The evolution of the Aussie style of psychedelic death metal continues onward into even stranger places. Still the usual fair of chime based Middle Eastern or Chinese sounding guitar solos mixed with death metal is part of the usual Alchemist sound but now their is more breathing space in the song structures. Space is the key word as the music is trippy with other worldly psychedelic guitar effects and echoes along with additional keyboard usage that wasn't so prominent in prior discs. Another drastic change is the increased use of clean vocals and this is where I have a falling out with the band because sometimes these vocals sound bland and passionless. Alchemist structures their songs to maximize the impact and create a fluid feeling, especially in the implementation of eerie chords and exotic sounding leads. There is no question that Alchemist has their own sound and style which has been mellowing over the years. Hopefully they can continue their experimental evolution gracefully without going too commercial or wimpy and just becoming a shell of their glorious self. Oh by the way the album title has to go. One of the worst album titles ever.

Legends and innovators in the music world are few. Legends that still remain vital and filled with passion after releasing over 10 years of music is nigh on impossible. Darkthrone are the embodiment of black metal. They still play some of the grimmest, misanthropic, raw, hateful, groovy, simple, cold and not to mention highly predictable black metal and that is how I like it because nobody does this sound and style any better then the masters who created it. The Darkthrone sound is perfect mix of old Celtic Frost, cow punk shuffle beat, venomous raven throated vocalizations and necro production. All hail Darkthrone. Long live true black metal.

Holy ziggurat. The holy grail, whoops sorry, the holy Enlil's tablets of fate have been found and kick ass thrash lives yet again. However this time its base of evil isn't christian or satanic concepts but middle eastern Mesopotamian metal. What Nile did for death metal in bringing a new symbology and musical flavor into that genre so does Melechesh for the thrash one. The middle years of the band Destruction output, namely the "Release from Agony" album, is the core of influence for Melechesh's sound and fury. Also there are hints of old Mercyful Fate worship in the background of the band. With that starting point they add their own occult mixture of black, thrash and wee bit of death metal. All songs are glorious in their arrangements and performances especially in inventive guitar riffs and drumming patterns. Melechesh's lyrical concept is pure Mesopotamian mayhem. Observing ancient cultures and their highly magikal and mystical lifestyles the band rebreathe life into the ancient gods and djinns. The whole album sounds timeless and vital, rather than an old timeworn musical genre that has been slowly declining in force with age. Like eariler practitioners of thrash metal, Melechesh are able to reinvigorate this once dulling genre with a refreshing mythology of sound and vision.

Will this be watershed for the new emerging black metal jazz fusion movement? Is this disc their Stonewall? I mean really black metal jazz who would have thought it. Well the mad genius behind Ephel Duath envisioned this and he has set back the musical boundaries and the definition of what is considered avant garde a wee bit farther into the horizon. Somehow the juxtaposition of black metal, free-form fusion jazz, post-hardcore and trip hop are blended together into actual songs. Granted the songs sound like a trip to the carnival on acid or a really bad dream by a jazzman being raped by an evil lawn gnome. The completely unpredictable arrangements, filled with cascades of unusual virtuoso solos and riffs of both the electric and bass guitar are coupled with wild saxophone solos. Somehow all these elements seem to cross each other by seemingly impossible parabolas and tangents within songs. What holds all these out of control aspects together is the astoundingly high musicianship that is displayed. Granted this isn't an easy listen but its fun and its better than having that evil lawn gnome leer at you.

My pagan Viking heart swells with pride upon hearing this ode to ancient past glories. Moonsorrow have made an album of such vast grandeur, breadth and atmosphere that I can taste the salty air of the Fjords and feel the armor weight and broadsword at my side as I go to battle. Moonsorrow skillfully meld folk, Viking and black metal elements together to create some of the catchiest melodies and alluring Valhallaic soundscapes. It's hard to analyze individual songs because this disc works as whole with songs flowing into and out of each other with graceful ease. All the pomp and bombastic are intertwined with intricate arrangements of melodic guitars and the multiple vocal harmonies that sound very much like Gregorian chants is contrasted with sparse use of black vocals. Epic is too small of a term to describe most of these songs as the breadth and scope is often overwhelming in these ten minute songs. The whole atmosphere painted in broad pagan strokes make the listener feel as if he is in a great hall of the heroes, swilling ale and dancing a jig of victory.

