Amon Amarth: Berserker (Sony International) [Paul H]
Album number 11 from the kings of melo-death Viking metal. The Swedes have built their success on relentless hard work, high profile touring and anthem after anthem that appeal to hardened death metal fans as much as those whose tastes hover around the Iron Maiden heavy level. They have moved a long way from their origins as a grindcore band known as Scum. Recent Amon albums have been slightly weak in my opinion, with the concept themed Jomsviking lightweight in comparison to their earlier works. In fact, whilst the band have delivered long ship after long ship of routine anthems, you’d probably go back to Twilight Of The Thunder Gods for their last truly great album. Well, Berserker may not be quite there, but it is close to matching the 2008 release. The album continues the typical Norse themes that the band have made their own, but with some more personal reflections within the lyrical content and individual tracks based on events rather than a whole thread running through the release. Johan Hegg’s distinctive roar, the duel guitar work of Olavi Mikkonen and Johan Söderberg, and the concrete rhythm section of Jocke Wallgren and bassist Ted Lundström, knitting tightly as a unit once more. Opener Fafner’s Gold is typical robust Amon Amarth fare, second single Crack The Sky roars as if sent from Odin’s Golden Halls whilst first release Raven’s Flight is reminiscent of 2004’s Fate Of Norns, the album where Amon moved more towards the melodic style that they have forged as their trademark sound ever since.
Shield Wall is a monstrous track, set to become a live favourite, the use of a lone piano to close Valkyira is welcome whilst the massive The Berserker At Stamford Bridge tells the tale the lone Viking fighting the English in 1066 [sadly not about Cardiff City’s last visit to Chelsea]. Whilst Amon Amarth have a formula that works and which they stick to with some rigidity, there is enough change in the hooks, melody and approach to allow each track to stand alone. Berserker also contains very little filler and continues to maintain a high level of quality through the final songs, with the dramatic orchestral introduction to the closing Into The Dark adding atmosphere to one of the band’s strongest tracks in many years. You know what you get with Amon Amarth. This is why the band have built from club size to headliners of festivals. Berserker is another welcome addition to an already impressive catalogue, for one of metal’s most important bands. 8/10
Istapp: The Insidious Star (Trollzorn Records) [Sean]
Album number 11 from the kings of melo-death Viking metal. The Swedes have built their success on relentless hard work, high profile touring and anthem after anthem that appeal to hardened death metal fans as much as those whose tastes hover around the Iron Maiden heavy level. They have moved a long way from their origins as a grindcore band known as Scum. Recent Amon albums have been slightly weak in my opinion, with the concept themed Jomsviking lightweight in comparison to their earlier works. In fact, whilst the band have delivered long ship after long ship of routine anthems, you’d probably go back to Twilight Of The Thunder Gods for their last truly great album. Well, Berserker may not be quite there, but it is close to matching the 2008 release. The album continues the typical Norse themes that the band have made their own, but with some more personal reflections within the lyrical content and individual tracks based on events rather than a whole thread running through the release. Johan Hegg’s distinctive roar, the duel guitar work of Olavi Mikkonen and Johan Söderberg, and the concrete rhythm section of Jocke Wallgren and bassist Ted Lundström, knitting tightly as a unit once more. Opener Fafner’s Gold is typical robust Amon Amarth fare, second single Crack The Sky roars as if sent from Odin’s Golden Halls whilst first release Raven’s Flight is reminiscent of 2004’s Fate Of Norns, the album where Amon moved more towards the melodic style that they have forged as their trademark sound ever since.
Shield Wall is a monstrous track, set to become a live favourite, the use of a lone piano to close Valkyira is welcome whilst the massive The Berserker At Stamford Bridge tells the tale the lone Viking fighting the English in 1066 [sadly not about Cardiff City’s last visit to Chelsea]. Whilst Amon Amarth have a formula that works and which they stick to with some rigidity, there is enough change in the hooks, melody and approach to allow each track to stand alone. Berserker also contains very little filler and continues to maintain a high level of quality through the final songs, with the dramatic orchestral introduction to the closing Into The Dark adding atmosphere to one of the band’s strongest tracks in many years. You know what you get with Amon Amarth. This is why the band have built from club size to headliners of festivals. Berserker is another welcome addition to an already impressive catalogue, for one of metal’s most important bands. 8/10
Istapp: The Insidious Star (Trollzorn Records) [Sean]
I thought I liked snow, I really did. I also thought Immortal did too, they’ve certainly made it no secret over the course of their career. You know who else really likes snow, making Blashyrkh look like the Maldives? I mean REALLY likes snow? Who worships that stuff that Bing Crosby and Dean Martin sing about to apocalyptic, doomsday cult levels? Black Metalers Istapp, that’s who! In case you’re unaware, Istapp (meaning icicle in Swedish) have been waging war against all things warm since 2005, culminating in a first offensive via their debut, 2010’s Blekinge (which is fucking great!). The brainchild of drummer and clean vocalist, Fjalar, Istapp have returned from their frostbitten kingdom (or Sweden) to finally extinguish the sun, bring about absolute zero temperatures and ensure that NOBODY gets to work at the appropriate time. Hell bent on inconveniencing all pathetic sun-worshipers alike, Istapp’s latest strike comes in the from of new and 3rd album, The Insidious Star. Grab your fleece, it’s going to get a bit chilly up in here…..
Eternal Winter kicks things off, blasting along in typical Istapp fashion. Blasbeats, wintery rasps and that melodic blackened riffing that’s we’ve come to know and love. Tremolo picking, melodic leads and a clean chorus greatly add to the songs anthemic nature, though given Istapp’s track record, it comes as no surprise and great start. What IS a surprise though, is the usage of English, absent on their previous releases. We quickly return to their native tongue with the even paced Dit Stolen Aldrig Nar, wading deeper into the wintery blizzards. The songwriting is again on top form, folk infused melodies working their way to the fore once more, reminiscent of the mighty Windir. Natten Da Gud Blundade is more of the same, though no less impressive with returning vocalist Tizheruk’s raspy snarls answering Fjalar’s soaring cleans.
