Devin Townsend - Z2 (2014)

Sky Blue: Side 1 of the immense Z2 is the spiritual successor to "Epicloud." But don't think of this as simply a continuation of that fantastic album (as much as I wouldn't mind an "Epicloud Pt.2"). Rather, it subtly blends elements from "Ocean Machine," "Ki," "Accelerated Evolution," "Terria," and even "Ghost." The result is a more subdued and moody affair compared to the exuberance and reckless abandon of "Epicloud."

Nevertheless, the album starts off with a bang on "Rejoice." Anneke von Giersbergen's ethereal, wordless melody is layered on top of a massive, driving groove. Devy's singing style vaguely reminds me of Chuck Billy from Testament.

The album starts a streak of amazing songs with "Fallout" and "Midnight Sun," the latter strongly reminding me of "Where We Belong" on "Epicloud."

The next song, "A New Reign" is one of the darkest, most melancholic songs Devy's written yet. For some reason the chorus reminds me of The Cure, at least vibe-wise. And the overall atmosphere of the song makes it an intense, emotional thrill-ride. It's a truly brilliant song and possibly my favorite on "Sky Blue."

Skip ahead to "Silent Militia" and you see another side of Devy that hearkens back to his SYL days. It has an infectious, industrial groove that wouldn't sound too out of place on a Rammstein record.

After this, things slow down considerably and we're treated to a very "Terria"-esque treat with "Rain City." It's a very subdued and beautiful track that winds down into a lengthy ambient passage, transitioning seamlessly into the "Ghost"-esque ballad "Forever." Side 1 of Z2 gives us one last rocker with "Before We Die." This track makes excellent use of the Universal Choir with an instantly memorable, anthemic chorus. Like "Rain City," it fades into ambience but not before Anneke delivers some downright unearthly vocals to send you off into the haunting "The Ones Who Love."

"Sky Blue" is possibly Devy's most mature and diverse metal album. It continues in the tradition of "Epicloud" and "Addicted" while refining it and taking it in some new directions. As opposed to the narrative fiction of "Dark Matters," this side gives us insight into Devy's personality and experiences. It's definitely my favorite part of Z2 and, if it were to be counted as a separate album (which it arguably could), is in my top 5 list of Devy albums.

9.5/10

Dark Matters: As the follow-up to "Ziltoid the Omniscient," "Dark Matters" showcases Devy's epic, over-the-top style while continuing the Ziltoid narrative.

To start off, I've honestly never been a big fan of Z1 other than a few tracks. Most of it is tedious, unmemorable, and too wedded to the story to really stand out.

7 years later, Devy has made a record worthy of the Ziltoid name, one whose music shines with or without the narrative (hence the bonus disc).

The serene, Anneke-driven "From Sleep Awake" segues into the "Deconstruction"-esque "Ziltoidian Empire" which sets the tone for the album with wacky choir vocals and an intricate prog section near the end.

And now we get to what I consider to be the most epic song on the album: "War Princess." Featuring the theatrical, sinister vocals of Dominique Lenore Persi from Stolen Babies, this is a bombastic behemoth of a tune that will you have you headbanging like there's no tomorrow. There's not a single second of this track I didn't love. It's probably my favorite on Z2.

"March of the Poozers" is another heavily "Decon"-influenced, circusy song with an infectious, zany chorus. It doesn't quite stick out like "War Princess" but it's quite fun and should translate well in a live setting.

The mostly spoken-word "Wandering Eye" is kind of a filler track that Devy should have either scrapped or incorporated that part of the story into a more musically-oriented track. There is a pretty good riff about a minute in but the potential is wasted as the narrative takes over.

Things pick back up with "Earth" which features one of the catchiest lines on Z2, sung by the incredibly talented Ms. Persi. It does feel a bit too long, but it's still quite enjoyable.

And things REALLY pick back up on "Ziltoid Goes Home" which sounds like a lost SYL track. The verses are very aggressive and thrashy, with Devy's vicious snarls being as powerful as they were back in the early days of his career. The chorus, however, is set in the "Sky Blue"/"Epicloud" style, making for a fascinating contrast.

