Damn mods.

Admin was online not too long ago.

Damn Yac.

Jeez, what's it come to when you can't even show pictures of headless naked chicks?? World's gone mad!

That's a decapitated, naked, fat dude. You can see his dick.

With boobs. I wasn't sure, and, and this may surprise you, I wasn't looking down between the legs! So I assumed it was a fat woman. Looks like someone got ahead anyway! :laughing:

Also, shove your stupid recs where the sun don't shine (ie Dublin): I want proper recs, if any at all. And I don't even know that I want any. That's a long list already.

http://www.metal-archives.com/images...32339.jpg?2217
Title: Act III: Bitterness
Artiste: Funeris
Year 2015
Nationality: Argentinian
Rank:Novice
Genre: Funeral Doom Metal
3

Expectations: When I tried to explore funeral doom metal for Metal Month III, I was quickly turned off by not only the crushingly slow pace (which I could deal with) but the lack of variety and interest in the vocals, which seemed to consist of long-drawn out moans and howls with no real discernible words. Funeris, on the other hand, really impressed me, and maybe I just listened to the wrong band. Either way, I'm hoping this will live up to the promise of Funereal Symphonies, though I will allow this is their second album in the same year, and so will cut them some slack if it isn't quite another masterpiece of funeral doom.

1. Flor de mi miseria: There's no confusion as to this being doom metal anyway, with big heavy ponderous drums and crushing guitar riffs moving at a snail's pace as we open. In case you weren't aware, Funeris is a one-man-band, with everything played and sung by Alejandro Sabransky, which only ups my praise for his outfit, which really he manages to make sound like a full band. (It's a complete coincidence, by the way, that this and the next album to be reviewed are both metal bands with one member). There's something unutterably grand and majestic about his music, even if I can't understand a word he's growling, sorry singing; can't even tell if it's in English. But as I found out this year, doom and funeral doom in particular is more about weaving a tapestry of feelings and emotions, creating an ambience and atmosphere than it is about creating individual songs. This is music you just get lost in, drown in, and may find it hard to make your way back out of, if you want to.
2. Muerte lenta del destino: Some beautiful, lonely violin and cello starts this one off, and it's another long one (the previous track ran for over eleven minutes, this one goes for just under ten), crawling of course but with that same stately sense of reverence, almost like a funeral itself, which is I suppose the point. Batty used to talk about riffs crushing him, and I never quite understood what he meant, or how that could be good. Since listening to Funeris, I totally get it. This music just pounds you into the earth, and you want more and more. Actually slightly speeding up here on the guitar, more a gentle canter than a power metal gallop or anything, but still an increase in tempo, if only very little. A real moment of relief, as it were, as the heavy feedback, percussion and bass all fall away in the fourth minute to allow some very reflective guitar to take the tune, though for less than a minute before the full ensemble at Sabransky's command comes back in, taking with it some more violin, which again helps to somewhat lighten the heavier vibe.
3. Pax aeterna: This is the only instrumental on the album, though with the dark, indecipherable vocals it kind of doesn't make a difference really. It's also well the shortest track, at just over four and a half minutes. There's an almost power metal guitar (though much much slower of course) and moaning violin to open, slow, measured drumming accompanying the melody like a slave driver beating out the rhythm or the lead mourner at a funeral striding purposefully and determinedly along, head down, eyes looking neither to left nor right. There's an almost anthemic feel to it, with a sense of the celtic too.
4. Falling through depths: I'm not quite sure why half the tracks are in Spanish and the rest in English, but I'm sure Alejandro knows what he's doing. Totally crushing slow riffs, vestiges of keyboard work behind them, maybe the odd violin but mostly it's powerful, brutal guitar and growls that sound like they come up from the very pit of Hell itself. Does indeed give you the feeling of falling into a bottomless well or something.
5. Time is a gallows: The longest track on the album at just shy of thirteen minutes and opens with a surprisingly light and upbeat guitar, though of course that doesn't last as the standard heavy guitar punches it aside. It can still be heard in the background, doggedly trying to bring a ray of sunshine into this dark domain, but it's doomed from the beginning. As we reach the halfway point though, things do calm a little and we even get soft synth and quite spectacular piano, all percussion now faded out. This continues for about a minute before it all crashes back again for the big heavy ending.
6. Pax aeterna (String ensemble version): I know I don't normally go for bonus tracks, remixes or alternate versions, but this sounds like it could be worth listening to. And after all, there are only six tracks here, so who's it gonna hurt? I enjoyed the instrumental on track three, interested to see how he orchestrates it up here. Will it change a Green to a Blue? Yes. Yes it does. Beautiful.

Final result: To create one almost perfect album a year is something else. To get out two such opuses is incredible. To do it entirely on your own is nothing short of phenomenal. Really, either of the last two albums could be on my AOTY list, and it's hard to choose between them, but since my first exposure to this guy was on Funeral Symphonies, the effect that had on me gives that album the edge, so it'll be going on my list. But if there weren't so many other albums I wanted to honour by including them, this could be on it as well. Superb stuff.

Rating: http://www.trollheart.com/hphone.gifhttp://www.trollheart.com/hphone.gifhttp://www.trollheart.com/hphone.gifhttp://www.trollheart.com/hphone.gifhttp://www.trollheart.com/halfhphone.gif

http://www.metal-archives.com/images...22148.jpg?2749
Title: Autumn Eternal
Artiste: Panopticon
Year 2015
Nationality: American
Rank: Apprentice
Genre: Atmospheric Black Metal/Folk Metal
6

Expectations: I'm just hoping to be impressed and moved again, as I was with particularly Roads to the North.

