This cd was a late entry into the mix of reviews for the year. It’s a perfect cd to end the year and quite fitting with its major influence being drawn from Isis and also the corpse of devastatingly heavy band called Rune who made my top 15 list last year. Mouth of the Architect retain the sheer heaviness and behemoth thud from Rune but now it’s countered with a perfect interpretation of Oceanic elements that were first realized by Isis. However this isn't a cheap Isis knockoff band though, if anything, it’s more of a natural progression of what Rune was doing on their previous disc. "Time & Withering" is still heavy and brutal but now there are more intricate and mellower trance moments that draw the listener into the song structures unlike Rune who was more jarring and bone pulverizing. An example of this is the song “The Worms”, where amazingly it could have been in the movie Blade Runner with its delicate piano and spacey electrosymphonic shadowed timbres that provide a framework and tone that the band builds into an epic sweeping song. Also, in the song “Heart Eaters” the band incorporates a subliminal Indian Bollywood song that repeats over and over, countering the crushing doom encrusted riffs. Incredibly, the vocals have become more caustic and Zao serpentine in nature, however most of the disc seems to be crafted as an instrumental with vocals being supplementary to the song flow. Themes of humanity’s ruin and fragility are also taken from Rune’s worldview and parsed down even more into the loathing for what is too come in the final apocalypse. As unexpectedly as the death of Rune occurred, the remnants of the band have recast themselves to create another great band to follow.

Faith No More redux. Did I accidentally put a Faith No More cd into the player? What the hell is going on? Wait, was that a Nine Inch Nails song? What the hell is going on? Is this really the new Dillinger Escape Plan or did the cd pressing plant totally screw up? During DEP's search for a new vocalist, Mike Patton guests on a Dillinger Escape Plan 4 song ep and the band decided to evolve their sound into Faith No More flavored and poppy sounding songs. Coincidence? Maybe, but really I could care less because the Dillinger boys are such amazing musicians that they metabolize whatever style music and digest the musical nuances and then pour out a technically superior DEP song. Along with this apparent fascination with Faith No More is the evolution of their sound into complete well rounded songs and not just their usual technical hardcore spazz moments. This progression once again demonstrates why the band is one of the most innovative forces in modern music. The addition of new vocalist Greg Puciato only adds to their inventive sound with his multifaceted vocal delivery: roaring Deadguy style vocals where he is screaming his lungs out, maniacal shrieking, and then a melodramatic Patton-like style of crooning. While their abstract combination of hardcore, grind, jazz and industrial music was already incredible, the addition of melodic pop elements leaves this record as a unique experience and hopefully it will stop the current blatant rip-offs of their "Calculating Infinity" style.

The renaissance days of the doom genre are in full bloom again and the legendary masters, My Dying Bride, are back from middle age mediocrity to lead the heavy laden hearted souls to a somber heaven. All of the key elements that made My Dying Bride great are resurrected and finely aged: haunting keyboards, sluggish depressive doom guitar work, heavy drumming, violins and romantically forlorn clean and growly vocals. Yet nowadays there seems to more passion and vitality behind the music than during their middle down years. Before I bought this album I received a promo which included the song "My Wine is Silence," and it threw me a little. The song has Katatonia-like melodies and vibe, which ironically, Katatonia borrowed heavily from My Dying Bride to start their careers. Still, I wasn't expecting this type of song and was hoping the band didn't go in that direction on the album, even though it’s a brilliant song that is so depressing but uplifting at the same time. That song really is not representative of the whole disc because it’s more upbeat and sticks out next to the utterly dark depressing romantic doom. To compliment the brilliantly miserable sounds on this disc the lyrical theme seems to be a struggle to seek beauty behind emotional sickness, which Aaron conveys with a charisma that is scary in its emotional furor. For being one of the founders of a genre, it’s amazing that My Dying Bride can still be so essential. With "Songs of Darkness..." they have released one of their best discs which bridge their old and new material.

