Aeternitas – Haunted Minds

Aeternitas – Haunted Minds
Wormholedeath Records/The Orchard/Aural Music
Release Date: 20/11/2020
Running Time: 48.08
Review by Dark Juan
5/10

Cordial greetings, dear friends and fellow followers of the Left-Hand Path! It is I, Dark Juan, and I trust I find you full of that Friday feeling and you are rapidly filling yourselves with alcohol and other party treats and that you are indulging in a lengthy and debauched weekend planned with your significant others. As long as there is love in the world then I am content. That, and worship of our Lord and Master of mankind, Shaitan. May the Horned One drink in your debauches like the finest wines and reap a fearful tally of souls from children who can’t spell Santa correctly… The little bastards will wish they had not asked for puppies for Christmas when the hellhounds are delivered, and they find the bloody, ravaged and half-eaten corpses of their parents being tossed around like ragdolls by Fido. Have you noticed that I am not amused by the imminent festivities yet? Bah, and indeed humbug…

This evening, I have gone down a different musical path than I normally do, and I will make a valiant and probably unsuccessful attempt to be factual about German gothic symphonic metal band Aeternitas and their latest offering, entitled “Haunted Minds”. Now, if you know me and considering the amount of crap I write for Ever-Metal, you really should by now, and you will no doubt be aware that I am a sad old goff and love anything pompous and overblown. Now, considering that, you would think that I would be a rabid fan of anything that involves metal and fucking orchestras, would you not? Well, normally you’d be correct, but gothic symphonic metal has to be done RIGHT, otherwise it just sounds like a colossal shitshow that some fucker has thrown some violins at.

Well…

It appears Aeternitas have listened to a metric fuckton of “Once” era Nightwish and taken ‘Dark Chest Of Wonders’ as a starting point and have stretched that particular sound as far as they can physically take it without descending into some keyboard led white noise explosion. However, Aeternitas are by no means as talented as that merry bunch of Finnish (and Dutch) orchestra enthusiasts, and it shows. Both the male and female vocalists are strictly average, bordering on poor in Aeternitas, and for this style of music to work you have to be an exceptional vocal talent, able to soar above the music. Neither Julia Marou or Alex Hunzinger are exceptional, and Alex in particular is not acceptable, as he doesn’t have an interesting voice, and nor can he growl properly, so you end up with some kind of bizarre halfway house vocal which is barely tolerable. He is a much better conductor of an orchestra, though. The symphonic parts of the record are fucking brilliant and the choir excellent and his arrangements good. The songs, however, are derivative and uninteresting. Julia’s voice is too low in the mix of the record and frequently sounds a half-tone flat while singing, and she also has a weak vibrato and range. For this style of metal to work, you need a coruscating skyrocket of a voice and Julia’s alto just doesn’t cut it.

The songs on the album are also uninspiring. Every song on the record sounds like a variation on ‘Dark Chest Of Wonders’ apart from album closer ‘My Haunted Mind’ which is an execrable piano ballad which ends the whole distinctly average shebang on the dampest of damp squibs. I fucking hate ballads and this one’s a stinker, ladies, gentlemen and people of other genders, being mournful without being interesting and overlong by about a minute, thereby prolonging the agony longer than you need it to be. Ironically, though, it shows exactly what Julia is capable of, switching from alto to contralto in parts and showing some interesting variation in her vocal style.

There’s so much I didn’t enjoy on this record. The songs all sound the same, Alex’s vocal is poor, the mix is fucking shocking and produces an experience not unlike listening to Nightwish whilst immersing your head in a bath of scalding hot treacle, none of the instruments are sharply produced and the bass overpowers everything. The drums are flat and lifeless, you can barely hear the guitar work and the keyboards disappear in and out of the overall sound. The vocals also sound muffled, as if they were recorded by a microphone located in a different room to the singer. It’s all so…mechanical. There is no passion, no soul.

Best tune on here? ‘Castles In The Air’ by a country fucking mile. Starts with bombastic pomposity and builds to a pretty groovy chorus that gets you singing along handily and stands head and shoulders above the rest of the album.

Disappointed doesn’t even cover the emotion I am feeling right now. Average. Painfully average.

The Patented Dark Juan Blood Splat Rating System (Das Patentierte Dunkle Juan Blood Splat Bewertungssystem) awards Aeternitas 5/10 for an uninspired Nightwish-lite album. Meh. It got 5/10 because of the strength of the classical arrangements and because of the fucking slamming chorus on ‘Castles In The Air’.

TRACKLISTING:
01. Destiny
02. Fountain Of Youth
03. The Unforgivable Sin
04. The Birthmark
05. Castles In The Air
06. Fallen Innocence
07. The Ring
08. Another Day
09. The Beautiful
10. The Final Path
11. My Haunted Mind

LINE-UP:
Julia Marou – Vocals
Alex Hunzinger – Guitar, vocals
Anja Hunzinger – Keyboards
Daniel T. Lentz – Guitar
Rick Corbett – Bass (This man does not sound German!)
Frank Molk – Drums (There is an umlaut over the O but I am too disappointed to sort it out.)

LINKS:

Disclaimer: This review is solely the property of ‘Dark Juan’ and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

EMQ’s with PERPETUAL LEGACY

EMQ’s with PERPETUAL LEGACY

Hi everyone! Welcome to our new EMQ’s interview with Brasília, Brazil based Symphonic Metal band, Perpetual Legacy. Huge thanks to Bruno Henrique, Michelle Rodovalho, Matheus Maia and Rafael Lobo for taking part.

What is your name, what do you play, and can you tell us a little bit about the history of the band?

Bruno: Hello, my name is Bruno. I’m the Perpetual Legacy guitar player.

Michelle: Hi, I’m Michelle. Vocalist of the Perpetual Legacy band.

Matheus: Hello, I’m Matheus. I’m the Perpetual Legacy bassist.

Rafael: Hello, I’m Rafael a.k.a. Raffa on the keyboards.

How did you come up with your band name?

Michelle: Our bassist, Matheus had the idea regarding the name of the band. I love the name and its meaning. The meaning of the name is in Psalms 119:111. The God’s perpetual legacy, which He left to us, human beings. In other words, we hold the legacy, heritage, the Word and the testimony of the goodness and love from God. Not only to benefit ourselves but for the good to other people also.

What Country/Region are you from and what is the Metal/Rock scene like there?

