Posts Tagged ‘ Power Metal ’

Víctor García (WarCry): “Language is no limitation on music”


The international world of heavy metal is dominated by bands who sing in English and while that is understandable, those who ignore bands who sing in other languages are really missing out on bands like WarCry from Spain. WarCry just released its ninth studio album ‘Donde El Silencio Se Rompió…’, an excellent piece of heavy/power metal with Spanish lyrics. I had the chance to speak with lead singer Víctor García about the past, present and future of WarCry.

‘Donde El Silencio Se Rompió…’ featured a return to the somewhat heavier sound of the band’s earliest work, but without forsaking the melodic and progressive touches of their other recent albums. “I don’t know if it was the right time for such an approach, but at the moment, this is exactly what we want to do“, says García. “People need to classify everything these days. For me it is all heavy metal, I don’t care if it’s fast or slow, hard or power metal… I don’t believe in styles. For me, a good band is about more than a certain style.

The band obviously took being a good band very seriously, as there was more than three years between ‘Donde El Silencio Se Rompió’ and its excellent predecessor ‘Inmortal’ (2013). “It’s not easy doing a record that is better than the last one every time“, García explains. “And now that we have recorded eight albums, it gets more difficult every time. We spent a lot of time working on the lyrics. I’m a storyteller. I share a piece of myself, the way I feel, my way of thinking, I express myself in every song. I tried to change this, to not talk about the same things or approach them in a different way, but this is what works.
Our lyrics always take a positive approach, even when dealing with subjects like death, pain or other things that hurt people: keep on fighting, always look for another chance and if you die giving your best, it is a good way to go. We like to sing about human emotions, history, love, anger, pain, death, fighting, victory and loss.

Professional
Speaking of the lyrics, while WarCry is now known and beloved for its Spanish language heavy metal, but on their 1997 demo, García still sung in English. “Since then, I’ve spent around four years playing in another Spanish band called Avalanch, singing in Spanish“, García explains. “That is when I realized that singing in Spanish perhaps is not really a limitation on music. It is my language and it is the best way to express my emotions and my music.
It certainly isn’t a limitation for the Spanish metal scene, among which WarCry is a highly popular band. “There are many bands in the Spanish metal scene, getting more and more professional day by day“, says García. “As for our position in that scene, perhaps I am not the ideal person to judge that. We are very popular in our own country and in Latin America. These days, there are even a few people who listen to us outside of the Spanish-speaking world, such as parts of Europe, North-America, Japan and even Australia. We are growing, step by step.

Speaking of people outside the Spanish-speaking world: for ‘Donde El Silencio Se Rompió…’, the band enlisted the help of Tim Palmer, who worked as a producer with the likes of U2, Pearl Jam and Robert Plant. “We contacted him to mix our album“, says García. “But he is also a creator and a great professional. He told our producer Dani Sevillano that he would record some ideas and that we could just remove them if we didn’t like them. He added some reverb, some filters and just some keyboard and guitar sounds. He did a great job.

Friendly
During their early years, WarCry’s lineup changed fairly frequently. However, their current line-up is about to reach its tenth anniversary in 2018. “We are not young boys anymore“, García states. “The band has been around for fifteen years now and all things are calm. We enjoy what we do. We are friends. We are having a very good time doing this and therefore, it is easy to do things right. We can talk when there are problems and we do the best we can. We are all in the same boat.
García himself is still the main songwriter of the band. “On some albums, there are a few songs that have been written by other members“, he says. “And all of them are arranged by the entire band. Their contribution as musicians is invaluable as well, of course.
Despite the fact that Spain has a metal scene, all of the band’s albums have been released on their own record label Jaus Records. “Our record label is our legal representation of the band“, García explains. “It’s like Napoleon said: if you need a friendly hand, it is more easy to find it at the end of your own arm.
Now that the Spanish-speaking world is familiar with WarCry’s material, the quintet is looking forward to presenting their music to the rest of the world. “Now is the time“, García states resolutely. “We have the experience, we have the sound, we have the music and we know what we want. We are passionate guys with a lot of energy on stage. We want to keep the band moving forward, so we are always looking to take the next step.

Album of the Week 24-2017: WarCry – Donde El Silencio Se Rompió…


While Spain loves its catchy power metal, not many of their own bands can even come close to the German, Scandinavian and American bands they enjoy. WarCry, however, have been pumping out excellent albums, especially since establishing their current line-up about a decade ago. Their new record ‘Donde El Silencio Se Rompió…’ feels like a logical continuation of the excellent ‘Alfa’ (2o11) and ‘Inmortal’ (2013). The songs are carefully crafted to ensure that the essence of WarCry – memorable, uncomplicated riffs and anthemic choruses – is captured and as a result, the album feels a little heavier without forsaking the band’s melodic sophistication.

