Shadowdoom9 (Andi)'s Reviews

I used to listen to Parasite Inc. when I was still into the more melodic bands before switching to the heavier modern ones. After I made that grand move months before the release of their sophomore album Dead and Alive, I forgot all about that band. Fast forward to just a week before this review, when I found out that they switched to a cyber-ish industrial metal direction in their 3rd album. I was shocked. Shocked! ...Well, not that shocked. But I wasn't gonna put it down right away, I'm too open-minded for that.

This German band consisting of frontman Kai Bigler, guitarist Dominik Sorg, bassist Lucien Mosesku, and drummer Benjamin Stelzer, had already unleashed two melodeath offerings since forming in 2007. How well have they done in 3rd album Cyan Night Dreams despite this sudden idea of adding dreamy synthwave to their sound? Well...

The haunting intro "Lithium" already hints at those ethereal synths. Then the destructive melodeath strikes in "I Am" with solid melodies, rhythms, and vocals front and center. The violence burns through a chorus of epic melancholy and speed. The riff-wrath continues in the heavy "First Born". Hypnotic leads sound interesting when mixed together with the vicious screams. The catchy title track is where the synthwave night begins to shine. The clean singing is very effective. A fantastic example of their new direction!

"In False Light" is all about the band's earlier aggression. The wild riff rhythms are in smooth contrast with the softer sections. "Osmium" is another haunting interlude. The raging march of "Follow the Blind" has more in common with metalcore, which is actually perfect for the headbanging crowd.

"Under Broken Skies" is more modern and accessible while staying heavy. Then "Into Destruction" is a solid melodeath track with more of the devastating blasts. The anthemic choruses allow the clean vocals to make themselves at home. "When All is Said" is the album's closing track and the most synthwave-ish track here. But the modern heaviness is still around as expected and ends it all perfectly.

Who knew synthwave and melodeath can go well together in a catchy blend? I certainly didn't before encountering this album. Don't let the electronics in Cyan Night Dreams turn you off. Let them mesmerize you in your dreams....

Favorites: "I Am", "Cyan Night Dreams", "Follow the Blind", "Into Destruction", "When All is Said"

I had a lot of fun listening to Mechina's Acheron, although I probably would've enjoyed it more when I still into highly epic melodic styles of metal, and the second half could've been improved. Today we go further into the epic sci-fi cyber metal world of Mechina by taking on the band's second album, Conqueror. It is the album that expanded upon the one-off story of their 2005 debut The Assembly of Tyrants and turned it into the saga the band is known for...

I find some good material to please my ears, as Conqueror shows the welcoming signs of their evolving sound to come. I should check out the in-between albums Empyrean and Xenon some time. Though what's different from Acheron is the simpler shorter songs instead of the long complex epics. So that's one reason to knock off a half-star.

Intro "Incipient Tragoedia" has some female vocal melody floating over cinematic orchestra. Then the guitars crash in right away in "Pray to the Winds" with its heavy djenty riffing. The guitar and orchestra are never buried against each other, they are in the right balance. A true symphonic blessing! Keep that in mind before this Meshuggah-powered Sybreed-like sound goes a bit downhill. Exhibit A being "Anti-Theist" with its unbalanced atmosphere and vocalist David Holch's poor attempt at clean singing.

"Non Serviam" also has that issue, but the blend of epicness and heaviness overlooks it and makes the song a better standout. Another instrumental composition "[Error 36:48.58/Connection Lost]" has nice orchestra, yet it's easily skippable. Though not as awful as "Internecion" which is the worst, most flat-sounding sh*tter here.

However, it then goes straight to the best song here, "The Iron Law", the perfect soundtrack to a sci-fi boss battle. The lyrics are definitely worth shouting along to, "TOTAL. SYSTEM. FAILURE!!!!" The title track also stands out well, though it can't beat the previous track. Outro "Ad Astra" can almost fit well in the soundtrack to the film Ad Astra, and the melody from the album's intro is reprised.

All in all, Conqueror truly begins a saga and sound further explored in Empyrean, Xenon, Acheron, etc. It's worth some good listening though some tracks could've been improved, and there should've been a long epic (which there actually is in the Compendium edition). Still the band knows what's right when taking their music to the stars....

Favorites: "Pray to the Winds", "Non Serviam", "The Iron Law", "Conqueror"

From First to Last is a band with a few members that have been part of more well-known projects. Rhythm guitarist/unclean vocalist Travis Richter left the band to join The Human Abstract but came back when that band went on hiatus and From First to Last ended theirs. For this album Dead Trees, the band brought in Spencer Sotelo as lead vocalist, a position held on to for the band's first two albums by Sonny Moore, A.K.A. dubstep superstar Skrillex.

Dead Trees brings back the earlier post-hardcore sound, this time heavier and getting close to djent. That and the more melodic aspects gives the album a melodic metalcore direction. Spencer's well-done vocals are a perfect fit here, and I enjoy them as greatly as his work with Periphery...

"Heresy" is a mysterious one-minute intro with its epic orchestral synths sounding almost like they're leftover from a Powerwolf album. Then you get hit by two minutes of killer metallic hardcore "Straight to the Face". The theatrical heaviness continues in "H8 Meh". Then we have one of two singles in the title track, and it's a perfect metallic throwback to the mid-2000s post-hardcore scene embraced by From First to Last and other similar bands.

"I Solemnly Swear That I Am Up to No Good" really takes on the theatrical antics of Ice Nine Kills while Spencer expands his vocal range as much as he had in Periphery's Juggernaut series from that year. "Black and White" is worth listening to as the band fire away with their blend of heaviness and melody. "Back to Hannalei" is a softer ballad, not too far off from the softer tracks of Bring Me the Horizon at that time. "Never in Reverie" exemplifies the more metallic side that reminds me of Bullet for My Valentine and Oh Sleeper, and that I'm definitely up for.

That heavier side continues once again in "2 11". Then "Electrified" has the catchy dance-y pace of Electric Callboy but none of that band's trance-y synths. "I Don’t Wanna Live in the Real World" is another acoustic ballad to wrap up this offering. For the earlier fans, the bonus re-recordings are a successful treat altogether, "Note to Self", "Ride the Wings of Pestilence", and "The Latest Plague". OK, the third one is not as awesome the previous two, but they all still work well.

Dead Trees is the comeback album From First to Last fans need! Well, a couple tracks I don't totally need, but the rest is still great. And as amazing as Spencer sounds there, let's hope the band can make another album in the future with more of Sonny Moore's vocals....

Favorites: "Straight to the Face", "Dead Trees", "I Solemnly Swear That I Am Up to No Good", "Black and White", "Never in Reverie", "Note to Self", "Ride the Wings of Pestilence"

With my recent revisit of Septicflesh's comeback album Communion, I eventually thought "What about their earlier era?" These were the days when Septic Flesh (with a space between the two words) were more focused on death and a bit of the doom of the Peaceville 3, with symphonic synths used more sparsely and only fully displayed in tracks where it's used as the sole instrument. The debut Mystic Places of Dawn shows Spiros Antoniou and co. nicely blending brutality with atmosphere and historical lyrics...

The debut is more melancholic and longer (at a full one-hour length) than most other death metal albums back then, and it flows well when experienced entirely. Simple yet devastating guitars soar alongside crystalline synths in haunting melody.

The thunderous title opener has that deathly speed, though you'll find slower variation in the doomy sections. Blazing soloing plagues "Pale Beauty of the Past" in effective echo. It really does sound beautiful, even though the heavier fans of death metal prefer brutality over beauty. Next track "Return to Carthage" is a return to the heavier side of death metal with barely any of the crawling doom.

"Crescent Moon" is an amazing 8-minute doomy epic with guitarwork ranging from blissful to intense. And there's more of the slow doom in "Chasing the Chimera". The most of the pretty synths you'll get in one of the death metal tracks is "The Underwater Garden".

The fast "Behind the Iron Mask" is an explosive riff monster. It's great that they have the heaviest track deep into the album. It's a well-placed brutal break from the slowness. The most variant track here is "(Morpheus) The Dreamlord" with its slow melodic sections that then lead to a climatic buildup into eruptive blasts. The sonic firepower of the soloing would certainly burn away those slow melodies. Also that track was recorded a year before everything else in the album and had an actual drummer instead of a drum machine to add a more authentic kick to the sound. "Mythos" is the 9-minute two-part finale of nothing but symphonic synths. This was around the time when both Septic Flesh and Amorphis stunned the death metal realm with their synth usage. It's not for pure heavy metalheads, but it's certainly fitting for an epic journey to Atlantis.

So I actually enjoy Mystic Places of Dawn slightly more than I did a few years ago, and slightly more than Communion. As amazing as their debut is though, the mixing is a bit unclear, which is understandable when the band was first starting out. Still it has the right kind of mood to stand out in the rise of the Greek extreme metal scene led by black metal bands Necromantia and Rotting Christ. The album has some impressive writing and it promised an essential future for Septic Flesh and the more atmospheric side of death metal. Best recommended for death metal lovers who don't mind some doom and synthesized orchestration....

Favorites: "Mystic Places of Dawn", "Pale Beauty of the Past", "Crescent Moon", "Behind the Iron Mask", "(Morpheus) The Dreamlord"

I haven't heard of this band from Canberra, Australia before, but let me fill you in right away on what to expect from Alchemist's debut Jar of Kingdom. This is avant-garde/progressive death metal soaring through the psychedelic cosmos! This is the kind of style that's either awesome or too weird to enjoy. In this case, it's the former. Alchemist made an experiment in metal alchemy that has really paid off!

With this incredible debut, I have a great feeling about the rest of their discography. There are so many things that are both expected and unexpected all in one dish. Avant-garde/prog-metal has lots of twists through death and doom here. For newcomers to The Infinite genres, it may sound weird and take some time to digest.

Listeners of the album get the first taste of the experience from opening track "Abstraction", starting with a smooth yet eerie horror movie-ish intro before blasting off into atonal guitars and death growls, to remind some of Demilich without going all-out brutal. Frontman Adam Agius actually damaged his voice while recording that song, hence the rawness of his vocals here. "Shell" is a bizarre when kicking off with twisted ethereal doom, but then we have some fast bass melody and heaviness to stand out. "Purple" is more dynamic in the blast-beats and riffing, blending the psychedelia of Voivod at the time with the deathly hellfire. The cacophonic title track once again has 70s space rock twisted into intricate thrashy death metal rhythms.

"Wandering and Wondering" wanders through dissonant riffing reminiscent of Carbonized and melodic turns into doom/power metal. Then we have an acoustic interlude "Found" sung by Michelle Klemke. "Enhancing Enigma" enhances the sound with oriental psychedelia as the death metal realms continue to range from thrashy to doomy.

"Whale" is a strange interlude with the wailing of a humpback whale in the background, long before Gojira tried something like that in From Mars to Sirius. And there's more experimentation in "Brumal: a View from Pluto" in which deathly blasts have a bit of industrial melody crawling in. It all leads to "Worlds Within Worlds" having some of that Eastern balladry followed by the last bit of thrashy death metal in a progressive epic.

Jar of Kingdom is the massive beginning of a 6-album journey that sadly had to end. Adam Agius would then form a new band, The Levitation Hex, with members of Alarum. Nonetheless, the complex experimentation of Alchemist is a deathly adventure through the dark psychedelic depths of space!

Favorites: "Abstraction", "Purple", "Jar of Kingdom", "Enhancing Enigma", "Worlds Within Worlds"

Presenting, in Living Colour, these funk metal forerunners from New York City! Living Colour has been shaping up the funk metal scene since their 1988 debut album Vivid that includes their Grammy-winning hit, political anthem "Cult of Personality". In the years that followed, even more exposure was inevitable thanks to their more popular tour-mates Guns N' Roses and The Rolling Stones, as well as participating in the Lollapalooza tour on its very first year, 1991.

So what's next? Well, bassist Muzz Skillings left the group before they could start recording their 3rd album Stain. His replacement Doug Wimbish has been known for working with popular musicians like Madonna and Mick Jagger. Bad Brains producer Ron Germain helped show the band's dark heavy side while suitable for the mainstream.