1. Tamarack's gold returns: Well that is just perfect! Starts off with the lonesome cry of a wolf or coyote, then soft acoustic guitar and violin in very much a folk idea. Just beautiful, and really conjures up the scene of rolling hills stretching out beyond a forest to a distant horizon. Sea sounds really add something to this. Ends very ambient, with either footsteps or the sound of someone chopping wood. Very rustic.
2. Into the north wood: Now we get the black metal side of Panopticon as things rack up and Austin Lunn's guttural screamed vocal comes in. Powerful guitar work, thundering drums. Slows down in the last minute on rolling drums and a sort of dramatic march with pealing bells
3. Autumn Eternal: Another big heavy number, but it has a loping, almost power metal rhythm to it, which is really nice to hear. Very catchy. Even has a nice sort of introspective little piece in it. Love this so much. It goes totally ape**** in the fifth minute as Lunn just kicks everything up to ten, including his vocal.
4. Oaks ablaze: Well titled, as it just burns along from the off. It's almost chaotic, but you realise Lunn has everything tightly under control, and this is his great strength: to be able to control all of this meticulously and yet make it seem like he's just thrashing about. It's a rare talent. To underline this, in the midsection everything is reduced to a single soft guitar and sound effects before the drums crash in, but relatively unobtrusively and the guitar riff takes us on to the sixth minute before it fires up into life again. Excellent.
5. Sleep to the sound of the waves crashing: Unsurprisingly, the sound of waves softly sighing open this, with pealing bells though this time they're not doomy at all, almost hopeful, then a hammering guitar pounds through with rattling percussion and we're off. Some fine and quite strong violin (I'd almost say fiddle: what's the difference? I don't know, I just think of fiddle as being generally played in a faster, more uptempo and fun way whereas violin usually comes across to me as sad and serious) then everything --- and I mean everything! --- stops in minute four and we're left with nothing but the sound of the surf. Sharp violin now slides in alongside another, softer one and a quite breathtaking passage begins, almost classical. Bells coming back in, reminds me of a wedding in a cathedral. Now the harder guitar kicks back through and the tempo rises again as we head into the final few minutes.
6. Pale ghosts: This sort of continues from the previous track, pounding along from the off with a really superb melody; you could actually hear a crowd chanting along to this onstage (he probably doesn't do live work, but if he did/does). Slows down to a softer guitar with a great vocal chorus in the last minute or so.
7. A superior lament: Considering this has lament in its title, it's a surprise to find it kicking off as a powerful, uptempo rocker with screaming guitar and rolling drums, really rocking along. Another fantastic vocal chorus/choir and this song is so emotional I can feel it in my bones. Ah, but now it just got about a thousand times better with decipherable vocals and a beautiful, majestic melody. I love this guy. And I love whoever turned me on to him. I think it was Loathsome Pete. Whoever it was, thank you so much. This, the longest track on the album, is an eleven-minute piece that feels like it's about six, and it's over way too soon.
8. The winds farewell: Beautiful soft acoustic guitar, somewhat in the vein of the opener, but with gentle electric wailing softly behind it. Gets stronger as it goes along, really building, and I think you can call this an instrumental. Certainly a stirring and fitting way to end such a powerhouse of an album.

Final result: It's yet another album that defies description or review. There is no way you can appreciate how good this is unless you listen to it. I don't have the words, the descriptive power, and you're not getting a loan of my ears. Do yourselves a favour and add this to your own listening list. You'll be glad you did.

Rating:http://www.trollheart.com/hphone.gifhttp://www.trollheart.com/hphone.gifhttp://www.trollheart.com/hphone.gifhttp://www.trollheart.com/hphone.gifhttp://www.trollheart.com/halfhphone.gif

https://upload.wikimedia.org/wikiped...27s_Sovran.png
Title: Sovran
Artiste: Draconian
Year 2015
Nationality: Swedish
Level: Novice
Genre: Gothic/Doom Metal
6

Expectations: I will forever be grateful to Carpe Mortem for introducing me to Draconian, during Metal Month II. Their Arcane Rain Fell was a revelation, one of the better atmospheric metal albums I have ever heard. I note that their previous vocalist, Lisa Johansson has since departed, so I'm intrigued to see if the new singer makes that much of a difference, if this will be another masterpiece?

1. Heavy lies the crown: Well it's definitely more Doom than Gothic or even Ambient, as I found Arcane Rain Fell to be, but the new vocalist, Heike Langhans, is a decent replacement for Lisa, and Anders Jacobsson's guttural vocals complement her clean ones very well. Good opener, epic and dark.
2. The wretched tide: The spoken word stuff on this works well. Dark and powerful, with Heike's vocals lightening the tone very slightly. Gets a little faster than you might expect for Doom Metal, guess that's the Gothic coming through.
3. Pale tortured blue: Kind of a gothic ballad,with some really nice orchestral style keys and a lovely yearning vocal from Heike.
4. Stellar tombs: Ooh, some nice female vocal harmonies on this. It's really great the way Anders always sounds angry and Heike peaceful and placating; kind of like listening to the Devil sing with an angel. Works exceptionally well. Overall though, this album is not grabbing me in any way as ARF did. It's good, but kind of just that.
5. No lonelier star: Anders takes the lead here. I do like how though he growls it's easy to understand what he's singing. His spoken word stuff is good too. Heike makes an appearance towards the end, but it's been worth waiting for.
6. Dusk mariner: It's becoming harder for me to write about this, as much of it sounds pretty much the same. It's all good, but I just can't pick out anything specific about the later tracks. Draconian here seem to have found a formula which works, and stick to it pretty religiously, dividing the vocals pretty equally. This works well for the listener, who doesn't get too many surprises, but not so well for the reviewer, who struggles to separate track from track.
7. Dishearten: Oh, a double spoken vocal. That at least is different. And now we're getting a fast guitar solo, which is also different. Don't see any real chance of a Blue on this album though, even if it is all very good.
8. Rivers between us: As close as you'll get to a Doom ballad, with an appearance from Crippled Black Phoenix's Daniel Änghede.
9. The marriage of Attaris: The unfortunate thing is I was able to leave this playing, go out of my bedroom, go downstairs, let the cat in, come back up and know I had not missed anything. It's all great, sure, but pretty much the same generally, which is a pity.

Final result: Something of a letdown; not a bad album by any means. Quite a good one in fact, but has nothing of the fragile beauty and ethereal tenderness of Arcane Rain Fell. Maybe that album was unique in their catalogue. Pity, as I had hoped they would be a band I could really get into, but on the strength of this, though I would listen to the rest of their discography, I wouldn't be as excited about it or as moved about it as I had originally expected to be.

Rating:http://www.trollheart.com/hphone.gifhttp://www.trollheart.com/hphone.gifhttp://www.trollheart.com/hphone.gifhttp://www.trollheart.com/halfhphone.gif

It's their eight album. Are you really expecting them to still be on top of their game? Go do some actual research and find out what albums are most worth checking out, you lazy ****. It's called "RYM".

