Posts Tagged ‘ Progressive Metal ’

Album of the Week 41-2019: Despair – Beyond All Reason


Some bands are known as a springboard for their band members’ further succes rather than for their own music. Germany’s Despair is one of those bands. Original vocalist Robert Kampf would go on to start Century Media Records, guitarist Waldemar Sorychta is a renowned producer and known for Grip Inc. rather than Despair, while drummer Markus Freiwald recently played with Sodom. It is unfortunate that Despair is a forgotten name, because their third and thus far final album ‘Beyond All Despair’ in particular is an incredible work of progressive thrash metal. It strikes the perfect balance between melody, aggression and complexity.

Debut album ‘History Of Hate’ was a great example of music that has the unbridled aggression of thrash metal with a greater emphasis on compositorical intricacy. The production and the vocals occasionally were more primitive than necessary, but the material on the album showed great promise. When Kampf departed the band to focus on his record label, the arrival of Andreas Henschel allowed the band to go in a somewhat more melodic direction, as even his barks have a somewhat melodic slant. And where second album ‘Decay Of Humanity’ suffers from monotony, its follow-up does almost everything right.

One notable thing about ‘Beyond All Reason’ is how much it sounds like ‘Nosferatu’-era Helstar at times. ‘Imported Love’ and ‘Son Of The Wild’ in particular would fit that album. The riffs consist of lots of notes and are almost neoclassical in approach, but at the same time, they have a dark, eerie atmosphere that really makes ‘Beyond All Reason’ stand out among Despair’s discography. The semi-ballad ‘In The Deep’ has a more than passing resemblance to ‘The Curse Has Passed Away’, though with a much more engaging second half. It would not be fair to accuse Despair of copying Helstar here, but the influence can clearly be heard.

It is worth noting that despite the more atmospheric and progressive approach – at times enhanced by Sorychta’s tasteful keyboard work – Despair still shows its thrash metal roots here. The riff work in ‘Rage In The Eyes’, for instance, is every bit as classy as on the rest of the album, but a bit more aggressive than on other tracks. The following ‘Burnt Out Souls’ is very aggressive in its rhythms as well. ‘Deaf And Blind’, on the other hand, has the more proggy side of the band on full display without feeling like a disorienting opening track. The dense ‘The Day Of Desperation’ is somewhat slower, but no less complex and inspired.

While ‘History Of Hate’ is often seen as the ultimate Despair album, ‘Beyond All Reason’ is the record where the quality of everyone involved shines through. The compositions are great, the production is a perfect fit for the progressive thrash style on the record and Sorychta and Marek Greschek – interestingly both born in Poland – are an incredible guitar team. There are great riffs and solos from both all over the record and in that regard, instrumental closer ‘Crossed In Sorrow’ is a perfect showpiece for them. Anyone looking for progressive or technical thrash metal with a little something special should look no further.

Recommended tracks: ‘The Day Of Desperation’, ‘Deaf And Blind’, ‘Burnt Out Souls’

Advertisements

Album of the Week 35-2019: Them – Manor Of The Se7en Gables


On the surface, Them seems like another one of those King Diamond and Mercyful Fate-inspired bands that seemed to pop up everywhere especially around Northern Europe about a decade ago. They even have the aesthetic down better than, say, Attic and Portrait. In fact, Them began existence as a King Diamond tribute band, but it’s almost ironic how little Them actually sounds like the Danish horror metal master. The inspiration is undeniably there – of course a concept album driven by a B-grade horror story is inspired by him – but Them took those influences and turned them into their own thing.

Upon first listen, you can almost hear what was going on in the heads of singer Troy Norr and guitarist Markus Ullrich. They heard King Diamond and thought: you know what this needs? Vocals that are consistently on pitch and more thrashy riffing.  Norr doesn’t even sound that much like King Diamond unless he’s speaking or using his falsetto. A closer comparison would be Winters Bane’s ‘Heart Of A Killer’. While not quite as technical, ‘Manor Of The Se7en Gables’ does feature a similarly theatrical heavy metal sound. Also, Norr sounds fairly similar to Tim Owens on that record, with maybe some ‘Nosferatu’-era James Rivera thrown in.

