by Chris Wheeler | Sep 23, 2013 | Critiques, Critiques d'Albums
Orphaned Land
« All is One »
Century Media Records
2013
The great thing about Metal music is the energy, the rebellion, its youthfulness and its ability to include unconventional influences, like folk, classical and/or sounds from foreign vistas, to brilliant effect. One such Metal act that has progressively pushed these “foreign” influences is Israel’s, Orphaned Land. From the past excellence of the Arabic Norra El Norra (from The Story of the Three Sons of Seven) to Sapari (from The Never Ending Way of OrwarriOR) Orphaned Land have recorded an album that brings these past ideas to full fruition and in the process have perhaps forgotten their metallic roots.
Five albums in since 1993, All is One finds Orphaned Land reaching even further into melodic territory. Perhaps their most accomplished and ambitious, the album’s “maturity” sees songs that are awash in rich orchestral flourishes, dramatic choirs and melodies that could soothe a baby to sleep. But is it Metal? Yes. Well…somewhat.
First song and title track, All is One showcases what is best about the Israelis, great songwriting endowed with extended guitar solos, drama and uplifting choruses. Middle Eastern guitar work helps build the tension in songs, The Simple Man and Through Fire and Water, a song that recalls the best Orphaned Land had to offer on their past albums: guitar riffs, female accompaniment and Kobi Farhi’s signature growl. Brother is a warming, string driven ballad that recalls the Biblical tale of Cain and Abel, while Shama’im continues the theme in yet another beautiful ballad sung in Hebrew and Arabic about the Great Flood (Old Testament, Genesis 7:10).
The problem with All is One lies in its penchant for too much maudlinism. The verses in most songs are semi-aggressive while the choruses don’t capitalize on the potential to be fierce! Too much orchestration drive the album replacing the guitars as the focal point in most songs, like The Simple Man and Let the Truce be Known. There simply isn’t enough “bite” or vitriol on All is One and while Farhi’s vocals are determined, his death vocals only appear once!
Simply put, as fantastic an album as Orphaned Land have released here, the “adult contemporary” aspects far outweigh the metallic venom they have been known for in the past. For fans of their earlier endeavors, All is One may disappoint, but for listeners open minded enough to appreciate this, along with their Barry Manilow records, this might be for you!
Standout Tracks: All is One, Through the Fire and Water, Shama’im
8.5/10
Chris
by Chris Wheeler | Sep 12, 2013 | Critiques d'Albums
Battlecross
« War of Will »
Metal Blade Records
2013
Hailing from Michigan, U.S.A, Battlecross are poised to challenge other melodic, thrash/death bands in sheer ferocity and abandon! Fourth album into their career, “War of Will” sees the quartet more focused than ever in a milieu already overflowing with similar acts.
Known for being a tour de force live, Battlecross have penned an album that is perfect for a “runaway pit” and will no doubt see rabid fans break their necks in aural ecstasy. Out of the gate, “Force Fed Lies” sets the tone for the rest of the album with its melodic hooks and rampant double bass assault. Clocking in a mere 3:20 seconds, most of the album contains short blasts of energy with enough venom to satiate fans of the “As I Lay Dying” or “All That Remains” ilk. In fact, Battlecross indulge in heavy thrash riffing with subtle nuances of Metalcore and Bay Area guitar solo finesse.
With all the similarities to other bands “trending” right now, Battlecross do add flourishes that set them apart from the pack. “Get Over It” and “Beast” feature fast rhythms that will inspire mayhem live but bring the pace down to a slow crawl, as well, to add varying dimensions to their well-tread blueprint. Standout track, “Flesh and Bone” may reference older In Flames, but does veer off the path with an interesting neo-classical guitar bridge that segues into the main solo.
For all its splashes of uniqueness, “War of Will”, comes across as an album that exhibits potential but may find itself buried beneath mounds of other bands playing similar melodic thrash with extreme vocals. Though Battlecross do write songs that many will “lap up”, the compelling elements are few and far between, sadly. What may be left at the end of the day, is another generic album of typical thrash riffs, double bass propulsion and ideas that have been explored many times before.
