Aodon: 11069 (Willowtip Records) [Paul Scoble]
Aodon are a three piece based in France. The band, who formed in 2016 have released 1 album before in 2016’s Sharphood. On the face of it the band plays a fairly simple style of Black Metal, however the sound that Aodon have perfected on 11069, once you have given it a closer look, is far more complex and interesting. The first track on 11069 is Les Rayons, it opens with driving tremolo picked riffing and blasting drums. When I say blasting I mean it. The drumming is very aggressive throughout the album, the snare in particular batters the listener, an insistent machine gun burst, hostile and violent. After a couple of minutes one of this albums key features comes in. The addition of a melody lead guitar that is very echoey and haunting, as a counterpoint to the aggressive tremolo picked riffs. This guitar gives the track a beautifully realised atmosphere, so aggressive and nasty riffing is tempered by this guitar part giving the track a cathartic depth. The second half of the song reveals the other strong stylistic feature of this album, doomy slow riffs that combine with the echoey guitar to reinforce that fantastic atmosphere.
This mixing of harsh black metal with doom and maybe a little gothic is a style that has gained some popularity in recent years, particularly in the European scene. Regarde Les Hommes Tomber have recently released an excellent album in this style, and probably the best exponent of this style is German band Ultha. The elements of doom help to temper the harshness of the black metal riffing, giving massive depth. The black metal is fairly aggressive and blasting, reminiscent of Wiegedood or Sun Worship.
Aodon are a three piece based in France. The band, who formed in 2016 have released 1 album before in 2016’s Sharphood. On the face of it the band plays a fairly simple style of Black Metal, however the sound that Aodon have perfected on 11069, once you have given it a closer look, is far more complex and interesting. The first track on 11069 is Les Rayons, it opens with driving tremolo picked riffing and blasting drums. When I say blasting I mean it. The drumming is very aggressive throughout the album, the snare in particular batters the listener, an insistent machine gun burst, hostile and violent. After a couple of minutes one of this albums key features comes in. The addition of a melody lead guitar that is very echoey and haunting, as a counterpoint to the aggressive tremolo picked riffs. This guitar gives the track a beautifully realised atmosphere, so aggressive and nasty riffing is tempered by this guitar part giving the track a cathartic depth. The second half of the song reveals the other strong stylistic feature of this album, doomy slow riffs that combine with the echoey guitar to reinforce that fantastic atmosphere.
This mixing of harsh black metal with doom and maybe a little gothic is a style that has gained some popularity in recent years, particularly in the European scene. Regarde Les Hommes Tomber have recently released an excellent album in this style, and probably the best exponent of this style is German band Ultha. The elements of doom help to temper the harshness of the black metal riffing, giving massive depth. The black metal is fairly aggressive and blasting, reminiscent of Wiegedood or Sun Worship.
The album as a whole has very pleasing ebb and flow. Each song has sections that are blasting and nasty, counterpointed with slow, hypnotic slower sections, all of which have that echoey melody lead guitar over it, creating a bridge between the two main styles. Over the course of the album the mix of these two main styles slowly shifts from mainly blasting aggression for the first couple of songs, and then bringing in more doom elements, so L’echo is about half blasting juxtaposed with hypnotic, gothic doom. By the time we get to the last track on the album; Le Parfum Des Pluies, we are dealing with much more doom and gothic, although there are still blasting black metal passages, and that incessant, nasty snare. The song ends in a soft and dreamy way.
11069 is a very good album. As I said earlier there are other bands doing this style, so there isn’t that much that is groundbreaking or original. Where this album shines is in the execution. The atmospheric elements are done so well, the echoey guitar manages to create such an interesting ambience, that this is one of the best albums I’ve heard that combine Black Metal and Doom. So, maybe not originators of this style, but they have pretty much perfected it with this near perfect execution. 8/10
Void Of Sleep: Metaphora (Aural Music) [Matt Bladen]
A lilting acoustic guitar is not the way you'd expect an album by a band named after a Sabbath song to start but Metaphora opens like this but before long it's steeped in progressive heaviness, huge riffs swell creating big grooves but unusually the addition of synths really adds an occult style making it quite Opeth-like at times. This Italian band have released two critically acclaimed EPs and an full length concept album before this and you can hear immediately why they have been held in high regard. The first song proper on this record is Iron Mouth a ten minute plus number that twists and turns between Mastodon styled aggression and Floydian soundscapes never letting you get totally comfortable before it goes somewhere else.