Though WarCry never went overboard with progressive touches and big arrangements, ‘Donde El Silencio Se Rompió…’ is not the first “back to basics” album they ever released. However, frontman Víctor García has really matured as a songwriter since ‘¿Dónde Está La Luz?’ (2005) and that is why it feels like the songs on this new album have been conceived a little more naturally and organically. There is a spontaneous energy to all of the new songs and therefore, the album is a very worthy successor of the last two albums, which were the best two albums WarCry released thus far. This one is equally great.

It is impressive how Víctor García has succeeded in writing a collection of songs that all have their own strong identity. Especially considering that the songwriting is relatively simple and concise. Sometimes it is a riff, sometimes a certain vocal melody in the chorus, but all of the songs have strong hooks that make them instantly recognizable. Therefore, it is not very difficult to imagine legions of Spanish metalheads singing along to catchy heavy metal tunes like the uptempo ‘Resistencia’, the mid-tempo stomper ‘Así Soy’ or the remarkably upbeat ‘Ya No Volverán’ at upcoming WarCry concerts.

However, the best moments of ‘Donde El Silencio Se Rompió…’ appear toward the end of the record. ‘Por Toda La Eternidad’ is easily my favorite song of the record. How the song suddenly transforms from what appears to become a ballad into an epic heavy metal tune with an amazing chorus and a fantastic guitar solo by Pablo García causes me to have goosebumps. The riff-oriented ‘Luchar Y Avanzar’ is an excellent, more traditional heavy metal track, while the bombastic ‘Odio’ shows a somewhat darker side of the band and, again, a fantastic Pablo García guitar solo. ‘Muerte O Victoria’ has an amazing, dramatic vibe, while the melancholic closer ‘No Te Abandonaré’ is probably the best piano ballad the band ever recorded.

Everyone who enjoyed the last two WarCry albums can blindly acquire ‘Donde El Silencio Se Rompió…’. You will even be rewarded with an artwork and packaging that is simply stunning. But in the end, all that matters is that the songs are simply excellent. I am very happy that the band went for a slightly heavier approach without sacrificing any of the nice flourishes that keyboard player Santi Novoa adds to the sound. WarCry proves that you do not need a million riffs and dozens of unexpected tempo changes in order to write a fine heavy metal song. ‘Donde El Silencio Se Rompió…’ is full of them.

Recommended tracks: ‘Por Toda La Eternidad’, ‘Odio’, ‘Muerte O Victoria’

Album of the Week 23-2017: Iced Earth – Incorruptible


Lately, it seems like Iced Earth has been trying to make up for the bombast that characterized their sound during the first decade of this century by proving they are still first and foremost a heavy metal band. ‘Incorruptible’ follows this same general idea, as the guitars are front and center on the record. Sometimes it’s band leader Jon Schaffer’s instantly recognizable riff work, sometimes it’s the triumphant guitar harmonies reminiscent of traditional metal acts like Iron Maiden, but the guitars are always the defining factors of the songs. Combined with the ballsy production, this makes ‘Incorruptible’ one of Iced Earth’s more powerful releases.

The album’s direct predecessor ‘Plagues Of Babylon’ was also relatively guitar-oriented, but that album’s somewhat bland production and samey song ideas made it fall short of their excellent 2011 comeback record ‘Dystopia’. Schaffer made sure that the songs stand out more this time around by switching up atmospheres and melodies without losing track of the powerful foundation of the band. It helps that he has the amazing pipes of Stu Block at his disposal, as Block is perfectly capable of carrying out an anthemic chorus or a highly emotional passage without making it sound artificial.

Ironically, one of the highlights on ‘Incorruptible’ doesn’t even feature Block at all; it’s been a while since Iced Earth attempted an instrumental that wasn’t an intro or interlude, but ‘Ghost Dance (Awaken The Ancestors)’ is a well-constructed track which lets its triumphant twin guitar melodies tell the story instead of the lyrics. That does not mean there aren’t any stories here. In fact, Schaffer’s fascination with American history prompted him to write yet another epic – ‘Clear The Way (December 13th, 1862)’ – this time about the Battle of Fredericksburg. Interestingly, even on this track, the guitars don’t yield for bombastic elements. There’s a few subtle keyboard flourishes, but it’s a riff-driven epic by nature.

