Future Usses is a project featuring members of Intronaut and Bereft and they’ve clearly been putting a lot of thought into their debut, The Existential Haunting (Pelagic). Five years in the making, this is an album which is crafted and defined, but it’s not an album that the casual listener will find rewarding.Continue reading
Halloween is a week away, and Cradle of Filth‘s legendary vocalist, Dani Filth, has shared his thirteen essential albums for the holiday online today. Continue reading
The Melvins formed in 1983 in Washington, and have been dishing out radical tunes since day one, but thirty-four years deep they’re pushing the envelope once more, with a double album. Disc one, Death, sees nine tracks of corkscrew, minimalistic arty alternative rock, while the second part, Love, sees the band provide the score to a short film from independent director Jesse Nieminen; a combined effort with sees a kaleidoscope of murky, temperamental and psychedelically angular musical ideas.Continue reading
Evanescence‘s Amy Lee recently released her new single for the upcoming Voice From The Stone film, and now the stunning video for ‘Speak To Me’ has made its way online. Continue reading
Evanescence‘s Amy Lee recently confirmed that she was writing a new theme song for the upcoming Voice From The Stone film, and now the single has made its way online. Continue reading
How cool is this?! Continue reading
Haven (Napalm), American Power Metal band Kamelot’s eleventh studio album and second since the departure of Roy Khan, is an album that sounds like a musical at heart, like it was fastidiously crafted to be performed on Broadway. Its stylings and symphonic groundings and Tommy Karevik’s leading man performance all point to it, and so effective is their dramatic voice, perhaps taking their work to the theatrical stage is the next step they need to take to fully realize a legacy that has been consolidated by consistency.
Historically, the Floridians have always been walked on safe, and not the wild, side. A touch of fantasy, a host of symphonics, with soaring, immaculate vocals on top, they have always delivered and always sounded utmost in their professionalism and musicianship, but never truly excited; a band that, while most definitely best in class (though perhaps by default), are at times too slick and lack the insanity/genius of a great.
The heady mix of Savatage, Dream Theater and Queensrÿche coupled with effective symphonics and Andrew Lloyd Webber musical theatrics is near-perfected in opening duo ‘Fallen Star’ and ‘Insomnia’, up there with the best tracks of the bands’ career, but it is with ‘Under Grey Skies’ and the addition of Charlotte Wessels’ (Delain) dreamy vocals and Troy Donockley (Nightwish)’s tin whistle that matters bloom and the full epic musical scale of the vision for the album begins to be realized. It sails close to the Eurovision ballad wind, but it’s a beautiful song fully suited to a soundtrack or a musical. Elsewhere, downtuned staccato rhythms underpin grandiose unveilings and Karevik dispels any notions that the band can’t succeed without Khan with an assured performance; actor, narrator, singer, frontman and further proof that the line between Kamelot’s albums and musical theatre is a thin one.
All the previous criticisms can apply: this is a slick, professional band, but on Haven Kamelot have once again verified they are best in class, and have found an emotional connection. No longer cold to the touch, they are bringing to life their vision most effectively and with genuine zest. While retaining all the expected hallmarks, it is most definitely meticulously put together (if the devil is in the detail, then Haven is positively Satanic) but there is something more to it; something exuberant bubbling through. You would expect a band entering their third decade to have the requisite chops, but you wouldn’t necessarily expect them to be injecting such vitality and vigour into the mix.
Stop what you’re doing.
I’d like you to stop what you’re doing right now and pay attention.
For here is the most impressive and important heavy metal album thus far in 2015. This is the record that is going to inhabit the upper echelons of those end of year lists and we are only in the year’s early months. This is the record that you’re going to smile knowingly about and, when all the hipsters come out of the woodwork to declare their love for it, you’re going to feel smug in the knowledge that you were there when Frost (Osmose) came out and when Axioma Ethica Odini (Indie/Nuclear Blast) changed your world view of what was possible with progressive metal. In Times (Nuclear Blast), the thirteenth album from Norwegian progressives Enslaved, is a record of staggering, jaw-dropping brilliance.
In Times distils the essence of Enslaved in brilliant, grandiose fashion but, like all great albums, suggests new, as yet uncharted opportunities. To use sporting parlance, suggesting that the band are at the top of their game is to truly misunderstand what’s going on here. Enslaved are not just at the top of their game; they are in the process of trying to change the game being played. In Times delivers six extended, expansive aural essays as opposed to songs. They are all brilliant, all have their own internal narratives, nuances and highlights and yet, knitted together, manifest themselves as the most coherent and immersive album of this band’s career.
‘Thurisaz Dreaming’ kicks things off in spectacular yet familiar fashion. We are thrown back into the brutal and ferocious territory that is reminiscent of the black metal hinterland of the band’s early period. This works on a number of levels- as a visceral introduction and a statement of intent for the new record, it is all welcome and vibrant strum und drang. As a reminder of how far the band have come without compromising their aesthetic or values it is a glorious throwing down of the gauntlet. About three minutes in, we move elegantly into the more progressive melodic territory of the band’s more recent past. It’s akin to pulling a handbrake turn. In lesser hands, this juxtaposition of styles would be clunky and knowing. With Enslaved, such is their talent for aural narrative, this seems like the most natural thing in the world. It is a technicolour, vibrant and furious opening.
It then gets even better. ‘Building with Fire’ is one of the best and most compelling manifestations of the band’s melding of clean, open singing and harsher brutalism that I have ever heard. It has a hypnotic 4/4 beat that acts as a simple yet effective architecture for the dual vocal talents of Herbrand Larsen and Grutle Kjellson. It’s brilliantly effective, and catchy as hell.
And then it gets better still. On ‘1000 Years of Rain’ we have one of the most intricate, eloquent and astonishingly creative songs the band have created. It is a rich and richly nuanced epic, covering an extraordinary range of styles, stitched together like a medieval tapestry. This is what the soundtrack to Game of Thrones sounds like in my head. We are treated to folk, hymnal chanting, riffing bigger than tectonic plates and a brilliant attention to detail that brings the listener back time and again to discover new gems as well as simply wallow in the gloriousness of it all.
Exemplary is the most apposite word that I can conjure for the majesty of ‘Nauthir Bleeding’. It stretches to almost breaking point the band’s capacity for bringing together the dream-like melody with gnarly bombast but it’s a stretching that never breaks, largely because this is a band that knows exactly what they are doing and do it with aplomb; being taken to the edge has rarely felt as thrilling.
The simplicity of what Enslaved do – the light and shade, the ambient and terrifying is simple enough to explain, much harder to deliver. On the ten minutes plus dynamism of the title track you really understand just how accomplished they are. This is the most obviously progressive track here with long ethereal passages that reflect the album’s otherworldly nature whilst continuing to blend in the relentless riffage that they are equally renowned for.
The album coda, ‘Daylight’, is well, magnificent, driving through fantastic melodies and power to the inevitable conclusion that leaves you shaking your head at how good it all is.
In Times is a reflection and a look forward; it is the most complete encapsulation of what Enslaved are about and what Enslaved are capable of. Again and again, In Times shifts your expectations about what “good” looks and sounds like. This is the most daring, ambitious, otherworldly and evocative album of an already deeply impressive career. It is the record where any scintilla of doubt of their genius can be banished from your mind, consigned to the dustbin and given a right royal telling off. With In Times, Enslaved have created an album where every ounce of their creative nous has been distilled into an album that is simply and utterly spellbinding.