Volker - Self-Titled (2016)

Featuring members of Otargos, Noein, Demented, Lifestream and Regarde Les Hommes Tomber, this cold wave/dark metal project is certainly worth checking out for the mere surprise of it all. Though it's just a sample, these eleven minutes offer something unlike anything we've heard from any of the previous bands these guys have been in. It's definitely metal, but with an angry feminine tinge to it that sounds like something from modern American female fronted metal. I'm reminded of a black metal version of Kittie by this, which will make a few of you want to rip your hair out, I'm sure. It definitely has that sort of angry pop/punk vibe that I shouldn't be recommending, but this reviewer thinks the disc is more of a “hey, this project actually exists and I wonder how far they'll get” than a “I think this is going to be the next big thing.”

Jen Nyx screams and sings and whimpers throughout the disc, making it sound like a weird mix of Christina Aguillera and Otep Shamaya. Ulrich W. plays Satyricon friendly modern black metal riffs, making for a weird mix that I could only consider a sort of black/pop/punk, if you can believe it. I'm not sure where such a band will go in the future, but if Kaotoxin is looking for more exposure in the mainstream metal scene, then this is definitely that goldmine band to do it. A lot of people wouldn't touch it with a ten-foot pole, but it's not terrible either. I'm actually curious to the final product, but this EP won't be for everyone.

(4 Tracks, 11:00)

6/10

Fifth To Infinity - Obscure Transdimensional Soulfire (2015)

Formed in Stockholm back in 1997, this Swedish black/death act have apparently only released one album. What they were doing for the past couple of decades remains a mystery, but as of 2015 they released this groundbreaking release of which I am just now hearing via promo. These guys are on Avantgarde records, which also houses our spotlight album this year from Dagian and have since become a banner of quality in my eyes. Now the record didn't really sell me from “Reapers Wake” but when the tremendous thumping groove riffs of “Masters Unbound” came into view, I was taken from the first listen. It's quite interesting to me that Secrets Of The Moon are also tagged on the band's page, because there's a great deal to this record that reminds me of earlier Secrets Of The Moon, right before the change of style they pursued in last year's Sun. I wasn't the biggest fan of Sun despite the occasional couple of tracks, so it's quite natural that I'd look for a damn replacement for that style. Fifth To Infinity definitely seem to fill that void for me, with a definite reminder of albums like Carved In Stigmata Wounds, Privilegivm and my all-time favorite, Seven Bells. Even hearing something remotely like Seven Bells is cause for celebration in my eyes, especially when Fifth To Infinity sound like they've taken that hevaily ritualistic style of black death and made it their own.

What you might find rather interesting about this act are the players in it. For one, we've got the almighty Martin Lopez (Soen, Ex-Eternal, Ex-Amon Amarth hasn't sounded good since, Ex-Opeth might never sound that good again) on drums, along with Nader Jonas Reslan on guitars and vocals (ex-Vinterkrig – Martin Lopez was also in this band at one point) as well as David Lidh on bass, which is suprisingly loud and prominent on this record. Omnipotent Transdimensional Soulfire is the kind of record that revels in a sea of downtuned bass chugs, making them quite fearsome and less groovy, which is something I expect for a black metal record reviewed on The Grim Tower. Reslan's vocals are pleasingly volatile, with a mix between a growl and a rasp that sounds nearly threatening, matching the bleak and mystical presence of the music. If this is a magical ritual of some sort, than it definitely of the bleakest and most potent kind, truly usurping brighter efforts in the might of it's overbearing viscosity.

Perhaps certain sections of leads might become buried (Death Shall Wake Us All) within the weight of Lidh's bass riffs, but you can't deny that this record carries a sort of gelatinous evil with it, the kind that would eat a man alive in it's acidic grasp. The disc also has a long staying power and truly seems like the result of several decades of work. But if you're going to be around for more than twenty years and only release one record, then it had better be a great one. Thankfully it is, even beating Dark Funeral at their own game in this reviewer's opinion. A lot of times it does seem (and I'm borrowing from Alice Cooper here) that a lot of these black metal bands are trying to one-up one each other and see how evil that can be. While Cooper might find that silly, I find it quite interesting. I'm always ready and waiting to hear how evil an act can sound, and if they've managed to make a truly forlorn, hopeless and decidedly grim release. As long as I've been listening to this kind of music I think I've gotten the feel for how evil a record should sound, as well as for what makes a record seem evil. These gentlemen have the right idea as far as that as concerned, and if you're looking for something truly terrifying, you've come to the right place.

