Fight or Flight is up first, and it is a slice of AOR metal, if you will, with some very pretty piano work. The title track is up next, and it is a solid, chugging jam, again almost FM-friendly. There is an excellent guitar bit at about the four-minute mark.
Control Conquer Collide is an almost 8-minute beast. It is a very upbeat tune with keyboards playing a big role. From Saviour to Assassin features more of this distinct heaviness. Orwellian Times features solid HM riffs and good clean straight vocals, as do most of the tunes on board here. Some big keyboard things happening, and another wonderful guitar solo at about 4 1/2 minutes in.
Next up is Monsters, and it boasts a keyboard intro with some vocal FX. “I’ll never trust anybody again”, a voice tell us. Yikes! This is another possibly FM-friendly number, and features a duel between keys and guitars. Weight of Humanity includes a VERY busy drummer, and more heaviness. There are some very funky HM riffs going on here, and a beautiful piano interlude at about 3 1/2 minutes in.
Fact Resistant Human is not quite as heavy as the other tracks, but is still very good. It is mostly keyboard/drum heavy prog, if you will. The One Percent Disarm is a good heavy prog number, almost thrashy at times. It features big chugging HM riffs and clean vocals.
Our closer for today is the big one, Dispopulate. It is a 12-minute behemoth, and it is obvious from just one listen that these boys saved the best for last. This is a total JAM, folks. At about 8 1/2 minutes in we also get a wicked guitar solo. Excellent stuff, very solid material!
Bottom line is this; if you like your prog heavy, then check out Teramaze! Top marks!
]]>Season V veers from gorgeous piano ballads, such as opener Inner Season and In Times of Despair, to super-heavy jams like Ascending and Time Escape. There are moments of contemplative keyboard washes where we believe we are in Dreamland, then there are moments when they just rock your face off!
Running finds us delving off into a bit heavier territory, and Patti is a disturbingly deep, contemplative piece of heaviness with some very good vocal work. Qualia features a toy piano intro and some serious bass. It kicks in at about the 220 mark, with a nice lead solo at 245. Things get disturbingly heavier towards the close.
Miracle is heavier again, and Restart features another excellent solo at the 230 mark. Stay is a majestic piano jam with grandiose breaks. Another guitar solo at 315. Sort of a pattern developing there. The Long Break features some nice female vocal work. A Land of Nothingness is a bit scary, and with Time Escape we end on a heavy note – again! I must say I am a bit bigger fan of their heavier stuff, but the mellow piano dirges are okay – just a bit moody is all! As mentioned above, if piano production prog is your thing, then you definitely need to check out Until Rain!
]]>If you are not a fan of Fates Warning, then I suggest you get on board. Of course, the argument in most metal head camps when it comes to Fates is who is the best singer – Jon Arch or Ray Alder. In my opinion, they have been blessed with two beautifully capable vocalists. Nuff said. As I was saying, if you are not a Fates fan, then Queensryche, perhaps, or Savatage? Dream Theater also comes to mind – the focus, of course, is usually on the singer, who is normally somewhere up in the heavens. These prog metal stalwarts also employ plenty of heavy musicianship, including lots of solos and some incredibly powerful beats and rhythms. Check your heartbeat – if you’re not pumping a little extra, then maybe get up and bang your head or tap your toes a bit! You must get into this stuff, particularly if you are a prog metal head. Even if you are just a regular metal head!
As with all or most of these progressive metal outfits, there are shorter numbers and longer numbers. The shorter ones, believe it or not, are sometimes designed to fetch radio airplay. Of course, with many of your prog metallers, that simply does not work out. Ask Dream Theater or Iron Maiden sometime how much FM airplay they get. Of course, in your larger markets, you will most likely hear either of those bands on a regular basis. Not so with Arch/Matheos, or Fates Warning, for that matter. How ever, do not let that discourage you, dear reader! Dive right in, and enjoy the latest from what is clearly a band to be reckoned with!
]]>and BEYOND CREATION embark on Australian tour dates
Progressive metal master NE OBLIVISCARIS are about to embark on a string of tour dates in Australia with label mates BEYOND CREATION, and CALIGULA’S HORSE, ALLEGAEON and RIVERS OF NIHIL. A full list of confirmed dates can be found below.
NE OBLIVISCARIS
With BEYOND CREATION, CALIGULA’S HORSE, ALLEGAEON and RIVERS OF NIHIL
09 May 19 Adelaide (AU) Lion Arts Factory
10 May 19 Melbourne (AU) 170 Russell
11 May 19 Sydney (AU) Manning Bar
12 May 19 Brisbane (AU) The Triffio
NE OBLIVISCARIS other 2019 dates
09 Feb 19 Mexico City (MX) Circo Volador / w ELUVEITIE
22 Jun 19 Dessel (BE) Graspop Metal Meeting 2019 (Exact date TBA)
Besides the Australian tour, BEYOND CREATION will play extra dates in New Zealand together with RIVERS OF NIHIL on this run as well.
