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Found 7 results

  1. After two singles – 2014’s poppy “inner Enemy” and the somewhat more straight-laced “The Promise” in 2016 – Swedish progressive metal maestros Seventh Wonder have recently announced their new album “Tiara”. The release is being mixed by Oyvind Larsen, the man responsible for mixing on the already-mentioned singles. The album has undergone mastering by Jens Bogren at Fascination Studios. Bogren has previously worked with other progressive metal stalwarts such as James Labrie, Katatonia, Opeth and Symphony X. ( Frontiers Records will oversee the worldwide release of the 13-track concept album, including as a double LP. The band used the following lyrics in their promotion: “’We've watched you since the dawn of time, with every moment gone by. A million suns fade and die, this is the end?’ Beware, for they're coming..!” These are presumably an allusion to alien forces, given the cosmic imagery. The precedent for a concept album about exists in the band’s widely-lauded “Mercy Falls”, and more within melodic progressive metal more generally, perhaps most notably in Evergrey’s “In Search of Truth”, which also concerned aliens and isolation. Musically it’s very much in keeping with the band’s tradition. From the promo, the work sounds rather more like “Mercy Falls” than the preceding “The Great Escape”. It’s less melodic (of course this should be taken with a grain of salt given the general character of their oeuvre) but slightly darker than their previous work. From the musicianship I trust this will work; Anubis Gate attempted this in 2017 and failed, as did Adagio who despite employing the preeminent “dark prog” master Kelly Carpenter (Beyond Twilight, Darkology, Epysode, Outworld, Zierler) dropped their neoclassical edge and therefore their unique appeal. If anything it sounds like SW might be making the opposite ‘mistake’, but their style is developed enough that for them churning out the same stuff would be at least to my ears an entirely acceptable route. The tracklist is unknown, but Seventh Wonder’s promo video can be found here:
  2. On July 27, 2018, Redemption released their seventh full-length album, Long Night’s Journey Into Day. The release was mastered by Jacob Hansen, who has also worked with Amaranthe, Doro, Primal Fear and Volbeat. It is the first album to feature Evergrey vocalist Tom Englund on vocals, replacing longtime frontman Ray Alder, also of progressive metal institution Fates Warning. Englund’s highly emotional, husky vocal style could lend a rougher edge to Redemption’s simultaneously melodramatic and contemplative approach. It is also worth pointing out that in the band’s new promo shoot (https://www.redemptionweb.com/) he looks quite a lot like the 30-year-old Boomer (https://knowyourmeme.com/memes/30-year-old-boomer). It’s a good choice, however, considering that Evergrey and Redemption are strongly reliant on their vocalists to define their sound. The Art of Loss was the band’s most eclectic effort, but Alder’s singing provided the basic foundation that defined it as a Redemption album. Englund could be better off in Redemption, given that Evergrey have been meandering for the last couple releases while the former band have been musically top-notch for most of their oeuvre. Chris Poland, formerly of Megadeth, returns for this album, having appeared on The Art of Loss for a very noticeable shred outing on the title track. He will be joined by Italian guitar veteran Simone Mularoni, of Empyrios and the estimable prog-power heavyweights DGM. Also, after an extensive coma after a 2014 aneurysm (https://www.facebook.com/Bernie-Versailles-379611832240834/), the band’s longtime lead guitarist Bernie Versailles returns to the lineup. The title Long Night’s Journey Into Day is (according to the label, Metal Blade: https://www.metalblade.com/redemption/) an inversion of Long Day’s Journey Into Night, the title of a play by Eugene O’Neill concerning a dysfunctional family being destroyed by addiction. (Interestingly, the album title itself is also the title of a movie about life under apartheid, as revealed during the Truth and Reconciliation Commission. In other words, the most South African documentary imaginable.) The album itself sees more varied lyrical content. The video for “Someone Else’s Problem” (https://www.youtube.com/watch?v=QQKHm_l-vcc) sees alternating shots of the band playing out in a very