Imperial Age - Promo Sampler (MP3 Download Review)

Alexander Osipov (Vocals)
Jane Odintsova (Vocals)
Anna Moiiseeva (Vocals)
Pavel Maryashin (Guitar)
Max Talion (Drums)
Dmitry Safronov (Bass/Vocals)

Guest Musicians on Legacy of Atlantis tracks:
Thomas Vikström From Therion (Tenor Vocal)
Nalle Påhlsson From Therion (Bass/Guitar/Acoustic Guitar)
Andrey Ishenko From Arkona (Drums)
Christian Vidal From Therion (Solo Guitar)
Sergey Lazar From Arkona (Rhythm Guitar on 'And I Shall Find My Home')
Chamber Choir of the P.I. Tchaikovsky Moscow State Conservatory

01. The Legacy of Atlantis (from the album The Legacy of Atlantis, 2018)
02. And I Shall Find My Home (from the album The Legacy of Atlantis, 2018)
03. Anthem of Valour (from the album Turn the Sun Off!, 2012)
04. Aryavarta (from the EP Warrior Race, 2016)
05. The Monastery (from the album The Legacy of Atlantis, 2018)
06. Death Guard (from the album Turn the Sun Off!, 2012)
07. To Mega Therion (from the EP Warrior Race, 2016)

Russian symphonic rock group founded in 2012 by Jane Odintsova and Alexander Osipov. They recorded Turn The Sun Off!, filmed 2 video clips and released the record with their own money in November of the same year.

In 2013-2014 they played as support acts for international bands visiting Russia: Epica, Paradise Lost, Finntroll, OOMH!, The 69 Eyes, Tarja and Therion. They also played a few headliner shows in Moscow, St. Petersburg and Kazan. Two of them with an 8-person choir and an 8-person orchestra.

In 2014 the breaking moment came. In September, they went on a month-long expedition to Tibet. Having visited many magical places, to some of which westerners have never been admitted before. And in the end they did a Cora around Mt. Kailash. It is said that it helps to realise one’s inner dreams and most sacred goals… A month after that they were opening for Therion in St. Petersburg.

In 2016 they released the EP Warrior Race via Adulruna. It had only 3 new songs, the rest were from Turn the Sun Off!, recorded with Alexandra Sidorova, and To Mega Therion, a Therion cover which was as a tribute to the legendary Celtic Frost.

They went in search to find a new soprano, held auditions and found Anna KiaRa.
Then came another tour with Orphaned Land! After that tour they lost almost all of the band members due to inner disputes within the band.

In 2017 they were offered a huge tour, 57 shows in 25 countries. This brought its fair share of problems, needing to finish composing and recording the new album and find new musicians capable of sustaining such a huge tour.

They asked Nalle Påhlsson to record bass and rhythm guitars, Christian Vidal to record the solos, Ischenko Andrey to record the drums and completed the recording.

2019 sees the band pushing forward including some live shows here in the UK, to help promote their latest album and shows they have been offering a sampler of their music for free download. I found this by chance as a friend (GASP Radio presenter Steven C Davis) had been tagged in a post linking to the download via Facebook.

I will start with the two songs from 2012's 'Turn the Sun Off!'..
Anthem of Valour
Death Guard

It would seem that from the moody intro right on into the complex symphonic majesty that this band from the very start had the ability to create atmospheric and anthemic songs. Well crafted pieces that pay equal attention to the sumptuous vocals, furious guitar playing and the pure adrenaline rush of high speed drumming.

Four years later and we have the 'Warrior Race EP..
Aryavarta
To Mega Therion

The first song is acoustic based and has quite an old school folk rock feel to it, full of passion and once again with
that precision of musicianship and production in perfect harmony.
The Therion cover does the original justice, for me though the overall vibe i get is one of power metal, the guitar playing just a tad too technical for my own personal taste.


Finally three tracks from 2018's 'The Legacy of Atlantis'..
The Legacy of Atlantis
And I Shall Find My Home
The Monastery

Absolute killer bass playing on this title track, really drives this mid paced choral heavy song.
The next song picks up the pace and is a full on symphonic onslaught, huge variety in vocal styles blended together to accentuate each changing section of the song.
The final song has this wonderful almost Celtic instrumentation that once again borders into folk rock territory.

What these 2018 songs really show however, is that the band kept pushing forward, did not become complacent with their sound they adapted each personal and musical setback with a determination to create as near perfect an example of how symphonic rock can and should be approached.

I think my main question is why have I not heard this band before? Seven years since formation and yet not once can I recall a single mention of them, yet they have thousands of fans all over the world and appeared all over europe.
Go to their official website, download these songs, your ears will love you forever!

Rating 9/10
For fans of: Therion, Dimmu Borgir, Mr Doctor's Devil Doll, Kamelot, Opera IX, Leaves Eyes

http://www.imperial-age.com/

Tourniquet - Gazing At Meduza (CD Review)

01. Sinister Scherzo
02. Longing for Gondwanaland
03. Memento Mori
04. All Good Things Died Here
05. The Crushing Weight of Eternity
06. The Peaceful Beauty of Brutal Justice
07. Can’t Make Me Hate You
08. One Foot in Forever
09. Gazing at Medusa

Tim Ripper Owens (Vocals)
Chris Poland (Lead Guitar)
Aaron Guerra (Guitar/Vocals)
Ted Kirkpatrick (Drums/Bass)

Guest:
Deen Castronovo (Lead Vocals on title track)

Tourniquet was formed in Los Angeles in 1990. Nine full length studio albums later, (plus EP's, live album, acoustic release) the members of Tourniquet remain committed to creating intense music.
Co-founder, drummer, main songwriter, and mastermind Ted Kirkpatrick’s passion for classical music and technical metal lead to the music described as “Beethoven Meets Frankenstein”.

