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REVIEW: Vanishing Point – Tangled in a Dream (Re-release)

Posted in CDs, Music, Uncategorized with tags , , , on January 28, 2017 by Sara Hammerzmith

Yet another re-release are seeing the light from AFM Records, and this time it’s Vanishing Point, the Australian progressive metal band. This album went out of press many, many years ago and isn’t available on any digital streaming services – making this a way to re-discover the band, and yours truly is one of them. So, despite of this being a re-release, I’ll treat it as a normal album.

The album opens with a pretty epic intro and opening song – very cinematic, lures you in only to leave the listeners a little… well, I don’t know how to say this in a not too harsh way – but I wasn’t too impressed with the first couple of songs. I literally dozed off a bit at the start, even though it did get interesting at certain parts, it never got to me, but gladly – the album picked up it’s pace starting with the fifth song on the album “Never Walk Away” which is a bit of a heavier than the others.

But, I’m not entirely convinced until “Two Minds One Soul”. Good works with keyboard accessories combined with dance-able melodies makes this my favorite track of the album all in all. The now aquired heaviness continues in “When I awake” before launching us into a very beautiful ballad – “Dancing with the Devil”. The album is wrapped up in a very dreamy and trippy good night lullaby in “Tangled in a Dream”.

It’s an okay album, if you ask me. It could be a lot better – could also be a lot worse, I reckon. I’m not to big of a fan, but on the same time it is good to have this little gem in my collection, after all.

This edition comes with 10 bonus track – A “Samsara II” which in my opinion is a lot better than the first, despite being a re-recording. It features two coversongs by Journey and Pink Floyd, two Japanese edition bonus tracks and five live versions of their songs, making the edition, aside the material, a bit interesting.

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(Label: AFM Records)

CDON I Ginza

// Sara

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REVIEW: Borealis – World of Silence MMXVII

Posted in CDs, Music, Uncategorized with tags , , , on January 22, 2017 by Sara Hammerzmith

In 2008, a Canadian prog-powermetal band called Borealis self-released their debut album “World of Silence”. Nine years later, on a real label, they have decided to re-release the album that started it all. But, to make it even better, they also re-recorded it, to show off the growth of them as a band, as well as individuals.

So, to make a quick summary of the album as an album, I think it’s a decent album. On the one hand, it is very well written and arranged – it has good melody build-ups, I love all the accessories and string parties that they have applied on the appropriate parts to lift a song or a section to the top. The solos are very technical, showing a lot of skill, but at times they don’t blend too well with the songs, leaving it a bit un-personal for my taste. But, for a debut album it is really good. While I found “Purgatory” to be more bland, this is a stronger album, for sure.

So, how does the re-recorded sound? Well, the material is obviously the same, but it’s elevated! It’s more technical, it’s an overall better production, but what caught my eye the most was the improved vocals. It was better sung, better planned – over all a better performance than previously. And of course, the production over all is much better – which is to be expected from a growing band.

The song that caught my heart the most was “Eyes of a Dream”. It’s been lifted to new heights, and I’m enjoying it more than ever.

With all of this being said, it’s a good release and something you should get your hands on if you are into this kind of music. And mostly, I’m looking forward to their new album, to see what they can do.

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(Label: AFM Records)

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// Sara

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REVIEW: Burning Point – The Blaze

Posted in CDs, Music, Uncategorized with tags , , , on December 1, 2016 by Sara Hammerzmith

Finnish power metal band Burning Point is finally back with what I guess could be referred to as their debutalbum with their new singer Nitte Valo (ex-Battle Beast), seeing their previous album was a re-recording mixed with some new songs.  The band however, has been around since the late 90’s, this being their sixth album in the counting.

The album starts off big and epic – as you would expect a classic power metal album to open, and it gives you hope for the following album; and the album continues on in the same spirit. It’s heavy, it’s fast and it got the perfect amount of accessories and a keyboard from heaven. I love keyboards, ok?

