metal Archives - Page 2 of 2 - The Metal Pigeon

January 4, 2017 2016, Best of, Blog related 1 Comment

The Metal Pigeon’s Best of 2016 // Part One: The Songs

Time yet again for the culmination of a year’s worth of metal listening, writing, and audibly opining (on the MSRcast) into the annual year end best of lists! Sometime ago I quietly added a link to the main page of the blog up above called “Recurring Features” that handily compiles all the other previous year end lists together in one place, so be sure to check those out if you haven’t yet. For the past few years, I’ve been splitting up the songs and albums lists, and so in continuing that tradition, I’m eager to present part one of The Metal Pigeon’s Best of 2016 — the songs! These ten songs were culled from a nominees pool of 23 songs this year, and they’re in part isolated gems off flawed albums as well as highlights from the very best albums of the year. I had fun with this list, while agonizing over the albums list (isn’t that always the way?), hope everyone has fun going through it as well!

The Metal Pigeon Best Songs of 2016:

1. Avantasia – “A Restless Heart and Obsidian Skies” (from the album Ghostlights)

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

The year’s most surprising artistic comeback success story, Avantasia’s Ghostlights was littered with superb, often stunning songs that were not only expertly written and constructed as only Tobias Sammett could manage, but fun to listen to as well. And at specific moments, they were downright transcendent —- the case in point, the Bob Catley led heart string tugging “A Restless Heart and Obsidian Skies”, a power ballad that might well be a spiritual sibling to the fan favorite “The Story Ain’t Over” (from the Lost In Space Pt 1 EP). Sammett has a magical rapport with Catley, or more accurately, as a songwriter writing for Catley —- channeling Magnum’s sense of dramatic pomp with his own inherent Jim Steinman-esque way with theatricality. Catley is an apt narrator, his raspy yet melodic vocals able to imbue any lyric with a rock n’ roll inspired joie de vivre and yet an appropriate amount of gravitas. Meanwhile Sammett’s ability to let it soar vocally is still unparalleled in power metal. Sure, he doesn’t have the unlimited range that he did during the late 90s/early 00s, but he understands how to pen lyrics and vocal patterns that provide trajectory and lift on a Steve Perry esque level.

This is an absolute gem of a song, with a chorus so rich and beautiful, so aching with indefinable magic that the first time I heard it whilst driving around, I had to pull over in a nearby parking lot just to get my mind right. I’m not being dramatic either, I can vividly recall that memory and the overwhelming rush of what I can only describe as joyous childhood nostalgia that I felt upon listening to it again, and again, and again. It helped that it was near sunset and with a partially overcast sky overhead, and such a backdrop and musically stirred emotional state mirrored the actual lyrics/title of the song. Sammett’s lyrics are stately and romantic in nature, full of atmospheric imagery and a sense of the narrator’s yearning: “Dark is the night, scarlet the moon / Sacred the light in the haze reflecting within…Be still my restless heart / Obsidian’s the sky / Inward you look as you halt / Be still restless heart —- I’m on my way”. I’ll be the first to admit that its not a perfect song, its verses not quite matching the glory of the refrain resulting in a somewhat see-saw song, but that chorus is so unbelievably perfect, I’m willing to forgive what would ordinarily be a major flaw for lesser songwriters. Here, the verses set the mood, almost tempering our expectations, all before that arcing, soaring, perfect chorus rockets us to sheer happiness.

2. Ihsahn – “Mass Darkness” (from the album Arktis.)

[youtube https://www.youtube.com/watch?v=0VxbJb_Gs8w&w=560&h=315]

Yet another in a long line of 2016 surprises, Ihsahn returned with his sixth and perhaps most accessible solo album since The Adversary with Arktis., an album that owed perhaps more to classic metal song craft (read: riffs n’ hooks) than it did to his post-black metal avant garde experimentation. I enjoyed the album a great deal, some tracks more than others ( the saxophone solo wasn’t so bad this time around!), but I was totally blown away by “Mass Darkness”, an uptempo, three minute long adrenaline rush of arena ready black metal that is miles away from the usual dense and complex songwriting Ihsahn usually engages in. Its the best chorus of his career, featuring a genuine hook built upon guest vocalist Matt Heafy’s (Trivium and noted black metal fanboy) repeated refrain “Give in!… Give in to darkness!”, with lyrics that are some of the most convincingly parent-worrying in ages. What’s really special here is that for all its accessibility, “Mass Darkness” still very much retains Ihsahn’s DNA, heard in unusual guitar effects, counter-intuitive musical patterns, a solo that owes more to Wagner than Tipton, and a sense of dark theatricality that permeates the entire song. Give in indeed.

3. Haken – “Earthrise” (from the album Affinity)

[youtube https://www.youtube.com/watch?v=MnZdtpDd9-A&w=560&h=315]

I was properly introduced to London-based prog-metallers Haken this year through Affinity, having been aware of the band’s name in passing for awhile now. Having no idea or expectations of what to expect, I played through the album and came away more than impressed with the entire affair, especially its prog-metal exploration of 80s influences such as Rush, Toto, and Van Halen. There was one song I kept coming back around to in return trips to the album, and I’d always have to play it first, last, and a few extra times in the middle, and that was the cinematic “Earthrise”. Best described as 90s alternative rock in a prog blender (well, perhaps not the best description…), this is the hookiest track on the album and one of the most uplifting songs I heard in all of 2016. Not quite a power ballad and not quite rockin’ in its tempo, it played somewhere in the middle, built on bouncy rhythms and interlocking synth parts with some excellent, sprightly percussion dancing all throughout. Vocalist Ross Jennings takes a little getting used to (some people don’t enjoy his vocals when he’s not letting it rip from his throat), and you’ll either likely know right away what your tolerance level is for unusual vocalists when you hear him. I enjoyed his earnestness in this song, and wasn’t surprised to see through iTunes statistics that this was my second most played song of 2016.

4. Myrath – “Believer” (from the album Legacy)

[youtube https://www.youtube.com/watch?v=uM1d7C8aOWk&w=560&h=315]

I think we’ve all been bombarded with enough talk about how 2016 was a seemingly downcast and darkened year for society, be it through everyone’s endless lamenting over celebrity deaths, the very understandable grief over terrible tragedies all around the world, and of course, *cough* presidential elections. I’ve been guilty of wallowing in it as well, and though I’ve tried to distance myself a bit from all that stuff, the truth is that 2016 was a bit of a crap year for me personally as well. So in looking back, I’m amused to find that I somewhat subconsciously began favoring very positive or happy or downright euphoric music over dark and grim stuff. Enter Myrath, whose Legacy album was one of the early 2016 releases and whose lead off single “Believer” never really left my rotation for any extended period of time. Euphoric is really the best adjective for this song, a celebratory rush of positivity, which only sounds corny if you’ve never really been in need of it. Its also a perfect microcosm of Myrath’s impressively Middle-Eastern infused take on metal, with sweeping violins playing ethnically informed arrangements in between the band’s epic, ambitious progressive metal. Vocalist Zaher Zorgati has a perfect voice for the band, accented clean vocals to welcome newcomers (his pronunciation of “bandwagon” is certainly interesting), but powerful enough to give his lyrics about “what doesn’t kill you makes you stronger” and throwing away yesterday a real sense of belief and passion. The music video (linked above) was kickstarter-ed, and while the song is better off without it, we can’t begrudge them some Prince of Persia fanboying, as tempting as it may be to say something…

5. Hatebreed – “A.D.” (from the album The Concrete Confessional)

[youtube https://www.youtube.com/watch?v=qCgozwhkV-g&w=560&h=315]

Hitting with the force of a gut punch, or perhaps that black and white footage of the cannon ball slamming into the fat guy’s stomach, Hatebreed’s “A.D.” was my go-to during a year when I was frequently in the mood for something raging and snarlingly angry. More than any other band, this was the sound of rage incarnate, and its one of the catchiest and heaviest songs of 2016, at times owing more to thrash metal ala post-1990 Slayer than anything hardcore related. Its lyrics are startlingly open ended despite their specificity, “It’s time to rethink this dream you call American / Corrupt beliefs that some will call their heritage”, a sentiment that could apply to fans around the world in addition to those of us here in the States. Vocalist Jamey Jasta has a precision oriented way with rhythmic syncopation in his lyrics and vocal patterns, just check out the 2:04 mark onwards when he sings “Now hear the media fools discuss the killer’s mind / Staring at the screen to tell us what they find / Manifesto, dollar worship, get on your knees / So they can sell us a cure for the American disease”. That syncopation alone adds that extra teeth gritting power to already sharpened, well written lyrics. The crazy thing about The Concrete Confessional is that it had two other cuts that were in the nominee pool for best songs of the year, a fact that surprised me as much as it likely has you.

6. Serenity – “The Perfect Woman” (from the album Codex Atlanticus)

[youtube https://www.youtube.com/watch?v=RleBiMcx144&w=560&h=315]

Serenity’s first post-Thomas Buchberger album was certainly far from flawless, but it wasn’t the complete disaster that it could have been say for other bands when a key songwriter leaves the lineup. Crucial in this was vocalist Georg Neuhauser’s longtime role as co-songwriter and the primary writer of the vocal lines throughout the Serenity catalog. He shrewdly realized that without Buchberger writing songs built around his Kamelot-ian riffs, songs for Codex Atlanticus would have to be written largely around his vocal melodies first and foremost. But he’s a gifted vocalist, and has an inborn knack for understanding where a melody should go and how it should direct the arrangement of the song, from guitar parts to orchestral arrangements (the Tony Kakko gene in other words). Nowhere was this more evident than on the spectacular Broadway balladry of “The Perfect Woman”, a song ostensibly about Leonardo DaVinci painting The Mona Lisa. I mention Broadway, and yes, this song owes a lot to songwriting for musical theater, taking into account everything from the speed up vocal gymnastics during “I got a sensation that my creation in a quite disturbing way / Has come to life”, while jubilant horns punctuate behind him with musical exclamation marks —- down to the decision to throw in female vocals on the second verse (courtesy of the always on point Amanda Somerville) that serve as a sort of audience chorus in a perspective shift away from Georg’s first person take on Da Vinci’s own thoughts. Its a strange moment but weirdly amusing in its own way, and one I’m glad to have.

