Tag: Conqueror’s Oath

December 14, 2018 2018, Best of, Blog related 10 Comments

The Metal Pigeon’s Best of 2018 // Part Two: The Albums

This was undoubtedly the most difficult to narrow down year-end albums list I’ve ever had to put together. It involved whittling down a sizable nominee pool to the final ten, the last spot of which I must’ve switched out well over a dozen times, constantly rethinking myself out of making a final decision. As I’ve always done, I prefer to only list and discuss what I think were the ten best songs and albums in these lists, not my top 25 or 50 or more that some other sites do. I think sticking to a tight ten forces you to really think about what you listened to the most over the year, and more importantly what really blew you away instead of merely satisfied you. Albums that I really enjoyed at various points throughout the year aren’t here, not because they’ve fallen out of favor, but simply because there were other amazing releases crowding the field. It was a great year to be a metal fan. Let me know in the comments below if you agreed or disagreed with this list! 

1.   Orphaned Land – Unsung Prophets & Dead Messiahs:

In a year packed full of remarkable new albums by newcomers and veterans alike, a few of which would’ve been able to top a year-end list at any other time, Orphaned Land’s conceptual Unsung Prophets & Dead Messiahs towered above them all —- and it wasn’t ever close. After I penned my original glowing review of the album, I wondered if its extremely early release date (January 26th) would’ve eroded my enthusiasm for it as the year wore on. Whenever that question would pop up at random times many months later, I’d give the album a spin and would have those doubts immediately erased. I even gave myself a wide berth from the band after seeing them live for the first time ever in Austin at a spellbinding show on their May tour with Týr and Aeternam, thinking that the intoxication surrounding that experience (and repeated listening thru their entire catalog) would’ve clouded my judgment. Yet even after that level of precaution; when I sit here now in December and consider everything I’ve listened to over the year, and think about the nine other records that made the cut out of the nominee pool, I can honestly say that I’ve never been as confident as I am right now about declaring that this is the unquestionable album of the year.

Here Orphaned Land leans harder than ever before into the incorporation of Middle-Eastern folk melodies and instrumentation, infusing it in every song, weaving it not only through moments of delicate beauty but around their most pummeling, aggression laden riffs. The result is their most perfect, most fully realized recording to date, a flawless fusion of those two disparate worlds of sound. The songs are wildly diverse in style, tempo, and structure, the melodies lush and vibrant, and Kobi Farhi turns in the most inspired vocal melodies and performances of his career. He also delivers some of his angriest lyrics ever, but smartly channels everything through the compelling concept of Plato’s Allegory of the Cave, giving narrative shape and structure to what is ostensibly an anguished protest album. The co-MVPs here might be guitarists Chen Balbus and new guy Idan Amsalem; who together not only erase any worries over the departure of founding guitarist Yossi Sassi, but put their stamp all over this album, unleashing waves of creative guitar and expressive bouzouki. The band also wisely chose to carry over from All Is One the use of an extensive supporting ensemble of choir singers, Middle Eastern percussionists and string players. It sounds like a lot. It sounds like it could be a mess in the wrong hands, but Orphaned Land has this music in their DNA. Their greatest strength is in knowing how to write songs that incorporate Middle Eastern folk melody as an integral, structural foundation of their music as opposed to mere window dressing. 

2.   Visigoth – Conqueror’s Oath:

It’s not the time nor place to go into it here, but when I do eventually attempt to make my case in writing that we’re in the midst of a truly inspired global power metal resurgence in these past couple years, albums like Visigoth’s Conqueror’s Oath will be part of the bedrock on which I build my argument. Part of why I’ve found myself paying far more attention to newer power metal bands coming out of the States and Canada is their tendency to unabashedly wrap their arms around the genre’s traditions and tropes both, almost reveling in their over the top nature and yearning for epic storytelling (such as last year’s album of the year Apex by Unleash the Archers). Visigoth simplified their approach for their sophomore record, leaning harder in the Manilla Road / Manowar / Virgin Steele direction, and the result is the most outwardly joyful record of the year. It was also my most played album throughout the year, just perma-lodging itself in my playlist for those daily commutes to work, the long drive to the other side of Houston for gigs, and on the old headphones while ambling through the grocery store. Songs like “Warrior Queen” are full of inventive twists amidst the trad-and-true, glory claw raising thunder, and “Blades In The Night” is the kind of perfect, anthemic magic you wish more power metal bands could manage to achieve. You know an album is awesome when it makes waiting for your oil change to finish a pleasure.