Go **** yourself. :)Hawkwind released their 27th album in 2010 and it's still ****ing fantastic. What's wrong: out of beer? ;)

Also, I never check places like RYM. I'm not interested in finding out what people think of an album before I buy/review it. Sometimes, while reviewing, I might check another review, just to see either if they think it's as good/****ty as I'm feeling it is, or if I want to confirm or check something. I don't let other people make up my mind for me about music. I form my own impressions. Always have done, always will do.

You have shares in RYM or something? You're always mentioning them to me.

99% of bands are not as good as Hawkwind. If you want to hear their good material, then often you have to turn to the opinions of others. Otherwise you run the risk of missing out because you write a band off after stumbling upon a bad album or two.

And it leads you constantly to mediocrity.

http://www.metal-archives.com/images...30930.jpg?1927
Title: Purple
Artiste: Baroness
Year 2015
Nationality: American
Genre: Sludge Metal/Progressive Metal
Rank: Noob
4

Expectations: Considering all the great praise this seems to be getting from all quarters, I will probably accept nothing less than being blown away.

1. Morningstar: Like the beat and the way it kind of sways along; reminds me a little of Kamelot (shut up); very melodious and quite catchy. Yeah, there does sound like there's definitely something here right away, something that allows these guys to stand apart from a lot of the metal I've listened to in the previous year. Not that familiar with sludge, but I hear the progressive elements quite clearly.
2. Shock me: Lovely soft piano intro then it kicks up. And does it get going! Keeps a somehow commercial, almost Kisslike hook in the chorus, with a great guitar solo near the end.
3. Try to disappear: Like the sparse guitar line this opens on, then the percussion is oddly sort of dancy in a way before the guitars blast all before them, but again you can really hear a very catchy hook that could make this possible radio airplay material. The heaviness is still there but there's a definite sense of commercial appeal too.You really get the progressive metal overtones again here again.
4. Kerosene: The keys come into their own here, kind of for the first time on the album, which has so far seemed to be more guitar driven. But when they let loose on the keyboards it opens all sorts of new possibilities. That said, some phenomenal guitar work here and it rocks along like a good thing. Very reminiscent of Shadow Gallery on this. Excellent powerful ending.
5. Fugue: Given its title and length, I would assume this is an instrumental. It only runs for just over two and a half minutes, very low-key of course, with some very progressive guitar which puts me in mind of the later work of Steve Rothery. I kind of expected it to be a dolorous keyboard passage, but no, it's very much guitar-centric.
6. Chlorine and wine: Piano opening on this one, something like mandolin maybe, then it seems like it might stay slow and be a ballad? Two minutes in and no vocal yet. Oh here it comes, and as it does, harder guitar is hot on its heels as the song kicks up a little and gives the lie to this being a ballad. Maybe. It's still slow in tempo even if the intensity has increased. In about the fifth minute there's a lovely guitar instrumental passage before it heads into the final chorus with a very Brian Maylike guitar riff. Great vocal harmonies.
7. The iron bell: This one goes for it right out of the gate, hammering along at a fine lick. Great riff, catchy melody again. Like the midsection with a very Lizzyesque guitar.
8. Desperation burns: I don't know; there's something about this track that just is not doing it for me. Kind of passed me by.
9. If I have to wake up (Would you stop the rain?): Nice sense of drama about this. Sort of expected it to be a ballad though. Like the guitar outro.
10. Crossroads of infinity: Seventeen seconds? Really? Mechanised speech. Great. :rolleyes:

Final result: Well I certainly wasn't blown away. It's a good album, even a very good album, but it's not the powerhouse I had been expecting from some comments on it. No Blues, and I had thought I would end up with a lot of them. Plenty of Greens, but nothing that really stood out to tell me this was an amazing album. I've read IDM's full review now, and to me it seems like he's talking about a different album, but you know, each to his own. This certainly would not be making it onto my AOTY list, not with albums of such higher quality in front of it. Interesting, entertaining and well played but I've heard better.

Rating: http://www.trollheart.com/hphone.gifhttp://www.trollheart.com/hphone.gifhttp://www.trollheart.com/hphone.gif

I enjoyed reading your review trollheart. I have gone back over my review and listened to the album a few more times since then. I still stand by my score, but am glad to see differing opinions. I do not believe I am overrating the album because I have seen plenty of other reviews and opinions that agree with me. Maybe it will grow on you. I just do not want to be seen as someone who over blows their opinion.

Yeah, you're completely right to stick to your guns, wouldn't expect you to change your opinion. It's just that your review in particular, coupled with other comments of admiration for the album around here ("Might make my AOTY" etc) convinced me I was going to really enjoy it, and I did enjoy it, but no more than any other album of its type I've listened to this year. Thought I might be missing out on something, but now I don't think so.

Also, as far as it being a grower, well, to impress me as I had expected to be it would have had to have done that from the first listen, so while I may appreciate it more (or not) if I give it repeated listenings (which most here will tell you is unlikely I will do anyway, given my workload) it has missed its chance to hit me with the "wow factor". You only get one chance to do that.

Don't try to explain growers to TH. He just can't wrap his head around the concept.

I think your review was spot on TH. I came away feeling like something was missing from what others deemed one of the superior records of the year. I'd put High On Fire's new album above this one by a longshot. You could hit relapse's site and probably pick twenty bands with better albums this year.

x2 and I'm not even a huge HoF fan.

Of course you know I do get the concept. I just don't have the time. Also, whether Purple grew on me or not, as I said, it's missed its chance to impress me. You know what they say: first impressions last. ;)

Suuuuure

I started losing interest in Baroness with the Blue Album. Red had a cool mix of sludge, classic rock, and post-metal that I'd never heard before (though it isn't aging as well with me as I'd like) but after that they dropped a lot of the more meandering instrumental things that made them interesting, and just turned into a lightweight sludge/alt metal band with ever-decreasing returns.

I listened to a bit of Purple, but wasn't really blown away. Will give it more of a shot later, but Yellow and Green went largely ignored by me for much the same reason I'm not entirely feeling their newest. I feel like they're coming dangerously close to post-grunge territory. It also doesn't help that John Dyer Baizely's vocals were always the weak link in the band, and now that their music is becoming more and more vocal-centric he's just bringing the band down more and more.

https://upload.wikimedia.org/wikiped..._cover_art.jpg
Title: Nightmare Ending
Artiste: Eluvium
Year 2013
Nationality: American
Rank: Noob
Genre: Ambient
7

Expectations: Again, given that YD was so taken with it, I expect to be mightily impressed. Given also that his own music is so good, and that he seethes with envy at the beauty of this music, well, let's just say it needs to be something really special.

