Helstar - Vampiro

Helstar have returned with their tenth full length album titled Vampiro, and at first glance it appears to be a continuation of Nosferatu...appears is the operative word here. If you truly dive deep down into this album, you see that it much more than a "sequel" or, and I despise this term, a "return to form." No, Helstar never lost their form. They may have lost their way in the mid nineties before their decade long hiatus but they never lost their true form. Their comeback, King of Hell, was a great album as were the two that followed. However, Vampiro is a culmination of everything that Helstar has done throughout their thirty-five year career.

From the first notes of this album, you can tell it's going to be something quite special and epic. Eerie sounds with a soft acoustic guitar riff start before a monster riff comes in and you know this album means business. "Awaken Unto Darkness" is the title of this killer opening track. The opening solo, with it's haunting eastern feel, fits so perfect. Halfway through the song it speeds it up with another kick ass riff that is reminiscent of older Helstar. New guitarist, Andrew Atwood, is an amazing fit because his solo on the song smokes with a great tone that compliments Larry Barragan's sound and style. Everything here seems to be falling into place perfectly.

Of course, this is a Helstar album so the real star of this show is James Rivera. His voice has changed little over the years but the changes it has made has only gone to compliment the band. His screams and shrieks have become his signature in their ferocity and his lower "clean" singing voice has only gotten better. He can bring that eerie, dark vibe to the songs but he also has created a way to bring out characters in his voice. "To Dust You Will Become" is a perfect example of how much dynamic his voice has taken on. I've personally known James since 1999 and seen him perform on multiple occasions as well as rehearsals, soundcheck's, etc. Prior to this album, Welcome the End from his Distant Thunder project was my favorite performance by James. This album has turned that all around. He's telling a story on this album and is using his voice, much like King Diamond, to create the atmosphere for the story and the result is just incredible.

The songwriting and the riffs on this album need mention because the opening riff on "From the Pulpit to the Pit" is catchy as fuck and the opening solo just shreds making this one of my favorite Helstar songs. "To Their Deathbeds They fell" is another killer song that seems to hearken back to the old days but is much deeper than that. The riffs are technical on this album and do remind me of Nosferatu but you can tell the modern Helstar elements are their. As I said earlier, this album is the culmination of everything they have done, mixing their modern elements with their classic riffing.

I think the fact that long time knob twister, Bill Metoyer, mixed this album is another factor that should be mentioned. I actually think the production on this album is much cleaner and more defined than on their previous three. At times it even reminds me of Destiny's End's first album. The guitar tone is especially amazing and compliments these songs so well. Combined with the brilliant song writing, killer solos, and James' skill at using his voice to actually put you into this story you get a result that is just brilliant.

As we approach the end of 2016 we start to think about what albums could be in the running for album of the year and this album is truly in the running. I knew it would be a great album just because it was Helstar but I never expected this. From beginning to end this album is pure heavy metal at it's finest. Fans of old and new Helstar can get on board with this album because, at the end of the day, one can not deny great heavy metal.

9.8/10

Megadeth - Dystopia

So Dave Mustaine is back with his newest incarnation of Megadeth. After the last two albums did not sit well with most fans of this classic band, one was forced to begin thinking that Dave was done. Topped with half of the band calling it quits I was left to wonder where would Dave go from there. Once it was announced that highly skilled axeman Kiko Loureiro (Angra) was joining the band on the new album there seemed to be some hope but even then I realized that, even with the inclusion of such a talent, at the end of the day it would be the songs that matter. So when their fifteenth full length, Dystopia, dropped, I was pleasantly surprised with the finished product.

I think the one thing working in Dave's favor here is his decision to allow Kiko and guest drummer, Chris Adler (Lamb of God), to have some creative input into the album. It's apparent because this is a well thought out album with some great moments, even some moments that are not typical of Megadeth's sound but are still great metal nonetheless. The opener, "The Threat is Real," comes out of the gate with a cool Eastern feel before it kicks your ass. The solos are incredible as one would expect from the talent on display here. Then the title track kicks in sounding very melodic with some cool lead riffing. This is not a real heavy thrash song. Instead you have a well constructed heavy metal song that has a lot of power metal elements in it. Kiko's solos are fucking incredible and some of them actually remind me of Marty Friedman. So this is where I begin to think that this is going to be a winner.

Of course you have songs like "Fatal Illusion" that has Mustaine's signature all over it. A fast thrasher with some killer guitar battles going on. I'm not a big fan of Lamb of God or that metalcore style but Chris Adler proves here that he is a pretty impressive drummer, especially on this song. "Bullet to the Brain" and "Post American World" are interesting songs that have some cool grooves to them. Dave's singing in a lower register and almost sounds like Chuck Billy in places on the former and the latter is pretty much one of Dave's pedestals to which to let us all know his political views but in a rather catchy song. It's by this time that you'll discover that the inclusion of Kiko Loureiro into this band was a brilliant idea. I can't mention his solos enough as he just shreds through every song.

