, pompous, chest pounding bravado that only heavy metal could deliver (rappers have nothing on Charles XII of Sweden). This song encompasses not only the near genius lunacy of the former ruler of the Swedish Empire, but also the spirit of the new album as a whole. One of their best singles and perhaps the most pounding, adrenaline-inducing song of the year.

[youtube http://www.youtube.com/watch?v=uqRF1JS63Mc?rel=0&w=560&h=315]

5. Kamelot – “Song for Jolee”: One of two emotional high points on the new Silverthorn album, their first with new vocalist Tommy Karevik, Kamelot adds another spectacular ballad to their repertoire. Many might wonder after all the articles I published about Kamelot’s situation this year, why they eluded the top ten albums list, and really there was just too much in the way of competition. Silverthorn was a good album, and a nice start for the band charting a future without the mighty Roy Khan, but it wasn’t great and had some flaws. This song however hinted that they’re possibly only a few albums away from delivering another great one.

[youtube http://www.youtube.com/watch?v=X2QrnT–2mI?rel=0&w=560&h=315]

6. Grand Magus – “The Hunt”: There was a lot to love on these Stockholm lads sixth album, in particular this storming title track. This was an easy album to enjoy right out of the gate but also an easy one to over play and tire of. Grand Magus’ major drawback is that their high points are so high that everything else on offer starts to blend in together and sound the same. Still, I keep some choice songs off this album on my Ipod at all times, and its this track that has me singing loudly out of tune the most.

[youtube http://www.youtube.com/watch?v=MNESu-ChMXY?rel=0&w=560&h=315]

7. Borknagar – “The Earthling”: I love this song, and believe that its more stripped down, metallic attack is the direction that Borknagar should further explore on upcoming releases. It boasts one of the most euphoric and powerful refrains of any Borknagar song to date and in typical Norwegian progressive black metal fashion, it comes towards the end of the song. Its worth the wait, and singer Vintersorg is in prime form using his heavily accented clean vocals to deliver soaring lines that meditate on the relationship between nature and man. Freaking sweet music video too. Nice one guys.

[youtube http://www.youtube.com/watch?v=98-yil0olG8?rel=0&w=560&h=315]

8. Pharaoh – “The Year of the Blizzard”: This is the centerpiece of Pharaoh’s awesome Bury the Light album and in a way a perfect microcosm of everything great about this band. While my initial favorite on the record was “The Spider’s Thread” for its unforgettable fade out refrain, “The Year of the Blizzard” features sparse acoustics, blisteringly frenetic near thrash metal, and gorgeous solos (the best one coming at the 5:15 mark, an emotional, fluid, and elegant guitar solo that bites down to the core of what we love about the epicness of metal). Guitarist Matt Johnsen will in all likelihood go unnoticed by most guitar enthusiast magazines and sites, but he’ll get a major shout out from me —- someone get that guy a trophy.

[youtube http://www.youtube.com/watch?v=Ir_BVxBz5do?rel=0&w=560&h=315]

9. Orden Ogan – “The Things We Believe In”: These German power metallers clearly take major inspiration from the mighty Blind Guardian, which is no bad thing of course, but doesn’t net the points for originality. It doesn’t matter however when you have songs as straight up fun as this one. Their new album, To The End, is chalk full of anthemic choruses and surprisingly some hyper-intense Immortal-like riffing. But its a bit of a mixed bag overall, with some filler here and there, and one ballad that has some seriously cringe worthy lyrics (and I’m a guy who tolerates a lot in that department) despite its good melody. But generally speaking, this is the kind of band you listen to for some good time, singalong, drinking metal. We’ll leave the serious German power metal to the original bards.

[youtube http://www.youtube.com/watch?v=IXhyzGc7_pc?rel=0&w=560&h=315]

10. Asphyx – “Deathhammer”: These guys narrowly missed my top ten albums list this year with their release of the same name, a convincingly brutal assault on the ear drums in that classic Entombed style. This was the best pure death metal album of the year, even topping Grave with their solid Endless Procession of Souls, and it was this song in particular that served as their consideration for nomination. Asphyx are grim traditionalists in every aspect, even down to details such as an insistence on a mud n’ blood production. These songs wouldn’t work half as well if they were recorded with the pristine precision of a band like Nile. Darkthrone’s Dutch death metal cousins then.

May 27, 2012 2012, Blog related, Online Metal Community Post a Comment

I’ll get to work, after one more episode…

If you hadn’t noticed, I’ve been absent from posting anything new for almost a whole month here. And while I’m grateful for the couple of emails I received from a few folks asking me why the hell I’ve been lollygagging(!) around and not updating, I must confess: I needed a break. Not that this blog’s output has been particularly prolific, as I’ll always favor quality over quantity, longer more in-depth writing rather than short bursts of message board quality troll like commentary, nevertheless I was starting to feel like I needed some time to catch up on the rapidly piling up stack of new music I hadn’t properly digested yet. I was still listening to metal during the last month, but doing so freely, as opposed to the schedule laid out by various album release dates. There was a lot of revisiting an individual artist’s back catalog, checking out releases from bands I had stopped paying attention to for the past few years to see what they’ve been up to, as well as just deciding to listen to some personally designated classic albums — there was a lot of repeat listens to Therion’s Symphony Masses for example.

In addition to all that, I just felt the urge to indulge in some interests away from metal for a little bit. Its something that I think a lot of us who write about music or various other topics go through every now and then but keep to ourselves. But the reality is that sometimes you just need to spend a few days in a row crashing on the couch after work to watch yet another complete season of Mi-5 on Netflix, catch up on 360 games, or just tune everything out and read a book. I think I’ve spent an unreasonable amount of time in the past feeling privately ashamed that I’ll occasionally wake up with Good Morning America or NPR instead of (insert thrash/death/black metal classic here), but I’ve gotten older to such a point where that kind of thinking is uncomfortably childish. Perhaps it is simply growing into adulthood, but I’d like to think that my lack of one hundred percent focus on all things metal is far more beneficial than not. I’m sure this concept isn’t exactly a revelation to many of you, but it has been to me over the past few years, and its taken time to adjust. When I decided to author a metal blog, I knew going in that things would get difficult when I hit these speed bumps, but I think that going forward I finally have an idea of how to creatively embrace those brief lapses in metal concentration for the purposes of this blog.