Many musicians have graced Tourniquet albums – including guitarists Marty Friedman, Frank Marino, Pat Travers, Chris Poland, Karl Sanders (Nile), Scotti Hill (Skid Row), and Bruce Franklin (Trouble).
Vocalists include Chris Jericho (Fozzy), Tim Ripper Owens (ex-Judas Priest), Michael Sweet (Stryper, ex Boston), Dug Pinnick (King's X), and Corey Glover (Living Colour).
Due to the classical nature of the music, members of the Milwaukee Symphony Orchestra have made contributions.

The latest album, which was successfully funded by the band’s ultra-loyal fan base, features vocals by Tim Ripper Owens (ex- Judas Priest, ex-Iced Earth) and lead guitar by Chris Poland (ex-Megadeth, OHM). The title track has guest vocals by Deen Castronovo (ex-Journey, GZR).

I confess to not being aware of this band before, when it arrived from the PR people, I was a little bit put off by the lengthy biography and was of the opinion that I was about to listen to some technical power metal album loaded with Christian themes, something which I have very little time for.

I was pleasantly surprised that this was not the kind of overblown twaddle that has been killed by over production and endless bloody technical guitar work.

No, in fact this is a full on heavy metal assault, almost retro in sound, though with a superb and crisp modern production.
Very much driven by numerous timing changes and stunning drumming that retains perfect rhythm and brutality in equal measure.

To the vocals, well lets face it Ripper Owens can scream out with the best of them and here his vocal prowess is utilised to perfection, some great multi tracking and backing vocals also add to the overall majesty of the performance.

Guitar playing, a bit technical in places, but at least this has “Soul” it is not that cold and flash “look at me aren’t I clever” but more we are here to play and we mean business.

The songs are at times anthemic, symphonic and progressive but most of all it’s a superb heavy metal album, something which is getting harder to find these days.

Rating 9/10
For fans of: Iced Earth, Judas Priest, Megadeth, Queensryche, EdGuy

Leaves Eyes - King Of Kings (CD Review)

01.Sweven
02.King Of Kings
03.Halvdan The Black
04.The Waking Eye
05.Feast Of The Year
06.Vengeance Venom
07.Sacred Vow
08.Edge Of Steel
09.Haraldskvæði
10.Blazing Waters
11.Swords In Rock

Liv Kristine (Vocals)
Alexander Krull (Vocals)
Thorsten Bauer (Guitar/Bass)
Pete Streit (Guitar)
Joris Nijenhuis (Drums)

Guests:
London Voices Choir
White Rusian Symphony Orchestra
Simone Simons (Epica) - Vocals on Edge Of Steel
Lindy Fay Hella - Vocals on Blazing Waters

The international group formed back in 2003 has toured on five continents, playing concerts in more than 50 countries. Their live shows are spectacular events with breathtaking stage scenery, including a Viking ship or even the “Swords In Rock” monument from singer Liv Kristine’s home town. On their studio albums, the band has constantly followed the steps of classical composers from the past. Debut “Lovelorn” (2004) lead them first for subject matter, to Norway, home country of vocalist Liv and full of myths and legends. The concept effort made the musicians’ wonderment at Scandinavia’s vast nature graspable and later this found its continuation with 2005’s “Vinland Saga”, whose story told of the Viking’s exploration of America and its result.
This was followed by the orchestral metal opus “Njord” (2009), impressively remembering the Vikings’ exploration of all parts of the world and the complex “Meredead” (2011), which delved into tales of Scandinavian legends, connected to life, death and the power of the ocean.

They have always effortlessly combined traditional folk, mystic sounds of the past and a symphonic orchestra with brutal, metal rawness, and this was no truer than when, for their 10th anniversary, the band released the highly-acclaimed “Symphonies of the Night”, an album which features all their traditional trademarks, turned into a sweeping metal opera.

Now they have returned to a time when Harald I was uniting Norway as one kingdom. With an almost cinematic intensity, the band has you see the battle of Hafrsfjord itself. “King of Kings” sounds as if film score composers Hans Zimmer and Richard Wagner themselves had collaborated on a soundtrack about the life of Norway’s first king with amazing results. The epic title track with its huge choirs (brought to you by the “London Voices” ensemble, who have famously worked on movie productions such as “Star Wars”, “Lord of the Rings” and “Harry Potter” amongst many) gives a perfect start to the saga. It’s a perfect match to the band’s ambitions and to the vision of producer Alexander Krull, who sonically lifts “King of Kings” to the level of these blockbuster productions. Whilst, under the guidance of ex - Rage guitarist Victor Smolski, the powerful White Russian Symphony Orchestra adds even more feel.

So, wow, this is a huge, epic album, they have put so much into the production, this is taking symphonic metal to a new level.

Quite a folk/rock inspired short opening song, plenty of violins, harmony vocals and spoken word parts and then we launch into 'King Of Kings' which as the above bio said is more like a soundtrack, such is the orchestration you wonder how they managed to get the band in the mix as well. But they do and it works, a perfect blend of styles, the vocals are as stunning as ever, but there is way more maturity and power than before, nice little touches of male evil grunts thrown in as well.

'Halvdan The Black' is a surprise as it's more a straight forward metal song, power, energy all perfectly lead by more stunning vocals and a few more of those darkend growls, and pretty much same again for the next song as well.

'Feast Of the Year/Vengeance Venom', may be listed as two seperate songs but the former is a superb celtic sounding folk tune that leads us to the latter (So why make them seperate tracks??).
Anyway we are treated to a folk/metal masterpiece full of pipes and uplifting vocals, powered by some great drumming.

After the melodic/symphonic rock of 'Sacred Vow' comes 'Edge Of Steel'. Now this one gets to be called "Epic" the choir on this is just so amazing and again the rest of the band make their presence felt for another perfect melding of the two genres.

