Paradise Lost's 'Obsidian' - Album Review

Despite a bit of a wobbly period throughout the late 1990s and early 2000s, Halifax's Paradise Lost have been one of the most consistent and reliable British metal acts of the past thirty or so years. From their pioneering of the death/doom genre throughout the early part of the 1990s, to their eventual inclusion of gothic influences and more commercial success, the five-piece have long been a well-respected act. The band's influence is wide-reaching, and their sound is an ever-evolving and cyclical beast. The death/doom element of the band's sound, which was such a defining part of their early albums, was largely disposed of after 1992's Shades of God in favour of a somewhat more accessible gothic/alternative metal sound. 1995's Draconian Times, which was probably the band's commercial peak, best showcased this transition; and as the decade moved on the gothic influences in the band's sound only increased - with The Sisters of Mercy-esque grooves and beats finding a home within the band's canon. It is this willingness to experiment and move forward that has kept Paradise Lost interesting. Even the band's weaker albums are packed full of good ideas, and age has certainly not affected the band's desire to shake things up and express themselves. After a run of albums throughout the 2000s that essentially channelled Draconian Times, the decided it was time to get heavy again. While Paradise Lost never truly stopped being a metal band, they had certainly come a long way since 1991's Gothic. The result was 2015's The Plague Within (which I reviewed here), an album that put death/doom back at the forefront of the band's sound again. The band's two main songwriters, frontman Nick Holmes and guitarist Greg Mackintosh, had both reacquainted themselves with more extreme music again over the few preceding years with Bloodbath and Vallenfyre respectively; and, as a result, The Plague Within was a natural return to all things slow and doomy for Paradise Lost. It was also a big success. While the band's albums have always been well-liked by their fanbase, The Plague Within seemed to really strike a chord. Holmes' return to a harsh vocal-dominant performance resonated with a lot of people, and the follow up album Medusa (which I also reviewed here) almost doubled down on the band's re-found love of all things extreme. Medusa is an extremely bleak album, and I wondered how the band would eventually follow it. The answer was with more diversity, as the band's latest and sixteenth album Obsidian shows. While some of the songs here follow the template set on the band's last couple of albums, there is also room for the 'dancey' goth grooves that made 1997's One Second such a success. This is an album that packs an awful lot into its 45 minutes of music, with shades of Paradise Lost throughout the years present throughout all of the nine songs.

The album actually opens in a surprisingly low-key way, however. Metal albums often open with a bang and a big riff, but Darker Thoughts takes its time to get going - building up slowly and only opening up fully once the atmospheric tension reaches breaking point. The first portion of the song is made up of some gentle clean guitar melodies from Mackintosh and a sombre Holmes vocal performance, which is a far cry from the growls and gruff delivery that have dominated the band's sound over the years. I have always liked Holmes as a vocalist, but I think throughout Obsidian he really outdoes himself. His performances throughout the album are excellent, and the vocal diversity on display is vast - from the crooning of this opening section to the flat-out death growls that follow when the rest of the band crash in a couple of minutes into the song. Dramatic violin lines from Alicia Nurho add some symphonic grandeur to the song, both to the opening section and the heavier meat of the track, which gives Darker Thoughts a really epic sound and sets it apart from the crustier tones featured on the band's last two albums. Much of this song is as heavy as those albums, but the more dynamic song structure and the addition of the symphonic touches helps it to stand alone - and it perfectly sets the tone for the varied album that follows. Fall From Grace was the first song to be released from the album, and an interview with Holmes that I recently read revealed that it was also the first song to be written for the album. As a result, it is probably the closest thing on the album to the pure heaviness of Medusa. A slow Mackintosh guitar lead opens the song up, while rhythm guitarist Aaron Aedy beefs everything up with his trademark weighty chords. The slow-paced, wintry doom of Medusa is perfectly recaptured here, with a pummellingly slow verse allowing Holmes' growls to really dominate while Waltteri Väyrynen's drums set the snail-pace tempo with frightening precision. The song's chorus opens up a little, and sees dark clean vocals replace the growls, but the pace never really changes which allows the foreboding feeling to remain. A few screaming lead guitar moments, such as a fluid Mackintosh solo that rears its head towards the end of the piece, allow for a little melodic break from the murk; but on the whole this is a desolate song that recalls the success of the band's last couple of albums. Ghosts opens with a fuzzy bassline from Steve Edmondson, before a distant-sounding clean guitar melody and a percussive drum pattern join the fray. Those who love The Sisters of Mercy, and Paradise Lost albums like One Second, will really love this track, as it has all of the grooves and atmosphere that made 1980s goth what it was. Holmes even sings in a similar way to The Sisters' Andrew Eldritch throughout the song, with a deep, baritone, and almost-monotone vocal delivery that really fits the song overall. Despite this vocal approach, there are still a lot of melodies to be found. The song's chorus is very catchy, and Mackintosh seems to be more focused on little guitar leads and melodies than on big riffs. Everything comes together nicely, and it is great to hear the band channelling those 1980s gothic influences again after not really touching them for a while.

The Devil Embraced gets the band back onto a heavier path however, with a huge wall-of-sound opening guitar riff and some of the thickest bass tones on the album. While this song is certainly at the heavier end of the band's spectrum, it still manages to be a diverse piece. There is a lot of atmosphere created by layering lots of clean guitar melodies just behind the main riffs, and Holmes' diverse vocal performance keeps things from being too one-paced. The verses here a little more low-key, as the atmospheric guitars are pushed to the fore and Holmes croons the lyrics in his melodic clean vocal style. It is the chorus where the song really cranks up the heaviness, with crushing growls and tortured guitar leads really allowing the desolate side of the band to show itself again. The great thing about this album though in comparison to the previous couple at least (which are both still very strong albums) is that there is always a focus on melody here - and even in the band's heaviest moments there is still a guitar lead or a vocal hook to really draw the listener in. Forsaken is similar, but also sounds a bit like a throwback to Draconian Times and those albums the band were putting out throughout the 2000s that built on the sound established on the seminal 1995 release. Holmes mostly uses his gruff, but clean, vocal delivery here; a style which is tougher than the clean vocals used throughout most of the rest of the album, but not as dark-sounding as his growls; which really fits into the more up-tempo gothic metal that the band conjure up around him. While not a fast song by any means, Forsaken is certainly pacier than much of the material here. Väyrynen's drumming is pretty energetic, which allows Mackintosh and Aedy to lock into a chugging groove throughout. The song is a bit on the short side compared to many of the tracks here, which is a shame, but it works really well as a throwback to the band's most commercially-successful time. A strong chorus and a melodic guitar solo are the icing on the cake, and it really goes to prove how diverse an album Obsidian is that a track like Forsaken can sit side-by-side with Serenity - which follows. Serenity returns to the death/doom sound of the band's (recent) past, but also seems to include some Gothenburg-style influences; with melodic guitar leads popping up all over the song and less of an overall reliance on doomy pacing. While not exactly fast-paced, there is certainly more energy here than in many of the album's other songs. The subtle increase in speed works well however, and it really allows the melodic death metal influences to shine. Mackintosh is all over this song right from the get go, with a soaring guitar lead opening the track up nicely, and there are plenty of other chances throughout for him to shine - such as a hypnotic line throughout the upbeat, yet heavy, chorus and a screeching solo.