(Caveat 1: Of course, he may be appreciating this more from a musician's point of view, which I may not be able to see)
(Caveat 2: My usual problem with instrumental albums may prevail and work against me).

Note: I'm deliberately staying away from Yorke's review, so as not to colour my own. Later I may refer to it, in the light of what I hear and decide myself.

1. Don't get any closer: A slowly rising synth or organ joined by a simple slow piano line, sort of reminds me of the sort of thing Plainview might play. Very nice, very relaxing, very soft and gentle. Sort of detect a note of sadness in some of the melody, though that could just be me. The piece runs for just over nine minutes, and for three it is so far very simple and somewhat basic, but enjoyable certainly. Organ rising now (shut up) as we move from the fourth into the fifth, the piano falling away for the moment, still stately and sedate. Some sort of choral synth or something kind of howling softly in the background, kind of like an angelic mourning or something. Very nice start. I wouldn't be Blueing it though, but definitely gets a Green.
2. Warm: Nice soft orchestral feel to the opening of this. Could be violin, could be synth. I actually like this better than the opener. It's a little shorter (seven minutes) but kind of has more of a flow to it, I feel.
3. By the rails: I guess that would be tapes bringing this in, then maybe a feedback guitar, something fuzzy anyway. Harder sound. Yeah, wasn't mad about that one to be honest. Quite short too.
4. Unknown variation: Yeah, this is really nice, very ambient with a lot of sounds (think I hear surf, seagulls, trains) ... YD can obviously describe this a lot better than I can, but it's very relaxing.
5. Carolling: This is alright but it's kind of basic piano and a little boring.
6. Sleeping: More piano, but softer, backed with some lush synth and strings. Another one with more than a hint of sadness about it, despite the title.
7. Envenom mettle: Again, harder with a sort of rolling, almost marching drumbeat. Gets a little odd in the last two minutes.
8. Chime: Back to that harder, almost metallic feel which I'm not crazy about.
9. Rain gently: This comes in very slowly and gently, like I guess the rain in the title, though the melody sounds really, really familiar when it gets going. I know: you hate it when I do that, don't you?
10. Impromptu (For the procession): Nice little piano tune. Nothing terribly special though I feel.
11. Covered in writing: Another one that fades in very slowly and quietly. It runs for nine minutes though so I wonder where it will go? Kind of stays mostly the same, ethereal, abstract almost. Very nice.
12. Entendre: Nice little simple piano melody on this one. Much shorter too.
13. Strange arrivals: This one's quite short and again it's more about tapes and sound effects than what I would necessarily call a melody, at least compared to most of the other tracks. It's okay I guess.
14. Happiness: The only vocal track, with Yo La Tengo's Ira Kaplan providing the singing. Must say, the vocal is very low-key and if this was another instrumental track, for most of it you wouldn't even notice him. Nice little tune with what sounds like a bassoon or something and flowing piano and some beautiful strings around the midpoint.

Final result: The album was certainly enjoyable, very little in it that I didn't like, but again I don't see the hero-worship YorkeDaddy ascribes to it. Could be, as I say, that he's looking at it from a different angle, that of a composer and musician, so it means more to him, and if so, fair play to him. To me, it was just a nice ambient album, but nothing I'd be running out telling everyone they should listen to. Reading back over YD's review now and again it's not quite a case of what album were you listening to, but on the basis of the praise he lavished upon this album, I'm slightly disappointed. I've certainly heard better, though it is good. It's not, for me, however, as Yorke claims, the holy grail of ambient music.

Rating:http://www.trollheart.com/hphone.gifhttp://www.trollheart.com/hphone.gifhttp://www.trollheart.com/hphone.gif

fixed

Very interesting Eluvium review, I definitely wouldn't expect you to love it as much as me but I also would've expected a blue or two to pop up. I also figured you'd like the piano-fronted tracks more than you did. Obviously there's a big difference in how we feel about ambient music though so not all that surprising overall.

I think if I had heard it on its own merits it might have impressed me more. As it was, I was kind of set up to expect something amazing (rather like the Baroness album) and I just didn't see it. Enjoyed it yes, but your comments in your review made me think I was going to fall in love with this, and I didn't.

Be interested to see what you think of the Steve Roach album coming up soon.

http://www.progarchives.com/progress...49102015_r.jpg
Title: Spirit
Artiste: Comedy of Errors
Year 2015
Nationality: British
Genre: Progressive Rock
Rank: Noob
3

Expectations: I have no idea, but given that the band has been around since 1984, broke up in 1989 without releasing really a single album (a few demos) and then reformed in 2011, putting out three albums since then, I'm intrigued...

