Upon seeing the name Brothers Of Metal I was expecting a fourth rate Manowar clone and there are far too many of those about as it is. Thankfully as I hit play on this album I realised that despite the terribly cliched name Brothers Of Metal are an excellent power metal band. There seems to be quite a buzz about Brothers Of Metal and it is quite understandable as Emblas Saga which is the second album by the Swedish eight piece is a fine mix of European power metal, folk metal and symphonic metal. It doesn’t veer too far in each direction being a well balanced mix of the three genres and the songs are nicely varied from straight forward power metal such as Powersnake, Chain Breaker and Brothers Unite to the more melodic epic folk influenced songs such as Weaver Of Fate and the title track.
The symphonic elements are prevalent in most songs but are very restrained giving the songs an epic feel but without being too bombastic and over the top. The vocals follow the beauty and the beast vocal style employed by many symphonic metal bands with the angelic yet powerful clean vocals of Ylva Eriksson and the gruff yet melodic vocals of Joakim Eriksson. Emblas Saga gets 2020 off to a fine fine start for power metal fans. Lyrically it is all very cliched with the viking and Norse mythology themes having been done to death but power metal fans generally adore these gimmicks and no doubt the plastic sword wielders you see at festivals will adore this. Gimmicks aside the music more than speaks for itself and Emblas Saga is a fine piece of silly and fun power metal. 8/10
Oberst: Paradise (Indie Recordings) [Alex Swift]
Although I am certainly favourable to alternative, and practically grew up on post hardcore, as with every genre it tends to blur together a little on the fringes. While Norwegian act Oberst, have some clout in their instrumentals and songwriting, there is little to distinguish them either lyrically or musically. In fact, upon first listen I optimistically assumed that this was an addition to Conor Oberst’s – Modest Mouse, Better Oblivion Community Centre – extensive list of side projects. I need to stress that I by no means hate Paradise. The interplay between the guitar layers creates and impressive wall of sound, that gnashes and subsides in equal measure. Rhythmically, the experience is incredibly taut and for a self-produced debut, you can hear all the notes, frequencies and words with precision. From the energy which comes howling out of opener, VAGABONDS, to the gigantic nature of the closer PILLAR, there’s a lot for hardcore traditionalists to love here. Indeed, even the themes of ‘assailants sickened by the state of the world’ seem consistent and well intentioned, even if I can trace the lyrical motifs back to Rise Against, Architects and acts in a comparable vein. In many ways, the album is a respectable and impressive introduction to the act.
In spite of all that though, I can’t help noticing all these traits as aspects from established acts. The screamed vocals seem the trademark of La Dispute or even Bring Me the Horizon while the contrast between the sombre melodies and harrowing tempos feels symbiotic of Touché Amore. One way I analyse albums as a writer is to see how many artists jump to mind upon first listen. If I can’t find to many with a sound exactly comparable, I become yet more intrigued. However, while – and I really must stress this – I can see huge potential for Oberst in the future, given their musicianship and production – I struggle to get excited over something that feels so incredibly familiar. My score towards Paradise comes out of appreciation and respect for the genre. Keep an eye on these guys, they might impress us all in future. When that day come’s, I’ll be more than happy to quell my disappointments towards the debut. 6/10
Arcana 13: Black Death (Aural Music) [Paul Scoble]
Arcana 13 are a 4 piece based in Italy. The band play a fairly traditional style of Doom metal, and have put out 1 album; Danza Macabre in 2016. Black Death (which is probably a reference to the disease, rather than the extreme metal sub-genre), is a 2 track Ep / 7 inch, featuring 2 tracks. First track Black Death is a nice piece of dramatic doom metal. The style is very traditional, so think bands like Pentagram, St Vitus or Iron Void, and the second half of the song is similar to Black Sabbath’s Children Of The Grave. It’s a great piece of doom metal; it isn’t particularly original, but that isn’t really the point of Doom. The second track is a cover of Iron Maiden’s Wrathchild. It's a fairly standard cover, it’s well played and is a fairly faithful rendition of this metal classic. Black Death is an enjoyable EP. There's nothing particularly groundbreaking about it, but it’s a very entertaining piece of work. 7/10
Oberst: Paradise (Indie Recordings) [Alex Swift]
Although I am certainly favourable to alternative, and practically grew up on post hardcore, as with every genre it tends to blur together a little on the fringes. While Norwegian act Oberst, have some clout in their instrumentals and songwriting, there is little to distinguish them either lyrically or musically. In fact, upon first listen I optimistically assumed that this was an addition to Conor Oberst’s – Modest Mouse, Better Oblivion Community Centre – extensive list of side projects. I need to stress that I by no means hate Paradise. The interplay between the guitar layers creates and impressive wall of sound, that gnashes and subsides in equal measure. Rhythmically, the experience is incredibly taut and for a self-produced debut, you can hear all the notes, frequencies and words with precision. From the energy which comes howling out of opener, VAGABONDS, to the gigantic nature of the closer PILLAR, there’s a lot for hardcore traditionalists to love here. Indeed, even the themes of ‘assailants sickened by the state of the world’ seem consistent and well intentioned, even if I can trace the lyrical motifs back to Rise Against, Architects and acts in a comparable vein. In many ways, the album is a respectable and impressive introduction to the act.
