Arctos: Beyond The Grasp Of Mortal Hands (Northern Silence Productions) [Paul Scoble]
Arctos are based in Edmonton, Alberta and have been in existence since 2014. The five piece have released one EP in One Silent Spire, which was released in 2017. The band claim to be inspired by frozen wastes and the mountains of the Canadian Rockies, which is appropriately grim and frostbitten as these Canadians play Black Metal, and it does have a little bit of Northern Darkness to it. The band refer to their sound as ‘Melodic Black Metal’ which is fine, but as a reviewer I feel I should go a little further than this in detailing the sound. There is a similarity to Sons Of Northern Darkness era Immortal in some of the material (The opening track The Ancestors Path features a sample of waves that sounds very close to the sample used at the beginning of Beyond The North Waves), there is a similarity in some of the riffing. However, classing Arctos as Immortal copyists would be unfair in the extreme. There is a touch of Immortal, but there's loads of other influences in here, as well as a lot of originality. The overall sound is a mix of Orthodox black metal, Atmospheric black metal and Epic black metal. The other thing that marks Arctos out from a lot of Black Metal bands is the use of Piano, something that gives that Epic feel I’ve mentioned. The album opens with the aforementioned The Ancestors Path, which kicks off with a blast beat that is fairly reminiscent of Immortal before going into a more mid-paced section with harsh vocals, which is driving and purposeful but always melodic.
These 2 moods are repeated before a blasting ending. Shattered Tomb is beautifully melodic, whilst also having a slightly thrashy feel to it. The song also boasts a slow and heavy section before the track blasts to an end. This is a massively energy packed piece of black metal. The first 2 tracks are great uptempo blasting but melodious pieces of black metal, but it’s track 3; Somnos Aeternus where things get really interesting. This track opens with a slow and very melodic segment, it uses keyboards and piano in a way that is much more reminiscent of Epic Black Metal, the style originated by Summoning. Epic Black Metal is just that; EPIC. Somnos Aeternus is huge and multifaceted, it isn’t all about blast beats, but rather about melody, and depth. The track also features some very effective chanted vocals that remind me of the album Echo’s Of Battle by Caladan Brood, and that's just about the best Epic Black Metal album ever released. The Spectre is a short, very quiet instrumental. Autumn's Herald… Interitus brings the epic back, again in a beautifully melodic and tuneful way. There are fantastic chanted vocals, and in the places where it does blast it has a bit more of an Atmospheric feel to it; more measured, less spiky and nasty, smoother blasting than orthodox black metal. The parts where we get piano and chanting at the same time are just sublime. A Realm Beyond is a shorter and more direct, but still has bags of melody. There's a great part to this song where there is blasting mixed with some very florid piano work, that pushes the epic to such levels that I found I couldn’t stop myself from smiling at how great it was, just fantastic.
The Light Beyond The Sky (The Passage II) brings the album to an end in a very pleasing way, as it brings all the different sounds used on this album, together. It opens with some very Orthodox Blasting, before going into an Epic middle section. After this we get more blasting, but it’s in an Atmospheric style, the track then feels more Epic till the end, which is slow and very dramatic. Beyond The Grasp Of Mortal Hands is a fantastic album, which features different styles of Black Metal, but the band manage to unify these different styles. Whether they are doing cold and frostbitten blasting, smoother atmospheric style blasting, or a more Epic and melodious mode of black metal, it’s always Arctos. If you like any of the styles I’ve mentioned, or you like any kind of black metal, or metal in general, there will be a lot to like about this album. The fact that this is the band's first album is amazing, this sounds more like a band that have been making music together for decades. Highly recommended. 9/10
Skillet: Victorious (Atlantic Records) [Alex Swift]
A reading from the book of Alex:
In the beginning, there was only metal. And the Lord looked down in shame at the genre, for he knew that the Metal-heads were wicked, and scornful of thy creator. In his wrath at these entanglements with Lucifer he created the Parents Music Resource centre to decapitate the serpent, Drum’ n Bass to dethrone the serpent and nu-metal to embarrass the serpent, yet with every miracle weaved the beast grew stronger and prospered. Until one fateful day an epiphany did appear to the Lord thy God. ‘Let there be Christian metal’ he commanded, and in scant numbers Christian metal acts petered out, year by year. After his work, the Lord looked at his creation and saw that it was satisfactory. Stryper did emerge yet to heavens woe became a meme. Creed did emerge, yet to Satan’s delight, formed a far better band, fronted by an atheist. Until, one day a band emerged whose copycat antics of the alt metal sound would grow so popular that the scene kids in their multitudes would be heard to sing such anthems as SICK OF IT, blissfully unaware that they were not singing about their parents, but their sin. Skillet would the band be called, ‘like the kitchen utensil but more edgy’ the Lord observed as these hormonal juggernauts of God grew in strength.