Bruno: We are from Brasília, capital of Brazil. The Metal scene in the city is not too big for this music style as in other parts of the country. Even with the label as the Rock capital, the majority part of the rock events happens in the underground with barely great events to this style. I think this explains why we had been playing more outside our city than inside.

Michelle: The Christian scene is very slow actually. It was more alive in the past.

What is your latest release? (Album, EP, Single, Video)

Bruno: Our last release is a single which we released in August 2019. It is called ‘119: Theme Of My Songs’. As the name says, this music has the theme based on this Psalm, the same one that gave the band a name. It has a special meaning to us also because of the moment and how it was recorded. It was the first time with our actual drummer Renan Costa, and we had a special guest in the bass, Gustavo Magalhães from Dark Avenger.

‘119: Theme of My Songs’ (Official Lyric Video)

‘119: Theme Of My Songs’ (New Studio Video)

Who have been your greatest influences?

Michelle: I always listened and studied some good voices, not only in the metal scene. I have been studying Floor Jansen since the After Forever times. I also like Sharon den Adel, Liv Kristine. I have been listening to Sarah Brightman for a long time and also a Brazilian singer, who caught my attention called Lydia Moisés. The bands, which are our main references, are Epica and Nightwish.

Matheus: My major influence as a musician is Felipe Andreoli (Angra). To play in a symphonic metal band is the sum of two passions: classical music and the heavy metal. However, my musical taste is a variety from classical music to contemporary gospel and melodic metal.

Rafael: 3 names, 3 schools: Beethoven, John Williams and Tuomas Holopainen (Nightwish). Names like Bach, Chopin and Mozart are essentials to my musical formation, also to the band composition.

Bruno: Some national guitar heroes like Kiko Loureiro (Megadeth), Marcelo Barbosa (Angra/Almah), Eduardo Ardanuy (ex-Dr. Sin) and Andreas Kisser (Sepultura). And also, some international names like Jeff Loomis, Steve Vai, Marty Friedman and Mark Jansen (Epica).

What first got you into music?

Bruno: I started to play guitar when I was 15 years old, influenced by some rock bands like Pearl Jam, Nirvana, Black Sabbath and Megadeth.

Matheus: Classical music has always been part of my life since my childhood. I figured out the heavy metal when I was a teen, which emerged together with the bass instrument.

Rafael: I always preferred classical music than pop music, at the point of preferring the national anthem than radio music. My influences helped me to decide for my instrument. I figured out the symphonic metal when I joined some erudite music with the sound of the bands that I usually listen to in my teen ages.

If you could collaborate with a current band or musician who would it be?

Bruno: I think the most important thing is the music and the message that we can transmit at the end. So, to me if a band has a serious purpose, a good sound and a wellness message it is worth enough to collaborate with.

If you could play any festival in the world, which would you choose and why?

Bruno: I think that every metal band in the world has the same dream to play in some recognized festivals like Wacken. It must be great to play on the same stage as your biggest influences and also because of the history it has.

What’s the weirdest gift you have ever received from a fan?

Bruno: In my case, I’d sometimes receive some food as a gift. The weirdest case was a day that the fans just joined some money to give to the band (another band on the occasion) a tuna pizza and a bottle of Coke (laugh).

If you had one message for your fans, what would it be?

Michelle: Let us try to appreciate all the good things that life offers, with wisdom and caution. Let us treat everyone in the best possible way. Let us practice empathy and strive to love others as Christ loves us.

Bruno: I think the message that Christ left to us about love for others is so important, especially in these hard times where we have to live with so many cases regarding racism and prejudice. The people just forgot about this message meaning, what turns to common to see these cases but let’s keep this message in our mind and heart and try to make a better world for everyone.

If you could bring one rock star back from the dead, who would it be?

Bruno: My worst losses in the musical scene are Dimebag Darrell (Pantera) and Peter Steele (Type O’ Negative). I also would like to see a live concert with Randy Rhoads. We had a great loss in the Brazilian music scene last year with André Matos too. He is another one that should be alive to keep showing us his talent.

What do you enjoy the most about being a musician? And what do you hate?

Bruno: Music to me is like a therapy. It just removes the stress and the bad feelings if I have some and gives me a great pleasure and opportunity to express my feelings. The thing that I hate is the lack of opportunity and how difficult the music market is, especially to those that are starting their career.

If you could change one thing about the music industry, what would it be?

Bruno: I really would like to change the music industry related to the new and unknown talents that we figure out sometimes around the world. There are many bands and artists who should have a better chance and conditions to show themselves.

Name one of your all-time favourite albums?

Bruno: Megadeth – “Rust In Peace”.

What’s best? Vinyl, Cassettes, CD’s or Downloads?

Bruno: Depends on who is listening and their taste. To me all the formats have some kind of advantage. When I was a teenager I loved to listen to music on vinyl, especially for metal songs. It has that feeling of making the music more “organic“. But, I confess that lately the music platforms have earned a lot of space in the market and in my daily activities due to the practicality of just turning on the laptop or smartphone and you have all the songs that you wish to listen to at that moment.

I think the digital era of the music industry brought some advantages to those artists, like us, that are independent to show their work, and it’s awesome.

What’s the best gig that you have played to date?

Bruno: The best gig to me and I guess for the whole band was the Metanoia festival. In this festival we could share the stage with great bands, including Narnia that is one of the greatest bands in the Christian metal scene. We also had the opportunity to talk with the guys backstage and they were really kind to us.

If you weren’t a musician, what else would you be doing?

Bruno: Well, I’m a musician but I don’t live with the music profits as the whole band also. Everyone in the band has another career and profession. I’ve been a software engineer since 2010. I tried to live with the music profits as a guitar teacher in a music school but to live only by music is like to win in the lottery.

Which five people would you invite to a dinner party?

Bruno: I don’t know if the invite should be to a dinner party, but I would like to see some of our greatest references together, probably in a festival with their bands. It could be Simone Simmons (Epica), Floor Jansen (Nightwish), Sharon den Adel (Within Temptation), Christina Scabbia (Lacuna Coil) and Tarja Turunen. For sure, it should be a great concert.

What’s next for the band?

Bruno: The band is releasing some acoustic songs formats regarding our first album, “A New Symphony For Him”. We had been doing some acoustic shows and the new arrangements of these songs just became very good.

We are also releasing some Christian hymns in our symphonic metal style and with Portuguese lyrics. You can listen to the songs on our Youtube channel.

The band is also planning to release a new album in the next year. So, we are starting our compositions.

