Symphony Of Pain - Virology (CD Review)

Symphony Of Pain – Virology

01. My Laboratory

02. Darkling

03.  Virus

04.  Down

05.  Green Eyes

06. Suspicion

07.  Ghost Moon

08.  I Can’t Believe

09. Futile

10. War Machine

Tracie Law (Vocals)

Pam Chowhan (Violin/Keyboards/Piano)

Mark Bloxsidge (Bass)

Jonas Costa (Guitar)

Johanne James (Drums)

Guest Musicians:

Jiaxin Lloyd Webber (Cello)

Latana Phoung (Mezzo Soprano Vocal)

It was way back in September 2013 when I reviewed Symphony OF Pain’s debut album ‘Hydeology’, it was a quirky mix of Pop/Goth & Rock.

Much has changed in the passing of time, Tracie and Pam are still the main duo and are now joined by a new set of musicians, of note is another ex-member of Krybgrinder (Dave Dart was on the first release) this time it is drummer Johanne, and for those of us who can go back to that early post NWOBHM era, former bassist with Trilogy Mark Bloxsidge.

The album starts with ‘My Laboratory’ a nod to Mary Shelly’s creation, the vocal is delivered with that same quirky tone that made the debut so appealing, the music however is a lot heavier than I would have expected.

Taking on a more epic/symphonic sound for ‘Darkling’ complete with stunning violin playing, it would seem that the band have really started to adapt their craft to a more mature sound.

Whilst the production and choral backing make the song ‘Virus’ very enjoyable to hear, I am somewhat confused by the lyric which has no connection with a virus whatsoever, if they are trying to convey some form of message about destruction and/or unemployment then it fails on every level, if on the other hand it is implying that humans are the virus, then that doesn’t come across either.

Fortunately ‘Down’ layered with epic violin once again, returns to a more understandable lyric and in fact the whole song mixes Folk and Progressive rock with true class.

This continues with ‘Green Eyes’ which also manages to throw in a tech/industrial keyboard and sampling.

Now having just glanced at the lyrics for the next song I am wondering if this could be a nod to the Prince of Rock N Roll Elvis, because the song is called ‘Suspicion’ and the first line of the song is “you are always on my mind”.

In fact this a melancholy ballad that is more Nick Cave, simple, atmospheric, beautiful melodies, cello, violin and drums in perfect harmony, and by far Tracie’s best and most heartfelt vocal thus far.

An instrumental follows called ‘Ghost Moon’ again very big on the atmospherics and some synthesized sitar in the mix, flowing out of this is ‘I Can’t Believe’ and fairly straight forward hard rocker.

‘Futile’ and another attempt at a “message” lyric, this one I think fairs better than ‘Virus’ but still feels a little confused, I guess its not so much anti-charity but making a comment that due to corruption we shouldn’t need it in the first place.

But then if that’s the case why, despite the commercial rock sound with its infectious and catchy chorus, would you then add to the mix samples of Oppenheimer, JFK and Martin Luther King?

We end with ‘War Machine’, beginning with its rhythmic drum pattern and synth pulse it explodes into a full on assault of screaming guitar work and an evil sounding vocal and then ends all too soon with a melodic keyboard outro.

This album is a huge leap forward from their debut, it is heavier and demonstrates a much more mature sound, in many ways a different band altogether. I confess that I am not convinced that “message” lyrics work within the context of what the band were known for, perhaps this is a transition album, yes there is the goth influence at the start of the album, but by the end we see a band wanting to address certain issues, I guess we shall find out when album number three eventually appears.

Rating 9/10

For Fans Of:   Therion, Current 93, Alice Cooper, Skyclad

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/

Alexandra Zerner - Opus 1880 (CD Review)

Disc 1
1. Overture
2. Chaos of Cards
3. The Oracle
4. Mirrors
5. Quest of Light
6. The Sound of Dreaming
7. Questions
8. Letter to Nowhere
9. Diamind
10. Pinch of Time
11. The Missed Dance

Disc 2
1. Desaturation Point
2. Master of Lightning
3. The Other Side of the Sky, Pt 1
4. Unfairlytale
5. Cumulonimbi
6. Dolphins
7. Electric Kisses
8. Sensosphere
9. Five Gardens
10. The Other Side of the Sky, Pt 2
11. Youtopia

Alexandra Zerner - All instruments

Guest musicians:
Angel Wolf-Black (Vivaldi Metal Project) – vocals on "Chaos of Cards", "The Oracle", "Quest of Light", "The Sound of Dreaming", "Questions", Letter to Nowhere", "Pinch of Time", "The Missed Dance", and "Master of Lightning"
Bobby Koelble (Death) – lead guitars on "Desaturation Point"
Franck Hermanny (Adagio) – bass on "Electric Kisses"
Gretchen Menn – lead guitars on "Unfairlytale"
Iavor Pachovski (Yuvigi) – lead synth on "Master of Lightning"
Ivan Ivanov (Velian) – vocals & narration on "Overture", "The Oracle", "Questions",
"Master of Lightning", and "Sensosphere"
Misha Iliev – vocals on "Dolphins"
Mistheria (Vivaldi Metal Project) – piano on "The Sound of Dreaming"
Nora Kalcheva (The Strings) – cello on "The Sound of Dreaming"
Svetlana Bliznakova (Sevi) – vocals on "The Other Side of the Sky, Pt.1 & 2"

