Three years since the Italians released King. Is that all? It seems much longer. Still, album number 5 has been much anticipated and now it has arrived what has the trio of Francesco Paoli, Paolo Rossi and Francesco Ferrini delivered? Well, in a nutshell, one of the greatest albums of 2019. With an opening Bludgeoning Of Fury, Carnivorous Lamb and Sugar surging forward with an unstoppable aural tsunami, this is something special. There is no diversion from the intensity that Pelugia’s sons impart, but there is also the breath which allows the plunge when it comes to be so much more enjoyable. The Praying Mantis’ Strategy segues into a brooding, smouldering Monnalisa which threatens to erupt with explosive force long before the operatic and orchestral elements soar. In fact, there is a calm, balanced pace to this sinister track which teases and taunts, whilst all the while you scream “just bring it!!”
Immersing yourself into Veleno is one exhilarating experience. The pace and blistering approach on Worship and Forget is astonishing, the classical elements blending perfectly with the rapid-fire drumming, heavy riffs and rampaging assault. Significant changes of direction and tone encourage detailed listening, with the first tones of Veronica Bordacchini’s soprano emerging from the raging torrents. The onslaught is maintained on Absinthe, another rip-snorting beast, thunderous riffage and Rossi’s soaring clean vocals contrasting with the guttural roars of Paoli whilst sinister choral elements add to the atmosphere and darkness of the song. Pissing On The Score opens with a rampant piano section before blasting drums, jagged guitar and more spiralling symphonic additions split the skull. This is brutally beautiful and totally genius.
Calmness and tranquillity return for the emotion soaked The Day We’ll Be Gone. Bordacchini taking central spotlight, working almost spiritually with the gruff voice of Paoli, the piano, sympathetic drum beat and a crescendo of classical interventions; the sound of the plucked harp strings reassuringly correct despite the bizarreness of their location. This track builds massively, and whilst it isn’t my favourite, it’s virtually an opera on its own, with Franceso Paoli’s understated lead work crafted in complete harmony with the rest of the track. The two and half minute instrumental title track, performed by Ferrini’s solo piano is stunning, different and quite enchanting, whilst the mandatory cover version focuses on Industrial German titans Rammstein with a bone crushing version of Reise Reise, a song that never fails to get the heart pumping. Closing the album with another massively original and haunting six-minute song in The Forsaking (Nocturnal Version), I suddenly realise I haven’t even got to CD 2, the instrumental versions of most of the tracks. Wow!
This is simply an incredible release. Sufficiently straightforward to knock you between the eyes from the start, but pleasing complex enough to demand repeat plays. When you click repeat five times in a row you know this is something special. Immersion in the world Fleshgod Apocalypse is essential. Few will match it in 2019. 9/10
Majestica: Above The Sky (Nuclear Blast) [Matt]
Reinxeed were a Swedish power metal act in existence from 2000 releasing 6 albums in their history however when Reinxeed's mastermind Tommy Johansson (guitar) joined Sabaton, the work of this band ground to a halt after their 2013 album, mainly due to the touring commitments of Sabaton. However the band that were once Reinxeed are back though they have changed their name to the much easier to remember Majestica.
Once again Tommy not only showcases his guitar prowess here as he has in the war based metal bands but also his vocal talents, in Reinxeed he was also the singer but most new fans wouldn't have heard him sing until he stood in as the vocalist of Twilight Force on their 2017. I'll say that he's got a great voice in the Michael Kiske or Timo Kotipelto style and this is where the band sits musically two rampaging power metal with tonnes of guitar trade offs between Johansson and guitarist Alexander Ortiz with classical synth runs on The Way To Redemption and Rising Tide really giving you that early 2000's power metal sound.
On the other hand Night Call Girl is punchy AOR number that does stand out a little but still has a great gallop to it thanks to the bass work of Chris David who also gets some big moments on Above The Sky and the very Helloween like Future Land. Helloween are a big influence on this album so it's ideal that behind the drumkit is ex-Helloween man Uli Kusch, though the band is officially a trio, his sticksmanship is exactly what this band needs. Above The Sky is a great power metal album, I actually prefer this to Sabaton as I have been brought up on a diet of Sonata Arctica, Helloween and Stratovarius so a track like Father Time gave me a massive smile on my face. If you love cinematic sounding symphonic power metal that hits you at lightspeed then I suggest you go Above The Sky. 8/10
Widower: Cataclysmic Sorcery (Black Market Metal) [Rich]
Calmness and tranquillity return for the emotion soaked The Day We’ll Be Gone. Bordacchini taking central spotlight, working almost spiritually with the gruff voice of Paoli, the piano, sympathetic drum beat and a crescendo of classical interventions; the sound of the plucked harp strings reassuringly correct despite the bizarreness of their location. This track builds massively, and whilst it isn’t my favourite, it’s virtually an opera on its own, with Franceso Paoli’s understated lead work crafted in complete harmony with the rest of the track. The two and half minute instrumental title track, performed by Ferrini’s solo piano is stunning, different and quite enchanting, whilst the mandatory cover version focuses on Industrial German titans Rammstein with a bone crushing version of Reise Reise, a song that never fails to get the heart pumping. Closing the album with another massively original and haunting six-minute song in The Forsaking (Nocturnal Version), I suddenly realise I haven’t even got to CD 2, the instrumental versions of most of the tracks. Wow!