The antiliberal opening track "Go Away" is a crushing start to the album. "Ignorance is Bliss" continues the political pessimism. "Leave It Alone" is a more melodic highlight. Another cool mainstream song is "Bi". Despite not getting enough attention or longevity in their career, great songs like this should never be ignored. It's an interesting song detailing the ongoing dilemma of people's sexuality ("Everybody's messed up with their sexuality") and can motivate certain people to overcome that dilemma and be proud of themselves and their community, maybe even certain characters from children's shows that have expanded the LGBT boundaries. But it might also cause some massive debate about whether this is pro- or anti-LGBT. Quite a tough call. Let's move on...

"Mind Your Own Business" takes some influence from their aforementioned tour-mates, and is not really my business. Then "Auslander" explodes into one of my favorite songs here. "Never Satisfied" is satisfying but can't beat the greater highlights. Another one of them being "Nothingness", which is a ballad-ish funk rock track with ambient symphonic synths, but I can certainly understand how destined it was to be a hit. After that, "Postman" packs a killer punch as the lyrics describe a vicious murderer. Living Colour can certainly take a death metal lyrical concept and twist it up in their usual funk/alt-metal/rock.

The problems this album has that make me think "WT*!?" are exemplified in the weird experimental "WTFF" (the second F stands for "Factor"). Really messing things up is "This Little Pig". Then "Hemp" is a f***ing pointless interlude. Fortunately, "Wall" closes the album by showing you all how this funky sound should really be done. As much as I enjoy Revolution bands from the electronicore of Enter Shikari to the mathcore of The Tony Danza Tapdance Extravaganza, I'm up for a bit of funky alt-metal once in a while.

Stain is a decent funky album with a few standouts, a few mess-ups, and a few in-betweens. Despite its success, the album ceased printing for 20 years due to a lawsuit from the band The Stain, and Living Colour split up due to creative differences. It won't be until a decade after Stain's release when their next offering would occur....

Favorites: "Leave It Alone", "Bi", "Auslander", "Nothingness", "Postman", "Wall"

Neurotech's symphonies can take your soul through a galactic adventure. Wulf knows how to master the art of symphonies as greatly as Hans Zimmer, and possibly also Mozart and Bach, while blending the orchestral arrangements with his usual cyber metal. It's impressive how well your creativity can take you when composing such a piece. The Halcyon Symphony should really be more popular, seriously! The speaker frequency would be greatly enhanced with its intricacy and drama. F***ing amazing!

Favorites: "The Halcyon Symphony" (of course)

Oh wow! After two albums of blending jazzy avant-garde metal with grindcore elements that are too weird to be good, the deathly/thrashy grind has been very much discarded and made this experimental sound even better in their third album Execution Ground. The band consisting of John Zorn (saxophone instead of guitar), Bill Laswell (bass), and Mick Harris (drums) gained more control of their experimentation in these long-a** mighty improvisations...

The lineup show off their powerful talent with occasional guest vocals by Yamantaka Eye, lead vocalist of Zorn's other band Naked City. Oh yeah, Zorn's saxophone is still screechy but more tolerable. And the album cover used in this site is the clean cover as opposed to the original one with the man hung from a tree.

The 3 long improvisations take up the first half of this two-CD offering. I can't really say much about them individually because of how similar they are, but they are perfect for when you wanna chill out in a world of noise (not something I thought anyone would say in a way that makes sense). Then the second disc has ambient remixes of two of those tracks. It's a shame that my favorite track of the trio, "Morning of Balachaturdasi" didn't get the same ambient treatment.

So how does it all exactly compare to those first two Painkiller albums? Well as I've said, there isn't any more of the extreme grind, but those improvisations in the main dish still have heavy strikes, once again bringing out metal from the saxophone instead of the guitar. There are many relentless sections that guide you through the occasional foggy screams, the innovative drumming of Harris, the deep bass pulse of Laswell, and Zorn's saxophone that is, again, excellent and being played well instead of strangled to the bone. This jazzy avant-garde metal sound is so disturbing, it's probably a valid reason for the band's dissolution. Only this time, it's a very pleasant kind of disturbing!

Favorites: All 3 of the main tracks, especially "Morning of Balachaturdasi", though the ambient tracks are great too.

Things get weird once again in Painkiller's second release Buried Secrets. There's more of that tortured screaming saxophone in many tracks and that can get a bit annoying. However, what makes this album better is than their debut Guts of a Virgin is much less of their earlier grindcore, as well as the two longer epics which are the title track and "The Toll". Both rely less on that d*mn saxophone and feature guest appearances by Godflesh, both members with their metal instrumentation and all. You can find a lot in this avant-garde album that's more disturbing than even the goriest death metal around, much more than I can stand....

Favorites (only ones I like): "Buried Secrets", "The Toll"

PainKiller was formed in 1991, one year after the release Judas Priest's 1990 breakthrough album Painkiller. Whether of not this band was named after that Judas Priest release is anyone's guess. The band was known for their strange blend of avant-garde jazz and grindcore, and for the usage of saxophone by John Zorn instead of guitar.

Their most grindcore-ridden album, the debut Guts of a Virgin, originally had an album cover you might expect from some other Horde band, a woman shaven bald and disemboweled. When the album was shipped to the UK, the authorities destroyed all the copies shipped there because of that cover that was against the Obscene Publications Act. The second edition crops that photo to just show the woman's face and adds a disclaimer about the first edition's ban. That's the cover that appears in the release's page in the site (Thanks for choosing that, Ben!).

So this album has the most of the band's thrashy/deathly grindcore side, but when that sounds too screechy and the experimental jazz side is too bizarre with the saxophone sounding so tortured, this jazzy avant-garde grindcore mix isn't a good one. The only track I'm able to not cringe at is the doomy "Devil's Eye" in which the saxophone is used less frequently. For everything else, the weirdness is just too much, and not something I have the guts to explore more of....

Favorites (only one I like): "Devil's Eye"

Swedish violin-fueled metalcore masters Imminence has been gaining a lot more fans with their successful 2021 album Heaven in Hiding. Their growing maturity has pulled them towards their vision to please metalcore listeners with a unique atmospheric sound. Several singles for that album and its deluxe edition have spawned, and they came with immersive music videos for anyone wanting more than just the music experience.

And now they're back with their new album The Black! Despite half the amount of songs having already been released as singles, their great consistency is still on, with heaviness from breakdowns and melodies from hooks. And of course, the violin is what helps them stay nicely different.

As hazy synths rise from the darkness, "Come Hell or High Water" starts off sludgy and melancholic. It slowly builds up with a chorus chanting the song title, and it's not until really close to the end when it reaches its insane crescendo. The hypnotic music then gives way for "Desolation", rolling with fast punches. "Heaven Shall Burn" is a grand highlight, a godly piece of metalcore to enjoy! Another brilliant highlight "Beyond the Pale" attacks with thick riffs and rhythms that fit with the drumming of Peter Hanstrom.

"Death by a Thousand Cuts" is another f***ing banger I'm glad to encounter. The verses of "Come What May" are filled with heavy aggression, which is great for the band's longest song to date. The perfection is knocked off by the odd interlude "Cul-de-Sac". Then "The Call of the Void" is ultra-heavy, with verses of yelling "RAGE! RAGE!!"

The perfection of Imminence's new singles continues with "Continuum", sounding both brutal and beautiful. Like f***ing beyond beautiful! "L'appel du Vide" is not a French version of "The Call of the Void" despite its title and length, just another unnecessary interlude while working as a nice break. The perfect title track is an epic piece of majestic symphonic metalcore! It segues to its similar-titled but translated to French outro "Le Noir" to end it all smoothly.

Imminence is the kind of the band you don't just listen to but rather experience. Let your mind absorb The Black and remember the band's game-changing ways in the metalcore scene. A big impact rising out of the void!

Favorites: "Heaven Shall Burn", "Beyond the Pale", "Death by a Thousand Cuts", "The Call of the Void", "Continuum", "The Black"

The journey of Imminence has taken us through the heavy power of I, the mainstream melody of This is Goodbye, and the in-between of Turn the Light On. The band would take the direction of the 3rd album and enhance it greatly in their 4th, Heaven in Hiding. This is where they have solidified their path and reached their greatest height! None of their previous albums have made it that high up in glory.

Imminence is one of the most anthemic and cinematic-sounding metalcore bands around, thanks to their blend of beauty and brutality, and vocalist Eddie Berg adding in some violin. I can certainly understand the amount of popularity the band is slowly gaining, since they really have gotten better, all the way up to this masterpiece.

The opening track "I Am Become a Name..." starts the album as an ambient synth intro. "Ghost" blasts off with heavy guitars and drums, while the violin floats through in the background. Berg has better screams that in previous albums, going from high to low at ease and making it clearer that this band is basically Architects with violins. His clean singing fits perfectly with the emotional lyrics. With their next song "Temptation", Imminence f***ing rules with their music! My favorite part is the heavy riff at the one and a half minute mark. You just gotta hear how intense the band is in "Surrender". Then "Chasing Shadows" once again balances heavy guitars and somber strings. As dynamic as the instrumentation is, guitar duo Harald Barret and Alex Arnoldsson take the stage with their catchiest riffing here.

"Moth to a Flame" has powerful drumming by Peter Hanstrom, perfectly syncing well with the violin. Next song "Alleviate" has more lightness and sorrow while maintaining what's stylistically important for the band. The strings are toned down in some degree in "Enslaved". And again in "Disappear". Still the fact there's violin at all is enough to make sure it's beyond what you often hear in the average metalcore song. This symphonic taste once again gives me something to love. I absolutely love "Lost and Left Behind"! This is symphonic metalcore that I need more of.

As we head into the main album's final leg, "این نیز بگذرد" (This Too Shall Pass) is an acoustic/violin ballad with clean melodies by Berg. "∞" (Infinity) is just a violin interlude. Then the closing title track perfectly summarizes all the band had to offer, plus a brutal breakdown to end it all. The deluxe edition comes with a bonus disc of many bonus track, started with the wicked "Jaded". The Spanish acoustic version of "Temptation" is fine. And the rest is just acoustic and live tracks.

With that, Heaven in Hiding is the mighty pinnacle of Imminence's career. As they continue to get more popular, they might have potential to light up arenas with their precise theatric sound. Unique elements like violin have established that Imminence is not just your friendly neighborhood metalcore band!

Favorites: "Ghost", "Temptation", "Chasing Shadows", "Moth to a Flame", "Disappear", "Lost and Left Behind", "Heaven in Hiding", "Jaded"

The 2014 debut by Imminence, I is a great offering of violin-infused atmospheric metalcore. Then they made a sudden turn into pop-ish alt-rock in This is Goodbye, stirring up some mediocre tracks and only a couple highlights. With their 3rd album Turn the Light On, the band has returned to the heaviness of the former while maintaining the more mainstream sound of the latter. Better while still bumpy...

You don't usually get to hear the lone violin in most metalcore bands. When Imminence adds that in, you can hear the most clearly in the intro or the bridge. It's all part of the clean side while staying heavy.

"Erase" is the first sign of the more emo-ish alt-metalcore direction the band would take. Good but a little overdone. "Paralyzed" is an amazing track with sweet piano and drums. "Room to Breathe" is also great as it starts slightly soft then the guitars expand into madness. "Saturated Soul" is just sh*tty pop rock leftover from This is Goodbye. Don't expect anymore listening from me there!

"Infectious" is exactly that, from the cool vocal intro. While the clean verses sound so hollow, the choruses are quite big and make up for that well. The violin really fits the heavy sections like a glove, especially in the ending breakdown. "The Sickness" is a re-recording of a non-album single. It's a heavy track with great drums, breakdown, and chorus. How can something be both heavy and clean?!?! Just ask Imminence! "Death of You" is nicely led with violin. It's listenable but anticlimactic with its buildup into nothing. "Scars" is cool yet too poppy for me. "Disconnected" has cool guitar rhythms like a more djenty TOOL. The leads are catchy too, leading up to a nice violin outro.

"Wake Me Up" is a more unusual track. There's too much of the poppy synths that annoy me. Still the guitars and breakdown are something to love. "Don't Tell a Soul" has nice bass as the vocals enter and the instrumentation quiets down to let them shine. Then it all builds up into a cool heavy chorus. The ambient break makes me a little sleep-inducing, though the final chorus wakes me up again before hitting the brakes. "Lighthouse" is the heaviest track on the album. It makes all the soft tracks cower in fear. Holy sh*t, the chorus is so massive! Pretty much everything is so great, with my favorite part being when the violin leads into a huge orchestrated section. That's the epitome of epic ambient metalcore! "Love and Grace" is a sweet piano ballad to end the album, though I'll have to get my metal a** out of there in repeated album listens.

