Solar Dawn - Equinoctium

BACK IN TIME: recensione gentilmente concessa da Nihil Zine

#PER CHI AMA: Melo Death

Arrivavano dalla Svezia con all’attivo due demo (1997 e 2000) con il moniker Jarawynja e un mcd, 'Frost-Work' del 2001, targato sempre Mighty Music come questo 'Equinoctium'. Otto brani di death metal tipicamente svedese influenzato da melodie heavy ma con un tono più estremo, a tal proposito potrei citare come influenze a tutti ben note, i primi In Flames e i primi Dark Tranquillity. Non mancano momenti cadenzati vicino a quanto possono aver proposto i conterranei Amon Amarth, che rendono questo cd vario e fruibile. In questa band peraltro c'erano membri di Unmoored, Thy Primordial, Dawn e Scar Symmetry. Il lavoro dei Solar Dawn, dimostrava ancora una volta, che a proporre queste sonorità erano moltissime band, ma che ben poche avevano la classe e la bravura per poter dire la loro musicalmente. Gli svedesi, direi, che se la cavavano davvero bene, incastonando una sequela di riff azzeccatissima in quanto ad intensità ed armonia, abbinando altresì una voce melodica e pulita a fare da contraltare ad una più roca e cattiva. Un album vivamente consigliato per i soli nostalgici del genere.

(Mighty Music - 2002)
Voto: 70

https://www.metal-archives.com/bands/Solar_Dawn/2202

Blood Red Throne - Fit To Kill

http://www.secret-face.com/

#FOR FANS OF: Brutal Death

I'd have to admit that I was skeptical regarding this follow-up from Blood Red Throne's previous release 'Union of Flesh and Machine'. I didn't think it possible to top that one, but this one is superb. I like everything about it. The guitars, both rhythm and lead, the production, vocals and intensity. They proved very strong here, songwriting skills for them are getting even better. The music is what grapples the most. Some of the vocals are changed up from low-end to higher-pitched screams. The bulk of the album features the low-end vocals though. It fits the music perfectly. The sound quality is top notch, too. All of the songs just crush.

What's lacking in the death metal community is that bands go from sounding promising to splitting up because of technology and a lot don't progress. It's the exact opposite. I don't mean all death metal bands, but a lot of them. Or they change their style of music. Horrified is a good example of a death metal band that turned to melodic death but melodic death that's just "out there." Blood Red Throne is staying true to their roots and continue to get better and better. In essence, it's going to turn into more followers, listeners, in short, FANS. They sure have me as a long-time fan. It's going to stay that way too, I hope.

The music and vocals are the highlights of this album. Nothing tops this one out of their entire discography in my opinion. The guitars just have great riffs to them and the leads are immaculate. Really everything is with sheer and utter precision. The vocals compliment the guitars and keep it sounding really underground. All the tracks are good and the songs are lengthy. But they never dissuade your attention. Nothing fizzes out on this release. It's anything but "boring." The screams give the songs a little more diversity. It's not just low bellowing grunters. It fluctuates completely.

The fact that this band continues to progress will keep me supporting them. Buying physical CD's really helps the band, but in this day and age, everything is digital. It's good that CD's are still available. I'm sure that they'd appreciate the fact that you buy their albums or listen first then if it's liked buy the physical CD. Do yourself a favor and download 'Fit To Kill', then order it. You won't be disappointed either way, or both ways! Support Blood Red Throne and get it! (Death8699)

(Mighty Music - 2019)
Score: 80

https://targetgroup.bandcamp.com/album/fit-to-kill-2

Demolizer - Upgrade

#PER CHI AMA: Thrash, Exodus

Danimarca, patria degli Artillery, band alla quale i Demolizer devono aver rubato più di un segreto. Il quartetto di oggi arriva da quella terra, da Copenaghen per l'esattezza, proponendo un sound debitore al thrash dei già citati master danesi ma anche di gente del calibro di Exodus e Annihilator e non tanto perchè la quarta traccia, "King of the Kill", è una cover dell'act canadese. Comunque, quattro sono i brani a disposizione dei Demolizer in questo EP intitolato 'Upgrade', che arriva a distanza di un anno da quel 'Thrashmageddon' che ha permesso ai nostri di mettersi in luce. Il sound dicevo è un bel thrash old school con ritmi indiavolati, almeno nella infuocata opener "Ghoul" e giù martellate nelle gengive. Molto più compassata invece "Torture Insanity" almeno nella prima metà, con una ritmica rallentata, prima che improvvisamente l'aria prenda fuoco e le asce si lancino in un assolo funambolico di scuola Slayer, e la voce del frontman Ben Radtleff si muova tra urlacci e growl vari. Frustate di batteria aprono "Get Out of My Way", un'altra cavalcata anni '80 che per la presenza di una serie di coretti e una sezione ritmica cingolata, mi ha evocato gli Over Kill di 'Under the Influence'. Giungiamo infine alla cover degli Annihilator e la band sembra riproporla con una certa personalità, senza tuttavia strafare, confermandosi alla fine ottimi musicisti (fantastico l'assolo anche in quest'ultima traccia) ed amanti di un certo thrash retrò che farà la gioia dei nostalgici del genere. (Francesco Scarci)

(Mighty Music Records - 2021)
Voto: 67 

 

https://www.facebook.com/DemolizerThrash/

Ghost Ship Octavius - Delirium

#FOR FANS OF: Prog Metal, Dream Theater

Through deceptively sweet melodies combined with the theatrics of Dream Theater, Ghost Ship Octavius shows off a sophomore album that is high in concept and lending more opera and progressive digression to its melodic metal template. Light sappy arpeggios fly unfettered through an airy atmosphere, impressively intricate guitar passages are buffeted by robust percussive artillery. Ripping in some sparse places and wailing through many other passages, this Seattle power trio's music is sure to go far enough out on limbs and take the risks necessary to propel its vision seaward but also has to deal with the reality that such exposure and vulnerability in its music can conjure some serious cringe. Still, the drama aboard this vessel throughout this near hour of creativity and instrumental expertise shows the talents of a band able to find a fitting balance between aggression and astonishment.