1. My grief lies all within: A powerful start, Yes/Spock's Beard-like, with stop/start guitar and keys, then the vocal when it comes in is a little vocoderish, eventually turning into again, a pretty Andersonesque one, the song moving at a much slower, almost morose pace. Yeah it's okay I guess, pretty derivative If I'm honest.
2. Infinite wisdom?: This one is very short and seems almost a continuation of the previous track. Is this a concept album? Wouldn't that be a first? :rolleyes:
3. Spirit shines/Spirit: Nice organ driving this. Not sure why a four-and-a-half minute track needs to be split into two separate parts, but anyway. Nice synthesised brass and also piano or vibes or something, something tinkly anyway. Okay, well when it gets into the second part it's really quite moving. Love the melody here.
4. Can this be happening?: I guess it must be a concept album, as all the tracks seem to be segueing from one to the other. This seems like it might be an instru – no. There's the vocal coming in rather strongly now. Reminds me a little of Arena around the Contagion era. Decent busy synth near the end.
5. In darkness let me dwell: This is like a hymn or a lament, starting off with acapella singing but then rather surprisingly picking up on a bouncy keys and guitar combo, which works really well within the context of the song. This is going Green.
6. I call and cry to thee: Kind of similar really to the opening of the previous track, with choral vocals in a hymnal style, then some nice organ and then expressive keyboard with a bouncing little bassline changes the whole tone of the piece. Slightly incongruous; gives, to me anyway, the feeling that these guys are not quite sure what they're trying to do. They probably are, but the song goes all over the place and it's hard to pin down any underlying pattern. Gets a little into early Gabriel territory near the end.
7. Set your spirit free/Goodbye my love until we meet again: Finally, something that gets a Blue. This is a beautiful, stately, moving instrumental that, for all the six/seven minutes of the previous tracks, kicks the crap out of them. Seems to be just a simple rising synth line, but utterly gorgeous. YorkeDaddy, you'd probably love this track. Maybe not the rest of the album but certainly this one.
8. Ascension / Et Resurrextit / Auferstehen / Arise In Love Sublime, Arise / Spirit : Now we have a seven-minute track broken up into no less than five sections. Really, is that necessary? It opens with a kind of reprise of, or ending to, the previous track, adding in a few more effects and changing the melody up slightly, turning a little less melancholy and reflective and becoming grand and almost triumphant, with a sound like bells coming in on one of the synths. You know, I may have to revise my opinion of this track: it's turning out almost as good as the one before it, so far. Again, it's mostly simple layered synths with no percussion, I don't think any guitar (though it could be the thing making the ringing sounds) and now the drums kick in halfway through and the thing takes off in another, but still similar, direction. Vocals come in too. Yeah, I think this deserves a Blue too. I see the vocalist dropping the overt Anderson influence now, and he's much better for it.
9. Into the light: I wonder if it's jsut coincidence that this track sounds like Spock's Beard and also namechecks one of their albums? Very lively keyboard but vocalist is back to being Jon Anderson II, which is a pity; thought he was breaking away from that. Decent song, but not a patch on the previous two at all. This is way too Yes in the end section and SB in the opening.
10. Above the hills: Getting back to the really good stuff now, with a very catchy and memorable melody on this song. Great guitar solo too; haven't quite heard as much of the guitar as I would have liked. Very keyboard driven, as you would expect I guess. And they're back for the powerful, anthemic ending. Though the guitar gets its licks in too. Overall pretty fine. I wouldn't quite go Blue on it, but if there was such thing as a “high” Green, this would probably get it.
11. Epilogue: This is how it has to be: Sort of like an angelic choir (sample vocal chorus I guess) brings this in, then a really sweet guitar takes the tune, which I'm going to guess is an instrumental, though it is quite long, almost six minutes. We're through two of those so far and no vocals. Acoustic guitar coming in on the fourth minute, attended by sprightly organ. Nice piece, but I kind of question the point. The album had ended well enough already, so where was the need for a closing instrumental? Good enough I guess, if slightly bewildering.

Final result: It's a good prog album, nothing wrong with it but then I listen to so much prog (you didn't know? Really?) that for something to grab me it really has to stand out, and this just doesn't. The really good tracks are really good, but they're sort of surrounded, not quite by mediocrity, but let's just say they stand out while the others don't. There's also too much derivativity throughout much of the album. It's well played, well composed, there are some very good tracks on it but they're kind of few and far between, and I couldn't honestly say I'd be too interested in hearing the rest of their material.

Rating:http://www.trollheart.com/hphone.gifhttp://www.trollheart.com/hphone.gifhttp://www.trollheart.com/hphone.gifhttp://www.trollheart.com/halfhphone.gif
(Sorry but all YouTubes from this album are blocked)

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Title: There's No Beginning
Artiste: Cynara
Year 2015
Nationality: Argentinian
Genre: Metalcore/Alt-Metal/Hardcore
Rank: Noob
1

Expectations:Dunno. It's one of these Bandcamp-ony releases, so could be great, could be terrible. I imagine one thing it will be is loud and abrasive. How did I ever end up buying this?

1. Pain through the words: Heavy, almost doom metal opening, then it kicks up with speed, I'd say a kind of more alt-metal or even punk vocal, with a growly one behind it. Some nice vocal harmonies. Not quite sure what makes metalcore what it is, but the bits I've heard don't sound like this. This is quite tame in comparison to them. I hear more progressive metal really overall. Not bad.
2. Lapiketi: Definitely a more biting guitar in this; the growler gets to contribute more than he did on the previous track. Not that much more enamoured of this than I was of that though. It's okay.
3. Benighted: Sort of sounding too generic now. Nothing's really standing out. That's a nice riff there all right, but again it's a case of having too dig too deep to get at the good stuff, if there is any. Decent solo, but that's not going to save this album if it doesn't get a bit more interesting.
4. Hollow crow: There's a decent melody going through this one at least, but I'm finding it harder and harder to care. It edges Orange, just about.
5. Church of addictions: It's sad, cos I sense these guys are really trying, but it just is not engaging me. Some very good guitar work here and it's powerful and enthusiastic, but sort of, so what?
6. Why save this for tomorrow: All right, I can kind of get into this one. It has a good beat and I found myself tapping my fingers, so maybe that's worth a Green? No, I don't think so, unfortunately.
7. Obscure breath: Some nice unexpectedly relaxed guitar in this. Not bad. But again no Green. Sorry. I'm just not feeling it. New acronym: IJNFI. I'll give it an Orange, but that's as far as I'll go.
8. All the things he said: All right, at the end they managed it. This is a surprisingly gentle acoustic ballad, and it's great.

Final result: Nevertheless, it's one track out of eight and in general, though this closer shows Cynara are capable of quite powerful and moving music, the rest of the album is just pretty basic and generic. It might be worth revisiting, but for now I don't get the greatest impression from it at all.

Rating:http://www.trollheart.com/hphone.gifhttp://www.trollheart.com/hphone.gifhttp://www.trollheart.com/hphone.gif

Gave this one a listen. Can confirm, this was an awesome track

Yeah, I thought that would be right about in your wheelhouse.

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Title: Bloodmoon Rising – Night 4
Artiste: Steve Roach
Year 2015
Nationality: American
Familiarity: Noob
Genre: Ambient
104

Expectations: I may have bitten off a little more than I can chew here. Seems Bloodmoon Rising is a four-CD album, comprising Night 1-4. The one I have is Night 4 (which, for some reason, was sold separately) and seems to be all one track, as indeed are the other three. So, we may be in YorkeDaddy Heaven, but possibly difficult to review?

It's one track, so I'm obviously dispensing with the usual colour-coded track lists. This thing runs for over an hour, so it's not surprising that it comes up very slowly, darkly and kind of with an ominous feeling; we're two minutes in and nothing has really happened yet. Dark, droning synth and what could be muted percussion. Holy Lord above! EIGHT minutes in and it still hasn't changed! Mind you, there is time, but this is one slow buildup, if anything is coming out of it. And now it's twelve minutes old and still nothing new has happened. Oh! Twenty-three minutes in and now there's a spacy synthy sound growing, the music is getting louder though still relatively gentle, and there's a choral vocal of some sort coming into the mix. Taken a long time to get here though.