Depending on your listening methods, some of the leads will come out a little better than others (I remember the opening leads on “Secrets Of The Bottom” coming out much better in the mix on my headphones than here on my laptop speakers) and the device you listen to this record on can ultimately affect your enjoyment of it quite a bit. Having accidentally hit the play button twice on a few songs (I was moving appliances while listening to this one) I definitely got more of a taste for this disc than several others I listened to that day. But I didn't mind, as I was really enjoying this disc and to listen to the same song two and three times that day was certainly not an issue.

I feel that this trio completed something that should stand the test of time if enough people can get their ears on it and it doesn't fade away in the dark. It's just too damned good to get neglected in my opinion and I'd really like to hear the trio release another one if at all possible. There's even a shout out to the King Diamond style vocal approach here, so you'll need to pay attention for that. It's pretty easy for me to say that Omnipotent Transdimensional Soulfire is yet another one of my favorite releases this year (or should I say last year?) as with so many others. People who still complain that there isn't any good metal out there anymore (and yes, I hear so many comments like this online) really need to have their ears checked, because I've already highlighted three truly powerful albums this week alone, with more to come I'm quite sure. Being that I'm quite attached to this one, I'd certainly recommend it to you as well. This is black metal the way that I've always loved it, and I hope that you'll find something dark, fearsome and evil within this listen as well. If it doesn't make the hair crawl on the back of your neck, it's just not evil enough. That's what Fifth To Infinity manage to do here and I'm ever thankful for it.

(9 Tracks, 55:00)

9/10

Frozen Ocean - The Prowess Of Dormition (2016)

As I received this promo back in 2015, it had gotten dumped because there was no way at that point that I could review any more 2015 releases. These things happen, but due to his work being on a Groupees bundle, Russian multi-instrumentalist and project mastermind Vaarwel asked me to try to dig it out from the dump and review it. (He also requested Wormed, so that is featured this week as well.) So I have done that, and might I say, it's a good thing that I did. The artist's first release with Apocalyptic Witchcraft, this physical only release seems to combine his love of traditional melodic black metal with that of his more electronic and keyboard influenced work. But let's be honest, there's a bit more to it than that.

Let's take a trip through each of these four pieces, starting with the opener, “No Blizzard.” We're greeted by familiar tremolos, which certainly verge on the icy and feel worthy of the name Frozen Ocean. Vaarwel's gruff vocal approach comes in, sounding closer to death metal than black metal, but it fits the tone of the music perfectly and brings about a sense of sorrow that is even greater accentuated by the keyboard generated icicles. I like that it enters a jaunty little electronic section, which I found awesome. The next track, “Once Aglow” jumps right into sorrow, where I often find my muse in Torii. I'm reminded of Agalloch or Woods Of Ypres in the piece, which really seems to pile on the despair and makes me smile with glee. The vocal approach is still quite gruff, but it fits so well with the music here that I'm quite satisfied. There's a certain sadness here that the listener can feel and will appreciate. That being said, there's a great deal of black metal spirit here as well. It's not funerary black metal in the howls and nonsense, but it feels a bit more matured and natural. I can sense the depression, it doesn't feel like a joke.

Then we have “Det Siste Snofallet” which is an instrumental, but such a powerful piece that vocals were forming in my head just listening to it. As I've been doing this sort of thing for a long time, that just happens sometimes. I guess it's easy to say that the piece spoke to me. It definitely pays a sort of tribute to the Norwegian scene, with a nearly mantric tremolo that I can't get out of my head and have a million things to bellow forth as I listen. I've listened to this piece at least three times so far and it's definitely my favorite on a short disc with so many strong numbers. I only find myself a bit confused as to why there weren't any vocals, especially when they'd have had such a presence here. After that impressive piece, we have the finale in the album's title track. Carrying on much of the same feel as the rest of the disc, it's great to hear some vocal element fronting the tremolos again. Vaarwel knows his way around a melody, as is not only demonstrated by the composition (these are excellent) but also the vocal flow. Once again, this feels more like a funereal sort of death metal with black metal influence, but I'll most certainly allow that, just as much as I'll allow the laser lights that pop in so unexpectedly. If anyone can make a form of extreme metal that you can actually dance to a little bit, it's this guy.

