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Album · 2015 · Symphonic Metal
Cover art 4.50 | 2 ratings
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The Diary (2015) is the debut full-length album by Dutch duo The Gentle Storm. The Gentle Storm is the new project of Ayreon mastermind Arjen Anthony Lucassen and is a collaboration with singer Anneke van Giersbergen (ex-The Gathering, Agua de Annique). Anneke has also appeared on the Ayreon albums Into the Electric Castle (1998) and 01011001 (2008) so the two aren't exactly strangers to working together. The Diary, as usual for a Lucassen release, is a double album. The big difference this time is that, as a musician evidently willing to keep trying new things, The Diary is actually two different versions of the same set of eleven songs.

Similarly to how the Ayreon albums The Dream Sequencer (2000) and Flight of the Migrator showcase a soft and a heavy side of Arjen's music, The Diary features both a Gentle album and a Storm album to do much the same thing. The Gentle album is based around folk music while the Storm album features more familiar metal territory, although more in a symphonic metal vein than Lucassen's usual progressive metal fare.

I've actually been wanting hear what Lucassen could come up with using a folk based context, so I've actually found myself more interested in The Diary's Gentle version at first despite being a fan of metal first and foremost. The band have taken their influences for this version mainly from Celtic and Asian folk music. Anneke's voice is a perfect fit for this style; absolutely beautiful. It's pretty much everything I could have wanted from a folk album by Arjen Lucassen. The Storm version of the album really gives it a run for its money though. You've still got the folk element in there but the epic symphonic arrangements prove equally strong and suited to Anneke's singing. The riffs turn towards power metal a couple of times in this version, first in Cape of Storms and then again and more notably in The Storm. The album's Storm version isn't 100% heavy though, The Moment on this version for example is also largely light though still a different arrangement to the actual Gentle version. It's normal for symphonic metal albums to include something like this, but in this case it does rather defeat the purpose of the exercise in my opinion.

I've come up with the following as my personal preference for a merged version of the album, though this was hard to do as there are a couple of tracks like Heart of Amsterdam, Shores of India and The Storm where it could have gone either way and my final choices were based on the narrowest of margins, such as the (Gentle) Heart of Amsterdam's top notch folk melodies or (Storm) The Storm's use of power metal riffs.

Endless Sea (Storm) Heart of Amsterdam (Gentle) The Greatest Love (Storm) Shores of India (Storm) Cape of Storms (Storm) The Moment (Gentle) The Storm (Storm) Eyes Of Michiel (Gentle) Brightest Light (Storm) New Horizon (Gentle) Epilogue: The Final Entry (Gentle)

So as you can see my split is roughly even between both versions. This isn't to say that although I've made a clear choice between each version of the songs, other than those three more difficult decisions mentioned above, that the other is an inherently lesser version of course, though I will probably always question the so called Storm version of The Moment so not being that heavy until the closing moments (no pun intended). They're both excellent albums and that's what makes it difficult to choose between them. On one hand the folk album is something I wanted to hear from Arjen Lucassen but on the other the metal album is him doing what he does best in a slightly new way. Of course Anneke sounds excellent on both so the final call really comes down to the music and it's quality.

I honestly really can't choose. I'm pretty clear on which I prefer when regarding Ayreon's The Dream Sequencer and Flight of the Migrator, it's the first one every time, but a decision regarding The Diary is not so clear cut. But hey good news, you get both for the price of one, so The Diary is a win-win debut from The Gentle Storm. I'm going to go with 4.5 stars; it doesn't quite stand up to Arjen's best work, but this is an excellent collaboration with an amazing vocalist and I think fans of either of them are going to love it as much as I do.


Album · 2015 · Symphonic Metal
Cover art 4.50 | 2 ratings
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Ayreon mastermind Arjen Lucassen is back with his new project The Gentle Storm, this time with singer Anneke van Giersbergen (formerly of The Gathering) as his partner in crime. They've worked together before on Ayreon. Their first album together is the double disc release, The Diary. Lucassen is no stranger to the double album, most Ayreon albums are doubles. The Diary is a little different though as the two discs both contain the same songs, done in very different styles. Disc one is the Gentle version and disc two is the Storm version.

