Crown Lands hail from Canada and are a remarkably impressive sounding Prog Rock outfit, made more pertinent by the fact that there are only the two of them (vocalist / drummer Cody Bowles, and guitarist / bassist / keyboardist / everything bloody else Kevin Comeau).
To be fair this is less and less noteworthy nowadays given the leaps and bounds in technology which enable one or more multi-instrumental virtuosos to write, record and master without ever leaving the comfort of their homes (which is quite useful in a part of the world that can disappear under a blanket of snow for half the year). I am frequently cautious of these studio projects though, many of which never go anywhere, despite all the resources spent making them.
At least they meet in person to record, which rapidly moves my cynicism dial in their favour and that’s probably why this sounds like a real band rather than a remote recording project. All too often, no matter how good the artists, technology or production the end product often lacks the certain frisson of chemistry you inevitably get when players who know each other backwards musically really gel in a room, and here it absolutely does. It’s a strong and energetic chemistry too, and with this their fourth release, it’s got a bucket load of confidence too.
And before you make the assumption that this is just a studio project, these boys do play shows and if you take the nineteen minutes of your life necessary to partake of the video release for the title track of the album on YouTube, a pro-shot live version is what you will get, with the band dressed like they fell off the set of a Game Of Thrones spin off and the line up expanded to a four piece. They also opened for Kiss on their 2023 tour. Cynicism dial now in full retreat…
Then you get to the music.
Wow. With the exception of the epic titular closer, the rest of the album displays remarkable focus and brevity for a piece of prog. Artistes in the genre often feel the need to overextend run times just for the sake of it, leaving the listener after five minutes the option of leaving the room, visiting the bathroom, brewing a cuppa, letting it cool, drinking it and returning with still a good ten minutes left to run. Too often, it’s gratuitous, and Crown Lands don’t fall into that trap.
At least they meet in person to record, which rapidly moves my cynicism dial in their favour and that’s probably why this sounds like a real band rather than a remote recording project. All too often, no matter how good the artists, technology or production the end product often lacks the certain frisson of chemistry you inevitably get when players who know each other backwards musically really gel in a room, and here it absolutely does. It’s a strong and energetic chemistry too, and with this their fourth release, it’s got a bucket load of confidence too.
And before you make the assumption that this is just a studio project, these boys do play shows and if you take the nineteen minutes of your life necessary to partake of the video release for the title track of the album on YouTube, a pro-shot live version is what you will get, with the band dressed like they fell off the set of a Game Of Thrones spin off and the line up expanded to a four piece. They also opened for Kiss on their 2023 tour. Cynicism dial now in full retreat…
Then you get to the music.
Wow. With the exception of the epic titular closer, the rest of the album displays remarkable focus and brevity for a piece of prog. Artistes in the genre often feel the need to overextend run times just for the sake of it, leaving the listener after five minutes the option of leaving the room, visiting the bathroom, brewing a cuppa, letting it cool, drinking it and returning with still a good ten minutes left to run. Too often, it’s gratuitous, and Crown Lands don’t fall into that trap.
When they do go epic, it’s because the song wouldn’t work any other way, with Apocalypse culminating as it does an album which has built energy and urgency for the six preceding tracks, and at only forty-two odd minutes in total the end result is a sharp, concise and rather effective conceptual piece that actually keeps you hooked in throughout. That razor precision on arrangements shows real skill and my cynicism dial has now fucked off completely…
However, it’s the performances these boys deliver that really nails it for me. Bowles is in the same register as early Geddy Lee, but apart from them having a major streak of prog running through them, there’s little in common with their globally known countrymen. And what a voice… It’s powerful, distinctive, charismatic and hauntingly pulls you into their music and does not let go.
Comeau in addition, simply does not sound like one man wearing three hats. Frequently in such instances, one of the instruments (more often than not the bass) is just there to deliver a technical function and follows one of the others, but he plays each and every one almost with a different character, which is why I am truly surprised when I discovered it’s all the work of one person (albeit one with multiple musical personalities).
However, it’s the performances these boys deliver that really nails it for me. Bowles is in the same register as early Geddy Lee, but apart from them having a major streak of prog running through them, there’s little in common with their globally known countrymen. And what a voice… It’s powerful, distinctive, charismatic and hauntingly pulls you into their music and does not let go.