However, the album is a bit too bland for me. There is not really any song on the album that really sticks out – there are parts of songs, such as the intro for “Time has Come” and also the added aggressiveness in “The King is Dead, Long Live the King”, but despite that, the songs all melt together, which makes it a bit long to listen to at times. I wish they would have had a song or two which stood out more from the crowd, so to speak.

There are however some good tunes in there –  “Dark Winged Angel” with it’s harmonic chorus, “Things That Drag Me Down” with it’s epicness, as well as the aforementioned two songs. The song I enjoy the most of the album though is actually the bonus track, and also cover – “Metal Queen”. It feels like the anthem for every single female metal person out there – and it really cheered me up at the end. I love Nitte’s vocal work on this album – I love it when I hear such talented women work their voices on metal like this, claiming their place in the metal world.

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(Label: AFM Records)

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// Sara

 

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REVIEW: Nightmare – Dead Sun

Posted in CDs, Music, Uncategorized with tags , , , on November 27, 2016 by Sara Hammerzmith

Nightmare – France’s metalpioneers goes way back in time – all the way back to 1979, when it was originally founded. Debutalbum was released in 1984, and after their second album release in 1985 the band went on a large hiatus and returned to the scene in 1999. From here, you could say the road has been filled with obstacles – difficult endings with members and change of recordlabels didn’t make it easy for them, but they decided to come back stronger than ever. Now the band consists of Maggy Luyten on vocals as well as Olivier Casula on drums.

The album starts off with an epic opening which emerges into a heavy and fairly aggressive, yet melodic tune that I fell in love with already at first listen, “Infected”. This is the kind of song I’d easily put in a festivalplaylist, or more as, already have. It’s easy at times to look too much into musicianship – is this new enough, is this advanced enough, when sometimes, all you need is a good mood in the song.

The album continues on in the same vein – it’s heavy, it’s aggressive but with the small tint of melody that makes classic heavy metal exactly that. It’s a consistent album that doesn’t really have any low points at all – but instead a few peaks, one being “Seeds of Agony” that simply got me.

When listening to the album, I can’t help but notice it’s a bit heavier than the more previously released albums, which in this case is actually a good thing. I can admit right away, I wasn’t having too high expectations on this album, but it was very, very good and very enjoyable. It’s a very headbang friendly album, while still showing up some supreme talent and skills within the band.

However, what I really fell in love with is Maggy’s voice. She has one of those powerful voices that just knocks you over and yet give you chills all over, her vocal work in “Tangled in the Roots” is simply phenomenal. When listening through this album, I found myself being enchanted by her voice, just taking it in. They made a really good choice in replacement singer, that is for sure.

This album was a lot better than I actually expected it to be, and I’m very glad that I got the chance to review it – it’s just that good. I can warmly recommend this to everyone, you’ll love it.

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(Label: AFM Records)

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// Sara

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REVIEW: Words of Farewell – A Quiet World

Posted in CDs, Music, Uncategorized with tags , , , on November 25, 2016 by Sara Hammerzmith

Words of Farewell is a melodic death metal band with its roots in Germany. While the band was formed already in 2007, it took up to 2011 before the signed with AFM Records and released their highly acclaimed debut album “Immersion”. 2013 they followed it up with yet another successfull album named “The Black Wild Yonder” and now, three years later they are finally back again with their third album, “A Quiet World”.

The album opens up with a strong track in the shape of “My Share of Loneliness” which gives you a promising outlook of the album with it’s interesting rhythm patterns and great melody sections. It does continue on throughout the album – the songs are well produced with a lot of earcandy going on in several songs, the one catching my attention the most “Gaia Demise”, and not to speak the variety of intro’s used – none of the songs were the same. You’d find oriental elements in “Gallows Frame”, only to get a more futuristic sound in “Limit Cycle” to a very interesting intro to “Oversoul”.

While the album does have it’s moments of heaviness in songs as “Zero Temperance”, I do feel that this album is a bit lighter than the previous albums – taking a softer approach to it all, without losing the headbangfriendliness that comes with heavier music.

