This week’s Heavy Music HQ reviews include releases from Black Sun, Blitzkrieg, Gigantum, God Dethroned, God Is An Astronaut, Jordan Rudess, Midwife, Moggs Motel, Moose Cult, Tour D’Ivoire and Vestige.
The ratings are on a 5 star scale.
Black Sun – Black Sun (Self)
The Ecuadoran band Black Sun have been around for 25 years, last releasing an album in 2017. For their fourth album, they recruited Thunderstone guitarist Nino Laurenne and his wife, Smackbound vocalist Netta Laurenne.
The album is traditional metal with hard rock moments. The songs on Black Sun are heavy yet melodic, packed with hooks and singalong choruses while still maintaining an edge. “With Them Devils” is radio-friendly and memorable while “Drown In Sin” is a slow build with a worthy payoff. “Awake” is one of the record’s heavier tracks, with some harsh vocals contrasting Laurenne’s melodic singing. She’s a versatile singer, able to belt it out on the heavier tracks and add texture and emotion to mellower numbers such as “Stars.” The new members have energized Black Sun, and their self-titled album is a quantum leap forward.
Rating: 3.5
(Chad Bowar)
Blitzkrieg – Blitzkrieg (Mighty)
Another NWOBHM band who owe their forty-plus-year career a debt of gratitude to Metallica, who covered their eponymous 1982 b-side, Blitzkrieg return in 2024 with a self-titled full length. Judging by its headbanging contents, Metallica’s praise proves well-deserved. Lead singer and sole-remaining original member Brian Ross sounds as good as ever, his rich baritone (eerily similar to Volbeat’s Michael Poulsen) soaring over a surprisingly melodic set of classic heavy metal.
The key to this album’s success is the diverse range of metal genres the band flirts with. Openers “You Won’t Take Me Alive” and “The Spider” feature classic NWOBHM speed riffs, while “Dragon’s Eye” drifts into power metal territory. “Vertigo” and “The Night He Came Home” flirt with prog, and the melodic metal of “Above The Law” is the album’s earworm. Somewhat unexpectedly, Blitzkrieg deliver one of the top metal releases of the year.
Rating: 4.5
(Gino Sigismondi)
Gigantum – Gigantum (Self)
Gigantum may be the first band in history to revolve a song around the 1977 animated film Wizards, which includes a murderous robot named Necron 99 that was reprogrammed into a nonviolent being called Peace. That sort of plot is perfect for a stoner jam like “Necron99,” the closer to their self-titled debut album. There’s a good deal of jamming going on in this album, as half of the songs are over seven minutes each.
That extra time is spent with extended guitar solos and muted instrumentation. They could’ve used more straightforward rockers like “Rock Box,” which is a powder keg nearly ready to erupt. There EW some strong elements, like the male/female vocal interplay throughout and the savory grooves on “For All My Friends,” but snipping would’ve helped on a few tunes.
Rating: 3
(Dan Marsicano)
God Dethroned – The Judas Paradox (Reigning Phoenix)
God Dethroned have been dependable since the early 1990s, continuing on with their 12th album, The Judas Paradox. This is comparable to their 2020 record Illuminati, with a mix of anti-religious diatribes and eerie mythology to give volume to their melodic, blackened death metal.
Keyboards and singing are present in the opening title track, a six-minute odyssey that puts a dire spin on a classic Biblical tale. After that comes “Rat Kingdom,” a biting anthem that has the sort of combustible stakes the group have done so well for decades. The band doesn’t try anything outrageous or unexpected on The Judas Paradox, but they keep finding new angles to a sound that should’ve grown tired a while ago. Since their reactivation in 2014, God Dethroned have been on a roll with reliable, quality death metal.
Rating: 3.5
(Dan Marsicano)
God Is An Astronaut – Embers (Napalm)
Hailing from County Wicklow, Ireland, God Is An Astronaut have evolved into one of the world’s most successful, influential, and haunting post-rock bands. Their release of Embers marks a new chapter in their musical journey, a new horizon filled with new wonders and untold stories. Embers is resonant, passionate, and absolutely sentimental storytelling.
A rich and diverse collection, Embers houses lengthy songs with heavy and lyrical atmospheres. The first three songs stand at the junction of psychedelic rock/heavy psych of the ’60s and the ‘70s and alternative rock of the ’90s; a stunning start. But it’s “Heart Of Roots” that, while going back to GIAA’s roots, also starts a new direction on the album, with progressive rock and post-metal weighing heavily on the songs’ structure. Embers ends with outstanding piano-driven “Hourglass,” which takes the listener to another spiritual dimension to explore. Embers is magical, cohesive, and genuinely well-written opus. It’s hard to say that this is GIAA’s best album to date, but it’s undoubtedly one of their most ambitious ones.
Rating: 4
(Arash Khosronejad)
Jordan Rudess – Permission To Fly (InsideOut)
Dream Theater keyboardist Jordan Rudess has released a bunch of solo albums over the years, including last year’s Piano & Orchestra. His latest album Permission To Fly features vocalist That Joe Payne, guitarist Steve Dadaian and drummer Darby Todd (Devin Townsend). The lyrics were written by Rudess’ daughter Ariana.