Ambient, atmospheric and just plain spooky are a good way to explain 'Haraldskvæði' it is a very laid back and very well put together piece.

'Blazing Waters' has this great folk style intro before launching into some serious guitar riff driven power metal with another superb symphonic edge.

Finally more epic folk/pagan rock for 'Swords In Rock', the orchestra and choir in fine form for this classic folk tune, it really is "Battle Metal" and evokes the imagery to perfection.


Rating 10/10
For fans of: Therion, Epica, Nightwaish, Within Temptation, Tusisas

Lanthanein - Nocturnalgica EP (CD Review)

01.Lágrimas De Luna
02.Nocturnálgica
03.A Orillas Del Silencio
04.Lacrimosa Et Gementem


Marili Portorrico (Vocals/Choir Arrangements/Programming)
Juan Mansilla (Vocals/Guitar/Bass/Programming)

From Argentina, they are a gothic/doom metal project that had been around for a while but eventually surfaced at the beginning of this year to bring us an EP of Classical music inspired music.

Nice piano and church bell intro to 'Lágrimas De Luna', quickly turns into a nice symphonic goth song, and whilst the vocals are great they are not in English, so i have no idea whats she's singing about.

'Nocturnálgica' is a different beast, the agressive intro complete growl male vocal works well but soon decends into standard symphonic/goth.The operatic vocal duet does lift this one, but still dont know what they are singing about!

With a wide selection of different instruments used on 'A Orillas Del Silencio' at least there is plenty to listen too from its neo folk meets progressive to that symphonic style again, and still no sig of doom.

Finally 'Lacrimosa Et Gementem' just sticks with the symphonic goth again.

Rating 7/10
For Fans Of: Valentine Wolfe, Epica, Tristania

My Reflection - Dead Musician (Single Review)

01.Dead Musician

Jenni Räikkönen (vocals)
Petja Haapaniemi (Guitar/Vocals)
Henri Vuorenmaa (Guitar)
Aki Tainio (Bass)
Petri Inkinen (Drums)

Melodic rock/metal band from finland return with a new album, this is the first song released as a "teaser".

Starts off with a copy of 'House Of The Rising Sun' played on a music box, then the music comes in, standard symphonic rock fare and you know the vocal line still has that "Rising Sun'" melody.
Some nice guitar playing helps create a folkish feel as it goes along, but overall its pretty average stuff.

5/10
For Fans Of: Evanessence, Nightwish

Valentine Wolfe - The Nightingale- A Gothic Fairytale (CD Review)

01.Black Feathers
02.Dark Desire
03.The Place Where Evil Grows
04.Inside My Nightmare
05.Devil's Bane
06.Darkling, Listen
07.Twisted Melody
08.Precious Moments
09.Moonlight Prayer
10.Belladonna, Deadly Nightshade
11.You Could Never Have My Heart
12.Ghost Of Her Self


Sarah Black (Vocals/Piano/Harpsichord/keyboards)
Braxton Ballew (Bass/Programming/Electronics)

Hailing from South Carolina, Braxton Ballew and Sarah Black have been composing and performing music together as Valentine Wolfe since 2006.
Both coming from a classical background, with qualifications to back it up and hold graduate degrees from the University of Georgia, where they studied electronic composition, Ballew is also the Education Director of the Greenville Symphony Orchestra.

Perhaps it is no surprise that their scores have been heard in theatre productions of The Merchant of Venice, The Tempest, The Winter’s Tale and Twelfth Night.What may be a surprise is their love of Metal, Goth and Industrial music and the very clever way that they put all their influences and styles together.

What surprised me after the first listen was how they put their music together to sound like a full band complete with drums and guitar, when in fact neither are on the album!
As they said when i aksed them; "Just us, Sarah and Braxton, no guitars all the distortion parts are double bass and we program the drum loops ourselves."

Time now i think to hit play and listen to some of this self styled 'Victorian Chamber Metal'.

'Black Feathers' has a moody and atmospheric
 opening before turning into a solid commercial sounding symphonic rock song, really love the live sounding drum sound that drives this piece, great distortion riffs and harmonic keyboards, now over this is a
beautiful operatic soprano vocal and as the song progresses we are treated to some amazing double bass playing, sounds more like a cello to me (but what do i know?).

Now 'Dark Desire' is a hybrid of gothic rock and classical, but this one has a rock opera feel as well, reminiscent of Sarah Brightman's songs in the film Repo! The Genetic Opera, again driving drum patterns and that double bass make for a perfect mix to both move you emotionally and in a bang your head kinda way.

Moving into slightly different territory with 'The Place Where Evil Grows' as this uses more electronic samples and effects on the vocals, this time the double bass sounds like a violin as well.

Somehow on the song 'Inside My Nightmare' Braxton manages to get that double bass to sound like Simon House circa 1974, dont know how he can create so many amazing sounds from guitar to violin on it, but he does!


'Devils Bane' may have a solid rock sound but the vocal style whilst still operatic has a neo-folk feel to it, this helps create an intresting blend, the same can be said of 'Darkling, Listen' though this track has some more of that awesome drum and double bass playing set into some timing changes.

By far the heaviest song so far is 'Twisted Melody' for underneath that harmonic vocal lurks some evil heavy metal riffs.

After more of the same with 'Precious Moments' complete with some frantic drumming towards the end (yes i know its not real, but they have nailed the sound to perfection).

Heavy Metal meets Industrial on 'Moonlight Prayer' and once again it is that double bass playing that continues to astound me, so many different sounds!
This song has a lot going on it, different timing changes and lots of backing vocals and for some reason parts of this remind me of Rocket From The Crypt's 'On A Rope'.


So can Industrial influenced metal, operatic singing and Harpsicord go together?
'Belladonna, Deadly Nightshade' proves that the answer is "yes" and clearly anything is possible with these two talented and inventive musicians.

More drum driven power with 'You Could Never Have My Heart' and more outstanding double bass playing.