Standout Tracks: “Never Coming Back”, “Flesh and Bone”, “Beast” 7/10
by Chris Wheeler | Août 29, 2013 | Critiques d'Albums
Valfreya
« Path to Eternity »
Maple Metal Records
2012
Avec leur premier LP, le groupe québécois Valfreya nous offre un album de métal Folk qui est définitivement une surprise sur la scène métal de la province, surtout venant de Montréal! « Path to Eternity » emprunte certainement beaucoup aux groupes européens du même acabit, mais on y trouve aussi des influences Black métal et on ne doit pas être trop loin de la vérité quand on les compare à Arkona (Moscou), dans le son et l’exécution.
L’album démarre et se termine par des pièces instrumentales. La première, « Path to Eternity », ouvre habilement le disque avec une orchestration symphonique et du spoken words pour mettre de l’ambiance, tandis que la dernière, « Glorious Death », reprend l’idée, mais sans narration.
Entre les deux, « Deity’s Grace », maintient la qualité symphonique tandis que la voix de Crook danse à travers des mélodies magnifiquement structurées et qui foncent à travers le chaos Black métal. À mi-chemin, le groupe sait vraiment comment faire baisser la tension jusqu’à une sonorité Folk sereine, ce qui ne fait qu’ajouter à la diversité que le band peut offrir à l’auditeur.
« Inferno » présente le groupe dans un état d’esprit plus sombre avec ses chants menaçants qui peuvent être entendus en arrière-plan, pendant que les bass drums enragés propulsent la fureur de la chanson juste avant d’atteindre un solo de guitare fantastique qui est clairement le ‘héro’. Ici, Valfreya nous présente une affinité beaucoup plus en ligne avec le Black métal que d’autres groupes partageant le même style qu’eux, comme Nordheim par exemple, et adhère à une approche plus apocalyptique .
Sûr d’être un plaisir pour la foule en show, « Beyond Illusions » démontre une nouvelle fois le penchant de Valfreya à essayer de se distinguer avec son intro médiévale, son approche acoustique et les voix cristallines. Son rythme mélodique prend progressivement de la vitesse, juste avant de redescendre vers un retour à l’acoustique à la fin de la chanson. Valfreya semble maîtriser l’écriture de chansons qui font vibrer l’auditeur, en particulier avec « My Star Everlasting », qui présente des back vocals qui sonnent quasiment comme une chorale!
Avec tous ses éclats de brillance, le problème principal réside dans la production. Sur la plupart des chansons, les guitares et éléments symphoniques sont mis en évidence, ainsi que les chants et les drums. Cependant, ce qui n’est pas entendu, c’est la basse qui laisse les chansons avec une sonorité vide et en manque de basses fréquences. De la basse est audible sur « Confront Immensity », mais elle résonne davantage comme un « gargarisme » que d’une couche lourde nécessaire pour pousser le band comme il se doit.
Peu importe, Valfreya a sorti un album très efficace avec « Path to Eternity » et expose toutes les belles qualités de Folk et Black métal. Bien qu’il y ait des réserves mineures au niveau de la production, l’album va rejoindre beaucoup de fans avec son charme, ses rythmes agressifs et sa polyvalence! Il a juste besoin de sonner plus lourd…
Tracks mémorables: “Deity’s Grace”, “Inferno”, “Beyond Illusions”, “My Everlasting Star”
(Des copies sont disponibles chez Profusion Metalstore!)
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Being their first full length, Quebec’s own Valfreya have unleashed a folk metal album that is a definite surprise in the unique and scarce genre of the province’s Folk Metal scene, especially coming out of Montreal! “Path to Eternity” certainly owes a lot to the European bands of the same ilk, but also displays commonality with Black Metal as well and wouldn’t be too far off the mark in comparisons to Moscow’s Arkona, in sound and execution.
The album is bookended in instrumentals. The first, “Path to Eternity” cleverly opens the record with symphonic orchestration and spoken word dialogue to set the mood while the closer, “Glorious Death”, reprises the idea though without any narration.
In between, “Deity’s Grace”, maintains the symphonic quality while Crook’s vocals dance through beautifully sung melodies and charge into blackened chaos. Midway, Valfreya certainly knows how to bring the tension down to serene sounding folk that simply adds to the diversity the band can achieve.
