CLOUDSCAPE
New Era
Nightmare Records
Sweden's CLOUDSCAPE is certainly no stranger to fans of power and progressive metal, but this time I feel that the effort doesn't sound quite as strong as it should have. The band really seems to be playing by the numbers for the majority of this disc, and there is far too much pop influence on this one for my tastes. I have seldom come to the point where I actually waited for an album to end, but with this one I felt that twelve tracks spanning over an hour's length was far too much. Those of you who wanted a much thrashier effort might be rather displeased by the fact that these guys tried too much to sound like EVERGREY this time, and despite the fact that there's a tiny growl in "Share Your Energy" the band only manages to produce some real thunder on "Your Desire." One becomes quickly under the impression that the band wanted to go for the money-making approach of quick, repetitive choruses and simple riff-work. Even though there are some good melodies on the album and a nine minute epic "Voyager 9" with all the trimmings of prog metal, there are too many tracks on this one that just seem to get in the way like "Violet Eve", "Into The Unknown" and "Heroes." Upon further inspection one might wonder why I've literally dismissed the final three cuts on this album, and that is because they're all simply lifeless and nothing more than filler. The disc should've ended with the ninth track, "Before Your Eyes" which also showcases the last of the band's originality on this record. However, I'm still rather puzzled as to why "Voyager 9" didn't find it's place as a closer to the disc, as it clearly works in that position. But it's not all a wash, as there are some fantastic solos and the vocal work excels in several of the tracks. Not perfect, but you could be hearing much worse this year.
E. May
6/10
FULLFORCE
Next Level
SPV
With a name like FULLFORCE, I was expecting something a little heavier from the get-go, but I was not necessarily disappointed. Mike Andersson from CLOUDSCAPE and ex-MALMSTEEN/HAMMERFALL guitarist Stefan Elmgren and current HAMMERFALL drummer Anders Johansson are also in this band, so that was certainly refreshing to me. I was hoping that I might hear some of the same styles that made HAMMERFALL classics like "Threshold" and "Crimson Thunder" so popular, and I'll admit that I am certainly hearing those styles on this album. Mike is a definitely a great vocalist, but I keep wondering how HAMMERFALL frontman, Joacim Cans might have done on "Break It, Crack It, Destroy It" and opener "Broken Dreams." However, while he fails at a growl attempt on "Karma" one of the disc's heavier tracks; he also manages to hold strong clean vocals on that same track. The band's first album "One" was devoid of ballads, and for some odd reason they felt that they just had to pollute the album with them this time around. Not that I don't like the occasional ballad, but the snorefest called "A Night To Remember" is probably one of the worst ballads that I've heard all year. Even though it's a sort of "heavy" track and the band doesn't consider it an actual ballad, I'd certainly have to consider it one, as it's something I'd expect to hear on the radio while driving home from work. But "Smile At the World" is not necessarily perfect either. However, "Strongest Thing Of All" does manage to succeed in channelling The Scorpions, which is what the guitarist's goal was originally for these ballads. But those tracks aren't why you're here, so I will be glad to let you know that "Hate, Love, Drop It" is built of the very fabric that constitutes good power metal, and left it's mark on me. As far as I'm concerned, it's the album's strongest track and proves that they've got the skill to get further recognized as a worthy power metal act. This track has all the thrashy goodness and powerful choruses that you waited most of the album for. "Visions" continues this same streak of power, and the classic style of "Course Of Life" really shows you exactly who these guys are, what they've accomplished and what they can continue to do when the formula works out. If I'll mention anything else about this album, it'll be the second to last track, "Mysterious Ways" which succeeds in sounding mystical and otherworldly, thanks to the use of Arabian riffing and spatial synths. This album indeed holds many surprises and while some of them are fantastic, others are... well, not so much.