The record could be a bit longer I feel, but I'm most certainly not upset with it. It feels like a good appetizer for what will be an even larger offering next time around. If you're a fan of depressingly melodic stuff that you can sometimes dance to, please give this one a listen. Frozen Ocean is a real trailblazer in the scene, trying out new things that most people would never think to do for some ridiculous reasons mostly harboring in the realm of elitism. It is 2016 and evolution needs to occur in heavy metal music, which is what acts like Frozen Ocean are certainly attempting with efforts like this one. Though it is just an EP, it is definitely worth a listen and I mean that. As I said, it inspired me and I didn't even see that coming!

(4 Tracks, 24:00)

9/10

The Lion's Daughter - Existence Is Horror (2016)

It's very difficult to get around the three word bands these days, as many of the poppier and trendier acts are using three word monikers and in the process turning off metal fans. It's become a sort of tag, telling listeners “you'd better be careful with that act as it has three words in it's name” but sometimes that isn't the case. Trust me, I felt that I was in for the same mediocre vapor music when I looked at the name of this Missouri based progressive blackened/sludge metal act, but it seems that that was certainly not the case or I wouldn't have spent my time reviewing them. A three-piece made up of Erik Ramsier on drums, Scott Fogelbach (Bastard) on guitars and bass and frontman Rick Giordano (Ssothm) on guitars and vocals, these guys sound like what would happen if members of Dark Funeral and Marduk got in a fight with EyeHateGod, Between The Buried and Me and early Mastodon. Most commonly compared to another great US act by the name of Coffinworm, these guys certainly provide both chilling and extremely dirty atmospheres. Check out the riff oddities that appear right in the middle of “Nothing Lies Ahead” and you'll see a band that's not afraid to experiment as electronic static somehow finds it's way into the mix as well.

Giordano doesn't use a scowl or anything even close, instead preferring a brutal man growl, which sounds kind of like a bear bellowing because it's been caught in a trap. Though I'd simply expect nothing more from such a sludgy and quite intuitive act as this one, where the tremolos one hears are often accented by dark progressions that one might not expect (thus where I get the BTBAM influence) right before taking us right into Mayhem friendly territory, because why in the hell not? It's 2016 and if these guys don't want to have boundaries, then we won't give them any boundaries to play by.

For some of you, this style might prove too much as it is more experimenting and sludge madness than actual blast beats and tremolo riffs, but it allows the band to stand out a bit more than if they had just been black metal and sludge period. As a matter of fact, it says to me, “hey, someone's actually going to remember The Lion's Daughter because they stand out.” Take for instance the nearly clean shouts of “Four Flies” where it seems like Giordano is trying his very best not to go full clean and might try that on the next record. Even so, that would not be a detriment to me. Why hold yourself back? You've already kicked yourselves firmly out of the black/sludge corner and are moving into something a bit more interesting. Even Metal Archives seems to think so, with a 90% so far for the entirety of the record proving that The Grim Lord knows what the fuck he's talking about when it comes to these reviews and if I could, I'd split myself into four identical versions of myself, each with a laptop and the rest of the albums I couldn't cover.

Digging through all these can be an absolute nightmare, but when you find an act like The Lion's Daughter that really seems to make their presence known, you know that you're doing the right thing in this industry. I feel it's almost unfair to completely explain such a textured and volatile release as this one, but I can say that whatever experimental sludge record it is that you're listening to right now, I can guarantee you that this one's better. Season Of Mist signed these guys for good reason, and I really hope that enough people get their hands on an act like this as they should. To me, The Lion's Daughter sounds like sludge metal evolved into something far more intellectual and unique, rather than just dirt for dirt's sake.

Existence Is Horror is the kind of record I'd nearly bathe in, but I just don't quite have the time to give such an enthralling listen as much time as it truly deserves. This is an act I'd love to see live and I'd hope they head by my neck of the woods soon (and I can actually get to the venue as well) so that I can see this experimental black/sludge mindfuck in action. If you're sick of a lot of the same old things when it comes to metal and are looking for a crushing album that still speaks to you on some otherworldly conscious level, you might want to pick this one up. It's been out for a while now, but that's no excuse to pass it by if you're a fan of this stuff.