The true star of this album is "Poisonous Shadows." This is a complex song with many layers and this is the song that sounds like a true group effort. After a nice clean intro the song get's that Eastern feel to it with the opening lead being so melodic and clean. Then comes the thunder with Chris Adler showing his meticulous timekeeping mixed with some serious skills. The song's darker feel is done with class and skill with the chorus adding to the epic feel of this song with it's eerie melody. This is possibly the best song that Megadeth has done in a very long time.

This album does have a few flaws which, fortunately, do not take too much away from the great moments on this album. "The Emperor" is not that great of a song and could have been left off the album. I have the Limited Edition with the two bonus tracks and you're not missing much here either. "Last Dying Wish" is the better of the two because between the silliness in which he presented the lyrics there's a pretty good tune here. The message is that he did listen to the fans and he's right, this was his last chance for me because one more turd and I would have given up on this band for good. "Look Who's Talking" is one of those songs that gives the Dave haters ammunition. As mature as this album is, this song is an immature attempt for Dave to keep his bad ass image intact, I guess. I'm not sure but whatever the case, I have little use for "I'll kick your ass" songs.

So at the end of the day, it seems Dave has redeemed himself with me, for now. He does seem to have a history putting out a monster album only follow it up with a turd so we'll see what the future has in store. All I know is that this is a really good effort by a classic band and one that caught me by surprise. I was not expecting to like this but I'm glad I was caught off guard. Now let's see how he follows this up.

8.5/10

Symphony X - Underworld

I remember the first time I heard Symphony X. It was their New Mythology Suite and I was blown away. I must have played that album continually for six months. The fusion of progressive metal and power metal was incredible and the musicianship was top notch. However, the albums that followed did not seem to grab me like that album did. And of their previous works, Only Divine Wings of Tragedy seemed to grab me like the Mythology Suite. The musicianship was still there but the songs were not that catchy and did not make me feel the way I did when I first heard this band. With their newest full length, Underworld, they finally brought back that magic that drew me in the first time I heard them.

From the beginning of the first track, an instrumental simply titled "Overture," I was transported back to the first time I heard them. But it being only an intro, I was not getting myself worked up thinking this was the Symphony X I remembered. Then "Nevermore" fills my ears with speed and riffs that just rolled right over me. This song kicks ass and my hopes for this album went through the roof. Vocalist Russell Allen seemed to know how to balance his vocals with some of his signature gruff sounding vocals to some really melodic cleans. As a matter of fact, the chorus of this song is some of his best singing. Clean and melodic it seems he's lost nothing when it comes to his ability to be a world class vocalist. Then comes Michael Romeo's monstrous solo and at that point all was right in the world. If the rest of the album sounded like this then we have a true masterpiece on our hands.

One thing that has always struck me about this band was when they were on they had this uncanny ability to merge melody, progression and aggression without it sounding forced or pretentious. Songs like "Without You" or "Hell and Back" feel almost like ballads in places without being sappy. Instead they come off as epic tracks, especially the latter. What a beast of a song. The intro makes you think ballad but then the verse comes in and you realize this will be much more. The riffing is catchy, the keys are just enough to provide atmosphere, and the chorus is so melodic and catchy. Again, the solo is fucking godly but so much more than just a wank fest. Instead there's feeling and emotion. This song is almost nine and a half minutes but none of it is lost or dragging. Halfway through the aggression picks up a bit and it's at this point that I feel like this song is a musical journey showing all sides of this talented band.

There is no shortage of powerful tracks on this album. "Kiss of Fire" fucking slays with powerful riffing and aggressive speed even throwing blast beats into the song. The keys provide an eerie atmosphere and take the song to a new level. Mr. Allen makes you feel his aggression in his gruff vocals but they are still not overused as been the main complaints of their latest offerings. The solo is as awesome as ever. This is actually becoming one of my favorite songs on the album. In contrast you have "Swansong" which is a real melodic song with nice riffing. The piano is also quite prominent in the song. This is the closest to what would be considered a ballad on the album. There are a lot of emotions on display here and it seems that the title is quite fitting.

I honestly did not know what to expect with this album and I had doubts whether or not I would enjoy this album. Thankfully I was pleasantly surprised. They seemed to hit all the marks and create an album that not only showed their incredible talent but still contain great, memorable songs. Will this album be stuck in my CD player for the next six months? We'll have to see about that....

9.5/10

Tanagra - None of This Is Real

Fantasy themed power metal of the European variety is not something that we, here in the States, are used to. Even more so, there seems to be a shortage of this in the genre altogether since a lot of the European bands that started out playing power metal have abandoned their power metal roots for a more "artistic" approach. In other words, they suck now. To me, there is nothing like some speedy, riff driven power metal with soaring vocals and lyrics about fantasy, history, chivalry, etc. So imagine my surprise when I discovered that Portland, Oregon has been trying to keep this incredible young band, Tanagra, all to themselves. Well sorry Portland. I found them and I'm about to tell the world about them.