Snowball Earth (lol) flirts with major keys, adopting an almost jig like pace to the proceedings. Muspelheim hurtles on in syncopated fashion, it’s melodic interludes saving the it from teetering into almost ponderous territory. The path is found once more on The Alliance Of Cold , giving way to title track, The Insidious Star, marking a slight departure from Istapp’s style in favour of more traditional black metal riffing. It soon shifts seamlessly into a fobbing chorus, assuming Istapp’s usual nature, heralding the oncoming ice age with dark zeal. Vita Doeden introduces traces of melo death riffing, notes dancing above the steady palm muting. The storm abates on closer Orrekulle, bringing our journey into eternal cold to an end.
Snowball Earth (lol) flirts with major keys, adopting an almost jig like pace to the proceedings. Muspelheim hurtles on in syncopated fashion, it’s melodic interludes saving the it from teetering into almost ponderous territory. The path is found once more on The Alliance Of Cold , giving way to title track, The Insidious Star, marking a slight departure from Istapp’s style in favour of more traditional black metal riffing. It soon shifts seamlessly into a fobbing chorus, assuming Istapp’s usual nature, heralding the oncoming ice age with dark zeal. Vita Doeden introduces traces of melo death riffing, notes dancing above the steady palm muting. The storm abates on closer Orrekulle, bringing our journey into eternal cold to an end.
Whilst not a huge leap from its predecessor, Frostbiten, The Insidious Star is nonetheless a worthy follow up. Combined with their unpretentious song structures and infectious melodies, “The Insidious Star” remains true to the core values of what makes Istapp such fun to listen to! The only real gripe is that of the production, where the thin sounding rhythm guitars are occasionally buried under an overly bass heavy kick drum. A minor gripe, as it does little do deter the icy storm that is “The Insidious Star”. DOWN WITH THE SUN! HAIL ISTAPP! 8/10
Solar Haze: S/T (Metal Assault Records) [Matt]
A bit of Californian stoner always goes down well here at MoM Towers and Solar Haze do exactly this, dual guitar wielding, fuzzy, hard rocking stoner riffs come from minute one as this band also bring a bit of snotty punk to tracks such as Hawk In The Wind along with the obligatory Clutch and Thin Lizzy vibes. Formed by brothers Ryan (drums) and Stephen (vocals/guitar) Falla Solar Haze are rounded out by Jason Hernandez (bass) and Patrick Morton (guitar) and bring a real groove to their tracks along with some raw vocals that will get you sparking up some blunts and cracking a beer as your heads bang to the abrasive Coven and the bluesy Nefarious Natures. Solar Haze probably gives you all you need to know about this band, stoner rock straight down the middle. 6/10
Sarcasm Syndrome: Thy Darkness (Self Released) [Matt]
Ok so hang on for this one Sarcasm Syndrome started as thrash/punk band in 1991, they then moved into the drum realms as the singer became the drummer however after a few singles and demos they split up in 1997. They reformed in 2017 with only one change in membership from the original line up and set about writing their debut record. Thy Darkness is that record, and it's really more an EP, at just 6 songsa and 30 minutes it gives you enough of what Sarcasm Syndrome are about and it's a pretty middle of the road journey of classic doom metal with some operatic, ghostly vocals from frontwoman Petra. Thy Darkness is an album that isn't particularly well produced and due to the airy vocals and the nature of doom metal, the songs all are very similar in style meaning you get to about track 4 without realising that it's actually changed song at all. The fourth song Through The Night isn't too bad due to the slight differentiation and Cthulhu Rising is chunky but overall Thy Darkness is at the lower end of the 'must listen' pile. 5/10
Solar Haze: S/T (Metal Assault Records) [Matt]
A bit of Californian stoner always goes down well here at MoM Towers and Solar Haze do exactly this, dual guitar wielding, fuzzy, hard rocking stoner riffs come from minute one as this band also bring a bit of snotty punk to tracks such as Hawk In The Wind along with the obligatory Clutch and Thin Lizzy vibes. Formed by brothers Ryan (drums) and Stephen (vocals/guitar) Falla Solar Haze are rounded out by Jason Hernandez (bass) and Patrick Morton (guitar) and bring a real groove to their tracks along with some raw vocals that will get you sparking up some blunts and cracking a beer as your heads bang to the abrasive Coven and the bluesy Nefarious Natures. Solar Haze probably gives you all you need to know about this band, stoner rock straight down the middle. 6/10
Sarcasm Syndrome: Thy Darkness (Self Released) [Matt]
Ok so hang on for this one Sarcasm Syndrome started as thrash/punk band in 1991, they then moved into the drum realms as the singer became the drummer however after a few singles and demos they split up in 1997. They reformed in 2017 with only one change in membership from the original line up and set about writing their debut record. Thy Darkness is that record, and it's really more an EP, at just 6 songsa and 30 minutes it gives you enough of what Sarcasm Syndrome are about and it's a pretty middle of the road journey of classic doom metal with some operatic, ghostly vocals from frontwoman Petra. Thy Darkness is an album that isn't particularly well produced and due to the airy vocals and the nature of doom metal, the songs all are very similar in style meaning you get to about track 4 without realising that it's actually changed song at all. The fourth song Through The Night isn't too bad due to the slight differentiation and Cthulhu Rising is chunky but overall Thy Darkness is at the lower end of the 'must listen' pile. 5/10