It's hard to even get a sense of being able to review this, as it's really, really, really ambient and kind of much of the same all the way through so far, as we come close to the halfway point. It's very spacey, very new-age and very atmospheric, but I'm finding it hard to break it down in any way. Good background music I'm sure, probably great to fall asleep to. Other than that, don't know at this point. Okay, well it's basically over now and all I can say is it was ethereal, ambient, soft and gentle, lulling, relaxing, dreamy but there's nothing specific I can pick out about it musically. Best I can say is that it gave me the feeling of floating weightless through the trackless boundless depths of space. And that can't be bad really can it?

Final result: Not a lot more to say really. I'd listen to it to relax to or go to sleep as I said, but it's like an organic, slowly growing and evolving entity that just kind of ... keeps going without terribly much of a change. Very pleasant though.

Rating: http://www.trollheart.com/hphone.gifhttp://www.trollheart.com/hphone.gifhttp://www.trollheart.com/hphone.gif

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Title: Space 1992:: Rise of the Chaos Wizards
Artiste: Gloryhammer
Year 2015
Nationality: British (Scottish)
Genre: Power Metal
Rank: Novice
2

Expectations: Their first album was pretty damn hilarious. If they're going out in space for their second, it should be quite the riot. (See what I almost did there? No? Then **** you.) I've only just realised now that Christopher Bowes, leading light of pirate metal outfit Alestorm, featured in this year's Metal Month III, is involved here. In fact, he founded the band and plays keyboards as well as writing most of the lyrics.

1. Infernus ad astra: This being something of, I assume, a space opera musical, we get an overture, complete with over-the-top dark voice and an orchestral sort of theme; reminds me of The Alan Parsons Project. It's only short, minute and a half, but sets the album up well.
2. Rise of the Chaos Wizards: Let's just be clear on one point before we begin: there is no way you can take these lyrics seriously. Scotsman in space? Aye, Jimmy! But put that to one side and just concentrate on the music and you've got, what? So far, basic power metal I guess, nothing different standing out about it. The lyrics are hilarious of course, but the whole idea of placing this in “the distant year 1992” is a bit weird I feel. Those crazy Scots, huh?
3. Legend of the Astral Hammer: Sorry, sorry! I know I said ignore the lyrics, but come on! “As I slash my way through an army of goblins on the dark side of the moon”??? Oh this is too much! I think I love these guys. Batty would call this goofy. He'd not be wrong. Music is well played though and they seem to be having a good time, which I suppose is all you can ask, as long as you're enjoying it too. And I am.
4. Goblin king of the Darkstorm Galaxy: Yeah, it's power metal by-the-numbers but it's hard to care, it's such fun.
5. The Hollywood Hootsman: Not sure how we got from space and the Darkstorm Galaxy to Hollywood, but, you know, when in LA...
6. Victorious eagle warfare: Superb keyboard line leading this. Man, it's pretty impossible to review. Just sit back and enjoy the ride. Crack a can maybe, or light up, I don't know; I do neither. But it's immense fun.
7. Questlords of Inverness, ride to the Galactic Fortress!: Another instant classic ;)
8. Universe on fire: I can see why this was the first single. Really catchy while still remaining heavy.
9. Heroes (of Dundee): What these guys are doing for Scotland! Damn Scots! They ruined Scotland! :laughing: Wait, is this the obligatory ballad? Starts off very dramatic and slow, like a cinema soundtrack .. oh no, I'm wrong. Here's a fast riffing guitar coming in now. And ... we're off! Another very catchy song. Like this a lot.
10. Apocalypse 1992: I sure hope not, or I've been living over twenty years as a zombie now! :laughing: This is the epic end of the story (for now anyway) with a literally Earth-shattering climax which leaves me to assume a part three will be on the way at some point. Can't wait! The music is very dramatic and portentous, with that silly dark voice getting all het up and the band really going for it over nearly ten minutes.

Final result: I really enjoyed this album (if you hadn't picked up by now on the subtle hints I've been dropping): sure, these guys aren't doing anything terribly new or groundbreaking, and it's all fairly generic power metal but with a nice space opera twist. The lyrics, if silly, are well written and it's almost like a tongue-in-cheek version of Coheed and Cambria, I would think. Bowes seldom takes himself seriously, so it's no surprise this is a rip-roaring flight of fantasy from beginning to end. Highly recommended if you need cheering up.

Rating: http://www.trollheart.com/hphone.gif http://www.trollheart.com/hphone.gif http://www.trollheart.com/hphone.gif http://www.trollheart.com/hphone.gif

God damn somebody likes World of Warcraft.

They're a trip, man! :laughing:

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Title: King of Kings
Artiste: Leaves' Eyes
Year 2015
Nationality: German
Genre: Symphonic Metal/Gothic Metal
Rank: Apprentice
6

Expectations: I've heard some of their material, liked pretty much what I heard. The addition of Epica's Simone Simons can only be good. Having just listened to Gloryhammer fighting in space, it seems this is also based on warriors, but grounded more firmly on this planet, and presumably in the past, history or legend.