I love a band that can be ambiguous when it comes to their lyrical approach as well as the meaning behind their name. The band could be named after an island from the original Star Trek series or it could be named after the town near Athens, Greece where ancient terracotta figurines were found dating back to the fourth century BCE. What I can say about this band is that their music speaks volumes about who this band truly are. Their debut album, curiously titled None of This Is Real, is some epic, riff laden, melodic power metal that is a breath of fresh air to a metal fan like me. Not since my discovery of Noble Beast has an album impressed me like this. Coming right out of the gate with "The Undying Light" we have a speedy intro to the song with an infectiously melodic lead guitar working it's way to the verse. At that point the song the riffs do the talking while the galloping rhythm is the just the perfect hook to make this song stand out. There is some keyboards just slightly in the mix during the chorus to provide atmosphere. The vocals are a nice and clean, very melodic, and remind me of Atlantean Kodex in places. If this song is any indication of the rest of the album then I am in for a real treat.

And what a treat it is because the rest of the album is pure gold. The riffing never lets up and those incredibly infectious melodies never let up. The verse from "Tyranny of Time" is catchy as fuck and the melody of the chorus is even more catchy. There are some gang vocals that seem slightly out of place but they make up for it with the "whoa" choirs that remind me of early HammerFall. The soloing is godly...and that carries a lot of weight with me. The guitar work never lets up whether it's the awesome riffs, the solos, or the harmonized leads, these guys are good. They have an epic side that they pull off quite well as seen on the eight plus minutes opus, "Antietam." As someone who not only loves history but has lived near this historic place and toured the battlefields where so many lives were lost in the bloodies day in American history, this song does it justice in it's lyrical approach as well as in the melodies...enough to give me goose bumps. Starting out with some clean guitars and the snare drum sound that you might hear in a battle of old, the epic dual lead guitars come in and begin the song. The riffs are as solid as always and keep the song flowing. The vocalists emotions are all over this song going from clean to gruff when he gets really emotional. The slower, more ballad sound towards the end is emotional with a clean guitar solo adding another layer of atmosphere. This band knows how to tell a story in a song.

And they don't stop there with the epic sound. "Bitter Earth" is another eight minute epic that never lets up and has enough layers to keep you interested. Some might have issues with the song lengths but these songs are telling stories. A song like the album closer, the monstrously epic "The Path to Talmor" is a song that is telling a specific story and I think that if they cut anything out of it then that would compromise the integrity of the song. I guess my attention span is great than some because these long epic songs are perfect the way they are. Maybe :10:04 Pm" could have been trimmed down a bit but even there it just seems right for what the band is trying to say. I guess that I grew up on 70s prog rock and some of those songs were entire album sides so long songs are just fine in my book...if they are done right. This band is ambitious and this album is proof that ambition will take you a long way. I'm already looking forward to a follow up.

So what we have is a damn fine debut by a band that seems intent on putting the USA back on the power metal map, and that's just fine with me. If you like riff heavy epic power metal then you must get this album. This is one of those albums that, I think, should be a classic one day.

9.5/10

Hæthen - Shaped by Aeolian Winds

Black metal from the USA usually has a target on it's back, and rightly so for some bands but to lump them all into the hipster or post-black metal mold does not do the genre justice. Neither does lumping them into just being Norwegian scene worship bands because there are some bands that actually create memorable and honest black metal without being pretentious or going to the other extreme and being so "bedroom" it's not listenable. One of those bands is New Jersey/Philadelphia based Hæthen. This is a band that actually plays epic black metal with a touch of melody and monstrous riffs. Formed in 2009 they released their debut full length in December and it is a breath of fresh air.

After a rather interesting intro, they come open the album with "Taking the Auspices" and it become immediately apparent that we are actually dealing with a talented band who fuse entrancing tremolo riffs with an eerie atmosphere, creating a feeling of darkness and despair...all the things we love about black metal. Not intent on blasting their way through their songs but instead slowing it down in places to add more to the atmosphere. There's actually a melodic feel to this song and this album even though it's not right in front of you. It's in one of the layers that this band incorporates into it's music. There is even a progressive feel in some of the riffing. they have an epic air to them as well as they have a couple of songs on this album that are over ten minutes long but never lose your interest or become cumbersome to listen to. Instead this album flows between songs to be an album that is complete. "Amongst the Forlorn Larch" is one of those songs and is the perfect example of how this band can pull off epic with excellent hooks and more of those entrancing melodies provided by the riffs.

What I really admire about this band is the consistency in which they can write songs. As I mentioned previously, this album flows between songs as if this whole album tells a story but they allow the atmosphere of the music to tell that story. "Fragments of Spectral Uncertainty" is eleven minutes but only two short verses of lyrics coming at the last minute and a half of the song, but you can still feel what the band is trying to convey. There's a section in the middle of this song that slows down and really reminds me of very early Opeth with how they incorporate clean guitars and an almost psychedelic feel to the song only to fade the metal back in and finish the song with their brand of riffing with the tremolos talking. The title track is an instrumental that, for me, interrupts the flow slightly but doesn't make it take that much away from this album because, even though it does interrupt the flow slightly, it provides the perfect segue for "In Absence of the Eternal" which, when the two are put together, is then you can actually get why it's included where it is.