Finally 'Ghost Of Her Self', a slow and dark goth/opera piece, great vocal double tracking, solid as ever musical backing, more great distorted riffs and (yes i'm gonna say this again) the drum and double bass playing is just perfect.


Rating 9/10
For Fans Of: Epica, Emilie Autumn, Rasputina, Angtoria, Mr Doctor's Devil Doll , Apocalyptica

Facebook: Valentine Wolfe

Desert - Never Regret (CD Review)

01.Chasing The Prey
02.Assassins Fate
03.Son Of A Star
04.The Wolfs Attack
05.Never Regret
06.The Road To You
07.1812
08.Flying Dutchman
09.Final Journey
10.Imperial Eagle
11.Invincible

Alexei Raymar (Vocals)
Sergei Metalheart (Guitar)
Max Shafranski (Guitar)
Sergei Dmitrik (Bass)
Oleg Aryutkin (Keyboards)
Assaf Markowitz (Drums)

Guests
Ralf Scheepers (Vocals)
Infy Snow (Vocals)
Alex Zvulun (Guitar)
Merry Ann Genin (Violin)

Desert are a Dark Epic Metal band from Israel formed in 2002, since then they have expanded their musical palette mixing in some darker colors to go with power and epic metal.
During those years were released 2 EP’s: “The Way To Honor” 2004, “Prophecy Of The Madman” 2006 and one full length studio album "Star Of Delusive Hopes which was released in early 2011 by the Greek label Sleaszy Rider Records .
The album was recorded and produced by Nick Savio (Hollow Haze, White Skull) at Remaster Studio in Vicenza (Italy). Mix and mastering were done by Andy La Roque – a legendary guitarist of King Diamond at Sonic Train Studio in Varberg (Sweden). The internet single "Lament for Soldier's Glory", featuring a guest performance by Joakim Broden, the lead singer of 'Sabaton'.
On the waves of successful “Star Of Delusive Hopes” on 2012 the band started the pre-production work of the second full length album, later named as “Never Regret”. The album was produced, recorded, mixed and mastered by Alex Zvulun at A.G. Studio in Tel-Aviv. As for previous album the cover artwork was done by a great Brazilian artist Jobert Mello – well known by his work with numerous bands including 'Primal Fear' and 'Grave Digger'.
Ralf Scheepers, a legendary voice of 'Primal Fear' has also contributed his voice to one of the tracks on the album alongside some other guests.

It may be well played but an intro is an intro and as with most intros it goes right into the first song 'Assassins Fate' so why not just have it at the beginning of the song?
Right so onto the song, its Power Metal, but with a difference, this one has more layers to it, a strong drum driven track, great harmony with both keyboards and backing vocals, clever little timing changes and a proper guitar solo.
The lead vocal style reminds me of Snowy Shaw, big, powerfull with plenty of range.

'Son Of A Star' is a slow and pounding anthemic piece, another superb vocal delivery, some Maidenesque guitar work and a great little keyboard hook.

A dark and moody start with church organ starts up and then 'The Wolfs Attack' builds into a full on metal attack, such is the style of this one that at times it has more than a touch of the legendary Crazy World Of Arthur Brown about it, add to this some shout it out loud backing vocals, a real stand out song.

Has to be said that 'Never Regret' is a very commercial sounding song, another stunning vocal delivery with a harmony line reminiscent of Lacuna Coils version of Depeche Modes 'Enjoy The Silence'and brilliant keyboard work all making for an intresting mix of symphonic rock and Rammstein.

A near ballad next with 'The Road To You' this one is quite operatic thanks in part to a stunning female vocal performance half way through, the music itself sounds almost cinematic in its execution.

I was wondering if '1812' may be a take on the classical masterpiece, but this is another symphonic/power metal song, hyper drumming over laid back keyboard and atmospheric guitar work, oh and lets forget that evil sounding bassline.Yet again we are treated to another passionate and powerfull vocal that hits every high note with perfect pitch.

Time for some folk rock as the violin starts off 'Flying Dutchman' and this one fits the genre "Battle Metal" with its high octane mix of epic sing-a-long vocals and solid riffs, this one "Sails" along and then gets into that classic folk rock rhythm with a stunning mix of violin and guitar.

Another cinematic intro and 'Final Journey' bursts into life before going all quiet with a simple vocal over piano which then picks up into a faster paced piece, more of that solid basswork is present here as well as that epic vocal performance.

A military trumpet (well keyboard to sound like one) and a snare rhythm to match leads us into 'Imperial Eagle' a few seconds shy of eight minutes this one really fits the term "Epic", i've said it before and i will say it again this one has some killer basswork going on and that Snowy Shaw/Till Lindermann style of singing is just to die for.Thrown into the mix are some sound samples of swords, i mention this because for some reason they really stick out as a way of underlining the theme of the piece.

Finally 'Invincible' the same way as we started, a style of music played with total precision and understanding.

Rating 10/10
For fans of: Snowy Shaw, Tristania, Therion, Dream Evil, Orpheus Blade, Synkvervet, Rammstein

Guest Vocalist Infy Snow

Amidst The Withering -The Dying of the Light (CD Review)

01.A Prelude To Darkness
02.Auri Sacra Fames
03.The Clarion Light
04.The Withering
05.Aegri Somnia
06.Autumnal Lament
07.Infinitus Dolor Amoris
08.Seraph Enslaved
09.The Acolyte
10.Prologue
11.A Love Benighted
12.Epilogue (A Defiant Succumbing)
13.The Dying of the Light


Serge Farinas (Guitar/Bass)
John Hembree (Vocals)

There is a land where even the grim Norse gods dare not tread (nor anyone of northern heritage for that matter). It is a forsaken wasteland where the summer sun is merciless, and on a particularly humid day, swimming rather than walking becomes the primary mode of locomotion. Here in the mind-numbing doldrums of suburbia, south of Atlanta, Serge Farinas, John Hembree, Cliff Widener and Jason Cartee decided the only thing better than one musician producing a terrible sound was a group of them doing it together. The brigands settled into this core group in the early 2000’s after much upheaval and rotations of itinerant musicians. The group’s “brilliant idea” was to create a sound incorporating elements from black and doom metal, and also experiment with rhythm and orchestration. About this time they settled on “Amidst the Withering” as their name because creativity was in short supply.