"Dimension Z" and the Universal Choir round out Z2 with a lighters-in-the-air metal anthem. I won't tell you exactly how the track, and hence the entire album, ends but suffice it to say it'll leave you surprised and smiling.

As I said before, I like "Sky Blue" a lot more than "Dark Matters" but I think a lot of that is due to the narrative. The story is great of course, but it also interrupts the flow of the music in some places, at least for me. That said, I can't wait to listen to the bonus disc.

But as it stands, "Dark Matters" is everything that Z1 and, for that matter, "Deconstruction" should have been. The songs are intricately composed with a lot of moving parts, but are nevertheless highly accessible and engaging.

9/10

Overall: This is easily one of Devy's most ambitious, most diverse, and most accomplished albums to date. No matter which Devy album sits closest to your heart (unless it's "The Hummer"), you're gonna find something you enjoy. It's incredible to think that after so many albums, Devy still has so much creativity and so many new musical avenues to explore. While it's not a perfect album, Z2 is still phenomenal, containing many songs that I already consider to be some of the best in Devy's extensive repertoire. I can only imagine how all this will sound live...

Overall score: 9.5/10

 

Threshold - For the Journey (2014)

Easily one of my most anticipated albums of the year, prog metal band Threshold's new release "For the Journey" has managed to hit it out of the park once again.

2012's "March of Progress" was a resounding success for the band after the death of their previous vocalist and the return of original vocalist Damian Wilson. The album showcased their unparalleled knack for writing fun, heavy, catchy songs that still retain a distinct prog edge (mainly in the form of the keyboards).

"March of Progress" ended up being one of my top releases of 2012 and "For the Journey" nearly matches it. The new album is a bit more varied than MoP though I mean that in the sense that there's more emotionality and moodiness, not an actual change in musical style.

This change in lyrics and atmosphere from the political and social of MoP to the personal and introspective on FtJ can be seen in such dark numbers as "Unforgiven" and "Autumn Red." Similar emotionally charged moments include the gripping chorus to "Siren Sky," the poignant verses of "Lost in Your Memory" and the soaring guitar work of "The Box."

In particular, "The Box" is probably my favorite piece on the album.The solos are incredible and the song manages to be technical, showing off some of the band's most accomplished songwriting to date, yet it's also very accessible.

The only song that drags the album down a bit is "The Mystery Show." It's not bad per se, just rather average and a bit less memorable than the other stellar tracks on "For the Journey."

Overall, this is a excellent follow-up to the band's chef d'-oeuvre "March of Progress," even if it falls a tad short of matching the latter's brilliance. Given all the excellent riffs, sing-along choruses, and tight songwriting, it's unlikely that Threshold fans will feel disappointed.

9.5/10

While Heaven Wept - Suspended at Aphelion (2014)

While Heaven Wept are undoubtedly one of doom metal's best kept secrets. I first became attracted to their epic doom sound with the riveting "Vast Oceans Lachrymose." While Heaven Wept are known for their beautiful, melancholic atmosphere, heavy riffs, and mournful vocals.

On this album the band decided to make a concept album and from a lyrical and aesthetic standpoint they succeed. Musically though, "Suspended at Aphelion" leaves a bit to be desired.

It starts off well enough with the gorgeous classical piece "Introspectus" which sets the tone for the whole album. Then we come to my favorite track "Icarus and I" which doesn't have any doom to speak of, but is nonetheless epic and grandiose. The last few minutes of the song make you feel as if you're soaring through the heavens just as Icarus did.

Things slow down after that with "Ardor" which repeats the last few minutes of "Icarus and I." Reprises are a common musical device, but using one right after its parent track, rather than at the end, and not making it acoustic are not very good ideas. 

The next moment of excitement comes with track 5 "Indifference Turned Paralysis" which shows the band's proficiency with translating classical musical structures into metal. A power metal band could have easily written this piece (and that's not a bad thing at all considering I'm a fan of power metal).

The album's second truly great track is "Reminiscence of Strangers" which is a beautiful ballad which builds up into the kind of epic doom melody I was hoping to hear on this album.

There are three tracks under 2 minutes on this album and that is a pet peeve of mine. Unless it's punk or grindcore, I'd prefer albums have songs at least 2 minutes long. The band would have been much better off combining the time used for those three tracks into something better.

