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113 reviews/ratings
SOEN - Imperial Progressive Metal | review permalink
EVERGREY - In Search of Truth Progressive Metal | review permalink
CRADLE OF FILTH - Dusk and Her Embrace Symphonic Black Metal | review permalink
THEATRE OF TRAGEDY - Velvet Darkness They Fear Gothic Metal | review permalink
SUBTERRANEAN MASQUERADE - Mountain Fever Progressive Metal | review permalink
DOLD VORDE ENS NAVN - Mørkere Black Metal | review permalink
MY DYING BRIDE - The Dreadful Hours Death-Doom Metal | review permalink
MOTORPSYCHO - The All is One Non-Metal | review permalink
TRANSATLANTIC - The Absolute Universe - The Breath of Life Metal Related | review permalink
IOTUNN - Access All Worlds Progressive Metal | review permalink
BALANCE OF POWER - Perfect Balance Heavy Metal | review permalink
SILENTIUM - Infinita Plango Vulnera Gothic Metal | review permalink
TRISTANIA - World of Glass Gothic Metal | review permalink
THE SINS OF THY BELOVED - Lake of Sorrow Gothic Metal | review permalink
THEATRE OF TRAGEDY - Last Curtain Call Gothic Metal | review permalink
THEATRE OF TRAGEDY - Assembly Non-Metal | review permalink
THEATRE OF TRAGEDY - Aégis Gothic Metal | review permalink
TRANSATLANTIC - Bridge Across Forever Metal Related | review permalink
DEVIN TOWNSEND - Infinity Progressive Metal | review permalink
LEPROUS - Aphelion Metal Related | review permalink

See all reviews/ratings

Metal Genre Nb. Rated Avg. rating
1 Gothic Metal 28 3.23
2 Progressive Metal 28 3.09
3 Power Metal 9 2.61
4 Metal Related 8 3.50
5 Non-Metal 7 2.93
6 Doom Metal 5 3.00
7 Hard Rock 4 3.00
8 Black Metal 3 3.17
9 Death-Doom Metal 3 3.67
10 Neoclassical metal 3 3.00
11 Symphonic Black Metal 3 3.50
12 Symphonic Metal 2 3.00
13 Melodic Black Metal 2 2.50
14 Heavy Metal 2 3.75
15 Heavy Psych 1 3.50
16 Alternative Metal 1 3.50
17 Death 'n' Roll 1 2.50
18 Melodic Death Metal 1 3.00
19 Glam Metal 1 2.00
20 Viking Metal 1 4.00

Latest Albums Reviews

HANGING GARDEN Neither Moth nor Rust

EP · 2022 · Gothic Metal
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I was surprised to see a new Hanging Garden’s album popping up in the list of promos, given that the Finnish melodic doomsters have released their 7th full-length album Skeleton Lake only a few months ago. I really liked that album, so I did not hesitate to give a spin to this new opus, an EP titled Neither Moth Nor Rust. It contains six tracks for a total duration just above 25 minutes. Music-wise, it feels a lot like an appendix to Skeleton Lake, albeit with more freedom to explore sonic spaces that were perhaps left somewhat in the background in the full-length release. As such, the new EP makes for an interesting complement to the Finns’ 2021 album, although one that would probably mostly appeal to fans of the band rather than newcomers.

EPs often give artists freedom to explore more diverse and adventurous landscapes that may be instead sacrificed in full-length releases, where sonic coherence is often a priority. Neither Moth Nor Rust is no exception in this sense, and finds Hanging Garden gently experimenting with new influences, while at the same time retaining their identity as melodic doom/death band. The title-track branches out towards sonorities that remind me of Amorphis in the late 1990s, rich in folk and psychedelic undertones and with big, ear-worming melodies at the heart of the song. The interplay between growls, male cleans, and female cleans is very entertaining, each vocal style adding its own different shade to the composition. The next two tracks are even more interesting. “The Last Dance” is based on huge dynamics, swinging majestically between pop-tinged verses with tastefully autotuned vocals, an ultra-heavy and dissonant bridge with double-tracked growls, and a melancholic chorus where Riikka Hatakka’s subdued vocals truly shine. “And Leave All Love Behind” opens with gentle piano arpeggios and acoustic guitars, before developing into a quasi-ambient tune that again draws on folk and psychedelia as its core influences.