E. May
7/10
PIG DESTROYER
Book Burner
Relapse
It has been a while since we've heard anything from PIG DESTROYER, but there are many reasons why the follow up to "Phantom Limb" has been derailed. For the most part, these guys are getting older, starting families of their own and that of course for most of us, means children. Children don't like loud, raucous noise (at least not yet) and that is why J.R. Hayes and his brother have been working on turning Scott Hull's basement into a studio, which took a whole damned year to complete. Well, was it worth it? For fans of PIG DESTROYER's core work, yes. It was. But if you wanted something that was altogether different, that didn't sound like a bunch of grown men screaming and hollering in a room over top of blistering drums, angry guitars and full-on chaos - I'm sorry to inform you, that you didn't get that record. And furthermore, you may never get that record. Because these guys aren't about to conform, use clean vocals, poppy choruses or beautiful melodies. This is grindcore the way it's always been. The lyrics of this album generally have a dark poetic nature and in some cases stand out better on the page then they do in the music. Hence, it's this type of sick and deranged poetry that we'd expect from the genre, especially odd musings like "Dirty Knife" the horror-influenced "Sis" and the oddity of a song called "Iron Drunk" which is about a guy that's so drunk, he apparently doesn't give a damn what's to happen to him. Top this off with J.R. Hayes' short story "The Atheist" (which being an author myself, I sat and read through, albeit judging slight errors in the prose) which is a hard sci-fi tale about a man who witnessed the awful power of popular religion and corrupt government and how the two can become the worst threat to all of humankind. By the way, the special version of this disc actually comes with not only an extra disc of punk covers, but also a reading of "The Atheist" by it's author, J.R. Hayes. That's worth more to me than this entire album personally; but I will say that this album brings back PIG DESTROYER in their truest sense; the "let's not give a damn about popular metal trends, and just make some loud fucking grindcore" sense. This is music that leaves the listener with one clear statement, as referenced in the album's booklet... "Play at maximum volume."
E. May
8/10
SCELERATA
The Sniper
Nightmare Records
This third opus from Brazilian power/thrashers SCELERATA definitely took me by surprise. At first, I had no idea what to expect; but as soon as the disc cranked up with the onslaught of opener "Rising Sun" I was completely hooked. The drums pound, the guitars snake their away around with every little melody and solo, and the soaring vocal performance from Fabio Juan reminds me more of the legendary Germans HELLOWEEN than anyone else. But perhaps that's because Andi Deris (HELLOWEEN) and Paul Di' Anno (ex-IRON MAIDEN) are not only guests on the album, but they also composed and co-wrote this great work. Being a fan of power metal for several years and finding little to like from the genre especially since HAMMERFALL's hammer is getting rusty, and only finding Japanese bands like ANIMETAL USA and GALNERYUS to be of any real merit, this album gives me a great sense of hope for the genre. This is every bit what power metal should sound like, with bombastic choruses, thundering riffs and hearty melodies, and a drummer behind the kit who isn't afraid to mix things up a little. Trust me, folks - there is little on this album that is not to like. While not all of the songs are as fast and mighty as "Road To Death" or "Till The Day We Die" the ballad "Must Be Dreaming" is certainly worth hearing, with it's odd melody structure and soaring vocal performance. But the real icing on the cake? The disc's closer, "The Sniper." This is the very definition of "epic power metal finale" that you were looking for. With this bombastic release, SCELERATA proves that they're able to re-light the power metal torch that seems to have been extinguished in the fuzz of technicality, djent, and deathcore. The special edition of this disc features two more tracks and some live performances that this reviewer wasn't given the privilege to hear, so definitely check that one out. SCELERATA might very well be the saviours of power metal, and they couldn't have come not a moment too soon.
(Interview Coming Soon!)
E. May
8/10
SEVEN KINGDOMS
The Fire Is Mine
Nightmare Records
SEVEN KINGDOMS are a wonderfully fantastic power/thrash band from Florida, much in the vein of legends like BLIND GUARDIAN. One would be perfectly sound in saying that these guys (and gal) sound just like BLIND GUARDIAN with a female vocalist, and however blasphemed you might feel by that statement; you only feel that way because you haven't heard this album yet. The disc thrashes with new classics like "After The Fall", "Flame Of Olympus", "The Fire Is Mine" and closer "The King In The North" and that's just for starters. The solos on this thing are just as immense as some of the solos I'd expect from BLIND GUARDIAN's early thrashers "Born In A Mourning Hall", "Somewhere Far Beyond" and "Traveller In Time" for example. The album even incorporates the background choirs in a couple of the tracks, which really add to the atmosphere that these guys were trying to achieve and successfully did. But not all of the songs are perfect, despite the dual guitar onslaught and thundering drum barrage, and there is an acoustic ballad here "Kardia" that follows the title track and kills the mood for me. I know there will be fans out there who will like this, but I personally would've rather had more thrash. Also, "Forever Brave" is a little weaker as well as the groovier "Symphony Of Stars" despite the fact that the track does showcase some good melodies. However, I know of people that will also eat this one up and the chorus does manage to capture Hansi's Kursch's vocal acrobatics, which I found intriguing. There's also a modern approach taken to "Fragile Minds Collapse" which might not appeal to fans of the classic style of power/thrash. I also might mention that while there are eleven tracks here, only nine of them are actual songs. Despite all of this, I still think that Seven Kingdoms and their amazing Siren on vocals Sabrina Valentine, have brought much to the world of power metal. But not only that, they've also helped to further bring down the barrier that metal is man's game, as she seems to be able to hold up just as well, if not better than any man I've heard in the genre of power/thrash. Her soaring vocals are more than enough to carry this album throughout all of the twists and turns that this band takes as they weave you through Greek Mythology, the worlds of George R.R. Martin and many other lands of mystical enchantment. An absolute must for the power metal fan.