Turn the Light on has songs that connect well and songs that don't, with some potential Revolution playlist entries to come. Adding smooth violin to the dynamic realms of metal is a nice treat. You can listen to this album entirely, but if there's any track you don't like, just skip to the next....

Favorites: "Paralyzed", "Room to Breathe", "Infectious", "The Sickness", "Disconnected", "Lighthouse"

Imminence fans were not expecting a sudden change of style in the band's second album This is Goodbye. They're normally a melodic-ish technical ambient metalcore band, but here they made a detour into pop-ish alt-rock. Not many heavy riffs and breakdowns to be found...

If their debut album I is the band's own Sempiternal (the 4th Bring Me the Horizon album), this sh*t is their own That's the Spirit. H*ll, some tracks sound closer to Imagine Dragons! Despite this different sound not appealing to me, I can't deny the talent and melodic writing this band has. The passion is what I can stand when it all goes down to radio pop sh*t. And this direction being a one-time deal had longtime fans relieved when their next album came out.

Most of the songs are mediocre at best, though the biggest offenders have to be the opening trio, consisting of the title opener, "Diamonds", and "Broken Love". The last of the 3 is the worst, a f***ed-up carbon copy of That's the Spirit, with vocal melodies sounding horrendous. Skipping ahead to the only two highlights, "Cold as Stone" is the strongest one. The riffing sounds so kick-A, and even though the bridge should've led to an earth-shattering breakdown, it's great as-is. "Keep Me" is more melodic while coming out as a modern rock anthem. Vocalist Eddie Berg sounds the best in the chorus.

The album has bonus acoustic versions of 3 of the songs I mentioned above, but those are highly unnecessary, especially considering the album's f***ing pop-ish alt-rock sound. It takes a while for a band going that route to get back on their heavy feet. Bring Me the Horizon didn't regain their heaviness until the Post Human series. Imminence would still have their catchy heavy side in the next chapter of their journey, thus deeming This is Goodbye just a fluke in their path. It's not time yet to say goodbye....

Favorites (only ones I really like): "Cold as Stone", "Keep Me"

Imminence is one of the most unique bands of modern metalcore, sounding more theatrical and atmospheric, and they add in some violin, almost like Architects gone Ne Obliviscaris. If you're looking for how it all began for this band, look no further...

Metalcore songwriting seems to drift away from storytelling and emotion in favor of brutal breakdowns and death metal growls, and Imminence has embarked a mission to restore what was left behind to engage listeners. Diverse power and emotion allows fresh impact on the vicious vocals of metalcore. Their debut I (pronounced as either the letter "I" or the number "1") has energy and passion blended together for Imminence to be the highly unique metalcore/hardcore band they are today.

The violin that starts "Proclaim" might have some listeners confused thinking they put on a My Dying Bride album, but then it explodes into dramatic metalcore, not too far off from The Showdown's 2004 debut instrumentally. With hammer-fists and drum sticks, Peter Hanstrom blasts through "86" alongside talented screams and singing of Eddie Berg (also the violinist) that in turn go well with dissonant riffs and melodies. The lyrics are so beautiful and fit greatly even when screamed. "Every Breath" covers practically every trick in the metalcore book, tricks from bands like Earth Crisis, The Browning (minus the electronic elements), and Bring Me the Horizon.

The earth-shattering "Salt of the Earth" is so energetic, all the way through the breakdowns. Berg doesn't lose much steam when screaming lyrics that can certainly make a novel. The riffing is "Broken Lost" is a bit jarring, though the energy isn't lost. There's lighter drumming in "Du", a more atmospheric track. "The Seventh Seal" is an amazing highlight to please metalcore fans who have been following the band in the 10 years since this album's release.

"Those Who Seek" once again has Hanstrom lowering the speed while staying furious. The metal riffing from the guitar duo of Alex Arnoldsson and Harald Barrett shine in the sky before the bass Fredrik Rosdahl drags it into the earth with an underground breakdown. All that and some stellar harmonies help with this powerful structure. And that spoken verse by Berg is a nice touch. "Last Legs" starts the last leg of this journey with beauty covered in screams. It all leads up to "A Sense of Doubt" which closes the album in soft melancholy from the music that shows in times when Berg isn't using the mic.

All in all, you can find lots of unique creativity from Imminence. Their metalcore/hardcore sound that can go back and forth from harsh to smooth at any time will have listeners wanting more. I'm glad to see the metalcore scene extending into the cold northern lands of Sweden....

Favorites: "86", "Every Breath", "Salt of the Earth", "The Seventh Seal", "Those Who Seek"

The Ghost Inside have had one h*ll of a journey, complete with obstacles to beat and of course, solace to search for. They already made it to album #6, with themes ranging from anthemic motivation to COVID-induced isolation, all in Searching for Solace!

It's often difficult to follow up the perfection of one album, let alone two albums. Searching for Solace comes close to continuing the glory of Dear Youth and their self-titled fifth album. Getting over the trauma of their 2015 bus crash may be challenging, but the emotion spawned from there is let out in their songs for great enhancement. And they have different roads to take in a smooth breeze.

Opening track "Going Under" is a reflective tune with powerful metalcore momentum. "Death Grip" is a crushing track suitable for the mosh-pit, especially in the chorus, "Don’t need a life line, I've got a death grip!" Then we have the broader "Light Years". That song and "Secret" have the downtuned guitars and background synths of Parkway Drive.

"Split" is one of the heaviest and most hardcore tracks the band has done to date. I mean, listen to Architects, Hatebreed, or Knocked Loose, and you might find a lot that song has in common with any of those bands. Things get more accessible in the clean "Wash It Away" with catchy singalong choruses. "Cityscapes" is the most ballad-like song the band has ever done. It is dedicated to vocalist Jonathan Vigil's father who passed away while the band was in Australia during the Get What You Give tour. I'm not into a lot of ballads, but that one is truly moving. "Earn It" has more of the mid-tempo metalcore heaviness of Hatebreed and Upon a Burning Body.

The earlier heavy machinery is brought up again in "Wrath". Same with "Reckoning", which is fine, but it seems like they're trying too hard to look back at their past sound. But hey, they can just be themselves. Finally, we have the superb "Breathless". Just listen to the music and lyrics and let them guide you through. "These days are numbered, so keep on screaming until our hearts break."

For two decades, The Ghost Inside are determined to reign in the modern metalcore scene. Searching for Solace is another solid entry to their catalog. The band will make that their story ain't over and we will have more to look forward to in the future. We have their word!

Favorites: "Going Under", "Secret", "Split", "Cityscapes", "Earn It", "Breathless"

Almost 4 years after The Ghost Inside's horrific tour bus crash, the band made their return from the void with a comeback show on July 13, 2019. The concert was recorded for this live album that was released two years later in 2021, with a physical release another 6 months after. Now let's witness the phoenix rise!

The audience knows a lot of the band's lyrics and are there to accompany vocalist Jonathan Vigil as the band perform, and right from the "Intro", they're already fully prepared and anticipating a fantastic show coming up as they chant "TGI! TGI! TGI! TGI!..." Then Vigil enters the stage and greets "Good evening, everyone", and starts a speech thanking the crowd and introducing the band members before concluding, "Now the phoenix begins its rise."

"Avalanche" has some of the most blazing fire in modern metalcore, already showing that its original album Dear Youth is a solid step up from Get What You Give, and the band would stay in that path for their self-titled comeback album. Then "Unspoken" has well-done gang vocals. "The Great Unknown" is another hard-hitter with driving instrumentation. Only the strong will survive! "Dear Youth (Day 52)" is a mega mood-fitting song for me to love, with some similarities to Crystal Lake, especially the vocals. From the 2-and-a-half-minute-mark onward is an epic breakdown until the end.

The melodic yet drilling riffing of "Out of Control" fits well with more of those inspirational lyrics for the defiant hardcore kids. It segues to the kick-A crusher "Outlive" in which Jonathan Vigil's vicious yells travel alongside the riffing and drumming. Its original album marked the entrance of their current drummer Andrew Tkaczyk, formerly of For the Fallen Dreams. His intense drumming talent really stands out in that track and the more melodic ones later on, even after losing his leg. "Greater Distance" unleashes more aggression. It's all good until the generic breakdown midway through. Although I like breakdowns as much as the next metalcore fan, there's not much different variation, and it ends up breaking the momentum. As for "Between the Lines", I love those brilliant lyrics in that highlight. "Where have the words gone?!" Then "Phoenix Flame" takes the atmospheric direction much further as the band's first ever slow string-filled metalcore ballad. Still we have defiant lines like "It’s a long fall from the top, can you stand it?"

There's more melodic guitarwork in "Thirty Three", though a bit tiring at this point. "Mercy" is an intense highlight paying homage to Metallica's "For Whom the Bell Tolls" in both the atmospheric bell intro and Vigil's subsequent bellow of "FOR WHOM THE BELL TOLLS!!!" Then "Shiner" breaks through the hardcore fire of Comeback Kid with a more metallic spin. "Dark Horse" has awesome cleans and the best chorus here. To be honest, that's what was missing from the band's first two albums that could've made them successful. Those cleans have improved the formula with more variation. Although I enjoy many metalcore albums with only unclean vocals. You gotta thank producer Jeremy McKinnon (frontman of A Day to Remember) for giving The Ghost Inside that clean aspect. "The Other Half" once again has a unique mix of heaviness and ambience.

A lot of what they should've had in their debut is in the next one "Chrono" which I enjoy. "Move Me" continues the scream-along lyrics with a more philosophical theme. The melodic guitarwork continues in "White Light". Then "Faith or Forgiveness" is a memorable highlight and probably the best moment of their comeback show. "Engine 45" almost surpasses that, ending the show as the kind of song you need for any crisis you struggle with. This band is clearly having more fame and glory now. Let us have the bravery to choose our actions, break these chains, and keep swinging!

So to summarize this amazing live experience, most of the songs chosen for the setlist in Rise From the Ashes: Live at the Shrine are some of the best highlights from their first 4 albums. There are really only a couple duds, pretty much all the other songs are golden inspirational anthems. The band really knew how to make their return in full-on modern metalcore grace. Rise From the Ashes is for anyone wanting to hear The Ghost Inside for the first time!

Favorites (two per studio album): "Avalanche", "Dear Youth (Day 52)", "Between the Lines", "Shiner", "Dark Horse", "Chrono", "Faith or Forgiveness", "Engine 45"

It's been a few years since I was last interested in Septicflesh. But that's just my modern heavy side of metal talking. Sometimes I just want to focus on what my metal heart really wants. Right now, my heart is in the mood for melodeath and symphonic death metal. And with that Mayan album I've reviewed making me up for more of the latter subgenre than before, let's see what we got from revisiting Septicflesh's transition into their new era...

Septicflesh was originally formed with a slightly different name, Septic Flesh (with a space between the words). Their sound was originally death metal/death-doom with several orchestral suites. Soon they started combining those two separate sounds into one, and after a few-year hiatus, here we are in their comeback album Communion!

Introducing listeners to the band's new improved sound is "Lovecraft's Death". Not even the earlier heavier fans would fear the orchestration. "Anubis" is a more memorable track starting with clean guitar melody with its Egyptian vibe fitting with the mythology. The title track blasts through deathly chaos as ominous verses alternate with f***ing earth-shattering drumming and background choir. Though it's a little hard to take that seriously when it sounds like Meow Mix (thanks for pointing that out, Rex).

"Babel's Gate" carries the new formula further. Same with "We the Gods", though a bit half-baked while still good. In the next track "Sunlight/Moonlight", there's more positive atmosphere to break up the spookiness. That's what I enjoy here!

Next track "Persepolis" is the longest track of the album and one of the most enjoyable. However, it leads to the worst song here, "Sangreal". I enjoyed this track when I was still listening to this band a few years ago, but now, not so much. The lyrics in the chorus are so cringe, "Sangreal, how real..." It's just way too atrociously poppy when sung. The closing "Narcissus" also doesn't fit too well. It's just straight-up melodeath, which is fine, but not in this album, with only the midsection soloing being its saving grace.