The second-half of the EP is somewhat less interesting. “The Raven Portrait” is a short piano interlude, while “On the Shore of Eternity” is perhaps the most conventional track on the EP in the sense that is closest to the material from Skeleton Lake, with marked doom / dark metal influences that may delight fans of bands like Katatonia or Anathema. The EP closes with “Field of Reed”, which is actually the biggest surprise here. The song is a remake of the homonymous track from the band’s 2021 LP, completely rearranged as electronic pop, with beats, keyboards and samples dominating over the rest of the instrumentation. It’s not a terribly successful experiment, in my opinion, partly because the song relies on somewhat weak melodies that do not really have the strength to transform it in an electro-pop hit single. Moreover, in 2022 this type of remakes come as no surprise to metal fans, as goth/doom metal bands have engaged in electro-pop experimentation since the late 1990s. As such “Field of Reed” does not really seem to add much, neither to the band’s catalogue nor to the genre as a whole.

Despite the slightly weaker second half, Neither Moth Nor Rust is an interesting EP that fans of the band may want to grab (the physical CD is limited to 200 copies, so hurry up if you are interested in this release). Although there is no revolution in the band’s sound here, the EP brings to the fore influences that may have been slightly buried on the recent LP, which is always interesting to hear. In fact, I would have liked Hanging Garden to spend more time developing these influences across more songs, ideally in the context of a more organic, full-length release. But perhaps this is what EPs’ main function actually is: leaving you wanting to hear more from the band and curious to see what they will do on their next full-length album. And this cannot possibly be a bad thing, can it?

[Originally written for The Metal Observer]


Album · 2021 · Gothic Metal
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Blessed be the Top Albums of the Year lists! Preparing mine for The Metal Observer forced me to look back at a bunch of 2021 albums that I had overlooked at the time they were initially released. Among them there is Hermitage, Moonspell’s 12th full-length studio album (I am not counting Under Satanae that contains re-recordings of the band’s early material). In the 1990s, the Portuguese goth metallers were one of my favourite metal bands, but I somehow lost touch with their obscure art at some point during the late 2000s. Hermitage, however, gloriously reminded me why I was so in love with Moonspell during my teens: it is a superb album, dark and elegant, full of variety and class, that builds on the band’s classic sound but also ventures in new directions, subtly merging together gothic metal, extreme metal and modern progressive rock.

I have to confess that, when I gave Hermitage its first spin, it wasn’t instant love. The album sounded slick and classy, but also hazy, understated and difficult to grasp. None of the melodies or arrangements stood out. The album flowed away pleasantly, but I felt there weren’t enough moments that really grabbed my attention and pulled me in. Curiously, the same had happened to me with another Moonspell’s album, released exactly twenty years ago: 2001’s Darkness and Hope. I remember it took me many spins to fully appreciate that album, pretty much for the same reasons I initially struggled to connect with Hermitage: the melodies felt too subtle and elusive and the atmospheres too understated, to the point that the album seemingly lacked a strong character and identity. It was only after a half-dozen listens that Darkness and Hope finally opened up to me and I could fully appreciate its delicate and obscure beauty, for which I still consider it today one of the best albums by the Portuguese combo. Mindful of that experience, I decided to persevere and kept playing Hermitage until the album finally clicked with me. And, boy, I am so glad that I did.

Hermitage is an album that only a band as classy, talented and experienced as Moonspell could have written. “Mature” is probably the word I am looking for. The record oozes sophistication and aplomb as it takes the listener to a dazzling journey through different shades of dark rock anchored in the band’s classic gothic sound, but modernized with a multitude of different influences, from modern progressive/alternative rock, to psychedelia, to jazz and electronic music. All these influences are blended together with disarming simplicity, relying on minimalistic arrangements and a warm, stripped-down sound that exalts the essence of each song.