The Gentle version of The Diary is a progressive folk release, drawing on both Asian and Celtic influence. The Storm version on the other hand is best described as symphonic metal, but the same folk influences creep in giving it a folk metal edge while both progressive and power metal leanings can also be found. Regardless of version, The Diary is probably one of Lucassen's more accessible albums, as it's full of catchy songs, sung beautifully by Anneke. Both discs are impressive work but ultimately I personally find I prefer the Gentle version, despite being more of a metalhead. My favourites are Heart of Amsterdam, The Greatest Love and Shores of India.


EP · 2014 · Death Metal
Cover art 3.50 | 1 rating
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"Gloom" is the self-titled debut release by US, Washington, DC based extreme metal act Gloom. It´s an independently released EP made available in June 2014 in both digital form and as a physical CD. The latter is only available upon direct request to the band. Gloom was formed in 2012 and consists of Bill Calomiris (Vocals) Jason Sayell (Bass), Chris Shull (Drums), and Danny Galoubandi (Guitars).

The music on the EP is primarily technically well played death metal, but as the music also features elements from hardcore, groove metal, and sludge/doom, the term extreme metal is probably more fitting for the band´s style. It´s obvious that these guys are not restricted to using elements from only a few genres, but instead chose to use the stylistic elements they feel fit the mood of the material. Depending on how you fell about mixing up genre elements it´s probaboy either a great strength or a cause for confusion and frustration. To my ears Gloom succeeds very well in mixing the various stylistic elements into an atmospheric, brutal, groove oriented, and technically well played extreme metal style.

The EP features 6 tracks and a full playing time of 16:30 minutes. The first track is a short intro, but from "Entity" and onwards, you´ll be treated to structurally interesting tracks (it´s interesting how many different ideas they are able to incorporate in 2 - 4 minutes long tracks, and still make them sound consistent in style) delivered by skilled musicians. The vocals are both deep growling, aggressive growling, and higher pitched screaming.

The EP is packed in a powerful, raw, and well sounding production, so all in all this EP is a quality debut release by Gloom. They may still need to work a bit more on creating a more distinct recognisable sound, but other than that this is a great and promising first release and a 3.5 star (70%) rating is deserved.

MY DYING BRIDE The Vaulted Shadows

Boxset / Compilation · 2014 · Doom Metal
Cover art 4.00 | 1 rating
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"The Vaulted Shadows" is a compilation album by UK doom/death metal act My Dying Bride. The compilation was released through Peaceville Records in May 2014. "The Vaulted Shadows" features the material from the two EPs "The Barghest O' Whitby (2011)" and "The Manuscript (2013)". All 5 tracks on the 54:25 minutes long compilation are original tracks only featured on the EPs and on "The Vaulted Shadows". So no previously released album tracks, demo/single material, live tracks, or other types of usual EP material.

"The Barghest O' Whitby (2011)" EP only features one single eponymously titled track, but at 27:04 minutes in length it´s the longest track recorded by My Dying Bride up until 2011. It´s a track which features almost all of the band´s trademark elements like über melancholic violin parts, atmospheric keyboards, crushingly heavy guitar riffing (as well as great harmony work), heavy yet rhythmically intriguing drumming, and of course the growling and clean vocals by lead vocalist Aaron Stainthorpe. It´s quite an intriguing track but unfortunately also a bit fragmented and at times a bit too repetitive. The fact that the track is divided into two parts to fit the vinyl format, isn´t exactly good for the flow of the track either. When that is said, it´s a track which wins upon repeated listens, and overall it´s a great quality track by My Dying Bride.

