Festival Rock Se-Indonesia ke 7 (1993)

Festival Rock Se-Indonesia ke 7

Tracklist
 1. Andromedha (Surabaya) - Emosi 
2. Cassanova (Yogyakarta) - Tengara 
3. Pratama Rock Band (Bengkulu) - Salam 3 Jari 
4. Phytagoras (Surabaya) - Taksaka Seta
 5. Aceh Rock Band (Langsa, Aceh Timur) - Manusia 
6. Scandal Rock Band (Semarang) - Syair Kebebasan 
7. Sahara (Bandung) - Dunia 
8. Metal Force (Solo) - Benteng Benteng Raksasa 
9. CB Band (Kediri) - Nyi Roro Kidul 
10. Lost Angels (Surabaya) - No More

sounds great, intro misterius gothic from CB Band with song nyi roro kidul

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Fimbulthier - Rise (2010)

Fimbulthier - Rise

The first time I got to know about Fimbulthier was at Ragnarök Festival 2008 where they still were a bunch of guys clad in school uniforms who didn't know if they wanted to be a pagan metal or a melodic death metal band. I won't lie to you: that was clearly the worst of all 28 performances I had seen that weekend. Logically it came as quite a shock when I found out that Fimbulthier signed a record deal with Trollzorn Records. Why on earth would a label, which has such grandiose bands as Menhir, Fjoergyn or Bran Barr on its roster, sign such a talentless bunch? Or is it me who wronged them and judged them too fast after only one gig?

I was soon to find out as the label sent me Fimbulthier's sophomore album ...Rise for reviewing purposes. Short glance at the band's newest promo pic and all my prejudices returned: three guys in black suits with red ties and one guy in a bloodstained wife beater in front of some pink-ish background. Apparently they still dress in this stupid fashion just for the sake of being different. Instead of on their outer appearance they should've tried pulling that off on their music, which is still far from being different. Or interesting at all for that matter.

One minute into the first song and you already know what this album is about: recycling. Recycling the kinda riffs that have been deemed revolutionary in Gothenburg, Sweden some fifteen years ago. At least the band has taken sides by now and doesn't undulate between bad pagan metal and bad melodic death metal anymore. This doesn't make things any better, but at least they can't be blamed for their split personality anymore. But hey, now you can blame them for sounding exactly like the bunch of guys from your village who try to sound like In Flames or Soilwork and only leave their garage for the annual gig in the local youth center!

Well, it's not only recycling Fimbulthier devote themselves to. Sometimes there are also some hardcore influences, so that you get treated with some awful clean vocals as well. At other times Fimbulthier's semi-pagan past still slips in, especially during tracks #7-9: the title track "Rise" features a playful lead guitar and "Discover" starts with a melodic black metal riff, but neither song is anywhere close to outstanding. "Two Words" however is quite a standout track on this album. In fact it could've been lifted from a pagan metal album (I think of Wolfchant in particular) just as well, but then again their split personality returns: a pagan metal song about the words "Fuck you." Need I say more?

The instrumental part isn't even a problem, the musicians aren't doing a lousy job and the production isn't too bad either. You can listen to this CD in the background and it won't annoy you. But even the best shredder in the world can't display his prowess if the songwriting just plain sucks. Which it does in Fimbulthier's case. In this overcrowded cosmos of melodic death metal, 95% of all releases are better than this uninspired waste of polycarbonate plastic. Do you want my recommendation? Ignore Fimbulthier and make friends with that melodeath band from your village. At least you can snatch some beers from their garage while they're playing at the youth center.

Performance:     7
Songwriting:     4
Originality:     3
Production:     6

copas dari www.metalstorm.net

Tracklist:
01. Fall Apart
02. Shattered Remains
03. Ghost Town
04. A Color Of Truth
05. Blood-Soaked Pictures
06. The Chosen
07. Rise
08. Discover
09. Two Words
10. 886

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Kamelot - Silverthorn (2012)

Kamelot - Silverthorn

Kamelot has established themselves as the big dog in the over-the-top, pompous, windbagy power metal genre. While output like Siege Perilous, The Fourth Legacy and Karma won me over with professional, energetic, classy power metal, things ultimately became too poofy and indulgent. As they steadily ramped up the self-important grandiosity, we reached a point where things felt more like an evening at the (ghost) opera with a bunch of wealthy dowagers than a metal experience. C’mon, you know its true. When you can blast an album and have your grandparents compliment the singer and the charming symphonics, you know you’re in dangerous territory. This endless symphonic mission creep made them sound more and more like Nightwish and caused me to drift further away from a band I once enjoyed. With the departure of mega talented vocalist, Roy Khan, there was plenty of reason to suspect Kamelot was about to meet their Mordred and go down amid tasteful pyrotechnics. In comes Tommy Karevik (Seventh Wonder) and here comes Silverthorn, their first non-Khan outing since 1998. Well, color me surprised. Not only is it a heavier, more energetic album than they’ve done in years, but Karevik confidently steps into the shoes of a singer many considered irreplaceable (indeed, it’s often difficult to tell he was replaced). The result is their most interesting and lively opus in years (from the perspective of a metal fan, anyway), and possibly the start of new and bright era for a band I felt had seen their best days.