“Inferno” shows the band in a darker state of mind as menacing chants can be heard stalking in the background while the rabid double bass propels the song’s fury along to see a fantastic guitar solo be the “hero”. Here, Valfreya display an affinity much more in line with Black Metal than perhaps, other like-minded bands, like Nordheim, and adhere to a more frantic and “apocalyptic” agenda.
Sure to be a crowd pleaser live, “Beyond Illusions” further demonstrates Valfreya’s penchant for distinction with its medieval sounding intro, sweeping acoustics and pristine vocals. Its melodic rhythm gradually picks up speed only to come down again, returning to the acoustics to end the song. Valfreya really knows how to write songs that move the listener, especially on “My Everlasting Star” as backing vocals almost sound hypnotically choir-like!
With all its sheer brilliance, the underlying problem lies in the production. On most songs, the guitars and symphonic elements are emphasized as well as the vocals and drums. However, what isn’t heard is the bass, which leaves the songs sounding empty and in need of serious bottom end. Some bass is audible on “Confront Immensity”, but it resonates more like a “gargle” than of a heavy layer needed to push the band’s weight.
Regardless, Valfreya have assuredly released a prolific album in “Path to Eternity”, and exhibit all the finer qualities of Folk and Black Metal. Though, while there are minor production problems throughout, the record will score many fans with its charm, aggressive rhythms and versatility! It just needs to be heavier.
Standout Tracks: “Deity’s Grace”, “Inferno”, “Beyond Illusions”, “My Everlasting Star”
7.5/10
by Chris Wheeler | Août 26, 2013 | Critiques de Shows
As the air cooled and the sun set, rabid Black Metal fans were in for a treat this evening! Five Canadian Black Metal bands were set to unleash Hell in no uncertain terms and as members of Black Empire shuffled through the venue already in corpse paint, this couldn’t be understated.
Anticipating the onslaught of the evening’s Black Metal contingent, eager fans gathered in front of the stage to witness Montreal’s, Frostbite, the perfect storm to commence the occasion! Their brand of melodic black/death translated well live and despite having a minor glitch in sound early in the set, guitarist, Max Allard, recovered gracefully, shredding with technique and confidence! While the songs were short, the energy captivated the audience especially in witnessing the drummer energetically wail on his drums! A great performance and sound left those in attendance howling and cheering for more. Their set was indeed, too short.
Quickly transitioning to the stage was Black Empire, a no-nonsense Black Metal three-piece hailing from Rouyn-Noranda, Quebec. Looking menacing and determined, vocalist/guitarist, Audeath, seemed to be prepared for war! A straight-forward aural attack did not leave much room for musical variety or a “rock star” stage presence, but more than adequately got the job done. Surprisingly, being only three members, one would think the sound might be thin, but they’d be wrong. The wall of sound was the perfect catalyst and stark contrast to Frostbite’s melodic leanings, previously. Rabid tremolo picking and blitzkrieg drumming made for an impact that certainly laid waste to the “naysayers”, to which there were none!
Following the barrage of discord, Scum Sentinel were next to plunder! Blending their interpretation of black/death, the band displayed an enthusiastic camaraderie as guitarists, Strident S. and Ekinox seemed to play off one another in a show of musical fortitude! Being that the melodic parts were catchy and hummable, Scum Sentinel DOES know how to get the head banging, especially on “Roadkill Barricade, a number sure to leave neck’s aching for days! A definite highlight of their set, the song includes a dual guitar harmony mid-way through and almost has a “punk/rock” quality to it. Ever the “comedian”, vocalist, W. Solstice, had them “rolling in the aisles” with his song introductions, “Ok, la prochaine tune, ça parle de Satan” for every song played! “Silent Invaders” had a very Celtic Frost vibe and was similar in guitar ideas to “Circle of the Tyrants” while their cover of Darkthrone’s, “The Claws of Time” was an immediate surprise and joy to hear! The only band who had thus far garnered a noticeable pit, Scum Sentinel combined diversity and fervor in equal measure!