What Social Media/Website links do you use to get your music out to people?

Bruno: You can find us in Youtube, Spotify, Deezer, and some other digital platforms. Also in social media like Facebook and Instagram!

www.facebook.com/PerpetualLegacy
www.instagram.com/perpetuallegacyband/
www.youtube.com/channel/UCEMTLHC9138bzhJyZCiaLgg

Jaffa Cakes? Are they a cake or a biscuit?

Bruno: I never tasted the Jaffa Cakes (laugh). I’m living in Ireland now, but we don’t have this in Brazil. After this question, I’m sure I’ll buy some and taste it soon (laugh).

Thank you for your time. Is there anything else that you would like to add?

Bruno: I would like to say thanks to all our fans and everyone that supports us along these years. We’ve been receiving some support messages from some people and also seeing some messages on the web saying good feelings about our music, for those that go or went to our concerts, thank you so much. God bless you all.

Disclaimer: This interview is solely the property of Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Scardust – Strangers

Scardust – Strangers
M-Theory Audio
Release Date: 30/10/2020
Running Time: 53:02
Review by Beth Jones
/10
(Yes, that is the ‘infinity’ sign!!)

A few months back I reviewed Wilderun’s “Veil of Imagination”, scoring them a technically impossible 11/10. I thought at the time that there was absolutely no way I would hear a better album this year, and probably not for a good few years to come. Well, it turns out I was wrong.

Scardust are a Progressive Metal band from Israel. This album, “Strangers”, follows the critically acclaimed debut “Sands Of Time”. It’s a unique concept album based around the idea of being estranged. The bands vocalist Noa Gruman composed the album with Orr Didi, who she also collaborated with for the first album, and it was mixed by Yonatan Kossov and

mastered by Jens Bogren (Opeth, Devin Townsend, Arch Enemy). Noa explains, “Written from multiple perspectives, it explores the ways in which people can be estranged from one another, from themselves, from society, from their loved ones and even from their own subconscious. After the overture, which introduces musical themes, the album separates into two parts. Every song from the second part is a mirror image of a parallel song in the first. Each pair of songs tells the story of a pair of strangers. They can be played together as a standalone piece, as individual songs or as part of the album, whatever the listener’s heart desires.” That’s bloody clever that is!!

There’s only one word to describe this album, and that’s ‘Masterpiece’. I’m usually pretty good with words, but it’s seriously left me chastising my own lack of comparable vocabulary to explain why I feel this way. So, please bear with my while I try and do it justice! But before I begin, I’ll say this. If I die tomorrow, at least I got to hear this album.

‘Overture for the Estranged’ starts the album, opening with choral harmony performed by Hellscore, the choir Noa formed for the original album. It took me right back to my choral days, from which I became estranged when I left school! Noa’s vocals float in over the top of this, in full operatic beauty, with unexpected cadences all over the place. We’re then led into a fully orchestrated section that Mozart would have been proud of, with the addition of crunching guitar, and thundering drums. It’s just spectacular! It’s like an opening overture to a top rock opera running on Broadway, or in the West End. This style is revisited throughout the album, too. Just for fun, it throws in some jazz and funk along the way, as well as the progressive rhythm changes you would expect from any great explorer of the genre. Right, that’s track 1 pathetically dealt with, like a boxer trying to cradle a new-born still gloved up! 10 more to go – stay with me folks!

Track 2, ‘Break the Ice’, is full on musical theatre, complete with chorus line from Hellscore again, and a melody so catchy I dare you not to hum along! Aside from the vocals, which are simply sublime, we get to see just how skilled the musicians in this band really are. With an awesome guitar solo, and some equally complex bass runs, cross rhythms, piano fills, and orchestral violins, it just makes me want to explode with admiration. I’m so emotional about this album, it’s untrue! The musical theatre feeling continues through track 3 (which is also one of my favourite tracks, more on that later!) and 4, but always with a progressive twist. Complexity is their absolute ethos, and they do it effortlessly.

Track 5, ‘Concrete Cages’ starts with folk instrumentation provided by German Folk musician, Patty Gurdy. It then goes through funk, and heavy riffs, and dives into a whole melting pot of extravagant instrumentation, choral harmonies, and just pure musicality. It’s heavy enough to bang your head to, but so intricately precise that it’s possible to hear every single note like there was no other sound.

Track 6, ‘Over’, returns us to some sort of metal normality, ramping up the heavy for a bit! It also let’s Noa explore her guttural vocals too, which are just as perfect as her operatic tones. In contrast, and forming the other part of the pair, if you’re listening to the album as paired tracks, ‘Under’ is pure funk / gospel/ jazz, complete with snare rim beats from the drummer, gospel choir harmonies, and solos a plenty. Track 8, “Huts” features a performance from Westbrook Hay Prep School Chamber Choir, just to add another element, because why not?!

The next few tracks continue exploring every theme imaginable, until the album is brought to a close with ‘Mist’. A slowed down track in which Noa’s vocals are just sublime. It’s a real ‘lighters in the air’ closing overture, that brings things to an end as stunningly as they began.

When an album is this good, it’s hard to pick out a standout song. But I have gone with the tracks that I’ve had on repeat over the last couple of weeks. ‘Tantibus II’, which is also the first single from the album, and ‘Gone’. ‘Tantibus II’ melds complex guitars with dark choral harmonies, and a hellishly catchy chorus! I actually cried when I first saw the video for this, I was so overwhelmed by how good it was. ‘Gone’ on the other hand, I love for a different reason – we discover the true skills of bass player, Yanai Avnet. It opens with a bass line lick, and he gets a solo section in the middle. This man’s got skills!!! More licks than an ice-cream parlour full of children, I can tell you. Bloody brilliant.

Everything is just bloody, bloody, unbelievably bloody brilliant!! I’ll shut up now, I’ve taken up too much of your time. “Strangers” gets infinity out of 10 from me, because my scoring system no longer matters. Buy this album.

TRACKLISTING:
01. Overture For The Estranged
02. Break The Ice
03. Tantibus II
04. Stranger
05. Concrete Cages (feat. Patty Gurdy)
06. Over
07. Under
08. Huts
09. Gone
10. Addicted
11. Mist

LINE-UP:
Noa Gruman – Vocals
Yanai Avnet – Bass
Yadin Moyal – Guitar
Itai Portugali – Keyboards
Yoav Weinberg – Drums

Guests:
Hellscore Choir
Westbrook Hay Prep School Chamber Choir
Patty Gurdy

LINKS:

Disclaimer: This review is solely the property of Beth Jones and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

EMQ’s with LILIUM VITAE

EMQ’s with LILIUM VITAE

Hi everyone! Welcome to our new EMQ’s interview with Pernambuco, Brazil based Symphonic/Melodic Metal band, Lilium Vitae. Huge thanks to Gleyce Viera & Leandro Silva for taking part!