After three heavier pieces, Ending Days allows the band's more atmospheric side to shine from the off. Clean guitar melodies and Holmes' gentle vocals dominate the early portion of the track, while Väyrynen lays down some varied and dynamic drum grooves; once again allowing those 1980s gothic rock influences to shine. While not as groove-laden as Ghosts, Ending Days nevertheless showcases that influence, but in a more atmospheric and 'grand' way. Some more violin lines from Nurho allow that grandness to shine through occasionally, and Holmes' big clean vocal melodies often sweep majestically atop the song - even when the occasional heavier riff kicks in to add more weight. The real high point of the song for me however is Mackintosh's guitar solo, which could be his best on the album. He has always been a very melodic and precise soloist, and the effort here is drenched in emotion and melody - which is perfect for the more atmospheric vibe that the song is going for overall. Hope Dies Young also sees those 1980s goth influences included in a big way, with chiming clean guitar melodies present throughout the song to add that atmospheric depth while Heather Mackintosh adds some occasional ethereal backing vocals. Paradise Lost are not big users of female backing vocals, but they have used them in the past sparingly for effect and they work really well in the context of this track. They contrast well with Holmes' deep, baritone vocal delivery and subtly enhance some of the melodies. This track possibly has my favourite vocal melodies on the album too, with some positively emotional vocal lines from Holmes throughout that are quite different from his usual style. They really draw the listener into the track, and as the song builds to a climax around Väyrynen's double bass drumming everything really comes together perfectly. The album's final track Ravenghast sounds like another track that could have been on the band's last couple of albums, but given the diversity of Obsidian it fits perfectly here - and its oppressive, heavy sound proves to be a great way to close out the album. It opens with some subtle piano notes, but soon explodes into a heavy, slow-paced riff that really comes to dominate the piece. The piano rears its head occasionally throughout the song to add depth and atmosphere, but on the whole this is a classic slab of death/doom that is built around sluggish riffs and Holmes' growls. At their core Paradise Lost have always been a heavy band, even if that heaviness has been displayed through many different filters over the years. I really like how the band have re-embraced their roots over the past couple of albums, but I really love how they have incorporated those roots into their wider canon on this album. The Plague Within and Medusa were great for reintroducing the band to their old sound once again, but Obsidian and songs like Ravenghast show how that sound mixes in perfectly with the gothic and more traditional metal that the band have also done throughout their career; and it ends the album on a real high. Overall, as observed, Obsidian is a really strong album from a veteran band who seem to want to continue to push themselves. Despite enjoying many of the band's recent albums, this is probably my favourite thing that Paradise Lost have done for a good number of years as it really takes the best of everything that they have done over their thirty-odd year career and puts it all together in a dynamic, melodic, and cohesive way. It is an album that I am continuing to discover, and will no doubt be listening to regularly over the coming months.

The album was released on 15th May 2020 via Nuclear Blast Records. Below is the band promotional video for Darker Thoughts.

Trivium's 'What the Dead Men Say' - Album Review

Despite being castigated by some for their one-time association with the American metalcore scene throughout the mid-2000s, Florida's Trivium are one of mainstream metal's premier and most interesting acts. In an age where the arena-filling metal bands are often legacy acts, or the Slipknots and Five Finger Death Punches of this world, it is refreshing that a band as creative and dynamic as Trivium are standing on one of the higher rungs of the mainstream metal ladder. While a band like Slipknot excels due to their tapping into the angst and tribulations of a certain generation, as well as the inherent tribal nature of parts of the metal community, Trivium excels purely on quality songwriting. Trivium have never been a band to chase a trend, or to set a trend, but instead focus on creating quality albums packed full of quality songs - and doing so in a way that is at their own whim first and foremost. Even 2006's The Crusade, which was essentially Trivium's tribute to the thrash bands that influenced them growing up, is a strong, from-the-heart album that was a great gateway into a world of heavier music and 'screaming' for a young metal fan like me. I would go as far as to say that the band are yet to release a weak album. Of course, some Trivium albums are better than others - but at their core each release is enjoyable. I think that this is partly down to the band's willingness to try new things, and to make music, predominantly, for themselves. There are certainly sections of the band's fanbase who probably would have been happy for the band to release albums that followed the blueprint of 2005's Ascendancy exactly again and again - but that would have not been as creatively satisfying for the band or the fans. While some bands (AC/DC, Status Quo, etc.) can essentially release the same album over and over, most bands cannot. This formula soon becomes stale, and to improve bands need to move forward. Trivium have always been good at moving forward, with each of the band's previous eight studio albums having their own identity - from the production to the songwriting focus. The band's eighth album, 2017's The Sin and the Sentence (which I reviewed here), was unique in so far as it was the album that seemed to pull all of the previous Triviums together as one. The Sin and the Sentence had elements of all of the band's albums, and was presented as one cohesive whole. In many ways, it was the 'ultimate' Trivium album - which is interesting to note as the band's new release, What the Dead Men Say, is possibly the first Trivium album to follow the blueprint laid out by the album that preceded it. What the Dead Men Say is, essentially, The Sin and the Sentence part two - so is band's first album without its own identity and sound. This is not necessarily a bad thing, as The Sin and the Sentence was essentially a 'best of' of the band's previous faces. The production style of the new album, once again courtesy of Josh Wilbur, is almost identical to that of the previous album - so much so that these new songs could have come from the same sessions. What we can take from this is that, finally, Trivium seem to have hit up on 'their' sound - with What the Dead Men Say taking the confidence of The Sin and the Sentence and furthering this modern take on their sound.

The ten-track album opens with an instrumental scene-setter, something Trivium have done before but do not always make use of, with IX - presumably as this is the band's ninth album - kicking things off. As with most scene-setters, IX is a low-key piece of music. Gentle clean guitar melodies mix in well with an atmospheric keyboard backing; acting as a calm before the storm. IX transitions neatly into the album's title track, with a weighty guitar chord that leads into a slow-burning build up. Trivium have always had a slightly progressive bent to their songwriting style, and the opening couple of minutes of What the Dead Men Say shows this. The pace changes a number of times before Matt Heafy even starts singing, with a couple of different riffs setting the tone while Alex Bent showcases why he is possibly the best drummer that the band have ever had with some Chris Adler-esque grooves. When the pace reaches its apex the song proper starts, with a thrashy riff leading the charge while Heafy's melodic clean vocals float over the top of everything. One thing that sets What the Dead Men Say apart from The Sin and the Sentence is the increased use of harsh vocals this time around. The focus is still largely on Heafy's cleans, which continue to sound more refined album by album, but there are also plenty of 'screams' which will keep those who seem to think that Trivium without them is not worth listening to happy. This mix of vocal styles keeps the album interesting, and as a result it is an extremely dynamic listen. In many ways, the title track is a real microcosm for the whole album. Extreme metal blast beats sit side by side with soaring melodic choruses and NWOBHM-inspired riffing and dual-guitar leads - all of which make for a satisfying and powerful listen. Lead single Catastrophist is similar, but with less focus on the extreme metal trappings and more on hooky songwriting. It reminds me a lot of the sound that the band forged on 2013's Vengeance Falls (which I reviewed here), but with the confidence and experience of a mature Trivium improving everything exponentially. There is a melodic simplicity to the song, with the verses focusing on chugging guitar rhythms and Heafy's accessible vocals; while the choruses are packed with soaring hooks, subtle guitar leads, and tight harmonies. There are heavier moments, with occasional barks of harsh vocals and screaming guitar leads for Heafy and Corey Beaulieu to sink their teeth into, but on the whole Catastrophist is Trivium acting at their most melodic, despite the band's natural progressive tendencies still being present in some of the arrangements. Those who prefer the heavier end of the band's sound are sure to like Amongst the Shadows & the Stones, which opens with some throat-shredding harsh vocals and thrashy, Kreator-esque guitar riffing. The song moves back and forth between more melodic sections, with clean vocals and anthemic riffs, and heavier sections with plenty of thrash influence and Bent's excellent drumming. The heavier sections dominate here, and it is possibly the most harsh vocal-focused song in the band's catalogue since some of the material on 2011's In Waves. Over the years the band have reduced their reliance on harsh vocals, and in fact abandoned them completely on 2015's Silence in the Snow (which I reviewed here), but What the Dead Men Say certainly pushes them back into the fore at times - with Amongst the Shadows & the Stones being one of the prime examples of that shift in tone.

