Review: Moonspell - Alpha Noir - Omega White (2012)

Moonspell [ Website | Facebook | ReverbNation ]

Alpha Noir - Omega White

(2012)

Napalm Records

Arguably the most significant metal band to emerge from Portugal, Moonspell has worked through a number of stylistic shifts over their twenty-year career. Originating as a fairly straightforward black metal outfit with a penchant for atmospheric compositions, Moonspell morphed into a primarily Gothic metal entity replete with baritone vocals and haunting synth effects. Recent work from the Portuguese powerhouse has seen the Gothic trappings - particularly the vocals - scaled back while the more extreme elements heard on the early albums take center stage. Across the band's body of work, though, the songs have always been on a rather majestic scale derived from skillful exploitation of keyboard melodies and varying guitar tones. With Alpha Noir - Omega White, Moonspell looks to push the songwriting envelope even further and deliver a two-disc pilgrimage of gargantuan proportions. Unfortunately, Napalm Records did the music media a disservice by allowing access only to the first installment, Alpha Noir, so I'm unable to comment on how the brutality of the first disc is said to be contrasted by the beauty of the second.

So the focus of this review is instead solely on Alpha Noir, nine songs that fit in closely with Moonspell's previous couple of albums. Frontman Fernando Ribeiro is back at the helm with his snarls and barks, giving just a brief taste of Gothic vocals on "Axis Mundi" and the title track. Even in the absence of clean singing, Ribeiro does a fine job enunciating the lyrics without sacrificing any of the aggressiveness of his delivery.

Photo: Paulo Moreira

As has come to be expected from guitarists Pedro Paixao and Ricardo Amorim, the riffs on Alpha Noir are engaging despite being rather complex and varied. "Axis Mundi", one of the highlights of the album, features grand, swirling riffs complemented by the catchy use of Aires Pereira's bass. On the title track, the two six-stringers go for a bit of a Mudvayne sound before expanding the guitar tone in a nicely crisp direction. A brief but notable solo interrupts a bit of a breakdown near the song's end, soon after which Pereira's rumbling bass announces the start of "Em Nome Do Medo". The strong keyboard undertone of this track, courtesy of Paixao, combined with Portuguese lyrics, results in another remarkable song.

The final track of Alpha Noir, "Sine Missione", is a strong atmospheric piece designed to provide a transition between the previous eight aggressive tracks and the supposed etherealness of the Omega White disc. As I said at the beginning of this review, we'll have to take Napalm's word for it. Alpha Noir on its own, however, is a solid dark metal affair that fans of Moonspell shouldn't hesitate to consume. There's an experimental quality to the music, but not in an overbearing or meandering sense, so most fans of darkened, melodic metal will want to give this one a go.

Track Listing
1	Axis Mundi	4:57
2	Lickanthrope	3:50
3	Versus	4:40
4	Alpha Noir	4:31
5	Em Nome Do Mede	4:28
6	Opera Carne	3:54
7	Love Is Blasphemy	4:32
8	Grandstand	4:55
9	Sine Missione	4:58
Total Runtime		40:45

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Harvest Moon Radio Episode 12

Once again, the latest episode of Harvest Moon Radio is a bit late - but now online!

Harvest Moon Radio Episode 12

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Review: Chainfist - Black Out Sunday (2010)

Chainfist [ Website | Facebook | MySpace ]

Black Out Sunday

(2010)

self-released

Denmark's Chainfist is a hard rocking band that flirts with heavy metal just enough to rise close to the top of the heap of modern rock hopefuls. The Danes' debut release, Black Out Sunday, is a collection of no frills rock, brimming with melody, grit, and a refreshing lack of pretentiousness. Taking a harder edge than most contemporary rock bands these days, Chainfist plugs a gap that has plagued the style in recent years.

