Thy Catafalque has come a long way since its origins. Started as a duo project in its early days but soon evolving into a solo project of multi instrumentalist Tamás Kátai, the music of Thy Catafalque was originally rooted in black metal but as the years have progressed the music has taken on a far more progressive, avant- garde and experimental nature with a multitude of different soundscapes employed across the previous eleven albums.
It has become much more than a solo project as well with collaborations with many different musicians and singers and in recent years it has transcended from being a purely studio project with the first live show taking place in 2021 (recorded for the fantastic Mezolit live album) and it has remained a live entity since.
Australian guitar hero Stu Marshall may be more recently associated with US power metal band Death Dealer and originally known as the axeman of Dungeon but since 2008 he has had his solo project Empire Of Eden. A collaborative effort, it's basically Marshall on guitar, bass, orchestrations and production, alongside drummer Jasix Manewell and plethora of guest musicians.
Most of these are vocalists, including Jonas Heidgert (Dragonland), Louie Gorgievski (Night Legion), Rob Rock (Impellitteri), David Readman (Voodoo Circle). There are few bassists with John Gallagher (Raven) and Mike LePond (Symphony X), a few guitarists and another drummer. Marshall makes sure to match the song to the artist meaning that we have a mix of Avantasia/Ayreon/Phenomena, as power metal meets prog, thrash and AOR.
No matter the genre, the talent is huge, but I do think it's a little disjointed in parts the best songs for me featuring Sean Peck (Death Dealer) and Jeff Martin (Racer X) as I think this is where Marshall does his best work. Empires Of Eden is still Stu Marshall's entire skillset on display and he's got plenty to show off. 7/10
Apocryphal - Facing The End (The Circle Music) [Mike Pickett]
I wasn’t sure what to expect from another atmospheric death metal band, as the term always seems to have a different meaning depending on the group. But with Apocryphal hailing from France, I had high hopes.
The opening track, Smells Like The End Of The World, didn’t disappoint—at least from a musical perspective. Don’t get me wrong, there’s nothing wrong with the vocals; it’s just that there’s a bit too much clean singing for my taste. However, once I adjusted my expectations, I was pleasantly surprised by the track’s composition. There are some fantastic tempo changes in this opener, some of which really caught me off guard—I even rewound the track a few times to replay a couple of those transitions.
Each track on this album shifts from an aggressive death metal sound to a more power metal vibe. I was hoping for more "atmospheric" elements, but this doesn’t detract from the album as a whole. It’s still an impressive mix of gritty vocals, driving riffs, and pounding drums in the heavier sections, with well-placed clean vocals and harmonies layered over ethereal lead guitar parts.
The fifth track, Plague Doctor, finally brings in some of the atmospheric sounds I was expecting, with a few additional touches throughout. However, even here, the album leans more on music and vocals than ambiance. Lyrically, the album delves into socio-political themes, tackling topics like ecological concerns, dishonest politicians, religion, and more. It’s a refreshing departure from the genre’s typical themes and adds a layer of substance.
This may not make it into my regular rotation, but I’m sure I’ll revisit it again. If you enjoy both power metal and death metal, there’s likely something here for you to appreciate. Die-hard death metal fans may find it challenging to embrace, but I think power metal fans will be more receptive to the harsh elements than purist death metal fans might be to the power metal aspects. 7/10
With Thy Catafalque’s twelfth album XII - A Gyönyörű Àlmok Ezután Jönnek, the progressive and experimental nature of the band is in full flow with ten songs which vary in mood, atmosphere and extremity. Tamás performs the majority of the instruments on the album but there is a plethora of guest musicians performing instruments as varied as fretless bass, saxophone, violin, French horn, clarinet and trumpet as well as a huge cast of guest vocalists and friends from inside and outside the Hungarian metal scene.
This album has the biggest guestlist to date for a Thy Catafalque album with more than twenty collaborators. Although the album does have a huge variation of different sounds and instruments throughout, it is still a very metal album with plenty of brutal and ferocious moments but interspersed with moments of artistic flair as well as the avant-garde and unorthodox.
