siLLy puPPy

MMA Special Collaborator · Prog/AG Team
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1963 reviews/ratings
THOUGHT INDUSTRY - Songs for Insects Technical Thrash Metal | review permalink
THOUGHT INDUSTRY - Mods Carve the Pig: Assassins, Toads and God's Flesh Technical Thrash Metal | review permalink
NOKTURNAL MORTUM - Lunar Poetry Symphonic Black Metal | review permalink
CARACH ANGREN - Where The Corpses Sink Forever Symphonic Black Metal | review permalink
GORGUTS - Obscura Technical Death Metal | review permalink
KING CRIMSON - In The Court Of The Crimson King Proto-Metal | review permalink
MEGADETH - Rust in Peace Thrash Metal | review permalink
QUEENSRŸCHE - Operation: Mindcrime Progressive Metal | review permalink
INFECTIOUS GROOVES - The Plague That Makes Your Booty Move... It's the Infectious Grooves Funk Metal | review permalink
BEHEMOTH - Demigod Death Metal | review permalink
KYUSS - Welcome To Sky Valley Stoner Metal | review permalink
METALLICA - Master of Puppets Thrash Metal | review permalink
METALLICA - ...And Justice for All Thrash Metal | review permalink
SLAYER - Reign in Blood Thrash Metal | review permalink
DARKTHRONE - A Blaze In The Northern Sky Black Metal | review permalink
BROCAS HELM - Black Death US Power Metal | review permalink
BROCAS HELM - Defender of the Crown US Power Metal | review permalink
BUMBLEFOOT - Ron Thal / Hermit Progressive Metal | review permalink
BUMBLEFOOT - Ron Thal / The Adventures Of Bumblefoot Progressive Metal | review permalink
EDGE OF SANITY - Crimson Melodic Death Metal | review permalink

See all reviews/ratings

Metal Genre Nb. Rated Avg. rating
1 Non-Metal 195 3.03
2 Progressive Metal 180 3.88
3 Alternative Metal 153 2.93
4 Avant-garde Metal 139 3.98
5 Hard Rock 120 3.50
6 Black Metal 109 3.75
7 Death Metal 94 3.71
8 Metal Related 91 3.58
9 Technical Death Metal 74 3.98
10 Heavy Metal 72 3.76
11 Thrash Metal 55 3.60
12 Proto-Metal 54 3.84
13 Atmospheric Black Metal 52 3.67
14 Power Metal 31 3.85
15 Sludge Metal 31 3.76
16 Melodic Death Metal 23 3.72
17 Brutal Death Metal 22 3.45
18 Atmospheric Sludge Metal 20 4.03
19 Technical Thrash Metal 20 3.85
20 Hardcore Punk 19 3.39
21 Folk Metal 18 3.86
22 Death-Doom Metal 18 3.72
23 Doom Metal 17 4.00
24 Symphonic Metal 17 3.76
25 NWoBHM 17 3.94
26 Heavy Alternative Rock 16 3.34
27 Heavy Psych 16 3.91
28 Industrial Metal 15 3.60
29 Glam Metal 15 3.57
30 Grindcore 15 3.60
31 US Power Metal 14 3.75
32 Stoner Metal 13 3.50
33 Mathcore 13 3.85
34 Metalcore 13 3.42
35 Funk Metal 13 4.08
36 Deathcore 13 3.31
37 Depressive Black Metal 12 3.13
38 Melodic Black Metal 12 4.13
39 Symphonic Black Metal 12 4.08
40 War Metal 12 3.42
41 Speed Metal 11 3.45
42 Gothic Metal 11 3.50
43 Funeral Doom Metal 10 4.00
44 Groove Metal 9 3.39
45 Neoclassical metal 9 3.78
46 Drone Metal 8 3.56
47 Pagan Black Metal 8 3.56
48 Melodic Metalcore 6 3.08
49 Goregrind 6 3.00
50 Stoner Rock 5 3.80
51 Traditional Doom Metal 5 3.60
52 Nu Metal 4 3.50
53 Crossover Thrash 4 4.25
54 Crust Punk 4 3.38
55 Deathgrind 3 3.33
56 Rap Metal 3 3.00
57 Viking Metal 3 4.00
58 Pornogrind 2 1.50
59 Electronicore 2 2.75
60 Cybergrind 1 3.50
61 Death 'n' Roll 1 3.50
62 Nintendocore 1 3.50
63 Metal Related Genres 1 4.00
64 Trance Metal 1 1.00