1. Sweven: There's a lovely soft folky violin to introduce the song, then an acoustic guitar joins and as the percussion rolls heavily in, almost tribally so, the vocals also make themselves apparent, Liv Kristine always sounding to me like our own Maire Breannan of Clannad. If you don't know who she is, rememeber “Harry's Game”? No. Then **** you. :) Warrior chorus building now behind what appear to be pipes of some sort --- I see uileann pipes are credited, so I guess that's them. A choir now comes in (according to Batty's least favourite reference source, Wiki, the same one that performed on both The Lord of the Rings and Star Wars, as well as others). The song then begins to get going before it's pulled back by the solo vocal of Liv, with chiming bells or something behind her, and then continues into
2. King of kings: The tune more or less carries on from the short opener, making me wonder if this is a concept album? Nothing I've read so far supports or rejects that idea, but I kind of think it might be. Liv is in fine form as ever, the choir providing some great support for her, and the pace still pretty sedate though powerful. Some strong male vocals coming in now from Alex Krull (brilliant name for someone with a real growler of a voice!) and th song ends on a triumphant note.
3. Halvdan the Black: Discordant horns and then the sound of battle take this in, military drums slowly punching out the beat before the choir soars above it all and guitar riffs begin to blast off left, right, and, you know, centre. The first time the album takes flight really, and justifies the “metal” part of their genre tag. Another great vocal from Liv, and it rocks along nicely.
4. The waking eye: Guest piano from Kamelot's Oliver Palatoi opens this and then it powers along at a fine pace, a soulful vocal from Liv, with great cutting guitar work throughout.
5. Feast of the year: Twenty-odd seconds of uileann pipes and flutes with celtic drumming. Go on ya boy ya! :thumb: Runs directly into
6. Vengeance venom: Good rocker but perhaps a little generic, though the uileann pipes and other celtic instruments do give it a certain individuality.
7. Sacred vow: Another good rocker, but I can't really pick out anything special about it.
8. Edge of steel: Simone pops in for her guest slot, and, as they say, kills it. Superb. The melody sounds very familiar though. Great chorus, real symphonic metal and Simone's operatic voice contrasts nicely with Liv's more gentle one on the other tracks.
9. Haraldskvæði : Very much more low-key, almost acapella at times, very moving.
10. Blazing waters: Another guest vocalist, this time Lindy-Fay Hella: don't know her, but she has the same sort of operatic voice that Simone has. Good song; the male vocals from Krull add the finishing touches. Powerful dramatic ending. Excellent. Oh wait: no it isn't. Well, it is, but then there's some nonsense chanting at the end. Bit silly but it doesn't ruin a great track.
11. Swords in rock: And we're off to the ceili again (Irish traditional dance): not sure what the link to the celtic music is here, but it's quite infectious. This sounds like something off aforementioned Clannad or maybe Planxty's albums. Rocks nicely once it gets going, has something different about it certainly.

Final result: Let's give Leaves' Eyes credit for avoiding falling into the trap much of their fellows do, which is to write long, epic songs that go nowhere and are extended just for the sake of extending them. The longest song here is just over seven minutes, and most come in around the three or four minute mark. No, it's not a classic of symphonic metal --- though if you hate that genre be warned: this is VERY typical of this type of music --- but it's another good Leaves' Eyes album, and that's good enough for me.

Rating: http://www.trollheart.com/hphone.gifhttp://www.trollheart.com/hphone.gifhttp://www.trollheart.com/hphone.gifhttp://www.trollheart.com/halfhphone.gif

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Title: Travelog
Artiste: Kinetic Element
Year 2015
Nationality: American
Genre: Progressive Rock
Rank: Noob
2

Expectations: Not the foggiest. I see it's what might be termed “real progressive rock”, as in, there are only five tracks with the shortest just shy of ten minutes, while the longest is twice that. Could be great, could be wankery to the nth degree, who knows?

1. War song: Interesting, almost Gabrielesque buildup in the intro, then it takes something of a jazzy turn, reminds me of the likes of Jethro Tull or Gentle Giant (what I've heard of them anyway) and now it's turning very seventies Genesis with a big keyboard run and a nice guitar solo. Three minutes in now and I have yet to hear vocals. Oh, here they are, in the fifth minute, just as I was thinking this would be an instrumental, if a long one. Hey! Sounds like the guy from Sean Filkins's album... no, don't recognise the name. Looks like there are three different vocalists here, and this first one, Dimetrius LaFavors, sings on the first three of the tracks here. Good voice. Enjoying this so far. Some fine keyboard work and almost Santanaesque guitar. Holy hell that was good.
2. Travelog: Beautiful little soft acoustic guitar to open this, then gets very Yes indeed. This is a great track too. Love the false ending when it then picks up into another but faster acoustic guitar run.
3. Into the lair: I'm telling you, this album just keeps getting better! Now we have a Rushesque dramatic cinematic instrumental to open, and the last of LaFavors's vocal performances, which so far have been gold. And continue to be. This one is very much instrumental for most of its ten-minute run though. This is not surprising really, as founder Mike Visaggio plays the keys and also writes the songs. Pretty sure there's a mellotron in there: talk about the old prog sound!
4. Her: Starts off with a truly beautiful piano solo which reminds me of Wakeman and Banks, joined then by flutey keyboard which takes us into the second minute, where it develops on a sort of staccato drum beat and piano, bringing in the vocals this time of Mike Florio, whose sound is much different to that of the previous singer but still really suits the music. I have to admit, I'm kind of not so taken with the way this one is unfolding at the moment, so it could be the first Green in a sea of Blues. Still, it runs for eleven minutes, of which we've only hit the fifth at this point, so let's not judge it too quickly. Yeah, it has some okay elements (sorry) but it's only getting a Green.
5. Vision of a new dawn: This however is right back to the Blues. Beautiful keyboard/piano intro, great vocal from the final singer on this album, one Michel Loose Schrotz. We're twelve minutes into the eighteen it runs for already and I hadn't even realised. Some great individual performances here, but still with the band working together as a unit.

Final result: Truly stunning album from a band of whose existence, once again, I was totally ignorant. Haven't been quite this impressed since I listened to Willowglass. Definitely recommended for aficionados of true prog rock; this will take you back while still keeping you firmly in the present. Wonderful effort. Must now check out their other album.

Rating: http://www.trollheart.com/hphone.gifhttp://www.trollheart.com/hphone.gifhttp://www.trollheart.com/hphone.gifhttp://www.trollheart.com/hphone.gifhttp://www.trollheart.com/halfhphone.gif

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Found this hiding away on page 20 or so. Time to kick some life into this thread. Watch for reviews soon. You have been warned.

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Title: Trespass
Artiste: Trespass
Year 2015
Nationality: British
Genre: NWOBHM, Heavy Metal, Melodic Metal
Rank: Novice *
2**

Expectations: I've loved Trespass ever since I heard “Stormchild” on the compilation album Metal for Muthas, Vol II, but despite desperate searching, have been unable to come across any of their material. They did release an album, it seems, in 1993, called Head, but it's really hard to get, even impossible. Other than that, all that's been available from them to date has been compilations, and though I was excited to see this, their second real album, released this year, I note now that basically it's again just a rehash of previous compilations, with no new material at all, which is a big disappointment. Still, I've failed even to find those compilations, so to me most of this will be technically new. For a band who have been championed by me on the basis really of two songs, this will be an interesting introduction to what I suppose is really their back catalogue.

