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

Epica - The Quantum Enigma (2014)

I never thought that Epica could deliver something that rivals the great "Design Your Universe," my favorite album of theirs, but lo and behold it's happened. "The Quantum Enigma" is not only better than the album that preceded it; it marks the culmination of the band's artistic endeavors as they strive to create catchier, more concise songs. And by shifting to such a style, I don't mean to imply that they've abandoned their identity for commercial gain. Rather, they've made their message all the more direct and powerful by trimming the fat and thus delivering a more memorable product, at least compared "Requiem for the Indifferent." On this album you'll find some of the best songs Epica have crafted so far including the lead single "Essence of Silence," the grandiose "Second Stone," and the soaring "Natural Corruption." Whereas "Requiem" felt a bit stale and not all that satisfying, this album sounds fresh, vibrant, and energetic every time you hear it. Every song has something about it that will stick with you. There are no fillers or duds here and you'll undoubtedly come back to it repeatedly. With less growls and catchier choruses than ever before, "The Quantum Enigma" is bar none their most accessible album so keep that in mind if you're thinking of introducing people to the band. If there's anything wrong with this album, I'd say it's the lyrics. The themes they chose to discuss are quite intriguing, but the way Epica discusses them leaves a lot to be desired. Another slight imperfection is the repetitiveness of "Kingdom of Heaven Part II." Were it to be either cut in half or simply made more interesting it could have been as good as its predecessor. All in all though, this is a stunning accomplishment and quite a pleasant surprise for me. I expected to find them running out of ideas and circling the wagons after "Requiem" but instead it seems like they went back to basics, reevaluated their sound, found their creativity once again, and hit it out of the park. The odds of this album ending up on my top 10 list in December are quite high.
9.5/10

 

Lantlos - Melting Sun (2014)

After Neige, vocalist of Alcest, left the more black metal-oriented band Lantlos after their last album "Agape," the future of Lantlos was murky. Thankfully, it has been nicely resolved with a complete shift away from black metal and towards post-metal. This isn't the kind of dark, depressive post-metal associated with acts such as Cult of Luna, nor is it technical in any way like Russian Circles. Rather, it's beautiful, bright, expressive, and downright uplifting while being quite heavy at the same time. I like to think of this album as "Shelter's" metal brother. From the winding ambient soundscapes filled with subtle, emotion-laden melodies to the raw intensity of the riffs, this is an album that sets the listener on a journey through forgotten corners of the heart and mind. It's hard not to be completely hypnotized by the vast, immersive sounds of this album, nor is it so easy to restrain your imagination from running wherever it pleases as you're soothed by the calm sounds of, for example, "Golden Mind." Perhaps the most captivating moment on the album is the intro on "Cherry Quartz" which transitions from serene to heavy-as-lead so gracefully and effortlessly it'll likely leave your jaw on the floor. The only fault I could find on this album is the sometimes stale vocals, but it's a minor issue on an otherwise incredible achievement. I absolutely loved Lantlos' second album ".neon" with it's dark atmosphere and Neige's melancholic howls, but "Melting Sun" marks a whole new chapter for the band and I can honestly say I love it just as much. In a word, it's glorious and a unique addition to the post-metal genre.

9.5/10
(Special thanks to Prophecy Productions for providing me an advance copy.)

 

Insomnium - Shadows of the Dying Sun (2014)

Finnish metal is renowned for its melancholic, melodic qualities and Insomnium are one of the best exemplars of these traits. Returning for their sixth album, these melodeath/doom masters aren't looking to re-invent the wheel, having basically settled on their sound starting with their third album, but they are making some minor tweaks. Perhaps the most noticeable tweak is the increased amount of clean vocals. Songs such as "Lose to Night" and "Promethean Song" feature some truly memorable clean choruses that might miff a few hardcore fans, but to my ears sounds like a natural progression of their sound. Another small way in which this album distinguishes itself from its predecessors is the use of black metal-esque blast-beats on "Black Heart Rebellion" and "The River," the latter of which displays an excellent tremolo-picked melody that could have been lifted right from a Woods of Desolation tune. "Ephemeral" is a bit of an odd experiment for the band as it's probably the most accessible song they've made yet, sounding like something modern In Flames might do (not that that's a bad thing by any means). One of my favorites on the album is the single "While We Sleep" which shows off some of the band's best songwriting skills with killer riffs, catchiness, and a soaring outro solo that you can't imagine the song doing without. My other favorite is "Revelation" which is probably the most 'atmospheric' track, especially given its dark, brooding, whispered vocals and beautiful melodies. Where I feel the album falls a bit flat is on "The River" and the title track which are both too long to keep my attention throughout. It also wouldn't have hurt for them to reach out into the musical universe and pull in some more influences (i.e. a folk song a la Agalloch or something doomy like Swallow the Sun) just to make for a more varied record. But those are still minor quibbles since this is probably my favorite Insomnium album since "Above the Weeping World." This album's formulaic approach can be forgiven for the facts that Insomnium are one of the most unique melodeath bands out there and, not least of all, that this is a great album. It might not hold up to the first three records, but it's something fans of the band won't be disappointed in.
8.75/10
(Special thanks to Century Media for providing me with an advance copy.)