"Captured Within the Annulus" is an interesting song that starts with a very melodic folk vibe as you hear mandolins but then the tremolos kick right in without missing a beat. That's not the only part that makes this song interesting as there are so many layers to the song that it seems to go in different directions but seem to stay the path at the same time. Once again, this band seems to be able to go off into different directions with each of these epic numbers without ever losing focus on the song itself. They're not biting off more than they can chew. That's a testament of the talent and the abilities of this band. In fact, even though this is an album that should be listened to as a singular unit, I will actually say that this song should be pointed out as a standout track because it conveys everything that makes this album great one song.

So here we have an album that actually can be black metal without having to be singled out as USBM. The country of origin is actually irrelevant here except maybe to give some background to introduce the band. Bottom line here is that this is one impressive release by a band that has piqued my interest into hearing what else this band can do. I'm already awaiting their next album with great anticipation.

9.5/10

Visigoth - The Revenant King

When I reviewed Salt Lake City's Visigoth's 2012 EP, Final Spell, I knew this band would turn out to be something very special. I was vaguely familiar with front man Jake Rogers' blackened folk metal project, Gallowbraid so I thought I knew what this guy was made of. The EP was actually quite surprising because it was not folk metal or black metal but straight up old school heavy metal and it was really good. So when I heard that Visigoth got signed to Metal Blade Records I was awaiting their full length debut with great anticipation. The Revenant King is the name of this monstrously epic debut and not only did they live up to my expectations, they went way beyond anything I imagined.

I expected more of the same from this band because it seemed that they had a great formula and I assumed they would stick to that formula. They didn't....the threw some shit into the game. They went full on epic with a sound that could only be compared to Manilla Road's classic era. They took a huge chance on this album going for long epic songs that have many layers, instead of going straight up metal, and the result is nothing short of spectacular. Coming right out of the shoot is the title track clocking in at just over eight minutes. That could have been hit or miss for a young band like this but they not only find a way to use all eight minutes to their advantage, they created a new formula that gives this band a new identity. The song is multi-layered with great riffing, great solos, a rhythm that drives the song and melodies that are truly infectious. Vocalist Jake Rogers is a gifted singer with a great baritone that compliments the song, especially the chorus that just sucks you in. Every second of these eight minutes will have you spellbound as they take you on a journey, pulling you inside the story that they are telling.

But wait, they throw another twist into this album as the follow up song, "Dungeon Master". This song doesn't bother to be over the top epic but instead just kick your ass with major riffage all the way through, kicking it up a notch with a more speed metal oriented song. This is another song that has a great chorus as well as great guitar work. It slows down in the middle only to kick your ass with dual lead solo battles that are nothing less than godly. Another song that has this driving speedy rhythm is their cover of Manilla Road's "Necropolis." They not only did this song justice but just they killed it. It was this cover that actually made me go back and have a new found appreciation for Manilla Road. They also re-recorded "Creature of Desire" from the EP but for some reason I prefer the original. That song seemed to work better for the production on that EP and may be the only song on this album that did not seem to fit in with the rest.

For the most part, though, this album is just plain epic metal. You have songs that are metal anthems like "Mammoth Rider" with it's slower tempo and crushing riffs that even touches on doom with the riffs towards the end. You also have the absolutely heavy and pounding "Iron Brotherhood" that is the metal anthem for this generation of metal heads. Then you have a song like "Blood Sacrifice" that begins slowly, almost as if it was a ballad with clean guitars with a lead part and Jake Rogers' incredible vocals building up to an all out speed metal assault. This song just slays from beginning to end with it's catchy chorus, pounding rhythms, monster riffs, monster solos, and melodies towards the end that grab you and never let go. To round out the album they end it as they started it...with an almost 10 minute epic monster of a song, "From The Arcane Mists of Prophecy." If you thought the opener was as epic as they could get, think again. This song has so many layers and twists but never becoming chaotic or falling apart. The riffs, the melodies, and just the overall triumphant feeling of this song will make you want to pound your fist in the air.

As I said, this band took a chance it it paid off, in spades. They aren't showing off or over reaching and there is nothing here could be construed as pretentious. This band is the future of traditional epic heavy metal. The torch has been passed, they ran with it... and they will make heavy metal history. I predict only great things for this amazing band.

9.8/10

Satyrasis - ...of the Dead

Sometimes you make a discovery that changes the way you look at certain things. That is how I feel about Lansing, Michigan's Satyrasis. They play a mixture of progressive metal with thrash and melodic death and tech death thrown in. They are as all over the place as you can get. A member of the Metal Archives forum posted a song from their second full length album ...of the Dead and I found myself in awe. This band, formed in 2003 has only one other full length under their belts from 2008 and it took them seven years to follow it up...and I can see why. They were not about to release anything that they did not feel was pure perfection.