The long and short of it is that the truly epic moments I was hoping for are few and far between. Much of this album is repetitive and not all that interesting. While Heaven Wept are clearly a talented band and I'm a big fan of theirs. However, it seems like this time they couldn't focus that talent into something really cohesive and memorable like "Vast Oceans Lachrymose." Concept albums are fine as long as each song can shine on its own. Most of the songs here, unfortunately, cannot. That said, this is still a good album and it contains creative songwriting and a couple of really good tracks that make it worth coming back to.

7.5/10

(Special thanks to Nuclear Blast to providing me a promo copy.)

Scar Symmetry - The Singularity (Phase I - Neohumanity) (2014)

Like a lot of Scar Symmetry fans, I was massively disappointed when Christian Alvestam left after the monumental "Holographic Universe" album in 2007 (still my all-time favorite melodeath album). His growls and clean vocals are simply some of the best I've ever heard and I doubted the band could be any good after that or, indeed, that it could even continue. The next two releases, "Dark Matter Dimensions" and "The Unseen Empire," somewhat reassured me of the band's vitality by featuring choice cuts such as "Sculptor Void" and "The Anomaly." However, up until this album, the first three albums with Alvestam were still my go-to Scar Symmetry albums.

"Neohumanity" is undoubtedly the band's best release since "Holographic Universe." The songwriting is superb and the songs are all catchy and exciting. This is arguably the band's most "progressive" album with two songs that reach past the 8-minute mark. The lyrical content is really interesting (I've always loved the bands sci-fi/philosophical themes) and the album is simply more memorable as a whole than the previous two. The growls are actually better than Alvestam's and make a fantastic contrast with the improved clean vocals. The cleans are still not quite as good as Alvestam's perfect, polished crooning, but they're more than good enough to get the job done and don't detract from the songs' catchiness at all.

If I had to pick a favorite song it would probably be "Neohuman." It's ambitious, bold, and holds my attention throughout. The riffs, solos, and keyboards are all fantastic, especially the Haken-esque circus bit. It's just a fantastic piece overall.

The award for best chorus though would probably go to "Neuromancers." Something about the melody just makes it really stick out.

The album ends with the supremely epic "Technocalyptic Cybergeddon" which sounds like it could have fit on "Holographic Universe." The calm ending of the song is the perfect way to close out the album. 

Overall, I am extremely pleased with this record. I have a feeling that fans like myself who were lukewarm about the last two albums will really get into this one. I absolutely can't wait for Phases II and III. 

(Special thanks to Nuclear Blast Records for providing me an advanced copy.)

9.5/10

  

The Oath - The Oath (2014)

As I mentioned in my Blues Pills review retro/stoner rock isn't exactly fashionable or original nowadays, but then there are some bands that manage to stand out. The Oath is just such a band. It's not hard to see why either.

Like Blues Pills, the most unique thing about The Oath is the vocals. Johanna Sadonis' bewitching vocals are the centerpiece of the album. They're confident, passionate and fit the lyrics quite well.

Musically, The Oath fit perfectly into Rise Above Records' roster of bands, joining such doom heavyweights as Blood Ceremony, Angel Witch, and Uncle Acid & the Deadbeats. They basic style could be said to be 60's/70's garage rock meets doom but it's obvious that they are incorporating a wide range of influences. Just some of the identifiable influences include Black Sabbath, King Diamond, Blue Cheer, Saxon, Motorhead, and Iron Maiden.

Yet, don't be fooled into thinking that this is merely a thrown-together hodgepodge of disparate influences. Rather, it's a focused, musically adept project that sounds great from start to finish. Songs such as the immediately catchy "Night Child" and the somber, psychedelic "Psalm 9" are evidence of this duo's success in cultivating their own musical identity, thus enabling them to stand out from the crowd in an over-saturated metal market.

Overall, even if it's not particularly ground-breaking, "The Oath" is a creative and thrilling album to listen to. There are plenty of killer riffs and instantly memorable choruses to keep you busy for quite a while. 

9/10

 

Pallbearer - Foundations of Burden (2014)

Pallbearer's debut album "Extinction of Sorrow" made waves throughout the metal world when it released in 2012. Critics praised the band for its innovative songwriting and the emotionality of its music.