With that being said, its about to pass a half a year since I first launched, and I’d like to take a moment to thank those of you who have been reading (or at least subscribing and ignoring – I’ll take it!). I’ve already had far more viewership than I could have possibly imagined at such an early stage, and hope to continue to build on that in the months and years to come. Here’s whats coming up this week and beyond:

A comprehensive look back at the past month of new releases by Sabaton, Dragonforce, Sonata Arctica, Grand Magus, Kreator, and Burzum.

I’ll ponder the potential of a Roy Khan-less Kamelot, examine just how vital his role was in the band’s artistic successes, and discuss how he will be extremely difficult, and perhaps near impossible to replace.

Crazy from the Heat! Metal and the arrival of summer.

January 31, 2012 Best of, Blog related, Uncategorized 2 Comments

Last word on 2011: Things I missed

In the past weeks since my year end list was posted, I’ve been enjoying a number of albums released in 2011 that I either overlooked, under appreciated at the time of release, or simply didn’t realize were out until recently. Although this tends to happen every year, I’m no less agitated by my oversights — it seems to suggest a failure on my part to be with it, to have the pulse of what is really great in metal at the moment. But on the other hand, I can only listen to so much at once, especially when I find myself drawn to repeated listenings of a few albums in a particular period of time. To counter this deficiency I listen to a few metal radio streams and select favorite metal radio shows, as well as sifting through the numerous best of 2011 lists to alert myself to music that may have missed my radar. Sometimes just seeing an album that I had ignored earlier reappear in a year end list will get me to give it another listen. Here’s the best of what I missed:

Moonsorrow – Varjoina Kuljemme Kuolleiden Maassa:

Credit for this one goes to the Angry Metal Guy and his Top 10(ish) of 2011 list. I was vaguely aware that Moonsorrow had released a new album through the half-remembered mutterings of a friend, but I was not moved to check it out. Its not that I didn’t enjoy Moonsorrow, my first real Moonsorrow experience was seeing them live a few years back and I thoroughly enjoyed their show, thought they sounded great and proceeded to pick up a copy of their then new EP Tulimyrsky at the merch booth. What I loved in the live setting was not translating through on the recording, nor was anything from their 2007 album Viides Luku – Hävitetty. I suspect now it must’ve been a case of being in the wrong mindset — I wasn’t in the mood for ten to thirty minute long songs from a band that I (erroneously) perceived as supposedly being a blacker and bleaker Ensiferum. However, when AMG places an album at number one on his year end list, I tend to stow away any misgivings I may have had about a band, shut up and check out the album. Am I glad I did. I love this record, from start to finish, love it. I won’t do any personal year end list revisions, but had I heard this album before I contemplated my 2011 favorites I’d have no doubt that it would rank somewhere in the top ten. The standout track for me that had me hitting repeat over and over again was “Huuto”, whose main melody is introduced at the onset through chiming acoustic guitars. I’ll avoid an album review here (instead referring you to AMG’s review ), but instead will suggest to someone unfamiliar with Moonsorrow that this album is the perfect point of entry into their back catalog. The songs are trimmed down in length a bit from their past few releases, and while they are more immediate, they do not lack in songwriting quality or depth in the arrangements. Its an album with passionate blackened vocals, dark folk touched melodies, cinematic keyboards that drive the melodies, and overall epic scope. Enjoying this album has opened up the band’s past few releases for me, including the two mentioned above, and I’ve been enjoying those as well. Its a recurrence of what has become a theme for me lately: rediscovering bands I’d previously been unable to get into. I think that as a listener, your mindset and the timing of when you first listen to a band might have something to do with it, but more important than that is having the right point of entry into a band’s recorded output.

Primordial – Redemption at the Puritan’s Hand:

Well I’m gonna have a hard time explaining this one. As with Moonsorrow except on a slightly more severe level, I could never get into Primordial despite all my best efforts through numerous listenings of random tracks on youtube, sampler cds, etc. over the years. I recall always enjoying the musicianship and arrangements, but the vocals were my stopping point. I just could not get into them. A few weeks ago, I took a listen to a few tracks from their 2011 release and found myself running into the same problem — that is until I put Alan Averill’s vocals into context. I started thinking about how he reminded me of Flogging Molly’s Dave King, who I’ve been a longtime fan of. I know it sounds stupid, but it worked. All of a sudden Averill’s vocals weren’t a problem, in fact, if anything they became more of a draw to me than the music because it reinforced to me that hey, this is an Irish black(ish) metal band, a true rarity. His vocal approach is unique, and in moments of clarity he sounds distinctly Irish in accent. I don’t know if my earlier attempts at enjoying this band’s music was just scuppered due to misplaced expectations or perhaps because I subconsciously wanted them to sound like Riverdance-meets-black metal. This is a good record, but I’ll have to say that I now prefer its predecessor To the Nameless Dead overall. While Redemption is not quite the point of entry record that Moonsorrow’s new one was, its standout track “Lain with the Wolf” is by far the band’s best song – one to You Tube if you’re at all remotely curious about this band. If its steady, churning build doesn’t move you, check your pulse.