If we can ignore those final two tracks, we have an album filled with emotional greatness that is Communion. Septicflesh have proven their place in the Greek metal league alongside Nightrage and Rotting Christ, and I would recommend this album for anyone up for a blend of epicness and heaviness. Or at least the first 7 tracks....

Favorites: "Lovecraft's Death", "Anubis", "Communion", "Sunlight/Moonlight", "Persepolis"

Mayan is a side-project by Epica members Mark Jansen and Ariën van Weesenbeek. Many of the other members of the bands Jansen is in (including his former band After Forever) are as super talented as he is. Mayan has had a massive powerhouse of musicians of vocalists in their progressive/symphonic death metal albums. And after their starting duo of Quarterpast and Antagonise, here they are again in Dhyana (sounds like the name of someone I once knew)!

I had not followed Mayan since my big switch from epic melody to modern heaviness in my metal taste, and that switch happened just under a year before Dhyana came out. I just can't believe what I missed out until now! The band have sealed their balance between metal and orchestra without extra experimentation. The vocal department shines best from female vocalists Laura Macri and Marcela Bovio. The hauntingly beautiful soprano Laura was a session member for Quarterpast then joined the band full-time for Antagonise. The operatic energetic Stream of Passion vocalist Marcela was a session member for Antagonise then joined the band full-time for this album.

"The Rhythm of Freedom" is a glorious 7-minute opening track with different well-structured layers. Jansen and co. were reinventing the wheel and making it unbreakable. "Tornado of Thoughts (I Don't Think, Therefore I Am)" continues this powerful cauldron. "Saints Don't Die" throws back greatly to Quarterpast with the power metal vocals of Henning Basse, who was with the band since that album but left the band just before the release of Dhyana, while making a few guest appearances. The title track is an odd ballad. Despite being a interesting composition where the two female vocalists shine over classical/acoustic instrumentation, it doesn't seem that distinctive, rather being out of place in between the aggression of most other tracks. Still I like the uniqueness of that soft ballad.

"Rebirth from Despair" breaks the quietness with its soaring blast-beats and riff-wrath, complete with Marcela's serene vocal glory. One of the best and heaviest tracks here! "The Power Process" starts with the clean female singing duo who then rise into a duel with the deathly screamed vocals. Soon it leads to a calm piano bridge followed by a heavy talented guitar solo towards the end, all making things interesting. The 9-minute progressive epic "The Illusory Self" is the best way to summarize all this album has to offer, from the classic riffing to the epic choruses. This should've been the end of the album right there, but it's OK that it isn't, because there's more of the epicness to come...

Another ballad "Satori" consists mostly of just the expressive soprano vocals of Laura and mystical background orchestra. Then we moved into "Maya - The Veil Of Delusion" (I almost thought of that djenty deathcore band and the Cynic song they're named after). The boys just wanna have fun, as the all-male side of the vocal department shine in perfect intensity. Then "The Flaming Rage of God" has some more fury. Finally, "Set Me Free" ends the album as an excellent blazing anthem.

If there was anything that would renew my interest in the progressive/symphonic death metal of Mayan's first two albums, this is it. Dhyana has the best of what I once loved about those albums. I may be a more serious grown-up more interested in modern heaviness, but I'm slowly regaining memories of my epic melodic youth!

Favorites: "The Rhythm of Freedom", "Saints Don't Die", "Rebirth from Despair", "The Illusory Self", "Maya - The Veil Of Delusion", "Set Me Free"

As I try to get back in touch with music from the more epic and melodic metal bands I've been familiar is, Before the Dawn is another one of those bands. Recently, the band reformed along with his side-project Dawn of Solace after founder Tuomas Saukkonen spent some time with his own different band Wolfheart. Now let's look back at one of the albums from the initial run of Before the Dawn...

Soundscape of Silence continues the Dark Tranquillity-esque gothic melodeath sound that reached its height in the previous album Deadlight. The riffs, bass, and vocals fit in the cold production. Honestly, I prefer Saukkonen's harsh vocals more than the clean singing by bassist Lars Eikind. Saukkonen can really pull off his distinct rough voice.

"Dying Sun" would've been a good song, but Eikind's cleans sound awkward and more overly dramatic than melancholic. Deathstar Rising would have more of that before thankfully being absent in Rise of the Phoenix. Next song "Exile" continues that issue, sounding redundant when the guitar leads do their melodic work. "Silence" has better melodic riffing that isn't too far off from The Haunted and even 36 Crazyfists. "Dead Reflection" has some of that great Omnium Gatherum melody.

The more positive "Hide Me" has melodic Insomnium-like leads that would make the song shine well if not for Eikind's vocals. "Fabrication" has some of the crystalline yet heavy riffing melody of Crystal Lake. "Saviour" speeds things up while leaning a bit into Black Veil Brides in the metalcore-ish riffing.

The one song where Eikind sounds good is "Monsters" where he sings in more natural delivery in the soft verses, and it doesn't get in the way of the heavy guitar. "Cold" twists through speedy guitarwork that stir up catchy melody that I enjoy. Then it leads to the "Last Song", my favorite track here and one of the best by the band. The quite intro building up into harmonic guitars in a grand climax has the right sense of closure, without Eikind's poor vocals! The bonus track "Ignite" is a decent piece of melodeath.

After not hearing Before the Dawn in a few years, I made a rather iffy return via revisiting Soundscape of Silence. Saukkonen is the main star here, not Eikind. As interesting as it is to add gothic instrumentation/vocals to melodeath, not all of that aspect is enjoyable....

Favorites: "Silence", "Dead Reflection", "Monsters", "Cold", "Last Song"

Wintersun isn't the only band to make us wait around a decade for part 2 of an album series. Scar Symmetry have their ongoing The Singularity trilogy going on, and Phase II - Xenotaph came out 9 years after Phase I - Neohumanity. It was nice listening to Phase I almost a decade ago, but that's where my Scar Symmetry journey stopped after I began to explore less epic, heavier modern metal. So here's my great return to the world of Scar Symmetry, with a few crooked steps...

Xenotaph feels a lot more like an actual album with all tracks being full songs, twice the amount of full songs Neohumanity had alongside a couple interludes, all the more reason to consider that album the band's own Time I. As a result, Xenotaph's full length reaches almost an hour. Some tracks have wild speed, others have slow tranquility.

Heading straight into the heavy blasting action without an intro, "Chrononautilus" stuns me with the strength the band has maintained after their long hiatus, in the singles that lead up to this long-awaited album. Lars Palmqvist ascends like a neohuman angel with his enigmatic clean singing, in contrast to the demonic growls of Roberth Karlsson. Excellent! The other single "Scorched Quadrant" follows with a phenomenal sound like late 90s In Flames modernized and sci-fi-ed. I probably would've loved it perfectly if the chorus didn't sound too much like Madonna's "La Isla Bonita", along with the cleans not sounding too quiet. I still enjoy it! Then things lighten up in "Overworld", particularly in the chorus, to combat the otherwise negative atmosphere. Next track "Altergeist" has f***ing heavy blast beats.

My favorite track here is "Reichsfall". There's dynamic elegance in the intro before the usual heavy fight and melodic flight. The pace often slows down right before the chorus, losing a bit of dynamic while still sounding cool. The vocals are amazing, but I can't tell the higher notes are real or done with a vocoder similar to Cynic. Either way, that along with the guitar melodies spawn a pleasant Blind Guardian vibe. What a progressive adventure within an adventure! I can almost think of "Digiphrenia Dawn" as combining the modern heaviness of Fear Factory with the power metal of Powerwolf. "Hyperborean Plains" has some guitar fiddling that's almost like the 8-bit synths of HORSE the Band or Machinae Supremacy translated into electric guitar. "Gridworm" drives through the band's amazing talent without needing a break. That deathly gem is filled with some awesome hammering sh*t!

As amazing as "A Voyage with Tailed Meteors" sounds in the title and heavy instrumentation, the production seems a bit raw and empty. "Soulscanner" brings melody and speed up front, almost like Sonic Syndicate on steroids. That's quite wicked and will gear you up for the final epic... The 8-minute title closer concludes this part of the Singularity trilogy, blending their own usual sci-fi melodeath with the extreme progressiveness of Ne Obliviscaris. By the end of this epic, you'll be wanting more from this saga and hoping you'll get it from the upcoming third part.

With all that said, Scar Symmetry still have their strength in Xenotaph. Let's just hope things improve a bit before the 3rd and final part of the trilogy that will hopefully come by the end of this decade. And when it finally comes, maybe it will inspire Wintersun founder Jari Mäenpää to make Time III, but I'm already hoping for too much....

Favorites: "Chrononautilus", "Scorched Quadrant", "Reichsfall", "Gridworm", "Soulscanner", "Xenotaph"

"When all is fire and flaming air. When all is said and all is done. Beneath the ground, and man lies dead. When all the earth is a cold grave and no more brave." It is a quote to remember from this Edge of Sanity track that somehow didn't end up in this compilation despite sharing the same name...

Edge of Sanity is one of the leading bands of Swedish melodeath, though there's never as much credit for that band developing the genre as the Gothenburg trio (At the Gates, Dark Tranquillity, In Flames). When All is Said compiles tracks from all major releases, two per album. The second disc has the two Crimson albums/suites that were shortened slightly to fit in the 80-minute CD limit. The edited versions would later be split into several tracks (not according to lyrical movements) for streaming services.

"Tales" starts the first disc and the song's original album Nothing but Death Remains with a spooky keyboard intro before progressing into raw death metal heaviness. The production is a bit poor, but the track is nice and decent. Something to note about the first minute of "Human Aberration" is how faulty volume control is in the production. The guitars and bass still please me despite the lack of proper delivery. The Unorthodox section kicks off with the diverse "Enigma", which introduces a melodic section complete with clean singing. "In the Veins/Darker than Black" starts slow with heavy riffing, then founder Dan Swano starts growling through the verse with fast drumming. The song keeps switching from melody and brutality before heading into groove/thrash metal followed by blasting black metal. More promising variety than "Enigma"!

"The Masque" has some melodic groove-ish verse riffing that springs to mind melodic death 'n' roll. The Spectral Sorrows is where Dan was really thinking outside the box with his deathly style. "Lost" has some catchy greatness in the structure. The title track of the EP Until Eternity Ends has nice dynamic melody. The gothic singing hinted in The Spectral Sorrows is quite interesting while staying in character with the sound. This different direction is tested out again in "Eternal Eclipse" with more rock-out melody. Having almost forgotten about Purgatory Afterglow after my last listen a few years ago, that album's opener "Twilight" almost caught me off-guard with its synth/vocal intro when checking out this compilation. There is catchy progressive action in the riffing with cool vocals. There's also a bit of death-doom to remind some of Novembers Doom. Then halfway through is a soft spoken passage. "Will we ever meet again?... NO!!!" Then we have "Black Tears", an interesting song relying on clean singing.

We skip ahead to Infernal with the song "15:36" in which Dan explores the bluesy tendencies of his other band Nightingale. One track that barely gets mentioned is "Hell is Where the Heart is" which takes on the usual sound of Edge of Sanity but more melodic. It just goes to straight to destructive riffing and growls without any keyboards or cleans. And d*mn, the soloing is quite killer! On the other hand, "Hell Written" isn't that strong. It's from the only Edge of Sanity album without Dan, Cryptic. Despite that, it twists into a softer Opeth-like bridge without having to be a 10+ minute epic. "Bleed You Dry" is an amazing track with the last bit of the band's strictly deathly achievements.

And now we get to the "Crimson" epics, starting with the first one. It starts slow and doomy in the first two minutes, then speeds up into the fast melodic main riff. Then it quiets down and builds back up in heaviness back and forth, with incredible doomy black metal-ish tremolo near the 8-minute mark. Then the switch from quite to heavy keeps coming until over the 13-minute point with a sinister melodic march, followed by rapid-fire blast-beats and another groove-ish section before f***ing catchy riffing melody close to the 16-minute mark. Now let's skip ahead through the rest of the greatness until 28 minutes in when a softer verse is abruptly cut by one of the greatest screams I've heard in death metal followed by one of the greatest guitar solos I've heard in death metal. After some more speed, once we reach 32 and a half minutes, there's a layered vocal acapella verse before returning to the suite's main riff and the last bit of the heaviness/melody before ending it all right at 40 minutes (originally). And finally we have the 43-minute "Crimson II". This is too massive for me to describe in words, though the best part for me is all that melody between the 3-minute and 6-minute mark.

