Graveyard - Lights Out

Dare I say it, but I'd go as far as saying Graveyard is the best rock band in the world. Best has different meaning to most popular. Most popular doesn't mean you are the best, these days it just means partly that you have been given more exposure to the world. If Graveyard was American or British, they would be taking the world by storm, plain and simple. The first two Graveyard albums are two of the best rock albums of recent times (well for me). The new album 'Lights Out' comes with perhaps the highest of expectations. All to live up to..

Again that dark mood surrounds the album and again the rough edge is present both through the riffs and Joakim's voice. 'Seven Seven' is probably the roughest sounding song I have heard from Graveyard. The catchy moments are still present at times too and shine mostly in songs like 'The Suits, The Law & The Uniforms' and 'Goliath'. The bluesy solos and rocking melodies still appear from time to time as well and as always, really bleed that old school feel.

'Hard Times Lovin' ' and 'Slow Motion Countdown' are some really deep numbers too. A moody bass line and Joakim's vocals taking a more low end approach takes hold of 'Hard Times Lovin'. It sounds like one of the darkest songs they have done. Joakim simply carries 'Slow Motion Countdown' the way he builds up his voice. His best moment on the whole album. It really is a great example of the passion and feel he has in his voice. I still remember back to the Afterburner gig at Roadburn in 2010 and being blown away by how powerful his vocals were and the way he would hit his notes. The best vocal performance I saw on the whole trip.

If you sit this along 'Graveyard' and 'Hisingen Blues', the sad thing is that 'Lights Out' has nothing on these two albums. I guess that shows how good the first two albums were. They are simply brilliant. 'Lights Out' is good but because of high expectation (extremely high at that), this falls very short. The first two albums did not have a bad song or moment on them at all. Every riff virtually caught on and had enormous feel and energy. Lyrically, they were far more powerful and deep and were certainly helped by vocals that knew when to vary between a level tone and letting out all emotions. 'Lights Out' lacks all of this.

Favourite songs on 'Lights Out' like 'The Suits..', 'Goliath' and 'Hard Times Lovin' ' simply don't stack up to the likes of 'Thin Line', 'Uncomfortably Numb', 'The Siren', 'Lost In Confusion' and many many others. But then, they don't stack up to anything on the first two albums. On 'Lights Out', I am not really letting out a 'WOW' to anything. Overall, it feels rushed and short of ideas. There was a three year gap between 'Graveyard' and Hisingen Blues' and only a year and a half between 'Hisingen Blues' and 'Lights Out'. At least for me, when hearing this, it lacks the fresh ideas and creativity that 'Hisingen Blues' had.

Yeah, the first few paragraphs might say otherwise and that is because I still like this. I am just not blown away. Sure, some of their roughest and darkest moments are found here, but that doesn't mean it is better. 'Lights Out' has fallen victim to expecting 'Amazing' but only got 'Good'. Maybe it has to grow, and it is, slowly. But it wont go much further. Oh well, sometimes one can be hard to please...

Ikil

Enslaved - RIITIIR

Enslaved. If ever there was a band that has continuously pushed the envelope and evolved to greater heights and shown consistency time and time again, it is these guys. Their latest album 'RIITIIR' was going to be interesting given their slightly different approach to 'Axioma Ethica Odini'. AEO, like 'Mardraum', was a transitional album to the next step in the evolution of their sound, impressive but still needed to be tweaked. With 'RIITIIR', Enslaved has nailed it.

The one negative I found with AEO was how they changed their direction with their signature repetition. Instead of building one epic passage, AEO was full of songs that had two main passages that they kept going back and forth to and this ended up becoming predictable. With 'RIITIIR', songs tend to focus around one or two main passages but between them they are throwing a number of variations between cutting back to those passages. Also, the main passages are being built up more so in a sense, it is unpredictable this time around. Take a song like 'Death In The Eyes Of Dawn' which builds up like classic Enslaved before it breaks out into flutters of chaos so unexpectedly and then returning to the main passage.

Things get a bit more technical at times too. A song like 'Veilburner' twists a bit at the beginning but then breaks out into a moderate tempo with the signature ice cold and sharp sound from the riffs before it rushes like some big wind. Even the way they transition in songs too. A typical blasting black metal moment like 'Roots Of The Mountain' which grows out of nowhere to a lifting wall of noise and Grutle's clean vocals carrying the big sound. It then becomes filled with melodies and Arve's lead work and then out of nowhere comes this beautiful clean moment that screams post rock.