"Foundations of Burden" takes Pallbearer's brand of melodic doom a step further with better production, better vocals, and overall better songs. This is an album brimming with atmosphere and emotion, yet at the same time it's absolutely crushing. Some negative reviews I've come across of this album deem the music "doom-lite," a claim I don't find any merit in.

Right from the get-go on the first track "Worlds Apart" Pallbearer are channeling such venerated doom bands as Katatonia, Warning, Paradise Lost, and Candlemass. The riffs are monstrous and thick, and the melodies are mournful and utterly captivating.

That said, it can be hard to connect with the songs as a whole given their length, relative sameyness complexity. The only real moment of diversity on the album is the gorgeous piano-driven interlude "Ashes." But diversity isn't something Pallbearer is, or necessarily should be, interested in. It's clear they want to tell a musical story in their own distinctive style without conforming to outside pressure. Therefore, those hoping for a significant change from the debut album will be disappointed. All they've really done here is to improve their already excellent craft.

"Foundations of Burden" takes you on a journey through vast, exotic landscapes but it's fairly easy to get lost along the way if you're not patient in dealing with the twists and turns. In other words, this is an album that requires multiple listens to gain a "bigger picture" view. Nevertheless, I'm very pleased with this record and consider it one of the year's best in the doom department.

8.5/10

 

Blues Pills - Blues Pills (2014)

Retro-stoner rock bands imitating 60's and 70's psychedelic music seem to be a dime-a-dozen these days with many bands simply failing to add anything distinctive or original to the mix. Blues Pills, on the other hand, are the clear exception to the rule. Rather than simply pay homage to the greats (Led Zep, Cream, Hendrix) etc., they channel these influences into something grandiose, elegant, and positively captivating.

It's not only the singer's incredible Janis Joplin-esque voice or the infectious grooves that make this album so enjoyable. Above all, it's the band's unbridled musical enthusiasm and passion that seeps through every song. This is a band that is unafraid to push limits and challenge themselves; in fact they enjoy doing it.

Whether it's the over-the-top quality of "Devil Man" or the haunting ballad "River"the band operate very much as a tight unit, with the rhythm section perfectly complementing Elin Larsson's soulful vocals. As for guitarist Dorian Sorriaux, he absolutely excels on this album, conjuring the ghost of Hendrix letting it drive him to make stomping riffs and fiery solos.

Some songs could be a bit more differentiated, but overall there is a very good deal of diversity and at no point during my numerous listens did I feel bored with this incredibly talented band's stellar debut album. Simply put, this album is one of the finest in the blues rock/psychedelic/stoner/call-it-what-you-want genre. This band can safely be added into Sweden's vast pantheon of exceptionally talented artists.

9.5/10

Mastodon - Once More Round the Sun (2014)

Mastodon, one of metal's most loved bands, created quite a stir with 2011's "The Hunter" which saw the band turn away from the technical songwriting and harsh vocals present on their previous four albums in favor of a catchy, almost traditional metal sound. On their latest offering, "Once More Round the Sun," Mastodon creates a sort of compromise between these two extremes. Each song is catchy, yet intricately arranged and visceral. Based around the band members' life experiences, this album is one that only Mastodon could have made. It retains their core psychedelic, progressive sound while maintaining a high degree of accessibility that is sure to rope in countless new acolytes.

Cuts such as "High Road" and "The Motherload" are as bombastic as one would expect from the band that made the epic "Crack the Skye." But while they are bombastic, the band's fundamental approach to songwriting has changed since their early days. Rather than write from a structural perspective, they let the songs flow naturally and stick closer to their 70's roots (i.e. Black Sabbath, Thin Lizzy etc.) For example, "High Road" assaults you with a Godzilla-esque riff while "The Motherload" works its way into your brain with its infectious (to put it mildly) chorus. "Halloween" is the technical tour-de-force of the album yet the overall vibe is much more lighthearted than the fiery aggressiveness of, say, "Remission"-era Mastodon. Perhaps the weakest point of the album is "Diamond in the Witch House" which, before I listened to it, had me excited to hear Scott Kelly's latest collaboration with the band, but left me disappointed. It's certainly not a bad track; it simply lacks the focus and precision of the album's other songs.