Anyone new to Edge of Sanity can check this compilation out and explore the different eras of the band. The die-hard collectors might also want this release too. For me, it's a nice throwback to this band I listened to when I was still heavily into melodeath. A solid way to get into all that Dan Swano and co. have said and done.....

Favorites (one per original album): "Tales", "In the Veins/Darker than Black", "The Masque", "Until Eternity Ends", "Twilight", "Hell is Where the Heart is", "Bleed You Dry", "Crimson", "Crimson II"

I really feel like I'm losing my touch with the more epic and melodic metal bands out there. Despite finally gaining enough full-time interest in Amorphis last year and enjoying many of their releases, the enjoyment didn't last long and I ended up back in square one, likely because I'm still hellbent on the more modern heavy bands. I decided that the best way to revisit this band is through this album, Magic & Mayhem - Tales from the Early Years, a 20th anniversary re-recording of songs from their first 3 albums.

The weird yet cool artwork of a gigantic Moby Dick-sized fish (somehow writing that sounds a bit dirty) is a sign of how monstrous the band's earlier material is that has been re-recorded. The songs from their underground debut The Karelian Isthmus are in greater detail. The band stay faithful to the original songs while adding some more guitar soloing, keyboards, and longer sections. Also enhancing the spirit of those tracks is the band's skillful current vocalist Tomi Joutsen. I enjoy his clean singing as well as his powerful growls that allowed the band to revisit some of their roots when he joined the band. And this helps with the mostly solid songs the band has chosen...

The title track of the compilation, which is also the last track of its original album Tales from the Thousand Lakes, focuses a lot on keyboards while keeping the heavy riffing going, fitting well with the name. "Vulgar Necrolatry" was originally a bonus track from The Karelian Isthmus, stemming from pre-Amorphis band Abhorrence. It is one of the most brutal Amorphis songs ever, fueled up by the typical death metal themes of death and rotting in Hell after completing a life of fear. The more doomy parts a bit flawed, but it's set aside by the heavier faster sections. "Into Hiding" comes to mind as one of the strongest songs in Finnish metal, complete with memorable riffs, pounding drums, solid bass, and groovy keyboards. Those enchanting keyboards are displayed the best in "Black Winter Day", as the heaviness lightens up a bit.

"On Rich and Poor" from Elegy has cool melodies and occasional key changes, but it can get tiring after a while, and the vocals can't really keep up with the melodies at times. "Exile of the Sons of Uisliu" still remains my favorite song of the debut. The references to Irish folklore fit perfectly with the Iron Maiden-infused harmonic leads. "The Castaway" is a more unique song with an Egyptian folk vibe. The awesome catchy "Song of the Troubled One" has the best of Amorphis' earlier melodeath sound. You can't miss the dissonant soloing later on in the song.

"Sign from the North Side" is more mid-paced and the riffing doesn't hook you enough, but it still has a great sense of deathly action. Some more of the memorable riffing comes in "Drowned Maid". Then "Against Widows" levels up the diversity. However, listening to that song again, it seems to be missing something. This is fixed in the grand finale "My Kantele". The sorrowful lyrics really detail the emotional magic from the Finnish instrument in question ("Its strings gathered from torments, and its pegs from other ills. Truly they lie, they talk utter nonsense... So it will not play, will not rejoice at all. Music will not play to please.") The vocals work well with the guitars and keyboards. The track is basically extended into an epic as the heavy version is combined with the acoustic reprise for a memorable climax of harmonic leads. Beautiful!

If we ignore the bizarre stinker cover of The Doors' "Light My Fire", we have a special album made for Amorphis fans curious about what their earlier material would sound like in the new era. The original charm can't be totally restored but they've done well in revisiting the earlier glory. Anyone new to the band can check this album out to see if they feel up to exploring their first 3 albums including what I once thought was the perfect duo Tales from the Thousand Lakes and Elegy. The die-hard collectors might also want this release too. For me, it's a nice throwback to their young wonder years. Not essential enough to fully return to listening to this band, yet something magical....

Favorites (two per original album): "Into Hiding", "Exile of the Sons of Uisliu", "Song of the Troubled One", "Sign from the North Side", "Drowned Maid", "My Kantele"

I'm far more of a music listener and a reviewer than a musician and composer. I've been listening to metal music for over a decade now. I've first encountered Wintersun a few years after the release of the long-awaited Time I, and that album I used to think was one of the most epic metal albums I've heard, despite its short "incomplete" length. As I grew older though, I've realized that my true metal heart lies in modern heaviness rather than melodic epicness. I switched to a more mature appealing path for me...

So what does all that mean? It means my enjoyment for Wintersun is still around, but not as much as in the past. This live album, released on the same day as The Forest Seasons, consists of almost the entire Time I album plus a few tracks from their 2004 debut album. Does all this epic diversity still stand out for me well? Let's find out!

The intro of both Time I and Live at Tuska Festival 2013 is the 4-minute "When Time Fades Away". It is an atmospheric Eastern-style instrumental that sounds quite beautiful. The first full song, "Sons of Winter and Stars" is perhaps one of the most epic-sounding songs in all of metal, to guide you through a complex battle of metal and orchestra. At least I used to think about how epic it is, but listening to this now, it still has grand potential, but it's not as put together smoothly as I once thought it was. Still I can't argue with anyone with saying that's the very definition of epic metal. Nowadays, I consider "Land of Snow and Sorrow" my favorite track from Time I with melodic beauty in the riffing and orchestration. It can please metalheads with its swaying melancholy, and the vocals are in full effect especially in a highly memorable chorus.

Finally getting into the songs from the debut, "Winter Madness" once again pushes the boundaries of blackened melodeath that shouldn't be any problem with the heavier metalheads. "Beautiful Death" has the most of the black metal influences here.

The title track of the Time series, "Time" rounds off Time I quite well. Although not as developed in complexity as "Sons of Winter and Stars", this other epic has more stable structure complete with soloing and epic melodies more tolerable for the present-day me. Yeah, I like it more than "Sons of Winter and Stars" today. Then we have the progressive multi-part "Starchild". Although I enjoyed this a lot when I was younger, it now suffers the same problem as Star One's "Starchild" epic; a bit annoying and pompous, and the song ends better than it began. Probably the weakest track here, but still a suitable ending to the show.

Live at Tuska Festival 2013 is a release I don't enjoy as much as I had when I was a young fan of epic metal. The songs from Time I sound quite epic, but they're not that appealing to the more modern/heavy-focused side of me. And this release would've been better if the songs they performed from their debut aren't the weakest ones from there. Still I don't consider any of this a criminal atrocity. This is bombastic symphonic melodeath/power metal for anyone wanting to hear metal at its most epic....

Favorites: "Land of Snow and Sorrow", "Winter Madness", "Time"

The story of Wintersun is a legendary one. After this stunning self-titled debut album, the founder of the band, Jari Mäenpää decided to make an album so epic and complex that it can be considered the "Chinese Democracy" of epic metal in terms of development. And while the first part Time I was released in 2012, it wasn't until this year (2024) that Time II is finally finished and will be released later this year (2024), plus a massive boxset that includes demos for a planned multi-album series. And it shall continue this diverse blend of the power metal of Rhapsody of Fire, the viking metal of Bathory, the melodeath of Children of Bodom, and the folk metal of Equilibrium!

As ambitious as this blend sounds, it doesn't have true originality. I still enjoy this, don't get me wrong, but as I grow older and my music taste matures, the spark from these kinds of bands is long gone from me, and it is a bit overwhelming hearing so many elements in one plate that I once enjoyed 10 years before this review. Despite the lack of coherence, there's still brilliant creativity. The epic narratives and melodeath rage work well in their respective places when they don't clash heavily into each other.

I like how the song lengths ascend from the shortest to the longest throughout the album, starting with the short yet heavily diverse "Beyond the Dark Sun". There's so much going on in just two and a half minutes in contrast to their longer songs lasting more than 5 minutes. The power metal riffing, neoclassical keyboards, epic narration, deathly vocals, and folky atmosphere are all in here! It's so catchy and will get you prepared for this solid journey that would end with a 10-minute epic. Next song "Winter Madness" once again pushes the boundaries of blackened melodeath that shouldn't be any problem with the heavier metalheads.

Taking a break from the aggression is "Sleeping Stars" which has slower beauty. Kicking off "Battle Against Time" is a two-minute blasting intro. The song itself is suitable for an epic winter battle. "Death and the Healing" shines with melancholic guitar melody in an epic ballad, once again showing a different side of the band as opposed to the fast fury of most of the previous songs.

Then we have the progressive multi-part "Starchild". Although I enjoyed this a lot when I was younger, it now suffers the same problem as Star One's "Starchild" epic; a bit annoying and pompous, and the song ends better than it began. Probably the weakest track here, but strong enough to maintain the 4-star rating for this album. "Beautiful Death" has the most of the black metal influences here. The journey finally reaches its climax in the exceptional "Sadness and Hate" with epic majesty in the music and lyrics. This solidifies the album following the perfect metal storm of beginning and ending with the best tracks. And there are more epics like this to come in subsequent albums...

All in all, there's so much ambitious creativity in this album, but this epicness I don't enjoy as much as I did when I was a young teen due to how overwhelming I find some passages nowadays. As catchy as some songs can be, they could've been better structured. I just hope the time spent on completing the Time series will all be worth it. I'm sure anyone who enjoys the epic power/melodeath/folk metal of Alestorm, Battlelore, and Eluveitie will dig this as much as I did in the past but much more than I do now....

Favorites: "Beyond the Dark Sun", "Battle Against Time", "Death and the Healing", "Sadness and Hate"

People seem to start their journey through the music of Becoming the Archetype with their debut album Terminate Damnation. I, on the other hand, have just started with their second album The Physics of Fire that covers a progressive melodeath sound. And this might just be a newfound favorite of mine!

As you can hear in The Physics of Fire, the band can really put their talents forward and show what they do best. Around then, the band entered the deathly progressive metal realms where Opeth is the ruler, and BTA have something different that is their metalcore influences. Fast technical soloing sears in grace, played by then-lead guitarist Alex Snow. Count Seth Hecox has some pounding guitar rhythms. Bassist/vocalist Jason Wisdom is steady on his unique vocals. Brett Duckett keeps his drumming pace tight.

The drumming already crashes in with the crushing opening track "Epoch of War". Interestingly, it is considered the 3rd part of the album's title suite. "Immolation" has pretty great cleans. The higher-quality "Autopsy" (second track in a row to have the same name as a death metal band) is my favorite here. The lyrics seem to follow the simple yet intriguing Christian theme of faith vs. fire. Although I'm not Christian, those kinds of lyrics are the best for me. "The Great Fall" is the actual first part of the title suite, and it's up to the listeners to decipher the lyrical story based on the arrangement of parts. That's the kind of challenge I like!

"Nocturne" is a nice instrumental intermission. Even when starting with piano and clean guitar, the heaviness that follows can still show the album's sound that combines the epic melodeath of Insomnium and Eternal Tears of Sorrow with the modern progressiveness of Tesseract and The Human Abstract. "The Monolith" has a nice clean jazzy guitar island in the sea of metal. My only major complaint for this song and the entire album is how that clean section abruptly switches back to usual hardcore progressive death sound without a proper warning. I really enjoy hearing a lot of ideas. There's more prominent keyboard usage in "Construct and Collapse", particularly in the intro. The riffing shines the most in "Endure" despite the song's short length.

"Fire Made Flesh", the actual second part of the title suite, has a bit of broken flow in the keyboards, but it still fits better when you hear piano instead of synths. "Second Death" is an excellent track with great potential in the vocals, working well with the brief turn into gothic doom in the intro. The 4th and final part of the title suite, "The Balance of Eternity" perfectly summarizes the lyrical theme of faith vs. fire, connecting well with this progressive epic to bring this glorious offering to a fantastic close.

Now this is the kind of metal sound I need in my life. And it's more than one sound, it's a sound of many sounds! Each song is unique in their own way, thereby proving the amazing talents these guys have. Yet another band has proven that Christian extreme metal is a thing. A fascinating heavy experience!

Favorites: "Autopsy", "The Great Fall", "Nocturne", "Endure", "Second Death", "The Balance of Eternity"

It's no mistake that Hatebreeder (not to be confused with metal/hardcore band Hatebreed) is considered a shining breakthrough for Children of Bodom. Their mighty blend of melodeath and power metal has been put together in place after the incoherent building blocks of their debut Something Wild. That's the kind of sound I enjoyed when I was younger and up to revisiting. The intensity and variation are arranged together for the classic sound of Bodom!