The album’s first five tracks are extraordinary, in this respect. They each explore a distinct sonic niche without failing to retain strong cohesiveness and consistency. “The Greater Good” flirts with the dark alt/prog metal of bands like Soen and Anathema, with muscular grooves and hypnotic guitar riffs, while retaining a strong gothic allure that explodes in the surprisingly heavy finale. “Common Prayers” shifts weight towards more traditional gothic rock atmospheres, while “All or Nothing” is a delicate slowburner that lulls its way through groovy drum patterns, bluesy guitar riffs and a gorgeously Floydian solo, conjuring up visions of smoky jazz clubs after midnight. Meanwhile, the almost punkish title-track brings to the fore the band’s black metal roots, and “Entitlement” harks back to the tasteful experiments with electronica that Moonspell also attempted previously in their discography (for instance, their 1998’s Sin/Pecado album).

The second half of the album is perhaps a tad less spectacular. It contains two slightly lacklustre instrumentals (though the cold piano arpeggio of “City Quitter” provides a spellbinding album finale) and a song, “Apophthegmata”, that builds on an interesting atmosphere but ultimately does not develop into much more. However, we are also treated with what is probably the best track of the LP, “The Hermit Saints”. Pretty much like the album opener, this song takes Moonspell’s classic gothic sound and reimagines it through the lens of modern alt/prog rock: Ricardo Amorim’s bouncy guitars frantically buzz their riffs over a tapestry of groovy basslines, majestic organs and shifting drum patterns (new drummer Hugo Ribeiro deserves a shout-out here for a stellar performance, perfectly balanced between muscularity and coloration), while Fernando Ribeiro switches back and forth between a deep, velvety croon and his abrasive semi-growls, creating an intoxicating final mix. The album also closes strongly with “Without Rule”, probably he Hermitage’s most surprising song, with its lysergic vibes that hark back to early Pink Floyd and 1970s psychedelia.

Hermitage is so rich and diverse, and yet at the same time so refined and restrained, that it takes time and patience to properly take in all of the album’s different shades and contours. A superficial listen may even confuse its subtlety and elegance for demureness or lack of character. Jaime Gomez Arellano’s sober and natural production adds to this false first impression, as the detailed production work only fully blossoms on repeated listens, as one learns to appreciate the exquisite balance in the mix between the different instruments and the overall sonic clarity.

As such, Hermitage is most definitely a grower, albeit one that thoroughly deserves your time investment. When the album finally opens up, it is deeply intoxicating with its obscure romantic atmosphere. The quality of Hermitage that I probably appreciate the most is how fresh, modern and exciting the record sounds while at the same time retaining Moonspell’s classic sonic identity. This stands in defiance to Fernando Ribeiro’s own words in promo interviews, where the singer questions whether the band’s time may be coming to an end. If anything, Hermitage shows that Moonspell are still a fresh and very relevant voice in today’s metal, nearly 25 years since they have moved their first steps in the scene. This is a massive achievement for the Portuguese band, and one that not many of their peers can claim to have fulfilled.

[Originally written for The Metal Observer]

AT THE GATES The Nightmare Of Being

Album · 2021 · Melodic Death Metal
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I am a late comer to the At the Gates appreciation club, having paid attention to the Swedish icons only since their 2018 album To Drink from the Night Itself. Therefore, when their new record, The Nightmare of Being, was released earlier this year, I finally decided to purchase the CD to properly check it out. The reason why the last two records caught my attention is probably also the reason why some oldtime supporters are giving the band a hard time in specialized webzines and review sites: slowly but surely, the Swedes have started weaving conspicuous progressive rock/metal into their sound, noticeably bastardizing the melodic death metal style they once contributed to create.

The Nightmare of Being brings together three different strands of musical influences. The core of the music is still melodic death metal, built on a foundation of fast guitar riffs that are both razor-sharp and exquisitely melodic, pounding and hypertight drumrolls (Adrian Erlandsson puts in a massive performance behind the drumkit), and Tomas Lindberg’s unhinged, high-pitched growls. While in a few songs At the Gates seem happy to not stray too far from the style that made them famous (most evidently in the initial three songs of the record), elsewhere they enrich the melodeath assault with hints of 1970s hard prog as well as dark wave and gothic rock, conjuring up a hybrid sonic world that it is hard not to find enthralling.