That minor criticism aside, "Once More Round the Sun" is the album that is sure to unite long-time fans and new fans alike (though fans who exclusively prefer "Remission" and "Leviathan"-era Mastodon are sure to be put-off.) It clearly proves that a band can sound more "commercial" while not sacrificing its core identity. Admittedly, I felt nervous that the Mastodon sound would be even more watered down after "The Hunter" which was enjoyable but nevertheless didn't sit quite right with me. However, my fears have been allayed and this album now stands just behind "Crack the Skye" as my favorite Mastodon album. If you're new to the band then this is the perfect album to get yourself acquainted with them and if you're already a fan who wasn't too keen on "The Hunter" then this will be a pleasant surprise. I for one couldn't have asked for any more.

9.5/10

 

Accept - Blind Rage (2014)

First off: Lunar Caverns is back in business! (Hopefully for good this time.)

Secondly: "Blind Rage" is undoubtedly a top 10 album of 2014. I have a huge soft spot for mighty riffs, soaring solos, and gritty vocals - all of which this album has in spades. Since reforming the band with singer Mark Tornillo, Accept have risen to the top of the metal scene, far surpassing their 80's material (at least in my opinion). Their first two post-reunion albums "Blood of the Nations" and "Stalingrad" saw the band approach true greatness with such headbangers as "Teutonic Terror,"  "Pandemic," and "Stalingrad's" title track. However, I could never connect with the either album all the way through. Moments of greatness were interspersed with moments of "Well this could have been a bit more memorable."

But where "Stalingrad" and "Blood of the Nations" lacked pizzazz, "Blind Rage" is Accept at their most focused and memorable. It combines their 80's melodic, AC/DC-esque style with the technical, thrashy side seen on the past two albums. Each song feels completely unique and every single riff, solo, and chorus is immensely catchy. This is an album that is so memorable you'll be able to recall the chorus of each song simply by looking at its name. From the jaw-dropping solo on "Stampede" to the mournful, ballad-esque "The Curse" to the shout-along anthem "Final Journey" this is an album that will hopefully grip you from beginning to end. For those who thought traditional metal is nothing more than an 80's relic, "Blind Rage" will restore your faith in this underrated genre and prove that there are still loads more awesome riffs yet to be heard.

The future for Accept looks very bright indeed. For a 60-year old, Mark Tornillo is at the top of his game and Wolf Hoffman proves himself to be one of metal's best and most underrated guitarists. If you're looking for that one album that'll prove traditional metal's relevancy and vitality, I can think of none better than "Blind Rage."

10/10

 

Saor - Aura (2014)

Saor (formerly Arsaidh) may not be a household name in black metal, but this album might just change that. Featuring breathtaking atmospherics, soaring folk melodies, and unearthly roars from the vocalist, this is a epic album in every sense of the word. The band being from Scotland, it's easy to see why they chose to make an album like this since it evokes the incredible beauty of that land so well. One can easily imagine standing on a mountain in the Highlands peering over the fog and just being in awe of your surroundings. The album can demonstrate immense power one moment and emotional fragility the very next. It's those kinds of powerful emotions and imagery that are the album's appeal to me and doubtless many other fans. Every one of the five tracks flows extremely well and tells its own story making for a highly cohesive album. And what's truly unique about this album is that despite its beauty and grandeur, it's still sounds raw and intense with the with the frenetic, intense drumming being a particular highlight for me. Where this album suffers though is mainly on the production. Admittedly, I really don't know anything about production from a technical aspect but from an aesthetic aspect, it somehow feels awkward on this album. Perhaps if it were a bit more polished like on the last Summoning record it would have been even stronger. Another, more minor beef I have is that there are a few too many similarities between the songs. An acoustic interlude or two might have been nice too. Despite those issues, this is an amazing record that, like last year's new Summoning and the Caladan Brood debut album, will probably go down as one of black metal's most unique and awe-inspiring.
9/10

(Special thanks to Northern Silence Productions for a sending me a promo copy.)