3.   Thrawsunblat – Great Brunswick Forest:

I’m prepared now to expect the unexpected with Thrawsunblat, who chose to follow up 2016’s year end list making Metachthonia with this all acoustic album, the decision itself being somewhat eyebrow raising. That it wasn’t an album full of maritime balladry ala “Maritime Shores”/”Goose River” from their first album was perhaps the bigger surprise, because guitarist-vocalist Joel Violette seemed to be a natural at that style. Instead he and drummer Rae Amitay (also of Immortal Bird fame) worked up songs that were strikingly aggressive, uptempo, and energetic yet still woodsy, rustic, and incense smoke scented. Things veer from the lush prettiness of the title track to the anthemic spirituality of song of the year listee “Via Canadensis” to the violent, furious roil of “Thus Spoke The Wind”, where Violette and Amitay employ tremolo riffing and blastbeat accented percussion —- on acoustic instruments remember! This was a clever, inspired re-imagining of what folk metal could be, an expansion of the very definition of the genre. More than that however, it was a personal sounding album that echoed with strains of the northeastern Canadian folk music that inspired it.

4.   Therion – Beloved Antichrist:

For many, Therion’s massive, three-disc spanning opera (like, an actual opera!) Beloved Antichrist was an immediate write off. I’m almost positive that the majority of folks who managed to take the step of listening through its entirety the one time never went back to it, and most never got past hearing a single track on YouTube or Spotify, and hey, I get it. As I remarked in my massively deep diving review for this project back in February, few Therion fans were happy about the band taking a half decade plus leave of absence for this project. Understandably, they might’ve been a tad less forgiving than usual when initially hearing the thing, and at first I wasn’t either —- that is until I switched my mindset to okay, I’m listening to the soundtrack to a stage performance, not a metal album mode that I was finally able to begin appreciating what Therion had achieved here. There are a heap of musical treasures within this thing, moments I came back to throughout the year repeatedly (“To Shine Forever” landed on the best songs list). I do think one’s enjoyment of it hinges on whether you can appreciate not just classical music, but opera as a musical form itself. I had to check myself and make sure my Therion fanboy wasn’t showing in putting this so high on this list, but sure enough, it was one of my most played through albums this year according to iTunes playcounts. I’d put it on in the background night after night when working on other things, but sometimes I’d sit and really focus on the lyrics, and I got to know the plot pretty well and had fun with it. Its a gargantuan achievement in its own right, something that was labored over for years by a composer who had already proven himself to be a wizard at marrying metal and classical music. If anything, Therion’s pedigree should warrant your giving it a second chance.

5.   Hoth – Astral Necromancy:


This was truly one of the year’s out of left field, standout surprises. I’d never heard of Hoth before (the band, not the planet…), but they completely captured my attention with this compulsively listenable opus of intricate, shifting, and downright unpredictable melodic black metal. Hoth’s music is a contradiction; it’s icy in tone befitting the band’s name, as bleakly cold and unforgiving as you would want a two person black metal band to sound. Yet these songs are loaded with major chord sequences that jet out of nowhere with an almost power metal-ish joyfulness. You hear a nice cross-section of all those traits on “The Living Dreams of a Dead God” where seemingly triumphant, Blind Guardian-esque major key guitars inform the lead melodies over the top of that deathly cold tremolo riff underneath. Vocalist/lyricist Eric Peters has the perfect tone for these songs, withering and fell, like an actual necromancer’s voice careening down a snowy, windswept mountainside to chill your very heart. But again, no matter how awesome the black metal aspects are, what really grabs me are these perfectly written power metal soaked melodic counterweights, to add splashes of sharp colors to what is ostensibly a gray affair. You might be wondering why I’m so taken aback by the addition of melody to extreme metal, not exactly a new or fresh concept to be sure, but just give my enthusiasm the benefit of the doubt and listen to this record. Its likely that its very much unlike anything you’ve heard before.