7. Purson – “Electric Landlady” (from the album Desire’s Magic Theatre)

[youtube https://www.youtube.com/watch?v=boscR_9EE5Q&w=560&h=315]

Winner of the most clever music/lyric video of 2016 award, metal or otherwise (and let’s be real, calling Purson metal is stretching genre definitions… but they’re here by association), “Electric Landlady” was also the band’s quintessential calling card off Desire’s Magic Theatre, their incense smoke love letter to 60s psychedelic rock. Its a bouncy number, built on nimble guitar lines with a slight crunch (but not too much!) and all the Hammond dressing that psych-rock of this ilk requires wrapped in studio production that is decidedly analog sounding (if there’s anything digital here, its cleverly disguised). I was fortunate enough to see Purson live earlier in late April of 2016 here in Houston towards the beginning of their US tour, which I believe was a mix of supporting shows and solo headliners. We got one of the latter, and it was at a local haunt named Rudyards, upstairs in the venue’s small live music room where no more than 70 people could probably fit comfortably. It was a fun night, and Purson were extremely entertaining and convincing as a live band —- little did I know that it’d be there last trip to Houston. Purson only just recently announced their breakup for “personal reasons”, and that’s a shame because they had the potential to blow up in a big way. We’ll always have this song and its gorgeous, tribute to 1960’s groovy, swingin’ London visual companion.

8. Suidakra – “The Serpent Within” (from the album Realms of Odoric)

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

I have such affection for Suidakra since becoming a die hard fan of theirs back in 2013 through their awesome (and Metal Pigeon Best Albums list winner) Eternal Defiance. Since then, I’ve poured through their immense back catalog, gained a basket full of favorite songs across the spectrum of their discography and have declared them to be one of the new leading lights in modern melodic death metal (even though they’ve been doing this for nearly two decades now). Simply put, no one else sounds like them, with their blending of folk elements and melo-death, as well as their arms wide open embrace of power metal sensibilities in the way of hooks and clean vocals. I love bands who can honor traditions yet still imprint their own identity upon things. So it was a slight let down when I finally published my review of the highly anticipated Realms of Odoric, that I knew it wouldn’t find its way to the best albums list for 2016. That being said, I haven’t been able to quit “The Serpent Within” —- like at all… its one of my most listened to songs of all 2016 releases according to iTunes and its that mesmerizing chorus that’s pulling me back in every time. Arkadius Antonik’s lyrics here hit a poetic nerve, as I love the line during the chorus “This life is but a spiral path / The serpent lurks inside”. The entire song is a lyrical gem constructed with fantasy motifs, yet able to work as a real world meditation on the value of solitude and inward peace as a bulwark against modernity.

9. Katatonia – “Old Heart Falls” (from the album The Fall of Hearts)

[youtube https://www.youtube.com/watch?v=IIGBNc2nFZA&w=560&h=315]

I’m not sure if I ever managed to resolve my feelings about Katatonia’s The Fall of Hearts, and that’s kinda par for the course with my relationship with their more recent albums. They’re all pretty good, certainly have their moments but as whole, cohesive works they somehow fail to impress me across the board. Ditto for this new album which I really gave the benefit of a couple weeks of regular listening, often times for the simple pleasure of hearing “Old Heart Falls”, perhaps one of the most beautiful and rich slices of doomy, depressive rock you’ll ever hear. Its seemingly difficult for bands to write songs with perfect buildups, but Katatonia manage that here: vocals accompanied only by wounded guitar notes floating into the ether over a bed of 70s prog keyboards usher us in, then the rhythm section slips in behind a descending chord figure that continues through ascension. The bridge comes after a soft pause, audible bass setting the mood with simple patterns, and then distortion comes, slowly growing louder and Jonas Renkse’s sublime vocal melody careens forward, set to thoughtful lyrics, “For every dream that is left behind me… / …With every war that will rage inside me…”. Its hypnotic and alluring despite its bleak-hearted subject matter and downcast perspective. Try as they might, American bands rarely get music like this right… its just something that comes natural to Scandinavians, and that’s okay. Bonus points for the stylish, austere, and inventive lyric video.

10. Borknagar – “Winter Thrice” (from the album Winter Thrice)

[youtube https://www.youtube.com/watch?v=NDrrKv2wjvk&w=560&h=315]

When this album first came out I figured it would be in regular rotation throughout the year, being a relatively strong and intriguing listen throughout. But the truth is that it sort of fell off for me after the first few months for reasons I’m still uncertain about. That didn’t happen with 2012’s Urd, an album that I contend could vie with Empiricism for their best ever. That album gave us the Best Songs list makin’ “The Earthling”, which is my favorite Borknagar song of all tid(!), and fortunately Winter Thrice throws its own contender for that spot in the mix with its star studded title track. I use the term “star” loosely of course, but in black metal terms, a single song with vocal parts by Lars Nedland, ICS Vortex, Kristoffer Rygg (aka Garm), and of course Andreas Hedlund (aka Vintersorg) can aptly be described as studded by something or another. Its a tremendous series of performances, each vocal filled with enough personality to be discernible from one another and nuanced in their own manner. The song itself is epic, with angular riffs and brutal screaming vocals stacked against each other in frigid formation, unfazed by the warm fires of the lead guitars and soaring clean vox lines. It also received a gorgeous music video treatment with Garm playing the role of the jarl in Whiterun…er, somewhere in Norway!

January 9, 2016 2015, Best of, Blog related 2 Comments

The Metal Pigeon’s Best of 2015 // Part One: The Songs

Finally! The beginning of the end to the most exhausting year of new metal releases I can ever remember. This is the first of the two-part year end Best of list I compile, a little delayed this time (in keeping with the 2015 theme), and this might actually be the more difficult of the two in selecting and narrowing down. My year end songs of the year list is always problematic because ultimately there is some crossover with the forthcoming best albums list, since some of these songs were key to making those albums the best of the year. But the songs list has to also represent those isolated gems that were discovered on otherwise flawed or not so great albums, and keeping the balance between the two is always tricky. In sticking with tradition and forcing myself to be very selective and honest, these lists are limited to ten, but they were narrowed down from a shortlisted pool of about 20-25 entries. Anyway, you know the drill by now, so to quote Kramer: “Giddy up!”

The Metal Pigeon’s Best Songs of 2015:

1. Steven Wilson – “Happy Returns” (from the album Hand. Cannot. Erase.)

[youtube https://www.youtube.com/watch?v=U_Cgyvj7Pf4&w=560&h=315]

I had suspected for awhile that this emotional gut-punch from Steven Wilson’s 2015 masterpiece Hand. Cannot. Erase. would wind up atop this list, despite competition from some strong contenders below. Its up here because its aching, emotive, transcendent, bleak, beautiful, sorrowful, melancholic, dreamy, nostalgic, and a whole list of adjectives more. Its also the emotional apex of the album, both in its musical approach and in its lyrical perspective/situation within the content of the album’s storyline (and if you’re unaware of what that is, I’ll refer you to my original write-up on the album). Whats clever is that it comes disguised as a pop-song, complete with a little McCartney styled ““doo-doo-doo-do” and some relatively simple acoustic guitar strummed chords. It serves as a hook in lieu of an actual chorus, because our narrator is in no state to say anything that she’d have to repeat —- the words she delivers are spare, direct, and heart-shattering in their immediacy: “Hey brother, happy returns / It’s been a while now / I bet you thought that I was dead”. The framing device is that Wilson’s isolated, living-alone-in-the-city female narrator (simply referred to as H.) is perhaps finally reaching out to a long sundered member of her family via writing a letter. Maybe she’s replying to a received Christmas card, hence the invocation of the phrase “happy returns” (more common in British English than American as a response to “Merry Christmas” or “Happy New Year”), or maybe she’s initiating contact herself —- we’re never told and its left to the imagination.

Whats not left to us to decipher is her emotional state —- teetering on the edge of hopelessness she tells her brother, “I feel I’m falling once again / But now there’s no one left to catch me”. One of the most devastating verses you’ll ever hear sits precisely in the heart of the song, from the 1:32-1:58 mark, its lyrics filled with the kind of sorrow borne from regret and despair: “Hey brother, I’d love to tell you / I’ve been busy / But that would be a lie / Cause the truth is / The years just pass like trains / I wave but they don’t slow down, don’t slow down”. I can’t tell you how many times I’ve listened to this song throughout the year, but every time I’m completely emotionally engaged, and I’ll tell you… that imagery of the passing train just hits me like I’m standing on the tracks myself. This is not an easy song to listen to. You can’t let it play when your iPod is on shuffle because you’re simply not ready for its gravity, it will sink you and only cause you to play it again and again because your mood will have shifted and the Dream Evil song that was supposed to come next would sound like static in your current state of mind. Its a song that’s haunted, and like any ghost worth its name it begins to haunt you.

There was another song from the same album that I shortlisted as one of the Best Songs of 2015, that being “Perfect Life”, the other sibling related song, being about the narrator’s one-time foster sister before the divorce of her parents. It would’ve been the most bizarre entry to one of my year end lists to date, a Saint Etienne styled bass n’ drum construct with female narration and Wilson’s repeating coda arranged as more of a trip-hop affair than anything resembling rock or metal. Similarly “Happy Returns” is quite far removed from those two genres, but its inclusion on this list I believe is warranted not only because of the simple fact that I reviewed the album, but because Wilson’s connections to metal are long and deep. Set aside his production work with Opeth and Orphaned Land, or even his role in helping once doom-metallers Anathema evolve into their current progressive rock state. The man’s approach to music in terms of songwriting, musicianship, arrangement, and thematic vision shares so much in common with the values of many metal artists. Speaking of Anathema, longtime readers will remember their inclusion on this list not once, but twice in the past few years. As was the case with my Anathema inclusions, I simply couldn’t be dishonest with myself (and you by extension) and exclude a song from this kind of list simply because it didn’t sound remotely metallic. If its inclusion here prompts someone to further investigate more of Steven Wilson’s music, then I’m further justified in my decision.