Comeau in addition, simply does not sound like one man wearing three hats. Frequently in such instances, one of the instruments (more often than not the bass) is just there to deliver a technical function and follows one of the others, but he plays each and every one almost with a different character, which is why I am truly surprised when I discovered it’s all the work of one person (albeit one with multiple musical personalities).
However, the all-important net effect is one of a band with a huge richness and versatility who effortlessly weave music that is really rather addictive and has left me wanting much, much more, which the back catalogue is going to have to attempt to fill. 9/10
Crematory – Greatest Hits: English Hymns & Deutche Hymnen (ROAR) [Cherie Curtis]
To celebrate their 35th Anniversary, Crematory brings us a compilation of their greatest hits with some brand-new tracks. 15 tracks in English and 15 tracks in German all of which are incredibly well textured in versatile ambience and thunderous instrumentals which are laced with pure energy. This dual language split partway through is a genius move for their anniversary release showcases their evolution spanning from the early 90s gothic metal to high production, pioneering gothic Industrial style heavy metal fusion, they have as of today's date as well as staying true to their roots.
Whether it’s the English tracks or the German tracks, every single one has extensively rich layering to build tension which will keep you hooked until the inevitable explosion of raw and ferocious chorus. A personal favourite is Kommt Naher, which features high tech industrial backing tracks with a dynamic blend of low-end gritty metal vocals and a nicer more traditional shouted harmonies which is the perfect storm of heaviness without it being a pure face-melter. Their track Virus is absolutely bone shaking, and just straight up cool, there’s exertion coming through just a hard hitting and high energy beats and technical and searing hot instrumentals which gives this one a metal club classic feel.
Crematory has a uniquely defined structure and signature sound, which after 35 years on the scene is expected, however it’s worth noting that sometimes this isn’t always the case as it’s common for bands to lose or switch up their sound after some years. The high level of skill and dedication still shines through, however, this one is a compilation album so you may have heard these before but if you’re anything like me, you’d think it’s nice to have to have a remastered version of a favorite.
There’s an overwhelming amount to love with this one. As someone who hasn’t come across Crematory before, each track is new and impressive to me. I can understand that if you are a longtime fan of these guys, it can only peak your interest so much for the few minutes it takes to listen to the 4 new singles they’ve added; Blind, Born, Wrong Side Of The Mirror and Flammenmeer.
Overall, this one is substantial and a pure masterclass of skill and atmosphere. It’s a real feast for the ears and I'm sure you can appreciate their Greatest Hits on the 100th listen and enjoy them just as much as you did the first time round and let their lyricism, atmospheric grandeur and delivery take you on an ass kicking heavy meets catchy journey once again. 10/10
Port Noir - The Dark We Keep (InsideOut Music) [Matt Bladen]
I wasn't expecting this from Swedish band Port Noir.
On their fifth album The Dark We Keep they've let out all their innermost darkness with the heaviest, most aggressive music they've recorded. Their previous albums, offered prog that was entwined with alt rock and hip-hop, interesting, inventive but ultimately perhaps lacking in the current prog metal scene.
Well not any more as they really push towards the likes of Leprous where ambient, emotional passages change shaped into massive downtuned riffs and grooves. The experimental era they've been navigating has led them to this much louder place and it means that The Dark We Keep feels more immediate and definitive than anything previously, though Reverie does feature some similarities to Tyla's 2023 track Water.
That being said their alt metal beginnings haven't been cut loose, they're blended into the more aggressive tones used often in opposition to the intensity as grooves build into caverns. At their core they're a trio but with drummer Andreas Wiberg anchoring the songs, guitarist Andreas Hollstrand and vocalist/bassist Love Anderson share the piano/keys amongst other things.
With two multi-instrumentalists in the band, they play songs bigger then the sum of their parts and while Port Noir have always been a band about layers and non-linear composition, here they're about volume and impact as well. Pushing musical complexity alongside melodic sensibility much like Leprous, Caligula's Horse and Vola.
Port Noir have been brooding on their dark side for a while now and with their fifth album they have unleashed it. 8/10
Savage Mania - Demonic Assault (Fireflash Records) [Mark Young]
The first thing that strikes you about this album is its abundance of energy that bursts forth the moment you press play. Its immediate, it really is and you have to applaud Savage Mania for being able to capture that for their debut release.
