As opposed to the last two years, the race was a two-horse race for the longest time, but in the end we had the clearest winner in recent years. So without any further ado, here is the best 2018 had to offer!
TMO’s Top 30 of 2018
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FEATURED REVIEWS
Marius Danielsen – Legend Of Valley Doom, Part II
If you don’t believe, then you can just leave!
You listening, Timo Tolkki? This is how you do it! None of that ‘Avalon’ bollocks… Norwegian family duo Marius & Peter Danielsen combined their admirable talents to create the mythical Legend Of Valley Doom back in 2015. The power metal community breathed a collective sigh of relief when it turned out it wasn’t shit (as these major projects so often are). That same community are now cheering in jubilation at the sequel to that immense LP: Legend Of Valley Doom, Part II. Equally as immense, and surpassing anything achieved by Rhapsody Of Fire in the past half a decade, this album is a monolith of high-quality symphonic power metal which displays supreme skills in songwriting, storytelling and musical virtuosity. Buckle up, this is quite a journey…
Using the Rhapsody comparison again, one should not approach this imagining Power Of The Dragonflame – Part II. Marius Danielsen’s new album does not fire on all cylinders with a thousand tons of dragonfire. It is more akin to 2005’s Symphony Of Enchanted Lands – Part II, where grand orchestrations, interludes and narrations take the forefront. This is by no means a criticism (S.O.E.L. 2 is actually my favourite Rhapsody album), it only displays Danielsen’s determination to stick to his guns and make this vision his own. The more hardened listeners will complain that there are too many ‘soft’ numbers, but when the ‘soft’ numbers are as tender as “Gates Of Eunomia”, or as breathtakingly gorgeous as “Under The Silver Moon”, then what is there to complain about, apart from being close-minded?
The interlude tracks, too, not only have their place but are essential to the storytelling aspect of the record. Keeping up with the Tolkien-esque narrative is a fun activity in itself and adds an extra dimension to each listen. I especially love the Elven king (Olaf Hayer!) being a total dick to the main characters in “Princess Lariana’s Forest”. This is not to say Legend… doesn’t blaze away with true European power metal majesty. Oh boy, when the time is right, Danielsen absolutely rips through the speakers with such belters as “Rise Of The Dark Empire”, “Temple Of The Ancient Gods” and “Visions Of The Night” which display furious double-kick attacks, blazing fretwork and hooks catchier than the plague. Of the up-tempo vibrant numbers, the glorious “Angel Of Light” is a delightful highlight. Showcasing the great Michael Kiske at the peak of his abilities, it’s a soaring power metal hymn for the ages!
The multi-faceted gems like “Crystal Mountains” and the bard-like folk epic “Tower Of Knowledge” are where the variety of this record will attract the more open-minded. Exploring many emotions from crawling menace to anthemic glory. The massive guest-list (with the likes of Steve Williams, Alessio Garavello, Tim Ripper Owens and Olaf Hayer) gives this a party-like, almost Avantasia-esque vibe – though I do think Ripper was underused, and some of the vocalists are a tiny bit dodgy. Any minor gripes fall under the ‘bloated’ category – where a small part of my brain thinks this could have been a few minutes shorter overall. But if one simply sits back and absorbs themselves in the cheesy atmosphere of this epic, Marius Danielsen’s Legend Of Valley Doom, Part II will whet the appetite of many. Applause to you, my friend! Can’t wait for the next one.
Ancient Bards – Origine – The Black Crystal Sword Saga: Part II
Now it is time for you to know about its genesis…
In the wake of the farcical dissolution of Rhapsody Of Fire, thank heavens we have bands like Ancient Bards. In my experience, one of the most respected acts to emerge from the symphonic power metal underground – courtesy of the ever-reliable Limb Music. The Italians’ debut, The Alliance of the Kings, back in 2010 was the first instalment in The Black Crystal Sword Saga and remains one of the finest albums of that year in the power metal genre. Here in 2019, nine years later (five years after their last full-length), the Bards return with Origine: The Black Crystal Sword Saga – Part II. The storytelling characteristic – complete with narration – is stronger than ever, the artwork is phenomenal, and the music is no less than stellar. Probably their finest work to date.
However, this isn’t an album full of instant hits. It’s the general timbre that will draw in listeners. Aided by the amazingly clear and bright production quality, Ancient Bards provide a rich layer of grand orchestration undercut by brilliantly wholesome and driving power metal – at times, stonkingly heavy! The choirs are well-placed and thicken the texture to grandiose levels, and the occasional harsh vocals are done with class, adding an extra dimension to the music. Both “Oscurità” and “Impious Dystopia” are instant highlights due to this aspect alone. But I am in no way disparaging the talents of Sara Squadrini, whose angelic vocals soar among the clouds with sheer majesty. Just listen to her utterly nailing the final chorus of “Aureum Legacy” – man, that is just glorious!
Those looking for the instantaneous catchiness of anthems from the previous Black Crystal Sword record are looking in the wrong place. There’s no “Birth Of Evil” here (though “Home Of The Rejects” comes close). This is thinking-man’s power metal; each cut containing progressive tinges that require multiple listens to be fully rewarding. The ebb and flow from pounding chugs to hymnal refrains is flawlessly executed and never leaves the listener either bored or worried. Big stylistic changes are handled with sophistication and control. The jig-like “Fantasy’s Wings” is just as perfectly managed as the beautifully sweeping “Light” (incidentally one of the best metal ‘ballads’ in recent years).
