Leaving the high seas for the medieval and mystical realm of an alternative Scotland, Alestorm vocalist and keyboardist Christopher Bowes stands resplendent in his power metal clothed kilt within new project Gloryhammer. Bowes exploits all the rich essences of the genre not ignoring the cheesiest elements too, to bring a debut album in Tales from the Kingdom of Fife which is set to ignite the passions of all power metal fans. The album is a slab of epic adventure complete with as you would expect, triumphant riffs, passionate energy, and a heart which pumps as loudly as the rhythms which mark the battlefield I victory and defeat.
The Napalm Records released Tales from the Kingdom of Fife is a concept album which narrates the story of an alternate -history medieval Scotland where dragons, wizards, and dark sorcery fuel and rule the air. Telling the tale of a glorious hero Angus McFife, who wages a long war against the evil wizard Zargothrax, in order to free the people of Dundee, the album is an epic struggle and adventure brought through ten giant slices of bombastic energy and melodic fire soundtracking a fight of good versus evil. It is a release which if power metal does not ignite any passions than it will be a relatively dry well but for genre fans it is destined to be spoken of with excited breath and rampant enthusiasm. To be honest we lie somewhere in between and found as much to impress and enjoy as we did to hide our armour from, but the truth is that the album is still rather compelling from start to finish.
With a line-up alongside Bowes (keyboards) of vocalist Thomas Winkler, guitarist Paul Templing, bassist JamesCartwright, and Ben Turk on drums, Gloryhammer opens up the release with Anstruther’s Dark Prophecy, a brief portent of looming black shadows and destructive winds upon a once peaceful place. Its rising presence passes over to The Unicorn Invasion Of Dundee without a breath and its successor is immediately charging through the ear with galloping riffs and a cage of firm rhythms. It is instantly virulently infectious with the vocals of Winkler soaring through the skies with expression and passion whilst the keys lay like the sun upon the senses. Whether there is anything new going on we will leave to true genre fans to decide but through the familiar sonic cascades and melodic elegance it is impossible not to be captivated, especially with the sirenesque keyboard teasing which enrich the song throughout.
Angus McFife elevates things with its even more contagious lures and thumping pulse. The bass of Cartwright is a prowling predator throughout the track whilst the keys envelope with a glorious sense of heroism to enflame further the already anthemic pull of the vocals and guitar shaped sounds. The power ballad Quest For The Hammer Of Glory fails to exact the same passions for personal tastes but perfectly caresses the struggle and determination of the hero at this point of his story before making way for the first of the two major pinnacles within the album.
Opening with a delicious and inspiring evocation of potent steely keys, Magic Dragon is a fiery and scintillating journey of unbridled energy and melodic triumph cored by again keys which leave one exhausted and blissful as well as an anthemic unity and call which even the dead would raise their hearts for. Again the song has a familiarity about it which only goes to make the encounter more invigorating and even as an old friend in sound, its realisation and delivery is quite breath-taking. The track steals top honours though is seriously challenging by the exhilarating instrumental Beneath Cowdenbeath further into the album.
Before its appearance the likes of the beautifully sculpted emotive ballad Silent Tears Of Frozen Princess and HailTo Crail with its almost regal call offer their descriptive and inviting presences though they falter in raising anything near the rapture as spawn by Magic Dragon, then again after that song they were on a hiding to nothing and emerge almost plain in comparison. Beneath Cowdenbeath though is a scintillating campaign through intense and urgent endeavour brought with skilled interpretation and thought evoking craft. It is a stirring piece of music which leaves one grinning inside and out.
Ending the tale with the triumphant climax of The Epic Rage Of Furious Thunder, the album finishes off a rather thrilling encounter with epic passion and energy. To be honest expectations of Tales from the Kingdom of Fife were not exactly high even with Bowes being its mastermind, but it surprised and surpassed all thoughts with ease. Gloryhammer may not be a band to take over Alestorm in our musical appetite but certainly makes a worthy and enjoyable companion.
Once there was a band called Merzah, a group of musicians from York County, South Carolina who from forming in 2005 earned a fine reputation for their muscular and aggressive form of progressive metal sculpted with a magnetic melodic imagination. Two EPs, In the Trenches of 2006 and especially Existence Denied released in 2009, as well as impressive live performances marked the band as having one of the more inventive enterprising sounds to be inspired by. Now the musicians who made up a very promising band have stepped forward as Everthrone, an evolution of the former guise which has emerged as something even more impressive and creatively intriguing, and even more thrilling.
The now McConnells, SC based band consisting of vocalist Russell Plyler, guitarist Nevin McKeown, bassist Chris Carland, drummer Jeremy McKeown, and Dustin McDaniel on keys, has just released their first official track as Everthrone, a song which stands tall as a striking piece of invention.