(10 Tracks, 40:00)

9/10

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

Wormed - Krighsu (2016)

Spanish technical BDM maestros Wormed have returned with a new record three years after the release of 2013's devastatingly awesome Exodromos. Though the record is pretty short for a full length, (it's only about thirty-four minutes) it seems to offer everything that Wormed fans have come to expect from the quintet. Aside from new drummer G-Calero (Genotype) we have Guillemoth on bass (Human Mincer) as well as guitarists J Oliver (Unsane Crisis, ex-Hybrid) and Migueloud (Human Mincer, ex-Hybrid) which deliver much of the same technical onslaught as the previous records. Vocals are still handled by Phlegeton (Banished From Inferno, Unsane Crisis, Wrong, Human Mincer) and sound just as ferocious as they've ever been... like a frightening sort of space vaccum.There's seldom a silent moment on the disc and when one is uttered, it is usually in the form of a slight atmospheric piece that never even approaches the two-minute mark. Normally these might come across as a bit of a hurdle for some listeners, because god forbid there's a break in the mayhem; but on a release like this that is quite short and mostly atmospheric (I'll explain that in a second) I don't feel there's any real issue with these two differentiations amongst a disc with eight tracks of blaring, blistering and nearly incoherent but tatically composed death metal.

Wormed are definitely death metal and they've not changed here. There's no clean vocals, clean melodies or any such thing that you might consider vacant of filth here, regardless of the fact that frontman Phlegeton's vocal approach is still quite comparable to that of the Hoover vacuum that I used just last weekend, while giving the dungeon a well-needed clean. (I was afraid that I was going to have to be fighting off creatures in here!) Though as I mentioned, Wormed have an odd way of creating an atmosphere within what can seem like an obscure mixture of BDM and slam. Since these guys utilize quite a bit of technical riffing throughout the disc, it definitely packs more than just a punch as I almost find myself taken completely into these harsh intergalactic landscapes by which the band illustrate. Most consider Wormed one of the very best acts in the brutal death genre and they're a celebrated act by one of our tower colleagues. He absolutely loves these guys, and more than likely considers this record another good offering. But therein lies my issue. As much as I loved Exodromos, that might be because it was the first time I've ever heard this style and really appreciated it there. Krighsu feels like an extension of that record, except with a couple more slam portions which I certainly won't knock – after all, that's what fans of this genre love. It just doesn't feel like anything all that new to me, and doesn't really evolve the style in any way, shape or form. What I'm hearing here is no different than Exodromos, but that's certainly not a problem.

The disc offers a sense of unweilding brutality, savagery, devastation and whatever other words you'd like to use to categorize the material that these insane and intelligent (read: lyrical content) Spaniards are capable of devising. It's a record that can seem far longer than it actually is, which I think is a good thing for the BDM fan that wants to blast it as loud as can be and get what they feel is their money's worth. Just because the listen isn't all that lengthy in the realms of what humans would consider time, doesn't mean that you're being shortchanged for half a record or such nonsense. It's still well worth your time and investment, especially if you really love this kind of metallic approach. As with most of the disc, I sort of zoned out to it aside from a chugging piece by the name of “Zeroth Energy Graviton” which brought in a different feel than the record had prior. I feel that with most of these BDM albums, you can really sort of get absorbed into them where it's not so much about the brutality as it is the abrasive atmosphere and that's what I felt most. There are no guitar solos to speak of nor are there any sparkling leads that appear in the mix. The disc is especially drum heavy, with G-Calero really bringing a storm down on the kit that you're going to feel for a very long time to come. To some, Krighsu might sound like complete and utter noise – a vacuum cleaner doing battle with a passing eighteen-wheeler. To others, it might even sound like a battle to the death. It certainly captures the same feel of acts like Cryptopsy, Artificial Brain and 7.H. Target among others, and brings a bit more brain to the brawn.

Wormed aren't going to win any awards for this and it's certainly nothing unlike they've performed in the past. But fans know and fans will buy. If you're a fan of the above and you still haven't heard these guys, then maybe it's time to go out there and purchase all three discs in order to get the full experience. It's a good thing to see that Wormed decided to stick around after a rather lengthy hiatus to give us more than just one new offering, regardless of the three-year wait in between. Whether you love it or think it's the most unruly racket you've ever heard, Wormed are a true example of the extremely extreme. Very few bands even come close.