Some might say that the melody doesn't reach its full height until Follow the Reaper, and while that's true, Hatebreeder greatly displays the well-structured interplay of guitars and synths. The devastating drumming and distorted guitars are in almost perfect form for the album's uniqueness.

Sparks fly in rapid fire with "Warheart", a chaotic blast of an opening track that already solidifies where the band stand in the Finnish metal throne alongside Nightwish. "Silent Night, Bodom Night" has a riff that sounds almost like something from the Pirates of the Caribbean soundtrack, and the rest of the song is so distinctly unique. The title track is actually a bit restrained in the vocals and keyboards. Nonetheless, the keyboard ambience and soloing are what makes this sound so unique.

The guitars and keyboards perfectly duel with each other in "Bed of Razors". It's the most melodic song here to get you hooked from the keyboard intro to the catchy chorus, and even some cool surprises in the verses. The melodic instruments really take the spotlight, especially when the keyboard has orchestra-like ambience and killer soloing. Perhaps one of the most memorable songs here, and one I still remember for so long! "Towards Dead End" has an Eastern vibe in the guitars and keyboards, and towards the end, a stroll through an oriental garden turns into a magical battle during the soloing duel. I would've considered "Black Widow" perfect if not for the out-of-nowhere F-bomb.

Then we have the thrashy "Wrath Within", hinting at the band's later direction. The band's own theme "Children of Bodom", re-recorded from an earlier single, has some of the most exciting soloing from this album and band. The harpsichord leading the guitar melody might remind some of King Diamond before unleashing some more complex hooks. Anyone new to this kind of sound needs to concentrate well to hear all the different elements, so you can enjoy it all at its fullest. The melodic "Downfall" shall be appreciated as kick-starting the band's atmospheric side that they had displayed ever since. The deluxe edition comes with two covers, the first being "No Commands" by Stone, a band featuring later Bodom guitarist Roope Latvala. The cover of Iron Maiden's "Aces High" is quite fun, despite the vocals sounding unfitting.

Hatebreeder is a fun album to revisit in an attempt to bring back a bit of melodeath/power metal back into my taste. I can probably also do the same with Follow the Reaper sometime in the future. For now, let's appreciate this innovative addition to the melodeath realm from this band led by the late great Alexi Laiho! RIP

Favorites: "Warheart", "Silent Night, Bodom Night", "Bed of Razors", "Children of Bodom", "Downfall", "Aces High" (Iron Maiden cover)

Since 2017's Mesmer, Northlane has travelled through the alt-metal realm with gradually withering emphasis on their metalcore roots and taking on cyber/industrial metal territory in albums Alien and Obsidian. At the point of this EP, Mirror's Edge, Northlane can be considered more of an alt-metal band with some of their mid-2010s djent, and that's an accurate description for the EP, and then some...

The band went to Victoria’s Yarra Valley to find some creative inspiration and overcome their struggles. It is quite a journey to add more to their stylistic journey! The EP has new elements to go with what they've done earlier, to please fans old and new.

The title intro builds up in synths to lead into the oncoming action of the next track. "Afterimage" is filled with variety, helped out by guest singing from Ian Kenny (Karnivool). That gives the track a more rock-ish vibe while still unleashing the usual heavy attack. "Miasma" has that Obsidian-like blend of electronics and metal, along with another guest vocalist, Parkway Drive's Winston McCall with his own destructive breakdown. "Let Me Disappear" lets rip more of the modern metal greatness. Former bassist and Structures guitarist/vocalist screams his way through the synth-powered "Kraft". Finally, "Dante" has broader electronics while letting it all flow well.

All in all, Mirror's Edge has some amazing fun that can give new fans a nice treat and longtime fans what they want to hear. This is high-quality usage of electronics and metal together. The guest vocalists are quite helpful with the EP's variety. This might be the beginning of the band's next generation!

Favorites: "Afterimage", "Miasma", "Let Me Disappear"

I gotta say, this is one of the most melodic melodeath albums I've heard, and I still think so after not hearing this album for a few years. Fans of the band's earlier heavier melodeath might put it down, but this self-titled 3rd album is the transition between their heavier melodeath and the experimental alt-metal of their subsequent albums...

In other words, this album isn't one you can consider purely melodeath. It's a h*ll of a lot more than that! You can hear those deathly growls and screams, while a lot more clean singing has entered the picture. And with riffing that's much more melodic than dissonant, it marks the beginning of their alt-metal side. Though if you wish to hear just full-on melodeath, it covers a lot of the second half. By letting your mind open up a bit, you can find a f***-ton of greatness hidden in the shadows.

The first track "Queen of Blades" is a great start as it soars through the metal riffing and anthemic choruses. "The Great Pretender" can almost be consider death 'n' roll, but it sounds closer to me like one of the wackier PAIN tracks without any industrial tendencies. Next up, "Shattered Wings" is a smooth alt-metal song with a melodic solo.

"Reload" might remind some of that Metallica album Reload in the rock-on riffing, though the higher screaming and singing might say otherwise. Continuing the alt-metal direction is "Out of Our Minds" with technical guitar fiddling in the intro that then leads to a softer verse. It's a better and listenable song in the alt-metal side. "Deeper Down" once again takes things further into the alt-metal of Dir En Grey and Waltari, and to a lesser extent, Code Orange and Fear Factory de-industrialized. After that, we have "Revolution of Two", a true melodeath anthem that also includes a clean chorus and atmospheric bridge.

"Roadkill" is another killer rocker, though a bit tiring at this point. The two-minute "Pigf***er" has the most aggression here and the shortest length too. The earlier Avatar fans might dig the sh*t out of that one. The perfect melodeath finale is the 8-minute epic "Lullaby (Death All Over)". It is my favorite song in this album and a glorious conclusion to the band's earlier melodeath era.

So the music in Avatar's self-titled 3rd album marks the beginning of the end of their pure melodeath years. The album is quite great, though a few songs could have some kinks worked out here and there. As long as death metal doesn't fully plague your mind, this release is worth good listening and appreciation....

Favorites: "Queen of Blades", "Shattered Wings", "Out of Our Minds", "Revolution of Two", "Lullaby (Death All Over)"

Front Line Assembly and Skinny Puppy are known as two of the most well-known electro-industrial bands. In fact, founder Bill Leeb was originally a member of Skinny Puppy before he left that band and formed this one. His on-off bandmate Rhys Fulber would later produce many albums by bands like Fear Factory, Waltari, Paradise Lost, and Three Days Grace. While strictly just an electro-industrial band, there is one album where they experimented with metal...

Millennium is that album, and a great one too! Their cauldron of samples and beats has been spiced up with riffs and printed lyrics. There's even a bit of hip-hop here that actually turns out well. The guitars in a few tracks are performed by Devin Townsend who would then go on with his band Strapping Young Lad and his prolific solo career.

"Vigilante" kicks things off with some samples and Devin's heavy riffing. It's not as djenty as the riffs performed by Madder Mortem and Meshuggah in the next millennium, but it still sounds heavy as h*ll. The title track helps solidify this release's place in the mid-90s industrial metal triptych between Killing Joke's Pandemonium and Fear Factory's Demanufacture. "Liquid Separation" has some riffing that's almost like Anacrusis at that time, but the synths and beats prove otherwise.

"Search and Destroy" has syncopated riffing has planted a seed for the nu metal genre that would explode into fame shortly after. "Surface Patterns" begins the pattern of the band using samples from songs by other metal bands, with this one using that famous riff from "Walk" by Pantera, followed by "Don't Tread On Me" by Metallica. "Victim of a Criminal" samples "Dead Embryonic Cells" by Sepultura, but it is twisted by Che the Minister of Defense performed some rapping which sounds better than I thought it would be. "Division of Mind" samples another Pantera song "A New Level", and has some more of that Heavy Devy riffing.

"This Faith" doesn't have any guitars, throwing back to the electro-industrial of the band's surrounding albums. "Plasma Springs" once again has metal riffing blended with industrial synths/beats, and I wouldn't be surprised if that's what ignited the spark for Annihilator's Remains. "Sex Offender" ends the album as an 8-minute ambient epic, but it's a bit long and draggy. The samples and the last bit of Devin's guitars are what keep it tolerable.

Millennium has lots of heavy aggression in the both the electronic and guitars, not to mention the occasional hip-hop beat. Any industrial/metal fan should take a stab at this and let the greatness flow in their minds....

Favorites: "Vigilante", "Millennium", "Surface Patterns", "Victim of a Criminal", "Division of Mind"

Although I've just recently sworn off black metal (again), I don't mind revisiting an album by a band that started off as black metal but then became the Swiss leaders of industrial/symphonic metal. I actually like Blood Ritual slightly more than a couple of Samael's industrial metal albums that I reviewed. There's simpler yet more effective production than their debut Worship Him. While their debut has constantly switched back and forth from fast to slow, Blood Ritual focuses on the slower pace more.

The sound is actually pretty clean! Their savage filth from the debut has mostly been cleared out. The music isn't played for shock value, instead opting for simple catchiness in the riffing. They still have their dark side though, appropriately timed in places.

It's interesting how the intro is titled "Epilogue". Unnecessary but nicely leads to the first song. "Beyond the Nothingness" kicks off the simple riffing that you can headbang to repeatedly from start to finish. Then we have "Poison Infiltration" which is a bit weak but has good atmosphere. "After the Sepulture" follows as the best song here and perhaps their black metal era. A remake exists but I prefer the crushing original more. With evil slow riffing and vicious vocals by Vorph, it's a destructive highlight.

"Macabre Operetta" is an interesting song. Dark acoustic and keyboards fade in before bringing in more of the slow guitar riffing. Having originated from the demo of the same name, it brings more life to the vocals, especially in the cleaner production. The title track is also from that demo and has the tight speed of their debut album. If you're here for the fast drums and guitars, congratulations, you found it! Then there's another interlude, "Since the Creation". It leads to "With the Gleam of the Torches", another favorite track of mine here. A catchy intro melody leads to another slow banger of a riff. The cool riffing goes up and down without much sweat.

"Total Consecration" only consists of synthesized piano with varied effects. Though there is a vocal section with lyrics referring to the eponymous blood ritual ready to commence. It then leads to "Bestial Devotion". That song and "Until the Chaos" have nice flow with each other, but they aren't really the best way to end this album. It's still worth listening to for the sake of completion.

Blood Ritual brings evil darkness to a more subtle direction. Their black metal sound here is so slow/mid-paced that I can almost consider it black-doom. Soft ambient keyboards and heavy fist-pumping riffs can make an excellent match. This offering is for black metal fans who can listen to albums like this in its entirety!

Favorites: "Beyond the Nothingness", "After the Sepulture", "Macabre Operetta", "Blood Ritual", "With the Gleam of the Torches"

Once again, I'm in yet another attempt in reviving the heavy/power metal interest I had 10 years ago with some new bands I've discovered, thanks to a new outside-world friend of mine. I finally get the appeal of bands like Grailknights, Beast in Black, and Powerwolf, along with this interesting melodic band from Sweden...

Tungsten was formed by ex-Hammerfall drummer Anders Johansson, together with his two sons, Nick and Karl, on bass and guitar, respectively. The only unrelated member is lead vocalist Mike Andersson. The band has a heavy/power metal sound similar to HammerFall, but with more symphonic/trance influences. One song they go the folk/pirate metal route of Alestorm, and another they test out the NDH/industrial metal of Rammstein. Still, their melody is essential, as heard in their new album Bliss!

Hitting the album hard to kickstart it is the industrial-infused stomper "In the Center". You don't often get to hear heavy/power metal blended with industrial metal, but it's an incredible addition to the band's sound. The melodic "Dreamers" takes on the more folk-ish side of the sound of sounds. Anyone with creative imagination knows the journey through a forest a warrior must take to find his true love. The Rammstein-fueled "March Along" then thunders in. Unlike the more melodic songs, that one's just a straight-on industrial metal march. Nonetheless, it's great hearing this diverse experimentation. Throwing back to Anders' earlier days in HammerFall, "Heart of Rust" has the mid-tempo heavy/power metal sound that band is known for. A bombastic blast from the past!

