Starset - Horizons (Fearless Records) [Matt Bladen]
Dustin Bates, Starset frontman, songwriter and general creative mastermind, returns with his 'cinematic rock' band's fourth album. If you have listened to any of his previous 3 albums then you will know what to expect, the band play a style of alternative/emo rock music with large emphasis on synths and electronics, the songs full of powerful riffing, anthemic choruses and bristling with orchestrations and textured ambient elements that provide that cinematic sound the band are known for. Across their previous albums much of Bates lyrics, and music have been inspired by science fiction and the ever increasing power and role of technology in our life, as their fourth album comes to fruition, we are at a point where technology is a major part of lives for both good and bad.
Across these 16 tracks (yep) bates mulls on life, love and relationships in this digital age, backed by a soundscape that often becomes a little too synthetic, as the EDM elements are incorporated so well it means that often you forget about the rock riffs and are essentially listening to a synth album. Still Starset have got large following so their style of music is very popular, as any of the numerous bands bringing in electronic sounds will attest. Horizons is Starset 101, and if you liked their previous albums you'll like this. If you want Tron the musical, this is as close as you'll get. 6/10
Venus Syndrome - Cannibal Star (Rockshots Records) [Simon Black]
Venus Syndrome - Cannibal Star (Rockshots Records) [Simon Black]
Originally starting life as a Dream Theater tribute act before gaining the confidence to plough their own furrow, France’s Venus Syndrome’s sophomore record continues many of the themes of their debut regarding our wilful path of self-destruction, a serious subject that is finally being taken seriously a wee bit too late. There’s some more positivity in here though, as tracks like single Sideral Groove, whose chorus “music is my life” is something we can all relate to.
The Prog roots of their tribute days can be heard loud and clear though and many aspects of that musical influencer can still be heard loud and proud - particularly in the instrumental interplay and they keyboard arrangements, but this is more like early Derek Sherinian era DT for me than the incarnations either side. Vocally as well, the style is less about soaring high notes and more about a edgier, darker, lower and moodier feel from singer Emmanuelson Ellipsisso - so more Russell Allen than James LeBrie, although not quite as charismatic as either, at least on this recording.
The sound is fairly rich and I cannot fault the technical quality of their delivery but I’m struggling to find any catchy songs to hang my hat on, as after a while the relentless environmental thematics leave you looking for a change in tone. At forty-six minutes, it’s not overly lengthy either, but it’s not got the songwriting chops to make those minutes fly by. This is a lesson DT learned some time back – that no matter how great the playing, if the audience has nothing to hook them in, then that skill is wasted.
The exception to this is the title track, which as well as being on the short side, is pure flourish and instrumental pizazz and works all the better for it. I don’t want to be too negative, as there’s a huge amount of potential in here, but I can’t help thinking that a little focus on song-structure and catchiness will go a hell of a long way next time out, as all the other ingredients are there. 6/10
Evil Hunter - Lockdown (Demon Records) [Simon Black]
Although this is only their sophomore release, the individual members of Spain’s Evil Hunter have a much longer musical history, although 2018’s self-titled debut was their first work together. As is often the place when a more grizzled bunch come together, all the experience from previous projects comes with it, but none of the baggage, creating a powerful new whole that bristles with the energy of a much younger act. This follow up release is no exception.
This album is hugely energetic indeed and doesn’t feel like a product of the Euro Power Metal scene at all, in fact both the Editor and myself thought we were listening to something hailing from South America at first, because this record is full of the edginess, endemic sense of rebellion and attitude that layers the metal culture from that wonderful continent. That and a deep vein of traditional Heavy Bloody Metal in a greater measure than the Power aspects, with good old fashioned twin guitar riff-driven delivery and a vocalist in Damián Chicano with power, guts and a gravely, rough edge that completely suits the music and evokes early Accept and a bit of Running Wild.