After the required super dramatic intro, “Sacrimony (Angel of Afterlife)” explodes in a grandiose rage with more oomph than most recent Kamelot could muster. Its fast-paced, energetic and smooth-as silk and when Karevik comes in, many will do a double take at just how much he sounds like Roy Khan. He has a very similar voice and his delivery at times verges on a full on imitation of Khan’s style, inflection and vocal tendencies. When he sings “tell me every little detail,” I defy your brain not to hear elements of Khan’s singing during “March of Mephisto.” Making it even more likely, they employ black metal vocals just as that classic did. Regardless of similarities, the man can sing his balls off and the song is an instantly memorable hit in the classic Kamelot mode.

The songwriting here is much more crisp, urgent and aggressive than anything since Epica and songs like “Ashes to Ashes,” “Torn” and “Veritas” crackle with slick, Euro-power sensibility. While the symphonics are still in overdrive (especially on “Veritas”), the songs remain heavy, fast and metal enough to withstand their onslaught. Even better, the songs benefit from some of the best Kamelot-y sing-along choruses they’ve had in years. You know the type: they build to that big chorus and when it hits, you have to make big, Broadway-esque hand gestures (read as: jazz hands) and theatrical facial expressions (again, especially during “Veritas”). Even the enormously maudlin, overwrought ballad “Song for Jolee” works well due to Karevik’s amazingly sincere and powerhouse vocal performance. He manages to make the sappiness feel more tragic and haunting than you might expect and I was suitably impressed.

The middle section of Silverthorn rips with big hits  like the massive title track (which could easily have been on The Fourth Legacy), the super hooky “My Confession,” which is one of the best Kamelot songs ever, and the mid-tempo, but powerfully epic feel of “Falling Like the Fahrenheit.” It’s hard to argue that the first eight tracks of Silverthorn represent the best run Kamelot has had in years.

Sadly, things don’t end on a high note as things close with the lengthy, but languid “Prodigal Son” and the symphonic reprise of “Sacrimony” during “Continuum.” These tracks harken back to the overly downcast and gloomy material from 2010s Poetry for the Poisoned and that isn’t necessarily a good thing. While the songs aren’t bad per se, they derail much of the enormous momentum built up through the first two-thirds of the album and its a drop off from the level of the rest of Silverthorn.

As even the casual Kamelot listener knows, this is a VERY talented group of musicians. They’ve always had the ability to make every note sound polished and ornate, and nothing has changed. The material is tasteful and high-class as always, but this time they let more metal spirit leak into the writing sessions. Thomas Youngblood’s riffs and neo-classical noodling are as good as ever, but have more punch and aggression. Sean Tibbetts uses some interestingly discordant bass lines at times to juice the heaviness and it’s a nice touch (0:22 of “Sacrimony” is a good example). The omnipresent keys of Oliver Palotai can still get oppressive, but for the most part, they don’t overpower the guitar this time and these songs don’t make me feel as if I should be donning a frilly shirt and monocle like recent albums did.

Naturally, all the brouhaha will be about Tommy Karevik and his performance as the new voice of Kamelot. I anticipate a spate of bashing heading his way for the very “Khan like” delivery he employs for much of Silverthorn, but I’m not going to be part of that. The band surely picked him for this similarity instead of going with candidates like Fabio Lione (Rhapsody of Fire, Vision Divine) and I support that decision. His warm, rich and engaging vocals make the material shine nearly as bright as Khan could have, and  the songs maintain a sense of familiarity with him at the helm that I find quite comforting. I enjoyed the guy’s pipes in Seventh Wonder (a shamefully overlooked act) and I enjoy it here too.

