Land Of Witches is the fourth studio album from Dark Heavy Metal band Dark Embrace. This album combines elements from a lot of different metal sub genres, ranging from symphonic metal, speed metal, thrash metal and more. But does it work? Well, for the most part... yes!
The song writing, performance and production on this album are top notch! It has some really great riffs, solos and drumming packed in. The only gripe I have is with some of the vocals. Generally they’re pretty good, but there are some parts, typically with the high pitched singing/screaming sections, which doesn’t really fit the songs. It’s not terrible but does kind of ruin parts of the album.
We, The Witches immediately starts off with a very symphonic metal sound, cool keyboard playing, nice riffs and a very Rob Halford-esq high pitched scream. It’s fun and fast paced all the way through until a nice slower, acoustic section for the bridge followed up with a wicked guitar solo which helps speed things up again for the final section of the song.
Candlemass/Sabbath versus Alice In Chains/Tad. Who wins? We all do with the new record from Sons Of Ghidorah. Hallowmas is a bit long, but there is nothing on here that is not really good to great grungy doom that is very much worth your time. 8/10
We, The Witches immediately starts off with a very symphonic metal sound, cool keyboard playing, nice riffs and a very Rob Halford-esq high pitched scream. It’s fun and fast paced all the way through until a nice slower, acoustic section for the bridge followed up with a wicked guitar solo which helps speed things up again for the final section of the song.
Orcavella is up next and this one is another fast, energetic track with some more great guitar playing and some really epic drumming. There’s even a cool little drum solo before another high pitched scream leading into the guitar solo. The Dark Land starts off with a bit of acoustic guitar before the band comes in. I really liked the chorus in this track. There’s a great instrumental section before the guitar solo which leads into the final part of the track.
Next up is My Darkest End which starts off strong, nice lead guitar with some delay in the intro, really good groovy verses. There’s a slower bridge section with some duel guitars playing over choir vocals. But the last part of the song isn’t as strong as the rest, the final chorus comes in from nowhere, there’s no cool build-up to it, and then it’s over, which is a little bit of a let-down since the rest of the song is pretty good up until that point.
Next up is My Darkest End which starts off strong, nice lead guitar with some delay in the intro, really good groovy verses. There’s a slower bridge section with some duel guitars playing over choir vocals. But the last part of the song isn’t as strong as the rest, the final chorus comes in from nowhere, there’s no cool build-up to it, and then it’s over, which is a little bit of a let-down since the rest of the song is pretty good up until that point.
A Blaze In The Sky starts with a bit of a slow intro, some lead guitar comes in before the rest of the band comes in. I quite liked the clean vocal parts in this track, bit of an Iron Maiden sound in some bits. The instrumental sections in the bridge are good and the song ends with another nice guitar solo after the final chorus. Never Betray You starts off with some choir vocals and piano. There’s a really cool section before the first verse when the band comes in. It has a nice chuggy bridge section with the drums getting faster before the guitar solo comes in which sounds fantastic.
A Place To Hide has quite a thrashy intro. Great drumming in the verses. Again, this track has a bit of an Iron Maiden sound to it in some parts. Witch Tower starts off with some bells and other instruments before the band comes in. I do like the vocals in this track, really well done. There’s a couple of really cool mostly instrumental sections halfway through, including another fantastic guitar solo. The song fades out at the end allowing the orchestral section to play on until the track is finished which is done quite well.
A Place To Hide has quite a thrashy intro. Great drumming in the verses. Again, this track has a bit of an Iron Maiden sound to it in some parts. Witch Tower starts off with some bells and other instruments before the band comes in. I do like the vocals in this track, really well done. There’s a couple of really cool mostly instrumental sections halfway through, including another fantastic guitar solo. The song fades out at the end allowing the orchestral section to play on until the track is finished which is done quite well.
Then we come to the final track, In The Snow. This track starts with a bit of piano and violins before the bass and drums come in with the vocals. There’s a nice duel guitars section accompanied by some acoustic for the bridge. The song ends after the second chorus with the piano playing the final few notes of the album.
This was a really great album to listen to, I was a little bit let down by the vocals in some parts, but the instrumental sections more than made up for it. Really good playing and the mix was really well done. 9/10
Formed by guitarist Juri Vuortama and vocalist Pete Ahonen, Until The Heat Dies, inspired by an Australian mystery novel by thriller writer Michael Robotham, contains a wealth of musical diversity, all staying within the realms of classic heavy metal, they incorporate AOR, prog metal and even a bit of thrash. Sort of like a more melodic version of Queensryche, there’s plenty of proggy riffs, big anthemic melodies and vocals that are extremely similar to those of Geoff Tate. Pete is the founder of Burning Point and Stargazery so he is a bit of prog/power metal veteran.