BEYOND CREATION
14 May 19 Wellington (NZ) Valhalla
15 May 19 Auckland (NZ) Whammy
NE OBLIVISCARIS will be touring in support of their latest release ‘Urn’. The coverartwork and tracklist can be viewed below.
Track-list
1. Libera (Part I) – Saturnine Spheres (9:52)
2. Libera (Part II) – Ascent of Burning Moths (2:36)
3. Intra Venus (7:29)
4. Eyrie (11:51)
5. Urn (Part I) – And Within The Void We Are Breathless (7:30)
6. Urn (Part II) – As Embers Dance In Our Eyes (6:38)
Total playing time: 45:56
Listen to the full album here!
NE OBLIVISCARIS’ third album, ‘Urn’ is bound to be a career defining moment. The Australian extreme prog shooting stars have honed and re-balanced the key elements of their unique sound to a razor sharp musical edge. The dynamic entwining of fierce growls and emotive clean vocals, the contrast between devastating et intricate guitar riffs and thundering drums against an unleashed violin and gorgeous string parts as well as the perfect blending of epic progressive and intense extreme metal forms of expression are all marking a new peak in the steep rise of the band.
Founded in the beautiful Australian coastal city of Melbourne, Victoria in the year 2003, NE OBLIVISCARIS took the inspiration for their name from the proud motto of Clan Campbell based in Argyll, Scotland, which means “forget not”. From the start, this collective of exceptional musicians made it clear that they did not intend to follow any trends or walk on well-trodden paths. Their first demo, ‘The Aurora Veil’ (2007) had a massive impact in the metal underground far beyond the fifth continent and already their debut full-length ‘Portal of I’ (2012) reached mainstream music press, which praised a unique array of influences and the characteristic virtuoso violin.
NE OBLIVISCARIS immediately climbed remarkably higher on the ladder with sophomore opus ‘Citadel’ (2014) by adding avant-garde approaches including jazz, flamenco, progressive rock, and many other wide-ranged influences to their solid metal base.
Parallel to their success on a critical level and with an ever-growing host of die-hard fans, the Australians increased their reputation as an excellent live act with extensive touring literally around the globe. The financial base for this was laid by NE OBLIVISCARIS’ ground-breaking use of modern day crowd-funding campaigns. This includes an ongoing Patreon membership scheme under the moniker The Ne Obluminati, which is revolutionising the relationship between band and fans by using the ancient concept of patronage in today’s democratic setting.
‘Urn’ will lift NE OBLIVISCARIS to the next level. Outstanding musicianship meets excellent songwriting and a firework of brilliant ideas. Evening out the scales between extreme and progressive metal, the Aussies carve their own path. Spin ‘Urn’ on heavy rotation and NE OBLIVISCARIS will take you to a whole new dimension of musical delights.
Current line-up
Xenoyr: harsh vocals
Tim Charles: violin and clean vocals
Benjamin Baret: lead and acoustic guitars
Matt Klavins: guitars
Martino Garattoni: bass
Dan Presland: drums
Recording line-up
Xenoyr: harsh vocals
Tim Charles: violin and clean vocals
Benjamin Baret: lead and acoustic guitars
Matt Klavins: guitars
Dan Presland: drums
Guest musicians
Robin Zielhorst: bass (all tracks)
Emma Charles and Natalija May: additional violins (tracks 1, 4, and 6)
Tim Hennessy: cello (tracks 1, 3, 4, and 6)
www.facebook.com/NeObliviscarisBand
Style: Progressive Extreme Metal
Recording
Troy McCosker and Ne Obliviscaris at Pony Music, Melbourne, Australia
Clean vocals recorded at Audiohammer Studios, Florida, USA
Mix & Mastering
Mark Lewis at Audiohammer Studios, Florida, USA
AINUR announce a record deal with ROCKSHOTS RECORDS and a new project!
Italy’s progressive rock-metal band AINUR, has just announced the signing of a record deal with ROCKSHOTS RECORDS.
Inspired by J.R.R. Tolkien’s opus since a decade and half, AINUR are coming back with a new, majestic project later this year.
The new path was overtaken by a short trailer appeared on the label’s YouTube Channel, showing up the band’s new look as well: https://youtu.be/3Jyi2OW02vk
AINUR – The New Journey (teaser)
Currently the band is located at Evolution Recording Studio (Italy), working on the new project with the producer Massimiliano Flak (Sound Storm, Highlord).
The band comments:
“After some collaboration in the past, AINUR and ROCKSHOTS RECORDS are officially partners in crime!