Hammers of Misfortune – 17th Street:

Credit where credit’s due, this was an album and band that I was introduced to through Lars Gotrich’s NPR Best Metal of 2011 list. Yes, despite my reservations about his and other similar year end lists, I did go through and take a listen to everything on it and this fantastic album by (the Metal Pigeon’s childhood hometown) San Francisco’s Hammers of Misfortune was the clear standout, an album that grabbed my interest because it touches upon the cornerstones of what I love in music in general. Namely, great songwriting, passionate vocals, and inventive arrangements. The hook-in was the track called “The Grain”, a song built around a soaring chorus that is immediately followed by an awesomely crunchy outro. Its simply one of the best songs I’ve heard all year. While the album doesn’t provide any other tracks that live up to its incredible standard, it does offer the widest variety of styles and approaches that I’ve heard on an album recently next to Nightwish’s Imaginaerum. The influences are pronounced; at times Thin Lizzy, Queen, and old Metallica blended through a prog filter into something that really does remind me of the Bay Area. The end result is a hard to categorize sound that is also difficult to describe in terms of relating them to contemporary bands, but that is the likely triumph here. Its therefore a bit pointless to try to talk someone into liking this record, just give it a chance and see if you like anything about it. You’ll need to give it multiple listens before it sets in as a whole album, and I can understand how some people will be unable to see the appeal. Its by far more rooted in a classic metal/hard rock approach than anything modern-ish, yet sounds more modern than most stuff out there today (if that holds any importance to you). A uniquely satisfying album.

Vintersorg – Jordpuls:

I have no excuse as to why I slept on this in 2011. This is an incredibly enjoyable, and fun(!) to listen to album. I actually obtained it upon release, gave it a cursory listen and never went back to it again. This is strange behavior for me because I actually am quite the Vintersorg fan, and above all his projects his solo albums are the treats I crave the most. Looking back now, I suspect that perhaps my initial indifference to Jordpuls was silently informed by my disappointment with the last Borknagar release (in case you didn’t know, Andreas Hedlund aka Vintersorg handles their vocals). I rather enjoyed Vintersorg’s 2007 album, Solens Rötter (“Roots of the Sun”), as it marked a return to Swedish lyrics and his Scandinavian folk influenced roots. This was a breath of fresh air after the utter proggy weirdness of the two albums that preceded it (good albums both, but bonkers weird). He sounded comfortable and at ease once again, the songs flowed better, and the shift towards simpler arrangements allowed his knack for excellent melodies to shine through again. It seems that with Jordpuls (“Pulse of the Earth”), he is building upon the foundations laid down with Solens Rötter and now has a better understanding of how to weave in the prog tendencies he loves in a more natural sounding way. I suppose this only makes sense if you understand what a jarring transition it was to listen to 1999’s Odenmarken’s Son, only to be greeted with the abrupt changes presented in its successors, 2000’s Cosmic Genesis, and 2002’s Visions From the Spiral Generator. Here’s hoping the upcoming Borknagar album can impress me just as much.

High Spirits – Another Night:

Thanks to Joseph Schafer from Invisible Oranges for this recommendation. What an awesome record. It reminds me of the Scorpions (yes goddammit that’s a great thing) mixed with a cornucopia of 70s and 80s guitar rock. Hell even the cover, with its juxtaposition of classic looking band and album logos against a black framed scene of the Chicago cityscape at night, depicts the very scene I imagine when I hear the German legends’ “Big City Nights”. Apparently this is a one man project at its core, by a fellow named Chris Black who I’m led to believe handles all the instrumentation as well as vocal duties(?). Correct me if I’m wrong on that, but regardless, these are great songs played with a hard rock/metal spirit that seems to elude many of the new bands out there who are actively attempting to emulate the past. After reading Schafer’s write up of on Another Night and his earlier interview with Chris Black, I get the impression that this project exists for the simple reason that no one is making new music that sounds like this anymore. That’s a good enough reason as any to make a record that is more rockin’ (spelled as intended) than anything else I’ve heard in donkeys years. Good thing too, the mighty Scorpions are retiring soon, so someone needed to step up and continue to offer advice on what to do “when the daylight is falling down into the night”. You Tube “Full Power”, “Another Night in the City”, and “Do You Remember” — they’ll sell you on the record.

January 17, 2012 Best of, Black Metal, Blog related, Online Metal Community, Power Metal 28 Comments

NPR and Pitchfork: Putting their Best Metal of 2011 lists in perspective

The generous view on year-end/best-of lists of bloggers or websites is that they are often an exercise in an earnest, optimistic type of narcissism. I’ve done one myself, so I’m not guiltless in that aspect — but I’ve begun to realize that most of the lists currently being published are also exercises in varying, and scalable degrees of exclusionism. I say this because in the past two years major non-metal/indie oriented media outlets have taken it upon themselves to declare to their reading audiences what is the Best Metal of the Year. I’m referring to websites such as NPR, Pitchfork Media, Spin, PopMatters, Stereogum, Noisecreep, Frontier Psychiatrist, etc (just do a google search for “Best Metal of 2011” where you’ll see a good portion of these on the first page of search results). There are countless other minor non-metal oriented blogs and sites that have their own list up as well, and they all pretty much loosely mirror one of the examples posted above.

This is a curiously new phenomenon: ten, seven, even six or five years ago you wouldn’t find non-metal/indie media daring to touch the very idea of the “best metal” released in those years. The cynic in me wants to ask, “Did the hipsters get tired of all the garage-rock bands ironically limping around Brooklyn?” That is mean spirited I know, but part of me does wonder, how long will this new found interest last? First let me offer this: I am not attempting to argue that these sites have no business publishing best of metal year end lists, nor am I attempting to critically analyze their selections. Each of the writers of these lists have their own tastes, preferences, and the right to promote them…but after mulling these lists over for a few weeks and listening to most of the albums on them, one thing has become very clear to me: The most popular of these lists are created by a handful of very prolific writers/bloggers, and the rest stem from the templates laid out by said writers. In particular, the highly read and discussed lists from NPR’s Lars Gotrich and Pitchfork/Stereogum’s Brandon Stosuy are parroted throughout the blogosphere. In deserving respect to these two writers, they both offer their opinions with interesting takes and lucid arguments. I enjoy reading their stuff, and dislike having to single them out — however due to their popularity, I feel they are liable to be held to a higher standard.