Songs such as Vasgyar, Vilagnak Vilaga and Alahullas are traditional metal songs at their heart but there are plenty of moments in these songs that show that Thy Catafalque are anything but a traditional metal band. This is an album that really keeps you on your toes as there is so much going on and a lot to digest. The more experimental nature of the band can be heard on the second half of the album with the traditional Hungarian folk of Lydiahoz, the spaghetti western influenced Vakond and the deeply progressive and atmospheric Kodkiraly.
Despite this album coming only a year since previous album Alföld, XII: A Gyönyörű Àlmok Ezután Jönnek shows that Tamás really isn’t running out of ideas and influences when it comes to Thy Catafalque. It is another excellent album which absolutely demands multiple listens to fully appreciate and digest. Every listen reveals nuances that were missed on the previous listen and Thy Catafalque really live up to their reputation as a progressive, experimental and avant-garde metal outfit.
If you are looking for something heavy which has no boundaries then this album is absolutely worth a listen, If you want something straightforward then XII: A Gyönyörű Àlmok Ezután Jönnek
will not be the album for you. 8/10
The Rattlebacks – Sidewinder (Self Released) [Simon Black]
I’ve been really impressed by how many high quality, more traditionally-orientated hard rock albums have emerged of late. It was my original route into all this through bands like Yes, Asia and Magnum back in the early 80’s when I was young, and they were not, and it comes back into fashion from time to time.
will not be the album for you. 8/10
The Rattlebacks – Sidewinder (Self Released) [Simon Black]
I’ve been really impressed by how many high quality, more traditionally-orientated hard rock albums have emerged of late. It was my original route into all this through bands like Yes, Asia and Magnum back in the early 80’s when I was young, and they were not, and it comes back into fashion from time to time.
To be honest, it never went away, given a few of the stalwarts are still out there producing new content (if not always treading the boards as relentlessly), but every 15 years or so the next generation discovers their parents (and indeed grandparents) musical tastes and runs with it. These newer acts generationally run the gamut, and quite a few of the more noteworthy discoveries in recent years are assembled by older musicians who have cut their teeth in different styles, but equally there are acts with much younger members blasting out with the freshness and energy that attracted me to the genre in the first place.
The Rattlebacks definitely fit into this niche, like a glove. (Cue Ace Ventura laugh - Ed)
Hailing from Brighton in the UK, The Rattlebacks emerged in 2021 and so far have a well-respected EP Kink under their belts, with Sidewinder being their first full length album and are one of a number of acts who seem hell bent on youthfully bringing the frisson of the early 80’s for a new generation, and their history of (and indeed ongoing) touring with Tailgunner tells you all you need to know about how string the demand for this classically influenced resurgence is.
Some acts have made the mistake of trying to emulate the studio sound of that period, but The Rattlebacks and the acts like them kicking the doors down wisely choose to take the ethos and atmos, whilst absolutely making the sound reflective of the massive leaps in recording technology that this decade offers. This album is richly produced, but it’s got such good material to work with that even if they had chosen the faux analogue path, it would still have worked, because this is mature, heartfelt and focussed Rock ‘n’ Roll of the kind that always just works, because it knows how to grab you by the groovy parts and twist baby, twist.
Musically these songs have a hell of a lot of variety, from bangers to mood pieces, this record flows so well from track to track, whilst retaining enough variety and distinctiveness between them all that it never gets chance to get stale. Vocally Josh Clarke knows how to hit the emotive bits, with a soulful and broad range to his pipes that flows effortlessly between the cleaner, moodier bits, but with enough Rock ‘n’ Roll gruffness and Grunge-era groove to just simply sound of all those eras, but more importantly this one too.
Despite distinguishing between distinct lead and rhythm roles, this record is fuelled by the kind of guitar riff weaving that goes right back to Messrs Richards and Woods, or Perry and Whitford this whole album screams out loud of a bunch of players whose chemistry is locked in exceedingly tightly whilst sounding free and loose, which is exactly what it should be. Old and young at the same time, this hit the spot very well indeed. 9/10
The Rattlebacks definitely fit into this niche, like a glove. (Cue Ace Ventura laugh - Ed)
Hailing from Brighton in the UK, The Rattlebacks emerged in 2021 and so far have a well-respected EP Kink under their belts, with Sidewinder being their first full length album and are one of a number of acts who seem hell bent on youthfully bringing the frisson of the early 80’s for a new generation, and their history of (and indeed ongoing) touring with Tailgunner tells you all you need to know about how string the demand for this classically influenced resurgence is.
