Melodeath can be hit and-miss for me, it’s like a lot of metal offerings in that there is no rhyme or reason as to why you like one thing but detest another. This is not limited to melodeath, but it has to be said that my ‘like’ rate is lower when compared against other forms of heavy metal. I’m not sure what the deciding factor is, but it is something that makes itself known and pushes me along a given route. Wolfheart, with Draconian Darkness, continues with their brand of the melodic and the melancholic so let’s see what we have.
With a grand opening of strings, things start brightly as the crashing of drums announces the start of Ancient Cold and we are straight in, it’s a direct, propulsive opener that leans more into the atmospheric side of extreme metal. Vocals have that right mix of the guttural to them and although there is a switch to cleans, it is kept to a minimum. Post-lead break the pace is increased, with some quality riffing that combines well with the keys behind it.
So far everything is in place and sounds well too. Early criticism is the use of the cleans, admittedly they are delivered well but maybe too early. The freewheeling vibe continues on Evenfall which has a smart guitar arrangement that runs from a tightly focused build into an acoustic piece and back again. It runs well, but there is a nagging feeling that they are guilty of squeezing too much too soon, rather than letting the heavier side develop first. There is a blinding lead break, showing some deft touches that considers the overall arrangement of the song and on the whole it’s a great start.
Burning Sky after a meandering start, they suddenly put a foot through it and decide speed, we need speed and literally take the song flying. Its double bass for days, heavy and direct. In terms of melodeath, or what I have been exposed to before it feels a mile away from that and so far, it is landing very well. It’s a theme that is carried onwards, as Death Leads The Way slows the pace and introduces a little groove that as the lead approaches it comes across with a hint of Carcass to it, which is always welcome. Scion Of The Flame has a moment of, I can’t really describe it as anything other than cringe to it that does its level best to derail the song. It’s the dual clean and dirt style that doesn’t sit well together at all. Removing one or the other, you would have another storming track that would build upon the good work carried out so far.
Burning Sky after a meandering start, they suddenly put a foot through it and decide speed, we need speed and literally take the song flying. Its double bass for days, heavy and direct. In terms of melodeath, or what I have been exposed to before it feels a mile away from that and so far, it is landing very well. It’s a theme that is carried onwards, as Death Leads The Way slows the pace and introduces a little groove that as the lead approaches it comes across with a hint of Carcass to it, which is always welcome. Scion Of The Flame has a moment of, I can’t really describe it as anything other than cringe to it that does its level best to derail the song. It’s the dual clean and dirt style that doesn’t sit well together at all. Removing one or the other, you would have another storming track that would build upon the good work carried out so far.
Grave starts with a melancholic piano movement and it is squashed by a fiendish arrangement that comes in with one aim in mind, which is to pummel all in its way. Grave has this massive chorus section that is just brilliant, and I mean that. It’s majestic and yet doesn’t overshadow the rest of the song. There is a downside to this, which is once you have dropped a belter like that you have got to follow it with something of equal class.
Throne Of Bones it's no slouch, but when held up against Grave it feels a little flat. Its not without merit though, mixing tempo’s to suit and maintaining that keen melodic edge that has been present all the way through. I must point out that it isn’t a bad song at all, its just that Grave was that good. As we approach the end, it does feel as though they have settled now into a set build going forward. Trial By Fire is fine but is too similar to Throne Of Bones in terms of pacing and build. Again, the riffs are well thought through and executed to the high standard heard elsewhere, its heavy as you might wish but just feels as though their energy has slipped away.
Final track, The Gale attempts to halt this and is partially successful in doing so. Again, there is a well built opening passage that leads into a powerful main verse. The ingredients are all there, keys for expanding their attack and a nifty melody line set amongst those urgent rhythm parts. The final act if you will, suffers as the last three songs follow the high point of the album and it is quite likely that had they switched the order then we could have been having a different conversation. As it is, Draconian Darkness has some very strong songs on it, none of which could be accused of being poor and there are some fabulous ideas on here which shows there is an undeniable talent at play. I think that fans of the melodic will find plenty to love here. 7/10
Jordan Rudess - Permission To Fly (Inside Out Music) [Simon Black]
My love affair with Dream Theater goes all the way back to their seminal 1992 epic Images And Words (not their first album, but definitely the first to hit the back of the net). In those early days there was a fair amount of churn on the keyboards, but the ivory-tinkling virtuoso Jorden Rudess has been a stable, nay essential, part of the line-up ever since their second resounding hit to the back of the net with 1999’s Metropolis Pt. 2: Scenes From A Memory.