Released independently in September of 2018 and again in February of 2019 with the backing of Mighty Music, 'Delirium' is surely an ambitious and advanced album from an adept outfit. The opening to “Ocean of Memories” sounds like it was made in tandem with Luster with its lilting bucolic innocence, yet the affectation in the vocals have me expecting a parody in the vein of Ylvis to echo across this tepid protected port rather than this forthright fairy land that Ghost Ship Octavius finds its sails slipping away from. Taking a dramatic turn, the song finds itself embroiled in short-lived conflict with its heftier guitar change churning the waters, but this microburst is only a foreshadowing of the high notes on which the ripping “Saturnine” (with its harsh Gothenburg opening and splashy stomp) leaves the ship solid as it sloshes through stormy seas and swirls around a whirlpool of crying choruses, vibrant harmonies, and plunging percussion.

Sappy openings like that of “Edge of Time” keep the album on a whimsical and light journey as harmonic vocals and opulent movements allude to the bewilderment of the album's namesake and foreshadow every encompassing ensnarement of electrifying energy lingering around every corner. Dancing through an airy atmosphere that becomes a theatrical romp, reveling in its pomp with its expansive riff joined by a classical style chorus that rings as true to the stage as it does to the heart, “Far Below” is magic to the ears with a snare double tap in the opening rhythm allowing the glory of such a catchy moment to erupt from below the profligate arpeggios. In contrast, the descent of “Bleeding on the Horns” gracefully drops with the impact of a head hitting a pillow yet this lovely track's exquisite construction, flourishing instrumentation, and ambitiously marching start show that this album, while balanced towards the eccentricities in each melody, can still bring its hammer to crack against the anvil and shatter the illusion in pinches of peril.

At its essence, Ghost Ship Octavius is what Charred Walls of the Damned could have been if the music wasn't so inundated with ego. While the latter group packed up a bus full of recognizable names and their necessary equipage in order to drive it all off a cliff into a chasm of disappointment, this fresh fellowship features folks from farther reaches of the metal sphere showing off a great balance and stellar songwriting sensibilities. The symmetry of the music's structure keeps the band rising and falling like the frothing of a sea beset by storm and returning to calm throughout this near hour. Yet also 'Delirium' also finds itself enveloped in the oddities of a transcendent scope of sound, one as alluring as spying elaborate coral cities beneath its calmest shimmering shallows and as staggering as attempting to overcome mammoth surf with only hope and timbers separating you from certain death. (Five_Nails)

(Mighty Music - 2019)
Score: 86

https://www.facebook.com/GhostShipOctavius

Vanir - Allfather

#FOR FANS OF: Viking, Amon Amarth

Vanir is a band that, on paper, should be buttering my bread. A thick layer of bass clouds the mix while shafts of light break through in choral cries. Chest-pounding rhythms stomp through meaty melodic guitar riffs and images of grizzled ancients thrown about by massive waves complete the atmosphere of “Ironside” as landfall comes with a tide of chaos. The murky melancholy of glorious battle is brought by thunderous drumming, raging rhythms, and soloing six strings aching to accentuate the intensity of peril amidst the clashing of shield walls.

There is a palpable zeal in this dense almost atonal delivery, one as colorless as a collage of weathered stones and fading runes. The massive marching momentum of 'Allfather' cracks you across the face with a flying riff on occasion or a solo that spurs sails forward, but end up crashing into staggering waves of plodding verses and forgettable choruses that salt the wounds opened by such heartfelt moments. Attempts to outdo Bathory in atmosphere fall painfully flat as this flawlessly clean delivery roots itself in a groundwork of stiff blackened death aesthetic and the surrounding yawns of choir and synth make bleak what should be the clenching of a triumphant gauntleted fist. There is little to characterize this band in its own space, merely a series of tropes thrown at a template so basic and phoned in that it's clear why this band is entirely forgotten in the overflowing sea of folk, extreme, and viking themed metal bands populating Scandinavia and swarming scenes the world over with a reach that would make their ancestors weep.

The opening song, “Væringjar” is very much a testament to what you'll hear throughout the rest of the album. Melodic riffs with death metal aesthetic, a very Amon Amarth similarity as this folk metal overruns its power metal presentation with the harsh vocals and bass-heavy thunder of this modern more brash brood. Hulking melodies majestically flow like the grizzled beard of a great warrior, his outstretched arm gripping a rope as waves toss his boat to and fro, a blizzard fueling the large square sail as “Ironside” tumbles to tears of riffs and sprays of double bass. However, beyond the theme of songs like “Ulfhednar” about wolf-skin wearing berserkers of old, the energetic “Shieldwall” opening with a sample from the television show “Vikings” before crashing into its murky production, or “Einherjer”, named for the fallen who are brought to Valhalla, the album revels in an epically stagnant blandness that swamps over the wide gaps between its richest moments.