Finally after five albums into Evergrey’s career I have experienced the giant epiphany in the sky moment with this band. Previous discs by these Swedish progressive power metal gods have perked my interest and attention but they just didn't click as a band that I needed or wanted to hear at any given moment. The Inner Circle has definitely changed my opinions on this matter. Even previous discs that I liked now mean so much more. Granted this disc is the apex of their career for songsmithing and musicianship. The songwriting on The Inner Circle is the most sophisticated and detail orientated of Evergrey’s entire back catalog. It is elegant, tender, powerful, progressive, and the emotional variations between the heavy passages and the lighter acoustic ballads are goose bump shivering in nature. For me the heart and passion of Evergrey’s sound is based on the timbre and conviction of Tom Englund's vocals. The lyrical content is sort of clichÈd in that it seems like every heavy metal band and its dog have written songs about the evils of religion. However the difference here is that it’s a concept album about the self righteous fanaticism of religious cults seen through the eyes of a believer and the despair and sorrow that befalls the individuals. Now that my eyes and heart are reborn to Evergrey, I can't wait to see what the future brings from this amazing band.

Wow this is such a refreshing find. Disillusion's music brings back memories of discovering bands in the glory days of the underground European metal movement in the early 1990's. During that era it seemed that every band I found had a unique and indefinable sound like the early Dark Tranquility, In Flames, Opeth or even Arcturus. Each band had uniqueness, inventiveness that was sheer fun to listen and enjoy. My journeys to the nethers of Minneapolis to find these underground gems always brought warmth of happiness upon each discovery. Unfortunately underground European metal is very accessible nowadays and along with this accessibility comes a plethora of mediocre and generic music. Happily, Disillusion has renewed my jaded disillusioned outlook of late on the European continents offering of adventurous metal, because they bring a fresh sound that is progressively challenging and thought-provoking. Disillusion meld a masterful work of progressive metal with a mix of black metal, melodic death metal and power metal together to give the listener a familiar yet refreshingly new take on metal. The songs on the album are long with extended playing times that contain an unbelievable number of complex evolutions, however the songwriting is structured so attractively and fluid that they never become disjointed or jarring in nature. Stunningly composed riffs parallel introspective injections of orchestration and acoustic interludes that weave and wander into and out of the song without ever sounding pompous or tritely overblown. The diversity and uniqueness doesn't end at the instruments but also the vocals which vary from clean vocals, hysterical screams, evil grunts, desperate mourns and wonderful polyphonic choirs. It’s the bands ability to manipulate dynamics and contrast to the benefit of each song composition that challenges the listener enough to take notice and pleases this metal lover and warms the gaggles of my heart.

From the ashes of the great and forlorn Mindrot rises this emotionally fraught and brooding band. Eyes of Fire continue with the depressed themes and bleak longing for intimate relationships that were a part of Mindrot’s inner psyche along with evolving the sound into a more somber and morose bludgeoning. Musically the band produce a slow moving hypnotic metal style that meanders down the downward spiral of loss and depression while occasionally smashing the listener upside the head with massive blows like some out of control grizzly bear on a campsite binger. Eyes of Fire specialize in near doom thick guitar riffs and massive sprawling compositions that change dynamics frequently between the punishingly heavy and the soothingly restrained lush passages. The vocals also vacillate between sullen clean singing style and a caveman yell that verges on near death metal intensity in places. Lyrically the songs deal in the loss of self to depression and relationships that fail miserably. Some very emotional bleak vibes that make oneself feel catharticly superior. The overall result makes Eyes of Fire’s first offering exceedingly emotional and uplifting and the continuation of Mindrot's essence onward has ended my grieving for the loss of Mindrot.

In ancient times, the lotus was held in high regard as almost a religious type of artifact. It was believed that if you ate from the lotus it would take you away to an enchanted, utopian state in which you were completely free. Now imagine the overwhelming experience of being drowned in lotuses. Would it be a pleasant experience or so overwhelming to the senses that it would be horrifying? For a neophyte metal listener the Swarm of the Lotus would be a truly horrifying mess of ossified chaos. For a follower of metalcore or noisecore and somebody who is a metal elitists they are pure aural nirvana for the senses. The band oscillates from whisper quiet to earth shatteringly heavy dissonance with massive crunch laden grooves. Swarm of the Lotus pretty much hit the listener from a complex array of angles through the use of shifting time signatures, tempo changes and distorted stuttering rhythms. The band does borrow many little bits from other influential bands that creep into their sound: from the foreboding urgency of the late Will Haven; the extreme song complexity of Keelhaul, Ion Dissonance and Burnt By The Sun; the dirge and expansiveness of old Neurosis; and the off the wall jazz fused rhythms of Fugazi. With the unfortunate passing of the great Burnt By the Sun just recently, the mantle for the lead in the metalcore world has been passed to Swarm of the Lotus and I'm sure more mind numbing blissful complexity will come out of the band.