11069 is a very good album. As I said earlier there are other bands doing this style, so there isn’t that much that is groundbreaking or original. Where this album shines is in the execution. The atmospheric elements are done so well, the echoey guitar manages to create such an interesting ambience, that this is one of the best albums I’ve heard that combine Black Metal and Doom. So, maybe not originators of this style, but they have pretty much perfected it with this near perfect execution. 8/10
Void Of Sleep: Metaphora (Aural Music) [Matt Bladen]
A lilting acoustic guitar is not the way you'd expect an album by a band named after a Sabbath song to start but Metaphora opens like this but before long it's steeped in progressive heaviness, huge riffs swell creating big grooves but unusually the addition of synths really adds an occult style making it quite Opeth-like at times. This Italian band have released two critically acclaimed EPs and an full length concept album before this and you can hear immediately why they have been held in high regard. The first song proper on this record is Iron Mouth a ten minute plus number that twists and turns between Mastodon styled aggression and Floydian soundscapes never letting you get totally comfortable before it goes somewhere else.
It's a towering opening salvo one that many bands would not be that comfortable with yet Void Of Sleep make it sound almost too easy. This epic is followed by Waves Of Discomfort which adds a level of electronic discord similar to that of Vangelis on the Blade Runner soundtrack, as it bleeds into the doom riffage of Unfair Judgements which is followed by the hard hitting Master Abuser the most Mastodon sounding track on the record. Metaphora is an album for anyone who likes their grooves a bit more technically challenging, it's 7 tracks of progressive heaviness for you to enjoy. 7/10
Age Of Emergence: The War Within Ourselves (Self Released) [Simon Black]
This Australian Prog Metal 3 piece have been around since 2014, and this is their second EP and I’m guessing they haven’t been too far outside their home territory yet. The 5 tracks on this EP have a very distinctive sound and although there are definitely strong progressive/technical touches in there, this record is a solid metal one first and foremost, but which isn’t afraid to throw lots of other styles into the mix. Opener Stone Cold Icarus is definitely in the prog camp, but compare that with the almost Stoner sounding Your Kingdom Dies, and you would hardly know that you were listening to the same band.
This Australian Prog Metal 3 piece have been around since 2014, and this is their second EP and I’m guessing they haven’t been too far outside their home territory yet. The 5 tracks on this EP have a very distinctive sound and although there are definitely strong progressive/technical touches in there, this record is a solid metal one first and foremost, but which isn’t afraid to throw lots of other styles into the mix. Opener Stone Cold Icarus is definitely in the prog camp, but compare that with the almost Stoner sounding Your Kingdom Dies, and you would hardly know that you were listening to the same band.
Musically Matt Neilson’s guitars are far more down and dirty than you would expect from anything progressive, and the real technical brilliance is Benn Baxter’s almost hypnotic drumming and the heart of the band’s sound, but coiled tightly round the a lovely heavy rumbling bass feel from Dean Holmes. The recording has an intimate, home-cooked feel about it, but I can’t fault the engineering or mix at all which despite there only being three instruments to play with doesn’t leave any of them feeling too exposed in the mix.
If I had to pick a favourite, I would go for Ascender, as it toys with the listener – alternating between the subtle and lighter tones, before smashing your brains out with a slice of lemon wrapped round a large steel brick. This track in particular showcase all of the instrumental skills at work here without looking overtly showy. The only criticism is that after six years only two EP’s seems like we’ve been sold short, and I really would like to hear what happens when these guys get their heads round writing a full album. 8/10
Enzo And The Glory Ensemble: In The Name Of The World Spirit (Rockshots Records) [Paul Hutchings]
On the weekend that the Pope decided to ask God to stop the spread of the Coronavirus (bad decision mate, when it doesn’t work you look a bit of a spent force), good old Enzo Donnarumma returns with his Glory Ensemble for the latest installment, In The Name Of The World Spirit. Once again, the Neapolitan gathers his cast of hundreds and teams up with Gary Wehrkamp (Shadow Gallery) for the production. Let’s get the rogues gallery out of the way first. The line-up this time around includes: Marty Friedman, Kobi Farhi (Orphaned Land), Ralf Scheepers (Primal Fear), Mark Zonder (Fates Warning, Warlord), Gary Wehrkamp & Brian Ashland (Shadow Gallery), Nicholas Leptos (Warlord, Arrayan Path), Derek Corzine & Amulyn Braught Corzine (Whisper From Heaven) , David Brown (Metatrone), Alessandro Battini (Dark Horizon), Maria Londino and Francesco Romeggini (S91), Mr Jack, Claudia Coticelli and Clara People. As well as this, we also get Steve Vai bassist Philip Bynoe joining the exalted throng.
