This week’s Heavy Music HQ reviews include releases from Aara, Among These Ashes, Axioma, Blessed King Of Longing, Catharia, Dragunov, Kir, Mystery Blue, Panzerchrist, Svarttjern, Tak Matsumoto Group, Tarja, Thulcandra and Vosforis.
The ratings are on a 5 star scale.
Aara – Eiger (Debemur Morti)
The Swiss atmospheric black metal band Aara have been very prolific since they emerged in 2019, issuing a new album every year since then. There have also been a couple of EPs during that time frame. Their latest effort is Eiger, their sixth full-length.
The album takes a moment to ramp up, with a quiet intro setting the stage before the black metal takes center stage. In addition to frequent tempo changes, Aara utilize more dynamics than most bands in the genre, injecting acoustic guitars on tracks like “Senkrechte Wallen” and “Der Wahnsinn dort im Abgrund” that contrast the intensity of the rest of the song. Those twists and turns keep things engaging, which makes a big difference when the songs are in the 5 to 9 minute range. Aara’s frequent releases do not dilute the quality of the material, as Eiger clearly shows.
Rating: 4
(Chad Bowar)
Among These Ashes – Embers Of Elysium (Alone)
Among These Ashes bring a heavy power/thrash aura to the table on Embers Of Elysium. They are able to combine both genres fairly effectively. The dark style of the band is similar to Nevermore. Still, the relatively straightforward style of the band holds them back somewhat. Among These Ashes have a classical style and very few modern motivations.
In terms of musicianship, the riffs are crunchy, but standard sounding. There is an old Metallica vibe combined with power metal. The drumming is solid, but takes a backseat to the guitars. Vocals are high pitched, yet rugged and efficient. Overall, this is a fun listen that is restricted by standard boundaries, but manages to get its bone-crunching point across.
Rating: 3.5
(Adam McAuley)
Axioma – Live Totality (Stained Glass Torments)
Back on April 8 of this year, Axioma performed and recorded a 14-minute instrumental track live in Lorain, Ohio during a full solar eclipse. That, along with a handful of other songs produced this past summer, encompasses this Live Totality EP. With the Great Lakes as a backdrop, the sun becomes obscured through the grave sounds of doom/sludge metal. Not only is this title track the group’s longest song to date, it’s also their most daring one, with a pulverizing payoff.
The rest of the EP is more in line with their usual fare, as black metal enters the fray during the frantic end to closer “Dakhma.” They pull another instrumental out with the airy guitars on interlude “Terra Vista.” Though the other material on this EP adds a sense of completion to this release, the best song ever recorded live during a solar eclipse is what most listeners will remember.
Rating: 4
(Dan Marsicano)
Blessed King Of Longing – Blessed King Of Longing (Syrup Moose)
Canadian musicians Blessed King Of Longing and their self-titled debut album stretch the means of what could be classified as traditional black metal. It can’t be described as any other way than experimental.
With the lack of proper instrumentation on top of each track on this album sound similar to one another make it hard to fully pin down what the overall thematic motivation is. The one track that manages to stand out is “Ya’aburnee,” the only song to have some presence of vocals. Blessed King Of Longing have made quite the head scratcher for their debut album. It’s going to be interesting to see if they continue with this trend or do something different for their next album.
Rating: 3
(Dalton Husher)
Catharia – Unimaginable Dreams Of Fate (Extreme Metal)
Unimaginable Dreams Of Fate is the sophomore album from melodic black metal group Catharia, one that works as a developmental proof of concept. There are holdovers from their Midnight Sun debut album here, from the dungeon synth pieces that open and close the album to a lengthy title track right before the closer.
New inclusions on their second album are an acoustic-led instrumental “Elfen Tanzen” and a sorrowful touch to some of the guitar work. The leap between releases isn’t great otherwise, as the band doesn’t do enough to differentiate the songs or make them worth a replay. Unimaginable Dreams Of Fate floats by with occasional flashes of ingenuity.
Rating: 2.5
(Dan Marsicano)
Dragunov – VEPR (Self)
Dragunov offer something intriguing in VEPR, blending instrumental post-metal with a dark, atmospheric edge that’s uncommon in the genre. The album explores serious themes like the war in Ukraine, delivering the dynamics and bleakness these subjects demand. Despite its electronic influences and aesthetics, Dragunov maintain a heavy, intense sound reminiscent of bands like Cult Of Luna or Obscure Sphinx rather than Pelican.