All the praise and credit for the find of this magnificent traditional doom album goes to my stoner rock mentor. Many hails to the mighty Valecnikus. Orodruin have found the long lost alchemical guidebook for crafting massively forged doom riffs. References to prior masters of this genre include Sabbath(of course), Penance, Trouble, Candlemass, Pentagram, Cathedral but the amazing thing these riffs and songs aren't cheap hackneyed ripoffs but sound fresh and vital. The production for this disc also is impressive. It lets the quintessential smoldering tones, distorted mahogany melodies and kaleidoscope of fuzzy textures of what constitutes the elements of traditional doom slither into ones psyche. It's astounding that this is the first release from this band because they have nearly perfected the art of doom. This disc should be held up as one of the pinnacle classics of this genre. Sure they aren't innovators but the keys for ascension and transcendence have been available to previous apprentices of this craft but usually the results get botched and mired. This crucible of intent and homage to prior adepts should entitle Orodruin as masters of their art form. I have seen the top of the mountain and its dooooooommmmm.

My initial listens to this disc defiantly were appropriate to the title. Total disaster. Natural? Maybe. Me being in a pissy mood? Maybe. Me wanting more Radiohead type pop songs like their last disc. Sure, I guess but not totality true. Me just not getting it. You bet that was the case. It took me many forced attempts at trying to understand this album before I fully understood and comprehended where this music came from in the spectrum of Anathema's history. One of the reasons for my initial opposition was it didn't fit into the continuum of Anathema's musical growth. It was more a recognition of their past musical quests by the band. After a bit of research I found out that all the music and most of the lyrics were written by Danny Cavanaugh the guitar player and for the first time part time singer on this disc. Overall this album is a bit darker than the previous one with song structures and chord schemas that are similar on albums from their past. The songs deal with raw naked emotions and despondent troubled thoughts. In an interview Danny stated this album is his emotional view on the world from the perspective of a "reality of broken dreams" and I'd say that is pretty much sums it up. All the songs seem to be interconnected through the psyche and personal experiences of Danny and what he went through fighting a drug addiction and the family turmoil with his brother who also is lead singer in the band. Going back to my initial disappointments, I thought the emotions and images conjured by the music were forced and sterile. However now having understood the context and background for this disc and suppressing my cerebral analytical side a wee bit. The naked emotions, sadness, and desolate qualities of these special songs have now entered into to my soul and challenge me on every listen.

Katatonia continues on with the string of great albums. The band graces us mere mortals with yet another disc that refines their sound by adding more texture and nuance to the distinct soundscape they have built with prior releases. This maturation of their sound and style continues by borrowing inspiration from dark gothic pop, light doom flair, crushing heavy rock, textured keyboards, pop melodies, glorious choruses and this time adding more of a heavier metal edge to the songs. There is nary a Cure undertone or a Jeff Buckley moment to be relished on this disc however there still exists a somberness that undercuts a lot of this disc but it's more refined. Nothing like the previous efforts which were like reading Kafka by the moonlight while drinking a full bottle of Everclear. Without a doubt my favorite song on this disc is "Criminals" songs. Its the perfection of the new edgier Katatonia sound but after countless listens of this song it still disturbs me. The lyrical content creeps me out and I can't figure out what the lyrics are telling a story about. Did a crime happen or was it all a wicked mistake? Questions like these I will carry with me forever. I can almost bite my tongue for saying this but even in acquiring a harder edge Katatonia has gone more mainstream. Toning down the depression and sullen qualities has made them more radio friendly. Funny I have stated this in prior years on other Katatonia reviews but I still don't see how this band doesn't get the major radio airplay they should be receiving. Again I will state Katatonia is a nice underground secret for people in the know and I doubt they would pull an In Flames on us to try to cross over to the mainstream audience.