Final track, The Gale attempts to halt this and is partially successful in doing so. Again, there is a well built opening passage that leads into a powerful main verse. The ingredients are all there, keys for expanding their attack and a nifty melody line set amongst those urgent rhythm parts. The final act if you will, suffers as the last three songs follow the high point of the album and it is quite likely that had they switched the order then we could have been having a different conversation. As it is, Draconian Darkness has some very strong songs on it, none of which could be accused of being poor and there are some fabulous ideas on here which shows there is an undeniable talent at play. I think that fans of the melodic will find plenty to love here. 7/10
Jordan Rudess - Permission To Fly (Inside Out Music) [Simon Black]
My love affair with Dream Theater goes all the way back to their seminal 1992 epic Images And Words (not their first album, but definitely the first to hit the back of the net). In those early days there was a fair amount of churn on the keyboards, but the ivory-tinkling virtuoso Jorden Rudess has been a stable, nay essential, part of the line-up ever since their second resounding hit to the back of the net with 1999’s Metropolis Pt. 2: Scenes From A Memory.
It was clear from watching the live DVD of that album’s tour how much of a huge improvement to their delivery Rudess brought to the position, because suddenly you had someone else on the stage that you could just stand there and watch with your jaw scraping the floor wondering how a human being can play so incredibly well, and in synch with the other doing the same.
Now ex-keyboard players in this band have a habit of dining out on their brief previous involvement, but Rudess tends to keep a low profile in comparison to his predecessors. But that understatement hides a level of output and prolificity that is little short of incredible. Appearing on no less than 19 Dream Theater records, 23 previous solo albums, a dozen releases for other projects (most notably Liquid Tension Experiment) and more guest turns and session contributions than can fit on a Wikipedia page is one hell of an achievement. So, here with solo album 24, you might expect that with that rate of output things to be getting a little thin, but this album is no exception when it comes to the quality and consistency benchmark we have come to expect and respect from Mr Rudess.
More prog rock than prog metal, this album is a lot more ambient and mellow than what hardcore Dream Theater fans would likely be expecting, but the level of musicianship is absolutely top notch, and it’s definitely a grower. I hadn’t come across youthful vocalist That Joe Payne before, but his less overt style fits the music perfectly, and he has a far richer timbre than one might expect.
Now ex-keyboard players in this band have a habit of dining out on their brief previous involvement, but Rudess tends to keep a low profile in comparison to his predecessors. But that understatement hides a level of output and prolificity that is little short of incredible. Appearing on no less than 19 Dream Theater records, 23 previous solo albums, a dozen releases for other projects (most notably Liquid Tension Experiment) and more guest turns and session contributions than can fit on a Wikipedia page is one hell of an achievement. So, here with solo album 24, you might expect that with that rate of output things to be getting a little thin, but this album is no exception when it comes to the quality and consistency benchmark we have come to expect and respect from Mr Rudess.
More prog rock than prog metal, this album is a lot more ambient and mellow than what hardcore Dream Theater fans would likely be expecting, but the level of musicianship is absolutely top notch, and it’s definitely a grower. I hadn’t come across youthful vocalist That Joe Payne before, but his less overt style fits the music perfectly, and he has a far richer timbre than one might expect.
Equally guitarist Steve Dadaian is new to me, although his style is quite close to John Petrucci’s on some of the solos that I had mistakenly assumed he was also involved. Tap this all off with Devin Townsend’s drummer Darby Todd and you have a line up that really, really cuts the mustard. The songs vary the tempo, but with several quite lengthy and slower pieces in the mix, one really has to spin this a few times to appreciate them, but then ‘twas always thus with good Prog. And this is very, very good Prog. 8/10
Future Palace – Distortion (Arising Empire) [SJ]
Pain, suffering, hopelessness – the persistence of Our Berlin trio Future Palace are back with Distortion, following their 2022 release Run. Maria Lessing (vocals), Johannes Frenzel (drummer) and Manuel Kohlert (guitarist). The theme of the album is based on the emotional intensity of loved ones suffering and losing the joy in life, losing control and in some cases, using demons to represent meaning e.g. Malphas and Decarabia. Uncontrolled comes out heavy by focusing on the guitar riffs and drum beats in the intro, Maria then sweeps in with soft vocals.
Future Palace – Distortion (Arising Empire) [SJ]
Pain, suffering, hopelessness – the persistence of Our Berlin trio Future Palace are back with Distortion, following their 2022 release Run. Maria Lessing (vocals), Johannes Frenzel (drummer) and Manuel Kohlert (guitarist). The theme of the album is based on the emotional intensity of loved ones suffering and losing the joy in life, losing control and in some cases, using demons to represent meaning e.g. Malphas and Decarabia. Uncontrolled comes out heavy by focusing on the guitar riffs and drum beats in the intro, Maria then sweeps in with soft vocals.