And it's that sheer perfection in this release is so apparent in each and every song on this album. As soon as you hear the opener, "A Foot in Each Grave" you get the idea where this album is going. Sheer technicality that does not sacrifice the riffs. Instead, the riffs on this album are plentiful and are crushing. Opening the song with pummeling thrash riffs and a death/thrash vocal sound that kinda reminds me of King Fowley of Deceased, the song goes in a different direction midway through with some blackish metal riffs and keys that sound like a mellotron. The riffs kick back in only to give way to another shift in direction with an acoustic guitars and keyboards adding a new dimension and some nice melodies. The song winds up with some dual lead riffing and more thrash riffs that abruptly end and the rest of the song is some eerie keyboards that fade out. "The Foreman's Face" kicks right in with more of the same, bad ass thrash riffing but with a technicality of tech-death. What sets these guys apart is there is emotion in their songs as well as the different directions that each song takes. This is what technical metal should be, showing your musical skills without sacrificing the riffs.

Of course there is wankery but it's done in such a way that it's not pretentious or give the appearance that they are showing off. The songs are not just one long solo or djenty odd time signatures just to show that they can do it. The ability of this band to write a great song sets this band apart. Most of the songs are over six minutes but you'll never know it because there is so many levels to them. The song that I was first exposed to and that was released as a sample, "Excision," starts off sounding like 8-bit midi then kicks in with a full on ass kicking riff fest. This song has so many riffs and is possibly the most straight forward song on this album. Mostly straight thrash/speed metal with the gruff vocals the song does deviate slightly to let you never forget that these guys are technically brilliant. At seven and a half minutes, if I had to pick this would be the best song on the album. It has that epic quality to it as well. But as you will see, this is one of those albums that is not a song album but something to be consumed in it's entirety.

The biggest surprise for me was their cover of Rush's "Circumstances." I was actually put off by it at first. The verse has a thrash/punk vibe to it with the chorus being just slightly faster than the original. The vocals are still that gruff death/thrash style. They throw their own spin in there in the middle as it doesn't seem to resemble the original at all but goes right back to the chorus. After a few listens, I finally got what they were doing and the album would not be the same without it. "In Ruins" rounds out the album and is the longest song on the album clocking in at just over eleven minutes. This song is slightly slower and less thrashy than the rest in most places, almost going off in a progressive doom direction. The riffs are there along with some dual lead riffing but with a slower tempo. The mid section starts with some bass leading to some seriously demented chaos only to begin the riffs again, this time sounding like some good prog metal.

Once in a while you come across something truly spectacular and this is one of those times. This album is nothing short of perfection. It has something for everyone. There's riffs, there's wankery, there's brutality, there's melody. This is essential for any and all metalheads!

10/10

Night Demon - Curse of the Damned

They say that imitation is the sincerest form of flattery and in some cases it's true and in other cases it's not. There has been a major influx of metal bands that are considered "throw back" because of the stripped down productions reminiscent of the 80s as well as the actual music itself. Some bands pull it off real well while others are an epic fail. So it is with pleasure that I introduce you to Ventura, California's Night Demon. They pay homage to the NWOBHM with a sound that is a lot like a mix of early Diamond Head and early Iron Maiden but with their own identity and sound. The songs range from speed metal to straight up rockers with massive riffs and infectious melodies that make this one enjoyable album.

Curse of the Damned is their debut full length album and there is a major punch packed into this just under 45 minute slab of true metal. "Screams in the Night" kicks it off with a speed metal sound and with a vocal sound that sounds a bit like Sean Harris while not being a total rip off. The melodies compliment the speed metal riffs to create a fresh take on a classic sound. There is no shortage of speedy numbers like this as "Full Speed Ahead" keeps it going with a riff that almost sounds like they are ripping off "The Prince"....almost. Instead it pays homage without being lazy. There is some nice dual leads sounding like it could have been on Maiden's first two. The title track slows it down to a mid pace but with some really nice riffing and catchy melodies. The lead work on this and the rest of the album is old school almost going in a proto-metal direction. There is very little wankery here hearkening back to the days before everybody was trying to sound like Malmsteen. Yes, you heard that right...me saying that wankery is not always needed to be a good solo.

"The Howling Man" is a track that would be considered the epic track on the album, clocking in at almost seven minutes. It starts slow and eerie with a bombastic sound before it picks up the speed with the riffs kicking in after about a minute and a half. Once again the vocal melodies are catchy as fuck. Jarvis Leatherby, who provides the vocals as well as the bass, has a good voice that gets the job done without having to have a ridiculous range or having to hit the highest notes known to man. Instead he lets his melodies do the talking...I mean singing. The song slows down with a clean melodic part then leading to a bombastic finish with some really cool old school riffing. "Heavy Metal Heat" is your typical "metal" anthem that should grace any album of this kind. I'm sorry but as cheesy as this may seem, this does not get old. Massive metal riffs, gang vocals, and lyrics about metal...I fucking love it!