Of course, the jewel in the crown of Origine is the 15-minute finale “The Great Divide”. Split into three movements, but never exhibiting segregative qualities, this epic masterpiece takes the listener on a musical journey through peaks and valleys, highs and lows, replete with memorable riffs and admirable vocal athletics. When the narration brings the whole affair to a close, one feels exhaustingly satisfied. Ancient Bards have made the ultimate statement on staying relevant in a sub-genre too often maligned. It’s no small feat to create a symphonic power metal album with as much class and elegance as this. It’s literally the first week in January, but I feel so confident in declaring this among the best power metal albums of 2019. No doubt.
Sear Bliss – Letters from the Edge
Back to the roots
The tale of Sear Bliss is an almost tragic one. They rose to fame as a melodic black metal band with the inclusion of a trombone with their debut Phantoms in 1996 and developed into one of the best bands of their ilk over the next five albums including 2007’s The Arcane Odyssey, expanding on their sound while still staying close to their core. Then five years passed, main man András Nagy moved to Amsterdam and in 2012 Eternal Recurrence hit and it was a departure from the classic Sear Bliss sound, taking on a far more progressive character, with a lot more dissonance, adding a jazz influence to the songs, which rubbed a lot of old-time fans the wrong way.
Now six years after and with Letters From the Edge, fans were not sure anymore what to expect, but were bracing for a continuation of the more progressive direction. And it did turn out to be a disappointment – for the people who were hoping for exactly that, because their seventh effort is (almost) a return to former glories. Almost, because the Hungarians are not just happy with regurgitating what they had done before, but forge ahead by taking a step back, as odd as this may read. All the trademarks are still there, up to the trombone, but things are not the same. Now some of these shifts could easily be explained by the fact that Nagy is the last survivor of the Eternal Recurrence line up, with both trombonist Zoltán Pál and guitarist Attila Kovács returning, plus two brand new faces on guitars and drums.
After the acoustic intro “Crossing the Frozen River”, “Forbidden Doors”’ start is the most pure black metal that Sear Bliss has sounded in a long time, but after two minutes they start to introduce their trademark variety, both in speeds and also the first shot of the trombone, ringing in a very varied and dynamic sound that manages to counter the cold black metal of the beginning with everything down to a beautifully calm, atmospheric passages for a great starting point for the album. Both the jazzy influences and the clear vocals are gone, but in the grand scheme of things they don’t need either of them.
The dynamics on Letters From the Edge are excellent, driving the songs forward and it also contains a great deal of atmosphere that the Hungarians are using to their advantage, which in conjunction with the trombone creates a very different character than Eternal Recurrence. The arpeggiated guitars of “A Mirror in the Forest”leading into a dense, slow and atmospheric track that greatly benefits from the extended use of the trombone for the most effect, a definitive highlight of the album.
Be it the brooding “Abandoned Peaks”, the post metal-touched “Haven” or the very dynamic “The Main Divide”, which is mainly in slow tempos, but with more faster passages to actually emphasize the slower ones, Letters From the Edge goes from strength to strength until the 10+ minute “Leaving Forever Land” hits. Taking up the same slow tempo as the previous track, it plods along and despite a blastbeat outbreak and a totally calm passages it lacks the dynamics that especially a song of this length would need to keep it interesting. Not a bad track by any means, but if one looks at the quality surrounding it, it just leaves the listener wanting. As example, closing “Shroud” also is slow, but displays far more atmosphere to make it a very worthy closer for the album.
Some people might mourn the loss of the jazz and progressive elements as a whole, but Letters From the Edge is a very welcome return to the sound that had shaped this band into the powerhouse it is (again). It feels as if the ship is back on course and the little post metal touch might indicate a potential avenue to explore while maintaining the core of their sound. Either way, Sear Bliss are back and they are back in style, not hopefully it will not take another six years for the next album…
NEWS
TMO x10: Covered up – Iron Maiden “The Trooper”
The world of metal would not be complete without cover versions, right? And the world of metal would most definitely not be the same (or complete) without Iron Maiden. So today we are taking a look at 10 very different cover versions of the same track, in this case classical Iron Maiden with “The Trooper”!
Secret Steel – Black Metal 1: An Unholy Union
Shredding: Rammstein
Larry breaks down each album by the German industrial goliaths to decide which one sits on top.
An Interview with Clandestine Blaze
Interview with Mikko Aspa of Clandestine Blaze
Conducted by Colonel Para Bellum of Blackdeath.
PokéMetal – Gotta bang ’em all!
Thrash Metal Year In Review – 2017
Larry rounds up all the decent (and some not-so-decent) thrash releases for the headbang-happy year of 2017.
Death Metal Year in Review – 2017
This was a banner year for death metal by any measure.
Here are some of our favorite death metal releases from 2017.
Jonathan’s Top 50 of 2017
The diverse spectrum that encompasses metal music’s many sub-genres could be likened to various mythical races united under two opposing banners, staring each other down as they make ready to charge and turn the field red with the other’s blood. From one year to the next, the advantage may tip from one side to the other, but in the grand scheme of their eternal conflict, the forces of light and darkness have tended to be equally matched. 2017 saw the forces of melody and order take the advantage in the eyes of the reclusive bard that tells this end of the year tale, though naturally his is not the final word on such things, and other codices in the grand archives of metallic exploits deserve your consideration. Still, these are the 50 acts of heroism that defined the year, because too much has occurred to settle for a mere 30.
The Metal Observer’s Top 30 albums of 2017
2017 has proven to offer up the tightest race we have seen in a long time in the quest for the gold! So without any further ado, here is the creme de la creme of the year!