Bonneville Salt Flats-looking area, and of a woman luxuriating amongst various high-end items seething with unsubstantiated ennui and vindictiveness. Hilariously, like the divergent plot points in an episode of The Good Guys, the woman drives up to where the band are playing and contemptuously chucks a presumably very pricy set of pumps out the window at their feet. The band, consummate prog heads as they are, ignore this amusing display of human behavior completely and keep playing. It’s hard to tell exactly who is going to be someone else’s problem. It seems like it’s the woman, as the guy in this interaction is totally absent and the band seem to be slightly on the receiving end of this annoyance. Englund was added in the hope of finding a replacement for Alder who could address the same themes with the right tone. The press release notes both bands cover the human condition – though it should be said that Evergrey often takes on a pessimistic approach. Nonetheless, Englund is best when he can exercise the full range of his voice, which a Redemption album certainly would permit. Long Night’s Journey into Day tracklist 1. Eyes You Dare Not Meet in Dreams 2. Someone Else’s Problem 3. The Echo Chamber 4. Impermanent 5. Indulge in Color 6. Little Men 7. And Yet 8. The Last of Me 9. New Year’s Day 10. Long Night’s Journey into Day Redemption is: Tom Englund – vocals Nick van Dyk – guitars Sean Andrews – bass Chris Quirarte – drums Vikram Shankar – keyboards
  3. Who would expect that in 2018, Nine Inch Nails would release a hit album that not only ranks as one of the best in their entire discography, but one of the best albums of the year? Certainly not me, as I have disregarded most of their work after Year Zero simply because it wasn't particularly innovating or exciting. So this is a surprisingly great album.It's also a bit of an odd one at first glance. This is barely over 30 minutes and it's still a full-length album. For Nine Inch Nails, who have made very, very long albums (see The Fragile or Ghosts I-IV), a 30-minute release that's not an EP is quite shocking. I think the album would benefit from one or two more songs but what we're given with is still great."Shit Mirror" opens up the album, sounding like a vintage NIN song-it's abrasive, loud, with a good beat and the usual soft-loud dynamics. It's straightforward industrial rock sounding like a more refined song off of With Teeth. That abrupt dynamic shift from distorted guitars to complete silence, at around 1:55, is pretty cool and it opens up to a good closer. The transition into "Ahead of Ourselves" is really well orchestrated, and it's another great track. This song has a great beat that's memorable and well composed, and Trent Reznor utilizes these soft/loud dynamics frequently. I mean, especially in the chorus, with "Obsolete, insignificant" in an abrasive manner, right back to the soft beat, then jumping right back to "Antiquated, irrelevant" and so-on. It's a good song that's similar to "Shit Mirror", an abrasive vintage NIN song. "Play the Goddamned Part" is the first of two instrumental songs on this album and it's pretty good, utilizing ambient noises mixed with jazz elements-the saxophone and horn-to create an interesting contrast, between a more abrasive industrial production with one of the most comforting and relaxing musical genres. It creates a false sense of comfort while simultaneously creating a sense of inevitable dread and gloom coming and gives off a very urban/metropolitian vibe to it. It sounds like it would be a track that would play during a video game when the main character has to run through a subway station or the city streets at night. That's the image I get in my head. Nonetheless, it's a very good instrumental, and it showcases Reznor's second-to-none ability to compose some of the oddest yet greatest ambient instrumentals."God Break Down the Door" follows, immediately starting with fast drumming, a good techno beat, a saxophone, contrasted with more soothing, slow, and carefree vocals to create an interesting atmosphere. This song definitely has influences in the later work of David Bowie, most notably the superstar's final work, ★ [Blackstar]. This is a good thing and even with the influence, it's not blatant and it's still a very creative and original composition. But I still feel as Reznor could've done more with it and it seems a bit aimless, but it's good nonetheless. "I'm Not from This World" is