Unsure how this band flew under my radar for so long, this being the bands fourth cd and I have never even heard of this band before I purchased this cd totally on a whim. Somehow I thought I was buying some third rate Gothenburg band doing its new revision on the At the Gates sound. Boy was I wrong. Burst melds many genres and styles together from emocore, progressive rock, metal, indie and punk rock into an interlaced unique sound. Songs consist of scarred-throat metalcore with cosmic ambience, idiosyncratic song structuring, expressive melodies and seriously catchy riffs. Somehow the band is able to blend heaviness with melody and at the same time complexity with atmosphere. There is a similar indefinable sound and feel that Burst shares with the band The Great Deceiver. Most definitely a band to look out for in the future if this album is any indication. Now to track down those first three cds of theirs.

Massive beyond imagination. Formed from elemental universal matter. Aeons upon aeons of dominance and brilliance has ebbed and flowed. Flickers of entropy flaw the enormous splendor. Predestination of nature is absolute. The sustenance that powers the giant wanes constantly downwards. Fuel spent. The balance of symmetry between energy and gravity flux into imbalance. Elemental gases of life seep ever low before eventuality occurs. The abyss is near. Slow death by declination of gravity collapses and implodes unto itself. The whiteness drains black the luminosity as time and space are being stretched ever thinner. Mass squeezed into a point of singularity. Time and space cease to exist. And darkness reigns ever complete. The throes of death of a once brilliant star perpetuates the creation of new life and existence.

Take 2/4 black metal atmospheric groove, 1/4 Viking metal and 1/4 1970's progressive psychedelic acid rock put in a slightly chilled rusty tumbler. Shake well. Add a pinch of avant garde on the top just for the hell of it. Serve and enjoy. And enjoy I do this savory concoction. Enslaved continue their quest in forging a vision and sound all their own. Somehow the band is able to blend elements like jaw dropping swirling guitar riffage, Viking choirs, clean distinct vocals, black metal style rasps, death metal style growls, acoustic guitars, organs, dark atmospherics, psychedelia, mellotrons, odd time signatures, flutes, furious blast beats together into a refined mature soundscape that is concise but complex at the same time. Every song on this disc has its own little quirks, hooks and oddities that succeed in making them feel more distinctive, memorable and enlightening even after countless listening sessions. This is a very involved album that is a coalesce of many influences while simultaneously retaining the black metal roots that Enslaved founded in the early days of the genre. Progression, diversity, creativity and integrity are strong sacred words that all fit this amazingly talented band.

The announcement came down from the high mountain. The mighty gods Eucharist and Neurosis have conceived a baby and they named the little tike Rune. And all the old gods and goddesses around the ceremonial table smiled and supplication was given to this wondrous mix of extremities. The little demigod dispersed a mesh of melodic disharmony and caustic disjointed rhythmic patterns, intricate twists, amalgamation of blistering grind and mournful doom from its mouth to the world. Godly traits the preeminent Eucharist passed to the little one were the cubist style patterning and complex, inventive, and convoluted structures of being. These traits stand in contrast to the ones Neurosis passed along of crushing doom propensity and the ability for moments of serene beauty and contemplation. Philosophically little Rune and Neurosis use apocalyptic themes as a way of viewing the world. The way Neurosis deals with apocalyptic ideas is with hope and a wellspring of the oversoul that entitles the common people this is contrasted by little Rune's present idea of the failings of the human condition. Rune believes humanity is rooted in failure and there is no form of effort that will prevent us from dying out in a fading spark of apocalyptic superficial endeavors. With all these characteristics and traits little Rune will make a magnificent god that will rule long and prosper until time thins. Up stood one of elder gods and thusly proclaimed Rune reign over all the nether regions of the mind world construct.