Gilded Throat is a dramatic blaze of progressive and melodic metal fused with loud whispers of symphonic metal, the malevolence of black metal, and an infectious energy reaped from power metal brewed together for a startling and forceful encounter. The earlier sound of the band in hindsight hinted and was working towards this new flavoursome confrontation but as Everthrone, the band has reaped those seeds for the finest bloom. The track opens with dramatic and emotive piano evocation to brew up a sense of something epic on the near horizon. After its opening breath the song draws in sharp dangerous rhythms and sturdily chopping riffs to add menace to the still brewing symphonic grandeur and once the excellent melodic tones of Plyler bring their persuasion into play, the song has attention firmly within its tender grasp. Like all great metal songs though that grip tightens and becomes more intensive, following coarse growls disrupting the clear air with spite and insidious venom as the sounds unveil further muscle. Thoughts are left further intrigued by an electro additive to the vocals and keys stepping forward to bring another compelling twist in the enthralling journey of the song. To be honest this constant shift and twisting of style and gait within a song should not work and for many does not, but they are not Everthrone who achieve glorious results through thoughtful songwriting and skilled realisation of their imaginative and innovative ideas.
Continuing its immense stroll of invention, Gilded Throat continues to reward with greater melodic caresses, symphonic kisses, and powerful enterprise and intensity, with only the fact the track drifts away rather than finds a real ending a niggle, but just a personal dislike hard to shake off in regard to any song. The track is openly impressive and a thoroughly exciting introduction to this new stage of a rising force in melodic metal. The wait for their next release and song is going to be impatient for a great many.
Powerful with epic emotions, UniverSeasons the new album from Italian power metal/symphonic rock band Solisia is a striking and rousing experience. It is a release which wraps itself around the ear with a grandeur and presence to fully involve the listener in its dramatic heart and concept theme based upon the condition of the human race. Released via Scarlet Records, Solisia has created an album which whether it is rampaging with an intense and cryptic intent or washing the senses in heightened elegance just leaves one immerse in something quite special.
Formed in 2006, the Rome band has found strong and eager responses to their sound starting with their critically acclaimed mini CD The Film Of My Life, followed with equal responses by debut album Ordinary Fate. Now with a new vocalist in the impressive talent of Elie Syrelia adding an unmistakable beauty and strength to their sounds, the accomplished collection of musicians have returned with eleven tracks which are diverse yet connected, and all oozing quality and dynamic craft. Across its stirring length, UniverSeasons is a feast of arguably established ideas to make an instant connection and a fiery enterprise to set the band apart from most similarly driven genre bands. This makes for a record which at times offers recognisable friendship for the ear but with a distinct Solisia breath, and in other moments unleashes a muscular array of invention and genre crossing imagination to ensure predictability and lack of captivation is never an issue.
The title track first pulls us into the rich absorption of the album with rampant energy and a charged flurry of riffs and twisting sinewy guitar play, its technical licks an instant lure before Syrelia unveils her mesmeric charms. The song softens as her stylish voice elevates the warmth along with the keys and symphonic caresses, but all the time the rhythms have an intimidating and forceful presence to give it all a bite. Returning to the initial pulsating energy and electronic stomp the song is in control of the listener and quite irresistible, its skill in merging the intensity soaked charge with the graceful and lush melodic weave of orchestral atmospheres impressive to say the least.
One of the major highlights of the album follows next in the exhilarating shape of The Guns Fall Silent. The track is majestic from start to sizzling end, its initial thumping beats and scything riffs soon joining forces with mesmeric keys and a thunderous adrenaline swagger. Once the carnivalesque teasing of rising melodies joins the story only passion is ensured for the rip roaring piece of metal. The bass of Andrea Arcangeli is exceptional throughout but here snarls with a real intent to its mighty invention to add further depth and shadowed life to a magnificent track. Shifting through textures, moods, and sheer ingenuity, the song leaves the senses exhausted and in bliss, the web of challenging muscle and glorious sonic kisses wrapped in melodic sensation just immense.
UniverSeasons proceeds through song after delicious song to engage fully with the emotions and thoughts, the likes of the more straightforward Kiss The Sky where every note holds its own drama, the enigmatic and thrilling Mindkiller, and the riveting onslaught of Dirty Feeling, all smoking guns delivering adrenaline shots of addiction inciting excellence. The latter two stand as strong challengers for top song on the album, their inventive and unexpected ventures irresistibly compulsive. All tracks but especially here, are impossible to make assumptions upon, the direction a song starts with is invariably not the same as it approaches its final destination and even those which hold a relatively straight forward purpose offers numerous glorious asides to ensure a sonic scenic route to devour with greed.
Before the end Symbiosis adds another pinnacle, the song a bewitching slice of pop rock with a delicious chorus as vital as any sun and the celestial expressive air surrounding the unbridled melodic energy and pulse racing triggers, ensuring a combination which is invigorating and explosive.
Symphonic metal has arguably not had its strongest year though there have been some impressive releases but Solisia and UniverSeasons have ensured it has ended of a towering high. A must listen release without doubt.
ShiHuangDi the new album from Italian veteran power metallers Thy Majestie, is one you have to feel let alone hear to appreciate its expansive presence and depths, so that means bringing it close to the senses and at full volume. To be honest that applies to all metal and rock music but with ShiHuangDi it really does open up the grandeur of the creativity and release. It is still an album which depending on your preference to the genre will satisfy in varying degrees but the quality and craft involved is unmistakable and impressive.