It is with this unpredictability in the songs that make them so much more enjoyable. You don't expect a song like 'Materal' to progress the way it does without a blackened tremolo riff coming out of nowhere. You don't expect Cato to be blasting his beats or snapping that snare so hard in 'RIITIIR' or 'Roots Of The Mountain'. You don't expect the galloping melodies in 'Storm Of Memories' to become sizzling tremolos. For how much the band has evolved through progression, that chaos still lingers.

Grutle's vocals just get better and better as well. His growls are ever so harsh and that death roar is the biggest yet. His clean vocals is where he has really come of age. Such a commanding and epic tone. Like the voice of a powerful king. His voice makes a song like 'RIITIIR' feel overpowering, the way he lifts his voice in 'Roots Of The Mountain' without overdoing it feels so impressive. Even the way his harsh vocals echo over the tremolo riff in 'Materal', so dark, almost necro!

'RIITIIR' is the album that has made Enslaved the best band in extreme metal for me. They are now my favourite band. It is like watching a group of rebels with this cold attitude grow in time and eventually take over and build the most powerful empire ever. Even though they have become so powerful and epic, you can still feel that they have not forgotten their roots and that sense of coldness and darkness is still etched in their minds right back to the days of 'Frost' and 'Vikingligr Veldi'.

With 'RIITIIR', Enslaved still is the most consistent band in metal. They have again proven that they can master the change in their style and sound so quickly and most importantly, they haven't forgotten where they have come from. This is what heritage actually is. Certain to be my album of the year.

Ikil

Goat - World Music

A few weeks ago, I read an article about Gangnam Style in which the writer called it 'bizarre but brilliant'. Of course, to these eyes, they were met with both confusion and amusement, but also not too surprised given that is expected to come from such mainstream media who would have absolutely no idea what quality music is (especially bizarre kind). It made me then wonder what is the most bizarre but brilliant thing I have heard this year. That title may go to Goat's 'World Music'. What a bizarre album it is.

This is one ritual full of tribal drumming, psychedelic keys and riffs with plenty of buzz and disjointedness, lead by the vocals that appear like a wicked lady leading in chant and a circle of tripped out people in a ceremonial dance around a camp fire in the middle of the woods at night. Might say too that it sounds like it came from somewhere 40 to 50 years ago, not the present day.

If in some way, you become compelled by this, you might shake around around to hypnotic riffs and sounds of 'Golden Dawn', beat your hands in rhythm to 'Goathead', bounce about to clean riffs of 'Let It Bleed' or dream of yourself slowly running on the spot in pitch black to the repetitive, quick plucking and commanding voice of 'Run To Your Mama'. If that is not enough, then 'Goatlord' comes off as some dreamy and glorious hymn.

I like how the bass lines and drums play the repetitive part and the guitars and keys go all whacky and all over the place on the top. It is like your mind may be stuck, but your eyes are looking to all different directions. A trip out for sure. I also like how the vocals have this hint of rawness to them and when words/notes are held, it almost feels like the words are being screamed out, that along with the little moments of laughter come off a little menacing. There is some real passion behind these vocals. Heck, a ritualistic fire sizzles with these guys. Great stuff.

Have a look at their live and promo photos. You know you would be in for one hell of an experience if you saw them live. 'World Music' is an experience in itself and the more I experience this, the more it is becoming one of my favourite albums this year. Their tricks worked. Sweden has again produced another gem and a real example of what bizarre and brilliant is...

Ikil

Xibalba - Hasta La Muetre

Can someone please explain to me why I am not seeing endless praise for Xibalba? Considering the wrap other bands of similar style are getting, mind you many also signed to the same label (Southern Lord), this band should be at the top of the rocky mountain. After the crushingly heavy 'Madre Mia Gracias Por Los Dias' that came out last year, Xibalba returns quickly with the equally as heavy 'Hasta La Muetre'. FAARRKK!