More importantly, the music on ‘Manor Of The Se7en Gables’ is simply really good. In all honesty, I could do wihtout the narrative disrupting the music, but fortunately, that doesn’t happen too often. What remains is some excellent, mildly technical contemporary heavy metal full of engaging borderline thrash riffs and climactic progessions. Ullrich and Markus Johansson have arranged their guitar parts effectively around each other’s strengths and Them is one of the few metal bands with a keyboard player (Richie Seibel) who doesn’t constantly push himself to the forefront, opting to enhance the horror atmosphere of the music instead.

Although ‘Manor Of The Se7en Gables’ is full of great uptempo tracks like the relatively thrashy ‘Refuge In The Manor’, the particularly aggressive ‘Seven Gables To Ash’ and the climactic ‘The Secret Stairs’, what really makes it superior to debut album ‘Sweet Hollow’ is the quality of its slower material. The mid-tempo tracks on that record weren’t bad by any means, but not nearly as memorable as the bombastic ‘As The Sage Burns’ or the melancholic ‘Witchfinder’. ‘Punishment By Fire’ rounds out the album nicely by tying all the stylistic elements together, resulting in an excellent slightly progressive metal track.

Them is at constant risk of being misunderstood. The band is no cheap King Diamond clone and I actually prefer both ‘Manor Of The Se7en Gables’ and ‘Sweet Hollow’ to anything King Diamond ever did. The conceptual approach gives the band direction, but in all honesty, this material would have impressed regardless, including the interludes. Any fan of eighties heavy metal who complains that no one makes anything like that anymore should certainly give ‘Manor Of The Se7en Gables’ a spin. It might be a more contemporary take on the classic stuff, but that only adds to the relevance of Them.

Recommended tracks: ‘The Secret Stairs’, ‘Witchfinder’, ‘Refuge In The Manor’

Saber Tiger lyricist about ‘Obscure Diversity’


One thing that makes Saber Tiger stand out is the fact that their English lyrics are better than those of most Japanese bands. Starting with their 2011 release ‘Decisive’, the band has been extensively collaborating with lyricist Fubito Endo, who also wrote of all the lyrics for their new album ‘Obscure Diversity’.

Back in 2007, I came across a blog post from (founding guitarist) Akihito Kinoshita”, Endo explains. “Saber Tiger was at a low point in their career at the time. They had no record deal, no management, not even a singer. I had been a fan of Saber Tiger since junior high, when they hadn’t even released their major label debut yet. So when I saw on AK’s blog that he needed a lyricist, I decided to contact him. I was already a professional musician and producer at the time, so I hoped I could help him out.

I watch a lot of American and British movies and tv series. When I hear some cool words or phrases, I always write them down in my Saber Tiger memos. I have a long list of these phrases. When I receive demo tracks from the guys, I always check the memo and see if I can get a vision of what I want to talk about.

The basic concept of ‘Obscure Diversity’

For the previous trilogy of ‘Decisive’, ‘Messiah Complex’ and ‘Bystander Effect’, my lyrics were mostly about war, conflict, crime, life and death. I think I have written enough about these concepts, so I decided to write from a more personal perspective for this particular album. I never went to a war zone and I never pulled the trigger. I’ve never even seen someone die in front of me except for the natural deaths of my relatives. So these stories were all fictional for me. The basic concept of ‘Obscure Diversity’ was to write more about personal tragedies in our lives.

Daguerreotype Of Phineas Gage

This was the final song written for this album. ‘The Crowbar Case’ already existed and Takenori (Shimoyama, singer) came up with the idea to kick off the album with a kind of gothic choir. The vocal recording is actually a demo. We originally planned to hire professional opera singers to emulate the parts on the demo, but my demo recording went so well that we decided to keep the recording for the final product.