Lyrically, the song expresses the feeling of losing control and not feeling safe “I’m breaking down. Head straight through a wall" and feeling the need for change "Looking for a cure. Fuck, I don’t wanna do this anymore.” The song overall switches between melodic soft vocals and heavy breakdowns with harsh vocals I appreciate the attention to some effects in the song, before the final chorus Maria screams "Shatters" which sounds like a glitch.
Next up is Malphas, again coming in strong with the drum beat and guitar riffs followed by Maria doing what she does best switching seamlessly between clean and harsh vocals throughout the track drawing you in. The chorus has a catchy hook "Oh Lord, God have I wasted. Too much time with this hatred." I especially like the guttural Decay and the ethereal background vocals near the end which lighten it up slightly.
Panic Paralysis isn’t as heavy as the other songs on the album, until it reaches the bridge. The catchy chorus "I’m terrified, I can’t move… I’m paralysed… But I keep fighting my own mind." The lyrical rambles echo the despair of what’s going on in her head "Can I mute the voice inside my head?”. Next up is a standout track on the album, which is already released, The Echoes Of Disparity (ft. Charlie Rolfe from As Everything Unfolds). This truly highlights the talented vocals of Charlie and Maria who sync so well together whilst both tapping into their harsh and clean vocals.
Lyrically, they express power imbalance and judgement "Scan me from head to toe and zoom in on my tattoos. I want to tell you, you should really, really fuck you." And “Will this world ever become a somewhat called “safe place”?." Another pre-released track is Decarabia which fades in with a synth intro to build up to the funky instrumentals with Maria opening “How can you save a life when there’s no hope you can see… How can I help your life when my pain is just as deep.” Setting the undertones lyrically of a relationship intertwined with deep addictive love and suffering.
The pre chorus is stripped back before the chorus hits in with "We are dancing to the voice of Decarabia." Decarabia is a fallen angel and the marquis in hell who appears in the form of a pentagram or serpent. After the chorus it strips back to a pounding thud before kicking right back in with a heavier tone and scream. They Take What They Want is a standout from one of the unreleased songs of the album. The intro is the usual Future Palace formula albeit, halfway through the song they change it up. The sound of static, like a Geiger counter interrupts the flow and they enter a new flow with just Marias vocals and harmonising backing vocals.
Giving a breath of fresh air, it certainly grabbed my attention. The drums and guitar then come in and Maria taps into her heavy vocals before ending on an aesthetic melody that makes me want to replay the song again. The other tracks on the album include, Dreamstate where the repeating echoes of the lyrics give it the dreamy feel without losing the core sound of Future Palace. “Out in a dream state for once I don’t feel so afraid.” In Too Deep, Rays Of Light, A Fool On A Devil’s Reins and Amethyst, which is the last song on the album providing a catchy “Can I lean on you for now, you’re my high and all time low.”
Overall, the album showcases atmospheric lyrics on oppression, hopelessness, societal and mental health issue veiled by aggressive instrumentals and vocals. Although some of the songs feel quite similar there are a few standouts e.g. The Echoes Of Disparity and They Take What They Want. It serves somewhat as a mental thesis whilst staying true to Future Palaces metalcore formula by doing what they do best. 7/10
Mortal Blood - Harbingers Of Chaos (Self Released) [James Jackson]
I’ve opened a review with a similar statement that when a band lists Paradise Lost and My Dying Bride, amongst others, as influences, I can’t help but feel a sense of excitement; for I’ve been a long term fan of these bands and their blend of death and doom metal and enjoy discovering bands of a similar ilk, so on paper Mortal Blood should be right up my street. Baltimore’s Mortal Blood are a one man project in the form of Dan Krell, who by the seems of things has handled every aspect of this album from the writing to the production, this year’s album Harbingers Of Chaos follows on from two previous releases Fates Overture and Unholy Feast.
Vocally Krell opts for a combination of clean and growled vocals throughout the album, the clean vocals at times added with an effect that offers more haunting properties, the balance between the two styles varying between tracks. Musically there’s a great deal on offer, the guitar work is as solemn and doom inspired as I had expected, offering some great funereal style dirges and whereas the writing isn’t hinged around melodies like other artists in the genre, those that are added bring a welcome touch to proceedings.
At times the drums offer some interesting depth, relying quite frequently on very "tribalistic" parts and phrases. The only thing that I can find particular fault in is that at times there seems to be a lack of fluidity within the songs, The Fallen for example feels quite clunky as it changes from one riff to another, the drum pattern seems to resist a swift change in tempo or rhythm and the result is at odds with the rest of the song. However overall the sound of the album, the quality of the songs themselves and the way that they have been written is pretty impressive and definitely deserves a few more listens. 6/10
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