The sings all fly by with energy and gusto, with some well-crafted song structures, Production that crisply allows each player to be singled out whilst keeping the sense of a cohesive whole, and in short is a firm thumbs up when it comes to crystallising exactly what a solid Metal album should sound like. The album slows the pace a little towards the end, and we get some more measured work in there, in particular the title track with it’s acoustic intro before going full power ballad for a few bars and then back to that frenetic energy for the last half. It’s a great track, and shows the guitar work at its best, even if vocally Chicano seems a bit more restrained here.
Although this is only their sophomore release, the individual members of Spain’s Evil Hunter have a much longer musical history, although 2018’s self-titled debut was their first work together. As is often the place when a more grizzled bunch come together, all the experience from previous projects comes with it, but none of the baggage, creating a powerful new whole that bristles with the energy of a much younger act. This follow up release is no exception.
This album is hugely energetic indeed and doesn’t feel like a product of the Euro Power Metal scene at all, in fact both the Editor and myself thought we were listening to something hailing from South America at first, because this record is full of the edginess, endemic sense of rebellion and attitude that layers the metal culture from that wonderful continent. That and a deep vein of traditional Heavy Bloody Metal in a greater measure than the Power aspects, with good old fashioned twin guitar riff-driven delivery and a vocalist in Damián Chicano with power, guts and a gravely, rough edge that completely suits the music and evokes early Accept and a bit of Running Wild.
The sings all fly by with energy and gusto, with some well-crafted song structures, Production that crisply allows each player to be singled out whilst keeping the sense of a cohesive whole, and in short is a firm thumbs up when it comes to crystallising exactly what a solid Metal album should sound like. The album slows the pace a little towards the end, and we get some more measured work in there, in particular the title track with it’s acoustic intro before going full power ballad for a few bars and then back to that frenetic energy for the last half. It’s a great track, and shows the guitar work at its best, even if vocally Chicano seems a bit more restrained here.
The anthemic You’ll Never Walk Alone however remains my favourite, with its sing along chorus, slightly more Melodic Metal temperament and fist-pumping energy, it typifies what turned out to be an unexpectedly excellent album. 9/10
The Sonic Overlords - Last Days Of Babylon (M-Theory Audio) [Matt Bladen]
With this reviewing game we will often get lots of albums that want to be clever, or innovative or evolve the genre they play. Then however we also get bands such as The Sonic Overlords, Swedish riff monsters that musically mirror bands such as Dio/Martin-era Black Sabbath, Candlemass and fellow Swedes Grand Magus. Heavy, doomy and with a melodic flourishes that bring lots of groove and even a few shout along choruses Last Days Of Babylon doesn't want to reinvent the wheel just keep the truck moving. Formed by members of an Ozzy tribute band, The Sonic Overlords know how to write a chest beating riff that is anchored in doom, In My Darkest Room a good example of what they do well.
The Sonic Overlords - Last Days Of Babylon (M-Theory Audio) [Matt Bladen]
With this reviewing game we will often get lots of albums that want to be clever, or innovative or evolve the genre they play. Then however we also get bands such as The Sonic Overlords, Swedish riff monsters that musically mirror bands such as Dio/Martin-era Black Sabbath, Candlemass and fellow Swedes Grand Magus. Heavy, doomy and with a melodic flourishes that bring lots of groove and even a few shout along choruses Last Days Of Babylon doesn't want to reinvent the wheel just keep the truck moving. Formed by members of an Ozzy tribute band, The Sonic Overlords know how to write a chest beating riff that is anchored in doom, In My Darkest Room a good example of what they do well.
Stomping riffs of founding member Morgan Zocek and impassioned singing of Marcus Zachrisson Rubin who joined the band in 2020 along with bassist Daniel Ramírez, as the band is rounded out by drummer Per Soläng. What you get here is some no frills heavy metal power, from the traditional doom of Lords Of No Tomorrow, the more restrained World On Fire and Sands Of Time which is heaviest offering here a track that is slightly reworked on the bonus track Past The End Of Time with Tony Martin carrying the vocals on this version in a definite nod to the bands influence. It won't change the world, but it is a decent listen for fans of melodic doom metal. 7/10
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