2. Blind Guardian – “Distant Memories” (from the album Beyond the Red Mirror)

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

I was puzzled by Blind Guardian’s decision to release an abridged “standard” version of their newest album Beyond the Red Mirror, because the limited/earbook/vinyl editions of the album came with two additional tracks in “Doom” and “Distant Memories”. They were technically bonus tracks in that regard, except that this was a concept album, and they actually fit into the storyline devised by Hansi, to such an extent that when placed back into the overall skeleton of the album “Distant Memories” ended up at track number six, altering the entire standard edition sequencing (see the differences for yourself). I get that you need something to entice fans to splurge on the special editions of a new album, but usually that comes in the form of b-sides or a cover song or two. It shouldn’t come at the expense of the album’s most brilliant moment, and its unfortunate that there might be fans out there enjoying the “standard” edition of the new Blind Guardian album without realizing that they are missing out. And man would they be missing out, because “Distant Memories” is not just the best song on the album, its one of the most beautiful songs the band has ever written, a kinetically charged quasi-power ballad that seems out of time and place.

It starts out fairly casually, with Andre’s playful guitar figures dancing over some subtle woodwinds, but then the band crashes in and Hansi takes over the director’s chair with a vocal melody so impatient to display its own brilliance that we’re treated to the chorus at the :44 second mark. Said chorus is only one of the highlights in this glorious epic, but its one you will return to forever, even if you don’t really understand what its lyrics are going on about in terms of the album’s concept. They’re mysterious even when taken out of context: “But still they don’t know / They’re just caught in distant memories / Then these fools will fade away / They may not fear the fall”, yet despite their opaqueness I still find them captivating and entrancing because its the manner in which they’re sung that gives them their power. On the back of Frederik’s thundering drums, Andre and Marcus’ rhythmic guitar phrasing, majestic swells of a distant orchestra, and the sweet rivers of choral background vocals, Hansi delivers his deceptively simple lead vocal with sublime extensions of line-ending syllables. Every part is integral, the combination of everything building up to a sound that I don’t even think there’s adequate language to describe —- you listen to it and tell me, that’s not a happy sounding chorus right? Yet its not sad or angry either, its simultaneously all of those things at once and none of them at the same time. When I consider those lyrics, I think that our narrator is expressing some type of disappointment, perhaps even resignation, but the music they’re sung over says otherwise.

That ability to create music that defies written interpretation is what makes Blind Guardian not just one of the greatest metal bands of all time, but one of the greatest bands of all time —- all genres. Period. Stop. Okay, on the back of such effusive praise, why isn’t this listed at the number one spot on this list? Well I have a small gripe about the production, and the sequence that best exemplifies what I’m thinking of cues in at the 3:07-3:41 mark. We’re treated to a heart-stopping, adrenaline-racing increase in tempo and intensity in Hansi’s vocal delivery, “Whatever the cost / It will not be redeemed…”, and we can hear the orchestra swell in reaction, about to slam us against the wall with some Hollywood inspired/James Horner/Howard Shore/Michael Kamen styled sturm und drang. And it happens, sort of… you can hear it happening but thanks to an unforgivable oversight in the mix at this exact moment, you don’t feel the jolt and thrust of the booming timpani, the anger of the brass section, the near panicked notes of the woodwinds and strings in an attempt to keep everyone together. They all just get compressed and pushed below, buried under guitars and layers of vocals at a time when they should be threatening to over take the whole she-bang altogether. For quite a few people, this was a recurring complaint about the album as a whole, and one I hope will urge the band to revisit it a few years down the line in the form of a remix as they have with most of their catalog.

3. Angra – “Silent Call” (from the album Secret Garden)

[youtube https://www.youtube.com/watch?v=7SBG1dRY6Cc&w=560&h=315]

There’s a reflective, almost meditative quality to this spare ballad found at the end of Angra’s Secret Garden, built on the interplay of Rafael Bittencourt’s impassioned lead vocal melody and the backing vocals that snake around him in lush layers. Its in one of those layers where we presumably hear new Angra vocalist Fabio Leone, who has been seen providing backup vocal support on this song at live shows and spots on television shows where they’ve taken a fancy to airing out the tune. They’d be silly not to, this could and should easily be a smash hit back home in Brazil —- its an easy song to love (just take a look at how many cover versions have already sprouted up on YouTube in the span of a year). In my original review of Secret Garden I noted how odd it was that much of the album didn’t feature Leone on lead vocals alone, often casting him as a partner with a guest like Simone Simons or Bittencourt himself (the latter enjoying his own duet with Doro Pesch on the excellent “Crushing Room”). Its not the expected way in which you’d want to indoctrinate your new vocalist or introduce him to your fans, but then it seems that years of various band-related problems of all sorts have pushed Bittencourt to a place where he’s discarding all expectations, structures, and rules. He gets away with it for the most part on the album largely on the strength of his own lead vocal performances —- I’m honestly asking, why can’t Bittencourt just handle the lead vocals himself? I love his voice.

What makes “Silent Call” such a poignant, emotive, and wistful song is found within its lyrics, with a narrator attempting to describe the feeling he has when staring at transcendent scenes of natural beauty. We’re placed alongside him with the line “I find myself lost in the Swedish night / Sunset it’s crying in the sky”, and in case you’re wondering, yes the album was recorded at at Fascination Street Studios in Orebro, Sweden (Jens Bogren country!). I’m particularly fond of the phrasing of “New day, sunrise / Sound the trumpets of the dawn” and Bittencourt’s vocal melody during its delivery, almost see-saw like in its ascending and descending crescendos. His ultra impassioned inflections during the final verse are all exposed nerve endings, raw in their intensity: “Spread my wings and fly / Only guided by faith / Through the darkness or light / May have the “whys?” / It’s always the same” —- its the kind of performance that suggests an expression of frustration. I like the idea of a song written about being unable to effectively communicate a kind of spiritual feeling received from witnessing something that can’t adequately be described by language. All our narrator can do is merely mention whats running through his mind during the experience, such as “…an old bag full of recent memories / Many laughs and many cries”, but that’s enough, the melodies at work here are all we need as listeners to be transported to that specific time and place.

4. Witchbound – “Sands of Time” (from the album Tarot’s Legacy)

[youtube https://www.youtube.com/watch?v=0G3M5rRPZ-k&w=560&h=315]

Witchbound caught my attention in 2015 due to the curious circumstances of their formation —- they’re essentially a band formed in tribute to the recently deceased Stormwitch founder Lee Tarot. Former original Stormwitch members Ronny Gleisberg and Stefan Kauffman joined together with a handful of other ex-Stormwitch guys (from different eras of the band) and a fantastic unknown vocalist in Thorsten Lichtner to finish the final songs that Tarot had left behind unrecorded. In my original review, I wrote of the project’s inception:

Things like this have been done before for other deceased musicians, and they’re always well meaning, while almost always garnering some kind of press and media attention. In this case, there’s very little of that —- a fact that makes Witchbound’s efforts all the more poignant. Unless you’re a metal historian, chances are that Stormwitch isn’t a name that’s familiar to you: They never really blew up in any way in during their heyday, their exposure to American audiences was limited to import mail order catalogs (I don’t even think they had an American distribution deal), and they were never able to crack their home country of Germany like their peers in Grave Digger, Accept, Helloween, and later Blind Guardian.

As heartwarming as the spirit and intention of the project is, it wouldn’t be on this list unless it contained something truly fantastic —- and the real surprise is that the entire album is totally worth your time and attention, containing perhaps Tarot’s finest songwriting to date. Its muscular, traditional German heavy metal that’s spiced up with diverse instrumentation and songwriting styles. There’s triumphant, fist-pumping metallic anthems such as “Mandrake’s Fire” and “Mauritania”, but also thoughtfully composed balladry such as “Trail of Stars”. The diamond among the bunch was the shimmering, utterly gorgeous “Sands of Time”, a power ballad built on a slowly escalating bass line, chiming acoustic guitar patterns and tension building riffs. It crests when Lichtner explodes on the chorus, with a melody that soars to the very heights its referencing in its lyric: “Staring at the stars each night, waiting for a sign / Writing down four lines – a vision to rhyme…”. Credit to Lichtner on this one, because his phrasing here is impeccable, and he really just owns the vocalist role all over the album, delivering incredible performances and sounding better to my ears than original Stormwitch vocalist Andy Aldrian ever did. He’s the MVP performance wise on the album, but Tarot himself gets the overall MVP for penning such inspired songs. With “Sands of Time”, he may have delivered his best one ever, with a degree of complexity to its Medici-referencing lyrics as well as an undeniable hook that would’ve sounded at home on an Avantasia album. I’d like to think that Tarot would’ve loved what these guys did with his unfinished songs, if he only had a chance to hear them. I know I did.

5. Subterranean Masquerade – “Blanket of Longing” (from the album The Great Bazaar)

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

Quietly the multi-national Subterranean Masquerade released one of the most satisfyingly melodic, complex, and challenging albums of the year. I had no idea that this was their second album (first in a decade though), nor any idea who Tomer Pink was, the guitarist and songwriter at the heart of this band that consists of members from Israel, Norway and the United States. Those last two are Kjetil Nordhus and Paul Kuhr (of Tristania and November’s Doom respectively), Nordhus handling clean vocal leads with his accented prog-rock delivery while Kuhr delivers the brutality in his distinctive doom-death vocal style. The band’s sound is a diverse blend of ethnic Middle-Eastern music, progressive rock ala Steven Wilson/Porcupine Tree, and Oriental metal in the vein of Orphaned Land (whose Kobi Farhi does guest vocals on two tracks on the album). It was an album that came out of nowhere, just a random promo I got one day that I had no background on. I kept coming back to the album throughout the year, finding it a pleasure to listen to for its sheer force of personality and some seriously excellent songwriting by Pink. His best one is the emotionally charged semi-ballad “Blanket of Longing”, itself a microcosm for the band’s overall sound, containing a little bit of everything they’re capable of. The real star here is Nordhus, whose clean lead vocals are simply superb, his emotive inflections during the chorus particular stirring: “Often I go back to that picture of my little boy / And I just can’t cry anymore…”. When I hear prog-metal written and performed like this, I know why other more technicality focused prog-rock/metal bands fail to move me. It should always start with a melody worth remembering, not one forgettable riff after another.