The Amon Amarth style flows too obviously when melody comes up. A guitar moment in “Einherjer” is taken right out of Judas Priest's “You've got Another Thing Coming” and is easily found in Amon Amarth's “The Beheading of a King”, “An Ancient Sign of Coming Storm”, and “Under the Northern Star”, but altogether is best shown in Amon Amarth's take on Judas Priest in “Burning Anvil of Steel”. This is totally derivative and its rise is the sort of blackened quip that Primordial employs to great release throughout 'Redemption at the Puritan's Hand' among many other black metal offerings that plunge into the ethereal sea in submarines of blast beats for a weekend of “Murmaider”. The reality is though, this moment is a meaty rip off of the opening riff to “She Sells Sanctuary” by The Cult, yet another derivative metal moment that I cannot unhear. Funny how the biggest standout in this release is also its most cliched moment, making an album that's supposed to be brash, grandiose, and powerful fall directly onto its face.

As Amon Amarth enters a new era of creative bankruptcy so epic that the government of Sweden will need to bail the band out in order to prop up its Dethklokian economy, this depression spreads to its Danish cousins as Vanir defaults on its loans from the viking cliché while making music as absent of life as the graves it robs for an identity. The reality is that this album isn't blatantly awful and doesn't feature any flubs. There's no single moment of cringe, save for the clean singing in the German vocalized “Fejd”, and the album becomes a flat plane of plain music. 'Allfather' is astonishingly average and makes Amon Amarth sound fresh and still vibrant in comparison, which is all sorts of sad when considering just how out of steam Vanir's Swedish cousins are. For an album that attempts to sound so monumental in aesthetic, its execution is so bland and blatant a rip off that it makes for a forgettable and disappointing listen when opening an ear a bit more beyond the band's fantastic presentation. (Five_Nails)

(Mighty Music - 2019)

Score: 65

https://targetgroup.bandcamp.com/album/allfather

Blitzkrieg - Judge Not!

#PER CHI AMA: NWOBHM, Iron Maiden

Al di là di qualche timida tentazione power (raggranellate qualcosa in giro, per esempio in "Who is Blind"), old-school-hard ("Wide Legged and Headless" si colloca nell'esatta intersezione tra "A Light in the Black" e "Spotlight Kid" dei Rainbow, mentre "Falling into Darkness" e "Stargazer" hanno, diciamo, una consanguineità somatica ben visibile) o 70's-glam ("Loud and Proud" e "Without You"), al di là di tutto questo, dicevo, nel suono distillato 100% proof NWOBHM, individuerete con una certa evidenza, una devozione nei confronti del genere e dei numi I-Maiden ("Reign of Fire") e J-Priest ("All Hell is Breaking Loose" e "Angels or Demons"). Il quinto postulato dell'heavy metal sostiene che se da "Black Sabbath" (la canzone) sarebbe scaturito lo stoner a mo' di big bang sonoro, allora la NWOBHM scaturisce da "Sabbath Bloody Sabbath" in modo del tutto analogo. E così canzoni del calibro di "Forever is a Long Time", e più in generale l'intera essenza dei Blitzkrieg, troverebbero una precisa collocazione all'interno del quadrante Alfa dell'universo. Ma la guerra-lampo dei Blitzkrieg si protrae oramai da trentotto ere astrali. Non giudicate, quindi. Ve lo dice persino il titolo. Non ne avete il diritto così come non ce l'ha l'autore di queste sconclusionate righe. Ascoltate e basta. (Alberto Calorosi)

(Mighty Music - 2018)
Voto: 70

https://www.facebook.com/BlitzkriegUK/

Stass - The Darkside

#FOR FANS OF: Swedish Death Metal/Doom

Stass is a death metal quintet at the helm of Crematory's Felix Stass and Paganizer's Rogga Johansson. For fans of both Crematory and Paganizer, you guys have already a clue of what Stass' music is all about. Indeed, it is pretty much a fusion of the traditional Swedish melodic death metal and gothic metal with a soft touch of doom elements.

Those who dig the Gothenburg sound and Scandinavian approach extreme metal, will find the band's debut full-length album 'The Darkside' enjoyable. In fact, even enthusiasts of a more doom-laden music and gothic flavored extreme metal music will take a lot of pleasure on this album. However, I personally deemed this record mundane and lacking of a heavy punch. But my judgment on this offering does not mean that the whole record is not worthy to listen to.

Tracks like "Warriors Land", “Crawling from Ashes” and “The Final Disease” are foot tapping and catchy into the ears of the listeners, though it has some pretty bland characters. The warmongering spark of the guitar riffs that are accompanied by hasty and pitiless means of the tenacious drum work, brings forth a very bellicose manner to the mentioned songs. That evident blend between modern death metal and the presence of the raw essence of the genre during the early to mid-90s, can be found on the songs that I had indicated above. Perhaps, if the rest of the tunes in this offering had the same characteristics with "Warriors Land", “Crawling from Ashes”, and “The Final Disease”; the album would have been an entirely solid offering.

“Angel of Doom”, like the three songs I had uttered, is also an upside on this full-length. Its very sludgy and gloomy segments give a very nasty and hostile undercurrent to the song. The haunting mood of this one brings to mind a very similar sound that is found in the music of Candlemass and Paradise Lost. And though that unilluminated ambiance topped the whole nature of the track, its Swedish death metal feel can still be felt strongly throughout its whole playing time.