Latest Albums Reviews


Album · 1968 · Hard Rock
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With its surprise hit self-titled debut release VANILLA FUDGE demonstrated its uncanny ability to carve up overexposed pop songs of the past and reconstruct them into a completely new coalescence of steaming hot late 1960s psychedelic rock. The band was riding high after the debut shot into the top 20 followed by a top 10 hit of The Supremes’ #1 chart topper “You Keep Me On” only a year after its heavy radio exposure. VANILLA FUDGE probably should have followed up the album with another reinterpretation of classic pop songs or then ventured into self-penned tracks that kept the growing fanbase’s attention but instead rocketed helter skelter into the world of avant-garde experimentalism with “The Beat Goes On.” While still maintaining enough momentum to sustain a top 20 album, the abstract songless nature of the album’s sound collage effect may have prognosticated the wonderful world of rock and roll moving on into a new intrepid era of complete freedom and unthinkable exploration but as a business move in the world of 60s pop music, not exactly a brilliant move.

The band shrugged it off and moved on quickly and in 1968 released not one but two albums. “The Beat Goes On” emerged early in February 1968 and although catching fans and critics off guard did give the quartet of Vince Martelli (vocals, guitar), Mark Stein (organ), Tim Bogert (bass) and Carmine Appice (drums) a new lease on life that propelled them beyond the status of being a mere cover band. By summer, VANILLA FUDGE released what many deem should’ve been their proper second album. On June 14, 1968 the band unleashed its third album RENAISSANCE, the first of which featured all original tracks and although two covers were employed, their choices were more suitable with the psychedelic acid rock that the band had developed as its primary expressive mode. Yes, the sound that VANILLA FUDGE made famous with clever reinterpretations of classic pop hits such as The Beatles’ “Eleanor RIgby” and Curtis Mayfield’s “People Get Ready” was back only this time with completely original self-penned cuts that propelled the band into the next arena of competency. VANILLA FUDGE was now a bonafide force of musical creativity to that the likes that the band had become a pioneering force in developing the earliest sounds of both progressive rock and the harder rock and heavy metal sounds that would dominate in the 1970s.

Opening with “The Sky Cried - When I Was a Boy,” RENAISSANCE reacquaints its listener with its innovative mix of fuzzy organ ponderosity along with the emphasis on heavier guitar, bass and drum playing. Also making a much needed reprise are all those intricately designed vocal harmonies that propelled VANILLA FUDGE’s music to a magical 60s psychedelic universe that had been gestating all throughout the previous two years. It becomes immediately clear that RENAISSANCE really does reflect its titular definition and signifies a rebirth in the band’s development. With all aspirations of pop hit stardom extinguished, VANILLA FUDGE instead evolved its distinct style into something much more - that being a veritable art rock band that embodied all the contemporary developments that were steeped in psychedelia, mystique and complexity. The album featured only seven tracks with the opening “The Sky Cried” and the closing cover of Donovan’s “The Season Of The Witch” both exceeding the seven-minute mark. RENAISSANCE also was a concept album thus showcasing on the rock’s paradigm of focusing on album long listening experience rather than the banality of short catchy singles to lure audiences in. The involvement of producer Shadow Martin helped sculpt the band’s new aspirations into a captivating adventurous musical performance.

While the tracks may have been unfamiliar, VANILLA FUDGE’s sound was back and firing on full pistons. The band retained its slow and steady pace of developing strong melodic constructs before unleashing its heavier display of instrumental virtuosity. RENAISSANCE also introduced a more cosmic feel to the band’s style which allowed brooding keyboard-induced atmospheres to seep into every motif and cadence like a leaky bottle of pancake syrup. The band was essentially carving out an early prototype of keyboard dominant rock that would become popularized by Deep Purple and Uriah Heep just a few years down the road. As the album continues with “Thoughts” and “Paradise,” the album delivers a mesmerizing display of ritualistic organ performances, fuzz guitar and rhythmic ingenuity of the bass and drums. Vocal harmonies are accompanied by varying variations including short spoken word narrations and more emotive outbursts.