"The Manuscript (2013)" features 4 tracks and except for "Vår gud över er" all tracks were recorded during the sessions for "A Map of All our Failures (2012)", but left off the album release. "Vår gud över er" is a harsher and more death metal oriented epic track, than the other three tracks which are more melancholic, doomy, and beautiful in nature. The violin is used extensively on the title track and on "A Pale Shroud of Longing". Although three of the tracks are outtakes from the "A Map of All our Failures (2012)" sessions, the quality of the material featured on "The Manuscript (2013)" is very high throughout.

Upon conclusion "The Vaulted Shadows" is what I would characterize as a "must have" for fans of the band (if they don´t already own the EPs), and more casual listeners could well start here too. A great representation of the different aspects of the band´s sound. A 4 star (80%) rating is deserved.

ARTIZAN The Furthest Reaches

Album · 2015 · Traditional heavy metal
Cover art 4.50 | 1 rating
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Time Signature
On spaceships and melodic metal...

Genre: melodic metal with a progressive touch

Having released two very good melodic and memorable metal albums (the chorus of 'Rise' from their 2011 debut full-length still sticks to my brain), Artizan are back with a third effort in the form of a futuristic sci-fi album called "The Furthest Reaches".

This time around, the music is, while still as melodic and accessible as always, slightly darker in tone, as reflected in the cello-based intro of the title track - which by the way is super epic and quite progressive. In fact, the Floridan band really seems to have embraced epicness this time, and that is a smart move, because, of course sci-fi narratives about spaceships and supernovas should be epic. 'Hopeful Eyes' is a nicely melodic and epic affair with massive vocals and melody galore, and there is even a wee touch of Thin Lizzy in the form of some sweet twin guitar harmonies. The heavy 'The Cleansing' is another dark track which open with an ominous evil laughter and then takes on an almost Solitude Aeturnus-esque epic doom metal-like character. The following track is strangely uptempo and melancholic at the same time, while 'Supernova' combines a sense of apocalyptic aggression with soaring vocals and 'Into the Sun' concludes the album on a musically uplifting note (and pays homage to Randy Rhoads in the process).

The songwriting on this album is of very high quality, as the band manages to combine hard rocking metal with melody and sophistication without every gong over the top. The performance is also very solid, with Ty Tammeus' clockwork drumming meshing in well with the melodic guitars, driving bass and Tom Braden's crystal clear singing voice. With guest performances by Matt Barlow and Sabrina Cruz, this album should be attractive to power metal aficionados. While this album does not contain a song as memorable as 'Rise', it does overall have a slight edge over the two preceding albums which, as mentioned, are already very good. I think one factor here is that the production on "The Furthest Reaches" is a bit better.

In conclusion, this is another bull's eye from one of Florida's best melodic meta bands, and fans of both traditional metal and power metal, as well as progressive metal, should definitely check it out.

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Album · 1971 · Proto-Metal
Cover art 3.87 | 6 ratings
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If anywhere in the world the impact of the sound of Black Sabbath was picked up quickly, it was Japan, which has long since been a country where heavy metal remains popular. For their first album of original music, Flower Travelin' Band went with an Indian spiritual theme which they combined with a very convincing performance of heavy metal. There are only five tracks on the album and each a part of the theme "Satori". The music is pretty diverse over the five tracks but still within the limits of heavy guitar rock and this eastern music theme.

The album begins with a high tone interrupted soon by gentle cymbal percussion. This quietude is broken by a banshee scream. Doom metal chords begin the song proper and then switch to charging heavy rock. Akara Yamanaka lets loose with an insane, Tarzan scream. The pace slows down to a sluggish doomy affair as the lyrical delivery ensues. There's no proper guitar solo in this song but Yamanaka once more lets a scream soar up high, pause and then drop. It's pretty incredible to hear considering that this was 1971. The Tarzan screams are also pretty incredible but in a different way.

Part two introduces the Eastern sound with a long guitar solo playing eastern scales. There is a guitar effect that seems to mimic the sitar. This track has a definite Eastern rhythm. It's very effective and also features some good metal chords. The vocals are near screaming. There's a percussion solo but not a show off drum solo. Just the percussive rhythm for a bit and then buzzing guitar effects fade in and out. The guitar solo goes on until end but rhythm intensifies and slow clean guitar chords enter and gradually build in intensity until heavy dual chords finish the song.