What is your name, what do you play, and can you tell us a little bit about the history of the band?

Gleyce: Hello, my name is Gleyce Vieira I am the front singer of Lilium Vitae. I play a little piano, but in the band I just sing. The band was born as a project in 2012.

How did you come up with your band name?

Gleyce: The name I chose is inspired by the Bible story in which God talks about the lilies of the field and that he takes care of all nature and humans, that is, the creator semore is taking care of us.

What Country/Region are you from and what is the Metal/Rock scene like there?

Gleyce: I am from Pernambuco, which is in the northeast of Brazil. Here, the metal scene is alive but not as much as in São Paulo, but there are a variety of styles ranging from Black Metal to symphonic metal.

What is your latest release? (Album, EP, Single, Video)

Leandro: In 2019, we released the EP “Libertação” which contains 3 tracks.

‘Libertação’ (Official Lyric Video)

Who have been your greatest influences?

Gleyce: First Nightwish, and then Epica, After Forever, Tristania, Shaman, Kamelot, Within Temptation, Therion, Angra etc.

What first got you into music?

Gleyce: The study of opera at the same time as heavy metal with female and male voices.

If you could collaborate with a current band or musician who would it be?

Gleyce: Definitely Nightwish.

If you could play any festival in the world, which would you choose and why?

Gleyce: Wacken Open Air. Besides being a very important festival and for the honour of being able to play for sure with great bands from the world stage.

What’s the weirdest gift you have ever received from a fan?

Gleyce and Leandro: (Laughs) We haven’t received gifts from fans yet.

If you had one message for your fans, what would it be?

Leandro and Gleyce: We don’t want to pass repeated messages, but we want to send a true message. That we really cannot abandon faith, hope and love. Let us love one another, let us have faith and hope, so that things can go smoothly in our lives!

If you could bring one rock star back from the dead, who would it be?

Leandro and Gleyce: Maybe Freddie Mercury…but for us Brazilians, it would be great to see André Matos alive again. He is the greatest Brazilian heavy metal singer, and had great worldwide prestige.

If you could change one thing about the music industry, what would it be?

Leandro and Gleyce: What we really like most is the contact and interaction with the public! What we don’t like are destructive criticisms from people who were unaware of our effort to compose, record and publicize many times for free!

Name one of your all-time favourite albums?

Leandro and Gleyce: As we really like symphonic metal, I think Nightwish’s “Wishmaster” is a great album for us!

What’s best? Vinyl, Cassettes, CD’s or Downloads?

Leandro and Gleyce: Vinyl and CD’s

What’s the best gig that you have played to date?

Leandro: We didn’t play on many shows because we were always writing and recording songs, and at that time there were some components coming out, and new members coming in. But, there was an event called Underblood Fest in Recife, it was a great event where everyone really liked our sound.

If you weren’t a musician, what else would you be doing?

Leandro: I like archaeology! I think it would be an archeologist.

Gleyce: I would be a lawyer.

Which five people would you invite to a dinner party?

Leandro and Gleyce: In the case of people still alive, they would be Bruce Dickinson, Tarja Turunen, Tuomas Holopainen, Michael Sweet and Christian Liljegren.

What’s next for the band?

Leandro and Gleyce: We are preparing a very good album called “Guided By Light”. The album has 10 tracks, and is currently in the recording phase of keyboards, and orchestral arrangements. Pandemia delayed the process, as it should have been ready since July.

What Social Media/Website links do you use to get your music out to people?

www.instagram.com/bandaliliumvitae/
www.facebook.com/liliumvitae/
www.open.spotify.com/artist/3aQzHJsAK6PgquwGBTQyFJ
www.deezer.com/artist/92549302
www.music.apple.com/br/artist/lilium-vitae/1508437860
www.music.amazon.com.br/artists/B0878XJP1R
www.youtube.com/channel/UCjCNoxreurEaD3MromR8UEA
www.play.google.com/store/music/artist?id=A3hn2cfiukyzkn63q2n5rwf5hbi

Jaffa Cakes? Are they a cake or a biscuit?

Leandro: Biscuit!

Thank you for your time. Is there anything else that you would like to add?

Leandro and Gleyce: We thank you! We want to say that it was an honour and joy to participate in this interview, and that the upcoming CD is something very special, which is being done with a lot of effort and affection!!!

Disclaimer: This interview is solely the property of Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Kamelot – I Am The Empire – Live From The 013

Kamelot – I Am The Empire – Live From The 013
Napalm Records
Release Date: 14/08/2020
Running Time: 97:12
Review By Beth Jones
10/10

You know when you finally get round to paying attention to a band that you should have paid attention to a long time ago. And then when you do, you feel like the dumbest decision you ever made was leaving it until now to do that. Well…um…yeah, that. I know, I know!! I will hold my hands up and you may throw rotten fruit at me and call me an idiot for leaving it this long to pay attention to American Symphonic Metal aficionados, Kamelot. But please rest assured that this sort of oversight will never happen again!

This most recent release is an epic live album, featuring their performance at the legendary 013 in Tilburg, Netherlands. It features 21 extraordinary tracks, with guest appearances from some renowned names, and spans an extensive nearly 100 minutes of play time. And I’m guessing that you may have already worked out from my score, that, for me, this is 100 minutes of pure extravagant joy!

The album begins with a triumphant instrumental overture, befitting of any good Arthurian film to accompany a riding sequence, with Arthur and the knights traversing rocky terrain. What better way is there to open a show for a symphonic metal band by the name of Kamelot, eh? None I tell thee!

From there we travel through hit after hit of grand melodies, from new songs to classics, encompassing intricate harmonies, powerful rhythms, and insatiable instrumentation that fills every beat with drama and beauty. We’re also treated to guest appearances from the likes of Alissa White-Gluz (Arch Enemy), Charlotte Wessels (Delain), Elize Ryd (Amaranthe), Lauren Hart (Once Human) and Sascha Paeth (Avantasia, Epica and more)!