"Masterrmind" is a song that sounds like it's been done a billion times over but these guys seem to do it with a class and style that makes that just fine with me. From it's strong intro to the opening riffs to the vocalist singing over just the bass before the riffs kick in again, it's the melodies of the verse that shows the abilities of this band to do something that has been done plenty of times before but also sounding fresh and new. This is actually becoming my favorite song on the album. The album closer, "Save Me Now," starts off with some eerie keyboards leading into some mid paced epic riffing. The chorus is catchy with some great melodies.

Yes, this is a case of imitation truly being a sincere form of flattery. This album is just pure 80s metal fun. No frills and nothing over the top. Instead you get heavy metal that may sound dated to some but in actuality is full of hooks and melodies that make this album irresistible to any fan of classic metal.

8.5/10

Overkill - White Devil Armory

There is no doubt that Overkill is, quite possibly, the hardest working band in metal. At one point they were touring like mad men to the point that front man Bobby "Blitz" Ellsworth had a stroke on stage in 2002 and it still didn't stop him or this band. They were surely hit or miss in the 90s after going into a more groove metal direction but in 2010 they did a return to form with Ironbound and again with the follow up, 2012's The Electric Age. So here we are in 2014 hoping this veteran band will make it three in a row and keep the momentum going with their new release, White Devil Armory. Strange title, I know, but for the most part this album is on par with last two.

This band has always had the ability to throw down some killer thrash riffs and this album is chock full of them. After a useless intro, they kick your ass with "Armorist." Although this song has some of the dumbest lyrics in metal this song is a kick ass opener. It may not have the staying power of other songs on this album but the riffs slay and the thrash tempo is a neck breaker. Halfway through they groove it up a bit then go into a monster solo. "Down to the Bone" has that classic Overkill mix of thrash and groove to make for a really good song. The riffing, along with that signature D.D. Verni bass sound, just reeks of the old days. Again we have another killer tasty solo making this song one of the more memorable on the album. And Blitz sounds like he's still 25. His range has not changed a bit and his screams and laughs are pure fuckin' evil. "When There's Smoke..." is just a monster song with some serious riffing and an angry thrash tempo that will give you a stiff neck if you're not careful. I mean, come on, with D.D. Verni's background shouts "When there's smoke, there's fiiiyerrr" what's not to like?

"Bitter Pill" has a dark feel to it but has some kick ass riffing and is even a bit on the epic side. The bridge leading to the chorus is catchy throwing some melody into the mix here. This song is quite different than most on the album as it has many components to it. The groove riffing in the middle adds even more dimension to the song. My only complaint is that the solo seems to be incoherent and all over the place with no direction to it. This song is almost six minutes long but it doesn't seem over long like the previous song "Pig." That song has some nice riffing but it seems to lack direction. The chorus seems to irritate me a bit and the solo is just lack luster. What a difference in songs, one right after the other. "It's All Yours" is so beautifully simplistic but is so catchy. The riff has a cool groove to it and even when it slows a bit in the middle it keeps your attention. The solo on this song is another great shredder and makes up for some of the lack luster soloing on some of the other songs. One thing you can't accuse this album of is lack of variety.

"King of the Rat Bastards" is a thrasher through and through with some killer thrash riffs and some grooves and melodies that make this song quite catchy. Then you have just a straight up riff fest called "Another Day To Die." This song has some of the best riffs of the album and with just a hint of melody thrown in makes this one of my favorites on this album. The solo could have been a little better but overall it doesn't take away from the song. This is just another example of the variety of sounds on this album.

At the end of the day this is an excellent album with just a few flaws. It doesn't hit me like the previous two did but it's still nothing to turn your nose at. This is the band's seventeenth full length album and that, in and of itself, is an accomplishment. They are keeping the momentum going and it appears that they are not slowing down at all. Instead, they are writing a new chapter in the annals of the Green and Black and, by all means, you should be part of it.

8.5/10

Nox Aeternum - Vale nostri moriens spiritum

Nox Aeternum from Pittsburgh, PA is a one man band that formed in the autumn of 2013 by Andrew Hart. To describe the music or put in into a certain genre is kind of complicated since there are a lot of dimensions at work here. We have some melodic black metal mix with melodic death metal and some progressive sounds thrown in. So here we have the debut EP entitled Vale nostri moriens spiritum which translates to Farewell Dying Breath. The EP was released in December, 2013 and is slightly over sixteen and a half minutes with four songs. I'm happy to say that this is one extremely impressive debut and has me anticipating a full length hopefully soon.

So starting off here we have "Empire of Filth" with an opening riff that kind of reminds me of something from the new Vinterbris, which I loved. So, of course my interest is immediately piqued. The riffing here is a cross between the black metal tremolos and some melo-death thrashers. The vocals flow from a black metal shriek to lower guttural death metal growls. At the midway point of the song we have a brief soft passage that reminds me of Opeth that leads into a shredding solo which, in turn, leads to the climax of the song with the harsh vocals slightly under some decent clean vocals. So far this shows me Mr. Hart can throw some serious hooks into his songs. Immediately following is "Reprise (In Nature's Cleansing)." A really brief little acoustic number, it seems out of place in the track order. It seemed that maybe it could have gone at the end of the album as a nice outro, but it's a nice little piece nonetheless.