Part three begins with some distant low tone like slow steady walk of something ominous and huge. It reminds me of Bathory's opening of "The Return..." album. But instead of Quorthon's growls and ultra distorted guitar we get more eastern guitar soloing. This time it sounds almost like those snake charming flutes. Perhaps you can picture the guy in his turban and loin cloth playing his flute as a cobra sways upwards from the basket. Then at 5:00 or so it changes to some rocking power chords and a dual solo reminiscent of early Scorpions crossed with Black Sabbath. From 7:16 to 8:20 there are spacey effects with guitar, percussion, and bass like Nektar's "Journey to the Centre of the Eye" and then the music returns to the slow eastern melody theme. At about 9:15 it suddenly goes into a galloping rhythm with the guitar solo still in eastern mode but sped up to a frenetic pace through to conclusion at 10:43.

There's some light electric guitar at the beginning of Part four but soon the sound becomes scratchy, muted guitar chords and then the drums come in. A very groovy guitar and bass riff is established with no hint of eastern scales this time. There are proper lyrics once more. Two guitar sounds are used: one scratchy early 70's distortion and one buzzing 1969 fuzz tone. The guitars sometimes play in unison and it sounds pretty darn cool. This groovy tune is a refreshing change from tracks 2 and 3. At 4:00 the riff and tempo change and there's a harmonica solo. A guitar solo takes over at 6:00 and ends at 7:30 and then just guitar, bass, and harmonica play until 8:50. We go back to the groovy song for a space before it all concludes with accelerating music and final crash.

Part five begins like an early prog metal tune with quick stops and starts, and staccato bursts of arpeggios. Then there's a slow, steady beat with heavy muted guitar chords. Awesome. And then? "Whoa-aahhh" and "Ohh-oh-ohhh". You know how Robert Plant sang in "Dazed and Confused"? That wavering "ah-AHH-ah"?. This is a bit like that only much louder and sounding like someone is chanting for meditation while falling from an airplane without a parachute. What's least expected is a vocal solo but that is indeed next. Thankfully it's short and then we return to the steady, slow beat and guitar solo ensues. Clean, almost like a soft chime guitar chords with slowly picked individual notes, rising and falling, join. This creates a beautiful yet haunting and mysterious background to the solo. At 5:27 we are back to more "whoa-ah-ohh". I could skip this part. But then more distorted guitar and a beat that together are ominous yet accompanied by the haunting clean guitar, which creates a nice contrast. The song goes back to the prog metal part again, which I think is the best part of the song.

For an album with an Indian meditation theme it kind of works. "Hare Krishna" is written on the artwork inside the album. The metal sound gives it a feeling of unease and foreboding in contrast to the meditation theme. At times the instrumental sections do seem to go on a bit and I once or twice wonder if I should be in some altered state of mind or consciousness to appreciate it better. There are some spectacular riffs and awesome metal guitar sounds, not to mention the solos in places. But I will admit it takes a certain frame of mind or taste in music to actually like all of this album. Still, tracks one to three have been covered by modern metal bands and some critic somewhere called this his favourite Japanese album.

I've rated this as "excellent addition to any metal music collection" but let me emphasis that this is for a proto-metal collection, which is quite a different thing, wouldn't you say?


Album · 1992 · Industrial Metal
Cover art 4.43 | 18 ratings
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Ministry-Psalm 69

'Psalm 69' is the fifth studio album by industrial metal band Ministry. Every sub-genre of metal usually has a defining 'classic' of the genre. While for thrash it may be 'Master of Puppets', or for death it may be 'Symbolic', whatever genre it may be, there usually is a definitive album. For industrial, most fans agree that Ministry's 'Psalm 69' is a perfect contender for a definitive classic of industrial metal.