The fifth album from Thy Majestie is a concept album based on the life of Qin Shi Huang, the first emperor of a unified China in 221 BC. It is a towering presence of epic atmospheres and enveloping ambiences brought with a symphonic breath to the trademark giant power metal sound of the band. Following on from 2009 album Dawn, the eleven tracks continue in the style of previous acclaimed releases The Lasting Power (2000) and Hastings 1066 (2002). Since being formed in 1998 by Guiseppe Bondi (keyboards) and Claudio Diprima (drums) the band has lit up the genre with attention catching and impressively created releases and though ShiHuangDi may not arguably improve upon earlier albums it is easily on a par and delivers all the things which make the Palermo quintet so compulsive to so many. No one can deny the quality of the songwriting, music, and musicianship of the band with the current line-up of Diprima, guitarist Simone Campione, bassist Dario D’alessandro, Giuseppe Carrubba on keys, and newest member vocalist Alessio Taormina, continuing their renowned and now expected strength.
Released through Scarlet Records, ShiHuangDi opens with the stunning atmospheric instrumental Zhoongguo, a piece of music which wraps slowly around the senses and thoughts, its brewing soundscape a dramatic and enveloping emergence of vast emotions and ever expanding depths. If someone is still not ready to be taken on the epic journey of wonderfully realised old worlds after this track then nothing could draw them in, such its irresistible power and inciteful aural imagery.
The following Seven Reigns takes over to immediate addictive effect, its artillery driven riffs and warm weaves of keys the awakening to further attentive appetites. With orchestral surges to ignite the senses further as well as sky blistering vocals of the highest quality from Taormina and the combined operatic/symphonic harmonies alongside, the track rampages through the ear with precise power and giving thought. The guitar of Campione is masterful and that is underplaying his presence, whilst the rhythm of the song is a riotous ribcage to the song without ever over powering the invention within.
The mouth watering quality continues with more onslaughts of feisty beauty within Harbringer Of A New Dawn and the excellent Siblings of Tian. Both bruise with sheer muscle brought alongside care and welcoming heated arms of sonic mastery. The vocals soar higher across the skies of the songs with a blistering breath to match the burning solos with the keys bringing a melodic salve to the welcome smouldering left in their immense wake. The second of the pair also offers a wonderful jazz/folk whispering throughout its field of expressive sounds which only deepens the pleasure.
It has to be said on the surface some songs have a similar presence which only delving deeper puts in actual context, but if power metal is a genre which lights the passions it is not an issue as instantly one cuts deeper into a song anyway. Songs like Under The Same Sky with its triumphant rhythms and stunning opening female vocal flames, the emotive and stirring Farewell with again exceptional opening sky lighting female voices, and the magnetic Ephemeral with its charged riffing, all leave lasting satisfaction upon thoughts and emotions.
The first half of the album probably has the edge to be honest with its more unexpected elements and melodic ferocity, but overall with further songs like End Of The Days featuring Fabio Lione (Rhapsody of Fire, Vision Divine, Kamelot) to leave only breathless pleasure, ShiHuangDi is an album which will excite all power/classic metal fans. Thy Majestie have returned to again stand to the fore of epic melodic metal.
Italian symphonic power metalers Hollow Haze is a band which has felt on the verge of big things across their previous albums but now with the release of Poison In Black it is hard to see anything other than the quintet crossing into a worldwide recognition. The album is a massive and powerful creation of stirring melodic enterprise and acutely shaped muscular intensity, that union a heated and flowing source of enveloping atmospheres and blistering sonic invention.
Hollow Haze has tapped into an impressive well of imaginative craft and mature songwriting with Poison In Black so that putting preferences aside even if the genre they frequent does not light up as much eagerness as others for many like us it is impossible not to be captivated at times by the skill and mastery on show from the band. Released via Bakerteam Records, the collection of twelve vibrant and generally rampaging tracks just win over the ear from their relentless persistence and fine artistry, and though probably not destined to be a regular partner in crime for the ear, any time spent alongside its energised heart is rewarding at the very least.
The excellent atmospheric intro Rise Above starts things off. As it plays you just feel and hear the shadows and clouds in its skies brewing, drawing together to create an epic backdrop for what is to come. This kind of start is a regular choice on albums of big metallic grandeur but it is hard to recall many as effective as by Hollow Haze here.
The following Tears Of Pain rushes through the ear with a keen and sharp intent to light up every corner of the senses with incendiary melodic play from the keys of Simon Giorgini and subsequently the guitar play of Nick Savio, though he is already rifling the senses through driven riffs which only fire up the passions. Because of personal tastes the vocal style of Ramon Sonato leave less inspired reactions though he is obviously a fine vocalist with an excellent range to leave many others in his wake.
The more reserved Never Turn Back allows a breath to be taken before the outstanding Haunting the Sinner unleashes its heavy metal heart. With mighty riffs which like accurate artillery crumble all defences before them, the song ebbs and flows with fiery melodic strokes and harsh combative intent, the track never less than challenging and inciteful h. The drums of Dave Cestaro cage the senses skilfully to barrack them throughout whilst bassist Camillo Colleluori prowls like a watching beast, his shadowed growls unfortunately held back by the production somewhat but there ready to take a bite.