"We Are But Falling Leaves" begins with a nice acoustic passage that leads right into the riffing that is really atmospheric with some dual lead riffs giving this tons of melody. His vocals sounds like Mikael Stanne here, which is nothing bad at all. The keys are slightly in the mix giving the song atmosphere and the acoustic passage in the middle is nice. Finally we have "Dawn of a Dead Sun" which begins with a piano intro and keyboards providing the string sounds. Once again we have some melodic lead riffs building the beginning up. Some cool riffing mixed with some well placed chugs leading into the verse. This song is the longest at seven minutes and shows a bit more of this guy's epic side. Mixing in all of the elements that make up this band into one song, including some progressive rhythms and chugs with some acoustic guitars in there all leading to a melodic solo and song climax.  The acoustic part taking you to the end of the song was a nice touch

There's a lot going on in the short amount of time that makes up this EP. I'm really interested in hearing a full length from this guy. He knows how to write catchy songs with hooks and melodies that draw you in. If you are a fan of epic melodic metal that has atmosphere and melody than you should check into this band.

9.5/10

Appalachian Winter - Silence Before the Great Mountain Wind

Epic black metal is probably my favorite of all genres because of the way it's constructed. It's more like classical music than anything else and it's that classical sound that gives certain bands that epic feeling. Then we have the lyrics of this type of music and they are usually based on nature, especially winter and the colder more grim aspects of nature. I currently live in the mountains of western Pennsylvania which is part of the Appalachian range and it just so happens that I found a one man band from not far from me that actually creates epic and cold black metal, with lyrics that relate to the mountains that we both call home.


Appalachian Winter is the brainchild of Schellsburg, PA resident Daniel Klyne, who plays all instruments as well as the vocals. His music is provided to metal fans for free and his first album, Silence Before the Great Mountain Wind, was released in August of 2008. The music is epic black metal, and is sometimes considered symphonic black metal but, to me, this band has more in common with Moonsorrow than with Cradle of Filth or Dimmu Borgir. So what we have here music that just reminds you of the frozen mountains with lyrics that match the music to provide the total experience. The album opener is the title track and you immediately feel the cold and winter in this music. A slower more melodic song we do see some blasts and melodic tremolo riffs interspersed throughout the song. Ten minutes in length this song tells a story of how living in this region in the winter can be unforgiving and desolate. The keyboards provide the atmosphere as well as the backing vocal chants throughout the song. Appalachian Winter is not just a cool band name, that is what this band and album are all about.

The music on this album can be hypnotizing as it segues from soft, acoustic passages to blasting metal but it does it without sacrificing the melody and it's the melodic riffs and vocals that truly take this album to another level. "Into the Abode of Wolves" is a straight up black metal song that starts with an acoustic passage then blasts right into the tremolos with the grim vocals sounding like something straight out of Norway in1992. "Windstorm" hits you the same way with it's cold, grim sound that blasts you as if you are in the middle of a blizzard. In contrast you have "Forest of a Thousand Ghosts" that takes you on a journey through the wilderness that makes up this forbidden landscape. As you listen you feel yourself there in the story the song is relating to you. The riffing goes from some thrashers to melodic tremolos and the keys adds another dimension to this song. Clocking in at a little over eight minutes this epic song is one of my favorites of the genre due to the sheer beauty of it. "The Mountain in Stone" is a cool concept because the lyrics are basically the mountains speaking to you. More of a straight up metal number, you can still feel the sheer epic nature of this band. Once again, you are part of the music, not just listening to it.

Every once in a while you come across a band that can bring something special to the table and this is one of those bands. Mr. Klyne lives in the Appalachian mountains and it shows in his music. Like his Scandinavian counterparts, he creates music and lyrics that speak of his environment. I love it because finally you don't have to live in Norway to feel the icy cold of winter in black metal but instead I can relate to the harsh landscapes and unforgiving lands that made the music from across the pond so special. Winters in this region are now immortalized by this amazing and special music. I love it, you should too.

9.5/10

Misery Index - The Killing Gods

Misery Index is a band from my hometown of Baltimore that, for some unknown reason, I never paid much attention to. I was introduced to drummer Adam Jarvis by Evan (MDF organizer) several years back but still didn't decide to pick up anything by them. From the little I had heard they were a death metal/grindcore mix that just didn't grab me enough to get any of their releases. With the release of their fifth full length, The Killing Gods, I can now say that I will be paying more attention to this band. It seems that a lot of the grindcore elements have been stripped away leaving us with some relentless, riff driven death metal. Not only did this album make me notice this band, this album is now, at the very least, going to be in my top ten come year end.