Without delving too deeply into Gotrich and Stosuy’s lists, the most obviously striking things about them both is that they tend to lean heavily on the new crop of post-black metal bands. There are occasional death metal albums sprinkled throughout, the odd doom record, and a good bit of math-metal (I hate that label but its what everyone uses). Okay fine, I actually like a few of their selections as well, but here’s a question: Aren’t we missing something in terms of various other styles of metal? You’ll notice that traditional metal and power metal are noticeably absent from these lists. Gotrich’s 2010 list was even more narrowed down to include ambient and noise records alongside new post-black metal releases. I have no problem with Agalloch’s excellent Marrow of the Spirit taking the number one spot, but where on the list were the then new and stunningly great albums by Blind Guardian and Accept? These were widely acknowledged as some of the most brilliant work by either band, and both came as surprises completely out of the blue. In his 2011 list, Gotrich misses out on the masterful Iconoclast by Symphony X, a ferocious album that has won them more believers than anything else in their catalog. How about the woefully underrated Faroese trad-meets-folk metallers Týr and their fantastic new record The Lay Of Thrym? I could go on and on, and apply the same misses to Stosuy’s lists for 2010 and 2011. (And while we’re on the subject of black metal, how do both of these guys miss Enslaved’s Axioma Ethica Odini as well as the 2011’s excellent Taake release Noregs Vaapen, and Burzum’s defiant, shifting Fallen?)

It should be all too clear by now that Gotrich and Stosuy do not like traditional or power metal at all. To such a degree that they will willingly ignore popular, widely lauded albums that fall into those styles. To each his own right? Yes. But here’s my problem: these are two very influential writers. Their opinions as mentioned before are parroted around the web, and frankly, that’s where a lot of this type of discussion takes place. What concerns me is that these lists are being trotted out for readers and listeners not already familiar with metal in general. What Gotrich and Stosuy present to these types of audiences is a mere sliver of the many styles of metal that are actually available out there. An NPR listener might actually be capable of being interested in metal that is delivered with a clean, melodic vocalist, or be able to enjoy a record that isn’t washed out in synths and shoegaze influences (cheap shot I know). There are plenty of bands who put out quality releases that this hypothetical person could enjoy, but they might never know about them.

It may only be semantics, but I’d feel a little less agitated about Gotrich’s list if it wasn’t simply titled “The Best Metal of 2011”. What should it be called? I don’t know exactly, perhaps throw in the word “extreme”, as in “The Best Extreme Metal of 2011”? That would at least be a little more adequately narrow, or at least less inaccurate. Perhaps I come across here as being far too judgmental, but this is what blogs are built for right? Someone could exasperatedly chime in at this point to say “Look, its just a goddamned list, get over it”. Well I also see it for being more than what a casual reader may take it as — and that is a concerted effort to make metal appealing to the indie and culturally hip audiences of NPR and Pitchfork. There is a trend developing within the ranks of American based non-metal media, as well as some metal based media outlets (I’m looking at you Decibel) to intellectualize a certain set of subgenres and plant their flags upon it as if to signal to hipsters everywhere, its okay to listen to this particular brand of metal. Any metal not within the confines of these designated genres is to be considered dumb, sophmoric, and dated music for neanderthals who wank about guitar solos, drink beer, and act like idiots at metal festivals like Wacken. Am I taking this a bit too far? Maybe… but deep down I suspect I’m right about the motivations here. I’d love for Gotrich and Stosuy to come on here to refute me and make me eat my words somehow. They’ll be sent links to this.

My accusations of blatant exclusionism against these two writers in particular is supported by the fact that there is a host of metal oriented websites and blogs, many of whom have been in operation for well over a decade, that offer completely different takes on what is the best metal of 2011. The fifteen year old web zine Metal Rules placed the aforementioned Accept and Blind Guardian albums at the top two positions of their 2010 list, respectively, and they have an even more varied and cross-subgenre based list for 2011. I may not find myself agreeing with many of the choices on their list, but I do appreciate the fact that it is coming from a website that reviews any and all subgenres within metal. Check out their reviews section and you’ll find that many of the bands on both the NPR and Pitchfork lists are reviewed in depth. There many other metal oriented sites out there that share a similar open minded viewpoint, such as the Angry Metal Guy, one of the best places to get informed opinions about metal across the board. Check out the tireless efforts of Stone at Metal Odyssey, the always unique takes of Dan DeLucie at Heavy Metal Power, and the often hilarious yet always informative work at Metal Sucks. Two Cleveland metal legends, Officer Metal and Doctor Metal, offer experienced, informed opinions about the more melodic side of metal through their excellent college radio shows the Metal Command, and the Metal Meltdown, respectively. There are so many more, too many to list actually, that offer wildly different takes that are often informed from a more centrist metalhead perspective. What is unfortunate is that none of them are as popular as NPR and Pitchfork.

It may sound as if I’m angry about all this stuff, well, not really. Disturbed yes, annoyed even more so because so many of the bands that I’ve enjoyed over the years fall into those categories that would not fit in with idea of metal that the non-metal oriented media wants to talk about. It affects me personally when these bands I love decide to pass on touring the United States due to lack of perceived popularity in our country. They can’t get decent press, record sales never grow adequately, and they decide to do the smart thing and stick to Europe, South America, and Japan for financial reasons. Some of the gutsier bands try their hand at building a niche fan base in the States, such as the Swedish power metallers Sabaton, who by this coming April will have passed through my city of Houston three times in one year(!). I’ve heard them speak with my own ears about the uncertainties of touring in the United States — they admit, they aren’t sure if they can pull it off half the time. A great, truly amazing band both live and on record like Sabaton gets no American press except from the depths of the metal underground, while hosts of tastemaker approved bands get viral online attention (a good many of which are studio projects, or bands that tour only in limited fashion). Something is wrong with this scenario, and its disappointing that nothing will change.