Crematory – Greatest Hits: English Hymns & Deutche Hymnen (ROAR) [Cherie Curtis]
To celebrate their 35th Anniversary, Crematory brings us a compilation of their greatest hits with some brand-new tracks. 15 tracks in English and 15 tracks in German all of which are incredibly well textured in versatile ambience and thunderous instrumentals which are laced with pure energy. This dual language split partway through is a genius move for their anniversary release showcases their evolution spanning from the early 90s gothic metal to high production, pioneering gothic Industrial style heavy metal fusion, they have as of today's date as well as staying true to their roots.
Whether it’s the English tracks or the German tracks, every single one has extensively rich layering to build tension which will keep you hooked until the inevitable explosion of raw and ferocious chorus. A personal favourite is Kommt Naher, which features high tech industrial backing tracks with a dynamic blend of low-end gritty metal vocals and a nicer more traditional shouted harmonies which is the perfect storm of heaviness without it being a pure face-melter. Their track Virus is absolutely bone shaking, and just straight up cool, there’s exertion coming through just a hard hitting and high energy beats and technical and searing hot instrumentals which gives this one a metal club classic feel.
Crematory has a uniquely defined structure and signature sound, which after 35 years on the scene is expected, however it’s worth noting that sometimes this isn’t always the case as it’s common for bands to lose or switch up their sound after some years. The high level of skill and dedication still shines through, however, this one is a compilation album so you may have heard these before but if you’re anything like me, you’d think it’s nice to have to have a remastered version of a favorite.
There’s an overwhelming amount to love with this one. As someone who hasn’t come across Crematory before, each track is new and impressive to me. I can understand that if you are a longtime fan of these guys, it can only peak your interest so much for the few minutes it takes to listen to the 4 new singles they’ve added; Blind, Born, Wrong Side Of The Mirror and Flammenmeer.
Overall, this one is substantial and a pure masterclass of skill and atmosphere. It’s a real feast for the ears and I'm sure you can appreciate their Greatest Hits on the 100th listen and enjoy them just as much as you did the first time round and let their lyricism, atmospheric grandeur and delivery take you on an ass kicking heavy meets catchy journey once again. 10/10
Port Noir - The Dark We Keep (InsideOut Music) [Matt Bladen]
I wasn't expecting this from Swedish band Port Noir.
On their fifth album The Dark We Keep they've let out all their innermost darkness with the heaviest, most aggressive music they've recorded. Their previous albums, offered prog that was entwined with alt rock and hip-hop, interesting, inventive but ultimately perhaps lacking in the current prog metal scene.
Well not any more as they really push towards the likes of Leprous where ambient, emotional passages change shaped into massive downtuned riffs and grooves. The experimental era they've been navigating has led them to this much louder place and it means that The Dark We Keep feels more immediate and definitive than anything previously, though Reverie does feature some similarities to Tyla's 2023 track Water.
That being said their alt metal beginnings haven't been cut loose, they're blended into the more aggressive tones used often in opposition to the intensity as grooves build into caverns. At their core they're a trio but with drummer Andreas Wiberg anchoring the songs, guitarist Andreas Hollstrand and vocalist/bassist Love Anderson share the piano/keys amongst other things.
With two multi-instrumentalists in the band, they play songs bigger then the sum of their parts and while Port Noir have always been a band about layers and non-linear composition, here they're about volume and impact as well. Pushing musical complexity alongside melodic sensibility much like Leprous, Caligula's Horse and Vola.
Port Noir have been brooding on their dark side for a while now and with their fifth album they have unleashed it. 8/10
Savage Mania - Demonic Assault (Fireflash Records) [Mark Young]
The first thing that strikes you about this album is its abundance of energy that bursts forth the moment you press play. Its immediate, it really is and you have to applaud Savage Mania for being able to capture that for their debut release.
