Combining members of Kamelot, Wastefall and many others, international prog metal band Philosophobia return with the follow up to their 2022 debut album which got a great review in these here pages and the line up of guitarist Andreas Ballnus, drummer Alexander Landenburg, vocalist Domenik Papaemmanouil, and keyboardist Tobias Wergerber reminds from the debut with only bassist Kristoffer Gildenlöw replaced by Sebastian Heuckmann.
So more virtuosos and well over an hour of music, it's something that only diehard prog metal fans will get into. I'm talking those that love bands such as Threshold, Control Denied and Nevermore as on this second album Philosophobia get heavier with a more aggressive, modern style which starts with King Of Fools, thrashy but with moments of melody, Domenik's voice having the power and expression of Matt Barlow.
Musically they also share a lot of elements with Evergrey, frequent Evergrey collaborator Vikram Shankar adds a keyboard solo to the jazzy F 40.8, the drama on Inside His Room and slow burn of Will You Remember all in the style of Evergrey, though the latter is a lot more Dream Theater too. Philosophobia's style of prog metal has shifted with the times, the first album had a long gestation period but this one is a bit more immediate, difficult second album? No such thing, as this band expand their sonics with this sophomore release.
The most impressive track on this album though are the The Forgotten I which is the first part of a suite that climaxes with the final track on the album a 20 minute epic that features choirs, strings and every ounce of technical ability this band have. Both link well, though split by most of the record it gives a sense of unity to The Constant Void. So yes this is prog for prog fans but Philosophobia follow up their debut brilliantly. 8/10
Orianthi – Some Kind Of Feeling (Woodward Avenue Records) [Cherie Curtis]
Orianthi is a bit of a sensation. In her latest album Some Kind Of Feeling she makes me want to pack my bags, cut my hair, and hit the desert roads to leave my problems in the dust. The album kicks off melodically with the hit Attention and Some Kind Of Feeling. It gets slightly repetitive here however the nostalgic hard rock and with a catchy chorus I just had to sing, Similarly with Dark Days Are Gone later in the album. These tracks are cinematic and familiar in a way from the first listen I could envision myself driving around on a summer’s day in Cadillac convertible with this album blasting.
What I’ve Been Looking For and Bad For Each Other is just as hard hitting but winds down to a more tenebrous and sultry composition. What I’ve Been Looking for is more sentimental than the latter, the harmonies add blues-y texture reminiscent of an 80s love ballad which was immediately contrasted by a cover of Sharp Dressed Man by ZZ Top. Although there are no personal touches added by Orianthi it is still an exceptional cover, it doesn’t hit as hard as the original, but you’re dancing all the same. This cover exemplifies her practised technique; striking and smooth backed with her impressive guitar prowess.
Ghost is an adept track; it’s measured but forgettable which marks the album down since it feels like an odd crash. This however is followed First Time Blues featuring Joe Bonamassa which is a real stunner. Orianthi’s suave vocals before an articulate and expert lead from Bonamassa complement each other perfectly. As a round off Call You Mine is an indulgent heartbreak anthem. Some Kind Of Heaven is a good album overall but takes a downward turn too many times, getting a little repetitive, it’s an album for the heartbroken on the open road. 7/10
Born Of Osiris - Through Shadows (Sumerian Records) [Mark Young]
Progressive Metalcore is another genre that I’ve not really dipped a toe into, and as a result there is probably a ton of bands that have been and gone without me ever hearing them. Born Of Osiris have been in existence since 2003 and this is the first time I’ve heard any of their music so I’m going in completely blind. My concern prior to pressing play is that I’m not massive on (normal? Traditional) metalcore as it is.