The title refers to one of the two silver prints that were left of Phineas Gage after his eye and part of his brain were taken out as part of a tragic accident. An iron rod pierced through his head. The fragmented Latin words don’t mean anything by themselves, but they are supposed to depict a fragmental image of what his life and death are all about.

The Crowbar Case

The story of Phineas Gage was really interesting for me. Before his accident, he was known as a very decent, hard-working man and a trustworthy boss. Then he had a tragic accident that made him lose part of his brain. Miraculously, he managed to survive, but when he recovered, he came back with a completely different personality. He was told to have become extremely violent and selfish. When I read this story, I began to think: which part of him made him the person he was? And who was the real Phineas Gage in the first place?

The Worst Enemy

“’The Worst Enemy’ was the very first song we wrote for this album. These lyrics set the basic concept for the whole album. Jealousy is our worst enemy. But if you’re human, you can’t live without it. No matter how decent you are, everybody suffers from jealousy. If you are faced with it, maybe you can control it or at least learn how to deal with it. But if you try to deny it, you will eventually be controlled by it.

Stain

Sometimes, people do things that never really go away. Even if you try to hide it or even erase them, these things will always leave a stain inside you. It is possible that everybody else forgets about it, but since you are the one who did it, you are never going to forget. You simply have to deal with it and learn to live with it. That is the basic concept of ‘Stain’.”

Beat Of The War Drums

When we went to Germany to mix ‘Decisive’ with Tommy Newton, Akihito had a stroke. He nearly died there. He had to be brought back to Japan on a stretcher in first class with a doctor present. Though he was super lucky to have survived, he has been suffering from pretty severe depression ever since. I wrote the lyrics to ‘Beat Of The War Drums’ to kind of cheer him up.

If people work too hard, it will eventually break their physical condition, after which it will break their minds. That’s when the war drums start beating in your head. That is the state of mind of hard-working people. I can relate to the feeling myself. When I was producing the vocals for ‘Paragraph IV’, I didn’t sleep anywhere near enough for two or three weeks. After that, I was sick for two months.

Distant Signals

“’Distant Signals’ is very different from the usual Saber Tiger style. It was a challenge to write these lyrics, because the music is so complicated, but I enjoyed it very much. This particular demo was the first song hibiki (bassist) wrote for Saber Tiger. It sounded so spacey! I felt like I was flying through space, from planet to planet. Therefore, the lyrics were inspired by the idea of quantum mechanics: we always take a shower in an immense amount of possibilities. Your actions will define the truth of the next moment.

For the previous albums, I always wrote about perfect despair. If you look deep into the abyss of despair, you will eventually find one small fragment of hope. I never wrote purely positive lyrics, but I wanted to write something really positive for this hibiki song, because I felt this positive energy from him. So I think the concept of believing in yourself and trusting your own actions really fits the song.

The Shade Of Holy Light

This is the very first ballad Machine (guitarist Yasuharu Tanaka) wrote for Saber Tiger. This is another story of a decent guy in an unfortunate situation. The guy in this song worked too hard covering for his colleagues and working overtime. One night, he works late and when he drives back home in the dark, during heavy rainfall, over the speed limit, he runs over somebody. He ends up in jail, where he reminisces his life. Nobody forced him to be nice; he decided by himself to help somebody out. That resulted in him killing someone. The idea is that the strongest light always creates the darkest shadows. Even if you are a good man. This happens all the time in our lives. The world is an unfair place.

Permanent Rage

Saber Tiger has had a long career and because they are such kind guys, they have often been hunted by predators. A lot of people show up to them, act all nice and end up ripping them off. They have lost a lot of money over the years simply because they are not businessmen, because they trust these people. They always tend to show up again though, because they think they will still be an easy prey. When that happens, you have to face them and say: I know what you are trying to do. Say that again and look me in the eye.