6.   Elvenstorm – The Conjuring:

Storming out of the apparently secret power metal stronghold of Grenoble, France(?!), Elvenstorm sailed under many radars way back in July when they released the most vicious, devastatingly aggressive album of thrashy, speedy power metal this year. If you only hear the intro melody and first riff sequence on album opener “Bloodlust”, you’ll probably think these guys are from Germany, so indebted to Kreator and early 90s speed metal tinged Blind Guardian is their rocketing guitar attack. But then you’ll hear vocalist Laura Ferreux swoop in, with her wild, almost punk edged melodic vocal and that français accent echoing off canyon walls. She’s likely to be a make or break proposition for many, her vocals often unnerving raw, but I think she’s one of the strengths of this record, her careening voice matching the intensity of Michael Hellström’s explosive riffing. Like Visigoth with Conqueror’s Oath, there’s an infectious enthusiasm here for old school metal, that bullet belt attitude and defiant strut. What makes Elvenstorm stand apart from anyone else is their straight-faced manner of going about it, something one could almost think of as charming. There’s a passion and intensity ripping through these expertly crafted songs —- that they hit me with something resembling the force of a hurricane is why The Conjuring is on this list.

7.   Exlibris – Innertia:

Soaring out of Warsaw as if in protest of all the attention we’re lavishing onto the great power metal pouring out of Canada and the States lately, Poland’s Exlibris dropped the best Euro-power album of the year in Innertia. This was my introduction to the band, and it turns out to be perhaps the best possible point of entry as its the debut of new singer Riku Turunen, the absolute tour de force of this album. Call him the Patrick Mahomes of power metal in 2018, but I haven’t been this bowled over by a new vocal talent in the scene in ages. His voice has the pure raw power of Mandrake-era Tobias Sammet with the distinctive pronounciation inflections of Timo Kotipelto. You might have already read about best song listee “Shoot For the Sun”, where he proves himself as a leading man in an ever soaring duet, but check out his jaw dropping range in “Incarnate” or his command of theatrics in “No Shelter”. Beyond amazing vocal performances, these are simply expertly crafted songs, structured around earwormy hooks yet loaded with progressive metal twists and turns. Daniel Lechmański’s guitars sound meaty ala Tad Morose or Brainstorm, and his riffs and chord progressions are all intriguing in their balance of straight ahead rockin’ and rich complexity. Speaking of balance, his having to bounce off of keyboardist Piotr Sikora instead of another guitarist seems to be a source of fruitful inspiration between the two. There’s a push and pull going on between each of their lead melody lines that refuses to sit quietly in Turunen’s immense shadow. 

8.   Immortal – Northern Chaos Gods:

I really didn’t think Demonaz and Horgh could pull it off, rather naively thinking that an Abbath-less Immortal record was more likely to be a disaster than anything close to a success. And in my defense, what reasonable Immortal fan could think that Abbath’s departure would somehow make a new Immortal album better? It seems illogical on the face of it. But sometimes weird things happen, and there’s nothing weirder in 2018 than Immortal Mach 2 turning in the band’s best album since Sons of Northern Darkness, and maybe even a top three Immortal album overall. This is just a relentless, tireless rush of old school second wave black metal reminiscent of the band’s first four albums but tempered with the riff density and cold, crisp production of the post At the Heart of Winter era. Demonaz’ ice demon approach on vocals is pitch perfect for this blend of Immortal, grim and fierce but with a lengthy drawn out utterance that’s coupled with a surprising degree of enunciation, unlike Abbath’s bizarre frog gargoyle barking approach. The nine minute epic “Mighty Ravendark” barely missed out on making the best songs of the year list; its about as perfect an Immortal song as I can imagine, with an epic buildup and satisfying (dare I say hooky?) refrain built on clever vocal phrasing. I really can’t think of any time in recent memory when a band has lost a key member and somehow thrived as a result… I’d have to go back to what, Metallica perhaps? Iron Maiden after Dianno? Call it a comeback, maybe even the greatest comeback.

