Tag Archives: Symphonic Rock

Battle Beast – Unholy Saviour

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Ever since Hammerfall brought Glory To The Brave (via Nuclear Blast) by damn near single-handedly re-establishing traditional metal as a valid concern some 18 years ago, the traditional types of metal have existed in a vacuum. While even the most conservative of genres, thrash, updated itself in several directions via the urbanization and gangsterization of a Machine Head, or branched out into progressive and technical fields of your Voivod’s and Heathen’s, traditional metal (a sub-genre incorporating “HM”, Speed and Power Metal) seems happy to regurgitate the same tropes and styles ad infinitum.

I guess the clue is in the tag “traditional”…

Finland’s Battle Beast on their third album Unholy Saviour (Nuclear Blast) tick many boxes of the Speed Power Metal sub-genre confidently, continuing exactly where their second, self-titled album, finished; post-Stratovarius hard-rocking refrains punctuated with pacy Accept-influenced riffing, and peppered with rapid bursts of Pyry Vikki’s double-bass drum hurtle. Added to those ingredients are Noora Louhimo’s vocals, not a million miles away from Sister Sin’s Liv Jagrell (a band that Battle Beast share several aural similarities with) pitching from punchy mid-range to a powerful throaty higher register that give the band their quasi-distinctiveness and a USP.

As the album unfolds, it’s clear Battle Beast have three song types, the Symphonic Hard Rocker, such as opener ‘Lion Heart’, the ‘Freewheel Burning’ Speed Metal anthem of a ‘Speed And Danger’ and the softer, more delicate power ballad, of which ‘Sea of Dreams’ displays subtlety and grace and a softer tone to Noora’s voice, in a track that, while obvious in its dynamic climb, works despite its’ genericises.

With sprinkles of keyboards and dual guitars driving duelling descants, make no mistake the term derivate isn’t always a negative thing as Battle Beast do exactly what they set out to do, and this is a collection of well-crafted Hard Rocking Power Metal songs. The fact that there is nothing novel or innovative doesn’t have to put you off, it’s just a matter of whether you have room in your collection for an album that does exactly what you expect it to, that will share characteristics with several of its bed-fellows and is, ultimately, the very definition of “if you liked this band before, you’ll like this, if you didn’t there’s nothing on here that’ll change your mind”.

 

7.0 / 10

Battle Beast on Facebook

 

STEVE TOVEY


Liv Kristine – Vervain

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Now apparently, this latest effort from Leaves Eyes vocalist Liv Kristine has been sold to us as ‘Ambient doom’. I can safely say that no version of doom has been anywhere near Vervain (Napalm) but within is a sound of some melancholy, despite adding only a touch of gravity to the more expected symphonic template.

Opening track ‘My Wilderness’ houses a sense of despair, lush keys creating a stirring atmosphere while Liv’s heavenly tones are accompanied by haunting backing vocals. The ensuing ‘Love Decay’ features dramatic 80s goth vocals from End of Green‘s Michelle Darkness, adding to the dark pop-rock feel which is given further piquancy by an spiky riff and crashing drums. The title track’s strange synths and gentle but driving beat underpin a gorgeous vocal which is Tori Amos-like at its height: indeed the quirky Goddess is evinced on a number of tracks here, not least in the roughed-up dub of ‘Creeper’ and closer ‘Oblivious’, both full of sparing leads and woolly key fills in the worst traditions of 80s AOR.

It’s a plaintive sound, that largely gothic instrumentation and dark, icicle-drop keys giving the style expected to the Benatar-ish ‘Stronghold of Angels’, which is given a harder edge by a wonderful contribution from Doro Pesch and some heady harmonies. Though devoid of extremity, even weaker moments such as the occasionally feeble ‘Hunters’ are given a little oomph by Kristine’s soaring, crystal-clear voice, full of emotion; the layered backing vocals; and those ‘riff and rhythm’-laden choruses. There’s a hint of Kate Bush also on the edgy ballad ‘Lotus’, evincing a bitter coffee in a lonely Parisian cafe.

There’s an unmistakable air of European rock about it all, even when that riff kicks in, yet it’s emotive despite the clinical over-production and delicious for devotees of heartfelt operatic rock. Liv’s honeyed notes are effortless, even aching on the mournful ‘Two and a Heart’, and overall it’s fairly pleasant though not the sort for rough old me. Catchy, sweet, and choc-full of darkness and melody, it’s Gothic Symphonia with an even softer heart.

6.5/10

Liv Kristine on Facebook

 

PAUL QUINN