(Interview Coming Soon!)
E. May
8/10
SPHERIC UNIVERSE EXPERIENCE
The New Eve
Nightmare Records
From the minute this French prog metal album starts out, the first thing I'm hearing is the crunchy riffs that made their place on DREAM THEATER's "Train Of Thought" and James Labrie's debut album, "Elements Of Persuasion." Of course, despite the fact that the opener "Shut Up!" is not only rude, it's also pretty bland. But throughout most of this album they've done more or less the same thing, which consists of mixing weak riffs with electronics and weak vocals. They prove they can thrash and that's about it, really. I more or less would consider this a simplistic progressive thrash disc that’s more about beating the drums and making loud noise, than it actually is a prog metal album. Yes, calling this a prog metal record is very difficult at times, especially if you've really heard all of this done better back in 2005 when it was DREAM THEATER and they knew what they were doing. Of course, when they're not thrashing they're making ballads like "Angel" which don't help their cause any. The middle of the disc features this annoying ballad, which entails such a repetitive chorus that one could consider it a type of brainwash. That's followed up with a pop song called "The Day I Died." So things aren't getting any better. But then one of the disc's only good moments shines through in a track called "In This Place 4:16" when the thrash and melody actually works out, followed by just one more moment of decency on this lackluster release, called "Self Abuse" which actually has some unique ideas in terms of drumming and incorporates the quaint use of death metal vocals. After that, we're all done here. I'm not going to give you any more reasons why you need to check out this disc, because there aren't any more reasons. If you like simplistic progressive thrash with poppy ballads thrown into the mix for no apparent reason other than just to kill the mood, then I would recommend this one. Sorry gentlemen, but this one just didn't do it for me and the lack of decent guitar solos didn't help. To tell you the truth, I'm not sure if I heard any guitar solos, or even memorable riffs on this one. In truth, it might be best to steer clear of this disaster completely.
E. May
3/10
WARNOT
His Blood Is Yours
Nightmare Records
This debut album from ex-CLOUDSCAPE/DR.WEIRD guitarist, Bjorn Eliasson is a progressive metal/theatrical doom album with some serious potential. But other than his wonderful solos, (which were not surprisingly vacant from CLOUDSCAPE's new album) he has also enlisted the help of several other vocalists. Some of the vocalists featured on this disc are Mike Andersson (CLOUDSCAPE/FULLFORCE), Sussi Sorenson (BO WILSON BAND) and Andre Mollestam who performs all of the album's growls. But don't think just because you heard the word "growls" that this is going to be a progressive death metal album with theatrics, because that's not what you're getting here. But you are getting some powerful tracks like "Raptures Of The Deep" with it's strong choruses and interesting use of an pipe-organ, "The Crow Will Die" which has it's share of clean vocals and death growls, and the immensely rhapsodical ballad, "His Blood Is Yours." This is the kind of greatness I'd expect out of bands like AYREON and has a chorus that isn't just catchy, it seeps itself deep into your skin. The playing on the disc is it's major strong point, as synths make sweet love to well constructed melody structures that will even have naysayers taking a step back. Not all of the vocalists perform up to par on this disc, but that is normal as I haven't yet heard a disc in my life where every guest vocalist featured was at the very top of their game. It just happens sometimes and one cannot fault the whole album for it. A good estimation of this experience is to imagine a darker version of bands like AYREON, STAR ONE, or DOCKER'S GUILD. The added influence of death metal and somewhat dreary atmospheres mixed in with the occasional choirs, beautiful synths and impressive display of guitar work on the disc, let alone overall musicianship; make this disc from ex-CLOUDSCAPE guitarist Bjorn Eliasson far outshine the work of his former band mates. For anyone else who is deciding to break out of their band and form a solo act; check out this album first, to see one of many examples where the formula is properly perfected. I still feel that further listens of this album are needed to fully absorb it, and as far as the band's concerned; that's probably a good thing. Make sure that you don't miss out on this debut.
E. May
8/10
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