Bleed Into Me opens with a fuzzy bassline from Paolo Gregoletto that actually comes to dominate much of the song. Gregoletto's bass is rarely a prominent force in Trivium's sound, with his playing largely bulking out the sound rather than forging its own path, but this song allows him a chance to shine and pushes the bass to the front of the mix. The verses here are extremely bass-focused, with Gregoletto's precise playing leading everything while Heafy's crooning vocals sit just above everything to carry the main melodies. Hot on the heels of the heavier previous song, Bleed Into Me is much overtly more melodic, and also much mellower. While certainly not a ballad, it is noticeably more low-key than many of the songs here with more of a focus on crooned melodies and a somewhat more atmospheric arrangement. The Defiant feels like a real throwback piece for the band. The opening dual guitar riff would not have sounded out of place on Ascendancy fifteen years ago, and in fact the whole song seems to channel the band's old-school metalcore sound - but beefed up with modern production and an arrangement that suits the band's maturity. Despite the throwback sound, the song still fits nicely on the album in the context of all of the other tracks. Trivium seem much happier now with all the facets of their previous selves, which is what makes What the Dead Men Say a varied and dynamic listen. The band were certainly guilty in the past of using their latest album at the time to beat their previous work with - almost forcing themselves to evolve and move forward (Trivium are certainly not alone in doing this) - but this no longer seems to be something the band are keen to do, instead understanding that all of their albums have their place and cherry picking the best moments from their past selves is the best way to move forward. The Defiant is a strong example of how this works in their favour, with an old-school sound and a new-school production leading to a memorable song. Sickness Unto You opens slowly, with atmospheric clean guitar melodies backing Heafy's low-key vocals; before another big riff kicks in that leads the charge perfectly from then on. While moments of the song see the pace slowed down to allow a more atmospheric side to shine, on the whole this is the band at their heaviest. The riffing throughout the song is furious, with Heafy and Beaulieu both laying into their guitars to bring both thrash and extreme metal-esque motifs out, while Bent lays down some of the fastest drumming on the album. Despite this heaviness, and the focus on harsh vocals throughout, there is still plenty of melody to be found throughout. The song's chorus is pretty catchy, with some big vocal hooks and a subtle atmosphere, and the guitar solos, despite their pace, are packed full of memorable runs.

Scattering the Ashes is one of the most instantly-memorable songs here, with a big focus placed on soaring melodies throughout. In many ways the song reminds me of the sound that the band forged on Silence in the Snow, despite some very occasional harsh vocals, as that album's penchant for anthemic, stadium-worthy melodies and riffs is present here too. While many of the songs here go for a bigger sound and a more complex arrangement, this one is much more content to be simple and melodic. Heafy's vocal melodies really make the song what it is, with some high-pitched harmonies from the band give it a bit of a 1980s vibe at times. Despite this more accessible sound, the song still fits perfectly on the album. There is always place in the band's canon for simpler, catchier songs that give the listener a break from the progressive arrangements elsewhere and allow for a headbanging sing-a-long. Bending the Arc to Fear showcases the band's progressive tendencies again during the intro riffs, with Bent's drumming adding character and shade to the two interlocking guitars, while extreme metal influences and heaviness are on display elsewhere. The modern Trivium really have a knack of combining all of their influences together as a cohesive whole - which is something that they should be commended on. Songs are rarely purely 'heavy' or purely 'anthemic', and are often a mix of everything that makes the band great. Bending the Arc to Fear is a great example of this, with blast beats sitting side by side with Iron Maiden-esque guitar solos and neo-classical lead breaks. There is a lot going on in the song, which is something that can also be said about many of the tracks here. All too often it seems that bands are expected to stick rigorously to a blueprint, but Trivium have showed that it is possible to blend multiple influences together to make a cohesive whole - with this album being a great example of that talent. The Ones We Leave Behind, the album's closing track, is another example of it. While the track is certainly more anthemic than the previous number, with a positively heroic guitar lead opening everything up, there is still a lot to digest here. The gruff vocal style here is reminiscent to the style Heafy employed on The Crusade, while the heavier riffing and machine gun pacing is akin to In Waves. Again, the song is a mix of the Triviums of the past while allowing a big focus on melody to come to the fore. The song's chorus is very memorable, with plenty of big soaring melodies to latch onto, and some of the dual guitar leads sound like something found on your average power metal release than a typical thrash album. The lead that closes out the album is positively uplifting, but it still manages to fit in perfectly and bring the album to a melodic end. Overall, What the Dead Men Say is another strong album that showcases the confidence of Trivium in 2020. While it sticks very closely to the formula of the band's previous album, this goes to show that Trivium are now comfortable with their sound and are happy to bring their entire career together as a cohesive whole. For a band that has always been excellent, but seemed to struggle with their own identity and place in the metal world for a while, this is great to see.

The album was released on 24th April 2020 via Roadrunner Records. Below is the band's promotional video for Catastrophist.

Cirith Ungol's 'Forever Black' - Album Review

While I have been aware of California's Cirith Ungol for some time, I have actually only started to listen to the band properly over the past couple of months. I had heard some snippets of the band over the years, but it was not until I listened to a teaser of their latest album Forever Black, the subject of this piece, that I decided to take the plunge. Such was my ignorance, I was actually surprised to find out that the band were American. From the bits that I had heard previously, I had wrongly assumed that Cirith Ungol were English - and a part of the NWOBHM movement. Their sound is so similar to what some of the NWOBHM bands were doing during the early 1980s, that those early pioneers of the scene must have been an influence on the Tolkien-named five-piece - who released their debut album Frost and Fire in 1981. The band, led by their ever-present frontman Tim Baker and drummer Robert Garven, found modest success throughout the 1980s and early 1990s; releasing four albums before eventually splitting up in 1992. Despite forming a strong cult following, Cirith Ungol never really broke into the mainstream. It is said that frustrations with their record label eventually led to the band's demise, but in truth the band's unique sound has always been somewhat niche. While at their core Cirith Ungol are an old-fashioned heavy metal band, there is a lot going on in their sound that makes the band hard to pigeon hole - and perhaps this also limits their appeal. The band's sound is surprisingly heavy, and there is a dark, doomy quality to their music. Cirith Ungol are not a radio-friendly band. While some of their songs feature catchy choruses and strong hooks, many of the band's songs are quite lengthy and bleak - with a big emphasis on atmosphere that the whole band, and particularly Baker's howling vocals, contributes to. This, however, is what makes Cirith Ungol special. While the band are clearly not for everyone, they satisfy a certain itch that not many other bands are able to scratch. They are music for a dark, apocalyptic world (which seems reasonably apt currently), so the release of the band's first new album since 1991's Paradise Lost should be cause for celebration in the metal world. Forever Black is simply a continuation of what Cirith Ungol were doing in the 1980s, nothing more or nothing less. While some bands reunite and try to modernise and update their sound, Cirith Ungol have just done what they do best. This album could have come out in the 1980s, and everything from the fuzzy production to Baker's ageless vocals makes Forever Black a vital entry into the band's small, but powerful, canon. It helps that four of the band's current line-up were present during some or all of the band's heyday too, with Baker and Garven joined by founding rhythm guitarist Greg Lindstrom; for his first appearance on a Cirith Ungol album since Frost and Fire; and lead guitarist Jim Barraza who joined the band in 1988 and performed on Paradise Lost. The only new face is bassist Jarvis Leatherby (Night Demon), who perfectly rounds out the Cirith Ungol of the 21st Century.