Get ready for a new and improved music, more aggressive and more rock!”
The new project will mark a milestone in the band’s music career, who already released four albums to date and is definitely forward to this new adventure throughout Arda.
More info will follow shortly in the coming weeks.
For more info:
Rockshots Records: www.rockshots.eu
Facebook: https://www.facebook.com/rockshotsrecords
Instagram: https://www.instagram.com/rockshotsrecords
Ainur: www.ainur.it
Facebook: https://www.facebook.com/ainurprogrockorchestra/
Instagram: https://www.instagram.com/ainurprogrockorchestra/
Irish Progressive Power/Thrash Metal band Leitourgos released their debut album «Slaves to the Master». The album was recorded at “Slane Studios” in Ireland, and was mixed and mastered by Christian Schwarz in Berlin, Germany.
https://leitourgos.bandcamp.com/releases
Leitourgos was originally formed in 1991, but disbanded in 1995 when founding member Pieter Burger joined the thrash metal band Testoricide. The band was reformed in 2018 in Dublin, Ireland and released 2 singles “Woe to the Vanquished” and “Book of Invasions”.
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I have seen Swedish extreme prog metal band LOCH VOSTOK a couple of times before, and therefore I know I’m in for a treat.
When the band starts to play their first song, Babylonian Groove, the “extreme” part of LOCH VOSTOK is very much heard. All I can hear is drums, drums and more drums. For me it is a bit too much, but when I look around, the crowd seem to like what they hear. Heads start to bang!
I have always had difficulties putting a specific subgenre label on LOCH VOSTOK as many of their songs are very different in sound and genre, and that is what makes them so special.
The one thing I can clearly state is that lead singer and guitarist, Teddy Möller, is a character one must experience live at least once in a lifetime. Don’t let his appearance fool you! With his build, posture and big beard he has that certain brutal “Metal look,” but when he opens his mouth and starts to sing, he proves he has a true gift in his voice.
Their sound is brutal, yet very technical, with great guitar riffs and solos – I really love what they do.
LOCH VOSTOK gets the crowd totally going when the whole band start to bang their fists in the air to the beat of drums, getting the audience to repeat their ‘uh uh’ shouts, and when Teddy decides to come off the stage and walk down into the audience playing his guitar, he shows what a showman he truly is. Not many musicians do this and for me it just shows that he wants to connect with the audience in a different way, and personally I think it’s amazing! Other bands and musicians should follow his example. Respect!
Towards the end of their show, Teddy announces he wants to bring out a guest for their next song, Rebound, and imagine my surprise when HEXED singer Tina Gunnarsson enters the stage to perform with them, and also lets us know Tina is Teddy’s sister.
LOCH VOSTOK end their show with a big BANG and when Teddy and Tina sing, banging their heads in sync together like only metal siblings can do, I am already looking forward to attend the next LOCH VOSTOK live show. I suggest you all do the same! You will not regret it!
Guitarist and lead singer Teddy Möller comments on their show at Kometen, Hvidovre:
]]>“The perfect ending on a great tour that started and ended in Loch Vostoks second home, Denmark. Perseverence goes a long way. See ya soon”
Regarding the signing, the band comments:
“We are extremely honored to become a part of Season of Mist! The new album is the apex of our years long work and we are proud to release it under the label that unveiled all the great music that inspired and enhanced our lives throughout the years! RAW IS THE LAW!”
Listen to the band’s previous album ‘Nevermore’ on their Bandcamp page.
The project ESSENCE OF DATUM was formed by the guitarist Dmitry Ramanouski in 2011 in Minsk, Belarus. After recording of the first demos, the band was joined by the drummer Pavel Vilchytski, who is currently and irreplaceable part of the duo and the reason behind the machine-gun rhythm section.
From the very beginning the project was planned as instrumental progressive metal. The prominent feature of the band is raw sound, various musical and stylistic elements, using oil painted artworks as album artworks and numerous references and easter eggs which are scattered across albums in profusion. All albums are pierced by the common scenario and concept which binds them together into a single story.
On November 20, 2013 the first full-length album ‘Event Horizon’ was released. The concept of the album was a journey through the surrealistic world where creatures dwell that exist in unconscious state and do not reflect or react to the environment they live in. By repeating their reflex and instinctive routine they are doomed to remain confined in ignorance about the metamorphoses and fundamental alterations that occur in their Universe.
After a few dozens of gigs and festivals in the support of their album the band went on with recording the second album ‘Nevermore’ (released on June 20th, 2017) in Minsk based studio Forz, with whom they are productively collaborate to this day. The band comprises of two permanent members: Dmitry Ramanouski and Pavel Vilchytski
Genre: Instrumental progressive metal
Line-up:
Dmitry Ramanouski – guitars
Pavel Vilchytski – drums
Links:
Youtube: https://www.youtube.com/user/EssenceOfDatum
Instagram: https://www.instagram.com/essenceofdatum/
Facebook: https://www.facebook.com/EssenceOfDatum
VK: https://vk.com/essenceofdatum
Bandcamp: https://essenceofdatum.bandcamp.com/
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Even though I first heard of RIVERSIDE way back when I was living in Norway, this will be the first time I see them live.