The album has all the proggy goodness you’d expect from Rudess, with plenty of keyboard wizardry. There are focused songs such as “The Final Threshold” and “Embers” along with numbers that stretch toward the 9 minute range like “Into The Lair” and “Eternal.” The compositions are complex, blending progressive forays and more traditional sections. Payne is an excellent vocalist with an expressive delivery who gives the songs a pop influence. Permission To Fly is another in the long line of interesting Rudess solo works.
Rating: 3.5
(Chad Bowar)
Midwife – No Depression In Heaven (The Flenser)
No Depression In Heaven is the fourth full-length album for Midwife, the brainchild of singer/songwriter Madeline Johnston. Opening with “Rock N Roll Never Forgets,” the listener is met with an ethereal atmosphere and Johnston’s dreamlike, hypnotic vocals all while the guitar sounds create an otherworldly ambience. Much like the ephemeral nature of this album, the track is over before you know it, even if that track is 7 minutes long. This self-proclaimed “heaven metal” is destined to tug at your heartstrings and gives you the time to be introspective as it all washes over you.
“Vanessa” is one of the more straightforward songs on the album, but it’s still one that strikes a chord in its more traditional song structure, Johnston’s guitar is played a bit faster and is more prominently featured as is the lightly drummed background, perfectly showcasing what this project is all about. No Depression In Heaven feels destined to be the soundtrack to a dark night; something to set the tone for an out of body experience.
Rating: 3.5
(Tom Campagna)
Moggs Motel – Moggs Motel (Cleopatra)
After retiring UFO, vocalist Phil Mogg suffered a heart attack a couple years ago. He overcame that, and has formed a new hard rock project Moggs Motel. The lineup for their self-titled debut album includes former UFO member Neil Carter (guitar/bass/keyboards), bassist Tony Newton (KK’s Priest), guitarist Tommy Gentry (Gun) and drummer Joe Lazarus (Voodoo Six).
Straightforward, bluesy hard rock is what Moggs Motel play. Tracks like “Sunny Side Of Heaven” and “Tinker Tailor” have hooks galore. Cinematic intros give “Princess Bride” and “Other People’s Lives” a little variety. At 76 years old, Mogg’s distinctive voice still delivers the goods. It’s good he decided not to retire, and UFO fans should enjoy Moggs Motel.
Rating: 3
(Chad Bowar)
Moose Cult – Book Of The Machines (Eat Lead And Die)
After the release of their self-titled debut just last year, British black metalers Moose Cult are back once again with their sophomore album Book Of The Machines. Taking their inspiration from Samuel Butler’s 1872 novel “Erewhon,” this album serves as a slight thematic deviation for Moose Cult.
Book Of The Machines also serves as a step in the right direction in terms of quality. With “Death Meditation” serving up classic ’90s style black metal, it shows that Moose Cult found their noise and are sticking to it. “Gateway to Evolving Thought” does serve as a nice doom metal instrumental that isn’t too jarring from the rest of the album. The momentum that Moose Cult are building out the gate with just two albums is honestly quite impressive. Hopes are high they can keep it going.
Rating: 3.5
(Dalton Husher)
Tour D’Ivoire – Tour D’Ivoire (Antiq)
Tour D’Ivoire’s self-titled debut album is exactly what you’d expect from an atmospheric black metal project. A dense, wet cascade of riffs drenches you in a feeling that becomes hypnotic and almost relaxing. There’s a substantial simplicity in the delivery of different ideas on this album, with each track featuring one main melodic theme, while the rest consists of subtle details scattered throughout.
I think people who love the genre will appreciate the album without any issues, but unless you’re a diehard fan, it might feel like a slow ride that becomes a bit repetitive after a while. There’s just not enough going on to engage the average metalhead. However, if you love atmospheric black metal, then Tour D’Ivoire is definitely for you.
Rating: 2.5
(Carlos Tirado)
Various Artists – Surrender To Death: A History Of The Atlanta Metal Underground Vol. 1 (Boris)
Atlanta has long been a hotbed of metal. The compilation Surrender To Death: A History Of The Atlanta Metal Underground Vol. 1 goes back in time to the glory days of the scene, with songs from 1982 to 1999. It collects 22 tracks from bands of various genres, some names which metal fans will recognize, and others only those who were in the ATL during that era will probably remember.
The variety on this compilation is part of its appeal. You’ll hear thrash (Hallows Eve, Dark Overlord), death metal (Avulsion, Vastion), black metal (Demoncy, Darkened Skies), heavy/power metal (Ghost Story, Sinister Angel). As you’d expect, the quality varies, but there are a lot of excellent songs collected here. Surrender To Death: A History Of The Atlanta Metal Underground Vol. 1 is valuable music history of Atlanta metal, but also a varied compilation that can be enjoyed by listeners from anywhere.
Rating: 3.5
(Chad Bowar)
Vestige – Janis (Season Of Mist)
On their debut album Janis, Vestige are able to enlist the assistance of Alcest’s Neige for a guest vocal spot on “Automne Part 2.” That’s a big get for a band just starting out, and it’s clear what a musician like Neige sees in a band like Vestige. Their etherical bleakness is conducted under the glare of chugging progressive metal with spurts of black metal and shoegaze.
The band are nonplussed about spotlighting all these genres, from the comforting guitars in opening instrumental “Différent” and lovely closer “Avant la Fin” to the nasty breakdowns on “Démence de l’ me.” Vestige cast a wide sonic berth on Janis that can find common ground with many listeners.
Rating: 3.5
(Dan Marsicano)