1. Stormchild: We kick off on the song that made me sit up and take notice of them, with its wonderful single riff intro, then joined by a powerpunch from a second guitar, before the two get going in unison and then the vocal comes in. Superb solo and a smashing end; this song should be known much more than it is. If there's any doubt that Trespass can be considered metal, this should blow those protests away. This is however a re-recorded version, and though I still prefer the original, I'm still Blueing it.
2. Assassin: This has NWOBHM written all over it, and yet has the commercial appeal of a song you could hear on the radio, even now. Little dated yes, but not that much. Good rocker with a killer riff running through it. This, and some others including the next one, go right back to their original demo Through the Ages (optimistic or what?) released in 1980. Turns into a real power boogie in the fourth minute (it runs for just over six, and was originally released as parts 1 and 2).
3. Ace of spades: Anything in the fact that this was written in the same year as Motorhead's classic? I don't know, but then it's a fairly common theme for songs I suppose, though I don't know of another so titled. When I saw this on the tracklisting I thought originally it might be a cover, but given that it was originally recorded in 1980 that was unlikely. And it's not. It's a totally different song; nowhere near as in-your-face or fun as Motorhead's one of course, in fact if anything it reminds me of Stampede (who?) as it bumps and grinds along. This version is extended from the original by almost two minutes. Great guitar break in the middle, which then rises into a killer solo.
4. Eight till five: This one, conversely, is slightly shorter than the original, though only by twenty seconds. Hits a real groove from the off, with some fine Lizzyesque guitar. Also reminds me of the best of the Tygers of Pan-Tang. Great stuff.
5. Bloody moon: One of the few new tracks, as it were, this appeared on their first compilation in 1992, The Works, where it appears to have originally been called “Blood moon”, though that could just be a typo. Another fine Lizzy intro with a great rocking beat that should have been ringing out across the nation, and further. Criminal. Maybe a little too close to Lizzy on this occasion, but still fantastic.
6. One of these days: The other song I know of theirs, which appeared on the Metal for Muthas Vol II compilation. It didn't hit me as hard as “Stormchild” did (considering that closed the entire album, it had added punch) but it is interesting that they were the only band to have two tracks chosen to go on that album. Anyway, it's a good good song, though perhaps not as great as it could be. The re-recorded version? Oh holy good ****! They extended it to twice its length and did some of this by placing a truly gorgeous guitar intro where normally the song would just start. Certainly makes a difference. Okay, in fairness, with lyric like “You run around giving yourself a bad name/ I rally think you ain't got no shame” it's not going to be winning any songwriting contests. But what it lacks in lyrical finesse it makes up for in raw energy and enthusiasm, and this extended version - which has another powerful guitar solo at the end too - ticks all the boxes and fills in the missing parts of the original. Much, much better. It was gonna go Blue anyway, but at least now I feel more justified in doing so.
7. Live it up: This was in fact their first single in 1981. Oddly, though it was on the original demo, the B-side, which is the next track, wasn't. Again it's not the most original of sentiments in the lyric, but it's a decent song.
8. Jealousy: I wonder why this wasn't originally released on the EP? It certainly rocks like a good thing, and doesn't really stop till the end. Bit odd the way he sings “Jealous-eye” though. :laughing:
9. The duel: This is another fine rocker, with some really expressive slower guitar at the end before it bursts out with a riff reminiscent of the one that opens “Stormchild”, and then fades out on that.
10. Lightsmith: Beautiful acoustic intro to the closer, which again was on the demo. Thought it was going to be a ballad till it suddenly exploded on a powerful lively guitar and began galloping along in the midsection.

Final result: Well if nothing else this proves that the two tracks I heard were certainly not flukes! The quality of musicianship, songwriting and singing on display here makes me once again shake my head and wonder why these guys never made it? I guess some mysteries will just never be solved.

Rating: http://www.trollheart.com/hphone.gifhttp://www.trollheart.com/hphone.gifhttp://www.trollheart.com/hphone.gifhttp://www.trollheart.com/hphone.gifhttp://www.trollheart.com/halfhphone.gif

* Although I've only heard two of their songs, it hasn't been for the want of trying to purchase their material, so technically not really a Noob but I can't say I've heard enough of their music to qualify as anything other than that.

** In existence since 1978, Trespass nevertheless released only two albums in that time, their other efforts being all compilations, of which there were three between 1992 and 2004.

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Title: Shifting the Equilibrium
Artiste: Unified Past
Year 2015
Nationality: American
Genre: Progressive Rock
Rank: Noob
7

Expectations: Anteater said it made it into his top ten, so that should be some indication of its quality. I'd expect nothing less than a classic.

1. Erasure principle: Dceptively boppy almost poppy start, then the guitar bites through, and when the vocal comes in it really punches in, very Andersonlike I feel. Some very good guitar work here, and is that mellotron?
2. Smile (In the face of adversity): This is pretty powerful from the off, with some trumpeting keyboards and hard, snarly guitar. Really like the vocal in this; he seems to be finding his own voice, kind of edging towards an AOR/Melodic Metal thing.
3. Etched in stone: Love the jangly guitar that opens this. Sounds like they're kind of robbing that squeaky bit out of Genesis's “Tonight, tonight, tonight”... Song develops really well, with some great performances.
4. Peace remains in the world: Now this is totally Yes. I mean it's almost a carbon copy, not of one of their songs but definitely of their style and Anderson's singing approach.
5. Deviation from a theme (of harmonic origin): Oh I love the way this explodes on guitar and keyboard right out of the gate! An eight minute song and the vocals don't even begin until ... at all. It's an instrumental, and a great chance for everyone to exercise their musical muscle, which they do to great effect. Interesting and impressed to see that one guy does both guitars and keyboards here. Was that a muppet voice at the end??
6. Today is the day: Again though very very Yes, which is something of a disappointment as it makes the band seem less original and innovative.

Final result: Definitely wouldn't have made it into my top ten. A good album, a very good album but way too derivative for my tastes. I can understand anyone having influences, but for my money Unified Past sound too much like Yes here, pretty much all through the album, and it's hard then to judge them on their own merits. An enjoyable album, to be sure, but not close to indispensable.

Rating: http://www.trollheart.com/hphone.gifhttp://www.trollheart.com/hphone.gifhttp://www.trollheart.com/hphone.gif

Fair review. What sold me on the album last year was vocalist Phil Naro, who is definitely not an Anderson clone though he can pull it off when he wants to. You can hear a lot other influences besides Yes (like The Outfield and Rush), but as a fellow AOR fan I'm surprised your a stickler for originality. ¯\_(ツ)_/¯