The seeds of Neurosis sonic symbology have been planted far and wide and I love every fresh cultivated harvest that comes off these new seedlings. The latest band that plows this apocalyptic field is Cult of Luna which channels the spirit and the greatness of many Neurosis archetypes. On a side note, this disc makes me giggle like a schoolgirl in its ability to expand on the "Through Silver In Blood" sonic vocabulary that Neurosis created. Sonically the broad strokes and a wash of sounds envelope and transform the soul of the listener. At times sub level noises and bits of songs seem to bubble up from another dimension or plane of existence. The ocean size chunks of riffs are the backbone of Cult of Luna's sound which plunge and soar. A wonderful job is achieved by the band in balancing wrathful angry interludes with serene calming transitions. Most songs have grand buildups with crushing heaviness but there is a tempered frailness also attached to most songs. Anger, frustration, sorrow and life are funneled to form cathartic, earthen songs that tries to place a persons self realization into context. (To know your place in the world - to understand your place in the world so you can move on and see actually what's happening around you.) The band succeeds by combining expressive metaphoric lyrics with an all encompassing sound of finality. One song in particular has enthralled me which is called "Circle". It begins with a steel peddle guitar that isn't too far from country cry in your beer song, however it the buildup from the twang that turns into soul crushing dirge of grand proportions. The song then flows back with a stray wandering mournful guitar melody that ebbs and flows throughout the remainder of the song. Plus the lyrics metaphor the incidents of Sabra and Shatila and the vicious circle that transpires are vital and a needed prophetic call in this modern day. There are many times I lose myself into the songs, images and inner visions that the band conjures up within me. Not many bands have a spiritual aspect with me but this band comes close second or maybe third to the mighty Neurosis or Isis.

Beauty wrapped in sorrow and loss. The successor to Morningrise has finally arrived from Opeth and it's everything I was hoping and dreaming it would be. Opeth has put aside the death and harshness for this disc and have only concentrated on their soft progressive acoustic side, however the subject matter seems more desolate and depressing. By unshackling themselves from the aggression and distortion the band creates a masterpiece of stunningly beautiful tranquil music that musically references their forefathers in Zeppelin, Camel, Santana, and Porcupine Tree. Damnation delivers unsettling intricate acoustic and semi acoustic passages, keyboards, world music percussion and the haunting vocals of Mikael Akerfeldt. The passion and feeling behind Mikael's vocals is truly what makes this disc amazing. His gorgeous ability in phrasing lyrics create a sense of desperation, sadness, longing and contemplation yet are full of hope at the same time. This is a rare talent most singers don't have. One of my favorite songs on this disc has to be "Weakness" with its despondent shopping mall organ tones and a lone mournful guitar occasionally weaves in and out of the song while Mikael's fragile vocals are layered in the middle of the mix. There is a faint remembrance in this song with the "Rain Song" by Led Zeppelin and as with most of the songs on this disc there is a warm familiarity on the first listen, like coming home to a loved one. The lyrical themes Opeth delve into are sorrow and loss with brutally poignant lyrics that are often jarring because of the beautiful songs that they wrapped within. Opeth seem to have a indefinable talent to transform feelings into musical notes and through these gifts offer an unforeseen tranquility, an introspection, a touching of the soul that makes Opeth truly unique.

Bleak shimmering light dying on a black canvas of infinity. The album art foretells an ominous warning sign of the bleak philosophy of human nature and its final outcome. This is painted through themes of personal introspection and venomous attacks on past relationships. Antimatter capture perfectly all the frailties of humanity through the use of flowing Floydian transcendental atmosphere, ethereal fluidity, trip hop beats, ambient lush colored vistas and minimalist spatial elongation of sonic textures. The band has decided to immerse themselves into the subconscious of the listener by using simple repetitive elements within their songs along with beautiful fragile anthemic vocals. The songs are primarily written on a foundation of acoustic guitars and bass with hypnotic percussion that propels them on onward. The amazing vocal lines are perfectly crafted with a highly emotional vocal delivery style that captures the entrancing feel of the album. One reason these songs could be so hypnotic and entrancing lays in the fact that the delicate percussion seems to mirror the tempo of a human heartbeat which goes terminal in the final song on the disc called "Terminal". Soothing, serene, ethereal and highly creative but simmering below the peaceful façade lies a melancholic, dark, bleak masterful achievement. Full immersive atmosphere and imagination are major ingredients that Antimatter gives through their music. One of the most beautiful and desperately dark journeys is this masterpiece.