The swift mover "Come This Way" once again has the experimental heaviness of Rammstein gone Judas Priest. The heavy/melodic blend really stomps along. The folk/pirate metal in this album, I'm not kidding about, because of the next song "On the Sea", an Alestorm-esque anthem with a chorus worth singing along to. A definite highlight and the one song from this band my outside-world friend shared that made interested in checking out this album. The title track shows the band at its darkest and heaviest. It storms through loudly, only lightening up for another singalong chorus to get the live crowd engaged. The incredible power is maintained in "Wonderland", but this time with a different twist compared to the previous track. It's a nice catchy song to almost dance along to and exemplifies what to expect from melodic heavy/power metal. And if you think there would be any more industrial metal after this, these next few songs will prove you wrong...

"Afraid of Light" lets the variation of sound expand more as practically a Celtic jig. You would never be afraid of dancing to the addictive rhythm. "Eye of the Storm" has the majesty of heavy/power metal without any additional details. Lots of upbeat energy without ever resorting into anything different. The 6-minute final epic "Northern Lights" directs everything in the album's sound front and center. It starts with a mellow intro, then makes a slow heavy buildup, leading up to none other than a thunderous hymn. This anthem closes the final curtain with all they've achieved in the album.

All in all, Bliss is a diverse journey through Tungsten's spiced-up heavy/power metal style. If you ever wanna hear all the different styles of HammerFall, Alestorm, and Rammstein combined together, look no further. After you finish listening to this album, I guarantee you'll be up to hearing it all again!

Favorites: "In the Center", "Heart of Rust", "On the Sea", "Wonderland", "Eye of the Storm", "Northern Lights"

What's up, dragon warriors?!? The power metal heroes of the new millennium are back after almost 5 years since their previous album! Well, I wouldn't say everybody would call this band heroes. Some might not like them as much as I and others do. They're basically my heroes because they're the first ever band to get me into metal, and they showed me what power metal should really be; fast tempos and technical soloing added to the genre's usual dose of epic and uplifting melody. The band have just reached album #9, Warp Speed Warriors, and they still have their creativity and speed within.

When lead vocalist Marc Hudson joined the band, some changes were made compared to the ZP Theart era. The songs are shorter and more restrained in length (except for an 11-minute epic), but they've added more adventurous diversity. Warp Speed Warriors sees the band exploring different territories as they did in Extreme Power Metal while not drastically diverting from their usual sound. So expect the usual speed, anthemic power, slight humor, and a cover song more powerful than its original.

The anthemic opener "Astro Warrior Anthem" has the band's signature speedy sound as intended. I'm talking about exhilarating speedy power metal with occasional glitchy video-game noises. Yet another grand album opener that does justice to the band's vision! Then we have the catchy "Power of the Triforce", paying tribute to The Legend of Zelda, mostly A Link to the Past. Having been released as a pre-release album single, longtime fans were considered thinking they were moving further away from their early glory. Nonetheless, it should definitely please the live crowd. "Kingdom of Steel", despite its power metal title, interestingly lightens things up as an 80s rock-inspired ballad.

Then we hit earth-shattering speed in "Burning Heart" with its blazing hammering fury, apart from a retro synthwave bridge. One of the most killer highlights here! Then "Space Marine Corp" takes you on a goofy fun Warhammer-inspired space adventure with gang vocals and a drill sergeant bridge. Also the first ever DragonForce song to have a swear word in the chorus?! Likely so! "Doomsday Party" is the first hint at this album, and a perfect catchy singalong single of disco-metal. LET'S F***ING GO!!!

"Prelude to Darkness" is an under one-minute interlude, which sounds cool but I'm not sure it was necessary to separate from the song it segues into. "The Killer Queen" is a killer (pun somewhat intended) standout of upbeat speed and melody like many other songs by the band. The final part of the non-CD edition, "Pixel Prison" is a true grand experience of every old and new thing the band has done, with some of the most adventurous ideas the band has had to date, all while guided through lyrics inspired by video games in general. EPIC!! The CD edition has a neat metalized cover of the Taylor Swift hit "Wildest Dreams". It still can't beat the previous album's Celine Dion cover though.

The deluxe edition comes with alternate editions of several tracks, the first 3 of which have guests; "Astro Warrior Anthem" featuring Matt Heafy (Trivium) singing the verses and Nita Strauss performing her own solos, "Burning Heart" featuring Alissa White-Gluz (Arch Enemy), and Doomsday Party" featuring Elize Ryd (Amaranthe). Talk about a powerhouse of metal guests! And they all perform their roles well. "Power of the Triforce" also appears in the bonus disc, albeit an instrumental version. That's too bad, I was hoping for some guest vocals for that song by Thomas Winkler (Angus McSix, ex-Gloryhammer) and/or Tommy Karevik (Kamelot, ex-Seventh Wonder). I also used to hope for the Beat Saber-exclusive "Power of the Saber Blade" as a bonus track too, but it sounds so similar to "Burning Heart" that it seems redundant and it's fine being left out.

DragonForce still have their strength in the diverse Warp Speed Warriors, but what will happen next? Will their setlist have great updates in their upcoming tour? Will session keyboardist Coen Janssen join DragonForce full-time at the cost of his time with Epica? And will their parody album plan happen? Only time will tell.... Hail the warriors!

Favorites: "Astro Warrior Anthem"*, "Burning Heart"*, "Doomsday Party"*, "The Killer Queen", "Pixel Prison"

*Including guest vocalist editions

Imagine what Fear Factory would sound like if they kept their industrial death metal sound going after Soul of a New Machine. I could practically say that about any band mixing together industrial metal and death metal, but this is for real! Flesh is Heir has the best you can find from this combination these days.

A journey through a band's discography often starts from their latest or first album. It's not usually right in the middle unless you find it out of the blue, whether it pops up or gets recommended to you. Upon discovering The Amenta via their 3rd album, my mind was blown by how perfectly the band could reinvent the industrial death metal of Fear Factory's debut. Other bands have tried it and didn't catch on, but with Flesh is Heir, you know you're in for a mind-f***ing brutal attack.

Bleak doom-ish tremolo melody opens the title track that then blasts off into deathly chaos. "Ego Ergo Sum" has more ethereal yet brutal rhythm haunting like a ghost. "Teeth" takes the industrial vibes of 3TEETH and gives it the Gojira prog-death treatment. Then things quiet down in the interlude "A Womb Tone".

"Obliterate’s Prayer" has gigantic hooks to obliterate anything in the song's path. "Sewer", at some moments, makes me think of Winds of Plague if the symphonic elements where replaced with industrial ones. "The Argument" has more Godflesh influences, particularly in the chorus. "Cell" is a slower track with spooky-a** ambience. But of course, there are still some riff bombs set to f***ing blow you apart.

There's more sorrow in the still chaotic "Disintegrate". Then "A Palimpsest" is one more ominous interlude. "Tabula Rasa" can slice through you like a razorblade in brutal hellfire. A twisted addictive way to head out! And once the chaos stops, you might just feel up to replaying these killer 45 minutes.

Barely anyone can listen to Flesh is Heir everyday, but it can be easy for me to do so. It's pure twisted rage from the deathly depths of Hell that lets you think of the bleak state of humanity. The album flows so well and even the highlights can fit well with one another. It's so heavy that you can feel it like a nuclear asteroid explosion and still live. One of the most brutal offerings in extreme industrial metal!

Favorites: "Flesh is Heir", "Teeth", "Obliterate’s Prayer", "The Argument", "Disintegrate", "Tabula Rasa"

After listening to the perfect Bat Salad EP by High on Fire, followed by a revisiting of one of Grand Magus' albums, I felt up to exploring some more of this intriguing blend of stoner metal with more upbeat classic metal genres. The mind-blowing glory of this mix of sounds strikes again with Snakes for the Divine, a stoner/sludge/thrash metal album featuring a dark twist in the Adam and Eve myth!

This was long before High on Fire won a Grammy Award for the title track of their 2018 album Electric Messiah. They've already had a breakthrough before then by getting signed into E1 for this album after the previous 3 were released by Relapse Records. Now how can Snakes for the Divine be such a divine album for me? Answers to come...

The 8-minute opening title epic greatly displays the talent of these speedy stoner metal titans, including the Lemmy-esque voice of Matt Pike (also the guitarist for Sleep). The stoner/sludge/thrash sound is greatly exemplified in this perfect highlight. Lots of fantastic soloing here! "Frost Hammer" is another devastating thrash highlight. It also has an atmospheric not too far from the earlier sludge material of Mastodon, y'know, the band whom the members first met each other in one of High on Fire's first ever shows. "B****rd Samurai" slows things down with some psychedelic bass by Jeff Matz that would almost have Black Sabbath's "Planet Caravan" pop up in your mind, if not for the heavy stoner metal instrumentation that rules the track.

"Ghost Neck" is yet another song that dominates with a more thrashy sound. An interlude, "The Path" is thrown into the middle of the album. It doesn't really stand out in the album, but being an short instrumental, it doesn't affect the perfect score. It segues to the track "Fire, Flood & Plague", where the verses show Matt Pike expanding his vocal range higher as they gradually get more brutal. The drumming gets harder and more technical in this furious piece of prog-ish thrash. The relentlessness refuses to lower down, and it has stirred up another highlight.

"How Dark We Pray" is another different track, with stoner riffing/soloing as part of the diverse guitarwork. "Holy Flames of the Fire Spitter" spits out some more fast sludge fire in yet another memorable song. The Best Buy edition has 3 bonus tracks, starting with "Mystery of Helm", an awesome fast song standing out with its riffing. The other two bonus tracks are live renditions of "Eyes and Teeth" and "Cometh Down Hessian" from their earlier albums. Pretty great, but not quite fitting the rest of the album.

If you're looking for true heaviness of metal in the crushing riffs in bass, this is it. The genre created by Black Sabbath has reached another milestone in High on Fire's Snakes for the Divine! It's an album of fantastic diversity you just gotta look out for. A perfect metal adventure through the dark side of Eden!

Favorites: "Snakes for the Divine", "Frost Hammer", "Fire, Flood & Plague", "Holy Flames of the Fire Spitter", "Mystery of Helm"

Argyle Park was an industrial rock/metal project Klayton was in between his own two projects Circle of Dust and the more famous Celldweller. The other founder of this project goes by the name Buka. Despite being signed to Christian labels, their dark lyrics and contributions from secular artists caused some controversy in the Christian music scene. Their record label R.E.X. tried to censor a track in the band's album Misguided. Because of all this, the band split up after two years of activity.

Fast forward a few years, the band reformed under a different name AP2, and released a second album titled Suspension of Disbelief. While the poor sales and criticism caused the band to end again, this is one of the most innovative industrial rock/metal albums I've heard. The darkness is what I love!

The album starts with 4 strokes of a piano note to begin "The End", a song meant to signify the end of their earlier Argyle Park era. Then you hear a scream of "I AM THE DAMAGED!!!!" with "DAMAGED" echoed a few times. It then moves into soft slow electronica with samples of two songs from Misguided, "Leave Me Alone" (actually the only metal song in that album from what I hear) and "A Burden's Folly". Then "Heroin Hate" begins the industrial metal momentum. "My Sympathies" is an awesome highlight. Adding some nice touches in the vocal department is Mark Salomon of Stavesacre and The Crucified who sounds almost like Nine Inch Nails' Trent Reznor. There are a little more techno/trance/drum n bass influences here, but I still enjoy it! Nothing's terrible about "A Thousand Terrible Things", a pleasant NIN-esque interlude.

"Silhouette of Rage" has some more industrial rage with vocals by Daren "Klank" Diolosa. I enjoy "A New Wound" having a similar sound to Fear Factory in both the heavier songs, softer ballads, and Remanufacture remixes. "The Red Shirt Conspiracy" actually sounds like an industrial take on the earlier thrash of Voivod and Sabbat with guest vocals by Joel Timothy Bell. My favorite song here is "The Pact". It's a softer industrial rock/metal track with no lyrics, only Indian-style chanting by vocalist Sage. That and the catchy pop-ish tone might remind some of The Prayer Chain, and the song shows actions can sing louder than words.