RENAISSANCE is an amazingly adept and consistent album with the perfect 60s sounds that emerged from the very opening of the album to the excellent cover of Donovan’s “Seasons Of The Witch” which takes a rather straightforward pop song and transmogrifies it into a magical display of excess, a trait that would become the hallmark of all that progressive rock to come. The track also wove in interpolations of Essra Mowhawk’s “We Never Learn.” Mohawk was the first female member of Frank Zappa’s Mother of Invention” and was the writer of the track “The Spell That Comes After” thus displaying VANILLA FUDGE’s true intent of taking music into the true world of innovation and leaving behind their pop hit origins without hesitation. While stylistically perfect at this point and a totally satisfying display of acid rock, VANILLA FUDGE unknowingly created some of the most accomplished mix of proto-metal that would lead to bands like Black Sabbath and Deep Purple all the while crafting a proto-progressive sound that would quickly find its way around the world and reemerging as the explosive wellspring of creativity that would erupt the following year in 1969. Wow these guys came a long way from a mere cover band the year before! RENAISSANCE is a true classic of the 1960s.

VANILLA FUDGE Near the Beginning

Album · 1969 · Hard Rock
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VANILLA FUDGE only existed for a mere four years but in that short time developed an extraordinary wide range of expressing itself through its five album run that began with its psych-soaked renditions of classic pop songs and then followed by a leap of faith into the world of the avant-garde. After regaining traction, the band sallied forth delivered a solid masterpiece of 60s acid rock before going off the deep end and sputtering quickly into irrelevance as the sounds it nurtured into creation had been adopted and improved upon by an explosion of fertile talent that really took off in 1969.

NEAR THE BEGINNING was the band’s fourth album but in retrospect would’ve suitably been titled “Near The End” as the band’s momentum which peaked on “Renaissance” was clearly derailed leaving the band a victim of its own whims and shortcomings. One of the biggest developments in VANILLA FUDGE’s career was the fact that after three albums, the band decided to self-produce and take full creative control into its own hands. While on one side NEAR THE BEGINNING showcases the band’s developing taste for harder and heavier rock as showcased on the feisty opening cover of Jr. Walkter & The All Stars top 10 hit “Shotgun” however without a producer who served as an intervening force to keep the band focused, this fourth album emerged as an interesting but highly disheveled collection of tracks.

Clearly restless and ready to jump headfirst into the world of hard rock, NEAR THE BEGINNING opens with an adrenalized hard rock version of “Shotgun,” the 1965 hit single that peaked at #4 on the Billboard Hot 100 and led the way for similar Motown artists to capture the soul market in the 1960s. An unlikely opening track to say the least, “Shotgun” succeeded in showing that VANILLA FUDGE was indeed a multi-faceted band that refused to be pigeonholed into any particular style of music but also displayed a complete disregard for the organ-fueled psychedelic magic that had come to full fruition on “Renaissance.” The six-minute track sounds woefully out of place as a VANILLA FUDGE remaking and basically sounds like one of those tracks you throw in as a bonus cut when finding extra tidbits for a re-issue of some sort.

The band surprisingly features two covers as the first tracks, the second being the hit “Some Velvet Morning” recorded by Lee Hazlewood and Nancy Sinatra. The band returns to its expected stylistic approach that featured a slowed down build up fortified with trippy organ runs and the accompanying guitar, bass and drum combo effect. Unlike the traditional symphonic pop style of the original, VANILLA FUDGE transmogrifies this classic song into a veritable slice of psychedelic acid rock which to be honest wouldn’t have sounded out of place on the the debut album as it takes the exact same approach topped off with the exquisitely divine vocal harmonies contrasted by the bombast of the crushing organ, guitar, bass and drum rock heftiness. In this process it leaves the song almost unrecognizable in comparison to the original, a knack VANILLA FUDGE was wise to continue since it appears that it was its greatest strength.

After eking out 7 1/2 minutes of a the classic Hazlewood / Sinatra pop hit, the track is followed by the Appice original “Where Is Happiness” which opens with some trippy avant-garde freakery with strange organ noises frenetically conjured from an unseen realm and slowly develops into a melodic musical score that sounds very much like a continuation of the previous track with the same lackadaisical build up, Mark Stein’s emotive and emphatically emphasized lyrical delivery and a slow build up as the guitar, bass and drum chomp at the bit to get on with the heavier action to come. That very action emerges as an energetic display of beefed up bass, sporadic jazzy drumming and a sizzling guitar soloing sequence with a tinge of Middle Eastern influences to exude an exoticism unheard of in the band’s usual repertoire. Probably one of the best songs of the band’s career actually.