To understand how ridiculous and vain their efforts were, you have to put things in context. Here was a bunch of sweaty metal and goth kids trying to do dark-symphonic metal in the heart of Dixieland, where the top 40 radio has played the same Lynyrd Skynyrd songs for the past 40 years and the past-times of choice include Jim Beam, shooting TVs, and tire bonfires. The line-up at this time was John on drums (later vocals), Serge on guitars, Cliff on keyboards, and Jason on bass. Many songs were written and few of them could be described as listenable, yet the band began recording an album in 2004.

However and alas, the band didn’t survive the process. Due to stress, poverty, relationship problems, diverging life paths the band fell apart. Serge released the album “Ars Moriendi” in 2005 on the internet and acclaim shortly followed from a couple of people in Norway and maybe one Kenyan. The members went their separate ways to become (dis) functional members of society. Serge became involved with other music projects, but eventually after a long gap, came to work with John again in the late 2000’s (on a completely different project).
Serge and John began working once more on Amidst the Withering around 2010 or 2011. They decided to completely revamp the old material, while also setting aside new material for a follow-up. The re-titled release “The Dying of the Light” (2015) represents many hours of labor and love (and hatred?). Although it has changed much, the music still contains within it the spirit of Jason and Cliff. We are forever indebted for their contributions and for making times a little less miserable.

From the (Edited) bio above, i was expecting some less than serious heavy metal, but you would not believe just how epic this music is, so after the symphonic intro we get nearly eight minutes of quite stunning blackend power metal superb keyboard work and fast and technical drum work, ad to this a dual vocal style of dark and demonic and then high pitched to perfection clean vocals.Half way thrugh 'Auri Sacra Fames' there is a quite bit and some awesome bass playing.

This dark/symphonic style just keeps getting better, by 'The Withering' which throws in chorus vocals, blastbeats, harmony balanced with agression, spoken vocal is haunting and really adds menace.

With it's endless riffs and "Widley widley" solo's 'Aegri Somnia" is more power metal, but with a vocal style reminiscent of Dani Filth, this somehow becomes an all together different beast, towards the end there is some violin cutting through the mayhem.

Some classical/acoustic instrumental called 'Infinitus Dolor Amoris' makes for a welcome break, however 'Seraph Enslaved' kicks you back into life and then the power just continues with 'The Acolyte'.

'Prolgue' leads us into the epic 'A Love Benighted', full of timing and style changes from black metal to symphonic and power metal, various vocal styles and a production to die for, this is then rounded off with 'Epilogue' which far from being another nice classical piece is a full on death/black metal hyper speed monster at just under two minutes.

The final song 'The Dying Of The Light' is anther neo classical piece, slow with a mainly spoken vocal, a clever way to end a very clever album.

Rating 10/10
For Fans Of: Cradle Of Filth, Dimmu Borgir, Therion, Graveworm

Orpheus Blade - Wolf's Cry (CD Review)

01.Shadows Still
02.The Finest Art of Feeding
03.The Becoming
04.Under Dying Stars
05.In Sickness and in Hell
06.The Death of All Morrows
07.Dismissal
08.In Terms of Twilight
09.Because He's Made of Flesh
10.For Each Man Kills
11.Chronicles
12.The Man Who Cried Wolf
13.Shapeshifter

Adi Bitran (Vocals)
Henning Basse (Vocals)
Gal Ben Haim (Guitar)
Edi Lemishov (Bass)
Shaked Furman (Drums)

Israeli band formed in 2012.Progressive and heavy metal, film music and musicals, a concept fantasy that is really an allegory to real life endeavors – these are just some of the cornerstones of the band led by talented singer/songwriter Adi Bitran.
Armed with an attitude of “all or nothing” that has made her almost bleed for her creation and never choosing to take the easy road, Adi has selected only the best to accompany her in this journey for her first album.
“Wolf’s Cry” has been in the making for nearly six years. This was necessary as Adi patiently waited for the “right hands” that would help her shape it into the strong and unique piece of music it deserved to be. And when long-time friend Erez Yohanan (AMASEFFER) stepped in that was it - Adi and Erez spent endless hours and long months in the studio rewriting, rearranging, producing and polishing everything, creating a mature album with a strong backbone.

After the intro we get some spoken lyrics over a very melodic intro on 'The Finest Art Of Feeding' but the words get angry and then wow what a powerfull voice suddenly comes to life, as does the music a very heavy symphonic sound with agressive drumming, once the song gets into full swing and Adi's vocals come in as well, this turns into symphonic metal heaven, some nice timing changes and acoustic breakdowns, all this wrapped up in 7 great minutes.

'The Becoming' is more of the same, but the second half of the song is more classical until right at the end which has a stunning little vocal battle.

Now 'Under Dying Stars' may start in the same style, witnear power metal precision, but its when it all slows down, that the haunting and quite superb vocals of Adi come through the speakers sending a chill down the spine.

The next piece is just the male vocal over a very simple symphonic keyboard, until the guitars and drum comes in right at the end, this clever and stunning blend of musical styles is followed by more spoken words on 'The Death Of All Morrows', which then leads straight into 'Dismissal'.
An epic multi-layered piece at just over 9 minutes, with a stunning production it manages to have little sparks of power metal, mixing with ballad, symphonic and almost every other style you can think of.