As it starts with Seppuku, a cod electronic bimble that breaks down into a super heavy modern slice of heavy metal. Vocals are screamed, riffs are dropped and it rips through at a fast pace. Initial thoughts are removed and with a lead break that blends the technical and song serving, its fair to say that I am enjoying this. That electronic tinge is never far away but doesn’t overwhelm the guitars, which is what I am here. Elevate keeps that motif in place but with a more swinging arrangement as the harsh vocals keep on. Suddenly there is a temperature change, ever so slightly as the style changes from total grit into a lesser version, but only for a second. It has an almost light and breezy middle where the keys are given more headroom, with the addition of those cleaner vocals.
Its on Through Shadows that the super modern sound really starts to come through. And then the clean singing comes in and I remember why I’m not keen. I don’t mind clean(ish) singing in certain situations but I’ve never been a fan of the switch where the song changes to align with the cleaner style and I’ve come to the conclusion that its because my age group (certainly the metal heads at school) would not have been down with. Singer Ronnie Canizaro has an incredible roar, and I’ll be honest I would taken to this a lot more had that roar stayed in place.
The War That You Are goes back to that stop/start super heavy piece but with a greater mix of the roars and shouty backing. I’m still not onboard with this sound that seems to be everywhere at the minute, you can’t deny that it sounds heavy but feels overly processed in that you could take it from the studio to a gig and they would sound identical. I appreciate that technology is there so you can do it, and as I type this its like an old man shouting at clouds but it doesn’t hit the same.
So far, the four songs have been almost the same in build whilst not actually being complete repeats they are not resonating with me at all. Inverno takes its cues from anime from the 80’s? I’m not sure and like the others its ripped through but I’m not getting a thrill from it. There is not a person alive who hasn’t driven with their windows down blasting heavy music but I can’t see myself doing that with this. Again, it is probably a generational thing but as this one wraps, I’m just not getting it.
That sense of familiarity is creeping in, the reliance on electronica and those stabbing riff patterns appearing again with A Mind Short Circuiting coming and going, doing all things heavy without leaving a mark on me. I’m trying not to be down on this and in every review I do I try to offer a balanced view but by the time In Desolation comes in with much the same build I’m about to tap out. It’s not offering anything different from any of the other songs, there are slight variances in pace but that is about it. I’m guessing that younger metal heads would be all over this, in the same way I was all over Slayer when I was 14-15. It’s the nature of things and I can say that they are least heavy but its too clinical, too sterile for me.
That sense of familiarity is creeping in, the reliance on electronica and those stabbing riff patterns appearing again with A Mind Short Circuiting coming and going, doing all things heavy without leaving a mark on me. I’m trying not to be down on this and in every review I do I try to offer a balanced view but by the time In Desolation comes in with much the same build I’m about to tap out. It’s not offering anything different from any of the other songs, there are slight variances in pace but that is about it. I’m guessing that younger metal heads would be all over this, in the same way I was all over Slayer when I was 14-15. It’s the nature of things and I can say that they are least heavy but its too clinical, too sterile for me.
As things stand, its an album that is very modern in its approach, it does what it needs to do to be heavy when it needs to be but with little variance between numbers. On Blackwater, which closes the album out they do bring a different method to their madness, but there is still that dependence on those staccato riffs nestled amongst the keys. I’d hoped that with that progressive tag, I would have found something to really love on here and that didn’t happen. The songs weren’t badly written or recorded, it’s just that on a personal level there was something missing. I’m sure that existing fans of the band and this genre will roll eyes and get behind this, its just not for me. 6/10
Impureza - Alcázares (Season Of Mist) [GC]
It’s another week and so that means more new music to review, checking the old folder for what I have this week I am greeted with a Hispanic Flamenco Metal release, and I am stopped in my tracks with the instant thought of WTF?? I am a total loss as to what exactly I am supposed to expect from this.
Impureza - Alcázares (Season Of Mist) [GC]
It’s another week and so that means more new music to review, checking the old folder for what I have this week I am greeted with a Hispanic Flamenco Metal release, and I am stopped in my tracks with the instant thought of WTF?? I am a total loss as to what exactly I am supposed to expect from this.