But for me, the aspect that gives me those excited, ‘tingles down the spine’ moments, is Tommy Karevik’s stunning vocals. They are both powerful and effortless, with a richness and purity that could melt even the coldest heart. If there is some kind of heavenly Eutopia for us to pass over to in the afterlife, I sure hope this is the soundtrack.

One track that particularly stands out for me, and displays these silky vocals perfectly, is ‘Here’s to the Fall’. In a change to the pacey and orchestrated masterpieces that have bathed us to this point, this ballad is more stripped back. It doesn’t have face melting solos, or earth-shattering power drumming. It is a melancholic piece with the perfect marriage of Piano and vocals at the forefront, backed up with strings and gentle bass. It has the feeling of a great operatic aria, steeped in sadness, somewhere in the middle of a Broadway musical, where one of the lesser main characters has departed before their time. Being a huge fan of musicals and all things dramatic and operatic, and a big old emotional softy, this ticks all the boxes for me! And god, that voice!!! I have gone all melty.

Now, my usual gripe with live albums is the production/annoying crowd noise/bits where the vocals disappear in the mix etc, etc. But, because this album has been mixed and mastered by Sascha Paeth, none of this is applicable – everything is placed perfectly, every instrument cuts through at the right level, and the vocals sit beautifully throughout. Even the crowd noise works! It’s like they’re an extra facet to the band, and it really makes you feel like you are there, immersed in the whole live experience! At one point there is a section where, I’m guessing, the band got the crowd to do the old ‘Which side can shout the loudest’ routine, and even this is panned between the left and right channels to give you the correct feel of it! Attention to detail like that is what makes great production stand out.

So, to the bad points. There are none! It’s perfect. That’s the shortest paragraph I’ve ever written.

“I Am The Empire – Live From The 013” is available in digital format, as well as CD digipak, Deluxe Box (including the album), Blu-Ray/DVD, and vinyl. I would suggest that if you like Symphonic Metal, Power Metal, Operatic Metal, Musical Theatre, or simply just want something bloody marvellous to listen to, then you should invest in this album.

TRACKLISTING:
01. Transcendence (Intro)
02. Phantom Divine (Shadow Empire) – feat. Lauren Hart
03. Rule The World
04. Insomnia
05. The Great Pandemonium
06. When The Lights Are Down
07. My Confession – feat. Eklipse
08. Veil Of Elysium
09. Under Grey Skies – feat. Charlotte Wessels (live premiere)
10. Ravenlight – feat. Sascha Paeth
11. End Of Innocence
12. March Of Mephisto – feat. Alissa White Gluz
13. Amnesiac
14. Manus Dei

15. Sacrimony (Angel Of Afterlife) – feat. Alissa White Gluz & Elize Ryd
16. Drum And Keys Solo
17. Here’s To The Fall
18. Forever
19. Burns To Embrace – with Children’s Choir including Thomas Youngblood’s son
20. Liar Liar (Wasteland Monarchy) – feat Alissa White Gluz
21. Ministrium (Shadow Key)

LINE-UP:
Thomas Youngblood – guitars
Tommy Karevik – vocals
Oliver Palotai – keyboards
Sean Tibbetts – bass
Alex Landenburg – drums

LINKS:
www.kamelot.com/band/
www.facebook.com/kamelotofficial
www.instagram.com/kamelotofficial
www.twitter.com/KamelotOfficial
www.youtube.com/kamtv
www.vk.com/kamelot_official

Photo by Tim Tronckoe

Disclaimer: This review is solely the property of Beth Jones and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

EMQ’s with GRIMGOTTS

EMQ’s with GRIMGOTTS

Hi everyone! Welcome to our new EMQ’s interview with London, UK based Symphonic Power Metal band Grimgotts. Huge thanks to vocalist Andy Barton for taking part.

What is your name, what do you play, and can you tell us a little bit about the history of the band?

We’re called Grimgotts: The band was formed by myself (Andy Barton) and my mate called Fraser Watt – We started as a joke internet project back in 2015, and we ended up releasing an EP called “Here be Dragonlords” that year. We recruited random people online to play on the EP’s up until 2018 – By then, David Hills, a friend from University joined, along with Fabio Garau, Nelson Moreira & Mo Abdelgadir. Since then, we released “Dragons of the Ages” (2019) and have played several shows. In 2020, we’re releasing our 3rd album, “Tales, Sagas & Legends” – We’re releasing the album in 3 instalments, with ‘Tales’ having been released already back in May.

How did you come up with your band name?

As we started off as a joke Harry Potter themed band, we decided to reference the Wizarding bank of ‘Gringotts’ – we swapped the ‘n’ for an ‘m’ and the name was born!

What Country/Region are you from and what is the Metal/Rock scene like there?

The band originally formed in the West Sussex town of Horsham – there were some local bands, but the gigs were small. Eventually, the band members were all based in London which as you can guess has an AMAZING scene.

What is your latest release? (Album, EP, Single, Video)

Our latest release is ‘Tales’ – the first instalment of our 2020 album “Tales, Sagas & Legends”.

Grimgotts – Tales (Full EP)

Who have been your greatest influences?

Much of our inspiration comes from the Power Metal giant bands: Helloween, Rhapsody, Dragonforce & Nightwish. We also take influence from the likes of Hans Zimmer & Two Steps From Hell.

What first got you into music?

Iron Maiden – For me (Andy), it was Iron Maiden – I found “The Number Of The Beast” album in my dad’s CD collection when I was 6 years old and I loved it. 

If you could collaborate with a current band or musician who would it be?

I think a collaboration with a group such as Two Steps From Hell would be amazing – we use big orchestration for our music, so working with those guys would be amazing. Having said that, a drinking song with Alestorm would be epic!

If you could play any festival in the world, which would you choose and why?

Wacken – no debate. It’s an amazing festival and would be our dream to be able to step out on that stage

What’s the weirdest gift you have ever received from a fan?

We had a fan inform us that he had a cartoon and that we were included in the cartoon – apparently, we rise and play a song to give courage before a battle or something. Pretty cool, but pretty weird!

If you had one message for your fans, what would it be?

We’d just like to thank them for their support, it means the world to us and we wouldn’t be able to continue doing what we do without them!

If you could bring one rock star back from the dead, who would it be?

Dio – I got too drunk at Wacken one year and missed him play. I didn’t mind as I was seeing him at Bloodstock a few weeks later, but then he went and died! Gutted.

What do you enjoy the most about being a musician? And what do you hate?

