Etrusgrave - Aita's Sentence (2016)

If you're a fan of traditional heavy metal in the vein of Judas Priest, Iron Maiden, Saxon, Virgin Steele or UDO, then you will certainly love Italy's Etrusgrave. The band have been around since 2004, but released their debut record, Masters Of Fate in 2008. They haven't released an album since 2010's Tophet, marking Aita's Sentence the band's first album in six years. It is also interesting to note that their name is a combination of the terms “Etruscan” and “Grave.”

Not much has changed since the band's last record, aside from the addition of drummer Stefano Giugioli which means that these guys are pretty much the same band that they were six years ago. I really can't say, as this is the first release I've ever heard from them. Yet I can certainly accrue something from the listen – they're not bad. Not bad at all. As a matter of fact, they have some real staying power and will appeal mainly to those looking for a style of production that feels a little bit more organic. When I listen to this record, I can tell that there are actually musicians in the studio, recording their instruments live with little to no edits during the mixing process. As it sounds raw, perhaps frontman Tiziano Sbaragli won't quite hit every note perfectly and maybe Fulberto Serena's guitar will have a little bit more feedback and hiss than necessary. But those are just the sort of things that you should expect with a warmer performance, which almost echoes what the band can undoubtedly offer in a live setting. Fortunately, Aita's Sentence is a record I would love to hear in just that kind of setting, with the Priest meets Saxon feel of opener “Anxiety” or the Virgin Steele influence apparent in “Festering Slash” (yes, Sbaragli can hit the kind of almost feminine tones that David DeFeis is known for and it is sometimes to a startling degree) as well as the Queensryche aura that I'm getting from the album's title cut. Maiden riffs seem to appear “Coward” as well, showing that Etrusgrave are a heavy metal act who have done their research into what made the genre so memorable in the eighties.

Aside from Sbaragli, we also have quite a bit of compositional research coming right from the direction of Serena's guitars. The man can clearly play, and in so many different styles that I would say range from traditional heavy metal all of the way up to progressive and classic rock music. There's no doubt that listeners are getting a wonderful performance in this area, which is only peppered by the extent of his mind-guitar solo efforts. Yes, I said mind-boggling and I truly meant that. You will just have to listen to the disc yourself to verify that, and by all-means, a guitar solo nut like myself will challenge you to that.

Most of the time, I open up my mailbox and have no real idea what kind of records I'm going to receive when I open the packages, so there's no expectation in the very beginning. I don't even know what kind of bands I'm getting sometimes, so you just have to hope for the best. This one, well... it was pretty awesome. Not only does Serena play up a storm, but Sbaragli hits some extremely high and unexpected notes throughout. Most listeners won't even expect the degree of vocal perfomance that they're getting here and it's even more reason to check it out and give it a listen immediately if you're a fan of metal in it's golden age. I'm not even bored by the record after a long time listening to it, because there's just so much that I've noticed and I've liked about the performance. 

Admittedly to some, the record might sound a little thin and the bass isn't very thunderous in the mix, neither would I say are the drums. Though both seem to keep up a relatively decent pace and I wouldn't fault bassist Luigi Paoletti or skinsman Stefano Giuggioli for this issue, as they are merely crafting the tempo and building the foundation upon which the vocal and lead guitar end of the act truly soar. I don't think listeners will be checking this one out for either of those instruments, and feel that they would probably sound better performed live along with the proscenial elements of the act which altogether feel like they would truly take wing on the stage. Without a doubt, check it out. 

(7 Tracks, 48:00)

8/10

Serenity - Codex Atlanticus (2016)

With their fifth studio release, Austria's Serenity prove that heavy metal still excels greatly from the Germanic continent. It's no surprise as to why this latest effort scored a whopping 94% over at Metal Archives and currently stands as the quartet's best record in their lengthy discography. The band have been around since 2001, consisting of Andreas Schipflinger on both drums and vocals, Georg Neuhauser on primary vocals, Fabio D'Amore (Pathosray, ex-Mirrormaze) on bass and backing vocals, and the newly recruited Cris Tian (ex-Visions Of Atlantis, one might think that his moniker here is an anagram) on guitars. When I hear a band like this, I think of the symphonic power metal of acts like Kamelot, Sonata Artica, Evergrey and Nightwish and to me, that's a great feeling. There are parts of this album that remind me of classic Kamelot at their very best, and if for some reason you don't like the new version of that act (even though I feel that current frontman Tommy Karevik is just as potent as Roy Khan ever was) you'll find what you missed in Serenity. Though he's just joined, Cris Tian really seems to show his strengths on the disc along with Luki Knoebl's orchestrations, which combined with Fabio D'Amore's hefty bass riffs definitely give me that feeling of Once era Nightwish.