Two Fridays ago I enjoyed listening to the long running metal radio show Metal on Metal based out of Cleveland by another one of that city’s metal legends, Bill Peters. His end of the year list was created by requesting listeners’ votes for their top three choices of 2011. The list that was compiled was interesting to behold; over one thousand listeners contributed and the final two were neck and neck. It ultimately finished with Anvil’s 2011 release Juggernaut of Justice getting the top spot over Anthrax’s Worship Music. Not Blut Aus Nord, or Cormorant, nor (dear me) Liturgy — but Anvil and Anthrax. When we get lost in the myriad depths of blog comment fields and the hidden realms of web forum discussions, we often shutter ourselves away from the reality of what is actually happening in the world. This applies to metal, and to its appreciation as a form of topical discussion. As seen here in Metal on Metal’s listener compiled list, what large samples of metal fans are actually listening to is far removed from what sites like NPR and Pitchfork prescribe. With all due respect to the bodies of work and the talent of the artists on those lists, I can’t imagine the majority of them taking to the stage at the metal community’s international proving ground of Wacken Open Air. There really is a silent majority in metal. The audience for this type of music is massive, but the portion you see online is a small, fragmented mosaic. Tens of thousands of people bought the new Megadeth record in its first week of release — they did not look to the web for a recommendation.

December 28, 2011 Absu, Best of, Black Metal, Blog related, Edguy, Falconer, Ghost Brigade, Iced Earth, Nightwish, Power Metal, Symphony X, Taake, Tyr 3 Comments

The Metal Pigeon’s Best of 2011!

It was always going to be hard for 2011 to match the unprecedented amount of great and often excellent albums released in 2010, which was a landmark year for metal in general. Across all the sub genres, the metal world flexed its muscles as if to show that ten years after the Iron Maiden reunion that sparked the metal resurgence across the globe, the flag was still flying high, commercially and creatively. But what 2011 lacked in sheer numbers of releases, it more than made up for in just how many potential candidates there were for the number one spot in this list. In my experience, most years have ended with a clear standout album, one that so easily towered above the rest in my mind that the list seemed lopsided. But not this year, because each one of the albums in the top five of this year’s list could have legitimately claimed the number one spot. That’s saying something about just how fantastic the album in that spot is, and now to get right to the point, The Metal Pigeon’s Album of the Year belongs to:

1. Symphony X – Iconoclast:

I wrote about the impact that this album had on me upon my first listen in an earlier blog piece, and well over half a year after initially hearing this record it still manages to get me to shake my head in disbelief at how much I really love this album. Now is not the time to be reserved about praise, this album is an absolute masterpiece, start to finish, and in all ways as close to a perfect album as you can get. This is a rarity for me, as I usually can find something to critique even in most of my albums of the year; a filler song here or there, a pointless intro track, a vocalization that sounds off, lame artwork, etc, etc. In Iconoclast, every note belongs where it is found, the transitions between the crunchy, gritty gut checking verses and soaring-so-high choruses aren’t forced – if a bridge is needed, you often find it becomes one of the defining features of the song. Some of the best moments in these songs are the little things, the one time transitions or outros that follow spectacular guitar solos or perhaps the third play through of the chorus – these are the musical gems that once discovered make you all too happy to sit through a six-minute song in order to hear that singular transcendent moment at the four-minute mark.

Russell Allen’s vocals are spectacular, he has the ability to quickly shift from a startlingly aggressive gritty delivery to a smooth, soaring, powerful vocal that often carries the rest of the band’s complex arrangements into the territory of raw human emotion. Sadness, melancholy, elation, and euphoria — a great progressive/power metal vocalist should be able to flex his instrument to convey them at the drop of a hat, regardless of the timbre of their voice. This is epic music and it requires a vocalist that goes for it, leave the irony and smirking at the door please. And regarding guitarist Michael Romeo, I don’t think I’ve ever heard a shredder who can so effortlessly spit out guitar riffs that sound so sharp and razor perfect that they threaten to slice up your face while listening, since the classic era of Megadeth via Dave Mustaine. Rapid flurries of notes are timed well, spaced out evenly, and countered by his innate sense of melodicism that he interjects not only in beautifully composed, epic guitar solos and passages, but also within the song structures as well. Throughout the album, he flares and flashes here and there before unleashing his technical abilities in a jaw dropping way, yet always knows when to exercise restraint and allow the rhythm section to carry the weight of the song. I’ll repeat my earlier claim, there isn’t a note wrong on this record, and it manages to top its predecessor, 2007’s Paradise Lost, which was already a spectacular album. If you are any kind of metal fan, you owe it to yourself to give this a few listens at the very least.

Album highlights: “The End of Innocence”, “Children of a Faceless God”, “When All is Lost” (the guitar solo at 6:27 is worth the price of admission)

2. Nightwish – Imaginaerum:

Most of the albums on this list were released many months ago, Nightwish’s Imaginaerum was released on November 30th. In just a few weeks it has managed to occupy most of my listening time for this entire month, as well as streak up to the second highest spot on this list. In the UK, Metal Hammer has awarded it with its own prestigious Album of the Year award, and no wonder: Its addictive, in a way that no Nightwish album has ever come close, perhaps due to the fact that its so intriguing. No other album in this band’s history is as schizophrenic, jarringly abrasive, prone to sudden mood swings and well, just flat out bonkers. At the center of this madness is the steadying hand and guiding vision of keyboardist and main songwriter Tuomas Holopainen. And he somehow manages to keep all the zaniness in check through his ever reliable abilities to craft oh-so-catchy tunes and heart stopping orchestral arrangements. The shining star however, is not-so-new anymore Nightwish vocalist, Anette Olzon, who gives the performance of her career with a barrage of shifting styles and vocalizations. On “Slow, Love, Slow” she’s a jazz chanteuse who conducts the band with a hint of slyness in her voice, while the subtle shift to the chorus shows her ability to bend emotional inflection into her delivery in a way she never did on past ballads like “Eva”. She duels with bassist and co-vocalist Marco Hietala’s bizarre, gruff, mental patient-like shouting vocals on the epic “Ghost River” by being the bright light of innocence to his incredibly dark, haunting performance. Of note on this track is the way that the children’s voice of the Young Musicians London choir eerily backs up Hietala in what has to be one of the strangest duets in music history. It works.