Outside the four catchy songs I mentioned, the rest of the tracks in the album are boring and to some extent frustrating due to the lack of savagery and atrociousness that a band labeled as death metal should have. I have the highest respect for both Felix and Rogga, as these two had accomplished numerous excellent recordings with their respective bands in the past, but what they had produced with Stass is just not that memorable and convincing enough to make 'The Darkside' a worthy album that should stay in every metalheads' collection shelves in a long time.

Overall, Stass had come up with a prosaic record with their debut 'The Darkside'. Yes, there are a few decent songs in this release but the rest of the tracks are nothing but a bunch of uninteresting and forgettable materials. But I am not giving up on this band yet. For all one knows, these guys might pull something off good in the future that'll make Stass a more interesting band to keep on my radar. After all, it's Felix and Rogga that we are talking about here. (Felix Sale)

(Mighty Music - 2017)

Score: 60

https://www.facebook.com/stassband/

Chaotic Remains - We Are Legion

#FOR FANS OF: Symph Black/Death Metal

Chaotic Remains is a Maltese symphonic death/black metal band who has been in the extreme music scene for almost ten years. The band had been active since 2008 but they were not able to record an album until last December 1st. Their debut album, 'We Are Legion', is what I am going to describe in this review.

There is really nothing special in this album. Like the contemporary symphonic extreme metal groups, Chaotic Remains built a more symphonic proposal but weaker in aggressiveness and lacking in catchiness album. I love the idea of extreme bands trying to go experimental with keyboards and orchestral sound on their music. There are bands who had been successful doing that method in the past, and a few in the present. However, even with a thought-provoking vision of Chaotic Remains to make a good release with their brand of music, the band failed to deliver a notable album that will give the listeners a reason to keep it in the rack along with their collection.

The big flaw in this record is the played out and prevailing use of the keyboards. Keys are good when a band knows how to use and utilize them with other instruments in their offering. I am not against bands that are bringing in keyboards in their music, but they have to be crafty in using it. Chaotic Remains had failed to do that in 'We Are Legion'. The keys here smothered all the other instruments. It hauled the guitars to the back and at the same time, it competes with a loud tone against the drum sound.

The guitar sound is near inaudible here because the orchestration is all over the place. Both guitars do not have much to show for themselves and are both somewhere in the line of playing some half-decent riffs. Perhaps, if the band had put them at the front of the mix, it would have served to make this offering less unrelieved than it is. Drum section is sometimes indistinguishable from the guitar chugging because of the keyboard symphonics that had buried everything. Bass section is also a disappointment as they blend in too well with the already indistinct rhythm guitar.

There are many brief periods of time in the album where it will be possible to notice that the band is attempting to assault the audiences with their music but they were unsuccessful in doing that due to the overdone symphony and absence of crudeness and bleakness in the record. The outcome of the tracks is also a cliché. Every song sounds exactly the same and it does not progress at all. Right from the beginning of each track, the feeling will stay the same until the end and there is no feistiness to be found.

To summarize this review shortly, 'We Are Legion' is a dreadful album that could have been entertaining if Chaotic Remains had look to build on other elements rather than focusing solely on the symphonic side of the music. I really find it boring and I can’t find any reason why I should ever listen to the songs of this record again. (Felix Sale)