'In Terms Of Twilight' is almost a pop style euro ballad thing, not as out of place as you might think on this amazing album, oh and at the end gets all Angela Gossgow!!

After another 2 great songs we come to the short 'Chronicles' which really does sound like something from a musical, a dark show tune it may be but sung perfectly.

After an instrumental the last song 'Shapeshifter' is another song that has that epic movie soundtrack feel to it.

Rating 10/10
For Fans Of: Nightwish, Epica, Tristania, Within Temptation, Opera Diabolicus, Therion

Whorion - The Reign Of The 7th Sector (CD Review)

01.Flesh Of Gods
02.When The Moon Bled
03.Awakening
04.Blood Of The Weak
05.Forbidden Light
06.Gates Of Time
07.Immaculate
08.Arrival Of Coloss


Ari Nieminen (Vocals)
Ep MKN (Vocals/Guitars)
Dorian Logue (Bass)
Heikki Saari (Drums)
Antti Lauri (Guitar)
Vili Itäpelto (Synth/Orchestral)

Finnish Symphonic Technical Death Metal band Whorion will release their debut full length  album The Reign of the 7th Sector through Inverse Records.  Details for the album can be seen below. This marks the bands first release since the Fall of Atlas EP which was released in January of 2014.

After changing lineups since forming in 2009 and through years of composing, training & mastering new styles of playing material Whorion have come together to spawn what it is today, metal that will crack bones, while displaying powerful symphonic elements to create a feeling that the listener is sucked into the dark matter of space, slowly waiting for the worlds end…

The Reign of the 7th Sector was mixed & mastered with Anssi Kippo from Astia Studio (Ensiferum, Norther, Children of bodom etc.).

No intro (hooray!) this goes straight in for the kill and 'Flesh Of Gods' is one helluva opening track, brutal drumming and vocals, great guitar work and nice but understated orchestration.

Thats the way this one goes, song after song then we come to 'Gates Of Time' a full on orchestrated piece that sounds like music from some epic sword and sorcery movie, really good and a total surprise.

The next song 'Immaculate' is a brilliant symphonic death metal masterpiece, this one has everything from both genres mixed perfectly.

Rating 8/10
For fans of: Dimmu Borgir, Miellnir, Ars Moriendi, Opera Diabolicus

Miellnir - Incineration Astern (CD Review)

01.Incineration Overture (Intro)
02.Prey
03.Legends Of The Fallen
04.Stand Against
05.Journey Through The Nine Worlds
06.Ugar-buhlo
07.Embraced By Ire
08.Jörð
09.The Gallows Tree
10.Valhalla Awaits

Frozensoul (Vocals/Bass)
Gjallarhorn (Guitar)
Yarek Ovich (Guitar)
Daimonos (Drums)

Hailing from Ukraine, this pagan viking band formed in 2005, but only now have released an album, i have found no demos or other recordings or come to think of it any information about them either.
Delving a little deeper i discovered that 'Embraced By Ire' was first released in 2011, and so i assume that the other 3 tracks that follow were also from that same time as they are listed as bonus on the info i was supplied, but not it seems on the actual cd, get the feeling that the record company couldnt give a shit? I do !

Another pointless intro to start with and guess what? It goes straight into the next song, so why have it as a seperate first track???
'Prey' when it gets going is a good mix of styles, mainly symphonic black metal and with vocal style to match, in fact this is more like Dimmu Borgir than Turisas.

Now with 'Legends Of The Fallen' we get two very distinct styles from extreme metal to quite traditional pagan/folk metal.This one has a Thrash metal tempo in places and the timing changes match said genre, nice to hear some normal vocals blended with the growling ones.

'Stand Against' again this reminds me of Dimmu Borgir, not much in the way of viking/pagan coming across here in this mid placed almost doomy/symphonic piece.

What spolis 'Journey...." is the vocals, the music is a beautiful piano driven almost ballad melody, but the softly sung gruff vocal just kills it.

First real appearence of pagan/viking/folk on 'Ugar-buhlo', thanks to some great accordian playing, this mixes it up with full on blasts of metal, but works very well.

'Embraced By Ire', clearly an earlier track by the fact that the music is slightly rawer, yet musically there seems to be more instrumentation going on with various keyboard sounds utilised and a very nice guitar solo.

'Joro' is a bit of a bland track, does little to enhance the bands overall sound, but 'The Gallows Tree' returns to some quality symphonic metal and finally 'Valhalla' is borderline power metal with a hint of thrash.

Overall a really good and varied album, hpefully the record company will do more to promote it and the band.

Rating 9/10
For fans of: Dimmu Borgir, Amon Amarth, Turisas

Sinners Moon - Atlantis (CD Review)

01.Inner Demons
02.Memento Mori
03.Buried
04.Pray For The Child
05.Falls Of The Neverland
06.My Servant
07.Fly To The Moon
08.Dark Episode
09.Sinners Moon
10.Atlantis
11.Upon A Star



Simona (Vocals)
Luken (Guitars)
Derrick (Growls)
Jano (Drums)
Jarthuusen (Keyboards)
Viktor (Bass)

Guest
Tony Kakko (Vocals on My Servant)

Sinners Moon formed in 2010, founder member Luken spoke about the latest release;

"Album itself keeps the message of hope, lost & found, from my point of view as a composer but it might be possible to find another different meanings as you listen to it song by song.
We recorded the album in Grapow studios in Slovakia for the best sound and best metal experience possible that we could get and so, hopefully we got it. Tony Kakko (Sonata Arctica) as a guest singer for "My Servant" song was honestly the first and the only choice. Since I was composing the song I had his voice in my head but still couldn't really imagine him to sing it. But I was kinda "stubborn kid" in that and now I see it was worth it. After a while he accepted to be the part of the song, I think that this is going to be the most interesting thing on the album. It really means something huge to me as a fan of him and Sonata Arctica."