Chainfist's sound is built around the chunky guitar of Michael Kopietz, whose previous credits include time spent with Panzerchrist and Frozen Sun. These relationships are pimped pretty heavily by the PR powers that be, but don't be fooled into using those bands as points of reference for what Chainfist is about. On Black Out Sunday, Kopietz delivers a rather straightforward rock performance comprised of groove-laden riffs and dynamic leads. While a touch of Thin Lizzy can be heard amongst the riffs of the album's lead-off track, "Free Me", Kopietz most often works with more darker, modernistic components (the almost nu-metal swirls of "Be A Man", for instance). "Edge Of The World" stands out as one of Black Out Sunday's stronger tracks due in large part to the edgier guitar tone put together by Kopietz.

Adding depth to an already heavy sound is four-stringer Braca Pederson. Emerging on "Evolution", Pederson's bass is well-placed in the mix and provides a nice, rather "old school" element to Chainfist's style. "Clown", which has some rather odd lyrics seemingly inspired by Stephen King's It, oozes groove thanks to Pederson's contributions. Equally integral to Black Out Sunday's appeal are the raucous beats of drummer Jesper Heidelbach. Not necessarily flashy, Heidelbach still makes his presence felt through such moments as the galloping beats of "Evolution" and the admirable fills of "Stay".

The last remaining ingredient in Chainfist's formula, and second in impact only to Kopietz' guitar, is frontman Jackie Peterson's vocals. Like Heidelbach, Peterson's workmanlike performance serves to ground Black Out Sunday in comfortably accessible territory without risking many over-the-top theatrics. Sticking mostly to the middle and lower levels of his range, he does tend to waver a bit when reaching above his comfort zone. He also adopts a strange, but thankfully brief, croaking style on "Have You Ever", "In Your Face", and "Black Out". I suspect that he intended to interject a bit of a Gothic flair to his performance, but should probably skip that angle entirely on Chainfist's next release.

With tracks such as the aforementioned "Edge Of The World", the respectable power ballad "Carpe Diem", and the highly atmospheric instrumental "Shchwh" (don't ask, cuz I don't know) highlighting the album, Black Out Sunday is definitely a solid debut release that will capture the attention of fans who crave modern rock that actually rocks.

Track Listing
1	Free Me	3:59
2	Edge Of The World	5:14
3	Evolution	3:04
4	Be A Man	3:52
5	Have You Ever	4:22
6	Stay	4:32
7	In Your Face	4:49
8	Show Me	4:32
9	Clown	4:14
10	Carpe Diem	4:42
11	Black Out	4:53
12	Shchwh	3:43
Total Runtime		51:58

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Review: Pilgrim - Misery Wizard (2012)

Pilgrim [ Facebook | MySpace ]

Misery Wizard

(2012)

Poison Tongue

For the well-informed doom metal fan, choosing an appropriately listless and depressive soundtrack for the gloomiest of moods usually means pulling an album from the catalog of bands like St. Vitus, Reverend Bizarre, or Lord Vicar. Rhode Island's Pilgrim, self-described "Disciples of True Doom", look to add their name to such a lamentative list with their debut album Misery Wizard. Crushing, ponderous riffs and a laggardly pace dominate the album, but Pilgrim conjures up a few surprises to keep listeners from succumbing to an otherwise overwhelming sense of despair.

The first of these surprises is more of a tease, as Misery Wizard's lead-off track "Astaroth" is a an up-tempoed (for doom metal) number with very catchy riffs. The guitar sound possesses plenty of the requisite fuzziness and more than a hint of a Black Sabbath influence. The vocals, when they finally appear, arrive in the form of distorted chants that eventually give way to mainman The Wizard's intonations. Consistently set back in the mix, The Wizard's voice isn't particularly strong and is rather limited in range but his roughened style fits nicely into Pilgrim's formula.

"Astaroth" serves as a tease to listeners because its Pentagram-like groove is instantly discarded when the oppressive title track lumbers forth. The tempo of "Misery Wizard" is agonizingly slow, with the lazy riffs and drawn out vocals emphasizing the nearly stalled pace. A lackadaisical solo dominates the latter moments of the song and quickens the momentum ever so slightly, but this song - along with "Masters of the Sky" and "Forsaken Man" - are crushingly slow dirges designed for the most stalwart of funerary doom fans. Thankfully that latter half of "Quest", where The Wizard unleashes a rather enjoyable bluesy Black Sabbath run and drummer Krolg Splinterfist (Dwarven chieftain, perhaps?) flails about with reckless abandon, livens the mood and results in another of Misery Wizard's standout moments. "Adventurer" is likewise a touch of fresh air with its uptempo pace and infectious groove. The Wizard gets a little innovative on this track, briefly introducing a death metal roar to his vocal style and kicking out a few nice guitar runs.