The album’s second side is another head-scratcher curveball delivers by the band. It consists entire of the live recording “Break Song” which was performed at the Shrine Auditorium in Los Angeles. The track pretty much just showcases the band’s ability to jam, improvise and engage in extended solos. Everyone gets a crack with some nice moments of guitar, others of bass and a rather droll drumming sequence that outstays its welcome. This track really seems pointless and drags down the entire album’s momentum, well what there was of it. Also the band jettisoned its trademark build up techniques as well as its vocal harmonizing. In fact this track exudes a sense of the generic and pretty much comes across as one of those type of “milk it for all its worth” performances of a typical 60s blues rock band that didn’t have the talent to inject anything innovative. This track unfortunately doesn’t highlight the VANILLA FUDGE sound but rather detracts considerably. A studio version was recorded but nixed in favor of this for some reason but personally i like the studio version better. It is featured on the remastered editions of the following album “Rock & Roll.”

Basically NEAR THE BEGINNING was a followup album that had just been thrown together without much care for an album experience. There are really only two interesting songs here and a decent if not outstanding Motown cover. The live track is listenable but not amazing or even remotely successful in delivering what you would expect from VANILLA FUDGE. It seems like the point of this album is to announce the band’s freedom from any controllers and that it just wants to do what it wants. Unfortunately that didn’t translate into a compelling album. In retrospect A NEW BEGINNING signified a transfer of the band’s innovation on the first three albums into a quick downfall that would give the baton to a new breed of rock musicians who would take the band’s unique approaches and gestate them into some of the most exiting and dynamic sounds of the 1970s. While seemingly the end, VANILLA FUDGE had one more album in them. While highly influential for so many VANILLA FUDGE was indeed “Near The End."


Album · 1969 · Hard Rock
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The last full year as a band, VANILLA FUDGE followed suit after releasing two albums in 1968 by once again releasing two more in the calendar year 1969 before the band ran out of steam and called it quits in early 1970. After a two year roller coaster ride that began with the surprise success of the band’s self-titled debut which propelled VANILLA FUDGE to the big boys’ league in the world of 1960s psychedelic rock, the band had derived a wide variety of styles to its repertoire and to its credit never really stagnated however the relentless push to constantly move on to the next thing yielded varying results.

The band ended its career with its fifth and final album ROCK & ROLL which emerged on 25 September 1969 and thus not only ending one of the most dynamic decades in the entire history of musical innovation but also the end of one of the bands that became an extremely influential force for the many other acts that would soon adopt its unique perspectives on merging the seemingly disparate worlds of soul music, pop and experimental psychedelia that would soon take on a greater role in morphing into hard rock and progressive rock. VANILLA FUDGE’s last offering featured a more streamlined approach after the rather scattered “Near The Beginning.”

One of the primary forces that whipped the band into being focused was by having a producer who could offer a perspective that a bunch of drifting musicians could realize on their own. ROCK & ROLL welcomed Adrian Barber who had worked his magic with The Velvet Underground and would eventually go on to usher Aerosmith into the limelight. His contributions forged ROCK & ROLL into another cohesive album’s worth of material that coexisted snuggly side by side and teased out all the brilliance that had put VANILLA FUDGE on the music map in the first place without all those annoying excesses that emerged when the band was left to its own devices on the self-produced “Near The Beginning.”

This final chapter once again saw a track listing of self-penned psychedelic rock tunes along with cover songs stripped of their hit making immediacy and given the proper psychotropic makeovers. ROCK & ROLL begins with the fiery “Need Love” sung by guitarist Vinnie Marteli and showcases what sounds to me like an early prototype of what Deep Purple would crank out the following year on its classic “In Rock” album. This feisty track mixes energetic blues guitar rock with the fuzzy organ and boogie-woogie piano rolls along with a sizzling rhythm section that finds bantering bass and drums rolls screaming that the band has successfully taken the genre of ROCK & ROLL into the world of hard rock and a sampling of proto-metal intensity.