Codex Atlanticus is a heavy record, but it's full to the brim with pomp and mostly delivers in several piles of sing-along choruses. When you're buying Codex Atlantica, you're buying a record that you can sing at the top of your lungs to while you're driving down the road after getting home from the late shift. The disc will undoubtedly turn your vehicle into what sounds like a full orchestra, and despite whether these songs are hard-edged like “Sprouts Of Terror” or a bit more balladic like “My Final Chapter” you'll certainly have a lot of fun with it. There's even some Queen influence rolling into “The Perfect Woman” which I didn't expect to hear at all, even though it's certainly refreshing. I feel that nearly every operatic act owes their existence to Queen and hearing such a tribute like this seems quite fitting. Neuhauser is by no means a Freddie Mercury, but that man's voice has scientifically been considered something quite unique and I certainly would never make a comparison.

Most of all, Codex Atlanticus is quite uplifting for a heavy metal album and I think it's important to have discs like this that offer hope in such a bleak world as ours. Make sure that you pick it up if you haven't, as I'm sure you'll be quite impressed by what has been composed and what comes across as catchy as popcorn and hot sauce. (Trust me, try it.) As of late, the band seem to taking a very religious tone with the lyrical content here, but I don't feel that's a detraction for me as you may have even noticed me giving good marks to Stryper. I don't really feel that lyrical content has ever affected a record's score unless it is just poorly written and forgettable. The listener gets a lot of heavy metal and pomp, along with a wonderful vocal performance that also features guest spots by Amanda Somerville (Trillium) as well as Jan Vack (Serious Black) and others. When you purchase the limited version of the disc, you'll get two extra tracks as well as an orchestral piece. It should be sold out by now, but you might still get lucky.

In any case, this is one that I'd certainly recommend in the very bombastic synth/power/prog genre and you need to get your hands on it as soon as you can. It's definitely worth a listen. As I said, it seems to be the band's greatest record to date and you're truly going to love it.

(11 Tracks, 52:00)

9/10

The Zenith Passage - Solipsist (2016)

Coming from California and not some covert space colony that lies somewhere within the debris that makes up Saturn's rings, we have the progressive technical death metallers (just called tech-death over on Metal Archives, I guess progressive passages don't count as prog) full-length debut, which comes three years after the release of their EP effort, Cosmic Dissonance. For those of you interested, (and you will be once I start mentioning names) the act most notably features Justin McKinney of The Faceless on guitars. Yes, he delivers too – with every last bit of his might, making this record a bit more rough-edged than the previous Faceless release Autotheism, which many felt was a bit too clean and lighthearted. I'll admit that I dug the man's guitar work on the album however, especially his classic style guitar solos of which we'll also find here. But that's enough about McKinney, there are four other members here responsible for this little trip the light fantastic. On grunts and growls we have Greg Hampton, who also performs in Dog Eats Flesh and Zombie Corpse Autopsy. I don't remember dealing with either of those acts, but I can say that he more often than not hits a familiar cookie monster approach to the vocals that most technical death metal fans won't flail their arms and whine about. Drumming is handled by Luis Martinez, who is also in Oblivion and Feast of which I've never heard either. His drumming certainly brings the meat when needed, yet it is also able to convey more calm atmospheres, which you will certainly hear on this disc. You might want to read that line again, just to clarify: you will also hear calm atmospheres on this disc. The Zenith Passage create some rather heavy moments, but not all of the time and as far as this reviewer is concerned, that's a good thing. There are a lot of similar tech-death acts that already do give us the same pounding death metal frenzy for an entire record, and eventually things can get a bit bland. There wouldn't be anything to offer that I wouldn't have in my collection already. So when one wants to explore new bands (which is why you're here, reading this review) you expect to hear either something different, or something that reminds you heavy of an act that you liked. Lastly, we have Rob Maramonte rounding out the guitar section here in the band, and I'll believe that he's responsible for a lot of the crunch and groove here. You might not Maramonte for his work in Eviscerated and Fallujah, which I actually happen to recall.