(Mighty Music - 2017)
Score: 40

https://www.facebook.com/chaotic.remains

Genus Ordinis Dei - The Middle

#PER CHI AMA: Symph/Melo Death, Insomnium

Ho avuto modo di conoscere questa band poche settimane fa in occasione di un'intervista radiofonica. I Genus Ordinis Dei (G.O.D., sarà un caso?) sono una band di Crema assai determinata nel raggiungere l'obiettivo grosso. Partiti come tutte le band con la normale gavetta, i nostri hanno rilasciato un full length d'esordio ed un EP: è proprio con il primo album che i quattro lombardi hanno attirato su di sé le attenzioni dell'etichetta danese Mighty Music, che ha ristampato quel debutto, 'The Middle', che oggi andiamo ad analizzare. Premesso che stiamo parlando di musica uscita originariamente nel 2013 e che è stata concepita ancor prima, quello che appare chiaro fin dai primi minuti è che nelle nostre mani abbiamo un buon esempio di death metal, carico di groove e di melodie ammiccanti. Lo si capisce immediatamente con "The Fall", pezzo iper ritmato che mette in luce una tendenza a sfruttare ottime linee di tastiera che smorzano il growling demoniaco di Nick K (sicuramente da migliorare), cambi di tempo a più riprese e anche una certa vena malinconica in quei delicati tocchi di keys che evocano un che dei finlandesi Insomnium. Un bel giro di tastiere apre la terza "Word of God" in una traccia che sembra essere uscita da uno qualsiasi degli album degli Eternal Tears of Sorrow, anche se rispetto a quest'altra band finnica, l'act italico mantiene più preponderante la componente death metal in un rifferama compatto ed affilato, che fa largo uso di blast beat ma anche di devianze metalcore. Tuttavia le orchestrazioni lentamente guadagnano spazio, e vanno ad ammorbidire la prestanza ritmica dell'ensemble; un bell'assolo, tipicamente heavy metal, chiude una traccia onesta e piacevole. Dicevamo delle crescenti orchestrazioni: in "My Crusade" diventano quasi predominanti, sebbene gli strali chitarristici e quella voce che continua a non convincermi appieno. Apprezzabili comunque i cambi di tempo, che rendono la traccia assai varia, ove ancora una volta, si rivela notevole la sezione solistica. Un intermezzo sinfonico e si arriva a "Path to Salvation", altra song in cui si apprezza il connubio vincente tra riff graffianti, montagne di groove ed enormi quantitativi di tastiere sinfoniche. Non si può certo gridare al miracolo, non c'è proprio aria di novità nelle tracce di questo comunque onorevole album, anche se c'è sempre da tener presente il periodo in cui è stato scritto, perciò concedo l'attenuante di un lavoro concepito ormai un lustro fa. Ancora una manciata di tracce da ascoltare: l'epica "Cadence of War", che ripercorre (o forse anticipa) quanto fatto dagli Ex Deo con il loro tributo all'antica Roma, è una traccia che vede un cantato assai differente a metà brano e sfodera un largo break di tastiere nella coda conclusiva. "Ghostwolf" ha un suono bello potente e tirato, un mix tra Swedish sound, deathcore e death finlandese, in cui a lasciarmi però perplesso sono quei vocalizzi più urlati. Con "Battlefield Gardener" si picchia davvero pesante e sembra discostarsi da quanto suonato fin qui, in quanto le tastiere svolgono un ruolo ben più marginale, mentre le due asce affilano non poco le loro chitarre e si sfidano in una rincorsa che mischia feralità, tecnica, dinamica e ricerca melodica. Si giunge cosi alla conclusiva "Roots and Idols of Cement" e i G.O.D. hanno ancora modo di divertirsi con un riffing instabile e pesante, interrotto solo da quegli ottimi synth e orchestrazioni, vero valore aggiunto per quest'interessante band che ha sicuramente ampi margini di miglioramento, soprattutto dopo aver sostenuto un lungo tour europeo in compagnia dei Lacuna Coil. Per ora ci accontentiamo di questo 'The Middle' in attesa di ascoltare il nuovo lavoro, a quanto pare schedulato proprio per quest'anno. Se ne sentiranno delle belle. (Francesco Scarci)

(Mighty Music/Target - 2016)

Voto: 70

https://www.facebook.com/genusordinisdei/

Tygers Of Pan Tang - S/t

#FOR FANS OF: New Wave Of British Heavy Metal 

Mention of the New Wave Of British Heavy Metal will inevitably bring forth a nostalgic recollection of legendary bands such as Iron Maiden and Judas Priest, and to a lesser extent, Angel Witch, Blitzkrieg, Diamond Head, Holocaust and perhaps even Riot or Thin Lizzy (despite being American and Irish bands). Also worthy of fond reminescence is a quintet originally from Whitley bay, U.K. which in October released their strongest LP since their heyday in the early '80s. Though belatedly self-titled, it serves as a reminder the said movement never really died out but only proliferated to this day, as heard on its eleven tracks, which retain an endearing flair particular to a bygone era as well as sound both contemporary and original. Starting with "Only The Brave" (recorded as a single in August) you could be forgiven for placing this release sometime in the distant past thanks to guitarists Micky Crystal and Robb Weir's crisp and melodic riffs and solos. Backed by a tight, yet unconstricted rythym section made up of bassist Gav Gray and drummer Craig Ellis and led by Jack Meille's classic rock vocals, the band appears to have stepped out of a time machine, not having aged and playing with the same drive and uplifting enthusiasm as on their debut, 1980's Wildcat LP and subsequent recordings, Spellbound and Crazy Nights. Just short of sounding too much like Ozzy's "Over The Mountain", the main guitar riff on this opening track features a few subtle squeals and harmonics which heigten Meille's appeal during the catchy bridge and chorus before a flourishing twin guitar lead break seals the deal and the song reverts back to form. This alone convinced me I had a winner on my hands so I wasn't surprised when "Dust" swept in next with as much foot-stomping energy, if not more. Mickey Crystal does a terrific job of picking up where previous guitarist John Sykes left off, effortlessly complimenting fellow axeman and sole founding member Rob Weir. Both are definitely a force to be reckoned with. The lead playing overall is very adept; their sharp fluid chops demonstrate lots of emotion as well as experience. Not only do they shred like savage beasts (being tigers and all), but also switch gears and turn down the heat at times, as on "The Reason Why", an unsappy ballad/slow paced rocker which fits in nicely at the album's mid-point and provides Meille with another good opportunity to show off his vocal range and conviction, "Praying For A Miracle" exhudes a mellow atmosphere as well, but only for a moment as it soon delves into a hard rocking albeit soulful odyssey you'll find difficult to resist humming along to. Crystal and Weir's soulful, David Gilmoresque solos are not to be missed either. In regards to this release's softer moments, I'd be amiss not to mention the brief next to last number on this release, "Angels In Disguise", a magnificient acoustic interlude conveniently placed between two heady rockers, "Blood Red Sky" (coincidentally possessing the same title as a Monument song, and just as good) and "The Devil You Know". The former has Meille punctuating the word "sky" with a gratifying drawl verging on a snarl during the chorus, while the guitar duo of Crystal and Weir serves up a series of crunchy triplets later giving way to an explosive lead break so powerfully delivered it's felt rather than heard. "Never Give In" will be my go-to track for this release from now on as its darker essence and strictly "metal" undertone is much more in line with the bands I outlined above. With its evil, raw guitar riff and galloping bass line it also has a melodic speed metal feel to it. To boot, two thirds of the way in, rip-roaring solos surge out of nowhere, complimented by insanely rad twinkling like in the lead break to Megadeth's "Holy Wars" (from the widely acclaimed 'Rust In Piece' album). I didn't expect this and was completely blown away. "Do It Again" stands out with its nostalgic lyrics and does a fine job of taking you back to the days of leather and denim with its archtypical NWOBHM style guitar riff and lead break. I found this track similar to Diamond Head, with Meille compellingly paralleling Sean Harris. This will likely have you searching through your record collection avidly digging up countless forgotten yet timeless gems which laid the foundations for future generations of head bangers and rivet heads to jam along to and draw influences from. As for album closer "The Devil You Know", you'll be pumping your fists and banging your head yourself thanks to its pulsing bass intro and thumping drum beat. This track does a fine job of wrapping up the album with a colourful guitar solo and appropriate fade-out to Meille's reflective crooning, fittingly capped by a roar worthy of Tony The Tiger. If I'm to be objective, there are a couple of moments I find a bit too genial for my tastes, namely the Southern rock sounding "Glad Rags" (an old cockney term for fancy, vintage, going out clothes, i.e. "get yer glad rags on!") and "I've Got The Music In Me", a Kiki Dee Band cover I could do without, just like "Music" shouldn't have been included on Witchfinder General's otherwise memorable sophomore release, 'Friends Of Hell' ('83). Despite being unexpected, "Glad Rags" is still an appealing track. With its cowbell and raunchy vibe, it sounds like a cross between Foghat and Black Oak Arkansas. All things considered, it brings some variety to an otherwise homogenous mix. In all, I've mostly positive things to say about Tygers Of Pan Tang, both band and album. New releases by much older outfits are often approached with trepidation and wariness. This is justifiable in many cases as many decades-old outfits fail to deliver like they used to or worse, produce total flops which tarnish their past accomplishments. This is definitely not the case with the Tygers. Even if this latest release leans slightly closer to heavy hard rock than straight up heavy metal, it's still an enjoyable and satisfying experience infused with compelling "traditional metal" properties as well as promoting an undeniable "feel good" quality on par with the aforementioned releases. Having now given it a couple of spins, I'm willing to bet the band continues to prowl and mark their territory for quite some time, as it's no longer just an icon of the glorious past but also part of its imminent revival...Roawrrrrr! (Eric Moreau)