Writing is by far the best part of being a musician – it’s allows you to be creative and expressive. Recording is horrible and knackering.

If you could change one thing about the music industry, what would it be?

I think the over-saturation could be an issue – there’s probably hundreds of amazing artists that don’t get the recognition they deserve. Having said that, you can make music in your room these days, meaning that creating music is accessible for many who before wouldn’t have been able to. It’s a tough one.

Name one of your all-time favourite albums?

“Reckoning Night” by Sonata Arctica – WHAT AN ALBUM!

(Totally have to agree with this answer – Rick)

What’s best? Vinyl, Cassettes, CD’s or Downloads?

Hard to say, all are great for different reasons – probably CD.

What’s the best gig that you have played to date?

Our first gig in 2018 was special – it was such an amazing experience being on the stage. I myself hadn’t performed live for almost 10 years! I loved it.

If you weren’t a musician, what else would you be doing?

Well I currently work in Digital Marketing, so I would probably be focussed on that…

Which five people would you invite to a dinner party?

The lads in the band, we’re all good mates – the extra would be anyone who can bear being in our company for a few hours.

What’s next for the band?

Once all the EPs are out this year, we’ll be focussed on gigs – we’ve got 2 festivals in 2021 already and we hope for many more!

What Social Media/Website links do you use to get your music out to people?

We like to direct people from our Social Media to our Bandcamp page – it’s a great platform; you can either listen to our music for free or download it. We also direct users to Spotify as much as possible!
www.grimgotts.bandcamp.com/
www.open.spotify.com/artist/0TrAygcWyGMmI6J40tiG6L
www.facebook.com/grimgottsband/

Jaffa Cakes? Are they a cake or a biscuit?

Cake – the clue is in the name! But I’d dunk a Jaffa cake in my cup of tea, whereas dunking a Victoria sponge in my tea would be barbaric.

Thank you for your time. Is there anything else that you would like to add?

Check out “Tales” on any streaming site and stay tuned for “Sagas” in August and “Legends” this winter!

Disclaimer: This interview is solely the property of Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Moonlight Haze – Lunaris

Moonlight Haze – Lunaris
Scarlet Records
Release Date: 12/06/2020
Running Time: 51:46
Review by Tsarina Wilson
9/10

Moonlight Haze consists of Chiara Tricarico (ex-Temperance) on vocals, Giulio Capone on vocals/drums/keyboards, Alessandro Jacobi (also of Elvenking) on bass, Alberto Melinato and Marco Falanga on guitars. This is the second album from the Italian band in quite quick time, as far as albums go anyway, their first release which was “De Rerum Natura” in 2019, certainly put them on the map of great quality music, so I had high hopes for this release. This new album, “Lunaris”, was mixed and mastered by Simone Mularoni at the Domination Studio (San Marino). The artwork and graphics (which are immense) are by Beatrice Damori.

Their music is not only symphonic, it’s up-beat, catchy, enthusiastic, and has vocals that make the hairs on the back of your arms stand on end. It has power and passion which shines through in abundance, and is an amazing blend of metal, folk, electronics, with one track, ‘Birth And Death’, even featuring Elvenking’s violinist, Fabio Lethien Polo.

The opening track, ‘Till The End’ bursts in with a, “hello! I’m here” feeling! It has a great tempo, is catchy, full of energy and doesn’t let up all the way through. Chiara’s vocals are so strong and powerful, and her range is epic. Added to that are great harmonies, and guitar riffs that go so fast it makes my fingers hurt just thinking about them! The ending of the song proves already what a great set of lungs Chiara has, the power in her voice is incredible!

Each track is a mini story within itself, and although some of the tracks are fast pace and can leave you breathless, you do get small lulls in between. But don’t be fooled into thinking you’ll be able to sit and relax, as you wont be left with time to do that! This album will have you sat up and listening, waiting to see where it’s off to next. ‘Under your Spell’, is another stand out track for me. It starts off melodic and is gentle but very powerful, and again the range of Chiara’s voice is out of this world! Add to that brilliant guitar riffs, and you have a very powerful rock ballad.

I was a little taken back by ‘Enigma’, as rather than being sung in English, it is in Italian, but the power and passion shines out in bucket loads. Even though I couldn’t understand the lyrics, it still gives you such a vibe. I am one of those who listen to the album without looking at the track running order, so I was pleased to discover that the last track on the album is the English version of the same song. This wouldn’t be out of place in a rock opera and the immense drumming leave you breathless, thinking ‘seriously how the heck do you play drums that quick?’. Just wow!

I must admit I listen to my music a tad loud, and on a good set of speakers, but, my word, some of the drumming had my chest hurting! You can feel it inside. That and the guitar riffs almost blew the speakers! And I can’t say enough how fabulous the vocals are, going from gritty to operatic in a heartbeat. This is so apparent in ‘The Dangerous Art of Overthinking’ which I have to say is my favourite track. You start off with operatic background and crazy drumming. Calm down to almost ‘monkish’ undertones, then BAM! Back into it! Who needed to catch their breath anyway?! This would make an epic horror film score, the vocals leaping from powerful, to growls, to operatic, and back to ‘monkish’ in seconds, which leave you wandering what the hell is going on! You get chance for a quick gasp of air then off it goes again. It also has some crazy synthesiser twists which really add the icing on the metal cake. I like to call this track the ‘Beauty and the Beast’ of the album.

There are calmer tracks, like ‘Of Birth and Death’, that gives you a folkish interlude, which you’ll be grateful for as track 10 ‘Nameless City’ is 7 minutes and 34 seconds long, and once again leads you on a twisted journey! It starts off all nice and calm before throwing you into the deep end with a sudden change of pace. Operatic vocals switch to normal, and the whole track sounds like they have an orchestra and a team of backing vocals all joining in. And, once again, it’s littered with brilliant drumming, guitars and harmonies, and the synthesizer in the background.

If you wanted dull and boring then stay away from “Lunaris”, as that’s one thing this album definitely isn’t! But if you want powerful, intense, complex, and outside of the box, then hold on tight and enjoy the ride.