With so many modern metal albums being packed to the rafters, filled with far too many songs that the highlights often get buried, Cirith Ungol have gone for an old-school approach on Forever Black - providing us with 40 or so minutes of prime, doomy metal. A short instrumental piece called The Call gets the album underway, and the creepy track helps to set the scene of what is to come with swirling winds and a black guitar melody; which segues perfectly into lead single Legions Arise as Garven's drums kick in and a pacy, galloping rhythm takes over. Legions Arise is classic Cirith Ungol, and if you told me that I was listening to a song that was recorded in the mid-1980s and never released until now then I would have believed you. The production is very of that time, with the drums having a great organic hollowness and the guitars crying with a suitable amount of fuzz. Baker, who seems to have grown no older since the band's original demise, leads the charge with his trademark howl. His vocal style really makes Cirith Ungol stand out, and his shrieks during the simple chorus really make all of the little hairs stand up - while Barraza and Lindstrom join forces for lots of twin-guitar harmonies - a staple of early 1980s metal. The song is a great kick-off moment, but it is aped by The Frost Monstreme that follows - which is one of the album's real highlights for me. Legions Arise has a brisk pace, but The Frost Monstreme slows things down somewhat to a precise chug, with Leatherby's bass holding everything together, allowing the band's trademark doom to come to the fore. The song is built around a catchy little guitar melody, which really recalls those first couple of Iron Maiden albums, with Barraza's lead work providing a melodic counterpoint to the doom and bleakness found elsewhere. His bluesy, emotionally-charged solo is another strong guitar moment in the song. Cirith Ungol have never been a band to really go all-out for instrumental prowess, instead playing for the song. The solo here fits perfectly within the context of the piece, adding screaming notes to counter Baker's howling chorus performance - which is easily one of the album's best moments for me as it showcases why he is one of the most underrated metal singers of all time. Baker's voice just screams 'heavy metal', and it is great to hear him back after so long. The Fire Divine comes across as a little more anthemic, with a strong guitar riff leading the charge that sounds a little more like something that a late-1980s stadium rock band would come up with - but the fuzz of the production and Baker's vocals stop the piece from sounding too commercial. That being said however, there is certainly a lot more obvious melody on display here. The main riff creates a strong energy, and some of the guitar leads have that soaring, stadium rock quality (akin to the beginning of Scorpions' Rock You Like a Hurricane) - plus the chorus is certainly more obviously-catchy here with some strange vocal harmonies and hookier melodies. Despite this subtle change, the song still sounds like Cirith Ungol. The Fire Divine is certainly not the band turning into Bon Jovi, but it showcases a bit more of a strident hard rock vibe that works well within the band's established sound.

After the strut of the previous song, Cirith Ungol leave the arena and return to the dingy club with the atmospheric and dynamic Stormbringer. Stormbringer opens slowly, with a melodic clean guitar and Baker's low-key vocals, but it slowly builds up as Garven's drums kick in to provide a sombre beat and Barraza launches into a short, but potent, guitar workout. Fans of Baker's particular vocal style will certainly love this song, and he really showcases his talents here in a big way. The chorus features some of his most demonic howls yet, as he shrieks the song's title in a very effective way. He is backed up perfectly by the rest of the band, who's slow-paced, Sabbath-esque riffing creates the perfect bed for his voice - while clean guitar melodies are mixed into the heaviness to add extra depth. While the album as a whole really sounds like classic Cirith Ungol, Stormbringer is possibly the song here that most showcases the band's core sound at its very best. This song describes exactly what the band are about perfectly, from the mournful guitar leads to the howling vocal display. Fractus Promissum (which translates to 'broken promise') ups the pace a little after the slower previous number, and as a result the song has a heavier overall sound. One thing that I like about Cirith Ungol however is how organic everything always sounds. They have not been tempted to give into modern production techniques or try to force their sound through a modern metal filter. This album sounds deliciously retro, and it is clear how the band were influenced by many of the classic rock and proto-metal acts of the 1970s. The band's riffing style always has a base in the blues trappings of hard rock, but dialled up to eleven and forced through the band's hard-hitting, yet fuzzy, vision. The guitar solo in the track is a perfect example of that sound choice, and it is easy to see how Baker probably influenced a lot of extreme metal singers that followed. While he does not sing in a harsh vocal style, his howls have a certain abrasive quality to them and Fractus Promissum showcases him again at his very best. Nightmare opens slowly, with some twinkly guitar melodies, but this low-key start does not last and it is not long before another lumbering riff kicks in and the song becomes another slab of doom. In fact, this is possibly the most overtly-doom track here. The pace is deliberately very slow throughout, with the chugging riffs of Barraza and Lindstrom keeping the pace on a tight leash - while Garven's ride-heavy drumming creates a punchy backdrop. While I prefer some of the other songs here, those who want to see the band at their heaviest need look no further than Nightmare. It showcases the band's doomy qualities the best, and it is easy to see how the band helped to fuel the doom metal boom that kicked off throughout the 1990s.

Before Tomorrow is somewhat more melodic. Much in the way that The Frost Monstreme was built around a guitar melody, Before Tomorrow opens by putting its best, guitar-led, foot forward - with a soaring and melodic guitar lead kicking everything off. It sets the tone nicely, and the riffing throughout the song is less doomy than the previous number, with a spikier NWOBHM-inspired chug taking over. Leatherby's bass is high in the mix, which really helps the song to sound nice and bulky. He is the only member of the current line-up to not have been present in the band during the 1980s, but he has fit in perfectly. His work with Night Demon has showcased his work as a songwriter and a musician; and I believe that he played a big part in getting Cirith Ungol back together. He has given the band a little bit a 'youthful' spark, and his playing is a big part of what makes Forever Black a successful album. Before Tomorrow is a song that just sees the whole band locking in perfectly behind a solid chug, while Baker does his thing atop it all. The album comes to a close with its title track which, like Stormbringer, is a classic example of the old-school Cirith Ungol sound. It is a slow-paced song, with lumbering riffs and pounding drums - but it also manages to create that classic old-school atmosphere. Despite being a heavy band, Cirith Ungol have always managed to inject a lot of atmosphere into their songs - which is impressive for a band that do not have a keyboard player. Clean guitar parts are often cleverly mixed into the songs, which sit just behind the main riffs to add depth, and Leatherby's busy bass playing often adds another dimension. Being the album's closing number, and its title track, Forever Black has everything thrown at it. There is lots of busy guitar work throughout, with a few solos and leads scattered throughout the song for maximum melodic effect; while Baker's vocals sound even more demonic and possessed than ever. His howl really is unlike anyone else's out there, and is so important to make Cirith Ungol sound the way that they do. It is amazing that he has been able to preserve his voice over the years, as age usually catches up with everyone at some point. As the song begins to move towards its end, the pace ups and Baker begins to howl the song's title over and over while the most explosive and fast-paced solo of the album brings it, and the album, to a powerful close. Overall, Forever Black is nothing short of a triumph. Sometimes band reunions only lead to disappointment as age and other factors stop a band from excelling as they did the first time around; but Cirith Ungol have shown that it is indeed possible to pick up exactly where you left of many years previously. Forever Black is one of the best true comebacks in recent years, and is an album that I can see myself playing a lot over the coming months.