The previous album 'The Mind', showed Ministry at one of their most varied moments featuring aggressive tracks like 'Thieves' and dark brooding songs like 'Cannibal Song'. 'Psalm 69' takes the aggressiveness of 'The Mind' and amps it up with even more crushing riffs and barrages of mechanical drums. The album opens up with one of Ministry's most well-known songs, 'N.W.O.' with it's strong political lyrics, pounding drums, crushing guitar, and Al Jourgensen's raspy vocals. This album has no shortage of Ministry classics, with the thrashing 'Just One Fix', the 8 minute long 'Scarecrow', and one of my personal favorites 'Hero'. Also featured is the humorous and catchy 'Jesus Built My Hotrod'. This song really captures the weirdness of some industrial metal bands, it doesn't get much better then a guy loving his car with passages like 'Ding dang a dong bong bing bong'. These lyrics wouldn't be too out of place on a Primus album.

It is true that 'The Mind is a Terrible Thing to Taste' has more variety, but 'Psalm 69' has something 'The Mind' didn't and that is guitar solos. Previously guitar solos weren't featured in industrial metal much, however Ministry really makes the guitar solos feel right at home on this album. The guitar solo on 'N.W.O.' is especially awesome, grinding perfectly along with the mechanical atmosphere.

Overall, this album is a masterpiece beginning to end. Like I said, if there is one industrial metal album that everyone should have in their collection it should probably be this one. This album and 'The Mind' really show Ministry and industrial metal at it's very best. Hope you found this review helpful.

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NEUROSIS Honor Found In Decay

Album · 2012 · Sludge/Post-metal
Cover art 4.00 | 8 ratings
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We follow the Earth, the Earth follows the Stars...

Despite having released ten records of which at least three have become timeless classics of post/sludge metal, the Oaklanders don't rest on their laurels. Honor Found in Decay is yet another step forward in their sustained evolution and I'm telling you, it's good. It's not, mind you, a matter of stylistic progress anymore, at least not in the sense we've got used to. These men don't intend to break the ground anymore, nor are they willing to exhibit the fiery aggression known from their early albums. Still, in my book Honor Found in Decay stands out as the most inspirational Neurosis record since Times of Grace.

Noah Landis. This man is a boiling pot of inspiration and originality, never failing to add a unique layer to a theme or, when needed, take the lead. His synths and samples have always been the gray eminence of Neurosis, the defining element of every album since Through Silver in Blood. Don't get me wrong, though, the band is like a clockwork: take one cog out and it doesn't work. They've been together for almost 20 years; the incredible bond between them is not only noticeable in Honor Found in Decay, it animates the entire thing. Neurosis is one of those very few bands that can turn a bucket of raw sludge into a blissful, poetic, almost cleansing experience. And they really nailed it this time round. Honor Found in Decay is a heavy, lyrical, Kyuss-tinged sludge metal album, abounding with both tonal and atonal themes that work together perfectly. When it comes to harmony and disharmony, it is one of their most bipolar records, but the reason it works so well is that there's a consistent artistic vision that keeps the whole thing focused throughout. It certainly is the first Neurosis release to have the old elements and the new ones (mostly the singer-songwriter solo output by von Till and Kelly) work so well together.

Honor Found in Decay is like a night ride through a southern desert, like a poem whispered by flickering shadows dancing around a bonfire. It's unrelenting yet calming; crushingly heavy yet soul-stirring; brooding and soulful but not devoid of hope. While it is not by any means as bold as The Eye of Every Storm was, it sounds much fresher than Given to the Rising ever has. I can safely say that Honor Found in Decay is the most mature and genuine effort by Neurosis in a long, long time. A contemplative, spiritual, understated, poetic, hypnotizing album. And yes, definitely recommended.

..::Originally written for: shrineofllyria.blogspot.com ::..

SABATON Coat Of Arms

Album · 2010 · Power Metal
Cover art 4.63 | 6 ratings
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Coat Of Arms is the charismatic Swedish Power Metal band Sabaton’s fifth full-length studio album. It was released on Nuclear Blast records in 2010.