As Poison In Black makes its way through the vast soundscapes of songs, the likes of Hit in Time which is simply an easily digestible and classy slab of rock n roll, the progressively coated Pray For You, and the immense Remorse leave nothing less than captivation behind their powerful presence. Each varied yet safely within the overall power metal brief of the band.
Taking top honours on the album is Voodoo Rites a song which is an almost seamless continuation of Remorse initially but evolves into a venom dripping and intrusive joy. It has sturdiness arguably absent elsewhere with the darker side of the band reaping its chance to explore and gnaw on the ear; even the vocal diversity encapsulates the shows at times to shuffle things up for great satisfaction.
Closing with a strong cover of the Black Sabbath track Headless Cross, easily Poison In Black is an album to light up the hearts of any power and symphonic metal fans, its accomplished skill and craft enthralling if not innovative. Even for us less enamoured with the genre Hollow Haze give more than a few pleasing moments to make them worth an investigation.
It has to be said power metal is not generally the most appetizing menu for our tastes here though there have been some releases in recent times and bands we have found a liking for. With the pedigree of the line-up of Reverence their debut album When Darkness Calls was always going to be one which needed attention and offered much intrigue. It has turned out to be an album which will have fans of the genre in a blissful state as it more than lives up to hopes and expectations and to be honest at times even had this place rocking like a kangaroo on a bungy rope.
The band began its creation in 2010 when guitarist/songwriter Bryan Holland and vocalist/songwriter Todd Michael Hall came together with the intention of creating a band in the words of Holland “…with soaring vocalist, unstoppable riffs, screaming leads and crushing rhythms…” , a power metal band. With the history of the pair the band was always going to induce great attention, Holland having been a major part of Tokyo Blade and Arrest whilst Hall was the frontman with Jack Starr’s Burning Starr. The pair brought in the powerful and skilful ability of drummer Steve Wacholz (Doc Killdrums), a founding member of Savatage as well as being in Crimson Glory, and the talents of bassist Ned Meloni (Burning Starr, Defiance and Land of the Dead) and guitarist Pete Rossi who had played with Joe Stump (HolyHell) and shared stages with the likes of bands Lynch Mob and Avenged Sevenfold. Now When Darkness Calls reveals the results of their union with its release through Razar Ice Records and it has to be said it is rather impressive.
The opening to first and title track is stunning, its air dramatic and presence riveting as it heralds the arrival of a song which is titanic in energy and power. Arguably whether the song lives up to its beginning can be debated from dusk to dawn but it is a thunderous slab of crusading riffs, lively rhythms, and soaring melodic enterprise. Vocally Hall is as strong as expected his tones lighting up the remaining part of the atmosphere the guitars had not already ignited with their sonic display. The group vocal harmonies are tremendous and it all flows with a prowess and quality that one even with the power involved borders beauty.
The opener is one of the real highlights on the album but no subsequent song leaves one lacking satisfaction or pleasure. The likes of the excellent flaming gem Bleed For Me with its attention grabbing attitude and mesmeric melodic ingenuity and the charging intensity of Phantom Road continue the onslaught of gratification. Both leave one breathless and energised within, something admittedly one did not expect to ever say about a power metal driven release. With a heart and intent to ignite the deepest enjoyment with the core qualities of metal which capture us all, Reverence produce the goods and more.
Tracks like Gatekeeper, Monster with thrilling bass work from Meloni to send shivers down the spine, and the closing beast Vengeance Is Mine only leave one riled up and enthused though that can be said about every track on the album especially After The Leaves Have Fallen, an emotive ballad rivalling for best song and showing the great voice of Hall to the fullest effect. Generally ballads struggle to grab our enthusiasm but this song is immense and lights fires which leave burning scars with its melodic excellence.
When Darkness Calls surprised in the fact it found a more welcome home with us than the genre usually can produce but then again Reverence are not your general type of band. The album will be declared best of the year by power metal lovers and it is hard to argue in their category with only personal tastes here denying it a higher place across the whole spectrum of metal.
In already a year of some great unexpected treats the newest one to come this way is arguably the most exciting and pleasurable. Thru Ever-Ending Black the debut album from composer, writer, and producer David J Caron, is nothing short of being wonderfully infectious and persistently compelling, its creativity and compulsive sounds the most satisfying and thrilling experience.
David J Caron is an Irish/Italian musician, who grew up in England but now resides in Ireland. He has marked his first steps into melodic metal/rock with a twenty eight track double album. When it first came through the size of it and memories of other large albums led to a slight lack of enthusiasm, with its old school classic rock impression slightly off putting. What emerged to please the ear and heart though was a release which captivates with every minute and takes one on an enthralling and inspired melodic journey. Caron crosses many genres with his album to ensure it does not easily sit in any which is glorious and frustrating for those that need to label. Weaving meshes of melodic metal, hard rock, classic metal, progressive rock…the list goes on; he has created an album of majestic and contagious rock n roll. The tracks are straight forward and simple yet carefully crafted and much more involved than initially assumed. There are also no excesses anywhere on the album, every element and sound as essential as the next and when a solo lights up the senses for example it is to add a depth and bring a fuller heart to a song, not merely to show off his skills and become an indulgent add-on.