This is simply an incredible release. Sufficiently straightforward to knock you between the eyes from the start, but pleasing complex enough to demand repeat plays. When you click repeat five times in a row you know this is something special. Immersion in the world Fleshgod Apocalypse is essential. Few will match it in 2019. 9/10
Majestica: Above The Sky (Nuclear Blast) [Matt]
Reinxeed were a Swedish power metal act in existence from 2000 releasing 6 albums in their history however when Reinxeed's mastermind Tommy Johansson (guitar) joined Sabaton, the work of this band ground to a halt after their 2013 album, mainly due to the touring commitments of Sabaton. However the band that were once Reinxeed are back though they have changed their name to the much easier to remember Majestica.
Once again Tommy not only showcases his guitar prowess here as he has in the war based metal bands but also his vocal talents, in Reinxeed he was also the singer but most new fans wouldn't have heard him sing until he stood in as the vocalist of Twilight Force on their 2017. I'll say that he's got a great voice in the Michael Kiske or Timo Kotipelto style and this is where the band sits musically two rampaging power metal with tonnes of guitar trade offs between Johansson and guitarist Alexander Ortiz with classical synth runs on The Way To Redemption and Rising Tide really giving you that early 2000's power metal sound.
On the other hand Night Call Girl is punchy AOR number that does stand out a little but still has a great gallop to it thanks to the bass work of Chris David who also gets some big moments on Above The Sky and the very Helloween like Future Land. Helloween are a big influence on this album so it's ideal that behind the drumkit is ex-Helloween man Uli Kusch, though the band is officially a trio, his sticksmanship is exactly what this band needs. Above The Sky is a great power metal album, I actually prefer this to Sabaton as I have been brought up on a diet of Sonata Arctica, Helloween and Stratovarius so a track like Father Time gave me a massive smile on my face. If you love cinematic sounding symphonic power metal that hits you at lightspeed then I suggest you go Above The Sky. 8/10
Widower: Cataclysmic Sorcery (Black Market Metal) [Rich]
Cataclysmic Sorcery is the new release from Texan blackened thrashers Widower. Having released a string of EP’s since the formation of the band in 2011, Cataclysmic Sorcery is the debut full length album by the band and a very enjoyable album it is as well. Widower take the best elements of both thrash metal and black metal and combine them together in a way that neither of the two genres overshadows each other. Thrash metal riffs, tremolo riffs and blast beats merge in a glorious mass of darkness and blasphemy with furious throat shredding vocals adding to the evil aura of this album. Whilst there are countless other bands who have done this style and very little in the way of surprise throughout Cataclysmic Sorcery is a fine album. The performances and delivery are spot on with a nicely raw production aiding the music. Songs such as Fornicate Upon Mass Graves and Hell Sent are guaranteed to get heads banging. Wonderfully savage stuff. 8/10
Aegonia: The Forgotten Song (1238812 Records DK) [Paul H]
If you asked me to name another Bulgarian metal band, I think I’d struggle (and apart from a few active black and death metal bands I sourced on Google I’d be right) so it’s always good to listen to music from outside our usual range. Aegonia is an atmospheric gothic metal band from Sofia, Bulgaria, formed by Elitsa Stoyanova and Nikolay Nikolov in 2011. The Forgotten Song is the debut album from the band, and at 68 minutes long it’s a massive fantasy folklore journey, full of the typical contrast of magical acoustic guitars, ethereal female vocals and violin which jostle for pride of place alongside more brutality from harsh guitar work and male growls. The band uses traditional Bulgarian instruments as well, with kaval (traditional Bulgarian flute), percussions and bagpipe.
The album follows the story of the fantasy novel of the same name written by the singer of the band Nea Stand. At times, this strays massively into Eurovision pomp territory, and without wishing to be uber-critical, you can see the flowing silk gowns, the hair streaming from the off-stage fans and the ridiculous posturing. With the Mists She Came is one such example. Battles Lost And Won varies greatly, with some delicious sections of playing but a lot of meandering abstract parts as well. The Offer and The Stolen Song are fully immersed in the folk side of the band’s music and despite my lack of enthusiasm for such albums, a further play of this release from start to finish led me to change my opinion somewhat and although it’s a bit woolly in parts, overall, The Forgotten Song is a beautifully composed and intricate release.
The album follows the story of the fantasy novel of the same name written by the singer of the band Nea Stand. At times, this strays massively into Eurovision pomp territory, and without wishing to be uber-critical, you can see the flowing silk gowns, the hair streaming from the off-stage fans and the ridiculous posturing. With the Mists She Came is one such example. Battles Lost And Won varies greatly, with some delicious sections of playing but a lot of meandering abstract parts as well. The Offer and The Stolen Song are fully immersed in the folk side of the band’s music and despite my lack of enthusiasm for such albums, a further play of this release from start to finish led me to change my opinion somewhat and although it’s a bit woolly in parts, overall, The Forgotten Song is a beautifully composed and intricate release.
Complex, carefully woven and at times delightfully performed, the four band members, Nikolay Nikolov - vocals, guitar, kaval, Elitsa Stoyanova - vocals, violin Atanas Georgiev - bass Ivan Kolev - drums (since 2018) have delivered a quite magical piece of work. Be warned though, it does need to be played in full to appreciate the rich tapestry which has been spun together. 7/10
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