If you enjoy dark, almost cyberpunk-inspired metal, VEPR is for you. However, don’t expect it to break the conventions of post-metal. The album operates comfortably within the genre’s boundaries, executing its vision effectively without reinventing the wheel. Still, it was an interesting and immersive journey!
Rating: 3.5
(Carlos Tirado)
Kir – L’appel Du Vide (Self)
A buzzy riff fades in as field recordings taken from the streets of Kraków, Poland set up the exact location of Kir’s claustrophobic black metal in L’appel Du Vide. These are not pristine sights and sounds of a large Polish city, but the inner muck that stains the pavement with its urban decay. To Kir, their home is a concrete prison that ties them down.
They don’t keep a listener stuck in this setting for long, as their debut album is here and gone in about 30 minutes. Even so, three of the five songs are over seven minutes, punctuated by distinct tempos and creepy ambience. The takeaway from L’appel Du Vide is that the only hope to have is none at all.
Rating: 3.5
(Dan Marsicano)
Mystery Blue – Night Demon (Massacre)
It has been 40 years since the French traditional metal band Mystery Blue released their self-titled debut album. Only guitarist Frenzy Philippon remains from that album, but vocalist Nathalie Geyer and drummer Vince Koehler have been in the group for nearly 30 years now. Night Demon is their first album in five years, and ninth overall.
They are rooted firmly in the old school, but also address more modern subject matter on tracks like “Pandemic Metal Virus.” The songs are heavy and melodic, loaded with quality riffs. While not breaking much new musical ground, they are consistent with minimal filler and ample variety. As always, Geyer delivers a strong performance. Being that Mystery Blue are contemporaries of groups like Accept, it’s appropriate they close the album with a cover of “Restless And Wild.”
Rating: 3.5
(Chad Bowar)
Panzerchrist – Maleficium Part 1 (Emanzipation)
Panzerchrist’s new album Maleficium Part I delivers a brutal return to no-nonsense black metal. Forget the intricate, over-polished sounds of recent years — this is raw, relentless fury. With machine-like intensity, the relentless blast beats and violent riffs pound you into submission. The sinister atmosphere gets overshadowed by sheer chaos, yet the band’s commitment to eardrum-shattering intensity is undeniable.
While the first half is an unrelenting assault, the second half offers a brief break from the main approach, though don’t expect huge changes. It’s an intense ride. However, slightly more variation could’ve helped the album be more engaging. For now, expect pure, punishing black metal — the kind that leaves you needing a soft playlist afterward.
Rating: 3
(Carlos Tirado)
Svarttjern – Draw Blood (Soulseller)
Misanthropic Path Of Madness, Svarttjern‘s debut album, was a blast back in 2009. It perfectly showcased true Norwegian black metal and established itself as one of the best black metal debuts of all time. Svarttjern’s sixth studio album Draw Blood is firmly grounded in the Norwegian black metal scene and strengthens our sense of belonging and appreciation for this unique evil musical tradition.
Draw Blood is lively. Dynamic and vociferous, it follows the same familiar elements heard a thousand times on a thousand hateful, cold, and demonic black metal albums. But the band also leaves room for surprises, as at times the songs are driven by melodic guitar solos, riding forward on groovy riffs, or in one notable move,they cover The Rolling Stones’ “Under My Thumb.” These surprising elements, which add a layer of intrigue and curiosity to the album, make it more than enough to earn it the love it deserves from the fans. Like its predecessor, Draw Blood and its creators dig into and thrive on old and modern black metal elements.
Rating: 3.5
(Arash Khosronejad)
Tak Matsumoto Group – TMG II (Frontiers)
After a 20-year hiatus, the supergroup Tak Matsumoto Group are back. Guitarist Matsumoto (B’z), vocalist Eric Martin (Mr. Big) and bassist Jack Blades (Night Ranger) return from 2004 TMG I, and are joined by drummer Matt Sorum (Velvet Revolver, Guns ‘N Roses) for TMG II.