There are talks of and I quote ‘’voluptuous Latin atmospheres and explorations of Spanish history through a fictional and esoteric aspect’’ whatever that means? and there are lofty comparisons to Morbid Angel and other death metal bands, and it’s all completely in Spanish language, so I honestly don’t really know how I feel about this??
My cautious mood is only heightened by Verdiales which is a little intro of said flamenco guitars that makes me feel I am lost in a back street in Andalucia and not reviewing a metal album the beginning of Bajo Las Tizonas De Toledo sounds like something taken out of a cowboy movie but through a death metal filter which is weird in itself but, fortunately the rest of the song redeems it with some blistering and furious death metal and the way the lyrics flow give it a definite Latino flow and then the mid-section breakdown just makes me piss myself with laughter, I probably shouldn’t but it sounds so ridiculous mixed in with everything else!
My cautious mood is only heightened by Verdiales which is a little intro of said flamenco guitars that makes me feel I am lost in a back street in Andalucia and not reviewing a metal album the beginning of Bajo Las Tizonas De Toledo sounds like something taken out of a cowboy movie but through a death metal filter which is weird in itself but, fortunately the rest of the song redeems it with some blistering and furious death metal and the way the lyrics flow give it a definite Latino flow and then the mid-section breakdown just makes me piss myself with laughter, I probably shouldn’t but it sounds so ridiculous mixed in with everything else!
Covadonga is thankfully a bit more to the point and concentrates on some brutal death metal the way death metal should actually sound, no messing about no fiddly flamenco rhythms just pure balls to the wall fury and then Pestilencia goes directly back to the western movie soundtrack feel and while I appreciate this is their heritage and they are proud of it and everything, it’s just really not for me so when the song does spark into life it’s a blessed relief and shows that they know how to really write some solid death metal but the Spanish flourishes are never far away and all they serve to do is really break the flow up and make everything sound a bit messy and directionless.
Reconquistar Al-Ándalus does the opposite of some previous tracks and starts with the brutal death metal flurry and it takes almost 3 minutes until we get what we have come to expect, fluttery guitars and fucking bongos or whatever they are and once again all this does is just stop the momentum and break up an otherwise decent song, Murallas is a little mid album interlude not dissimilar to the intro track and you just wish that they would sort of cut it out now or hope that this is them getting it out of their system, on La Orden Del Yelmo Negro it sounds like they have decided to do just that, musically anyway it’s a savage and beautifully executed Nile-esque sounding track but vocally once again they try and mix things up and it just sounds ridiculous and over the top and its just not too my liking at all.
Castigos Eclesiásticos has a much more doom focus and because of this the twinkly guitars and tappy tap drums somehow, bafflingly seem to fit in with everything and the death meatal sounds even better mixed in with it and I don’t know how they have managed to pull it off but they have mixed it all together perfectly here (for once)! Bravo lads, bravo!
El Ejército De Los Fallecidos De Alarcos is slightly underwhelming and a bit boring in all honesty, it just doesn’t really do anything or stand out! Ruina Del Alcázar is ANOTHER twiddly western movie soundtrack interlude that is just annoying at this point, thankfully they do end on a brutally savage high with Santa Inquisición and of course there are over the top and unnecessarily flowery bits but it’s still one of the best tracks on the album and showcases what they can do when they actually concentrate on writing a whole song and not tacking bits together.
I wrote this entire review with a puzzled look on my face and my brain thinking what is happening here? It’s a very bizarre mix of some great death metal with flowery flamenco parts that sound ridiculous for the most part! It was decent in place and infuriating in others! You can either take my word for it or listen to it yourself and be as confused as it was!! 6/10
I wrote this entire review with a puzzled look on my face and my brain thinking what is happening here? It’s a very bizarre mix of some great death metal with flowery flamenco parts that sound ridiculous for the most part! It was decent in place and infuriating in others! You can either take my word for it or listen to it yourself and be as confused as it was!! 6/10
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