I don’t use the phrase “rip-roaring” a lot, (in fact I don’t think I’ve ever used it before in my life), but it is certainly the first phrase that comes to mind about this confident, bombastic, powerful and extremely fun album. If you haven’t heard Sabaton before, they have carved their own niche in the Power Metal world, its not just copying big bands like Helloween, Gamma Ray or Blind Guardian’s sound. Its not copying NWOBHM bands and speeding it up either. It is something a little more unique. There’s a loud, stadium feeling. Often mid-paced. You can almost hear the point at which the pyro is designed to go off in each riff. Its more about songcraft than virtuoso musicianship, more about experience than speed. The vocals aren’t even Halford or Dickenson inspired but are in a lower register. Sabaton’s lyrics even eschew the traditional wizards and goblins fare for interesting, highly-researched historical subjects.

Subjects up for discussion on this record include the Polish uprising against the Nazis, the Norwegian heavy water sabotage at Vemork and the Greco-Italian conflict in WWII. There’s one Metal themed song at the end, with tributes to the likes of Judas Priest and Metallica in the lyrics too, but its such good fun it doesn’t feel silly or cheesy even when sat beside serious songs about the Holocaust or real life Navel battles.

Musically; this album is a brilliant example of the band’s potential. Songs like the ferociously catchy “Midway,” the fun and melodic “Aces In Exile” and the absolutely magnificent “The White Death” are amongst the finest the band has to offer. The whole album is consistent, punchy, and doesn’t overstay its welcome. There’s enough variety to keep it from feeling samey, but a central style that holds it together and makes it feel focused. The production is flawless and it all sounds amazing.

Overall; Sabaton are a talented band with a distinct sound, their music is both interesting and fun, and Coat Of Arms is a strong Sabaton album that is well-made, well-produced and chocked full of memorable, catchy and incredibly enjoyable tunes. I recommend anyone who likes this type of music to give it a go.


Album · 1985 · NWoBHM
Cover art 4.39 | 4 ratings
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1985’s Fear No Evil is the second full-length studio album by the NWOBHM band, Grim Reaper. The cartoonish artwork of an anthropomorphized Death crashing a motorcycle through a church window tells you almost everything you need to know before you’ve even pressed play. The only thing missing is him throwing the horns.

This is pure, energetic, unapologetic Heavy Metal. Its crunchy and satisfying like Metallica, Clean and Melodic like Maiden, and the perfect mixture of tasteful basic songwriting with OTT ‘80s cheese. As an album, there’s no ballads, no experiments, no let-up at all. It might sound like its going to be samey, but instead its actually driven, focused and committed to a singular goal. Think of the one fastest, best song on an ‘80s Accept, Saxon or Priest album. Then imagine an album where every song is that! Imagine Tygers Of Pan Tang’s Spellbound if every song was ‘Gangland’ and ‘Blackjack’ and the momentum killers were gone. That’s the sort of thing you can expect here.

Steve Grimmett’s charismatic, powerful, controlled, and very spirited vocals make this feel like the work of absolute superstars. He’s one of the most criminally overlooked and under-mentioned singers in the genre for his talent-to-fame ratio. Augmented by a rock solid rhythm section, some tasty riffs and crucially, Nick Bowcott’s enjoyable solos (with feel as well as just shred), this is some seriously confident, competent and enjoyable Heavy Metal music.

Highlights include the brilliant Title Track (my “this is the song you should use to test if the band are for you” choice), the catchy “Let The Thunder Roll” with its excellent guitar lines, and “Matter Of Time” which has a sort of Thrashy feel to it.

Apart from the intro to ‘Final Scream’ feeling grating upon repeat listens, this is practically flawless. If you like their contemporaries such as your early Saxon, Maiden, Diamond Head et al, and even your mid-period innovators like Priest, Motorhead and Dio-era-Sabbath, then this is something you’re likely going to really love. Their debut album See You In Hell is more famous these days, but they weren’t a one hit wonder by any measure and you should absolutely pick this album up if you are interested in the band. Its powerful, catchy, melodic, heavy enough to satisfy, and consistent from beginning to end. Seriously, check this out!

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