Silverthorn surprised me. I had begun the writing off process for these guys even with Khan in the band and didn’t expect this to be as good as it is. In fact, this is the best Kamelot release since The Black Halo and its gone a long way toward bringing me back into the fold. If you prefered the early, more power metal-y material, this will be right in your wheelhouse. If you like more bombast and chamber music than metal in your metal, you may want to look in the Frilly Shirt Department of your local music store. Way to go guys, you done good.

copas dari http://www.angrymetalguy.com

Tracklist :
CD 1:
01 – Manus Dei
02 – Sacrimony (Angel of Afterlife)
03 – Ashes to Ashes
04 – Torn
05 – Song for Jolee
06 – Veritas
07 – My Confession
08 – Silverthorn
09 – Falling Like The Fahrenheit
10 – Solitaire
11 – Prodigal Son
12 – Continuum

Bonus CD [Instrumentals]:
01 – Manus Dei
02 – Sacrimony (Angel of Afterlife)
03 – Kismet
04 – Ashes to Ashes
05 – Torn
06 – Song for Jolee
07 – Veritas
08 – My Confession
09 – Silverthorn
10 – Falling like the Fahrenheit
11 – Solitaire
12 – Prodigal Son
13 – Continuum
14 – Grace

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Epica - Design Your Universe (2009) FLAC

Epica - Design Your Universe

After Epica's previous album, The Divine Conspiracy, Epica had a hell of a job to improve upon what they had already done. Their previous albums were all improvements over what came before and at some point that run of improvement has to end... right?

Well not on this occasion. If anything, Epica have produced an album better than anything they have done before. There is just as much bombast as with previous efforts in regards to choirs and orchestra, but here is sounds more powerful. DYU is heavy and probably more so than previous efforts and is something that is probably a direct result from the introduction of former God Dethroned guitarist Isaac Delahaye. Not forgetting that from the same band Ariën van Weesenbeek was recruited, giving the band a very heavy edge to it. The biggest negative for me of all things on previous albums was there were no guitar solos, however this time Isaac brings some good melodic death-styled riffs to the band in songs like Kingdom of Heaven and Deconstruct. Having said that, he also brings a more laid back style of playing in tracks like Tides of Time which is a ballad and very soft for the majority of the song.

Since I mentioned Tide of Time, I will also mention this is Simone's best performance. Simone Simons is, in my humble opinion, one of the very best female vocalists not just in metal, but in the world and is matched only by Vibeke Stene, Tarja ,and Magali Luyten. At times she has a very classical edge to her voice and at others sounds more like a rock vocalist, but whatever voice she adopts is just perfect for the song in which it accompanies.

Mark Jansen has never been the best at doing harsh vocals and at times he sounds to me like he is struggling. He certainly isn't as accomplished as Johan Hegg, for example. There are times when he sounds great, but they are few and far between. The rest of the time he sounds average.

The album also has a guest appearance from Tony Kakko from Sonata Arctica on the track White Waters which is a hauntingly beautiful ballad. Simone sounds almost hypnotic and flirtatious as she beckons the subject of the song towards the water:

"Lie down in my arms
Try not to breathe
Quiet love, you are now with me
You need no words to speak"

The production is very crisp and clear. Sascha Paeth has done a great job and nothing is drowned out at the expense of something else. It is all balanced very well. The album cover in my opinion is ok, but not as good as The Divine Conspiracy.

On past Epica records, the lyrics have been the weakest point (if you don't include a lack of solos), not because the ideas behind them were bad, but because they sounded awkward in the way they were written. This time around they are a bit better, though still not spectacular. The lyrics deal with a variety of things like love, quantum physics, and greed, for example, and the New Age Dawns saga is also continued here, something that was last done on Consign to Oblivion.

Choice cuts: Kingdom of Heaven is the longest song on the album at nearly 14 minutes, but remains interesting throughout. The song has a varying pace and uses a variety of different atmospheres to keep you engaged. Mark is good here with his grunts and Simone is amazing as always, especially in the softer sections. The song contains a spoken passage that some have commented sounds bad, but I like it and I usually hate spoken sections in music. This is one of the strongest songs here and the solo is great as well.

Tides of Time is a beautiful ballad as described above while Resign to Surrender is one of Mark's better performances, although the lyrics themselves could use some work. Simone is great and the ending of the song is superb. Isaac is again great and the performance from Ariën van Weesenbeek is good not only here but throughout the album.

Our Destiny has great riffs and again great vocals from Simone and the ending where the choir and Simone are trading lines always give me a tingle down the spine

The negatives: "The Price of Freedom (Interlude)" seems a little out of place and unnecessary. It also goes straight into Burn to a Cinder which it has nothing to do with that I can make out.

Aside from a good solo and the very last verse sung by Simone (which is one of my favorite parts of the album) - "Why can't I bleed with you? Forever I will be thrown to the wolves.
They'll feed on all our dreams." - Burn to a Cinder reminds me of Twilight and I hated that movie (my girlfriend wanted to see it and I was dragged along) and aside from the aforementioned positives is quite a weak track.