I have always loved the phrase ‘M.O.’. I’m a big fan of American legal dramas and often hear this phrase ‘same M.O.’ used by detectives or lawyers. I have always wanted to use it. When I heard the demo, there was a part where it just fit perfectly. That was the first idea for the song.

Seize Your Moment

Literally, ‘Seize Your Moment’ is very positive. This is your chance, your opportunity, so you have to grab it. Everything has two sides though. If somebody shows up and says: you have no problem, I will take care of everything for you, they might be trying to set you up.  If somebody really cares about you, they don’t always say nice things. Sometimes they say something that is difficult for you to hear. Seize Your Moment is about seeing both sides of everything.

Divide To Deny

Simply put, this one is about people who fear people with a different point of view. The reason why people attack others is fear. They fear something they don’t understand, so they try to attack it. But it’s impossible to understand everything. It’s only natural if there are things that you don’t understand. Being different is not a crime. You don’t have to understand it, but there is no need to attack anyone. You can just leave the people you don’t understand alone.

This idea is also reflected in the title ‘Obscure Diversity’. Diversity is kind of a trendy word these days. Everyone is talking about it, but a lot of people are simply talking about diversity because they are afraid to get attacked for being politically incorrect. The other extreme is trying to hide your actual incorrectness behind a screen or an anonymous handle. Living with something you don’t necessarily understand is true diversity.

Paradigm And Parody

As professional creators, we always suffer to create something original. On the other hand, it’s impossible to create something new, as most possibilities have already been done by someone at some point. All that we can do is change the combination or the color. That’s how you can leave your signature. We dedicate our whole life to these kinds of small changes, but some people have no problem being a copycat.

I don’t say that everything I create is completely original. Of course I have been influenced by my favorite artists and artists that I admire. But when I see people who just copy and paste, I always think: how can you sleep at night doing this as your profession?

My favorite lines from these lyrics are: you know there are ten thousand ways to be right / you know it’s so easy, a matter of pride / and what you want to be known for when you die. I don’t believe in life after death, so after I die, I only live in someone else’s memory. I don’t want to be remembered as someone who just stole or copied from other artists. At least I tried to create something to make people happy.

The Forever Throne

“’The Forever Throne’ was inspired by a real life incident. A few years ago, Tetsuya Komuro, a very famous Japanese music producer, was caught trying to sell the rights to songs he didn’t own. He was never prosecuted for fraud, because his label owner paid a lot of money to prevent that. However, he was already all over the news, so he had to talk about it. He said that the reason he did it was to make his wife happy until the day his fraud was discovered. He knew he was going to lose everything he created, but he took the risk to make his wife feel like a queen.

When I heard this story, the image of an empty throne came to mind. Spending a crazy amount of money on something meaningless. I feel in this story, Komuro kind of was the emperor in the story of The Emperor’s New Clothes. It is impossible to own everything. Not even a millionaire can buy the sky or the sun. And happiness is not defined by how much you own. I really believe that everyone who experiences great happiness also has to face big sadness. At the end of the day, it’s all in balance.

Album of the Week 24-2019: Fates Warning – Inside Out


‘Inside Out’ always gets lost in the shuffle between the hyper-accessible ‘Parallels’ and the ultra-proggy monolith that is ‘A Pleasant Shade Of Gray’. Personally, I consider it superior to either of those. Sure, the flat production and the dull cover art really don’t do the songs any justice, but the classy melodicism that always characterized guitarist Jim Matheos’ songwriting is taken to its logical extreme here. I understand why many consider the album lacking in terms of heaviness and intricacy, but Fates Warning always was more about the songs than displays of virtuosity and ‘Inside Out’ fits that paradigm perfectly.