Syrup coated black metal dementia. In my college days I had a couple of friends who Robo-tripped and the experiences they told correspond well to the languished transcendental sounds that Velvet Cacoon have created on this disc. Songs seem to elongate and distort time and at times the spatial world flickers and becomes thin at the edges as the listener is pulled into the primordial, murky visceral otherworldliness of the music. Full immersion is realized through the use of dense fuzzed out ambient black metal riffs that are often times long and drawn out and seem to meander almost independent of the movement of the song. Unexpected vistas of melodious beauty arise out of the tranquil maelstrom before being pulled back into the hallucinogenic mix of the opiate production. The vocals are an unarticulated gurgling whisper. It’s like having a Neanderthal whispering the mysteries of the universe in your ear but you can only place random monosyllables. The theme of Genevieve is a disturbing claustrophobic nautical theme about being miles below the surface of the cold sea, alone and in pitch blackness. This theme is distilled by the undercurrent of very thick black drones and heavy washes of sound which rise and fall very slowly. Hypnotizing. Ambient. Mesmerizing. Somnolent. Every time I think the black metal genre has concreted its boundaries, some new band like Velvet Cacoon comes along and resets the demarcation line for brilliance.

Finally, after nearly five years of mournful silence, one of the elite doom masters has returned to the dreary fold. All hail the kings of woe and sorrow. During the hiatus the band has evolved its sound and vision along with its band membership. Gone are the prior vocalist and bass player. Also gone is the brutal death doom and in its place is a more tranquil and serene majestic sound. On "Cloaked by Ages, Crowned in Earth", Morgion has created a painting of sounds and textures where dark ethereal beauty meets the pain and suffering of the quest. The album is nothing short of a mesmerizing amalgam of melodic ambience, Floydian atmospheric passages and occasional pummeling doom riffs. A more appropriate classification for Morgion’s sound nowadays is brooding serene doom instead of death doom sound. The album starts out similar in sound to their prior one, "Solinari," but as it progresses a mellow and tranquil vibe radiates out from each song. A soft gentleness ebbs and flows throughout the entire album. Along with the evolution of the doomy sound, the vocals now have characteristics ranging from mournful chants, clean crooning, whisperings, and the occasional death growl, which were much more prevalent on previous albums, and are now far and few between. Initially, I couldn't stand the new vocalist timbre, but after repeated iterations they fit perfectly with the exploration of all the facets of sorrow and despair that are a part of this album. Many times I'm reminded of the reminiscent longings and warmth of emotions for past great albums like "The Silent Enigma" by the band Anathema or "Damnation" by Opeth. To complement the wondrous sorrowful music Morgion lyrically relates a story of a tragic quest that entices through its perception of glory and riches. Metaphorically it is a quest to obtain your own personal holy grail, or in this case the three swords of Nether, that you think will be your salvation but eventually spell your own doom and downfall. One of my favorite lyrical passages is this: "I am the summer sun, the winter moon, the forest green, the desert sand, the oceans depth, the azure sky; I am the element to dream… Questioning the infinite" …and enjoying the greatness of being and Morgion.

"The mightiest animated mass that has survived the flood; most monstrous and most mountainous! That Himmalehan, salt-sea Mastodon, clothed with such portentousness of unconscious power, that his very panics are more to be dreaded than his most fearless and malicious assaults!” A direct quote from Herman Melville and a perfect circuitous literary circle jerk, because Mastodon exemplifies these characteristics and have used them to deliver the perfect metal opus inspired by Melville's Moby Dick. Deeply original in sound and vision, the band has learned to incorporate all the great heroics of past heavy metal greatness into their own identity: epic memorable anthems, intricate complex riffing, images of power and darkness, thunderous discordant undercurrents and cool stories about mythological beasts. Mastodon has refined their prior soundscape of uncontrolled sludgy chaos and extreme technical exuberance by smoothing the corners and injecting a sizable amount of melody and catchiness into their songs. The technical musicianship is still outstanding but the band has learned their lessons from the jazz masters and now let songs evolve and mature without the need to flaunt their skills and ego. "Leviathan" overflows with stellar tracks that at times seem to reinforce the nautical theme of the album with a few songs that have a groovy thrash sea shanty feel about them. I totally love the country tinged breakdown in the song "Megalodon" before the band breaks out into homage to the "Jesus Built my Hotrod" riff from Ministry. Damn! These boys know how to borrow a riff and make it their own without it sounding like total thievery. Fans of all metal genres will find hints of their favorites from early 1980’s Maiden, Metallica, Molly Hatchet, Neurosis, and Dillinger Escape Plan, to name only a few of the bands who have inspired Mastodon. There is a major hype machine at the moment pushing Mastodon as the future of metal, and yes, the metal gods have smiled and anointed a new champion for the masses. Fun infectious anthemic metal will always conquer all.