Triptykon - Melana Chasmata (2014)

Coming on the heels of 2010's critically acclaimed "Eparistera Daimones," Triptykon, fronted by Tom G. Warrior of Hellhammer and Celtic Frost fame, have returned with another dark, brooding monster of an album in "Melana Chasmata." The oft-repeated phrase "don't judge a book by its cover" certainly doesn't apply to this album as the sick, twisted art of H.R. Giger perfectly matches the music. And the album doesn't waste any time revealing its sinister nature to the listener. Right from the opening of "Tree of Suffocating Souls" with its heavier-than-lead thrash attack and Warrior's trademark commanding grunts through the hauntingly beautiful "Waiting", "Melana Chasmata" is truly a beast of an album that hearkens back to the old days of Celtic Frost. The real genius of the album is its ability to seamlessly weave black, doom, thrash, death, heavy, and avant-garde metal into a singular, monolithic package that almost goes beyond genre classification. In that sense, Triptykon still hold firmly to the pattern established by Celtic Frost on such albums as "Morbid Tales" and "To Mega Therion" which influenced an incredibly wide range of bands and even spawned entire genres. The difference here is that Triptykon, especially on this album, have taken the classic Frost sound and expanded it into the territory of avant-garde with a heaping dose of dissonance and drawn-out, hypnotic tracks that make me think of such nightmarish things as Inferno by Dante. Indeed, the whole album is a trip through hell. "Altar of Deceit" is perhaps the heaviest track on the album, and perhaps the most violent part of the trip through hell, and features gargantuan riffs that sound like Black Sabbath on steroids. Another highlight for me is "In the Sleep of Death" which features some truly demented, almost psychopathic vocals that just plain creep me out (in a good way though). It is also worth mentioning bassist Vanja Slajh's beautiful, siren-esque singing which complements Warrior's fierce growls perfectly. And of course let's not forget Warrior's morbid lyrics which, as usual, fit the music like a glove. While I enjoy this album more than its predecessor, it's not perfect. "Black Snow" is probably my least favorite track here as it goes on for far too long than it should. Otherwise, "Melana Chasmata" is a fantastic achievement that shows not only shows Warrior/Triptykon's relevancy in the incredibly crowded world of modern metal, but also stands out as a uniquely dark and, in a very odd way, beautiful artistic statement.
9/10

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

Animals as Leaders - The Joy of Motion (2014)

Instrumental progressive giants Animals as Leaders have returned with their third offering and boy does it pack a wallop. After the excellent, yet slightly unsatisfying "Weightless" in 2011, "The Joy of Motion" sees the band less willing to experiment and more focused on delivering something both powerful and memorable. With 12 songs and no filler, it's an incredibly dense album that offers enough variety amongst the stellar musicianship to keep listeners happy. Most songs here are reminiscent of the band's earlier work, but a few have brand new elements such as the stomping grooves of "Physical Education" and the Latin flavor of "Para Mexer." But regardless of whether it's new sounds the band are incorporating or if they're relying on the same basic jazz fusion/prog metal admixture that brought them to fame in the first place, this is simply a phenomenal album. While it doesn't reach the heights of the debut, at least in my book, it does come pretty close. Once again AAL have proven their worth and set the bar astronomically high for other bands and musicians. If you haven't heard this masterpiece yet then it's about time for you to go over to Sumerian Records' official channel and prepare to have your jaw hit the floor.
9.5/10