It all somehow manages to work, even jazz lounge Nightwish. On the much talked about “Scaretale”, Olzon disappears into the character of a loopy performer in a deranged, Tim Burton-esque circus, and her vocal darts quickly in and out of rapid phrases and dramatic musical shifts. Her ABBA-esque pure pop vocal background is given center stage to crest to euphoric heights on the “Last Ride of the Day”, which turns out to be most quintessentially Nightwish styled song on the album, recalling hints of the bands Oceanborn and Century Child albums. This band has always been a master of balladry in their own unique idiom, and they have penned their finest ever in “Turn Loose the Mermaids”, a song that evokes Loreena McKennitt-like celtic melancholy in which Olzon delivers what seems to be a paean about the acceptance of death. There is a fairly heady conceptual theme tying together all these songs (in part due to the film of the same name being released next year), in which a dying elderly man suffering from dementia begins to regress into childhood and relive moments of his life in dreams. Its not necessary to be aware of the concept to enjoy the album, though it does make the experience even richer. This is the heaviest, darkest, and greatest Nightwish album to date, and it raises the bar for this style of metal to unimaginable heights.

Album Highlights: “Ghost River”, “Turn Loose the Mermaids”, “Last Ride of the Day”, “Slow, Love, Slow”

3. Taake – Noregs Vaapen:

This one came out of nowhere, and quietly crept into my listening habits on repeat rotation before I really knew what was going on. When I did, I was surprised because Taake’s previous album (the self-titled Taake), while a good record, had done little in the way of really impressing me. On Noregs Vaapen, songwriter and vocalist Hoest injects a myriad of wildly different influences into his traditional Norwegian black metal style, in ways that are difficult to sum up in a single phrase. In “Du Ville Ville Vestland”, a barrage of standard tremolo riffs and blast beats is punctuated by nearly alternative rock flourishes, and breaks wide open at the 4:10 mark, into an amazingly catchy Def Leppard-arena-rock styled riff and matching drum beat, followed by what sounds like a twangy bass guitar handling the lead melody. Twangy bass guitar leads in a black metal song?! Its an awesome moment, the first of many. A banjo makes an appearance in “Myr” and fits in beyond belief, helping along a mid-song transition while sounding like some long lost Norse instrument. In the album opener, “Fra Vadested Til Vaandesmed”, the combination of layered guitars over a tremolo-picked rhythm work to create a hypnotic, frenzied, dance-like quality. Check out the loose, jazzy, Porcupine Tree-invoking midsection in “Orkan”, and also the album highlight in “Norbundet”, where Taake eschew slicing riffs for airy, spacey, strummed guitar figures. A slew of guest stars are spotted throughout the album, such as Darkthrone’s Nocturno Culto, Mayhem’s Attila, and Demonaz from Immortal — and while they’re contributions are noticeable, the vocals really take a backseat to the music and compositions here. This is an album that reveals its greatness when you allow it to wash over you. The amazing thing is that despite all its prog-rock deviations and non-black metal influences, it couldn’t be mistaken for anything other than a Norwegian black metal album. Its not quite black-n-roll, nor is it attempting to emulate any of the genre-bending reworkings of the black metal sound that are coming out of the United States and France. Here we have the most radical black metal album released in at least ten years, and its by an eighteen year old band from Bergen, Norway.

Album Highlights: “Norbundet”, “Fra Vadested Til Vaandesmed, “Du Ville Ville Vestland”

4. Falconer – Armod:

I’m a recent convert to these guys. My eye opening experience with Symphony X’s Iconoclast spurred me to revisit many bands I had previously ignored or tried to like and failed. Falconer was the first of them to come back and slap me awake with a back catalog of albums that left me stunned and completely obsessed, to the same degree that I became permanently obsessed with other power metal greats such as Blind Guardian, Edguy/Avantasia, and others back in the day. It was fortunate then that this happened just before the release of Falconer’s seventh album Armod in June. This may be a power metal album, but its one of the most crushingly heavy albums released this year. If you aren’t aware of this band’s history, it is helpful to understand that their songwriter and guitarist Stefan Weinerhall’s previous musical project was the folk/black metal band Mithotyn. This explains Falconer’s tendency to rely upon heavy, crunchy guitar riffs over the sometimes more airy keyboard driven bands found in power metal. Not to forget the fact that “Griftefrid” is driven by relentless black metal blast beats (seriously), which makes for one of the most unusual power metal tracks I’ve ever heard.

In fact, guitar-wise, there is a great deal of music on this album that seems to be very influenced by the Gothenburg melodic death metal sound in the best possible way. Another interesting facet of this album is that the lyrics are all in Swedish, (something the band says will be a one off). Its a great experiment, because while a big part of the appeal of Falconer’s prior albums is the crystalline clear vocals of Mathias Blad and the often poetic qualities found within their English lyrics, his vocals are just as commanding and dramatic in Swedish. In fact the distinctively sharp nuances found within the language allows the songwriting to be far more complex and shifting than normal. Blad’s perfect theatrical baritone vocals are an odd duck in the power metal world, and based on opinions I’ve seen here and there, its a voice you either enjoy tremendously, or not at all. I find it refreshing, as his vocals possess a natural heaviness that lends gravity to both aggressive tracks and gentle ballads. To be sold on this album, all you need to do is listen to the first track, “Svarta Ankan”, which punches you right in the gut with harmonizing rhythm guitars, then folds in a beautiful vocal duet with Blad and his sister(!) Heléne Blad over softly plucked acoustic guitars — all followed by one of THE best guitar solos I’ve heard this year, a Brian May-esque doozy that leaves your jaw on the floor. But thats just the beginning, the entire album is fantastic, with doses of moments that make you rewind and have another listen.