The album was released on 24th April 2020 via Metal Blade Records. Below is the band's promotional lyric video for Legions Arise.

Nightwish's 'Human. :II: Nature.' - Album Review

It has been a long time since a new Nightwish album was simply just a big deal in the symphonic metal world. Despite being one of the main spearheading forces of the genre throughout the late 1990s and the early 2000s, the Finnish six-piece have truly transcended their genre and are now easily one of the biggest 'newer' metal bands on the planet. In a world where many bands have to simplify their sound and 'conform' somewhat to unknown but powerful forces to reach the largest of audiences, the fact that a band like Nightwish are so big and well-loved the world over is remarkable. It just goes to show that, occasionally at least, a band who breaks the rules and puts out complex, progressive, and dynamic music can reach the very top - and I have a feeling that, in the future, Nightwish's name will be mentioned alongside some of those rock and metal acts that we consider legendary today. It, therefore, goes without saying that a new Nightwish album is considered a big deal throughout the entire rock and metal community - so it was with trepidation that many of us awaited the release of the oddly-titled Human. :II: Nature., the band's ninth studio album that was unleashed last month. In a world currently dominated by COVID-19, new music releases are one of the few concrete things that I can look forward to - and Human. :II: Nature. has probably been my most-anticipated album of the year so far. Nightwish are a band known for taking their time between albums. I always get the impression that making music is not an easy thing for Tuomas Holopainen, the band's keyboardist and principle songwriter, to do. I have visions of him dragging songs kicking and screaming from within himself somehow; but the results are usually spectacular. Nightwish are a band that have never really disappointed me, and thankfully they have not started doing so with Human. :II: Nature. - their first album since 2015's excellent and expansive Endless Forms Most Beautiful (which I reviewed here). That is not to say that Human. :II: Nature. is always an easy listen however, because it is a lengthy double album with numerous faces - some of which will not appeal to everyone. The first half of the album (the 'Human' part) is classic Nightwish. Bombastic, progressive, and heavy; the album's opening nine tracks follow the blueprint that the band has been working towards since at least 2004's Once. There are lots of memorable songs on the album's first disc, with the good work established by the band's current line-up on Endless Forms Most Beautiful expanded upon here. Frontwoman Floor Jansen, now on her second album with the band, sounds better here than ever before; and 'new' drummer Kai Hahto (although he performed on the previous album as guest) adds some technical flair with some drumming ideas that have not graced any previous Nightwish album. The 'controversial' element of the album however is the second disc (the 'Nature' part) which is essentially one long piece of classical music. It is perhaps the most un-metal thing to ever be released by an established metal band, and it is not an easy thing to digest for those of us who are not used to listening to classical music. It is extremely ambitious piece of work, and when paired with an hour or so of classic Nightwish it makes for an intriguing, eye-opening, and sometimes daunting listen.

While most Nightwish albums open with something of a bang, Human. :II: Nature. gets underway much more slowly. The album's opening song Music has quite a lengthy orchestral intro, which is perhaps a deliberate foreshadowing of the instrumental suite to come, that builds up slowly around a stark, droning melody. It is quite an eerie piece of music; a feeling that is soon reinforced by some tribal percussion, muted chanting, and Troy Donockley's uilleann pipes; but this then abruptly transitions into a more sweeping orchestral tapestry - which soon becomes the backing for Holopainen's understated piano and Jansen's whimsical vocals. This opening three or so minutes of the album is very representative of many of the musical themes that will be referenced again throughout, but it is another couple of minutes before the rest of the band crash in and the band's trademark symphonic metal sound is presented in full. This long build up is actually very effective. It helps to showcase Jansen's vocals in a low-key setting early on, with the song's first rendition of its chorus being a mellow affair, but it also reinforces the band's power when Emppu Vuorinen's guitars finally crash in to bulk up the next chorus. A short, bluesy guitar solo allows him some time to showboat, and the song mostly continues on this heavier path until it comes to a crashing end. Music is a wonderfully dynamic and varied opening number that showcases the band at their best and Holopainen at his most creative. Lead single Noise is less diverse, but it is packed full of instantly catchy melodies and classic Nightwish bombast that is sure to draw the listener in. In many ways it is the perfect choice for a single. It is the song here that most stylistically recalls the band's previous albums, with Jansen's playful vocal melodies particularly recalling the style employed vocally on 2011's Imaginaerum, while the guitars and bass chug away rather simplistically - providing a strong backdrop for the vocals and orchestrations. That being said, the production style employed here certainly gives the song plenty of punch. As much as I love Endless Forms Most Beautiful, I thought that the production style sometimes meant that the guitars in particular got a little swallowed by the mix. Throughout this album Vuorinen's guitars are nice and weighty throughout, which helps to give the album a heavier feeling. This, when taken in conjunction with Hahto's drumming, makes for a powerful listen. Shoemaker is a bit more progressive and dynamic sounding, with rhythmic verses that sound as if they are in a strange time signature - with Vuorinen, bassist Marko Hietala, and Hahto creating off-kilter rhythms with their tight, interlocking riffing. Occasionally the song really strips everything back and lets Donockley take the lead vocally - his gentle, folky voice filling these short atmospheric segments perfectly, while at the same time contrasting well with Jansen's powerful vocal display. Male vocals (lead vocals in any case) are featured far less frequently throughout this album than on most of the band's previous efforts - with the spotlight being shined on Jansen most of the time. Her epic operatic closing section of the song is particularly hair-raising, and it demonstrates her first full-on classical outing on a Nightwish album.

Harvest is a folky number, that takes the style that the band flirted with on songs like The Islander and pushes it further. Donockley handles the lead vocals throughout, with Jansen providing delicate harmonies, his warm voice perfectly bringing the gentle song to life. Despite the very mellow tones and folky instrumentation, the song still sounds very much like Nightwish. Holopainen's melodies are often very recognisable, and his piano breaks recall many of his usual melodic tropes, while a lengthy instrumental section sees Donockley unleashed with a small armoury of folk instruments - his pipes and whistles mixing in well with Vuorinen's crunchy guitars (which have arrived by this point to give the song more weight) to create a jaunty and infectious instrumental jig section that tops their previous efforts at such a style. It is delightfully simple and catchy song that is nestled in and amongst a heavy an varied musical platter, and it is great to see that Donockley's role in the band is continuing to grow. After that respite, Pan launches back into the band's more traditional symphonic metal territory - although there is a much more atmospheric bent taken throughout. Heavy moments with the guitars placed right at the front of the mix are intertwined perfectly with more whimsical piano-led moments - while Hietala's lyrical bassline keeps everything ticking. In many ways this is a classic modern Nightwish song. It recalls the songwriting style used liberally throughout the band's past handful of albums, but with  perhaps a greater focus on creating a strong rhythm throughout. 'Rhythm' seems to be a bit of a theme used throughout the album, with many of the songs whipping up a strong groove to sit nicely alongside the band's usual emphasis on grandeur and dancing melodies. Some of Vuorinen's riffing throughout the song are some of the heaviest moments on a Nightwish album since their early days, and it is great to hear his playing driving the band again at times - despite the lack of many showcase moments for him. How's the Heart? in many ways sounds like a song that could have been left over from the Endless Forms Most Beautiful sessions. It sounds very similar to the overall style of that album, and has the feel of a slightly heavier version of Élan - with Donockley providing catchy pipe melodies throughout, while Jansen's vocals dominate sparse verses. With much of this album proving to be quite diverse and dynamic, it is interesting to see that the band still decided to include a few 'simpler' moments. How's the Heart? is one of these moments, and it is a song that allows the more delicate side of the band to be shown while still wrapping it up in a crunchy guitars when necessary. I also really like the way that Jansen and Donockley harmonise with each other throughout. Donockley joins in vocally for the expressive choruses, with his warm, folky voice mixing perfectly together with Jansen's power. It is amazing how much singing Donockley does on this album, with his harmony vocals now seemingly quite a big part of the modern Nightwish sound. This allows for a little more warmth throughout, and How's the Heart? really benefits from his voice and playing alike.

