This week’s Heavy Music HQ reviews include releases from Amorphis, Black Capricorn, Forgotten Tomb, In Hearts Wake, Mr. Big, Obscene, Occult Witches, Plutocracy Planet, Seth, Skelethal, Speed, Thirteen Goats, Turin and Windwaker.
The ratings are on a 5 star scale.
Amorphis – Tales From The Thousand Lakes (Live At Tavastia) (Reigning Phoenix)
In 1994, the Finnish band Amorphis released their sophomore album, which would turn out to be their tour de force and one of the seminal albums of the ’90s. Thirty years later, they revisit their classic release with Tales From The Thousand Lakes (Live At Tavastia).
The songs on this album were part of the rise of melodic death metal, mixing death, doom, gothic and prog. Three decades later they stand up exceptionally well, with Amorphis playing the album live in its entirety at the Tavastia club in Helsinki. Four of the six current members played on the original album. Tomi Joutsen, who joined the band in 2004, is not one of them, and he does an excellent job on classic tracks like “Black Winter Day” and “Magic And Mayhem.” In addition to the ten tracks from Tales…, Amorphis wrap up the set with the Abhorrence cover “Vulgar Necrolatry” from their debut album and “My Kantele” from 1996’s Elegy. Fans of the band will definitely want to check out Tales From The Thousand Lakes (Live At Tavastia), which is available as a Blu-ray + CD, LP or digitally.
Rating: 4
(Chad Bowar)
Black Capricorn – Sacrifice Darkness…and Fire (Majestic Mountain)
Italian doom bringers Black Capricorn have returned just two short years after the release of Cult Of Blood to gift us their seventh studio album and their second album with Majestic Mountain, Sacrifice Darkness…and Fire.
Much like their earlier work, Black Capricorn have added their occult-like spin on the sub-genre to add an overall sense of creepiness to the album. Each of these eight tracks switches back and forth between atmospheric like with “The Moon Rises As The Immortals Gather” and a harsh with a moody undertone like in “Queen Zabo.” Sacrifice Darkness…and Fire marks another strong notch on a belt already composed of solid albums.
Rating: 3.5
(Dalton Husher)
Forgotten Tomb– Nightfloating (Agonia)
Forgotten Tomb’s Nightfloating continues the trend of several black metal bands expanding their sound into more melodic territory. With moments that could perfectly fit in a Finnish death/doom album, Nightfloating takes the listener on an emotional journey that, despite the length of its songs, never becomes boring. It’s melancholic but also delivers a dose of aggression. It’s like a mix of Dissection, Swallow the Sun, and Insomnium.
Perhaps my only significant issue with the album is that the last two tracks aren’t as strong as the first four, especially since one of these is an interlude that doesn’t sound like anything else on the album. Still, it’s an enjoyable album for those who love death/doom or melodic black metal, successfully blending elements from all these styles.
Rating: 3.5
(Carlos Tirado)
In Hearts Wake – Incarnation (UNFD)
In Hearts Wake are back and better than ever on Incarnation, their latest project. The Australian metalcore band delivers killer sounds through electric, fast instrumentals and rampant vocals, pulling you in from the very beginning with their addictive musicality. Their sound is reminiscent of Motionless In White and A Day To Remember. Metalcore fans will feel a familiar tug pulling them towards the band’s sound, but not just for its digestibility. Their sound is recognizable as distinctly metalcore, but there is a sort of otherness about In Hearts Wake that simply can’t be tamed.
This album is fierce. With a strong overall concept and phenomenal performances from the band’s recently reassembled lineup, it simply cannot be paused. Once you hit play, it’s here to stay. The drums are insistent and defiant, the lyrics both enthusiastic and dismal. Every facet of this album screams capability; In Hearts Wake are showing us exactly who they are, and it is glorious. They aren’t afraid to showcase their improvement since their last record, and the result is one epic journey through the process of incarnation.