TRACKLISTING:
01. Till The End
02. The Rabbit Of The Moon
03. Lunaris
04. Under Your Spell
05. Enigma
06. Wish Upon A Scar
07. The Dangerous Art of Overthinking
08. Without You
09. Of Birth and Death
10. Nameless City
11. Enigma (English Version)

LINE-UP:
Chiara Tricarico: vocals
Giulio Capone: drums, keyboards
Marco Falanga: guitars
Alberto Melinato: guitars
Alessandro Jacobi: bass

LINKS:
www.moonlighthaze.com/
www.facebook.com/Moonlighthazeband/
www.instagram.com/moonlighthazeband
www.open.spotify.com/artist/1J9Jg6CEtjR3C4SFXz1elX
www.youtube.com/channel/UC4xfX4XQB0cIO7KsBUf6gng
www.linktr.ee/moonlighthaze

Disclaimer: This review is solely the property of Tsarina Wilson and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

EMQ’s with BOFO KWO Part Two

EMQ’s with BOFO KWO Part Two

Hi everyone! Welcome to our new EMQ’s interview with Helsinki, Finland based Symphonic Black Metal band, Bofo Kwo. This is actually our second interview with them but they have their debut album out so meh. Huge thanks to Kimmo (Wamufo) for taking part.

What is your name, what do you play, and can you tell us a little bit about the history of the band?

I’m Kimmo, with a stage name Wamufo. I play guitar and synths live. We started Bofo Kwo about 5 years ago, or Ted started it to accompany his novel about three cannibals and their shenanigans. Since then I’ve been busy with the music part and everything connected to that. composing, practice, etc. 2 years ago we signed with Sliptrick Records and started writing the new album.

How did you come up with your band name?

If I remember correctly Ted picked it up from a documentary about cannibals.

What Country/Region are you from and what is the Metal/Rock scene like there?

We’re from another planet. No scene to talk about… in reality I’m Finnish and the scene is big and active. Metal is very mainstream here. Janne’s from Norway, I’ve no first-hand experience how the scene’s nowadays but I’m guessing it’s just like Finland. Ted lives in The Netherlands and I’m guessing the scene is small but active.

What is your latest release? (Album, EP, Single, Video)

The second single from our upcoming album “Space/Time Carnivorium” called ‘The Massacre’ was just released on Spotify and accompanying lyric video was uploaded to YouTube. The album’s gonna be out on the 30th of June.

Lyric Video:

Who have been your greatest influences?

We’re all huge fans of 70’s Disco music, Cindy Lauper and Philip Glass’s minimalist approach. The emptiness that brings out emotion and silence of the woods during winters bring us peace and the lonely cries of whales remind us that loneliness is not just a human trait.

What first got you into music?

I was already hypnotized in kindergarten by Charlie Strapp songs. Couldn’t stop playing those. I guess I’ve always been moved by sound and how that can bring out emotions that only you can feel. I think Ted smelled this on me and during his EMO phase really connected somehow.

If you could collaborate with a current band or musician who would it be?

It would be nice to get a nice throat singing ensemble and a tribal collective to perform with. Linking these with a nice dub producer would be sweet. He could inflict those weird delays and echoes to the choir and ensemble while we play. Damn that would be great.

If you could play any festival in the world, which would you choose and why?

Something in the South America. Opening for Iron Maiden there would be awesome.

What’s the weirdest gift you have ever received from a fan?

We’ve never received anything, But we’ll accept anything.

If you had one message for your fans, what would it be?

Be you, be kind.

If you could bring one rock star back from the dead, who would it be?

Dimebag. No one deserves to be shot on stage.

What do you enjoy the most about being a musician? And what do you hate?

I enjoy the creativity most. Coming up with new shit and then materializing something in to a song. For example, Ted’s cat is doing backing vocals for us and twisting and mutilating those and turning them in to something that resembles music was a lot of fun.

I don’t really hate anything about it.  Somethings are a bit boring and not that rewarding, like trying to hunt for reviews or press, but that’s why we have Wes.

If you could change one thing about the music industry, what would it be?

Refuse to answer!

Name one of your all-time favourite albums?

“Live At The Counter Eurovision” by Misty In Roots

What’s best? Vinyl, Cassettes, CD’s or Downloads?

I’ll go with vinyl. I like them for the looks and it takes effort to listen. Which makes me listen more carefully. I admit using Spotify for 90% of my listenings though…

What’s the best gig that you have played to date?

We played one in Amsterdam but that was plagued by PA problems. It was good though and the after party was, if not legendary, very chill.

If you weren’t a musician, what else would you be doing?

Probably pushing daisies.

Which five people would you invite to a dinner party?

That seems like an awful lot of social interaction.

What’s next for the band?

Promotion of the new album. We’re preparing for fall and hope to be able to tour in support of it.

Pre order it here:

What Social Media/Website links do you use to get your music out to people?

We’ve Facebook and Bandcamp. We’ve been planning on Twitter (I do use my personal twitter to inform people about our shenanigans) and maybe Instagram. We should hire someone to take care of those.
www.facebook.com/BofoKwo/
www.bofokwo.bandcamp.com/

Jaffa Cakes! Are they a cake or a biscuit?

Biscuits. At least in Finland. Jaffa Keksi.

Thank you for your time. Is there anything else that you would like to add?

Thanks for having us, it was a pleasure!! Stay hydrated and eat your veggies kids!

Disclaimer: This interview is solely the property of Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

EMQ’s with LOST SACRAMENT

EMQ’s with LOST SACRAMENT

Hi everyone! Welcome to our new EMQ’s interview with McAllen, Texas based Symphonic Power Metal band Lost Sacrament. Huge thanks to vocalist Ena Estrella for taking part.

What is your name, what do you play, and can you tell us a little bit about the history of the band?

My name is Ena Estrella. I sing for the symphonic metal outfit Lost Sacrament out of the Rio Grande Valley, South Texas.

How did you come up with your band name?

Lost Sacrament is the brainchild of our drummer, Vicente VC Fernandez (no relation to the mariachi singer). The idea of the name came about after disbanding our previous project Doom Desire. We felt that something very holy and dear to us had been “lost”, and wanted to continue making music, so we reformed as a new band with a new dark symphonic sound.

What Country/Region are you from and what is the Metal/Rock scene like there?

We are from the Rio Grande Valley, in the South Texas area (way more south than San Antonio). We are minutes from Reynosa and/or Matamoros (in Mexico). The rock/metal music scene here caters to specific death and hardcore metal genres as well as mostly country and indie music. We are the oddball in our scene. Luckily, we have people who are really into us here. We offer something very different.

What is your latest release? (Album, EP, Single, Video)

Our new album “Praesidio in Animo” is almost complete! It is a 7-song album that will be released sometime late this summer. We are very excited about it, as it will be the first release of hopefully many more to come.