A handful of traditional groove-inspired moments aside, Misery Wizard is a plodding foray into the cavernous depths of exceedingly slow doom. If observing glacial advancement and watching paint dry can be counted among your most favorite hobbies, then Pilgrim's debut release will definitely not disappoint.

Track Listing
1	Astaroth	7:22
2	Misery Wizard	11:34
3	Quest	10:42
4	Masters of the Sky	11:50
5	Adventurer	5:19
6	Forsaken Man	13:45
Total Runtime		1:00:32

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Harvest Moon Radio Episode 11

A little overdue, but now online and ready to shred your eardrums - Harvest Moon Radio Episode 11!

Harvest Moon Radio Episode 11

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Review: Oakenshield - Legacy (2012)

Oakenshield [ Website | Facebook | MySpace ]

Legacy

(2012)

Einheit Produktionen

Based in the West Yorkshire city of Leeds, Oakenshield is the folk metal manifestation of multi-instrumentalist Ben Corkhill. The lyrics of Legacy, the second album created under the Oakenshield banner, are rooted in the Viking arrival in the British Isles during the early Middle Ages and contain snippets of historical sagas and ballads. Within this context, Corkhill crafts traditionally-inspired melodies that are given a sense of menace through the use of imposing riffs and croaking black metal vocals.

Listening to Legacy, the terms epic, majestic, and sweeping come to mind when attempting to describe the atmosphere Corkhill creates with his gritty riffs and lush keyboard work. Such a sense of Scandinavian grandeur begs comparison to bands like Falkenbach, Einherjer, and Forefather, and were it not for one particular element then Oakenshield would run the risk of being considered too similar to its predecessors. Enter David Denyer and his mighty violin to set Legacy, and Oakenshield, apart from the early runners in the folk metal marathon. I'm not being facetious in calling Denyer's contributions mighty, for without his part buoying the songs with a detailed sense of emotion Legacy would quickly become a touch too repetitive - though still quite good. From the mournful tone he lends to "Wen Heath" to a sound both folkish and Gothic on "Mannin Veen", Denyer's presence is a boon to the already engaging Oakenshield formula.

That formula, skillfully arranged by Corkhill, is built around a blend of folk and black metal that will most likely appeal more to fans of the former than to those of the latter. The traditional melodies - crafted through the use of keys, woodwinds, and violin - overshadow the crunchy riffs, which themselves never exceed a determined marching pace. Blast beats and tremolo techniques are not to be heard, though Corkhill does occasionally wind up a nice melodic solo. The most blackened element of Legacy is Corkhill's primary vocal style, though he croaks out the lyrics with exceptional enunciation and more pride than venom. He bolsters his rasps with generous use of clean gang choruses, chanting, and spoken-word passages that lend a hint of Nordic mysticism to his tales.

Legacy is such a consistent album, from the Yuletide melodies of instrumental intro "Northreyjar" to the keyboard and flute interplay on "Jorvik" to the grinding riffs of closing track "The Raven Banner", that pointing to one or two standout tracks is a difficult task. Instead, each song possesses such a strong sense of history, melody, and arrangement that it's easy to recommend Legacy to all fans of folk and Viking metal. This album is not unique, but it is worthy to share space in the CD rack next to the finest releases of the sub-genre.