Some acts have made the mistake of trying to emulate the studio sound of that period, but The Rattlebacks and the acts like them kicking the doors down wisely choose to take the ethos and atmos, whilst absolutely making the sound reflective of the massive leaps in recording technology that this decade offers. This album is richly produced, but it’s got such good material to work with that even if they had chosen the faux analogue path, it would still have worked, because this is mature, heartfelt and focussed Rock ‘n’ Roll of the kind that always just works, because it knows how to grab you by the groovy parts and twist baby, twist.
Musically these songs have a hell of a lot of variety, from bangers to mood pieces, this record flows so well from track to track, whilst retaining enough variety and distinctiveness between them all that it never gets chance to get stale. Vocally Josh Clarke knows how to hit the emotive bits, with a soulful and broad range to his pipes that flows effortlessly between the cleaner, moodier bits, but with enough Rock ‘n’ Roll gruffness and Grunge-era groove to just simply sound of all those eras, but more importantly this one too.
Despite distinguishing between distinct lead and rhythm roles, this record is fuelled by the kind of guitar riff weaving that goes right back to Messrs Richards and Woods, or Perry and Whitford this whole album screams out loud of a bunch of players whose chemistry is locked in exceedingly tightly whilst sounding free and loose, which is exactly what it should be. Old and young at the same time, this hit the spot very well indeed. 9/10
Empires Of Eden - Guardians Of Time (Massacre Records) [Matt Bladen]
Australian guitar hero Stu Marshall may be more recently associated with US power metal band Death Dealer and originally known as the axeman of Dungeon but since 2008 he has had his solo project Empire Of Eden. A collaborative effort, it's basically Marshall on guitar, bass, orchestrations and production, alongside drummer Jasix Manewell and plethora of guest musicians.
Most of these are vocalists, including Jonas Heidgert (Dragonland), Louie Gorgievski (Night Legion), Rob Rock (Impellitteri), David Readman (Voodoo Circle). There are few bassists with John Gallagher (Raven) and Mike LePond (Symphony X), a few guitarists and another drummer. Marshall makes sure to match the song to the artist meaning that we have a mix of Avantasia/Ayreon/Phenomena, as power metal meets prog, thrash and AOR.
No matter the genre, the talent is huge, but I do think it's a little disjointed in parts the best songs for me featuring Sean Peck (Death Dealer) and Jeff Martin (Racer X) as I think this is where Marshall does his best work. Empires Of Eden is still Stu Marshall's entire skillset on display and he's got plenty to show off. 7/10
Apocryphal - Facing The End (The Circle Music) [Mike Pickett]
I wasn’t sure what to expect from another atmospheric death metal band, as the term always seems to have a different meaning depending on the group. But with Apocryphal hailing from France, I had high hopes.
The opening track, Smells Like The End Of The World, didn’t disappoint—at least from a musical perspective. Don’t get me wrong, there’s nothing wrong with the vocals; it’s just that there’s a bit too much clean singing for my taste. However, once I adjusted my expectations, I was pleasantly surprised by the track’s composition. There are some fantastic tempo changes in this opener, some of which really caught me off guard—I even rewound the track a few times to replay a couple of those transitions.
Each track on this album shifts from an aggressive death metal sound to a more power metal vibe. I was hoping for more "atmospheric" elements, but this doesn’t detract from the album as a whole. It’s still an impressive mix of gritty vocals, driving riffs, and pounding drums in the heavier sections, with well-placed clean vocals and harmonies layered over ethereal lead guitar parts.
The fifth track, Plague Doctor, finally brings in some of the atmospheric sounds I was expecting, with a few additional touches throughout. However, even here, the album leans more on music and vocals than ambiance. Lyrically, the album delves into socio-political themes, tackling topics like ecological concerns, dishonest politicians, religion, and more. It’s a refreshing departure from the genre’s typical themes and adds a layer of substance.
This may not make it into my regular rotation, but I’m sure I’ll revisit it again. If you enjoy both power metal and death metal, there’s likely something here for you to appreciate. Die-hard death metal fans may find it challenging to embrace, but I think power metal fans will be more receptive to the harsh elements than purist death metal fans might be to the power metal aspects. 7/10
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