9.   Judicator – The Last Emperor:

Yet another in an increasingly longer line of excellent releases from North American power metal bands, The Last Emperor was my introduction to Arizona’s Judicator. As it turns out, it was the perfect introduction too, being their most early 90s Blind Guardian era inspired work, including a guest appearance by the bard Mr. Hansi Kursch himself. A lot has been written about this very apparent influence, and its hard to ignore for sure, but there’s so much more going on here than mere hero worship. Guitarist Tony Cordisco aimed to write songs that were not only tight and concise, but purposefully and methodically energetic throughout. There are no ballads here, although brief dips into acoustic territory help to spice up the intros or bridges of certain songs to keep things varied. Its intriguing to hear an American power metal band so infatuated with the traditional European interpretation of the style. I can hear jagged edges at the corners of Judicator’s sound, little things like the sharp teeth on that straight ahead attacking riff sequence in “Raining Gold”, or the early Iced Earth influence that comes through in vocalist John Yelland’s aggro counterpoint to Hansi in “Spiritual Treason”. Judicator also seems to be filling a sonic space in power metal that was long ago left vacant by the Blind Guardians and Helloweens and Edguys of the world, one I had long ago hoped would be filled by the now sadly quieted Persuader and Savage Circus. I don’t mind if my power metal bias is showing here, because Judicator is assuming the mantle of this specific style in the here and now as a recently formed power metal band delivering an amazing new album this year. This is the stuff that will keep the genre going strong into the future. Consider me grateful.

10.   Dimmu Borgir – Eonian:

This one might raise a few eyebrows, but I just could not deny how much I listened to Eonian throughout the year. It was an album that I would listen to when in the mood for something fierce and biting, but also when I wanted something orchestral and epic, as well as melodic and complex. I consider myself a Dimmu fan, but I had been critical of them throughout the years, not completely enjoying an album since 2001’s Puritanical Euphoric Misanthropia. Not only was this the first time since then I could say that I loved a new Dimmu album from front to back, but its honestly up there right next to Enthrone Darkness Triumphant as my second favorite of all their albums. The inspired songwriting in “I Am Sovereign” reminds me of that legendary album’s sense of playfulness with black metal song structures; here with an inversion of blazing riffing in the chorus instead of the verses, with regal string punctuations that would sound at home in a Carach Angren song. The band took care to increase the distinctiveness of their major sonic elements this time around, instead of the usual symphonic black metal mash up they had been doing. On Eonian, the black metal parts sound more black metal than ever, and the orchestral parts lean just as hard into their majestic symphonic grandeur. Its a subtle distinction that allowed them to sharpen their songwriting, to shape these songs with muscular force and gorgeous expressiveness. Its a shame that just like Cradle of Filth with their truly excellent past two albums, Dimmu seems to be getting glossed over this year as having released more of the same. Those are lazy opinions from people who haven’t listened close enough. This is a career rejuvenating work from one of the genre’s most creative artists.

March 11, 2018 2018, Angra, Folk Metal, MSRcast, Nightwish, Power Metal, reviews, symphonic metal 9 Comments

Tear Down The Walls! New Music From Angra, Lione/Conti, Visigoth and More!

Here we are again, with a sequel to February’s Throw Open the Gates! review blitz, this time with more albums from these first two months and change of 2018. It has certainly proved to be the busiest opening release salvo of any year in recent memory, and things don’t seem to be slowing down in the next few months. There’s a few things that I didn’t review here that we’ve covered on our last two recent episode of the MSRcast, so you might also want to check those out if you are on the hunt for new music. A lot of these releases have been amazing, but not all —- I’ve got your back though, just think of me as your new release concierge. A lengthier look at the new Judas Priest album is next on the agenda, and I’m sure there’s going to be yet another of these multi-review clusters coming out relatively soon too. Headphones ready…

 

 

 

Lione / Conti – Lione / Conti:

Weirdly, Fabio Lione is at the vocal helm of two albums released within the span of a month, well okay one and a half albums. Just before the release of Angra’s OMNI (reviewed below), he and Luca Turilli’s Rhapsody/Trick or Treat vocalist Alessandro Conti released their Frontiers Records (of course!) debut duets album. If that phrase conjures up images of Lady Gaga and Tony Bennett dancing cheek to cheek, or Sinatra and Bono cozying up at a bar drinking shots of something, then you’re actually not far off the mark —- these guys are indeed trading off vocal runs in true duet fashion. Frontiers does a lot of these types of projects, thinking of course of the Allen/Lande pairing, but also the recent Timo Tolkki star studded solo project, as well as the Kiske/Somerville stuff. This time the “staff writer” is Italian guitarist Simone Mularoni (of Italian prog-metallers DMG), who counterbalances the Italian penchant for high gloss factor power metal with an ample dose of AOR styled hard rock. Now I get the draw —- this is basically two generations of Rhapsody vocalists coming together for a vocalists duel (whatever that might mean), and on paper its bound to attract the ears of many a power metal fan. And to their credit, Frontiers Records does often deliver good records behind these so transparently obvious they’re ridiculous ideas, in fact, I still love those Magnus Karlsson’s Free Fall albums.