Stylistically, ‘Inside Out’ is pretty much a continuation of the sound heard on ‘Parallels’ three years prior, albeit with an even bigger emphasis on melancholic melodies. The arrangements are less dense, though the occasional rhythmic complexity is still there – this has Mark Zonder on drums, after all. In terms of songwriting, the material on ‘Inside Out’ is notably more tailored to Ray Alder’s vocal range, who simply delivers the performance of a lifetime here. Adapting the music to his voice rather than the other way around is a large part of why the album sounds the way it does.

‘Monument’ is the only song that has been a consistent live staple since the release of the album and it is not hard to understand why. With an incredible bass riff in 7/4 driving the song and some unexpected elements popping up, such asMatheos’ classical guitar solo, it could be characterized as the most progressive moment on the record. Alder’s impassioned performance is somewhat reminiscent of ‘Parallels’ highlight ‘Point Of View’ and the dynamics strongly enhance the atmosphere of the track. Along with the cool start-stop riffing of opening track ‘Outside Looking In’, it best represents the classic Alder-era Fates Warning sound.

As good as those songs are, however, the overall sound of the album is best portrayed by its more concise moments. ‘Pale Fire’ successfully marries Fates Warning’s accessible side with their progressive roots, while having a chorus that is so powerful that I can even forgive Matheos for rhyming “fire” with “desire”. ‘Face The Fear’ combines Zonder’s busy drum work with Matheos and Frank Aresti weaving a fantastic tapestry of riffs and bright, clean guitar strums and ‘The Strand’ probably would not have worked on any other Fates Warning album, but does here. Its atmosphere brings to mind mid-nineties alternative rock, just with significantly more inventive writing and playing.

Of course, ‘Inside Out’ is not perfect. ‘Down To The Wire’ is a blatant ‘We Only Say Goodbye’ rewrite, ‘Shelter Me’ is a tad too melodramatic and the inoffensive ballad ‘Island In The Stream’ really starts to drag halfway through. But everything else on here is much better than it tends to get credit for. It may not be the most challenging album from a playing viewpoint and the production really could have used some extra punch, but to dismiss Matheos’ songwriting here for not being prog enough would both be unfair and untrue.

Recommended tracks: ‘Monument’, ‘The Strand’, ‘Pale Fire’, ‘Face The Fear’

Album of the Week 21-2019: Arch/Matheos – Winter Ethereal


With Arch/Matheos being active, there are essentially two Fates Warnings, the one actually called Fates Warning being fronted by Ray Alder. Neither are very prolific; they have a combined grand total of four albums this decade. However, all four are excellent, so that should not be a reason to complain. Jim Matheos found a niche for himself that works, but at the same time provides him with enough opportunities to experiment without straying too far from his core sound. ‘Winter Ethereal’ fits that niche. It’s slightly more streamlined than ‘Sympathetic Resonance’, but similar enough to appeal to the same audience.

Not unlike on their debut album, or even the two-track ‘Twist Of Fate’ EP released under John Arch’s name, ‘Winter Ethereal’ sounds like twenty-first century Fates Warning tailored to Arch’s vocals. For those of you who have never heard them, imagine an esotheric Bruce Dickinson and you’d be close. Unlike their debut, however, Arch and Matheos rotate the cast of backing musicians on the record with several Fates Warning alumni (Frank Aresti, Mark Zonder, Bobby Jarzombek, Joey Vera, Joe DiBiase) and a couple of respected names in the field of progressive rock and metal (Sean Malone, Steve DiGiorgio, Thomas Lang, Matt Lynch).

Maybe it is the close connection that all these musicians have to the history of Arch and Matheos, but ‘Winter Ethereal’ eludes the musical posturing and lack of cohesion that most of these super line-ups have. The men whose names are on the cover are in control here, that much is never in doubt. And despite a couple of fantastic guitar solos on ‘Vermillion Moons’ and ‘Solitary Man’, Matheos is more concerned with getting the riffs and the atmosphere right. He certainly does here. Despite the heaviness and complexity, ‘Winter Ethereal’ always remains a pleasant listen, which has been Matheos’ trademark for all of his recent material.