I am sad that I didn’t get to see them with all the original members, before guitarist Piotr Grudziński sadly passed away in 2016, but I am sure I will feel his presence during the evening in the music he was a big part of creating.
I always have a special feeling when attending prog koncerts, as I feel like I’m part of a huge family getting together, enjoying the musicality and atmosphere that this particular genre creates, and tonight is not an exception.
When the Polish trio + live guitarist Maciej Meller enter the stage, I cannot stop smiling, and the people in the audience around me do the same. The energy they send out to the crowd is amazing.
They start off by playing “Acid Rain” from their latest album Wasteland and I just know now, that this is going to be an amazing show.
The drumbeat in the beginning of “Vale of Tears” makes me remember why I started listening to Riverside in the first place. This song is brilliant because it has everything a good song should have: a solid drum- and bass beat, great guitar riffs, keys perfectly placed and to top it all a melody that sticks like glue.
Singer and bass player Mariusz Duda has a presence that is both dark and melancholic, but when he hits us with jokes between songs, you realise that his seriousness is only regarding his music and not his person as such.
I love the changes in moods Riverside bring during the show, as I find myself singing along and stomping my feet along to songs like “Egoist Hedonist” and “Vale of tears” and then feeling extremely moved with tears in my eyes when hearing “Guardian Angel”
I am also really impressed by the lighting in the venue, and for Riverside, who haves a great light show, it makes this whole experience so much more special when everything syncs.
The only negative thing I can say is that the sound is a bit too low for my taste at this venue, but I guess that could be due to rules for the decibel level, and also the setlist could have been a little bit shortened.
All in all, this was a great evening and show, and for those of you who haven’t seen Riverside live yet – or want to see them again – I can highly recommend to catch a show – you will not regret it!
As usual with the proggers, there are a couple of blurbs. Empath begins with one of those, and it is titled Castaway. It features bird and beach FX , mellow guitar (Hawaiian?) and keyboards. It is only a couple of minutes long, but the point of it is lost on me, unless it is, of course, to set up the next tune. Genesis begins life with heavy metal riffs, keyboards, general weirdness, vocals about thirty seconds in, and almost a death metal growl here and there. It is atmospheric in nature, with lots of squealing guitars, a very weird mid-section and a cacophony about half way through. It is quite a tune.
Spirits Will Collide is up next, and it is a triumphant number in nature. You can feel it in the production, the horns, the big riffs, the vocal choir. You get the picture. Evermore features another big, bright intro with big vocals. The vocals start out buried at first, but soon take on their own instrumental aura, if you will. Some stop-time heavy metal riffs and another bizarre midsection later, and you have another cacophony, then out! Sprite has sort of an exalted vibe to it, and includes a spoken word intro, of all things. This track is weird – almost disturbingly so. They keys are way out there, and just when you think his vocals are going to reign you in, they do, but only briefly! There is a very bizarre vocal FX close on this one.
Hear Me is a wow/holy crap kind of song, in that everything is BIG – big riffs, big keys, big drums – you get the idea. HUGE vocals! The vocals are strange, almost nut job strange but that is typical Devin. My wife is more brutal – she says “it sounds like shit!”. I am willing to give him the benefit of the doubt. My wife, not so much! There is a big jam in the middle, another cacophony, and some serious screaming.
Why is symphonic in nature, with operatic vocals. I wish I had a voice like that! Big finish on this one. Borderlands begins life with a rooster crow, which seems appropriate somehow. It is a big tune. It starts out with simple synth washes and guitars strumming, but it just keeps getting bigger and bigger! The tune, itself, of course, is gargantuan. Eleven minutes may not seem like much to the resident progger, but for Townsend it is a bit of a stretch. If you think that is immense, however, just wait, there’s one more!
First, of course, we have another interlude. Requiem is another of those blurbs I’m always bitching about, but it seems to serve more of a purpose at least this time. This time around is features orchestra and vocals, so it is most likely one of those blurbs that will get bigger and actually get a chance to become a song!
Last, but not least, we have the big one. The monster leviathan, Singularity. This beast is twenty-three-and-a-half minutes long! It careens back and forth between skullduggery and song like I veer in modes from narcoleptic to frantic! It is huge, but it has purpose, again, for a big one. It starts out with a “Where Were You?” (Jeff Beck) vibe, then all hell breaks loose! One must listen to get an idea of where to go from here. I just loved it.
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