Yet a fact we must confide, dear worshiper, is that our heavenly father works in mysterious ways – a rationalisation for everything that doesn’t not quite make sense, and one we must apply for the review you read on your screen. For as the years wore on, Skillet wrestled with the changing of the times. First, the process was laborious as their angsty praises became tiresome to hear. In the year 2016, they damned the world and music with a new album. So vile is that piece that we daren’t often speak of its name in the chambers of music critics, yet many sacred monks were heard to observe at the time that even chapel choirs were more exciting than the dross strewn throughout Unleashed. Find fear though, in the fact that the full extent of Skillet’s decline has been witnessed on Victorious. I too have temporarily sacrificed my decent taste to write these words, for song titles in the vein of Rise Up, Reach and Finish Line, would surely be enough to make god himself cringe. In flogging this work, the band themselves promised an album with the bite of a crocodile – I dread to imagine the great lizards teeth being wrenched out. Truly though the worst to come was a performance by Skillet on Trump's favourite show, Fox & Friends. So vile and led astray was the act that writers more talented than I have correctly described witnessing the show as comparable to staring straight into the mouth of hell. I might add an addendum to those comments – Akin to hell, only with worse music
Only the fabled prophet Lemmy may ever truly know how the lord reacted on the day he first heard Victorious. Yet trending wisdom foretells, he wept at his mistake and cursed the day he created Christian metal. At his side Jesus – who, upon just returning from a Slayer concert, had no time for his dad’s holier than though crap – shook his head, as if to say ‘I told you so’. At admitting he was wrong for once, the Lord was left flabbergasted and speechless, yet saved the members of Skillet these words: ‘From obscurity you came and to obscurity you shall return, you shall crawl on your belly’s to the tune of Motorhead, and may never again set foot in the garden of heavy metal. I am well disappointed in you.’ From that day forth our master in heaven vowed to never again scorch the earth with a foe as destructive as Victorious by Skillet, to which he quickly added, ‘At least until I get bored’. Sat on his throne in paradise he contemplated how anyone should be able share in the joys of Metal regardless of their race or religion. He remembered how Lucifer, citing punk as an influence, had led a rebellion against the angels. Smiling his wry, godly smile the lord realised that the Devil might have the greatest music after all
Here ends the lesson
Note: No, but seriously, this album sucked 2/10
Wicked Stone: Devil In Me (Self Released) [Paul Hutchings]
Another day, another band from the New Wave Of British Classic Rock. One of a hundred or so bands tipped by Planet Rock as ‘ones to watch’, Wicked Stone have a generic riff heavy sound that is perfectly enjoyable but sounds like a zillion other bands. Big thick chugging sound, solid rhythm section and Joe Hawx’s crisp vocal delivery all point in the direction of Ramblin’ Man, Steelhouse Festival and Planet Rockstock as a future direction. Unsurprisingly, given a quick listen to single Unchained, and the rest of this five-song EP, the band are influenced by Black Stone Cherry and Alter Bridge. Yes, it’s a carbon copy of all the other bands who flood Wyatt Wendell’s faux New Rock Show on the digital station. I have nothing against Wicked Stone; I’ve never met them, seen them live or even listened to their music before. They can play, so I have admiration for them. Unfortunately, they are another band caught in what Matt described in his review of their debut release Ain’t No Rest in 2017 as the ‘Planet Rock Effect’. Two years later, and the ‘effect’ is working its magic once again. It’s just a bit mediocre and does little to light the fire. 5/10
Pathology: Reborn To Kill (Pavement Music) [Liam True]
This may be an odd review, but we’re going to give it a shot. I’m going to split this review into two sections. Instrumentally & vocals, because I need to talk about both.