6. Luciferian Light Orchestra – “Church of Carmel” (from the album Luciferian Light Orchestra)

[youtube https://www.youtube.com/watch?v=mtpRXa3V4Pk&w=560&h=315]

Its a subtle bit of irony that in an era when new retro occult metal and rock bands are getting signed left and right after the success of Ghost, one of the most intriguing projects in that vein comes from a musician that predates all those guys, namely, Therion’s Christofer Johnsson. This is a side project of his with a handful of musician friends, the only known name we have from this bunch being vocalist/photographer Mina Karadzic. According to whomever runs Therion’s social media (I suspect Johnsson himself on all fronts) Karadzic does not handle lead vocals on this particular song so I have no name to place to the gorgeous, breathy singing that adorns this gem. I’ve seen a couple people point to one Mari Paul, a relatively unknown Finnish vocalist who does seem to match the description of the woman singing in its music video, so credit to her if that’s true because the lead vocal at work here truly makes this a stellar slice of atmospheric yet hooky occult rock. There’s something seductive both sensually and spiritually about the vocal melody and the lyrics, the latter specific in its audience: “Young girl, come close / Undress and pray”. Longtime Therion lyricist Thomas Karlsson penned the lyrics on the album, and he draws upon his extensive experience in esoteric studies to inform his lyrical imagery (“A naked altar / and a priest with horn / a shade of Abbé Boullan / kneel and drink the Lord”). A part of me feels that the lyrical content here is partially tongue-in-cheek, but with a hook this magnificent we should all be joining in on the Sabbath anyway.

7. Kamelot – “Fallen Star” (from the album Haven)

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

Look I know I just did it above but normally I try to avoid quoting myself —- it makes me uncomfortable and I fear it could come across as a little egotistical, but I raved about this song when I first reviewed Haven and everything I wrote about it then I still feel now, so take it away Ghost of Metal Pigeon Past:

The path towards a future golden era for the band begins with the eternal classic “Fallen Star”, a supreme and glorious a moment that echoes the height of the Khan era in both melody and lyricism. Karevik’s piano accompanied solo intro to the song sets the tone and signals the approach —- that his vocal melodies will serve as the driving force and everything will yield to his will. In the mid-song instrumental bridge, Youngblood’s guitar solo echoes the vocal melody slightly by playing off its motifs, something he is peerless at. Karevik’s lyrics are evocative, with an almost Khan-like air of poetic imagery: “You are my reason to stay / Even if daylight’s a lifetime away / May the kings and the queens of the dawn / Remember my name / As dark as the fallen star”. The vocal melody guiding these words is cascading, rising and falling gently like a sloping hill, its shape infusing the lyrics with its required blend of romance and melancholy. It might be the best overall Kamelot song in a decade, a gem that matches the brilliance of songs from their classic era albums, and perhaps their best album opener ever.

Any guesses as to how bummed I was that the band didn’t play this on the recent Houston stop of their North American trek with Dragonforce? It would’ve been one thing to simply not hear it, but two of the three tunes they did play from Haven were my least favorite from what was largely an excellent album (I’m referring to “Revolution” and “Here’s To The Fall” —- the latter gets a pass because Tommy announced that he was singing it in tribute to his recently departed grandfather, but the former was just as meh live as it was on the album). I hope that Youngblood and company realize that the best way forward on future albums to continually cede more songwriting space to Karevik, he seemed to have a hand on about 75% of Haven, and its very noticeable what songs he had a direct role in shaping primary melodies and motifs. If every vocalist has a signature song or calling card, I nominate “Fallen Star” as Karevik’s for his Kamelot career (wouldn’t want to offend any Seventh Wonder die-hards out there!).

8. Nightwish – “Weak Fantasy” (from the album Endless Forms Most Beautiful)

[youtube https://www.youtube.com/watch?v=IEsS6NNt3Bo&w=560&h=315]

Tuomas Holopainen rarely fails to find someway to astound me, and I remember exactly where I was when I first heard “Weak Fantasy”, driving around on various errands while playing the album through for the first time. I was in a shopping center parking lot maneuvering around to find an exit, nodding my head in rhythm Emppu’s sledgehammer riffs and marveling at how powerful Floor Jansen’s voice sounded right alongside the mighty co-lead vocals of Marco Hietala when the folky mid-song bridge kicked in and then 3:34-4:31 happened. I had to pull over into an empty area of the parking lot and simply sit there and let everything wash over me —- the violently swooping in strings, sounding as if they were the soundtrack to some hyper exaggerated ballroom waltz, Marco’s passionate vocal eruption while singing some of Tuomas’ most vitriolic lyrics ever. I hope it was as jaw dropping a moment for others as it was for me, because few songwriters are as attuned to conducting pure, broiling, emotional drama as our guy Tuomas. Oh make no mistake, you’re reading the blog of someone who is an unabashed Holopainen homer, and just like homers in sports fandom, we can criticize our rooting interest, dissect their decision making, persevere through their low points, and ignore their weaker tendencies. Why? Because we know that said rooting interest is capable of providing us with victorious moments like “Weak Fantasy”, songs that justify our allegiance. If I keep going on this particular allegorical road I’ll start questioning my time as a Houston Texans fan, because how crazy is being a fan of a football team? Wishing and hoping through years and decades of futility in hopes of one glorious moment of euphoria? In musical terms, Holopainen has already won a few Super Bowls.

9. Year of the Goat – “The Wind” (from the album The Unspeakable)

[youtube https://www.youtube.com/watch?v=DwvF8IbVk04&w=560&h=315]

These charismatic Swedes released a hell of a fantastic rock n’ roll record this year in the vein of Blue Oyster Cult meets In Solitude, and there was quite the handful of awesome moments that could’ve ended up on this list. I was first drawn to the album thanks to Fenriz playing the seven minute plus “Riders of Vultures” on his pirate SoundCloud radio show, and truthfully that song is so awesome that it could’ve ended up on this list. But its “The Wind” that really shows Year of the Goat for the authentic rock n’ roll band that they are, purposeful emphasis on the roll part, because one of the biggest reasons I grew disinterested in rock music as a genre was that most of its new artists had no idea what a rhythm section in rock could do. I lay the blame at a combination of post-grunge and nu-metal, where the definition of rock was transformed to mean loud/soft dynamics, lazy atonal riffs, basic bass playing, uninspired drumming, and a song that found its hook in a vocalist’s knack for yarling out a melodic phrase or two. Thankfully Year of the Goat have arrived on the scene to show these radio rock idiots that yes, Maroon 5 might actually know what they’re talking about when referencing Mick Jagger and his “moves”. On “The Wind”, the rhythm section grooves, laying down a backbeat n’ rumble you can actually sway or dare I suggest… dance to (or at least move in vague accordance to, I know we’re all headbangers here). Dual guitars spit out riffs like a jam session with Izzy n’ Slash and Billy Duffy of the Cult, while vocalist Thomas Sabbathi shifts between a Ville Valo croon and a more metallic Peter Murphy or Nick Cave for the rockin’ bits. Turns out Gene Simmons was really, really wrong.

10. Faith No More – “Motherfucker” (from the album Sol Invictus)

[youtube https://www.youtube.com/watch?v=BtznNjvdGO4&w=560&h=315]

While I wasn’t over the moon about Faith No More’s long awaited comeback album Sol Invictus, much to my disappointment, I still love its pre-release single “Motherfucker” for being one of the band’s sharpest, daring, and yes —- greatest songs of their career. Its inherently a pop song, with a convergence of hooks in Patton’s repeating vocal motif (“Get the motherfucker on the phone, the phone…”) and his wild, almost out of sync crooning soaring over the top (“Hello motherfucker, my lover / You saw it coming”). But as a pop song, its built out of strange building materials, not your typical Top 40 fluff and production gloss. First there’s Puffy’s nearly martial snare percussion, keeping us on the march throughout the verses, almost a micro-hook in itself. Roddy provides the atmosphere via keyboard arrangements built on stray notes, echoing like some distant grandfather clock, and I’m pretty sure those weird recurring noises that pop up later on are his doing too. Billy Gould’s personality laden bass rumbles all throughout… one of the things I loved about Faith No More’s sound was that it was so bass reliant, Gould plays as if he’s a guitarist, using his bass to convey melodies as opposed to purely working as a time keeper, much like another great bass player in a little band called Iron Maiden. He and guitarist Jon Hudson go nuts towards the end, the latter unwinding a pent up solo that doesn’t exactly flourish out majestically so much as crawl out, complaining out of frustration. Its a song that would’ve sounded at home on Angel Dust or King For A Day, and that’s a small victory in itself.

January 14, 2015 2015, Blind Guardian, Blog related, Nightwish 12 Comments

Looking Ahead at 2015!

Happy New Years everyone! Alright I’m a little late, but I wanted to let those year end lists marinate out there for a bit before issuing another update, as well as allowing myself a little break from any kind of “required” listening. How have I spent my intervening few weeks off listening wise? Oh you know, a little sweeping balladry from Sarah Brightman, revisiting classic Celtic-punk albums by The Pogues, reveling in Basil Poledouris’ epic score for Conan the Barbarian (the original 1982 classic, mind you), and metal-wise blanketing myself with loads of classic Blind Guardian as a side effect of my now unrestrained anticipation for their new album. Regarding the latter, its our favorite bards who instantly win the crown for the most anticipated album of 2015 —- I mean, who are we kidding here? The German legends may be skirting the edge of their regular four year studio release schedule (that ‘2015’ is going to throw off the 98-02-06-10 symmetry of their last four albums), but in these final weeks leading up to the release of Beyond the Red Mirror, I’m remembering everything I love about the band and all is forgiven. That being said, what are the runners up as my most anticipated metal releases/events?

As it turns out, the number of potential/possible/likely 2015 releases from major metal names is quite lengthy. So I’m going to try something new and lay out my most anticipated in a rather rapid fire list in alphabetical order with a thought or two about what I expect, or (more importantly) am hoping for:

Angra – Secret Garden: One of the first cannon shots of 2015 is the debut of Fabio Lione in his role as Angra’s third official vocalist, being the successor to Edu Falaschi who left in 2012. Look, I wasn’t wild about the Edu era although it had its occasionally good to great moments, but I’m completely un-enthused about the very idea of the Lione era. I was never sold on Rhapsody (of Fire ™), in large part owing to how little I found to like about Lione’s thin, wafery delivery. I respected the heck out of the guy for helping out Kamelot on their Khan-less tour a few years back, despite having to acknowledge that his vocals were completely wrong for the band’s tone and mid-tempo stylings. So on paper Angra should be a better fit for him than his stint in Kamelot, but the pre-release single “Newborn Me” is completely underwhelming so far. It won’t be long before I drop a review of this one, Angra daring to challenge Blind Guardian with a January release (the very idea…).