I gave both In The Name Of The Father and In The Name Of The Son a fair crack. I really did, but both were bloody awful, a cross between some ghastly West End show and a Disney musical. Well, without wanting to revisit those two albums, I can safely say that In The Name Of The World Spirit stinks just as much. Sure, there are some elements of the progressive rock and ethnic crossover that don’t rancor, and the musicianship is at times impressive if totally chaotic and shambolic. But, and it’s a big but, tracks such as Just In My Heart The Blame, and the fucking awful showtune I’ll Add More add absolutely nothing.
The latter immediately coming across as a mix of Beauty And the Beast and Madam Butterfly without any of the redeeming features of either. In fact, take out the Jebus praising and it’s still utterly dire. Warbling female vocals, an attempt at some operatic bollocks that fails miserably and a vain attempt at a guitar solo to help rescue it. Too fucking late. It’s plunged any semblance of hope deep into the pit. I had to stop to throw up. I managed to get through another couple of tracks, but Psalm 13 (Tell Me) got me completely, like musical chairs without the stopping. An out of control fairground ride which never looked like stopping. Shit, it sounded like an orchestra tuning up and that was before it exploded into a thrash montage with gruff vocals.
We can at least be thankful that this is the final chapter in the trilogy. Perhaps Enzo will take his gospel metal (bbarrfff!) and retreat up the mountain for a period of solitude and reflection. About 20 years will do it. 1/10
If I had to pick a favourite, I would go for Ascender, as it toys with the listener – alternating between the subtle and lighter tones, before smashing your brains out with a slice of lemon wrapped round a large steel brick. This track in particular showcase all of the instrumental skills at work here without looking overtly showy. The only criticism is that after six years only two EP’s seems like we’ve been sold short, and I really would like to hear what happens when these guys get their heads round writing a full album. 8/10
Enzo And The Glory Ensemble: In The Name Of The World Spirit (Rockshots Records) [Paul Hutchings]
On the weekend that the Pope decided to ask God to stop the spread of the Coronavirus (bad decision mate, when it doesn’t work you look a bit of a spent force), good old Enzo Donnarumma returns with his Glory Ensemble for the latest installment, In The Name Of The World Spirit. Once again, the Neapolitan gathers his cast of hundreds and teams up with Gary Wehrkamp (Shadow Gallery) for the production. Let’s get the rogues gallery out of the way first. The line-up this time around includes: Marty Friedman, Kobi Farhi (Orphaned Land), Ralf Scheepers (Primal Fear), Mark Zonder (Fates Warning, Warlord), Gary Wehrkamp & Brian Ashland (Shadow Gallery), Nicholas Leptos (Warlord, Arrayan Path), Derek Corzine & Amulyn Braught Corzine (Whisper From Heaven) , David Brown (Metatrone), Alessandro Battini (Dark Horizon), Maria Londino and Francesco Romeggini (S91), Mr Jack, Claudia Coticelli and Clara People. As well as this, we also get Steve Vai bassist Philip Bynoe joining the exalted throng.
I gave both In The Name Of The Father and In The Name Of The Son a fair crack. I really did, but both were bloody awful, a cross between some ghastly West End show and a Disney musical. Well, without wanting to revisit those two albums, I can safely say that In The Name Of The World Spirit stinks just as much. Sure, there are some elements of the progressive rock and ethnic crossover that don’t rancor, and the musicianship is at times impressive if totally chaotic and shambolic. But, and it’s a big but, tracks such as Just In My Heart The Blame, and the fucking awful showtune I’ll Add More add absolutely nothing.
The latter immediately coming across as a mix of Beauty And the Beast and Madam Butterfly without any of the redeeming features of either. In fact, take out the Jebus praising and it’s still utterly dire. Warbling female vocals, an attempt at some operatic bollocks that fails miserably and a vain attempt at a guitar solo to help rescue it. Too fucking late. It’s plunged any semblance of hope deep into the pit. I had to stop to throw up. I managed to get through another couple of tracks, but Psalm 13 (Tell Me) got me completely, like musical chairs without the stopping. An out of control fairground ride which never looked like stopping. Shit, it sounded like an orchestra tuning up and that was before it exploded into a thrash montage with gruff vocals.
We can at least be thankful that this is the final chapter in the trilogy. Perhaps Enzo will take his gospel metal (bbarrfff!) and retreat up the mountain for a period of solitude and reflection. About 20 years will do it. 1/10