New year, new label… Following their first two releases under the Prosthetic Records banner, UK-based Death Metallers Cognizance are back with Phantazein, a concept album via Willowtip Records that focuses primarily on “art, obsession, and the profound influence of one’s environment.”
The five-piece outfit surpasses typical Death Metal and on this record introduces elements of Technical Death Metal and thrash. None of this puts a strain on the production value, which is a well-oiled machine – and certainly sounds like it – from start to finish.
A beguiling atmosphere. A deliberate sense of urgency. A cacophony of turmoil and finality: blackened Grindcore-meets-crust purveyors Yersin needed only a hair under twenty-five minutes to effectively and enthusiastically encapsulate all of the above mentioned techniques, and then some.
The Scythe Is Remorseless (Trepanation Recordings) sounds as if the Sunderland-based trio recorded seven tracks in the midst of an apocalyptic phenomenon known only to them. The sound bites and pierces; the vocals pummel and decimate. Together, it’s enthralling.Continue reading →
For quite some time now, but arguably in the last few years especially, Transcending Obscurity Records has been one of the most consistently excellent champions for new, exciting and often innovative extreme metal acts, both in quality and in the sheer volume of their releases. Continue reading →
Labeled as a Melodic Death Metal band, Cariosus instead is better defined as a melting pot of exquisite musical elements. Though that descriptor may not sound as flashy or attention grabbing, bear with me (it’s worth it). Will, Until Beauty (Self-Released), the duo’s first full-length, meshes deathcore, metalcore, tech-death and even some progressive techniques while boasting eight thunderous – thunderous – tracks.Continue reading →
What Domination Campaign, a duo comprised of Psycroptic bandmates Jason Peppiatt (vocals, guitar, bass) and Joe Haley (drums), have tried to do with A Storm Of Steel (Prosthetic Records) is craft a Death Metal record that reveals the perils and horrors of war (World War II, in particular) in a way that is less sensationalist, and more raw and real.Continue reading →
Atlanta-based Alluvial hit the scene running in 2017 with their independently released full-length debut The Deep Longing For Annihilation, a wholly instrumental Death Metal record which caught the ears of the mighty Nuclear Blast Records, who subsequently snapped them up for their follow up Sarcoma in 2021. Continue reading →
Symphonic Metal master Christofer Johnsson assembles and commands the latest Therion line-up for Leviathan III (Napalm Records), another epic, bombastic concept album that will have fans of this kind of thing rocking in the aisles, or whatever it is opera fans tend to do in similar circumstances (frocking in the aisles?!).
Non-aficionados will admire the abundant technical excellence but might find themselves worn down by the too sweet, lightweight method and approach, the continuous faux-classical bombardment and the sometimes awkward melding of scatter-gun references and influences (not least in the lyrics).
The strategic mix of the metal and the classic, throughout history, can often be problematic, even jarring. But the long-running Therion, following up directly here on Leviathan I and II (2021 and 2022, respectively), succeed in a more-or-less comfortable marriage of the bright fairytale lights and the darker doom, the beauty and the beast.
Much of the musical glue that holds it all together comes from Johnsson’s keyboards, but it’s the guitars (Christian Vidal) and the main man’s ambition in composition that really shine through.
Vocals range from Viking-style war chants to soaring female operatics (Lori Lewis), with geetar sounds veering from acoustic filigrees (“Ruler Of Tamag”) to electric chugalongs, melodic lead breaks and energetic riff riots (see “An Unsung Lament” and “Ayahuasca”, for example).
There’s also pop among the pomp, singalong and chantalong bits with strong hooks as Swede Johnsson sprinkles in echoes of the spectacularly successful, smooth and satisfying Abba-metal of countrymen Ghost as well as more straight-ahead power metal and melodic prog.
But despite moments of genuine doom and some death growling, Leviathan III can, at times, be too mild and mellow, saccharine and schmaltzy, tunes fit for backing Disney animation rather than proper Wagnerian guts, glory and apocalyptic passion (the images in my head of Elmer Fudd squalling “Kill the wabbit!” in Chuck Jones’ Warner cartoon classic What’s Opera Doc? are surely not what Johnsson had in mind).
The accompanying lyrics are something of a classical, mythological and religious ragbag, referring to generic chaos, the abyss, Babylon, “children of both wrath and all revenge of the deep”, not to mention brother killing brother, Latin warblings, Bacchus, Freja, Thor and Odin, spiritual revelations and a “nightingale in the shadow of your mind”. Profound or what?
The vocals (Thomas Vikström is the lead male singer) that open “Maleficium” recall System Of A Down – echoes of the superior voice of Serj Tankian are cast up several times throughout the album – before mellowing out like most of the rest of the material. “Maleficium”, though, is still one of the album’s signature highlights, along with the aforementioned “Ayahuasca” (the longest track at almost eight minutes).
“What Was Lost Shall Be Lost No More” achieves a certain intensity that several of the other songs lack, while “Duende” opens acoustically and atmospherically, the flamenco-style intro a welcome diversion. Then the operatic, neo-classical assault takes over once again.
Climactic Norse-fest “Twilight Of The Gods” opens with a Tony Iommi-esque droning riff, promising much, but then delivers more of the same formula and a martial, marching beat leads the way to the drum-driven finale (Sami Karppinen on the skins).
Performed live, with full orchestra and choir, Leviathan III might be a different and more impressive beast, but that remains to be seen, and heard.
The old Symphonic Metal lark obviously takes some courage, such are the potential pitfalls, not to mention logistical demands, and Johnsson is to be congratulated again for significantly adding to Therion’s already 35-year legacy. If his reach exceeds his grasp, on this evidence, it’s certainly not for want of trying.
The sun hides earlier every damn day and Mariah Carey has escaped the casket she stays in all year long! That means Winter is coming, the holidays are nigh, and so is the end of the year! The Steev and Keefy Power Hour is back for one last tussle! Senior Editor Steve Tovey joins Chief Editor Keefy, to discuss the month in Rock and Metal releases. They recap the releases for November 2023, and preview the last gasp of 2023 with December’s new heavy sounds. We also announced the November and December Albums of the Month from Ghost Cult, as voted on by our staff. And we debated terrible Christmas songs, vinyl collecting and more!Continue reading →
Thermal count is rising in perpetual writhing, the primordial ooze of albums continues, and the sanity they lose choosing their favorites of the year. Awakened in the morning, to more ear-pollution warnings…
Now I can only laugh, as I read our epitaph – we end 2023 with cheer, in the light of our Albums of the Year.
After such a fine introduction to the albums that have soundtracked our 2023 (Part 1 – 75-41), we now get into the belly of the beast and plunge on through the never, a testament to the diversity and abundance of alternative and heavy music that availed and impressed us this year.
So, without further ado (fewer words, more riffs…)Continue reading →