Rating: 4
(Ethan Wylan)
Mr. Big – Ten (Frontiers)
Mr. Big hooked me early by including a cover of Humble Pie’s “30 Days in the Hole” – my earliest hard rock love – on their debut. Moreover, that inspired choice illustrated that shred-monsters Paul Gilbert and Billy Sheehan intended to bring more soul and songcraft to this project than one might expect. Thirty-five years and Ten albums on (get it?) that original intent is still in evidence.
Recorded in tribute to late drummer Pat Torpey, Ten delivers eleven bluesy, infectious hard rockers, with vocals from lead singer Eric Martin as strong as ever. “I Am You” could’ve come from career highwater mark Lean Into It. By contrast, “Right Outta Here” introduces exotic tonality from Gilbert, while “As Good As It Gets” brings a jangle-pop vibe. Things drag a bit towards the end, but all things considered, this is a fine farewell from the talented Big guys.
Rating: 3.5
(Gino Sigismondi)
Obscene – Agony & Wounds (Nameless Grave)
Indianapolis-based death metal crew Obscene blast down the doors on their third album Agony & Wounds. Opening with “The Cloverland Panopticon” the band goes with a high-speed approach, taking no prisoners along the way. When arriving at “Watch Me When I Kill” they go for a more death thrash feeling, later tracks like “Noxious Expulsion” aren’t afraid of adding a bit of melodicism to their attack, helping to add some flair to a generally brutal and uncompromising package.
Obscene do a great job of playing to their collective strengths with riffs that explode on contact. Their shouted vocals help to send an energetic message across to the masses, all while adding in tiny bits of variety to make Agony & Wounds one of the most solid death metal albums of the year so far.
Rating: 4
(Tom Campagna)
Occult Witches – Sorrow’s Pyre (Black Throne)
Since classic rock became a marketable commodity a couple of decades ago, plenty of modern acts have attempted to tackle that sound too, with varying levels of success. However, Canadian outfit Occult Witches do a rather convincing job on their fourth full-length, Sorrow’s Pyre. Their blues-infused, ‘70s-style hard rock – bustling with doses of psychedelia and even baroque classical music – is a good fit for their storytelling, an appropriate soundtrack to a series of tales dissecting witches, magic and corruption. The group has a lived-in sound, but the delivery is authentic.
There’s a Sabbath-like bent to “Sorrow,” while “Malice” introduces some Zeppelin into the mix. Vanessa San Martin has a soulful, at times haunting voice, aided by a band who can be moody and restrained when required, but also skillfully execute rollicking heavy rock fare that Deep Purple would approve of (“Tumbling Through the Dark”), or inject raucous energy ala passages within “Faustian Bargain.” Sorrow’s Pyre will certainly be an acquired taste, and doesn’t hide its influences. But there’s an audience out there ready to consume the sonic potion that Occult Witches have concocted.
Rating: 3.5
(Brendan Crabb)
Plutocracy Planet – Plutocracy Planet (Self)
Plutocracy Planet are a collective led by Scott Morrow, with over 20 different musicians appearing on their self-titled debut. That includes members of bands such as The Dillinger, Escape Plan, Protest The Hero, Sleepytime Gorilla Museum, Braid, The Get-Up Kids, The Callous Daoboys and many more.
It’s an eclectic album spanning numerous genres, as you’d expect from the variety and background of the contributors. “This Very Severity” is mellow and relatively straightforward, while “Commence Mutation” is more chaotic. Sax is in the spotlight on a couple of tracks. Shining’s Jurgen Munkeby appears on “Dance Of The Downtrodden” while Yakuza’s Bruce Lamont lends his talents to “Remain Silent.” Plutocracy Planet is a very experimental album and not all of those experiments work, but there are a lot of interesting moments and a wide span of styles.
Rating: 3
(Chad Bowar)
Seth – La France des Maudits (Season of Mist)
Seth‘s new album, La France des Maudits, takes a lot of inspiration from French history and culture, which makes sense given the origin of the band. However, it mixes well with black metal to create a really theatrical atmosphere that somehow works, despite some production issues that, though intentional, seem to take away from the power these riffs could have if produced in a more polished way.