While most of ‘Incorruptible’ feels pleasantly familiar, the best moments of the record show the band taking the slightest detour from their normal sound. ‘Brothers’ initially sounds like one of the band’s trademark power ballads, but quickly develops into a highly melodic heavy metal track with an amazing guitar solo by newcomer Jake Dreyer, while the following ‘Defiance’ does an amazing job alternating an angry, crushing verse with a refreshing melancholic chorus. ‘The Relic (Part One)’ has a brooding atmosphere, while the riff work is simple, yet brutally effective, which can also be said about Dreyer’s sparse, but amazing lead work. ‘The Veil’ has an amazing build-up and as a result, it is one of the band’s better power ballads yet.

Of course, that doesn’t meant that typical Iced Earth tracks like ‘Great Heathen Army’, ‘Black Flag’ and the dark, aggressive ‘Seven Headed Whore’ aren’t worth your attention. Those who have followed the band for a long time will definitely like those tracks, but the rest of the album might just convince a few people who have given up on the band around the turn of the century. ‘Incorruptible’ sounds like a deliberate attempt to confirm Iced Earth’s status as the kings of American heavy metal. As fas as I’m concerned, that’s the best decision they could have made at this point in their career.

Recommended tracks: ‘The Relic (Part One)’, ‘Defiance’, ‘Ghost Dance (Awaken The Ancestors)’

Album of the Week 22-2017: Onmyo-za – Karyo-Binga


Released hot on the heels of the impressive diptych of ‘Fuujin Kaikou’ and ‘Raijin Sousei’, it is something of a miracle that Onmyo-za still had enough inspiration left to write another excellent album. In fact, it is even better than the latter. ‘Karyo-Binga’ sounds manages to sound familiar and fresh at the same time, as its combination of traditional heavy metal and hard rock riffs, J-rock melodicism, prog rock adventurism and subtle hints of Japanese folk is exactly what we have come to expect from Onmyo-za, whilst simultaneously updating the band’s sound, resulting in one of their best albums yet.

Of course, the update is minimal, as the sound of Onmyo-za is still strongly centered around the equally melodic voices of Kuroneko and band leader Matatabi, as well as the strong, but never busy riff work and passionate leads of Maneki and Karukan. However, it is quite obvious that the band was hungry to try out new things this time around, most notably downtuned guitars and a bigger emphasis on keyboards. That does not mean that we are dealing with a watered-down, pseudo-heavy version of Onmyo-za here though. Neither dominate the record and therefore, ‘Karyo-Binga’ feels like nothing more or less than a contemporary Onmyo-za record.

Like the other highlights in Onmyo-za’s discography, ‘Karyo-Binga’ has a very pleasant flow. This flow is somewhat reminiscent of its two predecessors, because ‘Karyo-Binga’ also starts with a relatively calm track which – despite its six minutes of length and song-oriented structure – feels like an overture (the title track) before moving into a powerful, but not too propulsive melodic heavy metal track (‘Ran’). The band is clever enough to keep itself from falling victim to an auto-pilot formula though, so among moments of familiarity, the band has strategically placed a few slightly surprising track to keep you attentive.

The relatively light, yet still powerfully rocking ‘Omae No Hitomi Ni Hajirai No Suna’ is one of them. Due to the subtle Hammond organ, the song has a bit of a seventies rock vibe, but Kuroneko – who, again, outdoes herself here – keeps it firmly within the Japanese rock realm. ‘Ningyo No Ori’ starts out sounding like it could be the big sweeping ballad of the album – which in fact ‘Jorougumo’ come closest to – before developing into a relatively concise epic with a dark, heavy middle section. ‘Susanoo’ and ‘Nijuunihikime Wa Dokuhami’ are the clearest examples of downtuned riffing without forsaking the melody and ‘Hyouga Ninpouchou’ is a passionate heavy metal track with amazing lead guitar work reminiscent of ‘Yue Ni Sono Toki Koto Kaze No Gotoku’ from ‘Fuujin Kaikou’.

Onmyo-za’s music is a melting pot of many different influences, as is the case with a large number of Japanese rock and metal bands. But where many Japanese bands end up sounding busy and at times disjointed, Onmyo-za found a way of combining all these influences into an irresistible, powerful sound that is remarkably pleasant to listen to. ‘Karyo-Binga’ is the latest and most contemporary sounding installment, but the consistency of the band’s discography is truly amazing. The record is well worth listening to if you are interested in any of the genres represented in the band’s sound.