the album's 2nd instrumental and it's quite interesting. It starts off ambient, sounding like one of his film scores but also a bit like the soundtrack to the video game Quake. The mental image it creates for me is definitely like I'm in a game like that. There's no real beat to this until 4:50, if you could call it that, and it's definitely the most experimental and vintage track on here. I don't think it really deserves to almost be 7 minutes long but for what it is, it's a great song and it's cool to run to, as experienced this morning."Over and Out" is the longest song here and it finishes off the album but it's honestly my least favorite here. It starts slow and mellow with a simple beat, a bit like the previous track but less dark and apprehensive. For the first few minutes, it's just this simple beat, background distortion, some piano and some saxophone. While it's not a bad concept to use as a song introduction, I can't help but criticize the song for starting off too slow. If it takes over 3 minutes for a song to get going and it's not a progressive composition, there's a lot of ruined potential. Even when the vocals start to come and break the whole ambient/instrumental intro, it doesn't really take off and explore. It's almost 8 minutes of just an atmospheric song with simple, slow beats and vocals repeated to no end and doesn't do anything to make it more engaging or interesting. Really, the album could be rated higher if the closing song was more exciting, which brings me back to my earlier point that the album could benefit from some additional tracks. It's a disappointing closing song. I can give it credit for creating a good, spacey, almost psychedelic atmosphere, but it's just too repetitive and never truly takes off. I guess it's relaxing though, but it still pales in comparison to the previous instrumental and the other 4 good songs. But still okay.Overall, this is probably my favorite release in 2018 so far and one of the few released albums that actually has merit to it. Reznor will never be able to create music like he did in the 90s', in his golden years of production, but this is still a strong release and one of his best works in the 21st century thus far. 4/5 stars; on a scale of 10 it would probably be 8-8.5. Note: This review comes from my account on RateYourMusic. For more of my reviews and hot takes, click here.
  4. Hi Everyone, I am looking for some feedback on my newest album. This is part of a 3 album series - Atmospheric black metal that should appeal to fans of Marduk, Dissection, Khors etc. Let me know what you think! https://noxaeternum.bandcamp.com/album/the-reflection https://facebook.com/noxaeternumband/
  5. Mistralth - New album 'My Grief' & Lyric video Dark Metal band Mistralth, formed in 1998, releases their new album 'My Grief' after long period of silence. Album will be released in Spotify and Bandcamp end of september 2017. Album contains 7 songs with slow and desperate sound. The band has experienced Death and Doom metal musicians(Clouds, Napoleon Skullfukk etc.), which gives Mistralth unique Old School feeling. Songlist: 1. No Tomorrow 2. Feel Nothing 3. I Survive 4. Existence 5. Coming Full Circle 6. Left Behind 7. Chains of Bastille Cover art photo by M.Tolonen While waiting the album release, Mistralth releases lyric video of 'No Tomorrow' in YouTube. You can watch the video here: https://www.youtube.com/watch?v=Psl-2wL3ovI https://www.facebook.com/Mistralth/ https://mistralth.bandcamp.com/ -- Pre-Order: https://gsproduction.bandcamp.com/album/my-grief
  6. Finnish power metal band Force Majeure is putting out their third disc called "The Rise of Starlit Fires". The album is out 8th of Sept 2017 via Mighty Music. We got our first appetizer out and the it is called Gemini Rising. The song has been classified as Stratovarius meets Iron Maiden - dunno really - what do you think?
  7. Hello !! I'm proud to present to you our new project called ''Chemical Exposure'' and our first studio album ''Sick mutant society''. We've been working on it for the past two years and are truly satisfied with the result. Album was recorded in studio Armageddon in Osijek, Croatia. Check it out and feel free to comment, criticize, share... \m/ https://chemicalexposure.bandcamp.com/releases https://www.facebook.com/chemicalexposure/?ref=aymt_homepage_panel https://www.youtube.com/channel/UCUPTkDS2Lb16U7p2Y3Ya3rg
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