 

The tricky bit with this Lione/Conti extravaganza rests on how you answer this one question, and maybe its just me but… don’t these guys sound exactly alike? Luca Turilli didn’t just randomly pick Conti off a list of available vocalists to front his new version of Rhapsody, he did it because he could continue writing in the same mode he had been during his time in the original incarnation of Rhapsody of Fire. It was honestly only when watching the music video for “Ascension” when I was finally able to tell who was singing what, and even then I couldn’t discern any reasonable variations in their voices to help me throughout the rest of the album. I’m not sure if this is even a stumbling block when it comes to enjoying this album or not, because even though I’m really only hearing one voice to my ears, I’m rather liking Mularoni’s meat and potatoes approach. It mirrors the last Rhapsody of Fire album Into The Legend, with its stripped down songwriting that seemed to maximize hooks and memorable melodies at the expense of grandeur and ambition. Songs like “Destruction Show” work because of awesome guitar hooks to keep everything focused and concise, and “You’re Falling” has a nice Queensryche vibe to its vocal melody arrangement. Its a solid listening experience in full if you’re in the mood for straight ahead AOR tinged Italian power metal, but as they really could’ve used either Lione or Conti for the project alone, the duets aspect of this fails hard.

 

 

 

 

Angra – ØMNI:

So I’ve given this new Angra album a decent amount of playtime, enough I think for it to fully reveal itself, and I gotta say I’m a little ambivalent overall. In retrospect, Secret Garden was a far more interesting album than we gave it credit for, and its varied collection of vocals might have played a part in that. Not only did Fabio Lione have his debut turn there, but Rafael Bittencourt also added his excellent, rough-edged voice to several songs as well, that’s not to mention the guest turns by Simone Simons and the amazing Doro Pesch. It wasn’t perfect, but it was surprising and kept you guessing. ØMNI is a far more straightforward affair, with Lione getting most of the vocal time although Bittencourt does pop up and there are a few guests, including Alissa White-Gluz on “Black Widow’s Web”, a song that absolutely didn’t need growling vocals but, well, here we are. I enjoyed “Insania” for its beautiful guitarwork and stirring melody, despite shaking my head at just how silly the term “Insania” is (isn’t that what Geoff Tate’s wine was called?). Someone once told me that it was the Latin version of “Insane” and it took me an incredible amount of patience to simply grunt and nod. Moving on, “The Bottom of My Soul” is such an excellent tune, and not coincidentally Bittencourt’s on lead vocals —- is it wrong to suggest that maybe the band sounds better when he’s singing? I’m sure that’s fighting the spirit of their legacy and the impressive work of the Andre Matos and to a lesser degree, the Edu Falaschi years, but damn he sounds great.

 

Lione’s best work comes on “Always More”, a lovely ballad with some unusual guitar tones at work in absolutely gorgeous, simple melodies, combining with an ascending vocal melody that makes use of his effortless ability to hit higher registers. Regarding the departure of Kiko Loureiro, its hard to gauge —- I’m going on the assumption that Bittencourt penned most of the music here, but the now Megadeth guitarist does pop up in a guest spot on the single “War Horns”. I can only say that there’s enough shred factor here to satisfy the most ardent prog-power guitar fanboy out there, and at times Angra even sounds more like Dream Theater considering the tonality of Lione. The last two tracks on the album invoke the title, being the concluding companion pieces to what apparently is a concept album (about a science fiction future in 2046), but they fall flat, being neither heavy or melodic or heady enough to inspire any particular emotion. A rough ending for the album overall, and not a way to get people invested into the album’s concept. Maybe this will grow on me over the coming months, there’s some stuff worth coming back for, but I just find myself wanting to listen to Secret Garden again.