Easily the most metallic track on here is ‘Wrath Of The Universe’. It’s wild and Matheos enhances the rhythmic violence of Jarzombek and DiGiorgio by often layering two contrasting guitar parts; one aggressive, one creating breathing room. Clever writing. The brilliantly atmospheric ‘Pitch Black Process’ is a more contemporary progressive rock track, though with distinct heavy riffing, somewehere along the lines of a more metallic Porcupine Tree. Closer ‘Kindred Spirits’ is the only 10+ minute song this time around and it is a strong, dynamic track that highlights all that Arch/Matheos has to offer in a surprisingly fluent fashion. The other large epic is the powerful opening track ‘Vermillion Moons’, which “only” clocks nine minutes.

Though ‘Winter Ethereal’ is not perfect – ‘Never In Your Hands’ is a little plain and the ballad ‘Tethered’ is good, but drags a little at several points in the song – it is simply a no-brainer for anyone who loved the debut and even the last two Fates Warning albums. The album is dynamic, powerful and intricate, but never too complex. Such listenable progressive metal is hard enough to come by these days, but Arch and Matheos certainly give a few young bands – as well as a few burnt-out old ones – a lesson or two in prog songwriting here. Highly recommended.

Recommended tracks: ‘Wrath Of The Universe’, ‘Pitch Black Process’, ‘Kindred Spirits’, ‘Vermillion Moons’

Album of the Week 20-2019: Amorphis – Elegy


Perfection is hard to come by in music. More often than not, I refer to a certain aspect of an album being as close to perfection as it gets. In case of Amorphis’ third album ‘Elegy’, its atmosphere is just about as perfect as it gets. ‘Elegy’ was the second album on which Amorphis showed a massive stylistic change and it would not be the last, but it does say something that the signature sound they currently have is not too far removed from what can be heard on ‘Elegy’. It is simply an excellent work of melancholic Finnish metal.

In a way, it is odd that ‘Elegy’ is my favorite Amorphis album, as the band would become much better later on. Current singer Tomi Joutsen is vastly superior to both the throaty grunts of rhythm guitarist Tomi Koivusaari and the Hetfield-esque cleans of Pasi Koskinen, Santeri Kallio has a significantly more melodic style than ‘Elegy’ keyboard player Kim Rantala… Basically the only band member who is already close to the massive heights he would soon reach is lead guitarist Esa Holopainen, one of the most tasteful guitarists in rock and metal. And yet, everything on ‘Elegy’ is as it should be.

First off, the lack of vocal prowess does not hurt the music at all. Koskinen is the right fit for the melancholy expressed in the lyrics – all English translations of the poems in the ‘Kanteletar’, a collection of traditional Finnish songs and poems – and Koivusaari is buried in the mix. Besides, if I had to estimate, less than 25 percent of the album actually has vocals. ‘Elegy’ is the record that most clearly displays the influence that their fellow countrymen Kingston Wall had on Amorphis: it’s extremely jam-heavy, giving Holopainen plenty of room to excel, and the band opts to let the ideas unfold slowly rather than cramming their songs full of them.

Additionally, the eastern mysticism in Kingston Wall’s music is prominent on some of the Holopainen-penned songs, the incredible opener ‘Better Unborn’ in particular. That song deserves an award anyway. It’s easy to come up with something self-pitying for that set of lyrics, but Amorphis made something extremely powerful out of it, kind of like a Scandinavian metal interpretation of Led Zeppelin’s later works. ‘Song Of The Troubled One’ has a similar vibe, though notably more northern European. The twin guitar harmony laden ‘Against Widows’ is more propulsive, as is ‘On Rich And Poor’, which contains some incredible rhythm guitar work. The surprisingly good instrumental ‘Relief’ brings all the elements together.