The album is wrapped up in the melancholic – why do all the bands write melancholic dystopic songs nowadays? Is it some sort of trend? – dreamy, almost cinematic kind of song in the nine minutes long finale of the album. “This Shadow My Likeness” is an experimental kind of song, and it just became the perfect ending for this album.

Overall, I think this is a step up for the band. The music might have gone a bit softer than you might be used to, but the material is a lot better, if you ask me. I’d warmly recommend this album to you guys, if you are into heavier melodic metal, and into screaming vocals. I really enjoyed this one.

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(Label: AFM Records)

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// Sara

 

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REVIEW: Eden’s Curse – Cardinal

Posted in CDs, Music, Uncategorized with tags , , , on October 12, 2016 by Sara Hammerzmith

Eden’s Curse is a melodic hard rock band based in the United Kingdom, though the members of the band today are spread across the world. After the success of “Symphony of Sin”, the band took a two year break to work on and produce their fifth studio album, that we now hold in our hands as “Cardinal”.

This album starts off with a build up, emerging in a stomp off before heading into a heavy riff with melodic elements to it, before diving into the melody line that is the prechorus before exploding in the chorus with a statement saying “here we are”, heading into the second song that on the other hand is extremely melodic with serene melody hooks that stays in your mind, with an enchanting prechorus, to name a little.

I’ve noticed, in my notes, that I’ve used the word “pleasant” and “cosy” a lot. And I guess these two words do describe the album the best. While the album finds itself with a few heavier songs, such as “Messiah Complex”, I’d say the strongest elements on this album are the melodic hooks accompanied with the singers amazing vocal work. And not to mention – the beautiful cameo of Liv Kristine in “Unconditional”.

However, a song that caught my attention a little extra was “Utopian Dreams”. When I heard those synthesizers opening the song, working as a red thread throughout the song with it’s half-cocky lyrics, I was simply sold. This is one of the perhaps a little heavier song, but it all comes down to the melody line of the synth – and I honestly think this is my personal favorite of the album.

I really, really like this album. I think this album is a step forward from “Symphony of Sin”, with a lot of strong material, incredible hooks and some amazing vocal work. I really enjoyed this album, and I look forward to put some of these songs into a festival playlist, right next to Kryptos.

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(Label: AFM Records)

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// Sara

 

 

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REVIEW: Leaves’ Eyes – Fires in the North EP

Posted in CDs, Music, Uncategorized with tags , , , on October 1, 2016 by Sara Hammerzmith

So, there’s been this little situation going on with Leaves’ Eyes, a band formed by singer Liv Kristine. After what seemed to be a bit of a peaceful, yet turbulent period of disagreements within the group itself, which left us knowing that the founding member, Liv Kristine, was no longer a part of the band and had been replaced by Finnish singer Elina Siirala, mostly famous from EnkElination to fill her shoes. It wasn’t an easy thing – they released a new video and a new recording of “Edge of Steel” with Elina on vocals, and while most people WERE being respectful to Elina and not hating on her, it wasn’t welcomed with big arms, which is mostly for the sole reason of re-recording Liv’s songs with Elina.

But, finally, after a bit of time, Leaves’ Eyes are delivering an EP with Elina as a singer, and I was looking forward to hear her in action with a song written more for her operatic voice, rather than trying to sing Liv’s more pop-oriented vocals, in lack of a better word to use.

So, this EP consists of five songs – much to my dismay, it was only one new song, “Fires In The North”, released in two different versions – one “normal” and one acoustic, and then three re-recordings of songs from the latest Leaves’ Eyes album, “King of Kings” – “Edge of Steel” which we are already familiar with, accompanied by “Sacred Wov” and “Sword in Rock”. All three of these are amongst my personal favorites off the album, making it even more interesting, but I won’t deny I was a bit disappointed to only see ONE new song appearing.