Album Highlights: “Svarta Ankan”, “Herr Peder Och Hans Syster”, “Rosornas Grav”

5. Iced Earth – Dystopia:

This was a make or break album for Iced Earth, and everyone including band leader Jon Schaffer knew it. For myself, the departure of Matt Barlow wasn’t exactly a surprise, and to be completely honest, not an unwelcome one either. Don’t get me wrong, I love Matt Barlow, but something was off on 2008’s Crucible of Man, in terms of Barlow and Schaffer’s ability to move in lock step. I guess its understandable, Barlow was absent from the band for nearly half a decade and missed a few records and tours, while Schaffer had grown used to writing for the more flinty edged vocals of Ripper Owens. When Barlow announced that this time he was gone for good, I think I along with many others figured that there would be no one able to come in and carry this band forward anymore, and that we’d be hearing a retirement announcement fairly soon. To the rescue comes ex-Into Eternity throat Stu Block, whose performance not only ushers in what is the greatest Iced Earth album since 1997’s Something Wicked This Way Comes, but lays down a significant challenge to Barlow’s legacy as the greatest Iced Earth vocalist. This album is grin inducing, bringing back a focus to pure and simple great metal songwriting that focuses on catchy melodies, anthemic choruses, and thundering, galloping riffs. Its not shackled like the last two albums by being conceptual and having to deliver a story, nor is it conscious of having to strive for sounding epic. Gone are the Blind Guardian-ripped off choirs in choruses that plagued the past couple records.

What you get is Schaffer’s most focused, and dammit, FUN to listen to album in well over a decade. I heard album opener “Dystopia” for the first time when I was driving home, and its heart pounding build up to a rousing, electrifying chorus filled me with a jolt of adrenaline to such a degree that after I finished headbanging along to it I realized I was twenty miles over the speed limit! Stu Block’s perfect blend of Barlow’s low baritone with Owens high pitched registers is honed into a vocal style that is really quite perfect for Iced Earth. I keep wondering what the past few records could have been like had he been at the vocal helm. What you’ll really remember about this record after giving it a few spins, however, is the quality of the songwriting. There’s some kind of undefinable ‘x factor’ at work here, as most of these songs hit my metal bone in such a way that it reminded me of how it used to feel when I was a teenager, just hearing a classic metal album for the first time and knowing that it changed the way I perceived music. I’m not saying this album is a classic, in fact, a few relatively weaker songs kept this from being any higher on this list, but it did succeed in renewing my faith in Schaffer and Iced Earth in general.

Album Highlights: “Dystopia”, “V”, “Dark City”, “End of Innocence”, “Iron Will”

6. Edguy – The Age of the Joker:

Here’s the thing with this album — its far better than 2008’s Tinnitus Sanctus, just as good as 2006’s Rocket Ride, yet not as great as 2004’s Hellfire Club or its classic predecessor, Mandrake. Why the chronology lesson? Because its important to see this album as a positive step in the right direction. Tinnitus Sanctus wasn’t a terrible album by any means (in fact it had one of the bands best songs ever in “Thorn Without a Rose”), but it was at best a grower, and at worst a mediocre release. Now that singer/songwriter Tobias Sammet is finished for the time being with his solo project Avantasia’s recent trilogy of albums (of which some fans suspect sucked up most of Sammet’s creative inspiration, leaving the aforementioned Tinnitus Sanctus a tad bereft), he was free to refocus his considerable talents on his day job. Its not an exaggeration to say that this album features some of Edguy’s strongest material to date, as well as their most adventurous. Take the oddly country western influenced “Pandora’s Box”, where strange twang infused verses soon unload into one of Sammet’s most glorious choruses, a panoramic vocal cascade that recalls the dreamy eyed days of the Mandrake era. The celtic melodies that lace together “Rock of Cashel” are pure ear candy, and they open into an abrupt, startling medieval sounding solo section midway through that showcases Jens Ludwig’s natural fluidity as a guitarist.

I’ve long become accustomed to the fact that along with a batch of absolutely die hard Tobias Sammet fans, I’m a rarity in that I tend to love any ballad written by the guy. Look, either you like metal bands doing ballads or you don’t, but Sammet is one of metal’s shooting stars when it comes to crafting them, and he may have scored one of his best in “Every Night Without You”. Softly strummed acoustic guitars, minimal keyboard orchestrations, and Sammet’s rough edged melodic vocals set up the framework, and the excellent backing vocals of Oliver Hartmann and Cloudy Yang raise the epic chorus to absolute euphoric heights. Towards the end of the song, as if in a subtle nod to their pure power metal past of albums like Vain Glory Opera and Theater of Salvation, triumphant horns blare out to punctuate the bridge before the Slash-esque guitar solo. Another gem is “Fire on the Downline”, with its slow burning verses that flare into a melodic refrain that is again wonderfully supported by the talented backing vocal choir that Sammet seems so adept at utilizing lately. This is an album that I had every anticipation of being in my top five of the year, but it faced some seriously stellar competition, and there is some stuff on here I consider average to even filler for Edguy. Overall however, its a quality album, from which I have culled several of my all-time favorite Edguy songs. I just hope that its the first step on the path back towards greatness that so defined Edguy in their classic era. Iced Earth did it, now its your turn Mr. Sammet.