Bulgarian prog-rock solo artist Alexandra Zerner presents "Opus 1880", the third full-length and a double CD concept album, combined with a steampunk sci-novel written by herself in collaboration with Slav Georgiev. "Opus 1880" offers an experience of two hours of colourful progressive rock and more than 100 pages of science fiction.

The album, which took about two years and a half of production time, was written, recorded, mixed, mastered, and produced by Alexandra Zerner in her own home studio, except for the guest musician parts.

A very mixed album, some neo classical piano based works act mainly as fills, then some symphonic rock that at times borders on commercial rock, tracks such as ‘Chaos Of Cards’ have ‘Heart’ like harmonies blended with sumptuous keyboard work.

‘The Oracle’ on the other hand is full on heavy metal, prog tinged of course and towards the end almost Dimmu Borgir sounding melody and spoken passage.

For vocal and piano perfection then the mournful ballad ‘The Sound Of Dreaming’ is by far one of the best examples I have heard for quite a while.

Then there are songs that are pure acid folk that just flow through the speakers, ‘Letter To Nowhere’, ‘Cumulonimbi’ & ‘The Missed Dance’ could be from an old ‘Trees’ album in 1970.

Superb jazz guitar work can be heard in the power metal, progressive, hybrid ‘Desaturation Point’.

So as I said a very mixed album, this is what can happen when you plan a double album and have so many guests, often playing very different styles of rock music.
The question is of course: does it work? The answer is “Yes”, whilst the styles range from folk and prog to power and symphonic metal, they flow in and out you don’t get a chance to get fed up with one style before a different one comes along, it’s almost like listening to a various artists compilation album, but, providing of course you like these styles, never a duff track.
Not being a great fan of the Power Metal genre, there was enough progressive influence to make this a highly listenable album.

Rating 9/10
For Fans Of: Heart, Tristania, Epica, Purson, Within Temptation, Lacuna Coil, Nightwish

LM Cooke - Nursery Rhymes For The Apocalypse (Album Review)

01. Poor Jenny

02. Yellow Eyes

03. False Lamkin

04. First interlude: Summer Is A-Coming In

05. (We Stand) Behind You

06. Murder Song

07. I Know A Place

08. How Do I Know

09. Blackbird Pie

10. Second Interlude: Winter Is A-Coming In

11. Moon Song

12. The North Wind

13. Stormwatch

14. End of the World

LM Cooke (Vocals, Guitar, Bass, Violin, Strings, Keyboards, Synthesizer, Programming)

Guests

Jo Luckett (Oboe, Violin) On ‘Moon Song’

Steven C Davis (Additional Vocals) On ‘(We Stand) Behind You’ and ‘End of the World’

Say Folk Music to most people and they will instantly think of bearded men in Arran jumpers singing traditional songs about maidens, death and ships sailing from port never to return, with one finger in their ear and the other hand grasping a pint of some awful warm brown liquid that may have some vague resemblance to a drinkable ale.

But this style of music that originated in the 19^th century has also evolved into sub genres that include progressive rock and even some styles of extreme metal.

In the late 1960’s a style known as Acid-Folk emerged with bands such as Comus, Saturnalia and Dulcimer.

Over the last decade this style has found a new generation to mesmerize with artists as diverse as Galley Beggar, Circulus and Blood Ceremony.

So now we turn to LM Cooke, one time violinist/ main songwriter in Broadarrow Jack, then singer/ songwriter with the folk-rock band Crimson Clocks.

Not only a superb songwriter but a much respected author of dark fantasy/ science/ mythic fiction novels and short stories.

It now seems we must add multi talented instrumentalist, music producer, mixer and engineer, as she makes her solo debut.

While there are indeed songs of ships and traditional songs with new arrangements, there is a wealth of totally original songs with a dark and twisted edge that mixes the various sub genres of folk to include gothic, horror, psychedelic and acid in her own style.

We start with ‘Poor Jenny’ a ghost-ship song based on the story of the English schooner, the Jenny which in 1823 became frozen in an ice barrier complete with crew. This song was originally written when Miss Cooke was with Broadarrow Jack.

This updated and rearranged version has some haunting dual tracked vocals over a simple but highly atmospheric backing, the use of wind and water samples adds to the overall feel as if you were listening to it by the seashore.