Even when the band adopts a more laid-back approach, it sounds amazing. The climactic title track and the unbelievably gorgeous album highlight ‘My Kantele’ have some prominent Pink Floyd-isms, albeit with much more powerful rhythm guitar work. But really, only those who prefer Amorphis as a full-on death metal band might not find anything to like on ‘Elegy’, but I sincerely doubt if they ever were. The consistently melancholic tone is what largely makes ‘Elegy’ so amazing, but the unusually large amount of jamming helps too, plus the fact that Holopainen and Koivusaari hardly ever play in unison. A fairly unique album, even within Amorphis’ discography, that still sounds as fresh today as when I first heard it.

Recommended tracks: ‘Better Unborn’, ‘My Kantele’, ‘On Rich And Poor’, ‘Relief’

Album of the Week 15-2019: Catharsis – Imago


Although seen as a genre predominantly from northwestern Europe, some of this century’s most interesting power metal releases are actually from elsewhere and don’t always make it over to the west. Some bands try to make the transition by translating their songs to English, but ‘Imago’, the third full-length of Moscow-based Catharsis, is a rare example of the opposite. It was originally released in 2002 with lyrics entirely in English, just like their first two albums. The next year, a Russian version was released, which despite being musically identical somehow sounds superior. Certainly a must for fans of neoclasscially tinged power metal.

Oleg Zhilyakov’s vocals are an important part of what makes this release so good. That can be said about any Catharsis album, because Zhilyakov has incomparable range, power and drama in his voice, but judging from his performance here, he feels slightly more comfortable singing in his native tongue. Fortunately, the language fits his passionate, semi-operatic delivery perfectly. While Zhilyakov is amazing, a great singer does not necessarily make a great band. Catharsis’ compositions are excellent though. They’re generally uptempo, but not as upbeat as most similarly styled German or Swedish bands. There is always a darkness brooding underneath Catharsis’ songs and the occasional progressive leanings bring Symphony X to mind.

What stands out immediately about ‘Imago’ is how theatrical the songs sound with relatively minimal embellishments. Sure, Julia Red’s keyboards add some layers that the guitars cannot, but even she is not trying to emulate a full orchestra. Catharsis’ music immediately transports you to the darkest chapter of a fairytale. The guitar riffs are melodic and powerful, but not too heavy and the climactic choruses often feature Zhilyakov sounding like he is begging for his life to be spared, which is goosebumps-inducing more than once. Catharsis has a power that many bands in the genre strive for, but only few manage to achieve.

Stylistically, most of the songs on ‘Imago’ are similar, but there are little clever compositional touches that make them stand out. ‘Voin Sveta’ has a more aggressive midtempo grind, the fiery ‘Izbranny Nebom’ has what is probably the most awesome riff on the album, ‘Vzorvi Moi Sny’ has a mind-blowingly exciting build up towards its chorus and ‘Tantsui V Ogne’ has a surprisingly danceable rhythm. Both ‘Zvezdopad’ and ‘Izbranny Nebom’ have a couple of unconventional twists in their amazing choruses as well. There are tracks that deviate from the norm though, most notably the multi-faceted doomy crawler ‘Rassvetny Zver’ and the surprisingly good ballad ‘Dalshe – Tishina…’.

‘Imago’ is not a perfect album – instrumental track ‘Tarantul’ has a lot of interesting ideas, but sounds like it should have been a full band composition rather than a piano instrumental – but it is the perfect album for anyone who wants a slightly different take on their power metal without moving away from the genre’s essence too far. Catharsis is full of great musicians, they know how to set a perfect mood or atmosphere for their music and – I can’t stress this enough – Oleg Zhilyakov is one of the best power metal singers in the world.

Recommended tracks: ‘Izbranny Nebom’, ‘Rassvetny Zver’, ‘Zvorvi Moi Sny’, ‘Zvezdopad’

Advertisements