Album Highlights: “Rock of Cashel”, “Breathe”, “Every Night Without You”, “Fire on the Downline”

7. Týr – The Lay Of Thrym:

I’ll keep this fairly simple and to the point. Týr make consistently great albums, and if you haven’t treated yourself to any of them by this point you really need to rectify that mistake. They’re an unusual force within metal in that they’re not quite folk or power metal, but a mix of both while simultaneously sounding like an old fashioned heavy metal band at the same time. Nicely crunchy riffs follow the path drawn out by Scandinavian folk musicality, yet they manage to avoid sounding like the soundtrack to some bad renaissance fair, unlike a few bands tagged with the folk label that I can think of. This is undeniably heavy music, yet its written by a band with an ear for beautiful melody and in particular effective vocal harmonization. These guys all have excellent voices that are able to work in unison with each other to provide complementary tones to create a vocal tone that is inimitable. Listen to a stunning example of this in “Fields of the Fallen”, in which the multitude of vocals are delivered in perfect sequences where the pauses between phrases are interjected by a quick and catchy guitar figure. The soft/heavy ballad “Evening Star” is the greatest song Metallica never wrote, a slow tension building crescendo to a roaring, double bass kick pounding chorus with one of the best couplets they have ever penned: “When home is far behind, and ever the long roads wind/ I keep your memory in my mind, one day I’ll repay in kind”. They treat the Dehumanizer era Sabbath classic “I” with all the extra heaviness that song has always been begging for, Heri Joensen’s distinctive vocals giving the song an urgency that Dio’s rendition never had. This might be their most complete album yet; it displays a maturity and renewed faith in basic metal tenets. While that scales back their traditionally folk based sound as a result, it has served to tighten up the aggression in their sound and sharpen their songwriting.

Album Highlights: “Fields of the Fallen”, “Evening Star”, “I”, “Flames Of The Free”

8. Burzum – Fallen:

You have to hand it to him, Varg Vikernes has proven a lot of doubters (myself included) wrong about his ability to pick up where he left off in terms of pre-incarceration Burzum. He made a great album in last year’s Belus, a sort of reintroduction to his classic Burzum sound with a few new styles thrown in. But Fallen is so much better, in part because he goes into full on experimental mode here, utilizing clean vocals in a way that he never has. That may sound a bit off putting considering this is Vikernes, not Bruce Dickinson, but believe me it actually works well. His clean, melodic singing is eerily spooky, and he manages to weave it into his songs not as a layer over the top, but as an integral part of the song structure. No better example of this exists then in the excellent “Jeg Faller”, in which he hums you into the chorus before quietly delivering the hook. Hypnotic riffs have always been a Burzum trademark, and there are a plethora on display here. Some of the best reside in “Valen”, which is also notable for having some of the most melodic guitar tones ever to be found on any Burzum release. This is by far the most musical work he has ever done, relying more on tunefulness than sheer bleak riffage (plenty of that too though). Its a compelling listen, and one that you will keep coming back to. Over time you might realize, like I have, that when you’re in the mood for some Burzum, you put this record on first.

Album Highlights: “Jeg Faller”, “Valen”, “Budstikken”

9. Absu – Abzu:

This has quietly been a really good year for black metal, not only when considering releases by Taake and Burzum, but others such as Ravencult’s Morbid Blood (who narrowly missed this list). Absu’s strangely titled Abzu is yet another addition to that list, and it far surpasses their 2009 “comeback” album Absu (are these guys purposefully getting a little lazy in the title department?). This is to me the true follow up to their classic record Tara. Abzu is a short yet brutal 36 minutes of black thrash that is inspired in all aspects. Proscriptor’s always jaw dropping drumming is on full barrage mode here, but its the wild, seemingly out of control guitars and their slightly melodic bends and twists layered over beds of hypnotic rhythms that are the real attention grabber. The vocals are the same excellent, raw, tortured shrieks of agony that Proscriptor always delivers, his natural rasp complimenting the tone of the music perfectly. At times, this does sound more pure thrash than anything, yet its his vocal style that keeps Absu weighing anchor in black metal territory. There are two new members in the band here, the guitarist Vis Crom and bassist Ezezu, and they get the credits for writing the music here (Proscriptor handles the lyrics). In Vis Crom particularly, Proscriptor seems to have finally found a worthy songwriting talent to replace the gaping void left by Shaftiel. How he manages to keep unearthing this kind of talent out of nowhere is anyone’s guess. If you were left feeling empty after the last album, this one will fill you up.

Album Highlights: “Circles of the Oath”, “Abraxas Connexus”, “”Skrying in the Spirit Vision”

10. Ghost Brigade – Until Fear No Longer Defines Us:

I had not known about Ghost Brigade until shortly after the release of this album, when word of mouth led me to check it out with no idea of what to expect at all. Its a pleasant surprise; a mix of Finnish depression rock ala countrymen Sentenced and Amorphis, Opeth-like sections of iceberg shaped walls of sound, and an alternating mix of good throaty death growls and clean vocals that evoke a cross between Orphaned Land’s Kobi Farhi and Evergrey’s Tom Englund. If most of the above mentioned bands put you off, then you might be naturally wary of this stuff, as its pretty much right up that alley. But don’t dismiss this without giving it a shot, its bound to surprise with the amount of heaviness it contains within its smartly written, complex song structures. There are poppy elements to be found here, and that’s not something to be dismissed as a negative trait. If the song “Chamber”, with its spacey, guitar plucked intro and surging chorus doesn’t manage to stick in your head, then it sucks to be you. If you’re already intrigued however, then you’d be hard pressed to ignore what is one of the best albums in this style to be released since Sentenced’s elegant swan song, The Funeral Album.

Album Highlights: “Chamber”, “Grain”, “In the Woods”, “Clawmaster”