They pick right up where they left off two decades ago with melodic hard rock songs with both edge and hooks. There are a lot of memorable songs, such as “Crash Down Love,” “Guitar Hero” and “Jupiter And Mars.” There’s a cool blend of old and new on “Eternal Flames,” with Martin joined by Babymetal on the radio-friendly single. After such a long absence, TMG II is a welcome return, and hopefully album number three won’t take quite as long.
Rating: 3.5
(Chad Bowar)
Tarja – Rocking Heels – Live At Hellfest (earMusic)
Nightwish saying “bye bye, beautiful” to vocalist Tarja Turunen in 2005 actually proved a blessing for both parties. The Finnish metallers remain a major act, while she has enjoyed a varied and successful solo career spanning symphonic metal, classical and Christmas music. It’s the heavier aspect of her endeavours that’s the subject of Rocking Heels – Live At Hellfest. This is the second volume in Turunen’s live album series.
Recorded at the French festival in 2016, it has sat in the vaults for several years. The set covers her solo career, a Nightwish medley, and continuing a penchant for covers, a theatrical version of Muse’s “Supremacy.” Turunen’s vocals soar over an orchestral arrangement on the latter, fusing heavy riffs with symphonic flourishes. This release does reinforce that the soprano’s vocal talents are really beyond reproach, and the mix places them at the forefront. One element missing is greater engagement; there isn’t much banter or personality captured. Perhaps there was on the day and it’s merely been omitted from Rocking Heels, but it does detract from the final product. Turunen’s operatic vocals may prove an acquired taste for the metal fan, and this release will only be essential for diehards.
Rating: 3
(Brendan Crabb)
Thulcandra – Live Demise (Napalm)
After five albums, including last year’s Hail The Abyss, the German black/death metal crew Thulcandra are issuing their first live album. However, this is not a new recording. Live Demise was recorded in Munich back in 2011. Only vocalist/guitarist Steffen Kummerer is still in the group in 2024.
It features material from the band’s first two albums: 2010’s Fallen Angel’s Dominion and 2011’s Under A Frozen Sun. The short set (six songs plus an intro and outro) captures the band in their youthful glory. Tracks like “Fallen Angel’s Dominion” and “In Blood And Fire” are played with aggression and emotion, but also quality musicianship. Live Demise is a great snapshot of Thulcandra’s early days with some songs that haven’t been played live since that era.
Rating: 3
(Chad Bowar)
Various Artists – Aqualung Redux (Magnetic Eye)
The eighth entry in Magnetic Eye’s Redux series finds various doom, stoner, and psyche metal bands revisiting Jethro Tull’s highwater mark, 1971’s Aqualung. Covering well-loved landmark records can typically go one of two ways: either hewing too close to the original versions to offer anything new for the listener, or going so far afield that diehard fans cry foul. Fortunately, for the most part, the cover versions presented here split the difference.
For those looking for something truly unique, the album kicks off with a fully acapella version of “Aqualung,” courtesy of Masters Of Reality’s Chris Goss and Eleven’s Alain Johannes. Similarly original, Huntsmen’s doom-y take on “Mother Goose” is further elevated by otherworldly female vocals. On the other hand, The Sword’s powerful “Locomotive Breath” (the best known song by the best known band), sticks fairly close to the original, as does Saturna’s version of “Hymn 43.”
Rating: 3.5
(Gino Sigismondi)
Vosforis – Cosmic Cenotaph (Inner Hell)
There’s an underlying connection to Cradle Of Filth with Vosforis’ debut album Cosmic Cenotaph. It’s not in the style of music, as this band has more of an industrial thump to its black metal. It’s with the musicians that main songwriter Simon White brings to this project that the real connective tissue becomes evident. At The Gates drummer Adrian Erlandsson, guitarist Richard Shaw, and keyboardist/vocalist Anabelle Iratni all contribute in some small way to White’s vision with Vosforis.
Each of those three performers have their name credited on at least one Cradle Of Filth album, an interesting tidbit that White makes sure is not the only interesting thing about Cosmic Cenotaph. It may not a coincidence though that the songs Shaw and Iratni help out with, “Psychonaut” and “Omega,” are among the best songs. From the death metal swing of “Chains Of Existence” to the brash tenacity of “Decoherence,” this record has tantalizing secrets to discover.
Rating: 3.5
(Dan Marsicano)