Dare I say it, Xibalba is the heaviest thing in the crust/core scene right now. HLA is full of riffs that have this compressed and droning tone that is incredibly brutal. Compared to 'Madre Mia...' which was more slow and grinding, HLA brings some pace to the table as well and this doesn't make anything seem weaker. In fact, it just feels more devastating. The other cool thing is how they can vary the speed in songs and really get your head nodding. The way 'No Serenity' cuts back to this slow head slamming riff towards the end is sick, or the galloping disjointed feel of 'Laid To Rest' that ends into a ringing lead before the rumbling finish comes in, sure to put cracks through any land.

And with this, you need crushing drums and do they sure deliver here. It sounds like these fills are leading the earthquake taking place. The kicks rumble with fury, the toms and snares feel as though they are being belted with sledgehammers instead of drumsticks. Only a dark room with the thickest cement walls could handle this beat down. Even when you here the cymbals tap like at the beginning of 'Sentenced', you just hang in there waiting impatiently for the thunderous thuds to begin and eventually march and jog away. Gotta like the tribal like patterns in 'The Flood' as well, the way it draws out with those leads is monstrous! The ridiculous twirling beats in 'Mala Mujer' too.

Even vocally, you can feel that deep and compressed bellow shouting from the dark cracks in the floor. Like a beast. It isn't anything out of the ordinary, but it has the right force and fire to stand with the crushing that is occurring.

Overall, this album doesn't sound like it was overdone in the production. It genuinely feels that this would crush absolutely anything in its path. Scary to think what this would be like if I saw Xibalba live. Would I still have my hearing afterwards? In fact, I'd probably be crushed to death..

When I put this up with the other 'core' stuff I have heard this year, this clearly is at the top. The complete package. The brutality, the crush, the devastation that might be lacking in those other bands is all found right here along with the energy, the force and the intensity. 'Madre Mia...' was good, but 'Hasta La Muetre' destroys it. One chaotic effort!

Ikil

Blut Aus Nord - 777: Cosmosophy

Blut Aus Nord has always delivered hit and miss albums for me. Some albums are something, others truly lacking (or maybe misunderstood). There is always a sense of hesitation when checking out their works. Fair to say though that the last few years, the albums have been much better. The 777 trilogy has come to an end with 'Cosmosophy' and this certainly sits along with their albums that are something.

As if a new world is slowly emerging from the darkest tunnels of the underground, melodies on here carry an atmospheric drift that creeps its way up. And who was expecting clean vocals to help with the eerie introduction? 'Epitome XIV' is a great example of this. What 'Epitome XV' does is takes these clean vocals to a more theatrical level and helps carry the dark side, but an epic vibe makes its way in. In fact, this album is dominated more by clean vocals this time around and the harsher vocals only come in from time to time.

The interesting thing I find with the softer sides of this album is they make you hang on for the climax. You know an industrial tinged explosion is imminent throughout each of these songs. Take 'Epitome XVI' where the beginning is repetitious melodies weaving with the atmospheres of the synth when this wall of distortion just breaks out of no where and in time builds up with the synth and distant lead work to almost distorted like sounds at the end.

This could be the first Blut Aus Nord album where I can actually fully embrace the industrial element in their sound. The walls of distortion, the atmospheric leads, the programmed drums with their mechanical pant, they all work as one and find the right balance with the melodies that at times stand on their own and the repetitions in songs like 'Epitome XVIII' don't get boring because of this.

One thing I always found with Blut Aus Nord is that even with their better albums, there was still something that didn't seem quite right. Maybe some of the sound didn't fit the scene or mood they were describing. You know, a lot of great ideas, but a thing or two just doesn't quite click. The 777 trilogy has felt like Blut Aus Nord finally found that eerie and dark futuristic world that they have been trying to unveil to us for years now. 'Sect(s)' was onto something, 'The Desanctification' wasn't quite there. With 'Cosmosophy', they have found it and the unveiling has been met with a nod of great approval. It is very intriguing.

Now, if their world continues to evolve to greater things from here, then I will not hesitate to step into their light...

Ikil

Ensiferum - Unsung Heroes

I have never really gotten into this Finnish folk/speed stuff. I have found most of it quite cheesy and any of the bands I found to be really good ended up going awful after a few albums. The only band I have made any exception for is Ensiferum. I have never found them to be as cheesy, much more atmosphere and enjoyable melodies than the rest of the clan. The new album, 'Unsung Heroes' is a bit of a change and I think their best album yet.