(Mighty Music - 2016)

Score: 80

https://www.facebook.com/tygersofpantangofficial

Spectral Mortuary - From Hate Incarnated

BACK IN TIME:

#PER CHI AMA: Brutal Death, Cannibal Corpse, Morbid Angel

Continua la riscoperta di vecchi album da parte del Pozzo dei Dannati che quest'oggi ci porta in Danimarca e all'anno 2007, quando esordì un nuovo combo atto a devastare il mondo: costituito da membri dei grinders Exmortem e da altri musicisti della scena estrema scandinava, gli Spectral Mortuary rilasciano il loro debut album, 'From Hate Incarnated'. Il lavoro si presenta come il classico disco death metal che tanto andava in voga a metà anni ’90, senza nulla aggiungere e nulla togliere a questo genere. Un onesto platter di musica incendiaria, caratterizzata da ritmiche possenti e una batteria precisa e veloce. Demoniache growling vocals e qualche buon assolo (registrato, ahimè ad un volume più basso), completano il quadro di questa brutal death old-school band danese. Che altro dire a riguardo di un album, che ha il solo pregio di far male e non regalare nulla di nuovo, ad una scena che più volte ho sottolineato puzzare di stantio? Di sicuro non troverete un attimo di tregua dall’inizio alla fine dell’album, non un respiro concesso, perché l’intensa furia distruttiva del quintetto scandinavo, sovrasta tutto ciò incontri sulla sua strada. L'ispirazione? Ovviamente quella trainante dei mostri sacri americani, Morbid Angel e Cannibal Corpse in primis, che sfocia di sovente in sfuriate grind, per poi rientrare in binari più canonici. Decisamente un disco indicato solo per gli amanti del death metal nato al sole della Florida. (Francesco Scarci)