Instrumental:
Musically, this is such a versatile Death Metal album. From your standard headbanging riffs to sweep picking and everything in-between, it’s got enough heat to melt your face and regenerate another before you can notice what’s even happened. With the ridiculous fret work from both Tim Tiszczenko and Daniel Richardson (Only being in the band since last year) it’ll take some talent to learn what they’ve plucked from their minds and laid bare on this record, but even more talent to do it as flawlessly and easy as they make it sound, with little to no effort at all. The majority of people either don’t care or don’t notice the presence of a bass guitar on Metal albums, but it would be a lonely desolate recording without one. Bassist Richard Jackson (Also in the band since last year) has hit it right on the head. The bass is neither too loud nor too quiet, but it’s there and you can feel its presence. Also not being to technical and not too simple, it’s in the right ballpark for a Death Metal bass sound, making it look and sound technical, but being easy to play. Very nice touch on that one. Then there’s founding member and drummer Dave Astor. The man behind the kit who’s creating the majestic sounding racket, and making it sound as devastating as humanly possible without being a show off. By the end if the album you’re either familiar enough with the music and into it. Or it’s not your cup of tea. It’s all down to your perspective. 7/10
Now we get to the vocals of the album. I don’t want to sound like someone who doesn’t know anything about Death Metal vocals, but I honestly cannot stand the vocals on this album. Forgive me for my blasphemy, but it is just 100% pure cookie monster vocals. You can argue that with me all you want, it’s what I hear. And whenever I hear that, I just can’t take it seriously. I wouldn’t necessary mind, but there’s barely any differential with the vocals on the record. Maybe once or twice on every other song or so it’ll be a different pitch for a few seconds, but that’s it. There’s no grisly tormented sounds. Just, the cookie monster yelling at me for 40 minutes. Shame really. 1/10
Album overall: 6/10
Arctos are based in Edmonton, Alberta and have been in existence since 2014. The five piece have released one EP in One Silent Spire, which was released in 2017. The band claim to be inspired by frozen wastes and the mountains of the Canadian Rockies, which is appropriately grim and frostbitten as these Canadians play Black Metal, and it does have a little bit of Northern Darkness to it. The band refer to their sound as ‘Melodic Black Metal’ which is fine, but as a reviewer I feel I should go a little further than this in detailing the sound. There is a similarity to Sons Of Northern Darkness era Immortal in some of the material (The opening track The Ancestors Path features a sample of waves that sounds very close to the sample used at the beginning of Beyond The North Waves), there is a similarity in some of the riffing. However, classing Arctos as Immortal copyists would be unfair in the extreme. There is a touch of Immortal, but there's loads of other influences in here, as well as a lot of originality. The overall sound is a mix of Orthodox black metal, Atmospheric black metal and Epic black metal. The other thing that marks Arctos out from a lot of Black Metal bands is the use of Piano, something that gives that Epic feel I’ve mentioned. The album opens with the aforementioned The Ancestors Path, which kicks off with a blast beat that is fairly reminiscent of Immortal before going into a more mid-paced section with harsh vocals, which is driving and purposeful but always melodic.