The prog rock influences hark back to the sound of the darkest end of the spectrum of 1970s bands, such as King Crimson and Van der Graaf Generator. This is conveyed through the use of the mellotron and other eerie keyboard sounds, as well as sombre real strings and woodwinds arrangements (“Touched by the White Hands of Death”, “The Fall into Time”, “The Abstract Enthroned”). Meanwhile, “Garden of Cyrus” introduces a jazzy saxophone lead, which again brings to mind King Crimson (and particularly their Red album). It should be said that At the Gates are not the only nor the first extreme metal band to look back at the dark progressive rock of the 1970s for inspiration. Ihsahn, Enslaved, and Opeth are three prominent examples of bands that have followed the same path several years ahead of the Swedes. Moreover, these bands have definitely pushed the prog rock influences much more prominently into their sound compared to At the Gates, which instead use the 1970s heritage only to add hints of a new dimension to their artform rather than as a way to completely revolutionize it, like Opeth have done for instance. It is nevertheless fascinating to hear violins, flutes and clarinets weaving in and out of aggressive death metal riffs, especially in tracks like “The Fall into Time” where the band have truly challenged themselves to write music that stretches well beyond the classic melodeath canon. Elsewhere, At the Gates make a more vanilla use of the barrage of classical instrumentation they have at their disposal, essentially as an atmospheric prelude or interlude to their more conventional death metal style. Tracks like “Touched by the White Hands of Death” and “The Abstract Enthroned” are slightly underwhelming in this respect, and they do not strike me as neither very original nor particularly accomplished.

The other element that emerges through the 10 tracks of The Nightmare of Being is an evident penchant for dark wave and gothic rock. This is most apparent on the oppressive yet groovy “Cosmic Pessimism”, a track that builds on a bouncy clean guitar riff apparently inspired to krautrock and bands like Neu! and Tangerine Dream, for what is one of the standout moments of the whole album. Elsewhere, the gothic undertones surface through the use of clean guitar breaks and especially Tomas Lindberg’s half-spoken vocal croon, a style he uses quite often on this record, reminding me at times of Dark Tranquillity’s Mikael Stanne.

With all these disparate ingredients thrown into the mix, The Nightmare of Being makes for a varied and engaging listening experience. Not everything on the album is gold, and in fact there are more than a couple of episodes that feel a tad too run-of-the-mill and unremarkable (“The Paradox”, the title-track, “Touched by the White Hands of Death” “Eternal Winter of Reason”). However, when inspiration strikes them, At the Gates manage to give us some striking pieces of music, perfectly balanced between raw aggression and sophisticated melancholy. “Garden of Cyrus”, “The Fall into Time”, “Cult of Salvation” and “Cosmic Pessimism” are all little gems of modern melodic death metal that cleverly push the boundaries of the genre without straying too far from its core essence. The Nightmare of Being is a bit too patchy to be heralded as a contemporary masterpiece, but it nevertheless shows that there is still creative blood running in the icy veins of the Swedish combo, and it will certainly be interesting to see where they will decide to bring this creativity next.


Album · 2021 · Heavy Metal
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I approached Iron Maiden’s seventeenth full-length album Senjutsu in the same way as I approach all new releases from glorious bands of the past: with a mixture of hopeful excitement and reluctant dread that the new album won’t be anywhere near the glory days of years past. In this sense, Senjutsu turned out to be a pleasant surprise, showing that, even though they are no longer the reckoning force of 40 years ago, Iron Maiden are still a relevant voice in today’s metal landscape. This conclusion is even more surprising if one considers that I have not been impressed by any of the recent releases by the band, including the oft venerated Book of Souls.