(Mighty Music - 2007)
Voto: 60

https://www.facebook.com/spectralmortuary

Hoaxbane - Messengers of Change

#FOR FANS OF: Black Metal, Dark Funeral, Satyricon

Going straight into the fray, German two-man black metal sect Hoaxbane take a socially critical position, hostile towards all manipulative ideologies which seek to achieve a superficial, conformist, consumer society. That means employing a charging, explosive traditional black metal approach to their music, with explosive tremolo-picked rhythms and a generally up-tempo attitude that offers plenty of furious, deep riffing with some nice melodic accents along the way with plenty of nice drum-blasts and the nice bit of varied dynamics to make for a wholly appealing time here. A few of the tracks aren’t that impressive and there’s plenty of repetitious rhythms running rampant here as it tends to reuse itself quite often to sell the same general paces and tempos but overall there’s more to like here against the flaws. The opening title track immediately blasts through explosive drumming and up-tempo swirling tremolo-picked patterns that settle on a sprawling series of galloping rhythms around into a frenzied series of rhythms in the final half for a fantastic opening effort. ‘Bloodshed’ features a slow-building intro into a series of extravagant swirling tremolo patterns that continue on throughout the up-tempo paces with striking drum-patterns blasting along with the fiery riffing carrying along the finale for a fun, explosive highlight. ‘Diagnose Wahnsinn’ opens with blasting drumming and tight swirling tremolo rhythms along into a tight gallop with more massive sprawling rhythms held throughout the sprawling, majestic patterns flowing throughout the final half for a decent enough effort. ‘Element of Truth’ offers a melodic series of swirling tremolo riffing and plenty of plodding drumming that works through a fine melodic series of rhythms with the sprawling patterns holding this one along into the up-tempo blasting in the finale for another decent effort. ‘Erotic Aphyxiation’ uses tight blasting and swirling mid-tempo riff-work with furious patterns charging along throughout the tight, charging paces with plenty of deep swirling arrangements alongside the pounding drumming that carries into the final half for another standout highlight. ‘Asylum of Faith’ utilizes blistering double-bass blasting and a steady, mid-tempo rhythm charging along with the tight drum-work holding this one through the full-on, frantic riff-work moving through the militaristic patterns in the tight pace into the finale for a great highlight. ‘Welcoming Pain’ moves past the spoken-word intro to a light, sprawling plodding-style tempo with light melodic riffing weaving around the light rhythms with the occasional burst into frenzied patterns and tight blasting that moves in spurts through the final half for a solid if still weakest track here. ‘Secrets of My Cravings’ uses tight, explosive tremolo pattern riff-work and frantic blasting that holds the pacing along the relentless full-throttle tempos as the furious riffing and charging drum-blasts relentless move through the agonized, sprawling finale that’s utterly devastating at first before a weak ending. Lastly, album-closer ‘Versager der Evolution’ takes explosive, furious drumming and sprawling tremolo patterns into the stylish series of frantic galloping tempos that feature swirling melodic patterns and blasting drumming along into the final half for an enjoyable lasting impression. Again, only a few minor areas hold this one back. (Don Anelli)

(Mighty Music - 2015)

Score: 85

https://www.facebook.com/Hoaxbane/

No Return - Fearless Walk to Rise

#FOR FANS OF: Death/Thrash Metal, Loudblast, Vader

Making it to album number nine here, these French Death/Thrashers are certainly well aware of their place and legacy being one of the forerunners of the scene in general as well as being one of the first extreme metal bands to emerge from the country. As befits their legacy at this point, the band simply offers yet another crushing version of their signature sound here as the merging between the two genres is clear and straightforward. Plenty of energetic Thrash-based riffing, dark chords and the occasional interjection of melody seem to be the order of attack here, and this ends up creating rousing, up-tempo tracks with strong riffing and tight rhythms that remain a hallmark of both genres. The keyboard melodies featured are a lot more atmospheric than the other melodies as those are based more on the guitar prowess displayed throughout here. The problem with all this is the fact that it all tends to feel routine as if there’s nothing out-and-out dynamic about the material. Rarely does it ever feel like they’re about to wallop you over the head with their charging attack, instead staying a bit more low-key which ends up making this feel a lot less vicious and intense. It’s well-played and certainly never gets flat-out boring, which is a testament to their veteran instincts but this could certainly stand a few more killer, go-for-the-throat type of tracks. Instrumental intro ‘Ascent’ features moody atmospherics and dynamic drumming marching through grandiose arrangements that set the stage perfectly for proper first track ‘Stronger Than Ever,’ which features crushing drum-blasts and scorching melodic riffing turning into tight, mid-tempo patterns and hammering drumming through the frantic thrash chugging with atmospheric interjections of melody for an impressive first offering. ‘Submission Fails’ brings along a few more dissonant riffs into the mix but still features enough crushing leads, frenzied double-bass blasts and some nice melodies enjoyably crushing effort. The scorching ‘Sounds of Yesterday’ blasts into tight, crunchy riffing and blazing drumming through up-tempo, ravenous paces with a series of swirling keyboard melodies spiced up among the barreling riff-work for a true album highlight, as well as containing what is probably their best soloing on the album. ‘Paint Your World’ is another pretty heavily-leaning atmospheric melody-driven effort but drives hard riffs and plenty of tight drum-work into another strong back-to-back track. Opting out of the straightforward thrashers, ‘Face My Dark’ is the album’s most melody-heavy offering which tends to run throughout the whole track and taking a few minor interjections for some intense riffing but mostly that just falls away for the melodies for a strangely decent if unspectacular effort. ‘Bloodbath Legacy’ runs a little more intensely with a stronger series of riffs and plenty of dynamic drumming that keeps the energy up throughout the momentary melodic interjections for a much stronger and enjoyable thrasher. Going into longer territories, ‘Sworn to Be’ uses steady, melodic riffing among the tighter rhythms swirling around the raging rhythms and tight riffing carrying the melodic leads along for an enjoyable offering that never really gives off any sense of its true length. Holding back on the melodies altogether, ‘Fearless’ features raging frenzied riffing and pummeling drumming plow through up-tempo sections blazing with furious riffing and dexterous drum-work that continue on throughout here with minimal interjections for the album’s best effort. Lastly, ‘Hold My Crow’ brings strong crunchy melodies and pounding drum-work along a steady mid-tempo pace with strong melodies throughout as the crushing rhythms carry this one through for a strong lasting impression here. Still a good album, but one that could’ve gone a little darker and more intent on dishing out the intensity. (Don Anelli)