Procession again opens slowly, and actually reminds me a lot of Music at times. While it does not have a lengthy instrumental opening, it does have a similar slow build up with Jansen's voice and Holopainen's piano dominating early on. Percussion and orchestration also join the fray, as does Donockley with a folky melody, when necessary, but on the whole the early portion of the song is a dramatic, yet low-key, affair with Jansen really carrying everything. Some felt that Jansen was underused vocally somewhat on Endless Forms Most Beautiful and that she never really got a chance to showcase her diverse and powerful voice. I never really agreed with that assessment, but there is no way that that accusation could be levelled against Human. :II: Nature., as her voice is constantly there driving everything - her power makes the album sound as good as it does. Even when the rest of the band eventually kick in, with a simple drum beat and guitar-led chug, the spotlight never shifts from her voice. This is a song that is made to demonstrate the power and diversity of Jansen's voice - her melodies the perfect vehicle for Holopainen's lyrics. As the song morphs into the shorter, but heavier, Tribal however there is a change of pace. Hietala's muscular bass playing takes over, and the band moves through the gears with some abrasive riffing and a much doomier atmosphere. Jansen also shows the harsher side of her voice here, singing alongside the howls of Hietala, which perfectly suits the heavier and oppressive backdrop of the song. This is easily the heaviest Nightwish moment for some time, and there are a lot of opportunities for Hahto to showcase his drumming skills. Nightwish have never been a technical band from a drumming stand point, which makes some of the rhythmic choices here stand out. He really makes the piece his own, and the drumming mixes well with the heavier riffing and harsher vocals to make for a different-sounding yet immersive listen. The album's first disc comes to a close with the doomy Endlessness, with Vuorinen's guitar opening up the track with a mournful lead - before he launches into a slow-paced, heavy riff that keeps the song moving. This is the only song to feature the lead vocal skills of Hietala. He sings the majority of the track, and lends his usual dramatic vocal style to the piece. If I was to have a main criticism of this album, it would be that there is not enough Hietala for my liking. His vocals have been a big part of the Nightwish sound since he joined the band in 2001, and I do feel that Human. :II: Nature. is lacking somewhat due to him singing less lead than usual. His voice can be heard in the background in other songs, but Endlessness is his only lead vocal on the album and, in my opinion, that is a shame. Unsurprisingly then, Endlessess is a real highlight for me. I love the slow-paced, doomy atmosphere that the song creates throughout, and this style is perfectly suited to Hietala's howling voice. Jansen does take the lead occasionally, her voice contrasting well with Hietala's, but this on the whole is Hietala's kingdom and he brings the 'main' portion of the album to a close.

The rest of the album is made up of the eight-part All the Works of Nature Which Adorn the World suite, the 30-plus minute orchestral piece of music mentioned previously. Book-ended by spoken word sections courtesy of actress Geraldine James, the suite is a dynamic and varied piece of music that, while containing some of the Nightwish hallmarks in a melodic sense, is unlike anything the band have done previously. In truth, the suite is a less a Nightwish song and more Holopainen turning his hand to composing. He has long said that film soundtracks, particularly those by dramatic composers like Hans Zimmer, are a big influence on his writing and it seems that All the Works of Nature Which Adorn the World is his attempt at writing something similar. In fairness to Holopainen, I think he has succeeded. It is certainly a gorgeous piece of music, and at times it is dramatic, but I am not sure that a Nightwish album was the best way to present it. 'Nightwish' as a band are not really featured at all; besides Holopainen's piano, the occasional folky addition from Donockley, and perhaps some of the wordless vocals; with the suite largely played by the Pale Blue Orchestra that was put together for the album. It just seems a bit out of place, even by Nightwish's standards, and I think it will certainly turn some people off from the album. There is already a cohort of Nightwish fans (or, probably, ex-fans) who feel that Holopainen has been a bit full of himself of late, and this orchestral suite is only going to compound that view. I am certainly not someone who agrees with that sentiment, but I have to concede that All the Works of Nature Which Adorn the World is not really my thing and I am not sure that it ever really will be. I would not listen to music like this usually, and I am not sure that having it 'tacked on' the end of a 50-odd minute excellent modern Nightwish album is the best way for it to shine. I certainly commend Holopainen's vision, and the suite is executed exquisitely, but I think it is fair to say that it is just not for me. Frustratingly too, there are times during the suite where it seems as if it is about to explode into a bombastic metal anthem - but this moment never comes! I think Holopainen actually did this sort of thing better on Imaginaerum, with the lengthy spoken word closing section of Song of Myself and the orchestral title track that harked back to many of the album's previous songs proving to be an excellent way to close out an album. When taken as a whole however, Human. :II: Nature. is still an extremely impressive piece of work. Time will tell where it sits in the band's overall canon, but the strength of the opening nine songs alone make for a fantastic listen. The main bulk of the album is modern Nightwish at their best, with a heavier production than previously really allowing the band to shine. It is clear however that this really is Holopainen's baby - more than ever. This is the band's only album besides 1997's Angels Fall First to not feature any songwriting contributions from the rest of the band. Even Hietala; who has contributed a lot in the past, particularly to Endless Forms Most Beautiful; was not involved in the album's creative genesis - which may have also led to his reduced vocal contributions. This singular vision certainly has its pros and cons, but I still think that many of the bands fans will love Human. :II: Nature. even if, at times, it can be a difficult and lengthy listen.

The album was released on 10th April 2020 via Nuclear Blast Records. Below is the band's promotional video for Noise.

Flight of Eden's 'Dante's Inferno' - EP Review

There are a large number of ways to discover new music. Sometimes new band recommendations come from friends; while other times discoveries are made at concerts and festivals, where a previously-unknown act blows you away. Discoveries can be made through family trees (i.e. seeing what else members of a particular band have also been involved with), but perhaps still the strangest method is through the unknown forces of the Social Media algorithms. There is a lot going on behind Facebook, Twitter, YouTube etc., which allows these platforms to sometimes throw up recommendations of new music based on our previous searches and likes. Despite the obvious sinister implications of this kind of data tracking, there are clearly upsides too - and I have discovered a few bands, particularly newly-formed bands, via recommendations coming from these algorithms. One such band is the Reading-based progressive metal four-piece Flight of Eden, which Facebook decided to prod me in the direction of last month when they released their new EP Dante's Inferno. I had not heard of the band previously, but I was instantly intrigued. Music based on classic literature is always interesting. I always laugh at some of the mainstream portrayals of metal fans as Neanderthal-type beings (although these people certainly do exist), as many people who enjoy metal music are often learned and well-read. Metal albums often deal with topics around literature, philosophy, and theology; subjects certainly more interesting than many of the vacuous clichés that fill much of the 'mainstream' music pushed by the same media. Going hand-in-hand with these topics is the metal world's love of a concept album. Many of the best examples of the 'concept album' format come from metal bands, and metal is often the best way to present these stories and themes - as it has the drama suitable to pull the spectacle off. I think it is the fact that Flight of Eden had released a concept EP that drew me to them. While lots of metal bands release concept works, it is quite rare for a band to do so as early in their career. Dante's Inferno is the band's second release, and it follows on the heels of 2018's Transitions (which I have not yet heard) - but just looking at the presentation of the new EP it seems to be a big step up, both in terms of ambition and scope. Ambition, especially from new bands, should always be applauded and Dante's Inferno is certainly worthy of such applause. Despite it only being an EP, and featuring less than 25 minutes of music, Dante's Inferno is a true journey that condenses Dante Alighieri's epic 14th Century poem into a whirlwind experience, packed with dynamic songwriting, soaring melodies, and crushingly heavy moments - all of which showcase the potential and talent of the four musicians involved.