Thru Ever-Ending Black took eighteen months to record and it is easy to hear where the time and attention went in making a release which engages on every level from the impressive lyrical content, irresistible sounds, and the seamless and organic merger every aspect of the songs. Every instrument played, note expressed, and word brought to life is the sole work of Caron with only Rob Mancini brought in to co-produce the album. The songs carry an elemental or celestial face to portray and bring forth the expressive emotions, personal devils and thoughts, either dark or light. Each track is varied like a star but part of and at one with an overall universal energy and sound, this makes for a release which is constantly mesmeric and openly accessible whilst perpetually intriguing and unpredictable. Musically Caron is as impressive as any new artist to appear in recent years, his imaginative guitar play and keyboard ingenuity siren like and the wonderful gravelly bass invention he adds as viral as the striking and ever evolving rhythms.
The album opens with a bang and a quartet of songs which alone tell you all you need to know about the invention and songwriting craft of Caron. It Gathers starts things off with a gentle but insistent beckoning before finding an eager pace to stomp through the ear with. First notable thing is the fine vocals of the artist. As the album consumes the senses with its overall quest one finds he does not diverse his delivery too much but with his great control and ability as well as superbly imagined harmonies there is never anything less than satisfaction from his style. The song romps with a sure belief and addictive imagination, the keys and guitars lighting up the emotions as much as the stylish lyrics.
Look Out picks up from the excellent opening with a feast of insurgent niggling riffs and growling darkened bass lines. There is a throbbing essence which fuels the song beneath infectious hooks and another vocal display carrying more potency than any fiery attack. Caron brings an anthemic essence to songs as much with his voice as musically which offers a seduction which is impossible not to join.
The absorbing Time Machine and hypnotic Coming To Get You continue the breathtaking start and together they already convince one of the special talent at work. The four songs so far bring a great mix of melodic rock with irrepressible pop elements but plenty of firm muscular energy too. As the release progresses the tracks offer diverse and equally irresistible imagination and sounds. There are the mellower AOR toned songs like Memory Magnetic, the solidly fuelled eighties melodic rock found in Beam The Ray or the power ballad The Tree That Waits to name a few all bringing a strong and varied breath to what is a multi faceted and flavoured release.
Further fires on a consistently impressive release include the twin shadowed gems Dark Of Night and The Knights as well as the magnetic Irreplaceable and the steely rippled So Let There Be Light. The last of these is probably the current favourite song but with each track so fulfilling and inspiring that choice changes persistently.
David J Caron with Thru Ever-Ending Black has ignited the year for melodic rock with less than a handful of other releases so far able to match or even come close to what is an unexpected and completely rewarding let alone enjoyable feast of an album. The only thought is hopefully it is not another eighteen months before we get the next pleasure from him.
RingMaster 09/06/12
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Coming from a genre which does not bring the greatest excitement to these ears it has to be said the debut album from UK band Neonfly is a rather agreeable piece of melodic metal. It may not manage to offer a serious consideration for album of year choices or possibly is likely to find a constant place on playlists but Outshine The Sun certainly captures the imagination more often than not when given the opportunity. As mentioned the band rides on a core of melodic metal but adds inspired shots of power metal and hard rock, mixtures which do not light up any lanterns for us here but Outshine The Sun persistently entertained and satisfied with a strength and engagement many other bands struggle to achieve.
After forming in 2008 the London based band first drew attention with their first EP Clever Disguise and live shows. Since then the band has gone through line-up changes whilst still exciting audiences and gaining a strong reputation with their live performances. Consisting of vocalist Willy Norton, guitarists Frederick Thunder and Patrick Harrington, bassist Paul Miller, and Boris Le Gal on drums, Neonfly has been building to this album released via Rising Records, and it is hard to imagine anything but positive responses to its well crafted sounds especially from fans of the genre they spring from. For the rest though there is still plenty to keep the ear engaged and interested to make for an enjoyable time together.
The album hits the ground running with opener Broken Wings. The vocals and riffs are as expected strong yet maybe unsurprising whilst the chorus is easily accessible and inviting. It is the underlying groove which really lights the song whilst the guitar solo and interplay as it progresses is absorbing with the bass of Miller a persistent growling presence behind. The bassist proves to be the best thing on the album overall his lines and tones always adding a depth and dark energy to the melodic waves around him.
The infectious rock n roll eagerness of The Enemy holds a catchy grip on the ear and anytime it delves into overplayed melodic escapades the song whether from drummer Le Gal, Miller or some unexpected heavy pitch of metal invention, keeps it all in check. Fine though the song is it did not inspire a personal longevity within something the following Ship With No Sails and its successor A Gift To Remember managed to a much stronger degree. The first is a mix of reserved energy and passion and epic blood pumping grandeur which weaves around the ear with detailed melodic play and enveloping symphonic like keys. The band crafts the two elements of their music well creating a song which earns good attention and respect. The second of the two is a darker toned track with further predatory shadows from bass and rhythms beneath the enflamed melodic invention. The song as with the majority of tracks is inventive veining the somewhat expected sounds and ideas with essences and striking interjections from sterner metal sources.