Cradle of Filth – Hammer Of The Witches (working title): In the past few years, the idea of a new Cradle album was met with a sad level of indifference from myself and as it seemed many others. Paul Allender’s role as guitarist was long past its expiration date, heard in recycled riffs and uninspired songwriting. Yet his departure in 2014 was surprising as it was enticing —- with all due respect to Allender, its now transparently obvious that he wanted to move on years before but the relatively steady nature of Cradle’s existence and operations kept him around for years and albums longer. The new guitarists, two guys named Ashok and Richard Shaw (there’s some dichotomy for you) are relatively unknown quantities, but Dani’s recent quote held some promise, “It’s gone back to the twin-guitar harmonies — very fast and ornate and atmospherically spooky, but lots of melody. I think it’s gonna surprise a lot of people.” A new lineup, fresh blood at the guitar spot —- it worked for fellow British metallers Judas Priest in a big way. Its make or break time for Cradle, I demand something in the vein of Midian!

The Darkness – Cliffhanger (tentative title): Yeah, yeah I know —– “Dear Pigeon, why are you wasting my eye strength on a fairly ludicrous joke band that’s barely even hard rock, let alone metal in any way, shape, or form?”. Longtime readers however will remember that The Darkness actually ended up on my best songs of 2012 list with a gem off their excellent Hotcakes album. And let me address a few things that tend to linger on about this band: They’re not a joke band, check their cited influences, actually listen to their music, and you’ll realize the Hawkins brothers bleed classic Thin Lizzy, Queen, AC/DC, and a splash of Def Leppard. More importantly, they write wonderfully catchy songs with clever hooks and turns of phrase, with loose, Izzy n’ Slash melodic guitar interplay. Are they full of a particularly British sense of humour? Absolutely, but its part of their charm, their music is made with such attention to craft and detail that it demonstrates a conviction that a “joke” band simply wouldn’t bother with.

Dimmu Borgir – TBA: It will likely be just over five long years since the release of Dimmu’s last album, the unfortunately titled but otherwise decent Abrahadabra. I loved the eponymous “Dimmu Borgir” off that album, one of the band’s catchiest singles in years (it had a pretty decent music video too), but the majority of the album made me wonder how much there was possibly left to explore in their heavily symphonic black metal style. I’m not really sure what to expect from these guys now, but it really seems like a stylistic evolution ala Satyricon might be in order. Blut Aus Nord just dropped a new album of classic Norwegian second wave black metal that is bracing, fresh, and revitalized… proving in one fell swoop that there’s still life left in the old traditions. Maybe the way forward for Dimmu is to look back in order to progress their sound. More of the same from them would be disappointing in a way, especially after a five year gap.

Enslaved – In Times: Due in early March, the next Enslaved album is right up there among my most anticipated of 2015, this despite the band’s frustrating lack of Texas tour dates on yet another “North American” tour. That aside, I’m eager to hear what direction these guys veer off into this time. Their last album RIITIIR (a 2012 year end lister) was a blending of the progressive tendencies of 2008’s Vertebrae with traditional metal and rock elements, a stark contrast to the more punishingly straightforward black metal of 2010’s Axioma Ethica Odini. To say that the band has been on a seesaw of stylistic shifts is an understatement —- Enslaved is simply the most unpredictable band in metal today. Personally I’m hoping for a return to a more primal, moodier, mid-career era sound, akin to the Viking infused charm of Below the Lights and Isa. If you’re new to Enslaved, consider the latter two albums your assigned homework.

Faith No More – TBA: If the band’s 2014 single “Motherfucker” was any indication, we’re in for a treat. I love the way that song didn’t sound like anything I had ever heard from the band in their 90s heyday, yet still sounded unmistakably like Faith No More in all their ugly, beautiful, and baffling glory. It also put to rest any remote moaning about the lack of Jim Martin’s involvement, as Jon Hudson is as creative and adaptable a guitarist as the band needs (surely his work on Album of the Year should’ve sold people on that). More promising is that the band are recording the new album entirely on their own without the involvement of a record label, and given what they got away with when on a major label, who knows what juxtapositions and bizarreness we’ll get from song-to-song. I’m just so happy to have the band back, their work felt incomplete upon their disbandment in 1998, and there are precious few bands that have the kind of personality that FNM had in spades. Maybe a Metal Pigeon Recommends feature is in order for these guys prior to the album release… something I’ll keep in mind.

Iron Maiden – TBA: Much like Dimmu Borgir, a five year gap will separate Maiden’s upcoming album from its predecessor, too long of a time in my opinion for a band whose members are pushing 60 (if not already past it). Its been frustrating to have this blog out for so many years now with absolutely zero writing on my favorite band of all time (I mean seriously, I’d have expected a Bruce solo album in the interim at least). Maiden has apparently been busy recording, the proof of which was delivered in the form of a cryptic fan club Christmas card in December that featured Eddie walking into a studio. Their last effort, The Final Frontier was a great album, with songs that harkened back to their Brave New World style with a splash of Somewhere Back In Time’s futuristic keyboard arrangements. Sure Steve Harris does tend to get a little long-winded, but its my slight hope that Bruce and Adrian might get more involved in the songwriting and balance out his longer compositions with some of their concise, catchy songwriting-duo magic.

Nightwish – Endless Forms Most Beautiful: Second only to Blind Guardian as my most anticipated album of 2015, I have the highest of hopes for the debut of Floor Jansen as the third Nightwish vocalist. She is perhaps the most adaptable of them all, capable of classical operatics, as well as the wildly versatile pop-rock accessibility of Anette Olzon. Having seen Jansen with the band in concert myself, I thought her most valuable resource as a vocalist was her ability to project power in a way that both Olzon and Tarja were unable to. Simply put, she can belt it out when she wants to, an ability that immediately makes her the metalized equal to Marco Hietala’s soaring, accented tenor. Of course Tuomas Holopainen’s songwriting will be my primary focus of attention, and judging by his choice of song titles, cited inspirational reading, and guest narrator in Richard Dawkins —- we’re in for a thematic album at the very least (something entirely new for the band). Its hard to envision a Nightwish album better than 2011’s Imaginaerum, but here’s to Holopainen giving it his best shot.

Queensryche – TBA: While Queensryche’s self-titled debut with new vocalist Todd LaTorre was a solid return to form, it had severe flaws. The most glaring of which was song length, most of the cuts on the album hovering in the three to four minute range that could’ve benefited from additional verses or expanded guitar solos. Now with all the legal battle drama behind them, this is Queensryche’s time to truly get back to their progressive metal roots —- especially with their debut at Wacken Open Air (finally!) only eight months away. This is a band that needs to be out there touring with actual modern metal artists, not 80s glam-rock bands, and hopefully their time at Wacken will yield fruit in that regard as well as serve as their re-introduction to the European metal audience as a whole. Oh and getting the album out before that show would be good too.

Scorpions – Return to Forever: This is surprising on a number of levels, as 2010’s Sting in the Tail was supposed to be the band’s final studio album, and its subsequent tour was to be their last ever. Even as recently as their late 2013 MTV Unplugged in Athens the band was demonstrably in winding down mode, delving into deep cuts from their discography for that album as well as openly discussing their career in retrospective terms in interviews surrounding the project. An additional phase of their winding down was to step briefly into the studio to flesh out some song ideas stockpiled in the past and quietly release them —- this idea apparently has blown up into a full-fledged new studio album with a world tour on its heels to follow. I guess I’m okay with this… it does lend a bit of irony to their song “The Best Is Yet to Come”, it being the closing song on the track listing of that aforementioned “final” album. One wonders if Return to Forever will be their swansong, or they’ll stick around for one more.

Noteworthy Metal Related Events:

Savatage at Wacken Open Air: Fifteen years after the last Savatage tour, the band is getting back together for a last hurrah on the biggest stage in the metal universe. Or is it really the last? Chris Caffery recently suggested otherwise, and its anyone’s guess as to whether or not that will be a tour or a brand new studio album. Seeing as how I’m going to have to check out the Wacken performance on the livecast, I’m hoping for a subsequent North American tour. Oh and if they’re going to do this Wacken show without getting some additional cameras in there for a DVD recording, I will be a tad annoyed. Needless to say this is one of the most widely anticipated metal events of the year.

Nightwish / Sabaton / Delain in Houston: Yeah this is a personal one, or maybe not if you’re catching one of the many tour dates this amazing bill will be stopping at on its spring North American trek. This will mark my third time seeing Nightwish, the second time I’ll be seeing Delain, and jeez… the seventh or eighth time I’ll have witnessed Sabaton and their high adrenaline stage performance. Should be one to remember.

Will Immortal release their new album: I guess I should be asking, is Abbath going to win the rights to the Immortal name so he can release the album that he’s already recorded with other musicians? Read up on this if you are just now hearing of it, but it basically boils down to Abbath vs Demonaz/Horgh over the rights to the Immortal trademark. I’m firmly on the side of Abbath in this dispute, because after all its his vocals and his riffs that make up the bulk of the band’s discography that we love so much. He is for all intents and purposes Immortal —- and even though Demonaz has been the band’s lyricist, we’re not talking Louise Gluck levels of poetic brilliance here, I’m sure Abbath can more than manage them on his own. If Abbath’s accusations about Demonaz and Horgh’s feet dragging are true, then its appalling to hear of them trying to deny everyone a new album with lengthy legal proceedings.

And that wraps it up, hope it helps a little in setting the metal stage for 2015 —- here’s to a great year for everybody!