Recommended tracks: ‘Hyouga Ninpouchou’, ‘Omae No Hitomi Ni Hajirai No Suna’, ‘Ran’, ‘Ningyo No Ori’

Album of the Week 16-2017: Labÿrinth – Architecture Of A God


Despite their distinctly Italian power metal sound, Labÿrinth was a pretty unique band in the country’s mid-nineties metal scene. They shared their countrymen’s melodic sensibilities, tendency towards higher tempos and somewhat symphonic approach, but also had an uncommonly romantic vibe for a metal band. However, not long after founding guitarist Olaf Thörsen left, the band entered an unprecedented identity crisis. Thörsen eventually returned, but band members were shuffled around freely. Luckily, the core of Thörsen, fellow guitarist Andrea Cantarelli and singer Roberto Tiranti is firmly intact on ‘Architecture Of A God’, easily the best Labÿrinth album since their masterpiece ‘Return To Heaven Denied’.

While the last album was good enough, it featured Labÿrinth playing things too safe by trying to create a copy of ‘Return To Heaven Denied’ to the point of self-plagiarism. On ‘Architecture Of A God’, the self-referencing is limited to a brief section on ‘We Belong To Yesterday’ and the atmosphere is more spontaneous. Personally, I was glad to see Thörsen’s former Vision Divine bandmate Oleg Smirnoff vacate the keyboard position. His greater focus on atmospheric texturing than neoclassical virtuosity makes him a unique musician within the genre and gives the album a breath of fresh air at times.

That is all relative though. Because ultimately, ‘Architecture Of A God’ is a typical Labÿrinth record. Speedy, somewhat progressive power metal tracks with highly melodic choruses are alternated with dreamy semi-ballads full of bright, shimmering acoustic guitars and if Tiranti isn’t wailing or crooning passionately on top, Thörsen and Cantarelli are elevating the melodies or shredding their hearts out. ‘Stardust And Ashes’, the surprisingly aggressive ‘Take On My Legacy’, ‘Someone Says’ and especially ‘Still Alive’ are all excellent melodic power metal tracks like we’ve come to expect from Labÿrinth through the years.

For all its class, ‘Architecture Of A God’ does take a slight dip in quality halfway through. While all separate sections of the title track are amazing, the transitions don’t flow as well and the novelty of the following cover ‘Children’ from dream trance legend Robert Miles wears off quickly. But the rest is incredible; ‘A New Dream’ is one of those progressive ballads Labÿrinth excels at and though it mirrors ‘The Night Of Dreams’ somewhat, it certainly improves upon its formula, resulting in an atmospheric work of art. Smirnoff’s compositional contributions ‘Random Logic’ and ‘Diamond’ are the album’s most unconventional moments. The latter – a beautiful, scarce ballad that is highly electronic in nature – closes the album in style.

After hearing the first tracks that surfaced, my expectations of ‘Architecture Of A God’ were sky high and I can gladly say they were exceeded. Everyone who likes their power metal with a healthy dose of melody and romanticism should give the album a spin. The guitars – both electric and acoustic – sound as good as ever and Tiranti hasn’t lost one bit of his emotional power. It may be a bit premature to call the record album of the year material, but I will be very surprised if I hear a better power metal record this year.

Recommended tracks: ‘Still Alive’, ‘A New Dream’, ‘Someone Says’, ‘Diamond’

Album of the Week 14-2017: Onmyo-za – Kishibojin


Concept albums can be a tricky affair, but when done right, their atmosphere and continuity lifts everything about the albums in question to a higher level. Take Onmyo-za’s ‘Kishibojin’. It’s one of those albums that leaves very little to be desired and therefore is almost impossible to turn off before it’s over. The band supersizes its unique combination of fairly traditional heavy metal riffs, an atmosphere inspired by Japanese myths and legends, an approach to songwriting that ignores genre boundaries and a duo of (almost) equally amazing singers, resulting in one of the best albums I have ever heard.

On the surface, all the songs having “Kumikyoku ‘Kishibojin'” in their titles – which I will omit from the separate songs for brevity reasons – already betrays that we’re dealing with a concept album, but there’s more subtle hints as well, such as songs transitioning into each other and recurring themes. All songs are great stand-alone tracks too, however. And there’s a consistency, both in terms of style and quality, that surpasses even the rest of Onmyo-za’s strong discography. That also means there’s no upbeat J-Rock songs here – though the aggressively playful ‘Oni Kosae No Uta’ is borderline – but I consider that a plus.