Tracks like The Revenant with its steely groove metal opening, the power metal Reality Shift, and the mesmeric Morning Star with its opening Middle Eastern flavouring keep things energised and lively ensuring one never truly slips into a presumption of what is to come but it is the mighty Spitting Blood which takes top honours on the release. Many of the tracks on Outshine The Sun come from their debut EP but this song is one of the new ones and sets definite promise for future releases. The song is a feisty brew of thunderous rhythms and riffs amongst an ever twisting flame of melodic imagination. With an intimidating breath and heavily driven energy the song is the most aggressive and rewarding on the album by far its climax a virtual chug fest.
Outshine The Sun is a strong and enjoyable album which will find much more eagerness and appreciation from those favouring their choice of genre. Neonfly did give a good time though whilst offering suggestions of greater things ahead and that is all one wants in any release primarily.
RingMaster 07/06/2012
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Up front it has to be said I am not the right person to be reviewing Channelling The Infinite from Empires Of Eden with power metal and the vocal style each and every track employs leaving more urges of irritation than tingles of pleasure. This should be remembered as you read ahead and gauge the comments by your own levels of joy found in the genre. Despite this immediate personal emotion before the album had a chance to prove itself there were times the release simply blew great big satisfying holes in the preconceived feelings though admittedly there were times it concreted them totally. For anyone taking deep pleasure from the genre and eighties classic metal Channelling The Infinite is simply an essential release, from the impressive music and the array of some of the finest power metal vocalists within it is an immense feast of quality and skill.
The album is the third from Empires Of Eden and follows previous ideas in its structure. Created and orchestrated by Australian shredding maestro Stu Marshall (ex-Dungeon), the album once more features songs where he has carefully crafted their music and heart specifically to suit the chosen vocalist involved. He has tailored the songs to compliment and best fit the individual ranges and styles and no matter the personal appreciation of the sounds it cannot be denied how perfectly and precisely he has achieved his aim.
Musically the album invariably hits the mark each and every time bringing a majestic blend of shredding expertise and melodic metal in diverse and appetising shapes. Whether thrashing the senses with an intense energy or scorching them with finely conjured melodic sparks the skill and passion is unmissable. The concept behind the album ensures it is never predictable and intrigues from one track to the next, the variety of sounds and vocalists making the album a continually evolving beast. That diversity also makes it a little inconsistent too though again it depends on individual tastes more than the imaginative sounds.
The album opens with immediately epic sounding Cry Out featuring Rob Rock (Impellitteri, Driver). The track is a driving slice of feisty melodic metal, its energy as persuasive to the ear as the excellent guitar play surging throughout. It is a mighty start which led to hopes of more of the same throughout. Musically it does pretty much deliver but vocally it shuffles the senses and emotions between impressed to real uncertainty as with second song Hammer Down. The track flexes its muscles and stares down the ear with menace and indisputable power but the ear scraping vocals of Udo Dirkschneider just left the heart cold. Yes he is a god to many but they just did not do justice to the music and excellent solo beside him.
The album has some true peaks but also less lofty but still enjoyable tracks as in the likes of This Time Steve Grimmett (Grim Reaper, Lionsheart), Cyborg with Carlos Zema (Outworld, Vougan), and World on Fire featuring Louie Gorgievksi of Crimsonfire. None of the tracks on the album can be weak and most will be blistering treasures for real fans of the genre each an expanse of multi flavoured creativity and imagination.
The major highlights of the album come in a triple dose of simply astounding ingenuity. Firstly the best and title track on the album simply sets the heart aflame. It begins with an emotive coarse symphonic beckoning come disturbance for the ear. Its intensity is ominous enveloping the senses in a thick passion before twisting into a rampaging scourge of melodic invention and irresistible spiteful riffage. With equally immense vocals from Sean Peck of Cage the track leaves one breathless and riled up.
It is instantly followed by Lions For Lambs, a warm and pulsating song which lights up the corners darkened by its predecessor. Marshall is stunning in his play, his guitar licking at the senses like flames whilst vocalist Alessandro Del Vecchio of Edge of Forever brings every emotion he can muster to soak each and every word. The third of the striking songs is Born A King. From a truly dramatic opening it soon turns into an insatiable and rampant flood of eager riffs and thoughtful melodic insertions. With arguably the best vocal contribution on the album from Danny Cecati (Eyefear, Pegazus), the track is a sensational pleasure.
Though from personal preference Channelling The Infinite will not find a regular home here there are certain songs which will find a regular reprise. With vocals offerings also from Mike Dimeo (Masterplan, Riot), Vo Simpson (Darker Half), and Ronny Munroe (TSO, Metal Church) the album though is something power metal enthusiasts will truly lap up. With the new album Stu Marshall and Empires Of Eden continue from previous releases just he has made it bigger, grander, and even more impressive.