Track Listing
1	Northreyjar	3:36
2	Earl Thorfinn	5:58
3	Jorvik	4:39
4	Mannin Veen	4:38
5	Wen Heath	7:00
6	Clontarf	4:39
7	Eternal as the Earth	5:54
8	The Raven Banner	9:07
Total Runtime		45:31

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Review: Diabulus In Musica - The Wanderer (2012)

Diabulus In Musica [ Website | Facebook | MySpace ]

The Wanderer

(2012)

Napalm Records

The Wanderer, the sophomore album from Spanish symphonic power metallers Diabulus In Musica, is awash with influential sounds. Shades of Epica, Nightwish, Lacuna Coil, and Tristania can be heard as the album progresses from bombastic opener "Ex Nihilo" to the wistful acoustic breeze of the title track. In between, the soaring voice of frontwoman Zuberoa Aznárez skillfully parries the harsh snarls and growls of guitarist Adrián M. Vallejo and keyboardist Gorka Elso. The resulting product is intriguing for its use of numerous style elements, but ultimately The Wanderer stops short of delivering a memorable wallop.

Diabulus In Musica gained attention with their debut album Secrets due in large part to the voice of Aznárez. Classically trained and an active member of a chamber choir, Aznárez injects elegance and grace into the band's sound as her voice soars and dives in harmony with (and sometimes opposition to) the grinding music around her. "Ex Nihilo", for instance, is an epic power metal track of the most symphonic sort with driving riffs, robust background vocals, and thunderous beats. Aznárez' unhurried vocals offers a stark but welcome contrast to the immediacy of the music, making the song one of the highlights of The Wanderer. At times she can be a bit over the top in terms of theatrics, but by and large she does an outstanding job of fitting in with shifting tones as the album progresses. "Sentenced To Life", an agonizing duet with John Kelly of the rock opera production Elfenthal, contains one of her smoother performances but pales in comparison to the power she brings on the faster tracks.

Photo: Stefan Heilemann

Adding another dimension to the band's vocal style, Vallejo and Elso accompany Aznárez with a variety of snarls and grumbles. Used most often as accent pieces, the extreme male vocals take center stage on "Shadow Of The Throne" as Vallejo's riffs and leads are delivered just a tad darker and more chaotic. Monastic choruses and a brief contribution from Aznárez punctuate vocals that otherwise shift only between deathly growls, gurgled whispers, and blackened shrieks. The supporting gurgles on "Blazing A Trail" come courtesy of Epica's Mark Jansen and contrast nicely with the otherworldly refrains, but "Oihuka Bihotzetik" is another male-dominated track where the vocals descend into annoyingly screamo territory - as do the stop-start riffs. "No Time For Repentance (Lamentatio)" follows suit, with swirling melodeath riffs and shrieked vocals, but Aznárez offsets the foolishness with some ethereal refrains and ends the track a cappella.

The aforementioned tracks aside, much of the riffage contained within The Wanderer is quite pleasing if not necessarily remarkable. Nearly always hefty and with decent variation, Vallejo's riffs are nevertheless rather safe. The muted licks on "Sceneries Of Hope" are a nice touch, as is the acoustic performance on the title track, but once the album closes there's little about the guitar sound to remember. Elso's keys, on the other hand, manage to remain in memory long after The Wanderer has ended. As the dominating orchestral factor, the ever-present keys are richly textured and satisfyingly grandiose. Elso expertly conveys the proper sense of atmosphere each track demands, from the intimidating "Oihuka Bihotzetik" to the soothing "Call From A Rising Memory" - which also features a haunting vocal melody from Aznárez. Together with the wide array of vocal styles, the keyboard defines the core of Diabulus In Musica's sound.

The Wanderer is an album that is practically flawless, from a production and execution point of view. The musicians of Diabulus In Musica are obviously highly skilled, talented, and able to craft complex arrangements, yet their sophomore album fails to break through into remarkable territory. Fans of symphonic metal, particularly those inclined toward bands like Nightwish and Epica, will undoubtedly want to add The Wanderer to their collections. The rest of us might want to wait for something a little more lasting.

Track Listing
1	A Journey's End (Intro)	2:16
2	Ex Nihilo	5:33
3	Sceneries Of Hope	3:52
4	Blazing A Trail	4:04
5	Call From A Rising Memory (Intro)	1:18
6	Hidden Reality	4:44
7	Shadow Of The Throne	4:45
8	Allegory Of Faith, Innocence And Future	5:21
9	Sentenced To Life	5:04
10	Oihuka Bihotzetik	4:53
11	No Time For Repentance (Lamentatio)	8:30
12	The Wanderer	4:38
Total Runtime		54:58

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