(10 Tracks, 34:00)

8/10

Hordak - Padre (2016)

Though their name was taken from a famous villain in the He-Man universe, these Spaniards have been since crafting a style of Celtic influenced pagan metal that they would consider very close to the Viking scenes of Scandinavia. Pagan metal has it's way of spreading throughout the world, as some people just seem to prefer the ancient archetypes to the more modern ideal and that's perfectly fine with me. Utilizing many of the same folk-influenced structures that bands like Moonsorrow, Einherjar, Enslaved, Forefather Helrunar and many others have adapted into their music, this five-piece is definitely blazing a trail for the scene in their respective country. I wouldn't have expected to hear much metal in this style from Spain, but things have a way of changing greatly with the passing of time. Padre is by no means the band's first album either, as they've been active since 2002 and have released three records prior to this one. I can't say much for those as I've apparently been hiding under a rock, but as far as Padre is concerned, this is definitely a great interpretation of the genre. The production might be slightly rough, but the acoustics shine rather brightly in the mix and definitely allow some light to come through in the midst of what can sound rather dark and frostbitten. The band is composed of a whopping three guitarists, which consist of Winter (ex-Folkearth), Autumn who also performs the rasps (Last Deception, ex-Folkearth) and L. Mansilla (Last Deception, Gotteron.) We also have A. Mansilla on bass (Frozen Dawn, all the other bands that these guys play in, ex-Folkearth) as well as J. Sierra on drums (Last Deception, ex-Folkearth, ex-Dawn Of Tears) rounding out the act. As you can see, many of these guys play in other bands together, so that might be another reason for the long wait, as they were simply working in other acts. That being said, this lineup hasn't changed since 2011's Under The Sign Of Wilderness, so if you enjoyed that one, you're hearing the same guys go at it once again. That being said, it's been a five-year gap in between this record and the last, so fans should definitely though that from what I've heard here, that time spent patiently waiting was not in vain.

Aside from the frostbitten folk metal tremolos, blazing drums and cheery acoustics, we also have some absolutely killer and somewhat out of place guitar solo efforts. As there are three guitarists, this makes a lot of sense, and I do feel that in most heavy metal acts a great solo can really bring out the best in your work. They've got the formula down as you'll hear here, and it sounds like a lot of work went into this composition. Perhaps “Sol” kind of sits there as a break from all the heaviness, but aside from that lighter number the band basically perform a very traditional form of black/Viking metal that truly embraces the black metal side of the performance. Sometimes the raspy scowls are accented to bring an even fiercer tone to them, which reminds me heavily of Bathory and even classic Burzum. You also have these rock n' roll solos in place that as I've said, spice things up a bit and really show that these guys are in love with traditional heavy metal just as much as classic blackened folk metal. I don't know about you, but tacking on a wonderful solo effort like the one they've used on “Eklepsis – Devourer Of Gods” and “Soaring” for example, are just the kinds of things that really get me interested in a band. I love leads, I love melodies, but I love to hear when bands really go out there and add such an uncommon element to the genre as of late in there, which is what the listener gets here. I should also add that Sig Ar Tyr did the same thing with their latest album Northern, which basically says to me that more bands are finding interest in spicing up their classic Viking anthems with a little bit of old school heavy metal. It doesn't hurt, and truly manages to make what already comes off as a great album, even better. When you hear the acoustic backed narration from guest Wulfstan on “Bloodline Of The Wolves” you'll get even more into the spirit of the material. In addition to the metallic instruments, we also will hear familiar bagpipes and flutes, truly bringing what I'd consider a real Viking metal experience form a place that you might not have expected. The Spanish metal scene can truly shine with an act like Hordak, who despite their rather odd moniker, show that they can successfully craft a brilliant and almost uplifting style of Viking battle anthems that I surely couldn't forget. Maybe you're not a fan of all the solos, but I'd simply have it no other way. If these guys are going to continue to beef up the genre in such a memorable style as they have here, then I'd wish them only the best of luck (which I'd wish them anyway) and hopefully we can hear an even more bombastic effort next time. Even though to be honest, this record is plenty good enough that they can rest on their laurels for a bit before rolling out another one, or work on other material in the numerous other acts in which they comprise. In other words, you've done a great job, men! Now you can go out there and kick some ass live before jumping back into what I'm sure will be great albums in other styles of heavy metal music. If you love the sound of classic Viking metal, you really can't go wrong with this one. I don't review the genre much, but seldom do I get an approach as noteworthy as this one. Go out and get it, it's been out for a while now!

(10 Tracks, 49:00)

8/10