This album is just a full out onslaught of huge riffs, killer solos and even some cool melodies that made me really stand up and take notice. This album even goes into epic territory with the way they wrote the first five songs that constitute a mini concept within the album. Starting with "Urfaust" as an intro they come out with all guns blazing with "The Calling" and right away you get the idea that this is a pure death metal album. The riffs are driving this song and some are brutal and pummeling while the tremolos are providing just a slight bit of melody. The solos are all metal are just amazing with lots of melody and enough technicality to make them believable. You get the idea here that this is not just another death/grind album but a musical statement. The vocals remind me of Johan Hegg for the most part and just fit this crushing music perfectly. The highlight of the concept portion of this album is "The Harrowing." This song begins with blasts, crushing riffs and a lead that is just punishing. This may even be my favorite song on the album. The solo is, once again, godly and melodic and just makes the song even better.

The remainder of the album is a good balance of death metal and some grindcore elements so this album will appeal to fans of both genres. The production is modern but not too polished or compressed but has the perfect mix. The title track has some interesting grooves in the riffing and is the longest song on the album. But the time is not wasted as the aural assault just keeps coming throughout the song. Songs like "Gallows Humor", "The Weakener," and "Heretics" are further examples of the cool grooves that they put into the riffing while still maintaining the brutality. Then you have "Sentinels" that just beats the living fuck outta you for two and half minutes with serious blasts and massive riffing. These are just some examples of the variety of songs that you have here on this album. These guys aren't fuckin' around here, they are here to kick your ass. But they do it with finesse and with huge amounts of technicality. Oh, and did I mention the solos, yet? Well I'm doing it again because they are a huge reason why this album is so good.

So now that I have finally picked up my first album by this band, I will be revisiting the remainder of their catalog. All I know is that this album made me finally take notice of this brutal but technical band. So if you like your death metal with a hint of grindcore, serious grooves, and killer solos then get this album.

9/10

Hoth - Oathbreaker

Some bands defy genres to create a sound that may not fit into a certain box and there seems to be some controversy over the genre and lyrical themes of Seattle's Hoth. Yes, their name is the ice planet from Star Wars: The Empire Strikes Back. Yes, their new album, Oathbreaker, is a concept album that could be the tale of the life of Anakin Skywalker (Darth Vader). Yes, their name is also the modern Anglicized version of the ancient Norse god Höðr and their lyrics do fit a certain fallen heroes theme. But there is enough ambiguity there to let these things be decided by the listener. Some say their music is melodic death metal when others say it could be melodic black metal. Once again, let the listener be the judge.

Instead of focusing on all these things that, in the end, do not matter I will focus on what does matter...the music. This band plays epic metal that is spellbinding and, at times, entrancing. I think they have a more epic melodic black metal sound to them with a bit of folk in there as well. The songs on this album are more like compositions and are long in length with many different dimensions. Going from blasting riffs and beats to softer, acoustic passages this band takes you on a journey with the music and their lyrics putting you right there as if you could visualize the story being told. The musicianship here is incredible and the songwriting is just amazing. The band is just a duo and the line up is even ambiguous as it just says Eric Peters and David Dees with nothing telling you who plays what. This only adds to the mystery of this epic band and makes them even more intriguing. Listening to this album, you do get a cold, almost frozen vibe to the music as well as the story being told here.

"The Unholy Conception" starts things off here and there is no shortage of riffs and melodies going on here. Part speedy and blasting with an acoustic part in the middle this song is all epic as it starts the journey off on the right foot. The vocals have a black metal sound and compliment the music well. "A Blighted Hope" is actually a little more than half acoustic but when the riffs kick in you can feel yourself becoming part of the story here. Blasting riffs along with some keyboards to provide a beautiful melody within all of the cold and grimness. It's one of the shorter tracks on the album it's no less epic than the rest. Then you have a song like "Acolyte of the Tenebrous Night" that is all business in the riffing and blasting. The song has that lead riffing that reminds me of Windir, with the keys just slightly there to provide the atmosphere but not to drive the songs. If I had to pick one song to be a favorite, it would be this one. However, this is not a "song" album because if you take any song away or add anything to it, the feeling would not be there. This album must be wholly consumed to be able to totally appreciate what's going on here.

If the album thus far doesn't tell you that this band defies genres, then "Unending Power" will seal the deal. This song is all over the place starting off with killer thrash riffs and low guttural death growls to the slower part in the middle that reminds me of Opeth in a way. Then it gets progressive with the riffs playing to some odd time signatures then going balls out into just sheer ass kicking blasting. The songwriting is so good that even though there is a lot going on, the band is not overreaching nor sounding pretentious. They are just that amazing. The album closer and longest song on the album, "Despair" again shows what this band is made of. Clocking in at just under nine minutes you can tell this is the climax of the album. Going further than to fuse several sounds into one song, it appears to end in the middle only to begin again as a slightly psychedelic outro for the remaining two and half minutes or so. What a perfect way to end this brilliant and amazing album.

So at the end of the day, all that really matters is the music. Trying to pick this album and this band apart to pigeonhole them into a specific category is useless. The only category you could give to this album is amazing. From beginning to end this album is the epitome of what an epic metal concept album should be. The sounds create the mood for the story that's being told here. Get this album, plug in your headphones, put it on and let it take you away. You will not regret it.

10/10