Conclusion: Overall, the album is great, the lyrics are mostly an improvement, and the instrumental skills of the band have improved thanks mostly to Isaac whose repertoire is larger than Ad Sluijter. Simone puts in yet another jaw-dropping performance and Mark's harsh vocals are mostly decent. The drumming is powerful and consistent and Yves Huts and Coen Janssen are solid on bass and piano respectively.

Any fan of their older work will no doubt love this album and anyone who is not convinced whether symphonic metal is any good may just be convinced otherwise. A great album and well worth the time to give it a listen

Side note: If you can get a hold of the Japanese version, it includes a cover of a song called Nothing's Wrong. It is a cover from a band called Heideroosjes and is very good.

Copas dari http://www.metal-archives.com

Tracklist:
1.     Samadhi (Prelude)
2.     Resign to Surrender (A New Age Dawns Part IV)
3.     Unleashed
4.     Martyr of the Free Word
5.     Our Destiny
6.     Kingdom of Heaven (A New Age Dawns Part V)
7.     The Price of Freedom (Interlude)
8.     Burn to a Cinder
9.     Tides of Time
10.     Deconstruct
11.     Semblance of Liberty
12.     White Waters
13.     Design Your Universe (A New Age Dawns Part VI)
14.    Incentive [bonus] (04:14)

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Thy Majestie - ShiHuangDi (2012)

Thy Majestie - ShiHuangDi

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Ereb Altor - Gastrike(2012) CUE+FLAC+LOG

Ereb Altor - Gastrike

It seems obscurity begets even greater obscurity in the underground music scene. You see, Ereb Altor is a highly obscure side project by members of the only slightly less obscure (but good) doom band Isole. Ereb Altor began life as a viking/folk infused doom band intent on shamelessly worshipping Bathory‘s Hammerheart opus, and to their credit, they did some pretty amazing things with such a single-minded inspiration. Their By Honour album was a meaty slice of viking doom with powerful, Odin-approved clean vocals and a hugely epic flavor (check that thing out, its like the soundtrack for hiking to Valhalla). Follow up The End, while also quite good, lacked a bit of the epic primacy of the early material. Now, with the arrival of Gastrike, they’ve almost completely renounced their sound and style in favor of a much more raw, black metal attack with only hints of viking and doom remaining. Sure, they can’t seem to fully shake their creepy obsession with Bathory and all things Hammerheart (if the mighty Quorthon was still with us, he’d have a restraining order against these dudes), and they’ve expanded to include some similar SIG:AR:TYR and Falkenbach influences, but this is a WAY different album than their prior output. It’s pretty much all black metal with bits and pieces of their old sound dancing around the edges as accents. While I much prefer their old sound, this actually works well and there are a few really outstanding songs here. It’s also a surprisingly diverse release with a lot of things going on.

I’m not sure why, but the chaps in Ereb Altor saw fit to put the least engaging song first. “The Gathering of Witches” isn’t bad by any means, but it is a fairly generic, mid-tempo black metal song. It has that old Bathory vibe, but updated with a Norwegian ethos a bit like Darkthrone. It sure shocked me to hear how they changed their sound and I was a bit worried they were about to take me on an extended slog through overally slogged generic black metal territory. With “Dance of Darkness” however, they quickly show the potential the new sound has. While there’s the same bruising blackened sound, the  chorus hits you with big, cleanly sung, semi-chanting vocals and boy, does it work well and hook you right in. It becomes instant and memorable at that point. This blueprint is even more fully realized on album highpoint “Dispellation,” which expertly blends the epic, Hammerheart influence with the new blackened vibe. The riffing sounds huge and when the chanting and clean singing comes back in, it’s sword-in-one-hand-beer-in-the-other epicness (with slight traces of NWOBHM in the riffing). It’s sweeping, heroic and just generally BAD ASS! This is simply a great song from start to finish and I love it muchly. A must hear!

They keep the positive momentum going with the excellent “Boatman’s Call” which uses those clean chants to great effect during a shifting, morphing song that runs from black n roll to thrash to doom. Also very good is the Falkenbach/SIG:AR:TYR style epic romp and drone of “Mistress of Wisdom.” ”I Djupet Sa Svart,” sounds a lot like Samael‘s Ceremony of Opposites material before shifting into a throwback epic viking style and eventually shifting again toward atonal but melodic blackened thrash that sounds like The Hammers of Misfortune fighting Goatwhore in a dirty back alley. While none of the songs are failures, “Seven” and the aforementioned “The Gathering of Witches” definitely suffer by comparison to the stronger tracks.