So what’s Senjutsu’s secret? In two words: strong songwriting. Yes, it’s that simple. Forty-one years on after they have started their recording career, Iron Maiden can still write memorable heavy metal tunes that are both fun and arousing. The songwriting formula hasn’t changed much over the years: a powerful combination of galloping bass grooves, twin guitar leads and riffs, tight drumming, blazing guitar solos and Bruce Dickinson’s soaring dramatic vocals that often double the main guitar melody. Fast songs alternate to epic, brooding mid-tempos (giving off strong X Factor vibes) and ballads, creating a varied tracklist that keeps things fresh and entertaining. Structurally, the songs are not too complex, despite the lengthy duration of some of them. There are extended solos and instrumental sections, and the lengthier songs feature multiple parts, but it is all very accessible and memorable, only tiptoeing on the line that crosses into progressive metal.

So far nothing new under the sun as far as any standard Iron Maiden album is concerned. The difference compared to the band’s most recent records is that Senjutsu contains a handful of truly inspired songs, with memorable instrumental sections and great vocal melodies. Most of these tracks can be found on Disc 2 of this 81+ minute long double album. “Darkest Hour” is a sublime ballad infused with pathos and drama thanks to Dickinson’s fantastic vocal performance. The emotional solo in the second half of the song is another unmissable moment of the track, and a true highlight of the whole record as well. “The Parchment” is probably the best song off Senjutsu It is a strongly progressive piece, with some daring tempo changes, a spectacular instrumental section, and a fabulous doomsday verse that sends chills down my spine every single time (strong Seventh Son of a Seventh Son vibes here!), showing that Maiden can still bite when they want to. Album closer “Hell on Earth” is another strong contender for best track of the album, twisting between delicate acoustic arpeggios and epic galloping guitar riffs. Disc 1 is slightly more average, but there are some glorious moments there too, like the title-track, a very catchy and easy-listening track that shows how consummate Maiden are as songwriters.

Senjutsu also introduces a couple of unexpected sonic twists, like the surprising bluesy guitars of “The Writing on the Wall” or the vaguely 1970s, Floydian intro of “Lost in a Lost World”. There is nothing that truly innovates or changes the musical direction the band have been following over the past 40 years, but it is nevertheless refreshing to see that Maiden have not lost the appetite for subtle sonic experiments, seventeen albums into their discography.

The rest of the material is slightly less impressive, with tracks like “Days of Future Past”, “”The Time Machine” and even the slow winding “Death of the Celts” coming across a somewhat too derivative and flat. This is probably the main gripe I have with the album: if instead of releasing a double disc of over 81 minutes, Maiden had applied a little more quality control and reduced the material to five or six songs for half the length of the LP, this could have been one of the strongest albums the band has released since the 1990s. Nevertheless, Senjutsu stands tall in the band’s recent discography and represents a true return to form for Iron Maiden.

EVERGREY Escape of the Phoenix

Album · 2021 · Progressive Metal
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The Swedish masters of dark and melancholic progressive power metal have returned this year with their 12th full-length album in a discography that spans four decades. Driven by the charismatic voice of Tom S Englund, Evergrey developed their unique sound very early on in their discography, with 2001’s In Search of Truth representing a monumental career highlight that still shines bright today. From then on, the Swedish combo has continued to hone their sound, incorporating subtle electronic influences and modern metal vibes, without ever abandoning the signature elements that have defined their music so far: chugging guitars that churn out a myriad of groovy, down-tuned riffs; pounding drumwork that is rich with offbeat fills and flourishes; delicate keyboard and piano interjections creating dramatic contrasts with the guitars and rhythm section; and Englund’s unique voice – dark and gruffy but yet incredibly melodic and emotional.

Escape of the Phoenix does not stray too far from the usual formula the band have been following in the past few records. The songs are perhaps even slightly heavier than what Evergrey have used us to in recent years, with a couple of djenty interjections (“Where August Mourn”) and a good dose of dark metallic vibes that suggest Evergrey have been paying close attention to the latest sonic evolutions of moody progressive metal bands like Katatonia (“Forever Outsider”, “The Beholder”). There are also clear references to modern metal, with not too subtle electronic undertones and catchy vocal melodies that frequently veer towards poppy territories (“Where August Mourn”).

