Nordic Union: Second Coming (Frontiers Records) [Alex]
A power metal act with symphonic elements, in principle Nordic Union, is perfect to my taste. I adore when there is a strong pulse of theatricalism pulsing throughout the metal, to relinquish on the intensity which the genre traditionally relished. Yet the combination also has the glaring potential for failure. While Second Coming possesses some inspired ideas, it doesn’t earn itself a place among its inspirations or leaves enough of a grandiose impression for my liking. Without a doubt, there are insanely enjoyable moments scattered throughout. Walk Me Through the Fire, has a stomping beat, a determined chorus and a sense of tension as the anthem climbs upward in intensity. Proving the heaviest song here, The Final War is driving, its gnashing distortion imbuing a sense of defiance and bravery. Even, The Best Thing I Never Had proves an excellent example of how to perform an inspirational anthem right. Make no mistake, a lot of the tone set here is still pompous and over the top – for power metal especially, braggadocious glamour has become something of a defining feature – yet it is executed in a way which inspires a sort of self-mocking humor.
Problems come on moments which try and embrace a slower pace while continuing on an epic scale. Take It Burns: Starting off gloriously enough, we hear a lone and solemn piano before an explosion of joyous guitar’s storm in, a point which further shines on the euphoric lead parts at the end of the song. For the larger part, however, we ride along at mid-tempo, the underwritten melodies, and tame rhythm instrumentation undermining my investment. While such a small blunder would not usually worry me, it becomes a recurring problem. Because Of Us, New Life Begins and Rocks Still Rolling, while bringing to life some great instrumentation, would benefit enormously from deciding on a direction, by becoming either reserved ballads or raging Stormers. Instead, they occupy an awkward space in the middle, which takes away from the ambitiousness and adds to the cliché.
At its finest, Second Coming is a fun, exciting, and unashamed album. At its most disappointing, however, it is a belated attempt at executing the theatrical sound, which falls short of landing the essential punches which are needed to create a truly impressive experience. I admire its lofty ambitions while lamenting its lackluster finishing. 6/10
Thomas Giles: Don’t Touch the Outside (Sumerian Records) [Alex]
I’m not sure what I was expecting from a solo project by the Between The Buried And Me frontman. Perhaps a more stripped down, minimalist work in a stark departure from the proggier styling he is known for? Or maybe it would be a different take on a heavy, and visceral style. Of the endless possibilities and predictions which swirled around in my head before pressing play, one which almost certainly didn’t spring to mind was how Don’t Touch The Outside actually sounds. I’m not for a second saying that the experiment is one gone wrong – I was quite intrigued by the vexing nature and the different directions the project goes in. Lurching from noise rock to ambient to experimental hip-hop, it’s difficult to distinguish it as by the same man who created alums like Alaska and Coma Ecliptic as part of BTBAM.
Openers, Church Friends and Incomplete are experimental and raw, the distortion and subtle electronics proving deeply disquieting. Like Giles’ prog material, the transitions are unexpected and full of creeping tension, yet the tone seems more angst-ridden than aggressive or crushing - a welcome departure indeed which demands your attention. Just in case there was for some reason any semblance of comfortability in the first two songs though, Radiate and Milan are ambient and strangely oriental pop ballads, which despite not being quite as multifaceted as my tastes dictate, are certainly an interesting and unique change. Then there's the hip-hop anthem I Win which proves weirdly uplifting and disturbing at the same time, the clusters of synth effects, beats and wordplay adding to the already puzzling journey I have already been taken on. Not content with the strangeness served up in the first half, the second attempts to execute ideas which are vaudevillian in their morose, yet modern in their progressions and instrumental flourishes. Take Mr. Sunshine, definitely one of the best moments on the entire record, Thomas begins on a contemplative and traditional note, before conjuring a maddened and inspired chorus, emanating space opera vibes.
Weather Moods/Panic Start proves equally as beguiling, starting as a barely coherent piece of beat poetry before exploding into a wonderfully erratic stints of theatricalism. Even the largely instrumental closers, Take Your Seats and 1709, insist on not staying static for too many seconds at a time, lurching between alluring electronics and enticing traditionalism. Almost schizophrenic in nature, Don’t Touch The Outside is unexpected until the closing moments, While I can certainly say I found this solo project interesting, its erratic persona can leave me feeling more cold and confused than excited. There are certainly great songs here which will be feasting on for years to come, yet I find the work as a whole to be held back by a desire to be different and latch on to as many stylings as possible. Again, a worthy effort, yet not one which is wholly coherent 7/10
Kosm: Cosmonaut (Rosenbridge Records) [Paul H]
Five-piece progressive metal outfit Kosm hail from Vancouver, British Columbia and their debut release Cosmonaut is an interesting one. Opening with the psychedelic Space Mead, which rapidly transforms into something altogether heavier, mixed with some ferocious picking and beefy drumming, one is immediately entranced by the clear vocals of Jessie Grace, who mixes in some ferocious growls to change the feel. I’d prefer her to stick to her clean vocals to be honest, but it doesn’t detract too much from a solid opening track. Drummer Sterling Paterson is relentless from the opening bars, switching from full-on death metal drumming to progressive jazz fills with ease.
At 66 minutes long, this is an album that requires staying power, but if you like the complexity of bands such as Tool, The Agonist, Mastodon, Gojira, A Perfect Circle and Animals As Leaders then you should welcome Cosmonaut with open arms. At times bone crushingly heavy, at others lighter and delicate, the undeniable constant throughout the album is the progressive rhythmic patterns that push the band somewhere between Tool and Mastodon. A rather tasty listen all round. 8/10
Wardruna: Sklad (By Norse Music) [Paul H]
Depending on your tastes, the fourth album by Norwegian music group Wardruna will either be stunning, or absolute bilge water. Formed in 2003 by Einar Selvik alongside fellow former Gorgoroth member Gaahl and Linday Fay Hella, Wardruna on record is now essentially Selvik (vocals and all instruments) and Hella (vocals and flute) with Gaahl long gone. As their Wikipedia page states, Wardruna is dedicated to creating musical renditions of Norse cultural and esoteric traditions. Using a variety of traditional instruments, the band has also enjoyed fame with their soundtrack to one of the Vikings Series. This album is Selvik singing Norse songs accompanied by the odd instrument such as Tagelharpe or goat horn. At 50 minutes it’s a bit of an ordeal, and you need to be in a very special place to allow this to wash over you and absorb the undoubted emotion contained here. I struggled to know what to score it but despite the undoubted quality here, it bored me senseless after about 20 minutes and by the time I’d reached the 15-minute Sonatorreck I think I was asleep with my eyes open. You may enjoy it. I didn’t. 5/10
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