In spite of all that though, I can’t help noticing all these traits as aspects from established acts. The screamed vocals seem the trademark of La Dispute or even Bring Me the Horizon while the contrast between the sombre melodies and harrowing tempos feels symbiotic of Touché Amore. One way I analyse albums as a writer is to see how many artists jump to mind upon first listen. If I can’t find to many with a sound exactly comparable, I become yet more intrigued. However, while – and I really must stress this – I can see huge potential for Oberst in the future, given their musicianship and production – I struggle to get excited over something that feels so incredibly familiar. My score towards Paradise comes out of appreciation and respect for the genre. Keep an eye on these guys, they might impress us all in future. When that day come’s, I’ll be more than happy to quell my disappointments towards the debut. 6/10
Arcana 13: Black Death (Aural Music) [Paul Scoble]
Arcana 13 are a 4 piece based in Italy. The band play a fairly traditional style of Doom metal, and have put out 1 album; Danza Macabre in 2016. Black Death (which is probably a reference to the disease, rather than the extreme metal sub-genre), is a 2 track Ep / 7 inch, featuring 2 tracks. First track Black Death is a nice piece of dramatic doom metal. The style is very traditional, so think bands like Pentagram, St Vitus or Iron Void, and the second half of the song is similar to Black Sabbath’s Children Of The Grave. It’s a great piece of doom metal; it isn’t particularly original, but that isn’t really the point of Doom. The second track is a cover of Iron Maiden’s Wrathchild. It's a fairly standard cover, it’s well played and is a fairly faithful rendition of this metal classic. Black Death is an enjoyable EP. There's nothing particularly groundbreaking about it, but it’s a very entertaining piece of work. 7/10
East Of Lyra: Self-Titled [Heavy Metal Records) [Paul Hutchings]
If you like Rush and Yes, then you should check this band out. So says the Facebook page of East of Lyra, a progressive five-piece which features Lee Payne, bassist of UK NWOBHM also-rans Cloven Hoof. Well, I love Rush. They are my favourite band of all-time. However, I can’t stand Yes. I’ve never seen the connection apart from the high-pitched tones of Geddy Lee and Jon Anderson. However, there are, I add grudgingly, some connections on this album. I would argue that Yes has been a revolving door of musicians whereas Rush has only ever had four, and the same three since 1974. But regardless of this totally inaccurate comparison, East Of Lyra is most definitely a progressive album. Opening with a ten-minute ‘epic’ in Siren Song, the band lay out their stall in no uncertain terms. The lead guitar work of Ash Baker is excellent throughout the album, whilst Chris Dando’s soaring alto vocals certainly provide echoes of Anderson, Lee and Dream Theater’s James LaBrie. Payne’s chunky bass guitar dominates the opening section of Wings Of Freedom, the strings pulsing like veins in a weightlifter’s neck and it’s here that I see the Rush comparison, as Payne plays in a similar vein to Geddy Lee; not content to simply pluck away at the E string, Payne covers the whole of the instrument to impressive effect.
If you like Rush and Yes, then you should check this band out. So says the Facebook page of East of Lyra, a progressive five-piece which features Lee Payne, bassist of UK NWOBHM also-rans Cloven Hoof. Well, I love Rush. They are my favourite band of all-time. However, I can’t stand Yes. I’ve never seen the connection apart from the high-pitched tones of Geddy Lee and Jon Anderson. However, there are, I add grudgingly, some connections on this album. I would argue that Yes has been a revolving door of musicians whereas Rush has only ever had four, and the same three since 1974. But regardless of this totally inaccurate comparison, East Of Lyra is most definitely a progressive album. Opening with a ten-minute ‘epic’ in Siren Song, the band lay out their stall in no uncertain terms. The lead guitar work of Ash Baker is excellent throughout the album, whilst Chris Dando’s soaring alto vocals certainly provide echoes of Anderson, Lee and Dream Theater’s James LaBrie. Payne’s chunky bass guitar dominates the opening section of Wings Of Freedom, the strings pulsing like veins in a weightlifter’s neck and it’s here that I see the Rush comparison, as Payne plays in a similar vein to Geddy Lee; not content to simply pluck away at the E string, Payne covers the whole of the instrument to impressive effect.
It’s when we hit track four, Shadowlands, with its space shifting sound effects that echoes of Rush’s Xanadu hit home, quickly followed quickly by a riff so like that on La Villa Strangiato that I hope East Of Lyra asked permission. However, the track itself if a thundering uplifting song, some beautiful melodies and elements of the better aspects of Anderson, Squire and co. Stand Up contains another Rush riff, this time it’s Beneath, Between, Behind that resonates but forgiving that this is a fist pumping track with Payne’s bass lines again leading the charge along with some very 1980s timer changes and synth use. Travelling through this album was enjoyable, the music excellent. Equinox is a superb progressive song, tangential riffing, abstract changes of timing and direction, all the while Dando’s vocals high and crystal clear. Too Late is a little too twee for my liking but the final song High And Mighty ensures the album ends on a triumphant note. East Of Lyra is certainly an album worth a listen. It contains some beautifully crafted pieces, and even if you usually baulk at the progressive rock world, you may be pleasantly surprised. 7/10
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