The combination of heavy and soft elements make the album feel varied and dynamic. This characteristic is further reinforced by the diversity of the tracklist, which alternates soft melancholic ballads (“In the Absence of Sun”; “You from You”), majestic mid-tempos (“Where August Mourn”; “Run”), faster pieces (“Eternal Nocturnal), and more complex, progressive epics (“The Beholder”, featuring a cameo by James LaBrie from Dream Theater). The musicians’ performances are strong throughout (with a handful of very tasteful guitar solos), and together with the simple, lean song structure ensure that the album flows away fairly easily despite its long duration of nearly one hour.

Despite these strengths, Escape of the Phoenix is not an album that adds much to Evergrey’s rich discography. There are a couple of songs that stand above average and might just make the cut for a “best of” album (“In the Absence of Sun”, “The Beholder”; “Leaden Saints”). The rest, however, feel very unadventurous and almost written on auto-pilot. There is nothing egregiously bad, but also nothing that will make you jump out of your chair and scream hallelujah. A handful of tracks (“A Dandelion Cipher”; “Eternal Nocturnal”; the title-track ) are slightly disappointing to me, in that they seem to feature a somewhat lazy songwriting, relying excessively on Englund’s voice to carry the song through with big dramatic melodies, while offering very little in the way of instrumental accompaniment (plenty of chugging background guitars, pounding drums and opulent string arrangements, but no exciting riffs or remarkable instrumental moment). But this is also how a lot of modern metal sound like (big on vocal melodies, small on pretty much everything else), so it may please fans that lean towards that particular genre.

To sum up, Escape of the Phoenix is a good, if fairly unremarkable, Evergrey album. If you are new to Evergrey, this is not the place to start as the band have written much stronger albums over their career (for instance, In Search of Truth or Recreation Day). If you are already familiar with the band’s sound, this album won’t change much the way you feel about it. There are some subtle new influences woven in into their sound, pushing the album in modern metal territory, but nothing that changes significantly Evergrey’s overall musical direction. It’s pretty much more of the same, which may be a good or bad thing depending on your inclination towards the special blend of dark, melancholic progressive power metal Evergrey have been churning out for nearly 25 years now.

Latest Forum Topic Posts

  • Posted 13 days ago in MMA Best of Year 2021 Voting Thread
    Soen - ImperialDold Vorde Ens Navn - MørkereSubterranean Masquerade - Mountain FeverSwallow the Sun - MoonflowersMoonspell - Hermitage Cradle of Filth - Existence Is Futile Transatlantic - The Absolute Universe (The Breath of Life)Therion - LeviathanIron Maiden - SenjutsuSeven Spires - Gods of DebaucheryLeprous - AphelionAt the Gates - The Nightmare of BeingHanging Garden - Skeleton LakeCynic - Ascension CodesEastern High - Halo Motorpsycho - Kingdom of Oblivion Evergrey - Escape of the Phoenix Iotunn - Access All Worlds Vola - WitnessKhemmis - DeceiverGaahls Wyrd - The Humming MountainHelloween - Helloween lukretion2022-01-17 14:58:48
  • Posted 1 year ago in MMA Best of Year 2020 Voting Thread
    Pain of Salvation - PantherAyreon - TransitusEnslaved - UtgardConception - State of DeceptionGreen Carnation - Leaves of Yesteryear Haken - VirusKatatonia - City BurialsIhsahn - TelemarkCaligula’s Horse - Rise RadiantDismal - Quinta EssentiaOceans of Slumber - Oceans of SlumberDool – SummerlandPsychotic Waltz - The God-Shaped VoidPyramaze - EpitaphOsyron - FoundationsSólstafir - Endless Twilight Of Codependent LoveDark Tranquillity - MomentThe Ocean - Phanerozoic II: Mesozoic / CenozoicHail Spirit Noir - Eden in ReverseGrayceon - Mothers Weavers VulturesJudicator - Let There Be NothingAdmin edit: the following have been removed due in ineligibility. Ihsahn - Pharos (Non-Metal)Acacia - Resurrection (2019) adg2112882021-01-27 06:50:38


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lukretion wrote:
1 year ago
Thank you! :-)
Tupan wrote:
1 year ago
UMUR wrote:
1 year ago
Great review and nice to see a new reviewer here :-)


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