So, lets first talk about the new song – “Fires in the North”. It’s a pretty… decent song. I want to like this a lot, but it lacks. It has a bit of the Leaves’ Eyes spirit, makes me think of a few of their songs, a bit adventourus, but it never pops. I’m waiting for that explosion in the chorus that never comes – in fact, it’s really the same tempo and feeling all through the song, and it’s not until the third verse things starts to happen, which I really like.

However, what I will give them is that this song fit Elina a lot better. When I first heard “Edge of Steel” from the video, I felt that she was singing “too slow”, or how to put it more properly. I was used to Liv’s tempo in the song, and was a bit taken a back how slow it felt, but putting her operatic voice on this new song, which was adjusted better for her, was a lot better, and gave us a better insight in how Elina would work with Leaves’ Eyes, and I think it’ll be just fine.

So – for the three re-recorded songs – you already know I love these songs so I don’t need to stress that – was delivered with mixed results. As I explained above, it feels for me that “Edge of Steel” got a bit slow for my taste, however, she did a really good job on “Sacred Wov”, where her style fit very well with the song, and her best performance on this EP was delivered on “Sword in Rock” where she actually picked up the pace a bit, without changing her style, which was a nice surprise.

With that said, it was nice finally seeing Elina perform on something original, and I’m looking forward hearing her work on an entire album, and not just one song in the future.

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(Label: AFM Records)

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// Sara

 

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REVIEW: Iron Mask – Diabolica

Posted in CDs, Music, Uncategorized with tags , , , on September 27, 2016 by Sara Hammerzmith

Belgium’s melodic power metal heroes Iron Mask with Dushan Petrossi at the reins hasn’t wasted any time this year: First, they re-released their 2010 album “Shadow of the Red Baron” and then embarked on a European tour supporting Luca Turilli’s Rhapsody. Right after tour was finished they started working on new material, as well as introducing new vocalist Valdez. The sixth album is now finished and ready for release, and the result got the name “Diabolica”.

The album opens big – fast, with chewing guitars and cheeky lyrics that are on a fairly common subject – defeating the people who put you down, that doubt you with a “I don’t forgive, I don’t forget”. The album goes a bit up and down – it’s a mixture of fast, light songs, to slow and heavy ones, and it all comes together in the almost fifteen minute long ending song which sorts of serves as a compilation of all the best pieces of the album.

The songs are either accessorized with string orchestras, or shredding guitars, just to get that little extra touch. I think it’s well arranged – you never get the feeling of it’s being too much, which it sometimes has a tendency to do. Over all – it’s a very classic power metal album, even bringing the thought back to Sabaton and HammerFall at certain points. Sadly, it does have it’s weak moments – the titeltrack being the weakest of them all.

For this album, Dushan has focused on more famous characters for his lyrics, and I feel that he’s managed to fit the music to the character – “Galileo” – more on the epic, slower and heavier side while “Oliver Twist” is more on the playful and light side, childlike if you like, despite the lyrics being on the darker side. “March 666” which has a speech by none less than the Führer himself in the middle gives me chills down my spine, not simply because of the speech, but also because the almost intimidating music accompanied to the lyrics. Even “Ararat” – based on the Turkish mountains, have a more oriental touch to it, making this a very interesting album.

With all of this being said, I do think this album is worth a listen. The different elements in the songs keeps the album interesting throughout the album, regardless if you’re a fan of Iron Mask or not.

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(Label: AFM Records)

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// Sara

 

 

 

 

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REVIEW: Kryptos – Burn up the Night

Posted in Uncategorized with tags , , , on September 18, 2016 by Sara Hammerzmith

Kryptos was formed already back in 1998 in Bangalore, India and are seen as the spearhead of the heavy metal revolution in India. Influenced by the classic heavy metal heroes such as Iron Maiden and Judas Priest, they had their debutalbum “Spiral Ascent” released in 2004, and they have released two more albums since – “The Ark of Gemini” in 2008 and “The Coils of Apollyon” in 2012. And now, four years later they are back with “Burn Up The Night”.