Through meeting a new friend in Kostya Aronberg of Globmetal Promotions we have been introduced to some real treats and pleasures in the shape of bands and music from around the globe. One of the biggest enjoyments came in the debut album Star Of Delusive Hopes from Israeli metal band Desert. The album was not particularly demanding or challenging but was one of the best examples of honest and irresistible impressive metal. Given the chance to find out more about the band we took no time in bombarding keyboardist Oleg Aryutkin with questions.
Hello and thank you for talking with us at The Ringmaster Review
Please introduce the band.
Hi, and thanks for the opportunity.
We are Desert, a band of six guys who just enjoy playing a decent metal song!
The music we play is a blend of good old heavy metal and something we hope is unique.
With Desert you get epic feel for the lyrics and sing-along choruses from power metal Stratovarius, Dragonforce,, but also punchy beats and riffs from heavy metal, and crapload of keyboards to give it a more theatrical vibe.
How and when did Desert begin?
Sure. Let’s see… Our lead guitarist, Max, started a band back when he was in the military service, just to play some cover tunes he enjoyed. It was Stratovarius, Dragonforce, stuff like that, fast melodic power metal. People joined, people left. Around 2004 stuff got more organized, Max played a gig or two, I’m sure you know these really obscure gigs in basements with soundmen selling pot at the entrance
Is there any relevance to the band name?
Heh, you be the judge of that. Back in 2004 we all used to literally live in a desert, with camels and what not. So when it came to choosing a name, the guitarist simply looked out a window and went “oh well..”
Just like that.
How has the band evolved over its decade of existence?
It sure did. First, we all learned to play our instruments a bit better. We also managed to find our voice, and not simply copy the music of famous power metal bands like we used to.
Max used to be the sole songwriter, over the years he found the way to come up with these weird riffs I didn’t hear before.
After some time I too started writing, and my approach is completely different.
You have had a few line-up changes during your time as a band too, have these had major impacts on the way your sound has grown?
hmm. we did go through few drummers and bass players. I guess every time it just sounded better and better!
A big upgrade was when we invited a second guitarist, about two years ago, right before the album release, it really gave our live sound more punch, and more aggressive direction to the songs.
For those new to the band how would you describe your sound?
hh, like I said, simple sing-along choruses, low baritone vocals, phat guitars, and well, it’s heavy on keyboards
We like to keep it technically simple, so no weird breakdowns, but instead we go for almost theatrical vibe, each song is a story.
You bring many elements to your heavy metal sound, what are your major influences that have inspired this?
Talking about our rock ‘n’roll heroes, we grew up listening to Grave Digger, Freedom Call, Helloween, Ozzy, stuff like that.
I look for influences. I really try to absorb everything I hear, be it the new Behemoth CD or a dubstep track I heard on Youtube.
I guess closest to my heart is 80’s music, both metal and popular.
But in the end it all goes through a filter, so no, we’re not black metal meets A-ha
Star Of Delusive Hopes is your debut album released via Greek label Sleaszy Rider. How long was it in the creating?
Wow, a long time. It was a first major work, we worked the hell out of each tune.
The lyrics went through numerous revisions, the solos were practiced and thought through.
I’d say it took some 3 years to complete the writing. Then, a month of pre-productions, and three weeks in the excellent Nick Savio’s studio.
The album was recorded with Nick Savio (White Skull, Cyber Cross) who you just mentioned, and subsequently mastered by Andy LaRocque, the -nominated guitarist of King Diamond, both doing a great job with your excellent songs. How did you get them on board?
I think we found Nick on-line, and we really liked his work as a producer, so we went for it. Was a right decision, Nick really knows his stuff. And a great guy, too! Spent three weeks in his studio in Vicenza, Italy, so cool!
hm, Andy was an on-line acquaintance, too. He mixed by himself, we did not want to humiliate ourselves by suggesting stupid ideas. We just trusted him to do what he does! It’s funny how he sent us a first mp3 file, going “here guys, it’s like a pre-pre-pre-beta version, suggest something”, and we were like “yeah, don’t touch anything, it sounds golden!”
Can you tell us about the theme and stories that storyboard the songs within Star Of Delusive Hopes?
It’s kinda concept album, or maybe an idea album. All the songs share the same direction. It’s about the struggle for freedom. Most of the songs deal with and tell stories of historic personalities and events, like the title track, which is about the French revolution and the fate of Napoleon, or Victim of the Light, which is about Joan of Arc. We are really into history, and try to take our view on events and why we see them important.
Some songs are more ‘abstract’, like Whispers – it’s about an inner struggle within a person, I created the spoken intro to help understand the song. And there’s even a pirate song, Letter of Marque, which was kinda meant as light-weight, lyrics-wise, but came out pretty ‘honest’, and I’m really proud of it.
It’s not called Star of Delusive Hopes for nothing. The stories told are all with a touch of bitterness, we tell about betrayal, delusion, failure, but also hope – the whole deal. We try to describe real life, not a fairy tale.
The ideas and song inspirations are quite intense but your music also carries a surprisingly light and exuberant feel within its powerful sound. Was this a determined aspect or something that simply emerged whilst writing the album?