These 2 moods are repeated before a blasting ending. Shattered Tomb is beautifully melodic, whilst also having a slightly thrashy feel to it. The song also boasts a slow and heavy section before the track blasts to an end. This is a massively energy packed piece of black metal. The first 2 tracks are great uptempo blasting but melodious pieces of black metal, but it’s track 3; Somnos Aeternus where things get really interesting. This track opens with a slow and very melodic segment, it uses keyboards and piano in a way that is much more reminiscent of Epic Black Metal, the style originated by Summoning. Epic Black Metal is just that; EPIC. Somnos Aeternus is huge and multifaceted, it isn’t all about blast beats, but rather about melody, and depth. The track also features some very effective chanted vocals that remind me of the album Echo’s Of Battle by Caladan Brood, and that's just about the best Epic Black Metal album ever released. The Spectre is a short, very quiet instrumental. Autumn's Herald… Interitus brings the epic back, again in a beautifully melodic and tuneful way. There are fantastic chanted vocals, and in the places where it does blast it has a bit more of an Atmospheric feel to it; more measured, less spiky and nasty, smoother blasting than orthodox black metal. The parts where we get piano and chanting at the same time are just sublime. A Realm Beyond is a shorter and more direct, but still has bags of melody. There's a great part to this song where there is blasting mixed with some very florid piano work, that pushes the epic to such levels that I found I couldn’t stop myself from smiling at how great it was, just fantastic.
The Light Beyond The Sky (The Passage II) brings the album to an end in a very pleasing way, as it brings all the different sounds used on this album, together. It opens with some very Orthodox Blasting, before going into an Epic middle section. After this we get more blasting, but it’s in an Atmospheric style, the track then feels more Epic till the end, which is slow and very dramatic. Beyond The Grasp Of Mortal Hands is a fantastic album, which features different styles of Black Metal, but the band manage to unify these different styles. Whether they are doing cold and frostbitten blasting, smoother atmospheric style blasting, or a more Epic and melodious mode of black metal, it’s always Arctos. If you like any of the styles I’ve mentioned, or you like any kind of black metal, or metal in general, there will be a lot to like about this album. The fact that this is the band's first album is amazing, this sounds more like a band that have been making music together for decades. Highly recommended. 9/10
Skillet: Victorious (Atlantic Records) [Alex Swift]
A reading from the book of Alex:
In the beginning, there was only metal. And the Lord looked down in shame at the genre, for he knew that the Metal-heads were wicked, and scornful of thy creator. In his wrath at these entanglements with Lucifer he created the Parents Music Resource centre to decapitate the serpent, Drum’ n Bass to dethrone the serpent and nu-metal to embarrass the serpent, yet with every miracle weaved the beast grew stronger and prospered. Until one fateful day an epiphany did appear to the Lord thy God. ‘Let there be Christian metal’ he commanded, and in scant numbers Christian metal acts petered out, year by year. After his work, the Lord looked at his creation and saw that it was satisfactory. Stryper did emerge yet to heavens woe became a meme. Creed did emerge, yet to Satan’s delight, formed a far better band, fronted by an atheist. Until, one day a band emerged whose copycat antics of the alt metal sound would grow so popular that the scene kids in their multitudes would be heard to sing such anthems as SICK OF IT, blissfully unaware that they were not singing about their parents, but their sin. Skillet would the band be called, ‘like the kitchen utensil but more edgy’ the Lord observed as these hormonal juggernauts of God grew in strength.
Yet a fact we must confide, dear worshiper, is that our heavenly father works in mysterious ways – a rationalisation for everything that doesn’t not quite make sense, and one we must apply for the review you read on your screen. For as the years wore on, Skillet wrestled with the changing of the times. First, the process was laborious as their angsty praises became tiresome to hear. In the year 2016, they damned the world and music with a new album. So vile is that piece that we daren’t often speak of its name in the chambers of music critics, yet many sacred monks were heard to observe at the time that even chapel choirs were more exciting than the dross strewn throughout Unleashed. Find fear though, in the fact that the full extent of Skillet’s decline has been witnessed on Victorious. I too have temporarily sacrificed my decent taste to write these words, for song titles in the vein of Rise Up, Reach and Finish Line, would surely be enough to make god himself cringe. In flogging this work, the band themselves promised an album with the bite of a crocodile – I dread to imagine the great lizards teeth being wrenched out. Truly though the worst to come was a performance by Skillet on Trump's favourite show, Fox & Friends. So vile and led astray was the act that writers more talented than I have correctly described witnessing the show as comparable to staring straight into the mouth of hell. I might add an addendum to those comments – Akin to hell, only with worse music