Embarrassment of riches these days for fans of the slow building ambient sludge acts like Neurosis, Cult of Luna, Old Man Gloom and Isis. Embarrassment of shame in yours truly for not appreciating the greatness of this disc more. Any other year "Panopticon" would have easily been my top pick. Everything about this disc should make it the top pick for the year: incredible rich musical content; great lyrical subject matter; gorgeous artwork and packaging; one of my all time favorite bands. Expectations sometimes play funny tricks with the mind. My expectations were a continued evolution of the Isis sound and vision. Admittedly I'm not sure what that would have entailed differently than the minimal growth the band shows on this disc. The band has augmented their sound with additional swirling natural harmonies and a cleaner more direct song structures. Also Aaron Turner, mastermind and vocalist, has toned down the harsh yelling vocals for more suddued and near singing delivery style. Even with those additions most of these songs would not be out of place if they were on the "Oceanic" disc. That is where I stumble with my expectations and desires. "Oceanic" was so breathtaking and spiritually awe inspring that a mere continuation of that groundbreaking album blinds my appreciaton to "Pantoption". Maybe it's too soon and "Oceanic" hasn't filtered out of my soul or maybe the expectation of: a revelation, a god touching moment, or a different unknown existential journey. Maybe I'm just trapped in my own panopticon of my own creation.

Who would have thought the essence and vitality of black metal would be resurrected by a bunch of Californians. The black metal archetype has always been synonymous with snow covered mountain vistas, fjords, epic tales of primitive warfare, Satanism, Nordic gods, thin trebly guitars, and tall screechy Scandinavians in semi-evil face paint. Somewhere during the late 1990's black metal lost its soul and its way in the darkness. It was almost a joke of 3rd rate wannabe bands rehashing ideas and songs that should have been recorded in 1993. A black icy sun has broken the horizon and the rebirth of a vital black metal scene has arrived again. Leading the pack of morbid Californians is Ludicra who play an atypical style of extraordinary black metal that combines the Nordic styles of Emperor, Enslaved with a crusty punk mentality, Iron Maiden’s galloping riffs, and avant-garde psychedelic leanings. One of the highest compliments that can be given to the band is that some songs remind me of the great masters of black metal, Weakling. However, Ludicra is way more melodic and triumphal in nature. Even though the band carries references to the ancient bands of black metal, they are totally unique and true to themselves and their urban society. Their emotional disenfranchisement to the blight of a harsh humanity and society is laid bare through soul searching lyrics and cathartic song arrangements. This can be heard in some of the most amazing blood curdling screams from lead singer Laurie Sue. They are truly breathtaking in their ferocity and utter passion. The music is also awe inspiring with a combination of thick trebly riffs, heavy crusty speed sections, swirling masses of twin guitar melodies, near grind sludge sections, haunting psychedelic, and an occasional Maiden or Hammers of Misfortune galloping riffs that just screams of metal. I totally love the Disneyesque “Old Lady and the Tramp” opening for the song "Time Wounds, All Heels" it brings visions of two face painted black metal lovers sharing a spaghetti string together under a frozen moonlight as they gaze lovingly into each other’s painted black panda eyes. This blasphemy of an image is a good metaphor for the dichotomy of old and now new black metal that is rising out of California. Gone are the forced clichÈd romantic longings for past Scandinavian glory and now its time for the movement to fuel itself on the raw emotions of the current times and to look to other musical genres like psychedelic or crustcore for the kindling to forge this new black metal just like Ludicra has foreshadowed with this disc.