 

 

 

 

Tengger Cavalry – Cian Bi:

A few years ago I was introduced to Tengger Cavalry’s particular take on folk metal with their mixing of Mongolian throat singing and nomadic Asian traditional instrumentation. I was immediately intrigued and checked out a few albums on YouTube, and while I enjoyed what I heard, it was a difficult proposition to simply work into casual listening. Tengger Cavalry is one of those rare breeds of folk metal bands that don’t give you an easy entry way into their sound, there are no instantly accessible tailored singles that can draw a bigger crowd, no “Trollhammaren”. They’ve been unapologetic about their sound, and its also worth noting that the metal aspect of their folk metal seems largely devoid of allegiance to one particular metal style, being just straightforward heavy riffs, plain and simple. Their newest album, Cian Bi, is simultaneously their weirdest yet most straightforward album to date —- its also, shockingly, their last. Just the other week, band founder Nature (yes) Ganganbaigal issued a rough statement throwing the blame on ex-Century Media president and current M Theory Audio owner Marco Barbieri. I’m not well informed enough to make any judgements either way but that’s a bummer, and you have to wonder if Nature is dissolving Tengger Cavalry in name only to terminate any existing business agreements, and will regroup under a different name doing the same type of music.

 

One can only hope, because I’ve been enjoying this new album far more than just the passing casual listens I had with their back catalog. I don’t know if its their best work overall, but there’s something deeply appealing about this bizarre mish mash of elements. Of particular note is just how hard hitting some of the riffs gluing everything together can be, case in point are cuts like “The Old War”, and the pummeling “One Tribe, Beyond Any Nation”. The latter is my personal favorite, featuring a gorgeous melody played on a morin khuur (horsehead fiddle), an incredibly appealing instrument that I’m glad I now know the name of —- all blockaded by some seriously brutal, Rammstein-esque riffage. Besides the traditional instrumentation, Nature’s uncanny vocal ability is also a huge draw for me, as in “Ride Into Grave and Glory” where he switches between the throat singing and his clean rock/metal vocals. It might be an acquired taste for some, but even his “normal” vocals have character, a rustic quality that brings to mind grassy steppes and gritty, grimy back alleys in dense cities all at once. This is a listening experience best beheld start to finish, with the album as the soundtrack to your thoughts or random mindless activity. There’s a spiritual aspect to this blend of folk metal that’s hard to define and even harder to shake.

 

 

 

 

Visions of Atlantis – The Deep & The Dark:

Austria’s Visions of Atlantis have been off most radars since 2013, when they underwent a major lineup shift, not their first one but certainly their most dramatic. The most important change was the addition of ex-Serenity vocalist Clementine Delauney and The Dragonslayer (Siegfried Samer of the uber fun Dragony) on co-lead vocals. At the band’s core has always been drummer/founder Thomas Caser, and with the addition of new guitarist and bassist Christian Douscha and Herbert Glos respectively, we’re on to Visions of Atlantis Mach 7583234419! Well, close enough anyway. We did get a taste of what the Delauney/Samer pairing could sound like with the 2016 Old Routes New Waters EP, a re-recording of several older songs including the ballad “Winternight”, whose recording and video ended up being a thoughtful memorial to the sadly departed original vocalist Nicole Bogner, but The Deep & The Dark is clearly the debut that Caser and company have been striding towards all these years. Given his predilection towards the band’s concept being about seafaring and adventure, and with a fantastically dramatic vocalist like Samer at the forefront, I was expecting an album rich in dramatics, heavy on theatricality, and songwriting that pushed the band’s sound forward.

 

We get that, in brief flashes here and there, but unfortunately, the album suffers from the band’s chief structural flaw within its various lineups, that being the lack of a consistent songwriter. Throughout this band’s history, its songwriting has been generated by a mix of band members, the biggest slice of this coming from ex-keyboardist Martin Harb, but Caser himself isn’t this band’s Tuomas Holopainen. But Caser clearly is the driving force behind maintaining the vision of what this sound should be, at least in theory, that being Nightwish inspired dual male/female vocalist driven symphonic metal. The problem is that whomever is part of the songwriting team for the band at any particular time writes towards that mode, and the results sound like either too many cooks in the kitchen, or various emulations of musical approaches that have been done before. In other words, its symphonic metal by the numbers, and this is a genre where bands really need distinctive musical voices to emerge within their lineups to push their music hard in a particular direction or angle. You might be able to compensate for a lack of this if you’ve got really strong hooks by the armful, but that’s a tall order. Samer’s Dragony is a great example of the latter, their 2015 album Shadowplay doesn’t break new ground, but damn is it a fun listen, full of fist-raising choruses and glorious over the top nonsense.