What I like first and foremost is how they have dropped the pace a lot. The melodies have more space to breathe and be really felt. Riffs in general catch on more and the synths appear more evident which means the atmosphere is felt. The speed from the first albums was just getting too much and I really couldn't take it all in at once. Things feel more controlled here, more mature. The lead work on songs like 'Burning Leaves' and 'Unsung Heroes' for example can be grasped rather than missed. Overall, it feels more powerful and emotive.

The chanted lyrics, choirs, the singing, even the harsh vocals all have more feel and stand out because of this slower pace. The way they transition too is so much more effective because of this. Would a song like 'Unsung Heroes' or 'Burning Leaves' really feel as epic if it was in the speed vein? I don't think so. The acoustic passages (or songs like 'Celestial Bond', 'Last Breath') and solos now have a chance to be embraced and admired with the way they break out or blend into the songs.

Speed still exists in 'Retribution Shall Be Mine' but I have heard this all before from them. I still feel the cheese too in a bit of the chants but it is not as in your face this time around. The harsh vocals sound a bit weak as well, perhaps the only weak element I am picking up here. These are very minor gripes though.

Perhaps after the victorious and epic battles of the first four albums and the celebrations with wild partying, beer sculling and dancing, 'Unsung Heroes' is the moment when by dusk you have become tired, you put down your shield and sword and sit on the front porch of your home that sits on top of a hill that overlooks the city. You sit there with great pride as you look over the city that now stands safe and tall after you helped fought to defend it and its country in a great battle. The progressive 'Passion, Proof, Power' may best represent that feeling.

In the end, a change in direction but for the better. Had this been like the previous albums, it would have gone in one ear and out the other. Surprised and very impressed. Instead of similar bands who changed direction for worse, Ensiferum has dropped the twiddle and fiddle and come of age. Triumphant and epic. A glorious effort.

Ikil

Witchcraft - Legend

A lot can happen in five years.. well.. at least that is something you can say for Witchcraft. Three line up changes, other bands of similar style and from the same country come along and appear to be grabbing big attention while Witchcraft has remained quiet since 'The Alchemist'. Now they return with 'Legend' and have even changed their sound.

After what seemed like being locked in a 60s and 70s time capsule, Witchcraft now sounds like they have been introduced to the modern world. Clearer production, more verse/chorus structured songs, much catchier as well. It has probably left many a fan scratching their heads. It did for me at first, but the more I listen, the more this is growing on me. Magnus and co have crafted a very good rock album here and have still done enough to distance it from becoming completely mainstream.

Witchcraft seemed to be getting more psychedelic with 'The Alchemist'. On 'Legend', I am feeling a bit more of a 'progressive' touch the way some of these songs build up or change considering majority of the songs average around the four to five minute mark. Maybe it is the way variation plays a consistent part in these songs, changing from melodies to hard hitting stoner rock riffs that catch you off guard. Also the shifts in tempos, the changing drum patterns, soft to heavy sides and even a solo or seething lead for extra measure. I can provide examples but in all seriousness, every song showcases some or all of these elements and also has those 'moments'. It is perhaps more a case of which songs you enjoy most. At least for me? I am enjoying them all. But take note of the epic feel of 'Dead End', the hypnotic side of 'Dystopia', the pacing 'Deconstruction' for just some mentions.

Magnus does an awesome job with his vocals here too. I really like that rich sound in his voice, and he can really belt out and hold some notes at times too (eg: 'Democracy', 'Ghosts House'. 'Dystopia'). His words definitely stand out and are very memorable. He reminds me of Maynard James Keenan sometimes, his sound and the way he changes from a soft tone to lifting it with great energy.

Given the success of Graveyard in the last year, it is interesting how much Witchcraft have changed on this album. Perhaps having a crack at the market as well? Who can blame them? After all, they had a few albums under their belt and were garnering quite a bit of praise before the likes of Graveyard, Horisont, Noctum and more came along. Why not appeal to a new found audience? Musically it is still fantastic.

To go deeper in this analysis, I always talk about how Swedish bands always master a particular style, whether it be old school rock, death metal, doom, traditional metal, etc. Seriously, they do it better than any other country. After crafting three perfect old school stoner rock albums, Witchcraft has just gone and crafted a rock album perfectly. Never fear though, this is still too much for any Kings Of Leon fan boy..

Ikil