Listening to Dante's Inferno feels like listening to one long song. While the EP is split up into nine tracks, all of the parts flow together seamlessly with short instrumental sections mixing in with fully-fledged songs. The main meat of the EP is the six-part Canto, but things open up first with Nessus and Selva Oscura - two instrumental pieces that showcase the band's more atmospheric side. Nessus focuses more on swirling synths and sound effects, which are suitably spooky given the EP's subject matter, before Selva Oscura introduces a symphonic elements with Simon Robins' weighty guitar stabs and keyboard melodies introducing the first moments of metal here. Selva Oscura acts as a lengthy intro to Virtue, the first part of the Canto series - a song that focuses on later-period Symphony X-esque grooves and gritty clean vocals from frontman Kurt Jones. Virtue is probably the song that mixes the heavier and more melodic sides of the band together most overtly. Robins lays down a tough groove throughout thanks to a weighty riff, while Jones' showcases some of his vocal range with a melodic chorus - with a few growls added for effect. It is the most traditionally 'prog metal' moment here, with synths underpinning the sound - a stark contrast to Cerberus which introduces heavier elements. The riffing is similar in pace and groove to the previous track, but Jones is a man transformed as he unleashes growl after growl atop the thick riffing - which is nicely bolstered by Christian Sturgess' chunky bass playing. Melodic moments do surface during the piece, but on the whole the track is a heavier one. The most melodic section is easily the song's closing guitar solo, which is controlled and full of expressive phrasing, which transitions nicely into the instrumental Heresy which features delicate piano lines and atmospheric clean guitar melodies.

It is something of the calm before the storm however, as Morning Star is a flat-out death metal piece that takes the groundwork laid on Cerberus and turns things up a notch. While Cerberus moved back and forth between harsh and clean vocals, Morning Star largely focuses on the former - with the band content to operate as a death metal act for its four-minute run time. Sturgess' bass kicks things off with a fat riff, before drummer Gualter Couto launches into a ferocious beat that is only topped by Jones' demonic vocal display. The melodic moments that filled many of the previous songs are instantly discarded here, with pure brutality pushed to the fore. There are still progressive moments however, such as some excellent bass-led sections and a short clean vocal reprise, but on the whole this is the band at their most abrasive. Purgatorio is another short instrumental break, that acts as the antithesis to Morning Star. Robins takes the centre stage with his delicate, hypnotic clean guitar work; and the whole track is essentially built around his interlocking melodies. It is the perfect respite, and a lovely set-up for Paradiso - the last piece of Canto. It opens with more melancholic piano work, mirroring the vibe created by the guitars in the previous song, but part way through the drums kick in and Jones returns to his melodic clean voice to belt out the EP's final lyrics. It is a triumphant sounding moment, and there is a real feeling of Dante coming out of the darkness and into the light - which is further reinforced by a short, but wonderfully controlled, guitar solo. It is left to the short Virgil to bring the EP to a close, its symphonic trappings mirroring Selva Oscura from earlier - as the EP comes to a resounding and eerie end. It is certainly fair to say that Dante's Inferno is an extremely impressive release from a band that I was unaware of until very recently. The short, but very diverse, release has already made quite the impression, and I can see myself listening to it a lot more over the coming months. It is the bands like Flight of Eden that the metal world should be bigging up, because ambition and a willingness to try new and diverse ideas should always be welcomed.

The self-released EP was released on 9th April 2020. It is currently only available digitally via the band's Bandcamp page (which can be found here), but there is talk of a physical release at some point in the future.

Testament's 'Titans of Creation' - Album Review

While this blog often shouts from the rooftops about many different metal bands and genres, both live and on record, one genre that is perhaps under-represented here is thrash. While much of my metal attention is focused on traditional heavy metal, as well as the more modern, 'melodic' sub-genres (power, symphonic, progressive, etc.), I am also a fan of many thrash bands. While my love of thrash is certainly not as great as my love for other types of metal, I still follow a good number of thrash bands - although they are mainly the 'big hitters' in the genre, as I do not have as much of an in-depth knowledge of the thrash scene as I do of some of metal's other genres. Thrash is also the heaviest metal sub-genre that I listen to with any sort of regularity. While I occasionally dabble in death and black metal, thrash (along with melodic death metal) can probably be considered the 'extreme end' of my love of metal. It is a genre that I would like to become more accustomed with over time, but for now I shall focus on the new release by one of the genre's most-loved acts - and that is Titans of Creation, the twelfth album by California's Testament. While never being as revered enough to be a part of thrash's 'Big 4', Testament, along with bands such as Exodus and Overkill, were influential in helping to increase the popularity of thrash metal as a genre - with their 1987 debut release The Legacy certainly going a long way to cement the band's impressive influence. I think that part of Testament's enduring appeal is their seeming refusal to stray from the path. Thrash is a genre that, over the years, seems to have succumbed to a number of identity crises. Many thrash bands, particularly during the 1990s, experimented with different sounds and styles (both sonically and visually) in order to try and stay relevant. Testament, despite a few flirtations with some extreme metal trappings on 1997's Demonic, have largely stuck to their tried-and-tested formula throughout their career. Testament's particular brand of thrash is very groove-orientated and relies far less on speed. While some thrash acts constantly play at high tempos, Testament are often happy to slow things down somewhat and allow Eric Peterson's riffs to create a strong groove - while frontman Chuck Billy's larger-than-life presence looms over everything. The band can, of course, speed things up and really thrash out with the best of them; but Testament's sound has always been more chunky than that of many of their peers. This style is present on Titans of Creation, the band's first album since 2016's Brotherhood of the Snake (which I reviewed here). Brotherhood of the Snake is an enjoyable album, with the classic Testament sound, but I have not returned to it too often recently. Titans of Creation however has been playing regularly in my house since its release last month, and I believe that the songwriting here is stronger than on the previous release.