As far as the album goes, we have a very textured approach to tech-death which comprises of more than just technical riffs and technical drumming. As I said, there are softer moments to be had here as well as more electronic sections that help to really decorate the record. Aside from that, we also have a level of technicality featured here that brings with it a great deal of diversity. I'm not getting a derivative performance, and sometimes certain sections completely die off in order to be replaced with completely different and unexpected pieces. It can be a bit mind-boggling for some listeners, especially when they're being taxed to listen to a mixture of technical riffs and whirly electronic keyboards, but then the bass pounds out heavy grooves and those are fronted with a menacing vocal style that opens up for a guitar solo. What? Yeah. I know that's a lot to chew on, but you have to understand that Solipsist isn't the kind of record that you can just devour in one day. With airy effects, devastating measures and all sorts of electronic gadgetry, it's safe to say that this near supergroup of musicians just might have crafted something that feels a little bit too rambunctious. Though if we get right down to it, this is nothing compared to an act like Sculptured, which literally confused listeners with their last album Embodiment (2008) so there's really nothing too far off-center, I think. It's just the kind of record that feels more like a test, just to see how things would flow together and how well listeners would accept it. The Zenith Passage definitely didn't get together to play the same old tech-death and even though the number of acts performing this style have gotten wider than is necessary for a thirty-man rumble, I feel that these four accomplished gentlemen have made something that truly stands out among the rest. Now I'm not sure if that's good enough for the heavyweight championship, but it's definitely a spot among the top ten combatants, and that my friends; is a very good thing. Give it a listen and see what you think. I'd certainly say that it is more than just a mere holdover for the next outing from The Faceless.

(10 Tracks, 39:00)

8/10

In Mourning - Afterglow (2016)

Taking off right where The Weight Of Oceans left off, Afterglow continues the Swedish melodeath/doomers onslaught. It's hard for me not to be biased with this one, as In Mourning have always been one of my favorite acts ever since the release of their debut, The Shrouded Divine. They are one band in particular that have never released what I'd consider to be a bad or even remotely mediocre release, really pouring everything that they have into one album. There are only seven songs here, but when you listen to the record from back to front, you'll find that is all there needs to be. Obviously fans of Opeth, Swallow The Sun, Insomnium, Daylight Dies and other acts will enjoy this one, but I don't consider the music quite so funerary or bleak, what with all the melody. While the record is death/doom, it never sounds like a literal death march, instead tapping into Opeth at their most melodic and beautiful. They've obviously taken a keynote from their Swedish brethren here, especially during the opening riff of “The Grinning Mist” which seems lifted right from Blackwater Park. That being said, the guys still pump some hefty guitar solos into their work, which are surprisingly speedy. You almost don't even expect such a sound to come out of In Mourning, but you certainly won't kick it out of bed either. 

This is the kind of performance that we've expected from Opeth for years, making Afterglow sound a bit more like the record that might have come after Deliverance in some sections. As one might expect, these songs are quite mountainous in length, with the cut I just mentioned being the longest on the album, clocking in at ten minutes. Believe me folks, if I can get into a ten minute track so much that I don't even realize I've been listening for that long, then I'm quite sure that this entire record is worth recommending. Yet once again, I'm going to be a bit biased as these guys are definitely one of my favorite things in heavy metal, and I can say that I was pining for a new release for quite a while. They've only gotten better with time as Afterglow shows, with my only wonder as to why these gentlemen haven't gotten as popular or well-known as Opeth. Sure, maybe the cleans coming from Tobias Netzell (ex-Contortion, ex-Majalis, ex-October Tide) aren't as memorable as Mikael Akerfeldt, but these guys make up for it as they always have, with three powerful guitarists. Aside from Netzell, we also have Bjorn Pettersson (ex-Majalis) as well as Tim Nedergard (Forgotten Kingdom) all playing masterful lead melodies that really seem to stand out in the mix. If there's one thing I always remember about an In Mourning album, it's in the melodies – these guys never falter in that. Thick, doomy bass riffs are delivered by Pierre Stam (ex-October Tide) while uncanny melodies are delivered by three of this act's five members that are so earth shattering at times, you might feel that your head is going to explode. Yes, they are really that good, just as I've always come to expect. When you take a look at this lineup and notice that three men are actually playing guitar here, you soon begin to realize why it sounds so musically proficient and why the record took so long to make. Keep in mind, The Weight Of Oceans was released in 2012, back when everyone thought the world was going to end, and here we are three years later with another great disc longer after we realized that we're all still here.