Fire Action are from Scandinavia, take one listen an you’ll say to yourself, of course they are, there’s slickness, instrumental virtuosity and songs that are as catchy as anything, the duo of Ahonen and Vuortama, writing without any sort of limitations. If they want it be dark brooding prog metal it can be, bright poppy AOR , no problem, bouncy glam rock ala Kiss (Midnight Avenue), absolutely fine. While they never add black, death or extreme metal any fans of the more traditional metal sound.
Joining them are ARG bassist Jarkko Poussu and drummer Samuli Häkkilä, the foursome all collaborating on this record that caught me a bit by surprise. There's neo-classical shredding on No Drone Zone, some atmospheric moodiness on Survive, as Incitement Of Insurrection adds some Iron Maiden-like gallops. Until The Heat Dies brings a microcosm of heavy metal styles and pulls them all off well. Melodic metal that's creative. 8/10
Sons Of Ghidorah - Hallowmas (Argonauta Records) [Rich Piva]
Do you like your doom dirty and grimy and giving off major Candlemass vibes, but if Candlemass was from Seattle? Then you will love the new record from New York’s Sons of Ghidorah, Hallowmas. The trio brings some grunge to their doom stylings with some seriously killer results, and somehow is super catchy with everything else going on too.
I say grimy because it is. The 13 tracks on Hallowmas are filthy. The production, while it is not low-fi by any means, just captures the band how they should sound. There is nothing shiny and pretty with these New Yorkers, think Tad singing for an 80s doom band and you will get it. Dante's Waltz, the opener, is the perfect example of this. I say Tad because the band has serious vibes of that underrated classic grunge band, with songs like Black Manchuria and She Slips Away leveraging this sound extremely well (with maybe some AIC too), with the latter being 90s rock radio hit material (seriously).
This was a really great album to listen to, I was a little bit let down by the vocals in some parts, but the instrumental sections more than made up for it. Really good playing and the mix was really well done. 9/10
Fire Action - Until The Heat Dies (Steamhammer/SPV) [Matt Bladen]
Fourth album from Finnish band Fire Action is looking to expose them to a bigger audience.Formed by guitarist Juri Vuortama and vocalist Pete Ahonen, Until The Heat Dies, inspired by an Australian mystery novel by thriller writer Michael Robotham, contains a wealth of musical diversity, all staying within the realms of classic heavy metal, they incorporate AOR, prog metal and even a bit of thrash. Sort of like a more melodic version of Queensryche, there’s plenty of proggy riffs, big anthemic melodies and vocals that are extremely similar to those of Geoff Tate. Pete is the founder of Burning Point and Stargazery so he is a bit of prog/power metal veteran.
Fire Action are from Scandinavia, take one listen an you’ll say to yourself, of course they are, there’s slickness, instrumental virtuosity and songs that are as catchy as anything, the duo of Ahonen and Vuortama, writing without any sort of limitations. If they want it be dark brooding prog metal it can be, bright poppy AOR , no problem, bouncy glam rock ala Kiss (Midnight Avenue), absolutely fine. While they never add black, death or extreme metal any fans of the more traditional metal sound.
Joining them are ARG bassist Jarkko Poussu and drummer Samuli Häkkilä, the foursome all collaborating on this record that caught me a bit by surprise. There's neo-classical shredding on No Drone Zone, some atmospheric moodiness on Survive, as Incitement Of Insurrection adds some Iron Maiden-like gallops. Until The Heat Dies brings a microcosm of heavy metal styles and pulls them all off well. Melodic metal that's creative. 8/10
Sons Of Ghidorah - Hallowmas (Argonauta Records) [Rich Piva]
Do you like your doom dirty and grimy and giving off major Candlemass vibes, but if Candlemass was from Seattle? Then you will love the new record from New York’s Sons of Ghidorah, Hallowmas. The trio brings some grunge to their doom stylings with some seriously killer results, and somehow is super catchy with everything else going on too.
I say grimy because it is. The 13 tracks on Hallowmas are filthy. The production, while it is not low-fi by any means, just captures the band how they should sound. There is nothing shiny and pretty with these New Yorkers, think Tad singing for an 80s doom band and you will get it. Dante's Waltz, the opener, is the perfect example of this. I say Tad because the band has serious vibes of that underrated classic grunge band, with songs like Black Manchuria and She Slips Away leveraging this sound extremely well (with maybe some AIC too), with the latter being 90s rock radio hit material (seriously).