The album opens with a fast riff which evolves into heavy rhythms which are accompanied by attacking vocals with a big, powerfull and heavy chorus, which serves to tell us that Kryptos are back in business. The album continues on in the same manner – truth to be told, most of the songs sound very similar to each other, making it all sound like one long song throughout – with two exceptions.

The first one being “Unto Elysium” which is rather tone down compared to the rest of the album, at least once it reaches the verses, but despite being toned down it never loses the attitude we know from Kryptos. The second exception is found in “Waverider”, which is the complete opposite – it’s faster, heavier and a bit more progressive than the rest of the album, with a very intriguing breakdown which makes the song interesting.

This albums is a very classic heavy metal album. It sounds cliche to say, but I really don’t know a better way to describe it. When I hear this album, I’m taken back 30 years in time to a little basement somewhere in this world where a whole load of metalheads have gathered to drink beer and headbang while Kryptos is screaming from the tape recorded placed on the table in the midst of empty beercans. It’s essentially, a partyalbum without the stereotypical partying, if it makes sense? It has captures everything heavy metal in the best way possible – with a polished, but not too polished production which makes it sound like it was indeed taken straight form that era, leaving you with that retro feeling. It’s an even album through and through, and I can assure you that I’ll include some of the songs from this album on my future festival playlists.

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(Label: AFM Records)

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// Sara

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REVIEW: Serious Black – Mirrorworld

Posted in CDs, Music, Uncategorized with tags , , , on September 1, 2016 by Sara Hammerzmith

Serious Black, the “All-star-group-but-not-a-supergroup-in-that-sense” coming literally out of nowhere slamming down like an asteroid, are back already a year after their critically acclaimed debut album “As Daylight Breaks”. It’s been quite the year for them – good highs touring with bands such as HammerFall, Gamma Ray and Kamelot – and now it’s finally time for them to grace us with a second album – “Mirrorworld”.

And buckle up folks, “Mirrorworld” is an album that will take you for a ride.

It all begins a bit cautiously, you are slowly getting into the ride, the more adventurous ride I’d say – building up the excitement before stopping for a brief moment – then starting again. It builds up the tension, the excitement, prepares you for what is yet to come – and then unexpectedly throws you into the first song of the album, “As Long as I’m Alive”, that starts off as a statement, to the world – to the fans, to everyone.

It continues on in the, on the more aggressive side, “Castor Skies”, which is essentially a very typical metal song with bombastic choruses and hammering drums. After this – the ride slows down, and we are thrown into the highlight of the album. The heartbreak songs. “Heartbroken Soul” which brings the thoughts back to Cinderella’s 80’s hit “Nobody’s Fool”, with a bit of KISS’s “Forever”, it’s like mash of the two but with Serious Black’s own imprint on it. The song is followed up by one on a similar theme – “Dying Hearts”. There’s something about these two songs that simply catches me, drags me into and keeps me there.

Noteworthy, is Urban’s vocal work in this album. While I am familiar with some of his work with Bloodbound, I don’t think I’ve ever really heard him being so versatile as I find him on this album, especially with these two tracks. It’s almost to the point where I don’t recognize it being him and that’s a pretty good thing for me personally – showing the different sides of one persons talent.

The pace is picked up in “You’re Not Alone” which fills the function of giving you a hint of hope after dragging you down in the heartbreak sever, and then an echoing, almost Amaranthe-like intro starts off to prepare you for the titletrack – The “Mirrorworld.” A song dealing with the emotion of being locked up in a situation you can’t get out of, suffocating you and trying to find your way. It’s followed up by “State of my Despair” which follows up the theme of the previous one, before wrapping up the album with “Unborn Never Die”.

To conclude it all, while still being in the spirits of “As Daylight Breaks”, it’s elevated. It’s better, bigger and essentially, taking more space. It’s got cheerful and big songs with adrenaline pumping lyrics as well as low key songs with touching lyrics and I also sense a little bit of 80’s inspiration – unintentionally or not, I love it. The album has a clean production and a good consistency throughout the album – there really aren’t anything I can complain about. Well done, boys!

seriousblack
(Label: AFM Records)

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// Sara

 

 

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