December 23, 2014 Best of, Black Metal, Blog related, Ghost Brigade, Judas Priest, Melo-Death, Power Metal, Sabaton, Trad Metal 8 Comments

The Metal Pigeon’s Best of 2014 // Part Two: The Albums

This was an exciting year to be a metal fan, particularly if like me you made it a habit to check out as many new releases from established and up and coming artists as you possibly could. Its not an exaggeration for me to say that I listened to more new metal albums in 2014 than any other year —- easily surpassing even last year’s nutty total. It was an especially prolific year for power metal, with nearly every major band within the subgenre releasing new albums or singles. As far back as February I was speculating on 2014 possibly being a resurgent year for power metal —- so was it? Well, yes and no. There were some disappointments from a few veteran bands, but these were made up for with pleasant surprises from relatively new artists. And of course there were still quite a few extreme metal artists who offered up a handful of great records.

Consider the following ten albums on this list a very agonized over distillation of what I thought were the absolute best of the year. Most year end metal lists go up to twenty five or even fifty entries —- I limit myself to ten to force myself to be critical, selective, and honest with myself about what I enjoyed the most. A shorter list also helps to give weight to the ordering of entries, and you can be sure that the top spot means a great deal. I definitely look at album play counts when narrowing down my nominees as they provide an honest statistic about my listening habits, but I also consider other far more intangible factors as well (such as… you know, artistry and stuff). This is part two of my 2014 Best Of feature, so be sure to check out Part One: The Songs if you missed it. Enough of my incessant prattling! On with the list!

The Metal Pigeon’s Best Albums of 2014:

1. Triosphere – The Heart of the Matter:

Its not an uncommon occurrence to discover a great band that I haven’t heard before; its one of the frequent perks of writing a metal blog. It is however extremely rare for that discovery to come in the form of an album that is absolutely flawless and perfect in all aspects. Norway’s Triosphere were a late entry in the 2014 album release calendar, November and December for Europe and the States respectively, a major misstep for AFM Records that has already ensured that it slipped under the radar of many metal writers. I consider myself lucky that I am not among them, because here’s what I learned: This is the best metal album of the year, regardless of subgenre, regardless of your preference for accessibility or extremity, and regardless of any preconceptions you might have about a female fronted metal band.

Yes Triosphere is indeed a female fronted metal band —- a progressive power metal one, led by bassist/vocalist Ida Haukland. But they don’t sound like many other female fronted metal bands, as Haukland’s voice can best be compared to a blending of Ann Wilson and Doro Pesch, with hints of Coverdale’s inflection and Dio’s theatricality. She’s a stylistic rarity in an era when female vocals in metal usually mean light, airy, delicate, and that oft-used adjective, ethereal. Haukland is also unique among male and female vocalists in being a sonically powerful vocalist with both high and low range, all while capably demonstrating a mastery of melody. It would be an oversimplification to say that her tone is only raspy or leathery, because its also smooth, distinct, and enunciative. To say she is the undisputed star of this album would perhaps detract from the clockwork-like, precision machinery of the band as a whole, but certainly without her The Heart of the Matter would not be the special album it is.

Equally as key in the Triosphere lineup is guitarist Marius Silver Bergensen who is the band’s primary songwriter in cooperation with Haukland; he composes the music, she writes the lyrics and creates the vocal melodies. Together they weave a dark, stormy, and feverish take on progressive power metal that is both technically brilliant and emotionally resonant. Bergensen seems to be a smart guy in that his songwriting works around Haukland’s natural talent at creating fully formed vocal melody driven hooks. He’s a tremendous guitarist, and shows it off alongside fellow guitarist Tor Ole Byberg in brief flashes of technicality during riffs and in wild, unrestrained, hard rock inspired soloing. Triosphere weave technicality into the fabric of their guitar melodies throughout, but they know when to turn it up and tone it down, a result of marrying their approach with Kamelot-like simplicity where the melody has to remain preserved. Drummer Ørjan Aare Jørgensen lays down a tremendous performance, spicing up a thrash metal fueled percussive attack with proggy, jazzy fills and accents. There’s virtuosity teeming throughout these songs, but its used as an accent rather than the main attraction, the band subtly hinting that they could do more, if they wanted.

Ultimately its the start to finish array of great songs that steal the show here, and there’s a handful of absolute gems: “Steal Away the Light” is as excellent a pure heavy metal song as you will ever hear, with its Roxette-meets-Dio soaring, triple-segmented chorus built around Haukland’s incredible range. There’s the epic, tension fueled “The Sphere”, where her vocals practically scream heartbreak as she sings “Can you feel me like I feel you / A heartbeat where the sound of my soul shines through”. When I listen to that chorus, I realize that its Haukland’s perfect choices in enunciation that really drive home the powerful emotional response that line manages to conjure, and she does that all over the album and puts on a masterful display of how to make the most of every single line. I’d be remiss if I didn’t mention my favorite song, “Breathless”, where the band really turns up the Roxette vibe with a fun, punchy, poppy chorus built around clever alliteration. Haukland sings “I know you think / You know the name / Of this game we are playing” with half-second pauses in between each line, giving the chorus a rock n’ roll stutter strut that you don’t normally hear in prog-metal. Its the kind of thing you hear the first time and smile over.

Much of Haukland’s lyrics deal with past and current relationships, or at least the conceptual idea of one where heartbreak is a central theme. It may not sound like very “metal” subject matter, but its refreshing in a strange way, perhaps because such a focused concentration suggests that its inspired by real personal experiences. You can perceive her attention to detail in regards to penning lyrics that while direct and straightforward, are full of depth and purpose. With a few more releases we could see Haukland blossom as a lyricist, possibly reaching Roy Khan levels of diction and imagery (she already has quite a bit in common with her fellow Norwegian). I called this album perfect, and take my word for it, there are no fillers to be found —- and there’s a raw, kinetic energy that flows throughout the album from the very start, every subsequent song picking up where the other left off. Triosphere don’t get bonus points for their uniqueness as a non-operatic female fronted metal band; they made it to number one on my list simply because they created an album that I couldn’t find anything wrong with, an album with nothing to complain about and everything to get excited by. The Heart of the Matter is a beautiful, aggressive, elegantly chaotic masterpiece.

2. Ghost Brigade – IV – One With the Storm:

Yet another in the waltzin’-into-class-late crew, Finland’s Ghost Brigade slipped this one in relatively late in the 2014 release calendar (must be a Scandinavian thing?). If you recall from a couple years ago, this pack of downtrodden Finns made my 2011 Best Albums list with Until Fear No Longer Defines Us, the album that introduced me to their take on Sentenced/Katatonia inspired melancholic metallic rock. Three years later, they’re finally back with its successor and have managed to land a higher placing on this list with an album that’s more metal and less rock. Its slightly amusing that the further Ghost Brigade have shifted away from what made me enjoy them in the first place has somehow resulted in a better, sharper, more compelling album. Its never the best metric to compare one album to another, but I can honestly say I love One With The Storm far more than I ever did its predecessor.

Not everything has changed, there are still many moments where Manne Ikonen demonstrates his melodic voice with his heavily accented clean singing, but they’re now equaled in play time with his raw, harsh, tortured screaming. He has to fight for space too, because the clearer, crisper production the band has chosen to employ here pushes the instrumentation right up against his vocals, and together they clash back and forth as on the album opener “Wretched Blues”. Its a huge reversal from their previous albums, where everything sat underneath Ikonen’s vocals in a hazy fuzz —- no more. Guitars pour aggression and beautiful, melancholic melodies all over these songs, and they take center stage, often times their musical patterns and figures serving as a song’s refrain such as on the brutal melo-death of “Stones and Pillars”. Some of those guitar figures are heart rending in their ability to touch your emotional nerves, as on the acoustic finger plucked intro to “Elama On Tulta”, where its abruptly followed by a wave of heavy melodicism that wouldn’t sound out of place on Sentenced’s The Cold White Light.

I included the brilliant “Departures” on Part One of this year’s Best Of feature, it being the album’s most accessible slice of metallic rock, but there’s a wealth of melodic vocal treasures to be found elsewhere. A particular favorite comes in the track “The Knife”, where steady mid-paced slabs of gargantuan riffs with suitably throat worn harsh vocals are contrasted with a wide open, cinematic chorus where Ikonen laments in his melodic best “Another year / Another wasted season”. As you can probably tell, much of Ghost Brigade’s lyrical approach deals with your typical Finnish appropriate topics of loneliness, isolation, and general feel-baddery (screw you spell check!), and they just do it oh so well. Take the introspective “Disembodied Voices”, where over a bed of moody, hushed atmospherics and cleanly plucked electric guitar figures Ikonen croons “They said time heals / In a year or so you’ll be alright / Time doesn’t heal / It only makes you forget”. In the hands of a lesser band and vocalist (and I can think of many American radio “rock” bands that could fit the bill) those lyrics would sound contrived and false, but Ghost Brigade understand what kind of soundtrack they need, and Ikonen understands that their delivery needs to be understated, passive even.

My high play count of One With The Storm may have spiraled out of control with its release coming square in these darkening autumnal months, but I have no doubt I’d feel this strongly about its cohesive artistic triumph were it released way back in spring or summer. I think the band has finally stumbled onto a formula they ought to consider sticking to for another release or two. Evening out the guitars with the vocals in the mix has really gone a long way towards giving their sound a surge of power, and its forced Ikonen to balance out his melodic singing voice with his equally riveting (if not superior) melo-death harsh vocals. Ultimately though, it always comes back to the songwriting and Ghost Brigade delivered a handful of gems here, an accomplishment that is even more impressive considering the vast array of diverse tempos and song structures they chose to employ. They outdid themselves, surprised the hell out of me, and somehow managed to release the best metal album out of Finland in 2014.

3. Dawn of Destiny – F.E.A.R.:

Until Triosphere came along, Dawn of Destiny laid claim to being the biggest out-of-nowhere surprise of the year. I had never heard of the band before (and apparently, neither did anyone else), but it was the appearance of Jon Oliva as a guest vocalist on the stellar “No Hope For the Healing” that caused my buddy Doctor Metal of The Metal Meltdown Show to play the band on his show one Friday afternoon. It wasn’t just the presence of the Mountain King that grabbed my attention, it was the absolutely fantastic songwriting on display as well. I was convinced and took a chance on the album, and after one pass through I had the kind of smug, self-satisfied, doofus grin that I’m sure we all tend to get after suggesting an unknown restaurant that turns out to be great and having your friends begrudgingly give you the nod of approval. If I wrote my original review of the album with that same grin on my face, I apologize.