Throughout the entire album, they manage to create a feeling of bleakness and depression which adds greatly to the impact of the material. They also get big props for using keyboards but never letting this feel like a symphonic black metal album. It’s the guitars, vocals and drums that set the mood here. This is far from the frilly, symph-pop blackness so common (and annoying) these days. It’ plenty raw, ugly and dangerous, just as it should be.

Both Mats and Ragnar handle the vocals and guitars and they do a fine job. Most of the riffing is simple and straight forward but they do an admirable job of blending and shaking things up by tossing in NWOBHM, doom, drone and thrash sensibilities to overset and compliment the blackened style. The vocals are the album’s saving grace by far. The black rasps are well done, but it’s the clean, epic chants and choruses that make this thing work. You have to hear them to understand how effective they are amid the blackness, but they had me at “Ooooooh.” Also of note is the drumming by new kit man Tord. He has a nicely primitive style but clearly has some chops that come across as the album unfolds.

This is an interesting release. I still prefer their original viking metal approach, but they really crafted some humdingers here. Gastrike is a bit of a grower though and it may take several spins to fully reveal itself. It’s worth the time and for those who make the effort, they might find a few “song of the year” candidates on here. I wonder if this will help put these guys (and Isole) on the metal map a bit more prominently. They deserve it and Odin commands it! Hails.

copas dari http://www.angrymetalguy.com

Tracklist:
01. The Gathering Of Witches [00:05:39]
02. Dance Of Darkness [00:06:19]
03. Dispellation [00:06:41]
04. Boatman's Call [00:05:39]
05. The Mistress Of Wisdom [00:08:26]
06. I Djupet Sе Svart [00:06:15]
07. Seven [00:06:11]

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Haggard - And Thou Shalt Trust... the Seer

Haggard - And Thou Shalt Trust... the Seer(FLAC) 1997

     Symphonic metal
        Doom metal

personilnya banyak sekali nih om, band mini orchestra dengan musik metal

    "Chapter 1: The Day As Heaven Wept" – 5:46
    "Chapter 2a: Origin Of a Crystal Soul" – 5:55
    "Chapter 2b: Requiem in D-Minor" – 2:08
    "Chapter 3a: In a Pale Moon's Shadow" – 9:38
    "Chapter 3b: Cantus Firmus in A-Minor" – 2:32
    "Chapter 4: De La Morte Noire" – 8:02
    "Chapter 5: Lost (Robin's Song)" – 4:25
    "Outro: A Midnight Gathering" – 2:59

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Crimfall - The Writ of Sword (2011) APE

Crimfall - The Writ of Sword

Crimfall is a young soul; it came to being on a wildfire season, autumn 2007 as a one mans vision. Jakke composed a demo of three songs just for himself but he soon noticed that the material was unique, diverse and strong to stand on its own feet in front of wider audiences. What was still needed was some talent to fulfill the forceful yet melancholic music he had composed, someone to bring the stories of songs to life with voice of both beauty and power. In the end Jakke decided to bring two people to finish his line-up, voices with contrast and variance, as Mikko and Helena joined the band. So was the first recording of Crimfall born, “Burning Winds”. Napalm records immediately took interest on this group and signed the band. Fires of creativity burned strong and a studio was booked for summer.

After furious songwriting that bled the members of Crimfall dry they entered the Adamantium Studios with handful of skillful session members. Janne Jukarainen hammered the pulse of battle as Henri Sorvali supported the beat with his seasoned bass-work. Adorned with live strings, accordion and other weird instruments best left in shadows the record was finished after months of arduous campaign. World witnessed the birth of sharpened and bloodied debut album, “As the path unfolds…”! The music of Crimfall is eluding to describe as it wears many masks and disguises. You can hear influences of grim-frost north and its folk metal, even echoes from cold black metal in Mikko’s demonic screams and lyrics, but this all is layered with massive orchestrations and epic atmosphere that draw from legendary movie soundtracks. Indeed the album conquers the feelings of majesty and journeys lost, with melodies and angelic voice of Helena that bring forth the uncompromising feelings, contrast of the ascended light and the fallen shadow. 

One of the things that one can never take into account when one is a music reviewer is the fact that one receives records and must render judgment in a short amount of time. Especially as a “soulless blog,” production of material sometimes happens in a week. In a sense, every review you read from a label who doesn’t trust this Angry Metal Guy is being done “split second” as opposed to having time to let a record ripen. Such was definitely the case with Crimfall‘s first record As the Path Unfolds… which, while I enjoyed it, didn’t strike me as anything more than just an enjoyable record. However, here I am two years later listening to it regularly and really loving it. If I would score the record today I would give it a 4.5 and I would encourage you all to buy it (buy it, seriously, it’s great).