This Swedish band, formed in 2019 have gone back to that golden era of thrash for inspiration, but instead of looking to the USA they set their sights within Europe; Kreator, Sodom amongst others setting the baselines in place. This isn’t to say you can’t hear Slayer in there, to these ears they are there but imagine a Slayer where they didn’t cross paths with Rick Rubin and released Reign In Blood that sounded like Hell Awaits. I’m kind of getting away from the point I wanted to make, which was this:
If you were brought up on those bands, around that time, when thrash was new, exciting, dangerous and made everything else feel like it was moving in slow motion and still listen to those early, primitive records then this is right up your Strasse. The music here, its structure, sound and execution is exactly like those records from 84-85.
If you were brought up on those bands, around that time, when thrash was new, exciting, dangerous and made everything else feel like it was moving in slow motion and still listen to those early, primitive records then this is right up your Strasse. The music here, its structure, sound and execution is exactly like those records from 84-85.
Am I suggesting that it can hold its own with those releases? To an extent, yes. There are those that believe that metal stopped around that time, that nothing of note has been released since. Demonic Assault can step right into that conversation and say, ‘Hello There’. On the flip side is that it isn’t original or new. Of course it isn’t, but if you know what you are getting into i.e. pure thrash then you cannot go wrong.
Still with us? Good. As I’ve said, this is a ball of energy. The songs are, crucially less than 4 minutes long and follow that maxim that short thrash is generally better, a short sharp shock that stabs each time. The Intro is what you expected and is followed by what I believe classic thrash is all about – harmonies, slow entry and then its time for departure. Undead Rebirth absolutely rages. Its unsubtle, relentless and brutal. It’s like the audio version of a rollercoaster where it feels like it’s about to leave the tracks. The Face Of Death follows, keeping the same approach whilst mixing a touch of high speed punk to it (thinking of Kill Yourself by SOD).
Still with us? Good. As I’ve said, this is a ball of energy. The songs are, crucially less than 4 minutes long and follow that maxim that short thrash is generally better, a short sharp shock that stabs each time. The Intro is what you expected and is followed by what I believe classic thrash is all about – harmonies, slow entry and then its time for departure. Undead Rebirth absolutely rages. Its unsubtle, relentless and brutal. It’s like the audio version of a rollercoaster where it feels like it’s about to leave the tracks. The Face Of Death follows, keeping the same approach whilst mixing a touch of high speed punk to it (thinking of Kill Yourself by SOD).
Master Of Hell completes the opening trio (ignoring The Intro) and drops like a bomb. Any promises made have been surpassed here, three songs that tapped into that glorious violence of early thrash. Any concerns that they would lose their way prove unfounded. They keep their aggressive intent in place right through, although they adjust tempos like the best do. Remorse is a keen example here, lead break into a more Maiden-like speed. Its fine, you know why its here, a continued pummelling with songs occupying that same rate of knots means that it loses its impact.
But not for long – Storm Of Steel breaks in, and that straight into high speed attack is unleashed once more. Death And Decay comes next, and this is the bastard son of Slayer and Sepultura, circa Schizophrenia. Its just furious, raging forward with no backward glance. Its probably my favourite track here, landing just at the right moment.
Fasttrack is pretty disposable, and I think its due to Death And Decay being such a blinder of a track. Some well-intentioned whammy abuse brings Demonic Assault to our ears and to brilliant close. If you imagine that the last song should go all out, then this is what they attempt here and it has to be said that it does the job. Closing things out in the same way that Undead Rebirth started them, it provides a satisfying bookend.
So, what about the score? Well, if I had to say who it’s for, then straight away its definitely for those who just dine on thrash metal, maybe those who like death metal but not the super detuned stuff, or the ‘super-brutal’ gear where it sounds like you are driving over the rumble strip on a motorway. Its for those who want to be transported back to that period in time (like me) and the memories that spring from it.
So, what about the score? Well, if I had to say who it’s for, then straight away its definitely for those who just dine on thrash metal, maybe those who like death metal but not the super detuned stuff, or the ‘super-brutal’ gear where it sounds like you are driving over the rumble strip on a motorway. Its for those who want to be transported back to that period in time (like me) and the memories that spring from it.
Is it original? No, we know it isn’t. Is it technical, possessing crazy time signatures and a ‘modern’ guitar sound, nope. These are riffs that play out like razor blades, sharp and focused on the task in hand. This is the sound of band that aren’t playing lip service to a genre, it’s the sound of a band who have somehow tapped into how these songs should sound, and in doing so have taken me back in time. 9/10
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