La France des Maudits is interesting and avoids becoming generic by featuring dynamic songwriting and using synths without overusing them. I’d say their sound is closer to Carach Angren than Dimmu Borgir. Their music still has that feeling of a pagan ritual but without being so embedded in Nordic folk music, which is refreshing for once.
Rating: 3.5
(Carlos Tirado)
Skelethal – Within Corrosive Continuums (Hells Headbangers)
It has been a decade since the French death metal band Skelethal emerged with their debut EP. They have issued numerous EPs and splits since then, and Within Corrosive Continuums is their third full-length effort.
This time around their compositions are lengthier, giving the songs more time to develop, as Skelethal constantly shift tempos and intensities on tracks like “Spectrum Of Morbidity” and “Eyes Sewn Mouth Full.” Most of the songs are in the five minute range, but Skelethal wrap up the album with the nearly 13 minute instrumental title track. It has a calm, mellow beginning before kicking in, with another ambient part in the middle. Maintaining interest throughout an instrumental this long is a daunting task, but Skelethal pull it off.
Rating: 3.5
(Chad Bowar)
Speed – Only One Mode (Flatspot)
Australian hardcore collective Speed announce their arrival on their debut album Only One Mode. Unleashing the fury that is accompanied by shouted vocals, gang chants and sick grooves, you can see why Speed have started to become a big name in the hardcore underground. Opener “Real Life Love” and “No Love But Our Own” both accomplish a lot in their own them minute slots, allowing for the ability to throw ‘em on repeat and let the sounds wash over you again and again.
“The First Test” isn’t afraid of variety while it is a hardcore song at heart, funky bass, flutes and rap breaks add to the overall character of the album. “Kill Cap” is a favorite for its riff heavy attack and eventual stare down of this five-piece with another hellacious groove to bring it all home. Speed are hardcore for the masses.
Rating: 3.5
(Tom Campagna)
Thirteen Goats – Capricorn Rising (Self)
For their second album Capricorn Rising, death/thrash metal band Thirteen Goats uses their name as the tentpole to set up a concept with the end of the world on the line. The Antichrist, along with his gang of 12 goats, rise up along with the rest of the animal kingdom to wipe out the human species. Most listeners will be able to predict how it goes for us by the album’s end.
This focus is much appreciated after their debut was scattershot with the lyrical content, mixing cruel realities with tongue-in-cheek body horror. While they turn on the thrusters for “Beheading Zoo” and “Permission To Die,” closer “Animal Kingdom” is a quasi-ballad with a ferocious second half. Sharper songwriting between albums elevates Thirteen Goats as they avoid rehashing the past with Capricorn Rising.
Rating: 3.5
(Dan Marsicano)
Turin – The Unforgiving Reality In Nothing (MNRK Heavy)
With a new album comes a name change for Turin, formerly known as This Is Turin. On The Unforgiving Reality In Nothing, the group have reimagined their deathcore with prolific orchestration. Synths and pianos are a background enhancer, elevating the scene when a devastating breakdown presents itself. These additions don’t diminish their frank expressions of seething toxicity.
These expressions are delivered with layered growls and screams, though there’s also a fascinating use of singing harmonizing with the harsh vocals in a few songs. Turin’s last album came out in 2015, with a bunch of singles and EPs in-between, so The Unforgiving Reality In Nothing is a chance for them to define a new purpose steeped in self-reflection.
Rating: 3.5
(Dan Marsicano)
Windwaker – Hyperviolence (Fearless)
The Australian metalcore band Windwaker released their debut album in 2022. They have already become very successful in their home country, and with their latest album Hyperviolence aim to widen their fan base worldwide.
While there is aggression and harsh vocals in their music, Windwaker’s brand of metalcore emphasizes the melodies, hooks and clean singing. The best songs on the album are the ones that utilize both relatively equally, such as “Sirens” and “Get Out.” Windwaker also do a nice job trying to stand out from the crowd, injecting moments of hip-hop and electronics. While there’s a bit of filler on Hyperviolence, there’s also plenty of originality and a lot of catchy songs.
Rating: 3
(Chad Bowar)