So you can bet that I was stoked as hell when I figured out that The Writ of Sword was coming to me. I had just broken out As the Path Unfolds… again and was mesmerized by the power and beauty of the music, which in a sense is like a mix of Turisas, Battlelore and even a bit of Moonsorrow thrown in for good measure. The music on that record is simultaneously heavy, entertaining and playful while still being very good. And especially vocalist Helena Haaparanta shines. So you can guess that living up to this wasn’t going to be super easy, but hey The Writ of Sword ain’t half bad either.

In fact, it seems that there is a thematic connection between the two records. First, As the Path Unfolds… uses autumnal colors, and the last track is “Novembré.” The Writ of Sword picks up where that one left off, in a much colder place, “Dicembré,” and this definitely shows throughout. While As the Path Unfolds… was a playful record in a lot of ways, The Writ of Sword is a much more serious record. There is a coldness to the production, and the writing is a lot more in the Moonsorrow range at times (including the soundscape tracks), like at the beginning of the title track “The Writ of Sword” and the track “Silver and Bones.” However, these are offset by the female vocals, which creates a moving contrast.

Crimfall 2011Though when you have a vocalist like Helena Haaparanta, it’s damn hard to have music that sounds too cold. Her voice is warm and beautiful and every time she sings on this record she shines. Especially when she’s doing the sort of folky stuff like in “Frost upon Their Graves” and “Son of North,” she’s outstanding. And other heavier parts on this record, too, differ a lot from the more cold, dirgey sounds that one would expect for a winter themed record. The band still falls back on the excellent melodic work that makes their first record so enjoyable a lot, and there are folk melodies and orchestrations that litter every track.

All of that said, however, there is an inventiveness that was definitely on As the Path Unfolds… that is not here. This could be because the record is more somber and winter-themed, but I feel like it’s a real shame. Particularly in the trailing half of the last record there are some incredibly inventive vocal harmonies and parts and those were just missing here—instead there is a lot more focus on big, epic orchestral parts and thematically building coldness, sadness and beauty. Or at least, that’s the impression that I have of it. Also, while the production is good, I did like the warmer production better. Particularly on the opening track “Storm Before the Calm” I felt like the music was almost into metalcore or deathcore territory sonically and that really turned me off.

Still, when all is said and done The Writ of Sword is a great record from a band that definitely ranks among the upper echelons of Finnish metal for me now. The writing is excellent, the performances are top notch and they sport the best female vocalist in metal and she adds a dimension to this band that no other bands in the scene has. If you’re a fan of the Finnish orchestral metal scene, this is a must pre-order and since it clocks in at EXACTLY 45 minutes, my guess is that there will be a vinyl release and that the follow up in a couple years will be even better.

copas dari http://psychocydd.co.uk

Tracklist :
1. Dicembré 01:43
2. Storm Before The Calm 05:56
3. Frost upon Their Graves 05:31
4. Cáhceravga 01:11
5. Shackles Of The Moirai 05:01
6. The Writ Of Sword 06:53
7. Geadgái 04:35
8. Silver And Bones 08:21
9. Son Of North 05:49

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Damnation Angels - Bringer Of Light (Japanese Edition) 2012

Damnation Angels - Bringer Of Light

An unknown British band that beats at it’s own game the entire Scandinavian Symphonic Metal Scene? Impossible, I will probably hear you say. This is the debut full length album by this skilled bunch from England. After a 6 tracks EP self-released in 2009 handled by another vocalist, who left quickly, there was a turning point. If you compare most of the tracks that were already a part of the good old “Shadow Symphony” EP with their new renditions on “Bringer of Light”, the difference is mind blowing. Why you ask? Because of the smart move that was the addition  of Per Fredrik Asly aka "Pellek" to the line-up (you can also try finding his first recommended solo album “Bag of Tricks” also reviewed somewhere here on Metal Temple) Per Fredrik.. Who? I hear you ask. You are very verbose and prolix today, aren't you?