Thrash albums often get underway with a bang, and that is exactly how Titans of Creations kicks off. There is no atmospheric build up or symphonic scene-setter, as Children of the Next Level, which also acts as one of the album's main singles, opens things up with the first of many big riffs from Peterson. Despite my preamble regarding the band's love of groove, Children of the Next Level is a pacier piece, with a chugging verse driven by some tight Gene Hoglan drumming that proves to be the perfect backing for Billy's bellowing vocals. While some veteran vocalists of the thrash world are starting to loose some of their vocal power, Billy sounds as good now as he did back in the 1980s. His bellows and barks are just as potent now as they ever were, and it is his performance that really helps Titans of Creation, and the modern Testament in general, to hit as hard as it does. He shines during the song's anthemic choruses, which see the pace slowed somewhat to allow his melodies to shine, while both Peterson and fellow guitarist Alex Skolnick get a chance to solo - with the latter particularly impressing with an extremely pacey shredded effort. WWIII is a bit heavier than the album's opening cut, doubling down on the thrash speeds while adding in a lot more weight. Steve DiGiorgio's bass is very high in the mix throughout the song, which really adds to its heaviness. The bass can often get a bit buried on thrash albums, so it is great to hear DiGiorgio's playing highlighted here - he is a virtuoso player so his work deserves to be showcased. The big grooves that define the Testament sound are also present here, with the song often switching between fast-paced thrashy moments and Pantera-esque moments of pure groove. It is this dynamic arrangement that keeps the song interesting, while another expressive Skolnick solo allows the jazz-influenced guitarist to put his stamp on the track. While the album's opening couple of tracks go for a big, expressive sound, Dream Deceiver is a much snappier and catchier track that is packed full of the Testament groove and plenty of shout-along melodies. Why this song was not released as a single is anyone's guess, as it has a massive, anthemic chorus that is sure to go down well if the song is played live; while Peterson's riffs have a strident, 1980s-style stop-start pattern that give the verses extra punch. DiGiorgio and Hoglan fill in some of the gaps between the riffs, providing an interesting back-and-forth arrangement that acts as a great bed for Billy's vocals. While many of the album's songs have a lot more going on throughout, few are as instantly-anthemic as this one - which makes the track a fun listen. Night of the Witch ups the pace a little in comparison to the previous number, but it still manages to create a strong groove throughout thanks to DiGiorgio's presence and some off-kilter Hoglan drumming. It is also one of the couple of songs here that features out-and-out extreme metal influences. While Demonic focused on that sound in more of a prominent way, many of Testament's albums nod to heavier vibes. Moments of this song evoke black metal aesthetics, with screamed harsh vocals (which I think are provided by Peterson) and tortured, blackened dual guitar leads. These moments are quite short-lived, but they really help the song to stand out and allow the band to showcase a different side of their playing.

City of Angels really showcases the band's love of big grooves, as Testament slow the pace right down early on with a Black Sabbath-esque riff and some lyrical bass playing. While the pace does not always remain at this speed, as the song has quite a varied arrangement that tackles a number of different moods, the piece is nevertheless dominated by grooves. The song rarely goes for the break-neck speeds that thrash is known for, but instead creates a creepy vibe through groove and atmosphere. Parts of the verses feature melodic clean guitar lines and Billy singing in a much gentler way than usual, while elsewhere the band ramp up the heaviness with manic bass playing and weighty riffing. The band seemed to enjoy playing around with effects throughout this song too. Billy's voice sometimes has some strange effects on it which enhances the creepy atmosphere, while other moments see the riffs infused with wah - which is certainly not something heard too often in thrash. It all comes together in service of the song however, and the tricks used help the track to become another memorable one. Ishtar's Gate, which was one of the gates to the ancient city of Babylon, toys with Eastern-tinged melodies; a sound which fits nicely into the band's established platter. Given the song's subject matter, this inclusion of Eastern influences is unsurprising but their inclusion works really well and helps give give the classic Testament sound a different vibe. This is another track that relies heavily on groove. There is very little out-and-out speed here, instead the band let DiGiorgio lead the charge with his weighty, melodic bass playing. His basslines are pretty prominent throughout, and they allow Peterson and Skolnick to weave their riffs and Eastern magic over the top perfectly. Both take a solo too, with Peterson's effort being more of a typical metal explosion of notes, while Skolnick's takes the Eastern themes and runs with them - which really adds to the song's overall vibe nicely. With Billy and Peterson writing most of the songs on the album, Symptoms is wholly written by Skolnick - and his love of jazz is evident in the song's off-kilter arrangement. While the track still sounds like Testamemt, there is a clear fusion element here - particularly during the instrumental sections which feature more lyrical basslines and meandering guitar leads. I really like this shake-up of the band's established formula, and it is interesting seeing the band's core sound through a different perspective. While Peterson's riffs define Testament, and always have done, Skolnick's jazz influences allow the band to occasionally move off in different directions from most other thrash acts, which really helps them to stand apart from many of their peers. False Prophet returns to more familiar territory however, with a choppy riff driving everything and occasional burst of twin-lead guitar throwing things back to the 1980s. In many ways, this song is generally a bit of a throwback; taking the listener back to the band's heyday. It is a track that contains all of the hallmarks of the band's classic sound, but brought up-to-date with a big, modern-sounding production. It is perhaps telling however that it is not as memorable or as interesting as some of the more 'experimental' numbers here. It is certainly a satisfying piece of old-school thrash, but the modern Testament that experiments more with different vibes and styles within their established template is certainly more interesting in 2020 - in my opinion anyway.

The Healers is somewhat similar, but goes for a big groove throughout that mixes a fairly slow-paced tremolo-picked riff with some really fast Hoglan drumming. This combination gives the song a bit of an extreme metal vibe at times, but Billy's huge voice ensures that it still sounds like Testament - and instead the song just rests on this huge groove rather than expanding to wider, or more extreme, territories. This is a track that is totally dominated by Peterson. He takes the song's only solo, and shows that he is also a more than capable soloist, but the tremolo-picked riffing is also reminiscent of his love of black metal - and sounds like something he could have done with his other band Dragonlord but played through a Testament lens. If The Healers was all Peterson, then Code of Hammurabi is all Skolnick. It is the second of his two compositions on the album and once again his love of fusion and a different way of doing things is showcased. DiGiorgio opens the song with a melodic and effects-heavy bassline, while the rest of the song is based around a melodic riff that certainly feels more musical than the average Testament riff. While Skolnick's compositions are not wildly different, they still add some variety to Testament's albums. He is still a trash player through and through, but the way he includes his love of jazz into his songwriting for Testament has always been one of the band's secret weapons. This different viewpoint can be seen throughout the song's lengthy guitar solo, which is less a thrash speedfest and more a heavily-controlled jazz workout set to a metal backing - which is a combination that works well together. Curse of Osiris the last of the album's 'proper' songs, so perhaps unsurprisingly the band go for pace and heaviness here. The album's opening couple of numbers went for the throat, and that is the same here - with more overt black metal sections included here featuring more of Peterson's screams. The black metal influences are much more prevalent here, and they really help the song to stand out. The song as a whole has something of a call-and-response feel to it. Billy obviously handles the lion's share of the vocals, his booming voice impressing one last time, but the short Peterson-led sections are packed full of power - his rasping voice sitting perfectly against a backdrop of blast beats and lightning-fast riffing. It is a really powerful song that only gets better the more I hear it. It works well as a closing number, showcasing the band's core sound perfectly, while it transitions into the instrumental piece Catacombs which brings the album to an end. It is a dramatic, keyboard-heavy piece with gothic choirs and punchy bass playing that acts as a coda to the album as a whole - and builds on the extreme metal vibes of the previous track with symphonic black metal trappings and an eerie feel. Overall, Titans of Creation is a really strong album from Testament that stands head and shoulders over their previous album, and it up there in quality with some of their other modern releases such as 2012's Dark Roots of Earth. It is a varied and dynamic release that sees the veteran band firing on all cylinders, and displaying a strong mix of styles that help to set the band apart from the pack.

The album was released on 2nd April 2020 via Nuclear Blast Records. Below is the band's promotional video for Children of the Next Level.