I've no doubt that Opeth fans in particular are going to jump for joy when they put this one into their listening devices, as the band have borrowed so much from their playbook that it might almost seem ludicrous. For a band that began as Gothic metal, they certainly have reached a new turning point in this extremely progressive, yet forlorn sound and style. There's nothing here that will make you cry tears into a bucket, but the passion and emotion lodged deep within this record will surely make you weep tears of joy. Albums like Afterglow and Blackwater Park are the very reason why I was drawn to this type of metal, despite finding it awfully boring in my younger years. As I soon grew and matured, I began to recognize the level of heartfelt composition and the amount of time needed in order to craft such a record like this, which feels like a modern classical release at times. I feel that Afterglow is a sort of morose watercolour painting, albeit with very bright streaks of light and some rather ferocious undertones. Opeth worship aside, these Swedes have once again done what they've always done best – and you don't need me to tell you that. This is definitely a record to follow in the footsteps of The Weight Of Oceans, and seems to excel far greater in areas where the previous disc fell a bit short. It's the kind of record that you can listen to many times over, without getting tired quickly, especially if you're a lover of melody like myself. There are certain songs in particular that I could listen to for days, simply due to certain melody sections alone. That being said, I highly advise you to go out there and make this purchase as you will not regret it, and the band needs your support. Without question, Afterglow is a record that has exceeded my expectations greatly, and was well worth the wait. So we have yet another great album, from another great band.

(7 Tracks, 55:00)

10/10

Demise Of The Crown - Self-Titled (2016)

Hailing from Quebec, this project mixes together progressive power metal with elements of melodic death and thrash, matching heavily the Nevermore comparison, but not so much the others I have listed on my on my press release. So I'm going to junk those and throw in one that really reminds me of the fucking band – Mercenary. No, I'm not talking about early Mercenary or their latter discs, I'm talking about the stuff in the middle, particularly 11 Dreams. We could also compare them to Sanctuary, especially the version of Sanctuary that Warrel Dane is fronting right now. Additionally, let's throw in some chorus heavy power metal, stuff like Brainstorm and Nocturnal Rites. Yet there's a bit more song structure to some of these pieces than I've heard on a few of their records as of late and I feel that's worth mentioning.

Unfortunately, the disc is only about thirty minutes and feels a little short for a debut (they could have added about three or four more songs) even though it definitely shows what this band is capable of. Their Bandcamp page is a bit vacant, so I'm assuming that one man by the name of Kevin Jardine (Slaves On Dope) is responsible for most of this record, and he certainly shows his strength with the use of such muscular guitar compositions that make this act a hell of a lot more interesting to me than Slaves On Dope ever were. Not only that, but he commands a powerful vocal approach that amounts to mesmerizing harmonies, as well as some falsettos that remind me heavily of Rob Halford, Tim Owens, Stu Block and many others. Because the record plays in the worlds of groove, death, progressive and classic heavy metal; it's very hard to actually pinpoint and that's what makes it exciting. Most notably, the Nevermore and Mercenary comparisons will be made and fans will grasp this disc with a fervor because of that. The band truly sounds larger than life on this debut and I really hope that maybe we'll get more information out of them later, because people need to hear this one to believe it.

Demise The Crown still feels like an EP release, but it shows me that the act has an awful lot of promise, beyond what I can describe here in a review. If you want catchy choruses, hard hitting solos, more melodies than you can shake a stick at, and melodic death metal/groove incursions (that normally wouldn't work well with this kind of material unless they were done properly, which is indeed the case) then you need to look no further than this disc which you can pick up for seven bucks. A dollar a track isn't a bad deal at all, especially when several of these pieces are worth far more than a dollar. Give it a listen, I think you'll enjoy it very much. I can't wait to see what is next for the act.

(7 Tracks, 30:00)

8/10