Its not a stretch to say that this was my frontrunner to take the top spot on this list for most of the year before some tougher competition came along. That’s because like Triosphere, Dawn of Destiny are a rarity in the world of female fronted metal bands, as their vocalist Jeanette Scherff is neither operatic or light and ethereal, instead her vocals come from a mid-ranged rock style reminiscent of Ann Wilson or Pat Benatar. No need to scroll up to check whether you’re remembering seeing Ann Wilson’s name before, as I used her to describe Triosphere’s Ida Haukland. Both Haukland and Scherff are tremendously gifted vocalists and modern trailblazers of a sort as a budding handful of female singers bucking the metal establishment, but Scherff leans in a smoother, more refined direction (there’s no Doro influences with her). As great as she is, its bassist/co-vocalist/songwriter Jens Faber who is the true star of the album, as his songs are deliciously hooky, ornately arranged slices of dramatic power metal. On F.E.A.R. (if you’re dying to know, its an acronym for “Forgotten, Enslaved, Admired, Released”), Faber has compiled a selection of near perfect power metal songs where everything revolves around major key builds and truly memorable choruses.

Where to start? How about the stormy, tense drama of “End This Nightmare” where Scherff shares lead vocals with Faber, a distinctive and powerful singer in his own right. The chorus here is Meatloaf-meets-metal, the kind of joyously over-the-top chorus that is so skillfully written and deftly performed that it threatens to go off the rails but never does. Then there’s the one two punch of “Finally” and “Prayers”, the best back to back tracklisted tandem you’ll hear all year. The former is an aggressively uptempo vocal duet where both singers deliver unbelievably challenging vocal lines with near perfect enunciative choices and imaginative melodies, while “Prayers” is its 80’s inspired pure-pop cousin —- built on Scherff’s almost staccato delivery of the verse vocal lines. The chorus is a blast, a carefree merging of her vocals with Faber’s in a singalong that ascends like a spiral staircase. And there are so many moments like that, where Faber’s songwriting throws caution to the wind and interweaves vocal lines in unexpectedly delightful fashion, or allows the rather reigned-in, straightforward power metal guitars of Veith Offenbächer to explode in jawdroppingly gorgeous solos.

Should I mention that its a concept album? I’m not so sure its needed as a selling point, because although I’ve followed along with the lyrics and can honestly say that its a cohesive, well-told story —- I don’t think its necessary at all when it comes to simply enjoying F.E.A.R. as a musical experience. I began listening to this album back in March and have kept going back to it throughout the year. Granted there was a slight hiccup, the first minute twelve of the opening track features some rather awful spoken word dialogue that was actually gnawing at my conscience every time I considered placing the album atop this list (its that bad, and here’s to no more terrible spoken word on metal albums in 2015!). I was saved from having to deliberate that choice thanks to Triosphere and Ghost Brigade, but one lousy mistake aside, Dawn of Destiny were serious contenders for the throne.

4. Blut Aus Nord – Memoria Vetusta III – Saturnian Poetry:

Dense, layered, and nostalgic might be suitable adjectives for Blut Aus Nord’s return to second wave black metal after some time in the desert doing weird, not so great experiments with industrial music. Some quick history: Blut Aus Nord is the musical project of a notoriously reclusive Frenchman under the moniker of Vindsval, who was apparently just 15 when he released the project’s debut Ultima Thulée in 1995. Its sequel released a year later was titled Memoria Vetusta I: Fathers of the Icy Age, and together they were viewed upon as left-field classics emulating the black metal pouring out of Norway at that time. When Vindsval returned in 2001, he did so with a style that owed more to noise and industrial music, and continued in this vein even throughout Memoria Vetutsa II in 2009 and beyond. His unorthodox style won him a lot of praise in this lengthy era, particularly from big-platform publications —- but if you were one of those few that preferred his take on classic 90s black metal, you were out of luck.

So its not an overstatement to say that Memoria Vetutsa III: Saturnian Poetry is the most unexpected album by a veteran artist in 2014, being Vindsval’s return to pure, classicist second wave black metal with zero (ZERO!) industrial elements. The x-factor is that this album is recorded in the pristine, crisp, un-muddied production style that he’s become accustomed to working with in the preceding 777 trilogy, and its like being hit over the head with a frying pan in making you realize that hey, classicist second wave black metal actually sounds better without awful, muted production! This means that Vindsval’s waves of windswept tremolo riffs aren’t buried in the mix, instead they’re the main attraction, and they’re so excellent, so perfectly sculpted that you begin to remember why you loved this style in the first place. And I believe for the first time, Vindsval brings aboard a real drummer in Gionata Potenti (aka Thorns) whose unyielding, punishing attack gives the entire album the feel of a real band at work. The result is a complete about face from the cold, distant icy feel of the industrial era, instead presenting a earthy warmth, like you’re sitting around a mountainside campfire with each listen. This album single-handedly has reignited my interest in black metal as a whole, and made me dust off an Emperor classic or two.

5. Judas Priest – Redeemer of Souls:

Its slightly disturbing that so many metal writers are overlooking that with Redeemer of Souls, Judas Priest have created their best work since 1990’s Painkiller. I want to believe that whats stopping many from realizing this is the pallor cast over by 2008’s tepid Nostradumus, but that would imply that they simply hadn’t bothered to listen to the new album (and that would be poor form for metal writers anywhere, this is Judas Priest we’re talking about). Or is it that in an era where extremity in metal is prized more than traditionalism and given more artistic merit, new music by Priest is considered antiquated or sin of sins, un-hip? I’m not sure what everyone else’s problem is, and granted, I’ve seen Redeemer of Souls pop up on a few other year end lists by websites or publications that aren’t so expressly concerned with demographics and credibility. Kudos to them for realizing what most of the metal world immediately picked up on.

Priest don’t earn their spot on this list simply by virtue of Redeemer being better than its four predecessors, they’re here because of new guitarist Ritchie Faulkner, who stepped out of K.K. Downing’s shadow as more than just a replacement guitarist when he co-wrote this entire album alongside Glenn Tipton and Rob Halford. He turned out to be a veritable fountain of youth, ushering the band back to the very spiritual essence of what made them legends. Priest albums aren’t exercises in intellectual aggrandizing, they’re inherently simple, straight forward affairs built on having a plethora of tight riffs, hummable melodies, and hooky choruses galore. Faulkner brought all these things to the table and in doing so seemed to emphasize that the band didn’t have to out-do itself, or compete with others. The result is an album that is brimming with good to great to masterful songwriting, there are no duds or mediocre tracks on offer here. And its not just the band’s British Steel / Screaming For Vengeance era that is invoked, as there is a distinct Sad Wings of Destiny / Sin After Sin vibe to songs like “Secrets of the Dead” and the echoing balladry of “Beginning of the End”. The production could’ve been a little more compressed, less cleanly modern, and more eighties-sounding —- the opposite of what Blut Aus Nord did in other words. Its the only blemish on an otherwise astounding album.

6. Primordial – Where Greater Men Have Fallen:

I can completely understand the notion that Ireland’s Primordial is a difficult band to get into, most likely due to the unusual, eerie, scream-sung vocal style of Alan Averill (aka A. A. Nemtheanga). He used to be my stumbling block as well, I liked what the band was doing musically but couldn’t get around him. A long time ago I wrote on this blog that I suspected it was due to my wanting Primordial to be more of a Riverdance-meets-black metal type of affair —- a silly concept in retrospect but a purely reactionary one. For a band tagged “Irish black metal”, Primordial sure weren’t like what I imagined that label to sound like. So here’s my advice to newcomers, step one: Forget any subgenre labels, and lets just call Primordial a metal band from Ireland (one of very few, and a stellar one at that). Step two is harder, but worth the effort: Think of Averill’s vocals as the metal version of Dave King’s from the Irish-American punk band Flogging Molly sung by a hooded necromancer standing atop some moss strewn Irish cliff side overlooking a fog-shrouded valley. Hey, we’re metal fans, we’re supposed to be a receptive and imaginative audience, so get to work.

Your efforts will be rewarded with Where Greater Men Have Fallen, which equals the band’s 2007 seminal classic To The Nameless Dead in songwriting brilliance, and leap frogs it in terms of being their most punishing and aggressive music to date. That matters, because the band was in need of a little diversity in their sonic approach, and it arrives right out of the gate with the title track and its rumbling, earthquaking drums, searingly tremolo-ish riffs, and overall brisk pace. Similarly on “Seed of the Tyrants”, the band goes full on black metal with an intro blast of Averill’s loud proclaimation of “Traitors!”, followed by blistering, full-on blastbeats and tremolo riffs that sound like they were straight out of a Watain record. I’m quite fond of the awesomely titled “Wield Lightning to Split the Sun”, where you hear more of the band’s oft buried folk metal influences come to the surface with an acoustic guitars and drums intro. The most accessible song if you’re looking for a YouTube suggestion is “Ghost of the Charnel House”, which boasts a hook built around clever guitar phrasing, fittingly so… this isn’t a band where vocal melodies are pronounced or relied upon. Most of the time the instrumentation does its own thing and Averill floats over the top, Sluagh-like you might say.

7. Sabaton – Heroes:

Some would say this is a homer pick, particularly a pair of goofball friends of mine who enjoy trolling my Sabaton fandom with unrestrained glee (its okay, they go to the band’s shows just the same). But Sabaton are deserving candidates to wind up here, this time not just because Joakim Broden continues to make a case for being the most skillful songwriter in power metal today; but because with Heroes the band did something daringly bold. Here was a case of a band that’s made its legion of fans on triumphant anthems depicting war, battles, destruction, and the might of armies and kings. One of the criticisms they’ve faced in the past is that in writing solely about those topics, they pander to an audience and use patriotism as an advertising agent. I think its a bogus critique, because its proponents are suggesting that Broden has to qualify his lyrics with politically neutral counterpoints, as if somehow his audience will misappropriate a song like “Ghost Division” (his audience hasn’t, but the critics have). Sabaton had the concept for Heroes floating around for awhile apparently, but their timing was well chosen —- they simply had to deliver something different, and it came in the form of their first album largely dedicated to examples of non-violent heroism, where humanity triumphed over warfare.