‘Kishibojin’ is a darker affair than the average Onmyo-za record, though songs like ‘Urami No Hate’ and the powerful opener ‘Samayoi’ have a hopeful undertone to them. You don’t have to understand Japanese – I don’t, for instance – to get carried away by the atmosphere. For instance, the middle section of the amazing ‘Kishibojin’ seems to portray insanity – highlighted by subtly shifting rhythms and lead guitar feel – and the ballads ‘Korui’ and ‘Gekko’ suggest a feeling of solitude. The slower, brooding tunes ‘Ubugi’ and ‘Michi’ are masterclasses in building atmosphere, while the brilliant closing track ‘Kikoku’ ties the whole thing together musically and mood-wise.

As far as performances go, ‘Kishibojin’ is as close to perfection as it gets without having its life sucked out. Bassist and band leader Matatabi and his wife Kuroneko are both great singers. The former delivers his best performance thus far on this record, while the latter is – as always – incredible. The guitar duo has perfectly complementary lead guitar syles, with Maneki having a more thematic approach and Karukan being responsible for the faster runs. ‘Kishibojin’ is session drummer Makoto Dobashi’s recording debut with Onmyo-za and his powerful, but not overly aggressive playing proves to be a perfect fit for the band.

While Onmyo-za has yet to release an album that is less than good, every good band has a release where they truly outdo themselves. ‘Kishibojin’ is that release for Onmyo-za. The generally melancholic atmosphere on the record may not be for everyone, but it’s also a very important part of what makes the album such an immersive listening experience. I would like to be critical and point out small mistakes, but the truth is that they are nowhere to be found. This is a near-perfect record, right down to the subtle, but indispensible keyboard flourishes. Go check it out, if you haven’t yet, and don’t blame me for your Onmyo-za addiction.

Recommended tracks: ‘Kikoku’, ‘Kishibojin’, ‘Michi’

Album of the Week 13-2017: Wicked Mystic – Lithium


Sometimes unexpected breakups inadvertently mean that bands go out while they’re at their peaks. Yours truly was thoroughly impressed with Wicked Mystic’s sophomore album ‘Lithium’, but before they could properly promote the record, the band had already broken up. And that means that outside of the Netherlands, not many people could acquaint themselves with this highly interesting hybrid of progressive and power metal. During those days, it wasn’t easy to find a record in the genre with such a perfect balance of melody and variation in the songwriting department. Easily one of the best Dutch metal records of all time.

Compared to its excellent predecessor ‘The Paramount Question’, ‘Lithium’ is more concise and a little more aggressive, but the general sound is similar. Specifically, this means the songs are shorter, but not simpler. Within the songs, quite a lot of things happen, but they never end up sounding disjointed. In addition, some of the album’s best moments are not in the riffs – despite their obvious quality – but in the clean and acoustic guitar passages, that the quintet seems to be quite liberal with. This may cause the album to sound a little busy at times, but that generally is its strength.

Two of the songs are even largely acoustic. ‘The Reverie’ is a beautiful, folky ballad with some excellent fretless bass work by Erik Schut, but the most wonderful acoustic work can be heard on the breathtaking closing track ‘Last Honesty’, which tells the story of a wrongfully convicted death row inmate through an immaculate build-up. Some acoustic guitar solos pop up from time to time, with those near the end of the strong heavy metal track ‘Inborn Jester’ standing out most. The heavier ‘Mournful Rhymes’ and the euphoric ‘Hollow Phrase’ profit from extended clean sections with fantastic lead guitar work by Niels Kuenen and Harald te Grotenhuis.

On the more aggressive side of things, there is the relatively speedy ‘Calm Despair’, which builds from a high-speed twin guitar intro to a song with driving rhythms and great vocals by Remko Roes, who draws parallels to Ronnie James Dio and Tad Morose’s Urban breed. ‘Knight Errant’ is the song that demands most versatility from him – from the more aggressive opening to the harmonies of the chorus. Opening track ‘Toxemia’ is easily the most modern song on the record and while it’s good, it’s probably not the best song to open with, as it’s a bit misleading.

Wicked Mystic recently had a brief reunion with one of their early line-ups, mostly focusing on the more aggressive thrash metal leanings of their early work. While it was a pleasant listen, ‘The Paramount Question’ and ‘Lithium’ were without any doubt the albums that showed the band from their more unique side. To call this progressive metal would give people the wrong impression of what the music sounds like, but it is a fact that Wicked Mystic didn’t let itself be limited by what was expected from contemporary power metal bands at the time. Worth a listen if you are into Iced Earth’s more adventurous material.

Recommended tracks: ‘Last Honesty’, ‘Inborn Jester’, ‘Hollow Phrase’