(Mighty Music - 2015)

Score: 80

https://www.facebook.com/No.Return.Thrash

Vicious Art - Pick Up This Sick Child

#PER CHI AMA: Death, Dismember, Grave

La formazione svedese dei Vicious Art, che rilasciò questo disco a distanza di tre anni dal precedente “Fire Falls and the Waiting Waters” (e del 2006 è l'EP “Weed the Wild”), non è altro che una succursale di “rifugiati politici” di grandi band scandinave; tra le sue fila trovavamo (la band si è sciolta nuovamente) infatti ex membri di Grave, Entombed, Dark Funeral, Guidance of Sin e Dominion Caligula. L'esperienza nelle precedenti band viene traslata in un qualche modo nelle note di questo “Pick Up This Sick Child”, disco che è ormai uscito nel lontano 2007. La seconda release per il quintetto nordico è un vero assalto sonoro ai nostri timpani, in memoria dei bei vecchi tempi, quando infuriavano le violente cavalcate dei crunchy riffs (di cui oggi solo i Dismember continuano ad esserne alfieri) dei Sunlight Studio di Tomas Skogberg. La musica dei nostri, pur non proponendo più nulla di innovativo, riesce comunque a tenerci incollati allo stereo e terminato il loro sfogo brutale, mi ritrovo comunque ansimante per la furia e la brutalità qui contenuta. Se siete amanti di dischi come “Left Hand Path” degli Entombed, “Massive Killing Capacity” dei Dismember o “Into the Grave” dei Grave, beh anche la nuova uscita dei Vicious Art, meriterà di stare sui vostri scaffali. Chitarre super veloci, vocals terrificanti, iper blast beat, assoli nella vena degli Slayer vi schiacceranno come una scarpa su una formica. Undici funamboliche tracce che vi metteranno al tappeto! (Francesco Scarci)

(Mighty Music)
Voto: 70

http://www.myspace.com/viciousartsweden

The Interbeing - Edge of the Obscure

#PER CHI AMA: Cyber Death, Djent, Meshuggah, Fear Factory

La Danimarca non è famosa solo per aver dato i natali ad Amleto, King Diamond o Lars Ulrich, ma anche per avere una florida scena underground che consta di nomi più o meno famosi, come Mercenary, Raunchy, Mnemic e ora questi ultimi The Interbeing, che in realtà esistono fin dal 2001, ma che solo quest’anno sono giunti al tanto sospirato debutto (non considerando l’EP del 2008 autoprodotto, “Perceptual Confusion”). ”Edge of the Obscure” ha il tipico marchio di fabbrica danese, con le sue chitarre ribassate stracariche di un groove contagiante; è un sound che si rifà ai soliti mostri sacri, Meshuggah e Soilwork in primis, ma che comunque brilla di luce propria, grazie alla vivacità intrinseca del quintetto scandinavo. Uno due e tre, e si parte dopo la consueta intro, con “Pulse Within the Paradox”, in grado fin da subito di mettere in chiaro qual è la proposta del combo: cyber death molto tecnico, grondante di contaminazioni provenienti dall’industrial (Fear Factory docet), ovviamente dal djent, proprio per quelle sue chitarre distorte con accordatura downtuned, ma anche dal progressive, per quel largo uso di ritmi sincopati e poliritmie che rimbombano nei nostri cervelli (ascoltare le scale di “Tongue of the Soiled” per capire di cosa sto parlando), costantemente in compagnia di samples che generano plumbee atmosfere stracariche di un feeling da fine del mondo. Senza dubbio l’elettronica gioca un ruolo da protagonista nelle note di questo brillante lavoro, cosi come non vorrei trascurare la perizia tecnica (assai elevata) dei nostri e il ricercato gusto per la melodia, sempre in primissimo piano e di grande spessore. Le voci corrosive, seguono la scia dei connazionali Raunchy e Mnemic, anche se molto spesso Dara Toibin si lascia andare a clean vocals (fantastiche in “Face Deletion”), sussurrate o robotiche (come in “Shadow Drift” o in “Swallowing White Light”). Trattandosi di cyber death, è lecito non attendersi eteree vocals femminili: cosi quando leggo che “In the Trascendence” c’è come ospite Elin Kristina Segel ho un sussulto, ma tranquilli perché trattasi di una voce cibernetica al femminile, a sancire la definitiva ecletticità di questi danesi. Se il tipico sound scandinavo che rappresenta la matrice di fondo dell’ensemble danese, alle orecchie dei più non rappresenta nulla di nuovo, vi garantisco che l’apporto dei synth nell’economia della release in questione, assume un ruolo fondamentale (meraviglioso il break centrale di “Fields of Grey”). Sono a dir poco entusiasta dal dinamismo di questi sconosciuti The Interbeing, che da oggi seguirò con molta attenzione, per poter capire quali siano le reali potenzialità in vista dei prossimi lavori. Per ora il mio voto si ferma a 80, perché il sound può risultare ancora derivativo, ma sono certo che con le giuste dritte, l’esperienza e le funamboliche idee, i The Interbeing calcheranno il palcoscenico metal per lungo tempo. Una bombastica produzione e un eccellente songwriting completano un lavoro da cui è lecito aspettarsi un successo oltre le attese. In bocca al lupo ragazzi! (Francesco Scarci)

(Mighty Music)
Voto: 80