“Lord Of The Country” follows and features some of the earliest examples of what i would call Queen. The soulful gospel rock track crafted by Mark Stein almost sounds like something that would fit in on Queen’s “The Night At The Opera.” The style only awaits Freddie Mercury to charismatically animate it to the next level. The first cover track, Carole King’s “I Can’t Make It Alone” is another soulful heavy psych reinterpretation that the band excelled at from its earliest origins. Tight vocal harmonies, skillful rhythm section and a reweaving of the melodic fabric to allow for another tasty treat of VANILLA FUDGE charm. “Street Walking Woman,” another Martelli sung track allows another band original to follow suit with the same soft / hard tradeoffs.

Another captivating song is the brilliant “Church Bells Of St. Martins” which features an army bugle i believe and military march drumming introducing the main song which goes on into folk and rock territory but once again highlighting the band’s evolution of its vocal harmonizing. Once again this sounds exactly like what Queen would build its career on throughout the 70s but once again Stein’s vocals don’t quite have that Freddie Mercury magic. It’s still a highlight of the album though as the arrangement is brilliant.

The near 9-minute “The Windmills Of Your Mind” is the other cover, this time a song written by Michel Legrand, Alan Bergman and Marilyn Bergman for the film score “The Thomas Crown Affair.” While originally sung by Noel Harrison, the track was covered by Dusty Springfield in the same year as this version in 1969 except her version found its way into the top 40 whereas VANILLA FUDGE was imploding and failed to capture much fanfare with this final release. This soulful interpretation pulled out all the usual VANILLA FUDGE punches and the band owned it much like it did with Donovan’s “Season Of The Witch” on its previous album. The original vinyl ended with the 1961 James Ray hit “If You Gotta Make a Fool of Somebody” sung by drummer Carmine Appice which the band teases into a soulful hard rock sensation. Some remastered versions also feature a studio version of “Break Song” which appeared in a side-long B-side on “Near The Beginning” only this version is far superior as it emphases the band’s strengths.

Given all the low ratings of ROCK & ROLL and almost ubiquitous panning by critics and reviewers alike, i was quite surprised to love this final offering from VANILLA FUDGE. This is one of the most focused album of its five album run and mixes all the things that made the band so unique. It retains the soulful covers turned heavy psych while emphasizing the newfound love for hard rock turned up a few notches. Likewise the band’s unique vocal harmony arrangements took a leap in ingenuity and clearly passed the baton on to Queen whereas the organ dominated hard rock in the vein of Grand Funk Railroad only more soulful was ripe to gift to Deep Purple for an upgrade. It’s a shame VANILLA FUDGE couldn’t develop its own creations into the next phase of rock and metal but it cannot be understated how influential this band was to the next generation of rockers that dominated the 70s. I personally love this album a lot and find it to be third in line after the masterpiece “Renaissance” and the crafty self-titled debut. A great way to go out and i’m surprised very few have taken notice.

THE WHO A Quick One

Album · 1966 · Proto-Metal
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After taking the world by storm as a part of the British Invasion of the USA and abroad, THE WHO didn’t lose any traction after a series of singles and its debut release “My Generation" which catapulted the band up to the top of the charts. The band didn’t waste any time with a proper followup which came in the form of A QUICK ONE which slipped in the calendar year 1966 in December exactly a year after the debut. The album finds THE WHO moving beyond its mod R&B style of the debut and unusual in that guitarist Pete Townsend who was the primary songwriter stepped down and let the other members contribute songs, presumably due to time constraints resulting from touring schedules.

There are actually two versions of this album. As was the case with all the big acts coming from the UK, this album features a US release that was retitled HAPPY JACK and the original UK release titled A QUICK ONE. The only difference is that the US version featured the top 40 song “Happy Jack” whereas the UK version lacks this song and instead has the unusual cover song “Heat Wave” which was a huge hit for Martha & The Vandellas. Other than that the album pretty much follows the same track order and same quirkiness which found the band stepping out of its streamlined 60s mod pop and started experimenting. While not a full blown art rock album that the band would become famous for, A QUICK ONE certainly is a quirky and unexpected sophomore release from one of the British Invasion’s most popular acts.

The album starts innocently enough with the catchy “Run, Run, Run” which implies a return to the same mod pop rock that was the staple of “My Generation” but the album throws a curve ball with the second track “Boris The Spider” which was written by bassist John Entwhistle when he was drunk and wrote a song about a scary spider in his room. The song was so off the wall that it became one of THE WHO’s concert staples. The other Entwhistle oddity is the instrumental track “Cobwebs and Strange” which not only reinforces his obsession with the world of arachnoids but also demonstrated how THE WHO could turn a traditional polka into a bonafide 60s psychedelic rock tune. The oom-paa-paa beat along with the trombone and tuba add another layer of absurdity to the album.