Mr. Asly is a young Norwegian born Power Metal Singer that was “discovered” in 2009, when he starred on the "The X Factor" competition in Norway on National TV. This show was utterly popular and was broadcasted for millions in Scandinavia. He ended up in the final top 12 and was accepted to perform live on prime-time singing cover songs for RHAPSODY / STARTOVARIUS / MASTERPLAN and KAMELOT with a great success. After that when the TV show was over, taking advantage of his new status and surffing on the great web-buzz-celebrity wave, he was involved with the US Prog project called THE ANABASIS (2011's album “Back From Being Gone”) then he also started to work for his solo album with Tommy ReinXeed who produced & played on the album “Bag Of Tricks” released by Doolittle Records (GOLDEN RESURRECTION / REINXEED / DIVINE FIRE)

In the same time Pellek began working with the mighty Will “Maestro” Graney for this album, and this is, so far his best release in his career and he could be very proud of it, he turned out to be the winning asset and the figure head for DAMNATION ANGELS, a British band that beats the glory of the Scandinavian Symphonic Metal Scene. So, QED. yes, it’s possible but only with a well integrated Scandi-Transfuges-renegade working side by side with one of the most talented songwriters in this style of all countries combined.

The Symphonic elements are very up front here but the guitars are equally strong and quite sharp, being  Norwegian, I suppose that Per is one of Roy Khan's disciples as the KAMELOT influence is very obvious in the whole album. However, on the track “Reborn”, I recognized the inputs of the “Flow” era of the late CONCEPTION. Hats off for another exceptional vocal performance in the track “Shadow Symphony”, once again the mix between Power Metal's aggressiveness & majestic symphonic parts are perfectly balanced like early NIGHTWISH mixed with BALANCE OF POWER in a more grandiose and solemn territory, like an epic journey that reminded me of the immense album by SONS OF SEASONS, "Magnisphyricon".

The splendid sonic execution is more than perfect and truly smashing, like an immaculate ideal matching and even improved, as it was already trying by ROYAL HUNT / RHAPSODY and DRAGONLAND. One of the best track and most original song is “Pride (The Warrior's Way)”, with some Japanese's shamisen motif mixed with staccato riff in a full orchestral envelope until it runs into, a real catchy and unexpected chorus. What an achievement. Another way to keep the surprise and excitement, and also to break theroutine bringing a certain tension which is missing in most of Symphonic Power Metal, they choose to cover 2 impressive cut from METALLICA & X-JAPAN, Amazing !!!

Tracklist:
1. Ad Finem
2. The Longest Day Of My Life
3. Reborn
4. I Hope
5. Acerbus Inceptum (Pt. I)
6. Someone Else (Pt. II)
7. Bringer Of Light (Pt. III)
8. Shadow Symphony (Pt. IV)
9. No Leaf Clover
10. Pride (The Warrior’s Way)
11. Kurenai 

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Crown of Life - Devisions (2012)

Crown of Life - Devisions

Tracklist:
01. Delusions 0:19
02. Delusional 03:07
03. Staplehead 05:53
04. Burns 05:04
05. Loose Change 04:26
06. Yesterday 06:20
07. Messenger 04:57
08. TTMEC 04:07
09. INVAIN 03:41
10. Doug 05:30
11. Doors 04:41
12. Pair O' Socks 05:34
13. Cold Wet Eyes 06:39
14. Mourning Would? 06:55
15. Devisions 07:24

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Skull Branded Pirates - An Oath Sworn On Broken Bones(2012)

Skull Branded Pirates - An Oath Sworn On Broken Bones

tracklist
1. 1684 03:24
2. Man the Cannons 04:44
3. Masters of the Trade 05:54
4. The Ballad of One-Tooth McGuyver 04:44
5. Straight Outta Kingston (Doin' It for the Booty) 05:13
6. An Oath Sworn On Broken Bones 02:13
7. The Three Trials 05:07
8. Free the Slaves 04:56
9. Drink Till Dawn 05:09  

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Rebellion - Shakespeare's Macbeth(A Tragedy in Steel) 2002

Rebellion - Shakespeare's Macbeth

First Album of Rebellion
Tracklist:

1. Introduction
2. Disdaining fortune
3. The prophecy
4. Husbandry in heaven
5. The dead arise
6. Evil speaks
7. Letters of blood
8. Revenge
9. Claws of madness
10. Demons rising
11. Die with harness on your back 

FLAC version Added

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Scott D Davis - Pianotarium : A Tribute to Metallica(2007)

Scott D Davis - Pianotarium : A Tribute to Metallica

Pianotarium is a piano tribute album to Metallica by Scott D. Davis. It contains eight piano covers of Metallica songs and three original compositions. Davis had been a Metallica fan since his teenage years; explaining the genesis of the album to the Sacramento News & Review, he said: "I’ve been a huge Metallica fan since I was 14, and have wanted to do this album for a long time. I had a hunch that their music could sound really amazing on the piano. There’s a great deal of beauty in Metallica’s music, and I wanted the piano arrangements to highlight that quality, to bring forth many of the harmonies and intricacies that have always set Metallica apart. I also tried to take advantage of the powerful, edgy resonance of the grand piano, so that it wouldn’t totally lose its 'metal' intensity."