 

Anathema - Distant Satellites (2014)

Since Anathema's return to the music world with 2010's "We're Here Because We're Here" and 2012's stunning "Weather Systems," the band have carved out a well-defined sound that, while similar to that of their older albums, marks a distinct chapter in the band's history. On "Distant Satellites" this sound has been altered slightly to evoke a darker, more brooding mood but the changes are certainly less subtle than one would expect simply based on the beautifully dark album cover. Things are a bit more stripped down on this album with an emphasis on simplicity, catchiness, and directness. This is most apparent on songs like "The Lost Song Pt. 1" and "The Lost Song Pt. 3," both of which are structurally straightforward with a constantly repeating drum beat and crescendo at the end. Yet even though this album is more minimalistic than the band's past releases there's still a whole lot of variety, perhaps more so than in the past. Take the difference between "You're Not Alone," for example, with its repetitive, almost garage rock sound and the ethereal, Radiohead-esque "Take Shelter." Here we see a band that's a little less restrained than before in terms of reaching into other genres while still retaining their trademark sound. While others may disagree, to me the way the album transitions into electronic territory on the last three songs is a brilliant move. One could think of the first portion of the album as signifying one's relations with people whereas the last part of the album takes a more introspective turn and examines our own consciousness and psyche. In any case though, the last three songs certainly give the album breathing space and allow it to end gracefully. If I had to pick some highlights from "Distant Satellites," mine would be "The Lost Song Pt. 2" and "Ariel." These two tracks are to me some of Anathema's greatest artistic achievements even if they sound like they could easily been on the previous two albums. In all, this is an album that's focused on trimming whatever fat was present on "Weather Systems" and further perfecting the band's atmospheric sound. The lyrics may be pretty cheesy but that's they've almost always been for Anathema and since they're coming from a genuine place it's hard to fault the band for that. I'll close by saying that "Distant Satellites" is another fantastic release from one of my favorite bands and it can stand tall in Anathema's discography.
9.5/10

(Special thanks to Kscope for the promo copy.)

Devin Townsend - Casualties of Cool (2014)

After the bombastic, poppy heaviness of Epicloud, the ever-eccentric Hevy Devy decided to pull another 180 and deliver something quiet, emotional, and entirely heartfelt. Casualties of Cool is in many ways the spiritual successor to the awe-inspiring Ghost, albeit with an interesting twist. Devy has experimented with a wide range of genres throughout his career, but his love of country was something previously unknown to many fans and hardly anyone expected him to incorporate it so extensively as he does here. Yet in true Devy style he amalgamates the soulfulness of Johnny Cash-type country music with spacey ambient explorations similar to those found on Ghost. To top it off he brought in Che Dorval (previously the backup vocalist on the Ki album) and she does an absolutely stellar job throughout. Her vocals are at once engaging, as if she's beckoning the listener to embark on a journey into the depths of the human soul, and distant, as if struggling to come to terms with the human condition and therefore ambiguous. While Anneke von Giersbergen, Devin's more well-known female collaborator, has helped contribute to some of his most legendary songs, I think that her more pop-oriented vocals would not have fit the introspective tone of this album as compared with Che's soulful, emotionally fragile singing. Song-wise Casualties has some truly sublime tunes like the Pink Floyd-ish "Moon" which is essentially a gradual build-up into aural bliss with a soaring saxophone complemented by Che's wordless vocalizing (a la "Great Gig in the Sky") and Devy's characteristic half-whispered crooning. Another highlight is the arresting "Flight" where Che is absolutely hypnotizing. "Mountaintop" takes things into a more upbeat, catchy area with an excellent video to accompany it. Finally, there's the sublime ballad "Bones" where Che once again shines like a star. Production-wise, this album features the same engrossing wall-of-sound we're used to and, as always, it makes the music stand out all the more Casualties of Cool is a beautiful, engrossing journey but it's not without its speed-bumps. . Some of the interludes like "Hejda" and "Pier" feel out of place and detract from the album's cohesiveness. Then there are other songs like "The Code" and "Deathscope" which are merely good but pale in comparison with the highlights. So while Che may have given Devy some of his best songs here, the album as a whole suffers a bit from inconsistency unlike the superb Ghost which I fully enjoyed all the way through. Nevertheless, Casualties is still an excellent achievement in Devy's storied career and something he should be very proud of.
9/10

 