Crunchy riffs are flying all over the place, like on To Join With You (killer bass too!) and on the more stoner leaning Her Fire Burns, which also has some cool background vocals and is super catchy. I love the addition of the keys and the guitar work on this one too, probably my favourite track on the record. Search For Water is doomy Alice In Chains and is seriously great.
I think the guys may have a Type O record or two in their collection listening to songs like Satan! You Owe Me!, and the title track, which brings some nice organ. Absolution stays true their doom roots with a nice Sabbath/Candlemass combo platter. The Cantrell riff of the closer Peace Of Mind is killer and is more AIC worship. I said closer, but there is a “hidden” track that shows they have a sense of humour like the boys from Brooklyn did too back in the day.
Candlemass/Sabbath versus Alice In Chains/Tad. Who wins? We all do with the new record from Sons Of Ghidorah. Hallowmas is a bit long, but there is nothing on here that is not really good to great grungy doom that is very much worth your time. 8/10
The Watcher - Out Of The Dark (Cruz Del Sur) [Simon Black]
Massachusetts based The Watcher have a challenge in that there are at least three other metal acts sharing their name, although to be fair they seem to be the only one currently active. As far as I can tell they are a product of this decade, with their debut EP landing in 2021 and classify themselves as NWOTHM, which in my experience usually means young bands trying to sound like they are using analogue equipment from the early 80’s.
Massachusetts based The Watcher have a challenge in that there are at least three other metal acts sharing their name, although to be fair they seem to be the only one currently active. As far as I can tell they are a product of this decade, with their debut EP landing in 2021 and classify themselves as NWOTHM, which in my experience usually means young bands trying to sound like they are using analogue equipment from the early 80’s.
There is a bit of that in the mix and production, but it’s not intrusive and presents more as a back to basics stripped down way of delivering, which to be honest I don’t have a problem with, because if it works in this format, it works live. The downside is it puts an awful lot more pressure on the players and arrangements to carry it over the line.
Musically this is old-school up-tempo metal with a slight tinge of doomy occult, so comes across in the mix as somewhere between Ozzy era Black Sabbath and Iron Maiden’s debut caught snorting Pentagram backstage. It’s not clear how this would actually work live. They are a three piece, with guitar duties credited to both vocalist Paden Reed and bassist Max Furst, so I am guessing that live another pair of hands is going to be needed.
Alternating between short intense bursts of energy and a couple of more measured and well-crafted lengthier pieces to close out, the songs have a haunting quality courtesy of Reed’s vocals, and the stripped back feel works well because there is plenty of variety in the material, which at thirty-six minutes of run time doesn’t get chance to get stale, and the rhythm section here is like a solid iron bar throughout. His voice has a high range, but it feels like he is pulling his punches here when it comes to the delivery, and it really sounds like it’s a case of confidence. He shouldn’t worry – he can hit the notes, but the delivery needs a little more welly.
To be honest, The Final Hour and Thy Blade, Thy Blood, taking as they do a little more time to pull the listener in and build mood indicate that there is plenty of depth there, that time, experience and confidence cam build upon. Overall, it’s a promising start. 6/10
Musically this is old-school up-tempo metal with a slight tinge of doomy occult, so comes across in the mix as somewhere between Ozzy era Black Sabbath and Iron Maiden’s debut caught snorting Pentagram backstage. It’s not clear how this would actually work live. They are a three piece, with guitar duties credited to both vocalist Paden Reed and bassist Max Furst, so I am guessing that live another pair of hands is going to be needed.
Alternating between short intense bursts of energy and a couple of more measured and well-crafted lengthier pieces to close out, the songs have a haunting quality courtesy of Reed’s vocals, and the stripped back feel works well because there is plenty of variety in the material, which at thirty-six minutes of run time doesn’t get chance to get stale, and the rhythm section here is like a solid iron bar throughout. His voice has a high range, but it feels like he is pulling his punches here when it comes to the delivery, and it really sounds like it’s a case of confidence. He shouldn’t worry – he can hit the notes, but the delivery needs a little more welly.
To be honest, The Final Hour and Thy Blade, Thy Blood, taking as they do a little more time to pull the listener in and build mood indicate that there is plenty of depth there, that time, experience and confidence cam build upon. Overall, it’s a promising start. 6/10