'Inner Demons' sets the standard for this album of good old fashioned "symphonic Metal", the female vocals work well alongside the growls, bringing to mind Tristania (back when they were good circa 'Ashes').
Lavish keyboards, solid drumming and lots of punchy guitar chords, this one ticks all the boxes.

The next song 'Memento Mori' is more agressive, the vocals soar through the speakers and the growls complete with a near spoken piece really give this song an epic feel, at times its Nightwish then could almost be Dimmu Borgir.

Keeps going well until the bland 'Pray For The Child' another typical naff ballad type song, that really does nothing for the concept of the album.

It has to be said that 'My Servant' totally powers it way throughout, hyper pedal drum work and simple keyboard notes blend perfectly with the rest of the band, then the vocals come in, first the beautiful harmny of the females then the unmistakable sounds of Kakko, backed with a few growls.
This one just grows as it goes along, more orchestration is brought in and then some stunning guitar solos.

Next one to stick out is 'Dark Episode' a borderline symphonic black feel feel, thanks mainly due to that evil growl vocal, keeping the symphonic in line is the female vocals, whilst the backing throws in everything it can from speed to clever timing changes.

At 11 minutes 'Atlantis' really shines through, starting slowly with piano and vocals this one builds up the layers, changing from melody to agression, then a quiet string section breakdown.

Such a shame that the last track is another naff ballad!

Rating 8/10
For fans of: Tristania, Kamelot, Nightwish, Epica, Sonata Arctica

Synkvervet - Trollspeil (CD Review)

01.Horns Of Vengeance
02.The Horde
03.Breathtaking
04.Inner Sanctum
05.Marenatt
06.Ektet I Elven
07.Hulderlokk
08.Clearwater Diamonds
09.Angelfall
10.Vandrer Heden

Ingemar (Guitar/Bass/Programming)
Truls (Vocals)
Christina (Vocals)
Niclas (Vocals)
Rino (Drums)
Espen (Guitar)

Synkvervet from Norway, started out as a one-man studio project by Ingemar in the
fall of 2011. The name means illusion and comes from the Old Norse sagas.
Originally Synkvervet was supposed to be a pure instrumental project, but it didn’t
take long before he realized that the project needed vocals.
Not being much of avocalist, he called in his friend and band colleague Truls and together they created the mysterious, trollish and aggressive folk sound.

They released their debut album "Vår Avmakt" in the winter of 2013.
A few months later Truls and Ingemar started working on a new album and decided
to bring in a drummer and a guitar player.
During the recording of the new album, Christina and Niclas were invited as guest vocalists on a few tracks they soon joined full time.

So having given this album a first listen I was somewhat taken back by the overall quality of the sound and at the same time slightly confused.
From the blurb supplied by the band I was expecting a "mysterious, trollish and aggressive folk sound", but thats not what I heard at all, no this is something much grander this is Symphonic Black Metal with acid-folk undertones and frankly its awesome stuff!

Lets take 'Horns Of Vengeance', starts with military style drums over chorus vocal and classical synth programming, then a scream of pure black metal comes in over hyper drums and mid tempo riff like Cradle/Dimmu all in one.Then gets symphonic with a clever timing change and we are now in early Tristania territory, then back to black metal riffs and then ending with a mixture of both styles no folk anywhwere to be heard.

'Inner Sanctum' represents a different approach, still symphonic but with a superb clean almost operatic vocal then later joined by the darker vocals to create a wonderful dual vocal attack on the ears! Oh and not to forget some great piano playing two thirds in to add another layer.

Finally get to hear some female vocals singing as opposed to creating those beautiful harmonys in 'Hulderlokk', another great symphonic track blending Black Metal elemnents to perfection.

The last song 'Vandrer Heden' seems to bring every element together, its operatic, dark, symphonic and brutal, each seemingly taking its turn to create a near masterpiece of musical delights.

I love this album, it's nothing short of perfect, this band is unsigned? really then this must prove that the best bands somehow get overlooked, this needs to change and soon, there is a world out there that needs to hear this.

Rating 10/10
For Fans Of: Therion, Cradle Of Filth, Dimmu Borgir, Ebonylake

Nangilima - The Dark Matter (CD Review)

01.Chemin Vers Le Neant
02.Stain Of A Broken Life
03.Crimson Shroud
04.The Link Of Reminiscence
05.The Dark Matter
06.Éternel Sommeil


Emilio (Vocals)
Nikolay (Guitar/Bass/Keyboards)
Khalvst Ov Mhurn (Keyboards/Drums)

Swedish doom band founded in January 2013 by Emilio (Ov Mhurn) and former member C.L (Eskapi).

'The Dark Matter' is their first album and is a concept based on a man who has learned that in a years time, he will no longer be around on this earth.
Heavily overwhelmed, he embarks on a mental journey, facing so many emotions that invade and corrode him. The album will go through four stages of emotion: Sorrow, rage, reminiscence, and finally, acceptance.

Starting with a piano driven, almost classical opening we then get four long well executed slabs of symphonic doom, the emphasis being on the symphonic, lots of beautiful keyboards and synths and some great guitar playing, not your ususal doom laden heavy drums and powerchord stuff, sure the vocals are the gruff style you tend to get these days, but overall it all creates a huge sound.
The final piece returns to the straight keyboard classical sound.

Rating 8/10
For fans of: November's Doom, Swallow the Sun, Saturnus, Grey Skies Fallen.