Many of the other tracks are more standard in that they could be released as pop tracks or hit singles. The track “Whiskey Man” was released as a single and hit the top 10 and the track “Happy Jack” on the US version also hit the top 40 but other than that A QUICK ONE really didn’t generate the hit singles action that would begin with the band’s next album “The Who Sell Out.” THE WHO also activate their proto-prog instincts on A QUICK ONE with the six movement closing title track which narrates the story of a girl who had gone missing for period of time. The track includes a harmonized a cappella segmented basically a bunch of different songs stitched together. The track exceeded 9 minutes long and was sort of a proto-rock opera that wouldn’t be fully realized until “Tommy.”

For my tastes this second release by THE WHO is a much more interesting one than the debut. I love the quirky, even silly tracks that just show up when you least expect it. They add a pizazz to the otherwise more standard mod freakbeat style THE WHO was going for at this stage. Really no bad tracks on here except i highly recommend the US version titled HAPPY JACK with its title track rather than the UK version with the ridiculous Martha & The Vandellas cover. That song sounds totally out of place and THE WHO were not even close to sounding like a Motown band from Detroit. Luckily the 60s would see the bigger bands writing all original material with THE WHO being no exception. Sure, this isn’t the best that THE WHO ever created but it’s an interesting second step in their canon before they hit the big time. Personally i like this one.

ELIS God's Silence, Devil's Temptation

Album · 2003 · Gothic Metal
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Although emerging from the tiny nation state of Liechtenstein sandwiched between Austria and Switzerland, the gothic symphonic metal band ELIS found popularity all over the German speaking world and is unfortunately most remembers as the band that experienced the sudden collapse and premature death of its lead vocalist Sabine Dünser, an event which almost ended the band’s existence. Originally starting out as Erben der Schöpfung with keyboardist Oliver Falk, guitarist Pete Strait and vocalist Sabine Dünser, the band released its first single called “Elis” in 2001 as well as a couple albums before adding guitarist Jürgen Broger, drummer Frankie Keller and bassist Tom Saxer. It’s at this point the band pulled the ole switcheroo with its namesake and became ELIS.

Enjoying a healthy live circuit career, the band most famously performed at the Wave Gotik Treffen in Leipzig which got its unique take on gothic metal noticed by the German press. The band only existed for an eleven year run and put out four albums starting with this debut GOD’S SILENCE, DEVIL’S TEMPTATION which came out in 2003 on the Napalm Record label. The band’s name is associated with the poem “An den Knaben Elis” by Georg Trakl which was Sabina’s favorite poet. After the recording of this album the band found all over Europe and immediately captivated the audiences with its energetic gothic metal sound that mixed with symphonic backing and bought to life by Dünser’s captivating vocals.

In many ways ELIS sounds like a typical female fronted goth metal band only more in the symphonic realms of Xandria, Nightwish, After Forever or Epica only without any trace of the power metal aspects that symphonic metal usually employs. ELIS delivered a darker sound with strong melodic grooves led by the female vocals and occasional joined in by the beauty and beast effect of growly male vocals. This album is dominated by crunchy guitar riffing joined by a predominance of eerie atmospheric keyboard embellishments. Lyrics are mostly in English but the track “Sie Erfasst Mein Herz” is in German. The band does a good job at keeping its mood setting in the realms of the worth of gothic metal with the symphonic elements adding a certain expansion of the band’s style.

All in all GOD’S SILENCE, DEVIL’S TEMTATION is a decent slice of symphonic goth metal and pretty much a continuation of style that was delivered on the Urban der Schöpfung albums. The tracks are all melodically beautiful as are Dünser’s elegant soft sung vocals. Beautiful piano runs, turbulent atmospheric keyboard runs and twin guitar heft work together to keep the music from becoming too aggressive or too sugary pop sweet. The one downfall of the band is that it lacks a true originality and is clearly following in the footsteps of the aforementioned influences however ELIS pulled it all off fairly well with just enough differences to make this debut not sound like a total clone of bands like Epica. Overall a decent album although not one that exactly makes me want to run out and purchase it at any cost as this style of goth metal has showcased a multitude of similar variations throughout the decades. Nice to know a tiny nation like Liechtenstein has yielded some worthy bands to explore.

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