 

You might think that given these comments I didn’t enjoy The Deep & The Dark at all, but that’s not entirely true. The title track that kicks off the album is a fine emulation of Nightwish, sounding strikingly similar to that band’s Anette Olzon era. And “Return to Lemuria” features a charming bit of Sonata Arctica esque keyboard sugar icing on a verse/chorus that hits heavy on one’s nostalgia factor, sounding like a cut that could’ve been suitable for The Neverending Story soundtrack. Delauney is on fine form on those cuts, her voice the right amount of ethereal and breathy and even with some deft melodic phrasing on certain lyrics to make them extra effective. But a juxtaposition of vocals in “Ritual Night” between her and Samer just doesn’t generate the kind of excitement it should, and I don’t know if its so much their fault as opposed to the song simply lacking anything in the way of hard hitting drama. The “Book of Nature” is yet another example of this homogenized quality to the overall songwriting hampering the vocalists ability to conjure up pulse racing excitement, which is kind of the point of symphonic power metal in the first place! This is a band in desperate need of a sharper songwriter, someone who can channel and mold the talents that they have at the vocal helm. Serenity’s Georg Neuhauser and Thomas Buchberger made Delauney sound positively enchanting on War of Ages, and its disappointing to not hear the same thing here. A frustrating under use of talent, and given the band’s history, I don’t see it changing.

 

 

 

 

 

Visigoth – Conqueror’s Oath:

Utah’s Visigoth burst onto the scene in 2015 with their strong debut The Revenant King, whose stellar “Dungeon Master” we played on the MSRcast around that time. I remember listening to the rest of the album thinking that if they had a few more songs in the spirit of that spectacular cut, they’d really have a fun album. As it was, that song and a Manilla Road cover (“Necropolis”) were the most direct things on the album, the rest of the band’s punchy, vibrant USPM being folded into epic song lengths with extended instrumental passages and grand, broad-sword inspired prog. Don’t get me wrong, I really enjoyed the album, but I didn’t love it as much as I wanted to. Fortunately, Visigoth have leaned into their strengths on The Conqueror’s Oath and stripped their sound down to its meat and bones trad metal roots, meaning more Manilla Road, early Manowar and Virgin Steele. This is such a fun record, eight quick cutting daggers of thunderous, unabashedly melodic, anthemic glory —- one of the most satisfying listens to come out of USPM in ages. Its not just that they’re capable of smile inducing glory paeans in “Steel and Silver”, but of inspired musical shifts like the gentle dip into Jethro Tull-esque flute accompanied balladry at the 3:40 mark of “Warrior Queen”. Vocalist (and flutist!) Jake Rogers the Tony Kakko x-factor, a knack for hooky lyrical phrasing, and the admirable talent to drape a memorable vocal melody over nearly everything he sings. Tonally he reminds me of a cross between the plantative Chris Black (High Spirits / Dawnbringer) and Janne Christoffersson from Grand Magus, with a little Eric Adams penchant for bellowing theatrics to power things out.

 

Manowar and Grand Magus are two perfectly suited reference points for what Visigoth have accomplished on this album, where thundering displays of power are at the forefront but the songwriting approach still leaves some room for tasteful musicality. On “Traitor’s Gate”, they utilize a twangy acoustic build up to ratchet up the mystery and tension before unleashing a thundering assault and some lyrics that are begging to be bellowed out loud in unison at a show (“Die like the dog you are!”). I love the middle bridge where Rogers unleashes a wry bit of clever vocal phrasing (“By spite and thunder /
Torn asunder…”), possibly out Manowar-ing Joey DeMaio with its fist in the air magnetism. My personal favorite has to be “Blades in the Night”, where I really feel that Visigoth is reaching into the same well of early 80s inspirations that fuel most of High Spirit’s Scorpions-esque hard rock. The chorus is the star here of course, deceptively simple but so effective, it was ringing in my head all day after first hearing it.  Rogers gets to stretch out here as well, delivering a fantastic performance that’s inspired and even beautiful in its lyrical qualities, reminding me a little of the great Mathias Blad in spots. This would almost be a perfect album, but I’ll agree with damn near every review I’ve seen where “Salt City” is singled out —- its not a terrible cut, and I get why they wanted it in here (hometown tribute and all) but its placement throws off the pacing of the album and I’d rather have had another slice of the same pie the rest of the seven tracks made up. A minor blemish though, one that’s easily forgivable considering the sheer quality of this album. Visigoth have arrived, bar the gates!

 

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