Oh, thank you, thank you Great Simian Santa! For "Christmas" has finally arrived. After waiting three long years, the collaborators in the Simian Alien Defense League which include members of Isis, Cave In, Converge have channeled themselves back into the parallel universe where Old Man Gloom rule. This is supposed to be their sonic dissertation on the complex and devolving relationship between man and his simian counterparts. Sure whatever you say guys. All I know is this disc adds to their growing catalog of destructive ambient cinematic voyages. Christmas is structurally similar to their Seminar II disc where regular songs were interspersed between droned ambient passages. Here, however, the songs seem to be more compact and the ambience is more sprawling and fragmented. When the Gloom boys hit a groove like on "Gift," or "The Volcano," it’s a ferocious blast of torture and tumult. At times the riffs are so gargantuanly huge and sludgy that they verge on teeth shattering intensity. That could be because of the resulting contrast to the manipulated sonic textures that are explored by painstakingly deconstructing drones, vibrations, organic sounds and I dare say an accordion. The crowning achievement on this disc is the 16 minute song "Christmas pts 1-3". This is where the blending of the destruct-o personality and the luminous ambient personality come together for a magical convergence. Walls of slow motion guitars, sonic swells of ocean waves, and acoustic folk dirge meet Christmas caroling bell ringers all transitioning together into an expansive song that defines this album and Old Man Gloom. Every time Old Man Gloom comes out of hibernation and graces us mere humans with an album it’s a time for celebration, because the portal for the Simian Alien Defense League might never open again.

Salvation. The word has such an emotional visceral meaning associated with it. Guilt. Another word that has an emotional visceral weight associated with it. Cult of Luna could have named this album "Guilt" but that would have been too easy and the band prides itself on having its listener think for themselves. The basic theme of the album is everyone is burdened by a sense of guilt and everyone seeks absolution, "salvation", from those feelings of shame, wrongdoing and culpability. Also everyone is responsible for their own guilt from the small interpersonal type to the guilt of global destruction. We are all intertwined entities together in some manner. Nice light hearted subject matter, which the band explores lyrically and through a sonic dichotomy of light and dark auditory textures. On my first listen to this disc I was expecting great things because of my love of their past musical releases but was sucker punched by the contrasts of sounds and the emotional beauty that the band is able to convey. On "Salvation," the band paints in mostly bright hues and washes forgoing their usual oppressive galaxy crushing riffs for gentle lulled drifting textures of sound. When the band does pummel the listener it’s usually in the entrance or exit to songs where the most emotional weight will be felt. The majesty of "Salvation" is the languid mesmerizing buildups that carry the listener along with soothing trance inducing dulcet tones and feelings. Vanished are the Neurosis “Through Silver In Blood" influences however in its place are some Isis, Godspeed You Black Emperor, and God Machine sounds which the band has used as reference devices to venture out into their new vision and soundscape. I stand back in awe and wonder. All my respect is given to Cult of Luna for what they have been able to achieve in the small number of years of existence, with "Salvation" being their ultimate masterpiece that stirs the soul and mind with introspection and beauty.

Transcending the mundane of every day existence. Drowning in a quiet passion. An ominous resignation perked on a tumult. Natural forces evolving and de-evolving. The use of the "Eye of Every Storm" metaphor is quite appropriate With most of music on the disc having an inner calmness and serenity with a rage and fury of the storm lurking at the fringes of consciousness. Neurosis's passion and committment permeates every note of this disc from the ebbing tidal swell of guitars,the quiet introspection, and to the occasional Neurosis patented thunderous riffs. Nearly gone are the angry gruff screams replaced by an anguished worn folksy vocal delivery which conveys brittle emotive passion and warmth. These half whispered sagely vocals conjure up images of your grandfather singing songs from past generations about virtue, sadness, struggle and hard living. An aspect of the band that has been evolving, is their use of space and nothingnesss as an integral part of songs where the listener is lulled into a contemplative state by the single droning pulse or lone buzz. Many serene and desolate cinematic images are painted in the minds eye by the use of these minimalist songsmithing techniques. The thematic contexts are the usual lyrical fair for Neurosis: contemplating the greater cycles: of humanity and mortality, life and death, growth and evolution, and issues of spirituality. The band does experiment with new ways of expressing emotion, traveling deeper into the psyche with their warm organic tones and desolate minimialist beauty. I had a really difficult time trying to review this disc. Since Neurosis is my all time favorite band, it seems like everything I write in a review seems trite and mundane by comparison to the emotional impact their music has on me and my life. Neusosis's music is almost comparable to a family member to me. Its a relationship of constant ever changing mutual growth and sharing of a lifetime of joys and sorrows that seems to advance us both forward to drown in the wake of dreams.