    Enter Sandman
    Until it Sleeps
    Master of Puppets
    The Unforgiven
    Nothing Else Matters
    Welcome Home (Sanitarium)
    One
    Fade to Black
    The Renewal: Lament
    The Renewal: Inner Battle
    The Renewal: Return to Sanity

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Scott D Davis - Rockfluence (2005)

Scott D Davis - Rockfluence

Tracklist
01. Sweet Child O Mine (6:46)
02. Hotel California (9:00)
03. My Immortal (5:30)
04. Nothing Else Matters (7:09)
05. Smells Like Teen Spirit (6:12)
06. Stairway to Heaven (7:41)
07. In the End (4:23)
08. Wanted Dead or Alive (5:22)
09. Open Arms (3:50)
10. Final Countdown (6:13)
11. White Wedding (4:24)
12. Scherzo (3:35)

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Tales of Evening - Hajlektalan Lelek (2012)

Tales of Evening - Hajléktalan lélek

Tales Of Evening is a hungarian melodic metal band formed at the beginning of 2011. The idea came from the band’s keyboardist. He would have liked to hear his own instrumental, film music, atmospheric songs in another guise, so he recruited musicians who also like this genre. The team thus formed with specific plans and determination, so they began to record the songs in the studio, played in a completely different style.

The band’s strange name came from that the bit abstracted and sometimes fabolous lyrics can mean different things to each man, but everyone can find itself in it. Like in a fairy tale…

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Aesma Daeva - The Eros Of Frigid Beauty (2002) APE

Aesma Daeva - The Eros Of Frigid Beauty

The Eros of Frigid Beauty is a concept album dealing with Odysseus and The Odyssey and it does a compelling job of portraying the dramatic sentiment of the characters and the storyline...opting for manic bursts of hyper, chugging guitars playing footsy with majestic trumpet flourishes, psychedelic keyboard attacks, beautiful acoustic guitar alchemy, flute cameos, and powerfully reflective piano suites. With its lyrical focus, it has kinship with Symphony X's The Odyssey. However, although both albums deal with the same basic lyrical concepts, The Eros of Frigid Beauty tackles the subject in more of a scholarly vein, as opposed to Symphony X's contemporary rendition of it. When listening to Eros, you get the feel of listening to a college lecture about the subject; alternatively, with The Odyssey the feel is more that of a newfangled Hollywood director's aspirations put to film (I liken it to the contrast of the peaceful, studious atmosphere of a college classroom or auditorium to the 'hustle-and-bustle' mentality of modern life in various respects). Although this comparison and contrast may seem irrelevant, hopefully from this description you won't be duped into thinking you're going to hear another Nightwish, if you're one of those people who can't tolerate tranquility.

It is this tranquility which may turn people off from the band, sadly. Truthfully, this music is better suited to times of reflection and low personal energy levels. For people accepting of different tempos, however, this is a savory delicacy to be eaten suddenly and
inhaled gradually.

If the good music wasn't enough, you can find even more joy and gratification in the fact that the vocalist is very competent. Melissa Ferlaak, the main vocalist, is a tour de force. Although not outwardly expressive in the 'Tarja' sense, she utilizes a keen, calculated
chokehold on vocal dynamics as it pertains to the emotional relevance of the current music being played. It is a common naive fallacy that good music always has good vocals, so when there is such a perfect marriage of these elements, it truly is a call for celebration.

I would highly recommend this masterwork...it truly is a piece of inspired genius. Daeva, hopefully, will enlist in the ranks of the more highly esteemed symphonic acts such as Nightwish, Therion, Stratovarius, and Symphony X in the near future.

Highlights: acoustic guitar solo in "In My Holy Time"; trumpet intro in "Lysander"; piano solo in "In My Holy Time"; industrial-synth plods on "The Eros of Frigid Beauty"; the flute 'jumps' in "Devotion"; choral vocals in refrain on "The Eros of Frigid Beauty"; the reprise of the main melody of "Lysander" in "Overature to You" and the pseudo-thrashiness of parts of it; the furious, syncopated onslaught and schizophrenic orientation of "The Minstrel Song"; and the completist nature, proggyness, and disco/Jamiroquai-like flautist essence of "Lysander II".

copas dari http://www.rocknworld.com

Tracklist: 
1. Lysander
2. Devotion
3. In My Holy Time
4. The Eros of Frigid Beauty
5. Overature
6. The Minstrel Song
7. Lysander II

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