"Resurrection of the Ravens" is another totally underrated work of art! This is pretty much what Klayton's other projects Circle of Dust and Celldweller sound like, and it goes down as another long-lasting favorite. The techno-dance-rave-like industrial rock/metal sound is killer! Klayton is the writer and singer of that beautiful piece. "Goodbye" is unrelated to a similarly-titled song Klayton recorded as a Circle of Dust demo and later re-recorded as a Celldweller track. The AP2 song is still pretty great though. "The Only Man I Know" actually takes a break from the Psyclon Nine-like industrial sound for more of an alt-rock/metal sound that would actually foreshadow 36 Crazyfists' style at that time, and maybe even Bring Me the Horizon's sound in the late 2010s. "Cold Breath of Sorrow" is an ambient outro of dark pain to end it all. The whispers sound almost like just repeatedly saying "It's all over...", which sadly is after a few more piano strokes like in the album's intro.

Not one other project could attempt to make dark experimental industrial rock/metal in the Christian music scene. It's a risk that caused them to be shunned by the scene, but at least industrial metal fans like myself would have something to listen to a lot every now and then!

Favorites: "My Sympathies", "A New Wound", "The Red Shirt Conspiracy", "The Pact", "Resurrection of the Ravens", "The Only Man I Know"

I wish I had dived into Mercenary's discography a little earlier. They've made a lot of stupendous classics before a 10-year gap. Did the band make a massive comeback in their new album Soundtrack for the End Times (nice title, though far too relatable)?...

Well, the band still have their signature epic melodeath sound with background keyboards. However, they seem to be moving farther away from their 2000s power metal influences, in favor of more modern pieces of groove/metalcore. You might expect that from the fact that the band no longer have half of their classic lineup. The vocals by Rene Pederson make the band sound a little more Linkin Park than power metal. Although everything's a little more simplistic, they do it all with the strength they still have.

"Burning in Reverse" starts the album OK. It shows that melodeath can be bright and modern instead of as dark and doomy as Hinayana. I would definitely want more of the next track "Heart of the Numb" and its guest appearance by Matt Heafy of Trivium. Then comes a true highlight, "Where Darkened Souls Belong". Wow, this another song I can consider the best of Mercenary even after just a week of diving into the band's material. Nothing different, but this 7-minute track is well-structured. From the keyboard intro onwards, you get everything including mighty grooves, the best harmonic soloing here, and a perfect catchy double-chorus. I'll definitely continue playing this as many times as I want, it really strikes like lightning! "Through This Blackened Hatred" sounds as heavy as The Haunted while having a subpar catchy chorus.

"Anthem for the Anxious" is an anthemic standout that is certainly worth your time. "A Darker Path" has a dark blend of heaviness and melody, though it sounds closer to the melodic metalcore of Miss May I, Bury Tomorrow, and Parkway Drive. "Become the Flame" is a more Trivium-like standout, so much so that Matt Heafy should've made a guest appearance here as well, maybe also Devin Townsend. "From the Ashes of the Fallen" sounds like something Atreyu could've done, though it doesn't have any problems despite sounding less impressive in every listen.

"Black Heart, Dead Tissue" is one more beautiful highlight, practically blending together the melody of Unearth, the darkness of Insomnium, and a bit of heavy technicality from Within the Ruins. Then we switch to the thrashy melodeath of At the Gates in "Black Blood Soil", which sounds cool but doesn't add a lot. There's some epic-sounding orchestra in "Beyond the Waves" but it just doesn't match the quality of that other 7-minute epic.

So their new album Soundtrack for the End Times really kicks up the band's modern influences. If you don't mind a bit of the aforementioned bands like Linkin Park, The Haunted, Trivium, and At the Gates, you have good moments to enjoy there. But if you prefer to stick strictly with Mercenary's 2000s classics, you might wanna stay away....

Favorites: "Heart of the Numb", "Where Darkened Souls Belong", "Anthem for the Anxious", "Become the Flame", "Black Heart, Dead Tissue"

Mercenary's 7th album Through Our Darkest Days is another continuation of the band's grand melodeath sound with power metal elements. Apart from the more modern influences the band has been adding since Metamorphosis that seems to reduce a bit of the quality, not much changed. The melodeath riffing has a power metal tone without any of the brutality of their debut First Breath. The heaviness comes from the fast thrash that make the best contrast with the epic melody. More of the addictive melody comes from the superb keyboards of atmospheric majesty that can almost turn their power metal influences into symphonic power metal. And it's fun hearing the melody appearing in both the guitars and keyboards because of how well melodeath bands from other Northern European countries use that aspect. However, unlike those bands that focus mainly on death growls, the band adds in clean singing in perfect balance with the growls, at the cost of bit of the aggression.

Through Our Darkest Days is not their best album but not a bad one either. Their style has a lot of potential, but how they've been using it lately might cause minor damage to what makes them spectacular. Although most of the songs are strong and energetic, the idea of modernizing their power metal-ish melodeath can stir up some conflict in their attempt on staying cohesive. With great strength comes great responsibility, and some differences can be pop up noticeably as the album goes on. The grand epic atmosphere can actually be found in later songs and flows easier than the first few. No matter which songs have better flow, this album shall mark another adventurous addition to their long tremendous career...

Opening track "A New Dawn" charges through with catchy yet heavy groove/thrash riffing and beautiful atmosphere. However, the clean vocals in the verses sound a bit robotic and out of place. Don't worry though, the cleans will sound better later. "Welcome the Sickness" welcomes you to the heavier death growls and blast beats, mixed perfectly with clean singing and riffs of epic atmosphere, ending with wonderful soloing. The title track has more melodic riffing to take you on a melodeath/power metal adventure. With that effective cleans/growls blend, we have another strong highlight.

"Dreamstate Machine" lightens things up with some more of the clean riffing atmosphere. The more brutal riffing and growling is only used for the verses. Similarly, "A Moment of Clarity" is kind of a clean groove track that relaxes on most of the heavy energy while having atmospheric soloing. The album's consistent side kicks in with "Beyond This Night", though the mid-paced melody and atmospheric riffing isn't that great and can't keep up with the strength of later tracks.

The highlight "Starving Eyes" soars through with clean singing and keyboards, as the melodic riffing gives the song the epic power it needs. One of my favorite songs here! "Generation Hate" charges through with a devastating deathly intro complete with bass and drums pummeling through. Despite being cut short for the power metal-ish chorus, that chorus soars along for a solid blend of cleans, riffs, and keyboards. "Forever the Unknown" closes the album as a long epic with the best keyboard atmosphere and riffing as an adventurous end to this great experience. The bonus track "Holding On to Serenity" is OK, though sounding close to early Shadows Fall.

7 albums in and the band is still standing strong. This album may not be their best one, but there are still some memorable songs to enjoy that help them continue this style that not many bands still have today. The power metal elements from the keyboards and cleans help the sound stand out in strong glory with their melodeath side that has all the vicious riffs and growls. Though the more modernized sound cause a bit of an issue, with the lighter moments not shining well. The more deathly metalheads might has some trouble getting the appeal when it comes to the sound going from one place to the other. Nonetheless, if you're up for adventure packed with more melody than brutality, you've come to the right place. Even the darkest days have some light....

Favorites: "Welcome the Sickness", "Through Our Darkest Days", "Dreamstate Machine", "Starving Eyes", "Forever the Unknown"

I am the kind of metalhead who enjoys albums from bands that experiment with changing their sound in each release, except when one of those albums is non-metal. Take for example two gothic metal bands I used to listen to, Paradise Lost and Tiamat. They both started off as death-doom flirting with both sides of the genre in early 90s, switched to gothic metal in the mid-90s, discarded their metal in late 90s, and started bringing it back throughout the 2000s and early 2010s.

Throughout those years leading up to that point, Mercenary made a thrashy melodeath album in 1998 and a string of 4 epic power metal-ish melodeath offerings. The early 2010s is when the band began to take their modern influences to the next level in Metamorphosis. It's pretty great, though it can never beat their earlier discography...

Kicking things off is "Through the Eyes of the Devil", with an intro where the metal instrumentation is really building up. René Pedersen typically performs a more hardcore style of harsh vocals, but he can still do the shrieking and growling expected in melodeath. The chorus is when he starts to sing. Former clean vocalist Mikkel Sandager was a total master of melodic singing when he was with the band, and fans were concerned about if Rene's harsh vocal style would be all that's left in the vocal department. Fortunately, he can sing, almost as greatly as Mikkel. And that's what I enjoy about that track. "The Follower" is good but not really the best. There are nice moments but nothing so interesting. "In a River of Madness" throws back to the band's 2000s awesomeness with haunting symphonics.

"Memoria" is worth lots of listens. Rene once again proves his amazing talent to perform clean and harsh vocals, as bands like Scar Symmetry would. It's quite impressive, considering he can also play the bass at the same time. A melodic standout with nice pace! Mixing heaviness with emotion is "Velvet Lies" with nice melancholy. "In Bloodred Shades" has more of the clean/harsh vocal mix worth listening to. "Shades of Gray" sounds too poppy, especially since it has solely clean singing, common in melodeath albums but considered a sin by fans of the genre. With no aggression, it's just a lame song that would be better suited as a standalone radio single instead of on this album.

"On The Edge of Sanity" can strikes back as one of my favorite songs here. Rene's vocal ability is in mighty display. And even though the chorus is a bit a repetitive, that awesome catchy song can't be put down. "The Black Brigade" has lyrics about how love can prevent suicide. For a love song, I really like that one. The US edition comes with a bonus track, "Incorporate Your Demons", my overall favorite here that should've been in the standard edition. Wonderful All That Remains vibes in that chorus!

Far from their epic 2000s throne but still pretty great, Metamorphosis has a lot of expected and unexpected turns. The lineup can stand strong despite being much different. While some might hate this more commercial sound, I don't mind it. As the open-minded metalhead I am, I take no sh*t....

Favorites: "Through the Eyes of the Devil", "In a River of Madness", "Memoria", "On The Edge of Sanity", "Incorporate Your Demons"

I'd like to once again say that I wasn't fully interested in Mercenary until just a week before this review, despite having heard of this band for many years. I'm not sure why. But no matter the reason, I'm grateful to find some metal classics from this band, such as the fantastic The Hours That Remain. Will they continue to impress in their next album?

Their 5th album Architect of Lies is a sign of a different era. René "Renegade" Pedersen became the new bassist/death growler, and modern influences have started making their way to the usual power metal-infused melodeath sound. And this is the kind of style that should interest my brother who likes the more modern rock/metal bands. Many metalheads take a couple months to completely the greatness of an album into their minds, but me? It only took a quick but thorough week!

"New Desire" begins the album with the band's signature blending of heavy riffing and atmospheric keyboards. The verses are when you hear them use more alt-sounding riffing for the first time, which might turn off metal purists but lure in anyone who can handle modern variety (such as myself). "Bloodsong" has one of the best bridge sections in the album, in which the impressive soloing by lead guitarist Martin Buus will blow your mind and stay in there. At first listen of "Embrace the Nothing", all I can hear is some of the most fascinating work Mercenary has done. It almost sounds like an unused track from The Hours That Remain sessions, with melody of awesome wonders. A superb track that marks my favorite here. "This Black and Endless Never" is where Mikkel sings his best in the destructive heaviness without wasting any time.

I certainly approve of the godly soloing in "Isolation (The Loneliness in December)". That, along with the rest of the track, greatly pleases me. The guitars and keyboards have splendid harmony in "The Endless Fall". In the limited edition, that track segues into the bonus track "Death Connection". If you have that edition, consider yourself lucky. It's a must-have if you want more of the sound the album has to offer. And it actually works well in the middle of the album instead of the end where bonus tracks typically go. The next track "Black Hollow" is another highlight with more of the atmospheric keyboard melody.

Another song, "Execution Style" has killer heaviness while still mastering the pop-ish hooks appearing every now and then. "I Am Lies" has more of the modern riffing that has already caught in other melodeath bands like Scar Symmetry. "Public Failure Number One" has more thrashy variety. Then it ends the album with the last of the keyboards by Morten Sandager before he, his brother clean vocalist Mikkel, and drummer Mike Park all left the band the following year.

With Architect of Lies being the last album for those 3 albums and the first with René Pedersen, it is a transitional album between their earlier epic era and their recent modern era. And that's an awesome blend for anyone wanting both something old and new. Another amazing album any diverse metalhead should get!

Favorites: "Bloodsong", "Embrace the Nothing", "Isolation (The Loneliness in December)", "Death Connection", "Black Hollow", "I Am Lies"