Arch Enemy - War Eternal (2014)

One of extreme metal's biggest names, Arch Enemy are back with a new album and a new singer. Following 2011's fairly disappointing "Khaos Legions," "War Eternal" marks the return of AE's classic, sophisticated melodeath sound. While I do miss Angela Gossow's evil screams, new singer Alissa White-Gluz is a solid choice to replace her even though her vocals are a bit bland at times. There's nothing in the way of experimentation on this album which is probably a good thing since the more simplistic songs on the last album fell a bit flat. "War Eternal" offers some choice cuts such as the immediately catchy title track, the classically influenced "Avalanche," and the highly impressive riffage of "Time is Black." Arch Enemy aren't looking to reinvent the wheel, nor is this album on the level of "Wages of Sin" or "Rise of the Tyrant." Rather, it's simply another great addition to their discography and one that won't let the fans down even despite the vocalist change.
8/10

(Special thanks to Century Media for providing me a promo copy.)

Agalloch - The Serpent and the Sphere (2014)

When I heard Agalloch were trying out a space theme rather than their traditional nature/winter theme, I was very excited. "Marrow of the Spirit" was great but it showed signs of a band aging and starting to run out of ideas. A change was indeed in order. Unfortunately though, it seems Agalloch's musical abilities were not up to par for this change. Much of this album feels tedious, repetitive, and downright boring. Take the opener "Birth and Death of the Pillars of Creation" for example. It's probably the first time they've Agalloch have attempted a straight-up doom metal song and I have to applaud them for that but it could have been so much stronger by either cutting it in half or adding more variation. The song kinda plods along and I find it difficult to emotionally connect with it in any way. The same goes for "Plateau of the Ages." It's 12.5 minute long metal instrumental whose most interesting feature is perhaps the cool drum beat. Every time I listen to it I think about Agalloch's other metal instrumental, "The Hawthorne Passage,"and how much better it is. Then take "Dark Matter Gods." That song has so much potential but it far too repetitive and unnecessarily long to stand anywhere near Agalloch's best songs. On the plus side, you have "Vales Beyond Dimensions" which features an excellent dark, doomy lead melody that fits the space theme perfectly. Then there's the lead single "Celestial Effigy" which is the most dynamic, progressive track on the album. It's the kind of song that keeps your attention throughout. "Astral Dialogue" is not only one of the most aggressive songs Agalloch have penned, but it's also my favorite song on the album. It's a perfect blend of doom and black metal, and it features the unique songwriting the band are famous for, something sorely lacking elsewhere on "The Serpent and the Sphere." Another positive feature is the lyrics which are fantastic as ever. As for the acoustic interludes, they unfortunately all sound basically the same and are very stale and uninteresting. There is absolutely no comparison between them and the songs on "The White" EP or the glorious "Odal" on "The Mantle." Simply put, this is Agalloch's weakest album but it certainly does have a number of redeeming factors that make it worth listening to. You can hear the seeds of better songs throughout, but those better songs never materialize. If you're expecting something on the level of the first three albums then prepare to be disappointed. I suspect though that this one's a grower so my opinion might very well change later on.
7.5/10

Coldplay - Ghost Stories (2014)

After the glitzy, overproduced pop stylings of "Mylo Xyloto" which left many long-time Coldplay fans such as myself disappointed, the band decided to move back, at least partially, towards their original sound. Nowhere is this move more apparent than on the two sublime ballads "Oceans" and "O." These two tracks alone are possibly some of the best material Coldplay have created. Elsewhere on the album we see Coldplay experimenting around, especially on the ethereal, stripped-down "Midnight" which sounds like it could have been ripped from an M83 or Tycho album. Another highlight is "True Love" which is a fantastic synthesis between their new and old styles and is a truly gorgeous track. Then you have "Always in My Head" which seems to draw influence from U2. The album falls a bit flat on tracks such as "Ink" and "Another's Arms." Overall though "Ghost Stories" manages to be highly consistent in both its themes and overall mood despite having a lot of stylistic diversity. It might not be on the same level as "Viva La Vida" or "A Rush of Blood to the Head" but it's quite enjoyable nonetheless and I'm satisfied that the band are moving back on the right track.
8.5/10