Ontario’s, Will of the Ancients, mounted the stage a little green following such an act. Technical problems made their initial impact waver slightly, but no sooner had the difficulties subsided, did the band roar through a set that left many nodding their heads in approval and surprise. Songs soared between rhythmic foot tapping and all out aggression and at times included traditional metal soloing with chaotic guitar patterns. A keyboard was present on stage but wasn’t used very often, if at all. However, the keyboardist provided inspired growls and clean vocals that added an epic quality to the mayhem. As it was, the stage did not allow for much movement, although the band did their best to maneuver along with the riffs and song tempos, especially on the closing number. Here, the band impressed with majestic flare along with a morose feeling aided by dual guitar riffs. With a set full of surprises, the in between song banter/introductions might need more fine tuning as the vocalist/guitarist seemed to be tongue tied at times. Despite this, Will of the Ancients is a deserving band to watch more closely!
The final band to hit the stage, Eclipse Eternal, from Toronto, Ontario, gave a performance that was awe-inspiring and haunting, reaching new heights in dramatic theatrics. Vocalist, Voldamares, struck an imposing presence with the multi-faced mask he wore during “Infected with Human Disease”, a song that is both grim and merciless! Eclipse Eternal’s sound and performance was the most accomplished of this evening’s line-up. Rich, haunting keys filled in the empty spaces, particularly on “The Black Abyss”, which included an emotional guitar solo to wonderful effect! “Ode to a Time Long Gone”, began with tribal sounding drum patterns before heading full tilt into a blackened fury, while new song, “Summoning the Negative”, recalled Norwegian atmospheric black metal band, Troll, in its execution of austere keys. A band with no predilection towards conceit, Eclipse Eternal dedicated their final number to Black Empire, to which (that band’s) vocalist Audeath, thrashed and headbanged to every note, ginning evilly from ear to ear! A night that will go down in blackened history for him and many more!
by Chris Wheeler | Août 20, 2013 | Critiques d'Albums
Hidden Masters
“Of This and Other Worlds”
Metal Blade/Rise Above Records
2013
With bands releasing stellar throwback sounds like Witchcraft, Orchid and Blood Ceremony, it’s a wonder why The Sheepdogs and Mumford and Sons get any attention on commercial radio at all! Out of Glasgow, United Kingdom, comes another gem in the “retro crown” and one that will certainly turn heads – Hidden Masters! “Of This and Other Worlds” is Hidden Masters first full length and blasts out of the gate not in heaviness but in incredible song writing and a pension for music emerging from between 1969-1971. Make no mistake, this is NOT a Metal album but a solid Rock record. Hidden Masters blends sounds and feeling akin to The Yardbirds mixed with Cream with a splash of Caravan for good measure.
“She Broke the Clock of the Long Now” opens the album to endow the listener with impressive vocal harmonies and a happy-go-lucky sound that sets Hidden Masters apart from most other “esoteric” bands with the “retro” tag. Extremely memorable are the hooks that one can’t help but hum the song long after it’s played. In fact, most of the songs have this quality. “Into the Night Sky” keeps the momentum going while the Hammond organ drives the rhythm and tambourines dance across the chorus! Even though the music sets a certain mood, the lyrics defy it with “darker” subject matter than what would expect, especially on “See You in the Dark”. Here David Addison sounds morose and expresses a “longing” feeling in his delivery, the perfect counter to the blissful instrumentation.
“Last Days of the Sun” is a clear highlight. Addison’s vocal styling’s are akin to progressive British troupe, Caravan, while the instrumental break uses soft acoustic guitar and haunting chants before returning to a more manic “surf” style guitar riff. Very interesting and leaves the listener wondering where the band are going! “Like Candy” is perhaps the most “emotional” of the record as the three-piece lyrically serenade the listener with an ode to love against the backdrop of playful, jubilant musicality. Listening hard enough, The Doors seem to creep in as well. With so many bands securing themselves a place in the retro pantheon, Hidden Masters bring it all to fruition with “Of This and Other Worlds”. Here’s a perfect example of a band doing their homework and hitting the target era with ease and devotion! “Peace and Love” never sounded so good! Groovy! Standout Tracks: “Last Days of the Sun”, “Like Candy”, “Fall in Line”
9/10