Hmm, never thought of this. I guess it’s just something we did, the way we write. I like a punchy riff, and a good uplifting chorus!
But we always pay attention to unity of music and lyrics, they should deliver the same message, fortify each other! There are tracks like Letter of Marque, with epic feel and a cheerful vibe, but there are also tracks like Whispers, which is darker, since its lyrics are nothing happy…
There is a sense of theatre to your music too would that be fair to say?
I’m really glad you’re mentioning it. There is, I think… Not as theatrical as some progressive or gothic bands, who create almost full-scale theatre plays, like Silentium.
We weren’t set to create a theater music project. It just came out that way. I realized that our songs have a lot of this after Whispers was written. It actually has spoken parts, monologues of sorts, and these weird sound effects that I created, to increase the sense of madness going on.
One track one the album which also became a single was Lament for Soldier’s Glory, It also featured a guest performance from Joakim Broden of Sabaton. How did that come about?
We met Joakim back in 2008 I think when we opened for Sabaton in Tel-Aviv, Israel. Joakim and the guys turned out to be a great bunch, full of life and super-friendly. So we chatted, drank some beers, but no business talk at all.
Some months later, we were working on the album, and this particular song demanded a male duet, at least in my head. So we started thinking who’d be right for the part. The song being about the WWII, Joakim’s name came out first. I was like, ‘yeah, right’. This guy never collaborated with anyone before, and actually refused some serious offers. But we gave it a shot, asked him. And he agreed to take part!
The track came out just perfect in my opinion. Joakim’s vocals fit the tune like a glove, it’s like we wrote it for him. Perfect.
Since then we’ve met quite a lot, Joakim flew in for our album release party, and later performed with us live in Israel, Sweden, and Cyprus. I hope its right to say we’re good friends now.
Desert is renowned for its live shows with you having shared stages with the likes of like Sabaton, Draconian, Nightmare, and Tim “Ripper” Owens. Live shows are a very important aspect of the band for you?
Heh, you forgot Helloween and Stratovarius I loved these particular shows! Oh, and Van Canto, they kill!
But let’s get back to us, he-he.
The most important. Desert is all about live shows. We put a lot of effort into rehearsing, thinking through the set, preparing all kinds of interactive experiences with the audience.
And we sure go crazy on stage. We run and we jump, and scream, like there’s no tomorrow!
The moment when I finally got my hands on a keytar (google it!) was a game changing one for me. Finally I can jump off the amp stacks, run into the audience, climb the lights, whatever, while still playing! I just LOVE playing live shows.
Do you see live performances and shows have in a time where people do not seem to be buying music now as more important than making recordings?
As I said, I value live music a lot, and try to attend as many live shows as possible.
But making records is still necessary, you gotta document your creations, and people enjoy the live performance more if they already heard the song, and read the lyrics.
How do you find things as a metal band in Israel, is there a strong scene for you and others there?
It’s tough, like everywhere else.
In Israel metal is not mainstream, it’s in the underground. But the scene, while not that big, is really strong in the sense of connection between people – bands, fans, writers, photographers, journalists. People are warm, and there are some great bands, too!
We have plenty of shows here, and many bands from all over the world come visit, and they are always amazed by how people here make them welcome!
How effectively has the internet taken you beyond your homeland borders into the wider world?
We have great friends all over the world we wouldn’t have a chance to meet if not for the web.
We have great friends and fans in countries like Poland, Bulgaria, Italy, Mexico, Canada – people write us and buy records.
So yeah, internet is super. Still, there’s no substitute for a good live show! Hold on, we’ll get to play everywhere eventually, and meet all these great people in person!
What has the rest of 2012 got in store for you or rather you for it?
hhh, I like the play of words. Well, we kinda took few months off to finish the next album, that’s what we’re after now – releasing a great album. I hope it’ll be ready by the end of the year.
Still playing some live shows, because its great fun and we don’t wanna get rusty!
Do you set yourselves any targets or aims during a year or just let things evolve?
We do set goals. Otherwise things just don’t move. When recording or rehearsing there’s a real schedule, a plan. We take music-making real serious.
Writing, on the other hand, is out of control. We can’t say, ‘ok, we’ll write two songs by next Friday’. Doesn’t work like that, unfortunately.
Again thank you for talking with us.
Would you like to leave with any last words for your fans old and new?
Thanks for the chance to chat about the band!
We are Desert, we love what we do, we believe in what we do, and we’ll make your head go Bang!
Stay true, stay metal, and go see a good live band next chance you get!
Turk on drums, Gloryhammer opens up the release with Anstruther’s Dark Prophecy, a brief portent of looming black shadows and destructive winds upon a once peaceful place. Its rising presence passes over to The Unicorn Invasion Of Dundee without a breath and its successor is immediately charging through the ear with galloping riffs and a cage of firm rhythms. It is instantly virulently infectious with the vocals of Winkler soaring through the skies with expression and passion whilst the keys lay like the sun upon the senses. Whether there is anything new going on we will leave to true genre fans to decide but through the familiar sonic cascades and melodic elegance it is impossible not to be captivated, especially with the sirenesque keyboard teasing which enrich the song throughout.