Only the fabled prophet Lemmy may ever truly know how the lord reacted on the day he first heard Victorious. Yet trending wisdom foretells, he wept at his mistake and cursed the day he created Christian metal. At his side Jesus – who, upon just returning from a Slayer concert, had no time for his dad’s holier than though crap – shook his head, as if to say ‘I told you so’. At admitting he was wrong for once, the Lord was left flabbergasted and speechless, yet saved the members of Skillet these words: ‘From obscurity you came and to obscurity you shall return, you shall crawl on your belly’s to the tune of Motorhead, and may never again set foot in the garden of heavy metal. I am well disappointed in you.’ From that day forth our master in heaven vowed to never again scorch the earth with a foe as destructive as Victorious by Skillet, to which he quickly added, ‘At least until I get bored’. Sat on his throne in paradise he contemplated how anyone should be able share in the joys of Metal regardless of their race or religion. He remembered how Lucifer, citing punk as an influence, had led a rebellion against the angels. Smiling his wry, godly smile the lord realised that the Devil might have the greatest music after all
Here ends the lesson
Note: No, but seriously, this album sucked 2/10
Another day, another band from the New Wave Of British Classic Rock. One of a hundred or so bands tipped by Planet Rock as ‘ones to watch’, Wicked Stone have a generic riff heavy sound that is perfectly enjoyable but sounds like a zillion other bands. Big thick chugging sound, solid rhythm section and Joe Hawx’s crisp vocal delivery all point in the direction of Ramblin’ Man, Steelhouse Festival and Planet Rockstock as a future direction. Unsurprisingly, given a quick listen to single Unchained, and the rest of this five-song EP, the band are influenced by Black Stone Cherry and Alter Bridge. Yes, it’s a carbon copy of all the other bands who flood Wyatt Wendell’s faux New Rock Show on the digital station. I have nothing against Wicked Stone; I’ve never met them, seen them live or even listened to their music before. They can play, so I have admiration for them. Unfortunately, they are another band caught in what Matt described in his review of their debut release Ain’t No Rest in 2017 as the ‘Planet Rock Effect’. Two years later, and the ‘effect’ is working its magic once again. It’s just a bit mediocre and does little to light the fire. 5/10
Pathology: Reborn To Kill (Pavement Music) [Liam True]
This may be an odd review, but we’re going to give it a shot. I’m going to split this review into two sections. Instrumentally & vocals, because I need to talk about both.
Instrumental:
Musically, this is such a versatile Death Metal album. From your standard headbanging riffs to sweep picking and everything in-between, it’s got enough heat to melt your face and regenerate another before you can notice what’s even happened. With the ridiculous fret work from both Tim Tiszczenko and Daniel Richardson (Only being in the band since last year) it’ll take some talent to learn what they’ve plucked from their minds and laid bare on this record, but even more talent to do it as flawlessly and easy as they make it sound, with little to no effort at all. The majority of people either don’t care or don’t notice the presence of a bass guitar on Metal albums, but it would be a lonely desolate recording without one. Bassist Richard Jackson (Also in the band since last year) has hit it right on the head. The bass is neither too loud nor too quiet, but it’s there and you can feel its presence. Also not being to technical and not too simple, it’s in the right ballpark for a Death Metal bass sound, making it look and sound technical, but being easy to play. Very nice touch on that one. Then there’s founding member and drummer Dave Astor. The man behind the kit who’s creating the majestic sounding racket, and making it sound as devastating as humanly possible without being a show off. By the end if the album you’re either familiar enough with the music and into it. Or it’s not your cup of tea. It’s all down to your perspective. 7/10
Now we get to the vocals of the album. I don’t want to sound like someone who doesn’t know anything about Death Metal vocals, but I honestly cannot stand the vocals on this album. Forgive me for my blasphemy, but it is just 100% pure cookie monster vocals. You can argue that with me all you want, it’s what I hear. And whenever I hear that, I just can’t take it seriously. I wouldn’t necessary mind, but there’s barely any differential with the vocals on the record. Maybe once or twice on every other song or so it’ll be a different pitch for a few seconds, but that’s it. There’s no grisly tormented sounds. Just, the cookie monster yelling at me for 40 minutes. Shame really. 1/10
Album overall: 6/10