Sorrows Path - Doom Philosophy (CD Review)

01.First Beam Of Darkness Into Light

02.Tragedy

03.A Dance With The Dead

04.Brother Of Life

05.Everything Can Change

06.The King With A Crown Of Thorns

07.The Venus And The Moon

08.Epoasis

09.Clouds Inside Me

10.Darkness

11.Damned (O)fish-L.S.D

Stavros Giannakos (Bass)

Angelos Ioannidis (Vocals)

Fotis Mountouris (Drums)

Kostas Salomidis (Guitar)

Giannis Tziligkakis (Guitar)

Guests

Snowy Shaw (Vocals on 'Everything Can Change')

Edgar Rivera (Guitar on 'Tragedy')

Vangelis Yalamas (Bass/Classical Guitar/Synthersizer)

Lefteris Moros (Drums On "Damned")

Katerina Nikoloudi (Female Vocals)

Barbara Michaloutsou (Spoken Words on 'Darkness')

Greek Doom Metal band 'Sorrows Path' was formed by Takis Drakopoulos and Kostas Salomidis back in November 1993. Both being inspired by bands like Memento Mori, Solitude Aeturnus and Candlemass and shortly after Angelos Ioannidis and Kostas Farmakis joined them, the band began rehearsing and composing material.

January 1995 “Sorrows Path”, the band’s first demo, was released but shortly after that, Kostas Farmakis decided to leave the band and while the band was in a search of a new drummer Takis Drakopoulos tragically died.

Angelos and Kostas decided to continue with band and so after recruiting Stavros Giannakos on bass and Gregory Vlachos on drums released in May 1996 a new demo simply entitled “Promo 96".

After a break of some seven years they returned and finally released their first album.
By 2009 a new guitarist Giannis Tziligkakis joined in order to fulfil the band’s vision for a solid and heavier sound that the new material demanded.

I reviewed their album 'The Rough path Of Nihilisim' back in October 2012, i said at the time that the vocalist sounded like Snowy Shaw who is a guest on this latest album and also remember saying that i felt they were more symphonic than doom, so i am looking forward to hitting "play".

'Tragedy' starts us off and have to say the band sound just as good as last time, a clever mix of Symphonic metal with doom elements, quite atmospheric due to a spooky vocal style and yes he does still sound like Mr Shaw !

The next couple of songs are borderline Power Metal, then comes the symphonic meatl of 'Everything Can Change' and what an amazing vocal performance from both vocalists and really like the 60's sounding keyboard in the mix.

'Epoasis' is a really great stand out song as well, mixing doom and symphonic elements well and a great spoken piece in the middle, lots of timing changes and nice piano and phased guitar playing!

So another top class album, but one i still dont really think is "Doom" i'm sticking with "Symphonic Metal".

Rating 10/10
For Fans Of: Snowy Shaw, Therion, Paradise Lost, De Profundis

Lyriel - Skin And Bones (CD review)

01.Numbers
02.Falling Skies
03.Skin And Bones
04.Black And White
05.Days Had Just Begun
06.Your Eyes
07.Dust To Dust
08.Der Weg
09.Astray
10.Worth The Fight
11.Running In Our Blood
12.Dream Within A Dream
13.Black And White (Second Skin Version)


Jessica Thierjung (vocals)
Oliver Thierjung (Bass)
Linda Laukamp (Cello/Vocals)
Tim Sonnenstuhl (Guitar)
Markus Fidorra (Drums)
Joon Laukamp (Violin)

Guest:
Christian Alvestam (Vocal on Black And White)

German band formed in 2003, Lyriel's musical repertoire ranges from dreamy ballads, a pinch of medieval tunes, to heavy rock songs with elements of classical and Celtic folk music.
Distinct, related musical genres merge and become a new, particular style in Lyriel's music.
They distinguish themselves from other bands especially through playing the violin and the cello live on stage, instead of using keyboard-generated strings.

The band can play its entire repertoire either as a heavier rock set, or a folky acoustic set, which further highlights the musicians' versatility.

Falling somewhere between the pop/folk stylings of the Corrs and the commercial symphonic rock of Within Temptation the opening song 'Numbers' is a pleasent and catchy tune.

The next song 'Falling Skies', still retains the commercial pop/rock sound, but this one has a darker and heavier feel.

Some full on speed metal with 'Skin And Bones' before moving into some solid rock sounds, a well balanced song between harmony and agression and the use of "real" violin gives this a great lift above the bands who use a keyboard to get this sound.

The first version of 'Black And White' has a riff that reminds me of Lacuna Coil's 'Heavens A Lie' and the fact that this one has guest male vocals also adds to that general vibe, however the vocals soon turn to near black metal qualities thus reminding me of Tristania as well.... which is a good thing!

Could this next one be a dreaded ballad? Certainly 'Days Had Just Begun' starts that way, and for the most part sounds like an early 'All About Eve' folky ballad, but this one picks up with some simple chord structures and then a great bluesy solo.

Have to say that the violin kinda spoils 'Your Eyes' to start with, but the playing gets a little deeper and then the slow moving song speeds up and then starts to rock!

Celtic rock meets pop again with 'Dust To Dust', very melodic, very catchy, then its back to the mix of heavy rock and melodic vocals for the next song 'Der Weg' which is performed in their own language.

Blimey sounds like Kate Bush, this one really sticks out, just vocals and cello to create a dark and haunting song.

'Worth The Fight' is full on guitar riffs backed with some powerful drumming, the vocals simply soar above the music to help create a symphonic rock mini epic.

So they do get heavier! Oh yes 'Running In Our Blood' really pumps through the speakers, the vocal pulls the tempo back, then a huge chorus comes in and then, oh yes my dear reader, it fucking goes mental!

Ahh it was going so well, then its all nice piano and melodic vocals for a ballad 'Dream Within A Dream', but yes again they pull it back from the brink of boring by allowing the rest of the band to come in and rock it up a bit.

We end with the second version of 'Black And White', still sounds like 'Heavens A Lie' to start with, in fact so far sounds the same as the first version, but ahh i get it, they turned down the black metal vocal bit and most of the male vocals have been replaced by female vocals, think i prefer the first version.

Rating 9/10
For fans Of: Within Temptation, Turisas, Tristania, Epica, All About Eve, Lacuna Coil