You’ll see examples of this littered throughout the album: a German fighter pilot escorting a crippled American bomber to safety (“No Bullets Fly”); an Australian medic carrying twelve injured American soldiers down a mountain to safety under withering fire (“The Ballad of Bull”); a Polish hero who willingly became a prisoner of Auschwitz in order to gather evidence of war crimes, and escaped to deliver his report (“Inmate 4859”) —- to name a handful. The thematic success doesn’t detract from the fact that Broden still delivered the goods in the songwriting department. There are your supremely catchy, traditionally structured future Sabaton classics such as “Resist and Bite” and “Soldier of 3 Armies”; and there’s some rather gutsy experimentation in the form of 1940s musical pastiche. The new guitarists Chris Rörland and Thobbe Englund were an unproven, unknown quantity in terms of how well they’d be able to create guitar parts to complement Broden’s keyboard written structures, but their work here is an unmitigated success. Riffs are intense and tightly constructed, their melodies shimmer, and their soloing is vivid and flavorful. I keep wondering Sabaton will ever stumble as I’m sure their critics hope they will, but Heroes works as an argument to suggest they won’t.

8. Grand Magus – Triumph and Power:

This was a recurring listen throughout the year when I wanted something straightforwardly catchy, but more minor key and aggressive than your average power metal release. Sweden’s Grand Magus are not power metal, nor are they folk/viking metal despite their name and imagery —- they’re just metal. Long having abandoned their doomy roots, the band loosely exist in a trad metal palette these days and add in measured amounts of rock n’ roll rattle and shake. Vocalist Janne Christoffersson grabs your attention by virtue of the songs being constructed around his vocal melodies, and with the fact that the quality of his voice is more hard rock baritone than say, air raid siren Bruce Dickinson. The band is also a three piece, so its fairly no-frills, just the meat and potatoes of solid riffs, hummable vocal melodies, and rock-steady percussion.

Album highlight “Steel Versus Steel” is a good gauge of the kind of magic Grand Magus conjure up with a purposeful emphasis on simplicity, the mid-tempo pace set by seemingly swingin’ drums. The chorus is magic, as Christoffersson belts out “And in the end it’s steel versus steel / The final lock and the final key”, the guitars echoing the strutting vocal melody with staccato riffing. It narrowly missed appearing on my Best Songs of 2014 list (too many to list this year). The band gets more adventurous on the title track, where slowly sung verses dramatically build up to a gusher of a chorus, punctuated by a “Hail! Victory!”, its an incredibly fun moment. It gets heavier too, with the punishing “Dominator” which should ring strangely familiar to fans of Glen Cook’s The Black Company series (though I doubt that was on purpose). And I really, really love “The Hammer Will Bite”, not just for its strangely sorrowful sounding intro, but for its monstrously wild and glory-claw inducing chorus where Christoffersson sounds like a Swedish James Hetfield: “The hammer will bite – no other choice than surrender /
Bow to the might – a fiery death from above… Yeaaah!”. One of the few albums I covered this year that can instantly appeal to power and extreme metal fans alike.

9. Behemoth – The Satanist:

There’s already so much written about this album, and its ended up on so many year end lists that it might seem superfluous to see it yet again, but if you’re one of the few that slept on The Satanist one you really need to get on it. Its not overhyped, and its praise is not exaggerated; but its propensity to thrill you is perhaps entirely dependent on your tolerance for extreme metal. I use that term instead of labeling Behemoth’s sound with more specificity because now more than ever, this is a band that doesn’t fit in anywhere. On The Satanist, the band mixes their take on death metal with a little black metal in the form of a bleaker vocal approach, blast beats, and some quasi-tremolo riffing; finished with a touch of hard rock simplicity to produce a concoction that is brutal, violent, and feverish in its unyielding intensity.

That said, the band has evolved past the need for sheer brutality for brutality’s sake. In its place are atmospheric soundscapes and warm instrumentation, a combination that culminates in this being the most human sounding Behemoth album to date. Its a relief for me, because the tech-y coldness on their past albums was a stumbling block for me in trying to enjoy them —- and not only that, but Nergal simply delivers better songs here. One of his best is the title track, with its blackened, stop-start Metallica-esque riffs and oddly tuneful refrain. Of course there’s the music video famous “Blow Your Trumpets Gabriel”, its guitar patterns reminding me of latter day Enslaved and providing the album’s most hummable riff. My favorite is still “O Father O Satan O Sun!”, whose primary riff and guitar melody are quite indebted to Judas Priest in the best possible way. The multi-tracking of Nergal’s vocals here are an inventive way to make them sound far more otherworldly and terrifying than you’d anticipate, a technique not often seen in extreme metal. I think everyone who’s wanted to hear this album has heard it by now, but power/prog metal fans should let their guard down and give it a few listens, its as ornate and fully arranged as a Blind Guardian album, just using a different palette.

10. Noble Beast – Noble Beast:

There are a handful of nominees that didn’t make the final cut of this list, the last few I was really deliberating over included Dragonforce’s Maximum Overload and Darkenhold’s Castellum —- both deserving in their own spectacular ways. But I just couldn’t ignore Noble Beast, a relatively unknown American band that came out of nowhere with a near perfect album of polished, thunder-heavy power metal with songwriting so developed and accomplished it ranks in my mind as one of the best debut albums in recent memory. Vocalist Rob Jalonen sounds like a symbiosis of Falconer’s Mathias Blad with his smooth baritone and the sandpaper-roughness of Iron Savior’s Piet Sielck —- with a splash of Hansi Kursch added to account for those throat-ripping screams. And if the European-ness of those names is any hint, then I’ll confirm that yes, Noble Beast owe more to their European heroes than they do to other American power metal bands whose lineage lies in thrash metal (your Pharaohs, your Iced Earths, etc).

It takes a supreme grinch to deny the sheer metal joy of the album opener “Iron Clad Angels”, with its arcing, soaring chorus built on Jalonen’s muscular vocal and some truly frenetic guitar work. The martial stomp of “The Dragon Reborn” with its extenuating choir vocal lines and ultra-melodic guitar twists seem like a lost Blind Guardian track, but there’s more than just reminders of other bands flowing throughout these songs. On “Nothing To Repent”, the band marries thrash metal aggression and riffs with some startlingly prog-rock song structures, a combination that works despite its disparity. There’s the arena-rock thunder and lightning of “Peeling Back the Veil”, with a stellar chorus and great Mathias Jabs/Rudolf Schenker styled guitar work and Maiden-esque twin soloing. And I love the inventiveness of throwing in some acoustic strumming in the verses of “We Burn”, creating some playful folky looseness in a song built on slamming riffage. Jalonen does double duty on guitar alongside a fellow named Matt Hodsdon, and together they dip and weave around each other like a power metal Slash and Izzy —- their interplay might be the most underrated aspect of the album. More people need to hear this album, and hopefully there will be a second one.

October 13, 2014 2014, Blog related, MSRcast, podcasts Post a Comment

The Metal Pigeon on Podcasts!

I don’t like to pretend that any of you follow my every move in the world of metal blogging, social media, and related activities. So I’ll safely assume that most of you are unaware that I’ve been co-hosting a metal podcast for a few months now. Its called the MSRcast (named after the long defunct zine Mainstream Resistance) and I join its founder and host Cary G to discuss and debate current events and releases in metal, as well as anything else that’s running through our minds at that moment. MSRcast is going onto its ninth year of existence which might very well make it one of the longest running metal related podcasts out there. In the handful of times I’ve appeared on its episodes throughout this year, first as a guest and finally as an official co-host, the show has undergone a shift in format away from being loaded with music in favor of more discussion and debate. It was a natural progression I think, in that we were trying to keep episode lengths reasonable for podcasts (meaning in the hour and a half-ish range) and we had to make a choice between trimming the amount of songs we played or keeping our chatter to a minimum. Seeing as how the latter would never happen (never!), we decided to cut the amount of songs by half, and to play them one at a time within the flow of our discussions instead of in multi-song blocks.

The change has surprisingly resulted in some immediate positive feedback from existing listeners of the show and we’re rather proud of the new format as well. I’ve bounced around in sampling various metal podcasts/vidcasts for the past few years and disappointingly few of them managed to be compelling to me in any meaningful way. So many of them have well meaning hosts that come across as uninformed, or having vague takes that lack depth. The worst of them are far more concerned with demonstrating the amount of alcohol they can consume while recording —- as if that somehow adds anything worthwhile for the listener. Most of them are simply long playlists, which I find boring —- I want to know why these songs are being presented, what is the context behind them? The majority of podcasts that I love to listen to tend to be non-metal in nature, and they were my guideposts in helping to forge this new format for MSRcast. I love the analytical nature of the guys behind the Grantland NFL podcast and the B.S. Report; as well as the joyful creativity of the Nerdist podcast, The Indoor Kids, and You Made It Weird. Bringing those approaches to a metal discussion is fun, and something that I hope translates.

This new format began with our October 3rd release of MSRcast episode 157 where we discussed everything from Opeth’s Pale Communion, a slew of power metal releases, and a brief musing on the U2 album release controversy. And we’ve just released MSRcast episode 158 (that’s quick for us!), where we’re joined by Dave of the Metal Geeks podcast (more on that show in a sec) to discuss everything from the upcoming Sanctuary album, Jesper Stromblad’s social media bombshell, new music from Allen/Lande and Bloodbath as well as the Behemoth and Mastodon controversies. That’s just a small fraction of what we actually managed to get to, its a loaded episode and I hope you guys check it out. We’re on iTunes (just search for us through the iTunes store and hit subscribe —- it helps us and makes things easier for you), and you can easily find us on our host sponsor’s website at Metal Injection dot net. I also dropped in on the newest episode of Metal Geeks, the sister show to MSRcast, to discuss a ton of topics about videogames, movies, TV shows and anything else that fits under their huge umbrella of “geek” related discussion. It was a blast to record and I can’t wait to drop in on more of them! Give these episodes a try, throw them on the iPod/iPhone or whatever you use and play them on your commute, or better yet on your headphones at work! We’ll make the time go by faster I promise.

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 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.

Search Site

Tag: metal