Who have been your greatest influences?

This project was definitely inspired by bands such as Evergrey, Nightwish, Symphony X, King Diamond, Dream Theater and bands in those genres.

What first got you into music?

I was born into a musical family. A life without music is unfamiliar.

If you could collaborate with a current band or musician who would it be?

Tom Englund of Evergrey! Devin Townsend too.

If you could play any festival in the world, which would you choose and why?

Wacken and/or ProgPower. Those are the biggest festivals for Symphonic Metal to us.

What’s the weirdest gift you have ever received from a fan?

A $20 tip from an older gentleman! It was a very nice gesture.

If you had one message for your fans, what would it be?

We hope you will join us on this new musical journey and we look forward to sharing it with you all very soon.

If you could bring one rock star back from the dead, who would it be?

Dio!

What do you enjoy the most about being a musician? And what do you hate?

Making music, playing, is the best feeling. Sometimes, the business side of things can be complicated. But nothing is impossible with a little know-how.

If you could change one thing about the music industry, what would it be?

It should be about what you know, and not what you look like. And the way pop music sounds now. There’s no innovation in it.

Name one of your all-time favourite albums?

“Images And Words” by Dream Theater.

What’s best? Vinyl, Cassettes, CD’s or Downloads?

Definitely CD’s, and for older albums, vinyl.

What’s the best gig that you have played to date?

The day after Christmas, Metal Monthly at Cine el Rey, Mcallen, TX. 12/26/2019.

If you weren’t a musician, what else would you be doing?

Teaching or working with Computers.

Which five people would you invite to a dinner party?

Evergrey! Woo!

What’s next for the band?

Releasing this first album and possibly a music video in an undisclosed location.

What Social Media/Website links do you use to get your music out to people?
www.facebook.com/LostSacrament/
www.instagram.com/lostsacrament_band/

Jaffa Cakes! Are they a cake or a biscuit?

If its got chocolate, I’m eating it.

Thank you for your time. Is there anything else that you would like to add?

We hope you will be intrigued to check us out. Thanks for reading!

Disclaimer: This interview is solely the property of Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Osyron – Foundations

Osyron – Foundations
SAOL/The Orchard
Release Date: 10/07/2020
Running Time: 28:41
Review by Beth Jones
10/10

After a pretty productive bank holiday weekend, Rick decided to hit me up with something new that he thought I would like, as part of my quest to write more reviews. The first of these is our subject here, Canadian Symphonic Metal band, Osyron. Based in Calgary, Alberta, the group see themselves as ‘bridging the gap between traditional European metal and the music of their homegrown contemporaries’.

Starting out in Ontario, they originally went by the name Morbid Theory, releasing two demos (Chaos Breed in 2006 and Harbinger in 2010). The band saw some changes in line-up, scenery, and identity, and, after moving to Alberta in 2012, Osyron was born.

Their upcoming release, “Foundations”, although only 5 tracks in duration, is just about scraping album length, owing to the progressive nature of their compositions and the story that it takes you through. It is a view on Canadian history, spanning topics from the country’s colonization, to the mistreatment and recognition of indigenous tribes, and the country’s participation in global warfare. This hard hitting and melancholy theme is stark from the off.

Starting with dark symphonic chords and the pounding of drums, Osyron take us through colonisation in the first track ‘The Cross’. It’s pounding beats and droning root chords suggest the regimented power of an oppressor, and the helplessness of the indigenous people; ‘They would learn to live like us, Or they would learn to die by the cross.’

The second track ‘Ignite’, tells the story of Canada’s roll in WWI, explored from a Canadian and UK perspective. Again, lyrically, it’s hard hitting. Musically it explores differentiation in rhythm, emulating the chaotic nature of battle, as well as pulsing beats and chanting war cries that suggest the regimented and indoctrinated nature of war. The use of drums here also cleverly suggests the sounds of a battlefield.

A contrast in pace and instrumentation to the first two tracks, ‘Battle of The Thames’, starts acoustically, with just voice and guitar, at a much slower pace, but in keeping with the melancholy that drifts beautifully throughout this record. It has almost a folk, lilting feel, and would not be out of place performed atop a craggy cliff on a Celtic shoreline. Halfway through, we are treated to a far away guitar solo, which almost sounds like a distant violin, adding more to the feeling of a ‘folk’ route. I may be wrong, but I think I can hear a mandolin in there too at some points. This track gathers layered momentum as it progresses, and reaches a climax with an excellent guitar solo, pulling things back from folk, to symphonic metal.

The penultimate track, ‘The Ones Below’, marks a sudden change in pace, starting with a fully loaded groove riff, the sort you would expect from a well-oiled groove metal band. However, this is intertwined with the ethereal sounds of strings. The reason for the more upbeat nature of this track – it is a celebration of the generations past and how their sacrifice is now being recognised. The raising of a glass to the ones below ‘We drink not in our sorrow… For our sisters and brothers’.

However, you still feel that this isn’t enough… That more can be done… A theme that is explored in the final, and title track, on this record. An epic composition and by far my favourite, it’s musically full, symphonic, and heavy in its minor key. For me, lyrically it is the most tortured track on the album. The chorus lines ‘Wild lies, of white crimes, I, can no longer bear…And hear them cry, throughout the night, Why? Have our wrongs taken their rights?’ are very stark, powerful, and thought provoking. And the change up in rhythm towards the end spark thoughts of final painful realisation and desperation to put right wrongs. Very deep and pretty moving.

Musically, this record is symphonic and proggy in all the right places, and if you like bands such as Nightwish, Symphony X, Dream Theater, Kamelot, and Wintersun, you’re going to like this. But in my opinion, the ace card here is the lyrics, and the way that every member of the band has explored and interpreted the subject matter. They all had a hand in writing the tracks, for the first time in their history, and I think that it has really worked very well. I might not have known Osyron before hearing this record, but I definitely intend to get to know them more now.

TRACKLISTING:
1. The Cross
2. Ignite
3. Battle of The Thames
4. The Ones Below
5. Foundations

LINE-UP:
Krzysztof Stalmach (Guitar)
Cody Anstey (Drums)
Bobby Harley (Guitar)
Reed (Vocals)
Tyler Corbett (Bass)

LINKS:
www.osyron.com
www.facebook.com/osyron/
www.twitter.com/osyron
www.instagram.com/osyronband/
www.youtube.com/user/osyron/videos

Disclaimer: This review is solely the property of Beth Jones and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.