Next up is ‘Yellow Eyes’ a song about a wolf, or is it I ask myself, “A wolf in your mind” as the lyric goes brings to mind a hint of Robert Calvert’s musical interpretation of Hesse’s ‘Steppenwolf’.

Imagine if early Bauhaus had a female vocalist, if you can then this would be the result, from its near proto industrial drum tracking to gothic guitar and echo vocals this one blasts through the speakers and then towards the end turns to pure acid folk. Stunning!

Time for a traditional murder ballad, ‘False Lamkin’, adapted from the version from Cambridgeshire collected by Cecil Sharp. The song is sometimes also known as False Lincoln or Long Lamkin, among other names, and verses vary depending on the version. You may know this if you are a fan of Steeleye Span, Shirley Collins or Fire+Ice.

Wow beautiful moody vocal over a harp like musical backing, traditional in its execution yet the clever production makes it modern.

The interlude I shall leave to one side at the moment and move on to ‘(We Stand) Behind You’. This is a dark and twisted nursery rhyme warning that not everyone is who they seem. It may start off almost upbeat, happy with cute sounding instruments but then as this song progresses it gets darker, twisted, nightmarish, the vocal tracking becomes more unbalanced and disturbed and the demonic laughs will make you look behind just to make sure there is nobody standing there.

Maybe it’s just me I don’t think that the ‘Murder Song’ is about crows, yes they are the lyrical theme but I sense a pagan witchcraft influence with a group of girls out to lure some poor soul before the crow king for sacrifice.

One that could be on the soundtrack of ‘Blood On Satan’s Claw’ or even an outtake from the Comus album ‘First Utterance’, traditional in delivery it maybe, but this has a catchy almost hypnotic vocal pattern and all in all creates a creepy horror folk mini epic.

Following on from ‘Yellow Eyes’ is ‘I Know A Place’ it continues that them of the inner wolf.

Showcasing an impressive vocal range and clever mixing and production this sounds like a choral quartet, dark harmonies flow through the speakers whilst the wolf listens intensely.

‘How Do I Know’ seems to be an anthem for the insecure, but there is also a hidden depth here, after all what if the crazy are really the sane ones? Is the reference to money really about money, the use of the “Pounds, Shillings and Pence’ in the lyric could be a nod back to the mid 1960’s where bands like the Pretty Things used the £sd to refer to LSD.

The basic drum pattern follows a similar rhythmic madness of the 1966 hit ‘They’re Coming To Take Me Away’ by Napoleon XIV. The vocals are mad, the samples are madder and to cap it all off there is a great “Dr Phibes” sounding organ.

‘Blackbird Pie’ is perhaps as you might expect a new take on the 18^th century nursery rhyme ‘Sing A Song Of Sixpence’. Miss Cooke has replaced the naughty boys or the more common blackbirds’ version and then added a beautiful element of plague and the black death! This is all wrapped up in a rather pretty little folk tune.

Another interlude, so perhaps I shall take a moment here and return to the first.

Thing is ‘Summer Is A Coming In’ at just under fifty five seconds and ‘Winter Is A Coming In’ at just over one minute, for me don’t work as separate pieces, I can’t help but feel that the opportunity to create one entire song with the other two seasons added would have worked better with the overall concept of the album being full songs.

Either that or the fact that both pieces have the same rhythm, when placed together they flow perfectly.

Pure poetry, perhaps even the moonlit ghost of Jim Morrison?

“the rivers of moon light flow into lagoons

Who dares to impugn her white-faced mis-tune

No song of the spheres is more inopportune”

The ‘Moon Song’ blends classical and folk influences that act as a perfect backdrop to, as I have already said, “Pure poetry”.

Adapted from the traditional nursery rhyme ‘The North Wind Doth Blow’, simply titled ‘The North Wind’. Beautiful piano and violin again give this a more classical feel and right at the end there is some orchestration that fades away all too quickly, I could have done with another two minutes of that before the fade out.

In 2010 Miss Cooke wrote a short story called Storm Watch A Tale Of the Sea, this was published in ‘Tales From The Asylum’ from Last Line Publishing House.

The song ‘Stormwatch’ is based on that story. As to be expected this is a lyric heavy piece with a near symphonic accompaniment.

What better way to end than ‘End Of The World’ a perfect apocalyptic tune, though I feel I should ask ‘Just wearing heels and vintage pearls?’ but there again why not it is after all the end!  With it’s overtones of Edith Piaf this cabaret-esque finale is almost uplifting in delivery, one may almost think Miss Cooke is quite looking forward to an impending apocalypse?

So aside from my ‘Interlude’ issue this is a brilliant album, it draws on folk and classical influences, throws in some gothic elements and creates an album full of atmosphere. Very well produced, clever mixing and attention to detail a solo album of some magnitude.

Rating 9.5/10

LM Cooke Music

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Nursey Rhymes for the Apocalypse Download

 A little promotional clip from Miss Cooke