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Buen fin de semana Sonateros y Sonateras đ»đ. Credits to: @themetaljournalist - check it out!. Sonata Arctica, Colorado Springs, CO, 2016. @sonataarcticaofficial #metal #metalwani #metalhead #newmusic #newmetal #musicreviews #music #heavymetal #powermetal #sonataarcticachile #sonataarctica #henrikklingenberg #pasikauppinen #eliasviljanen https://www.instagram.com/p/BpKat3LgWOb/?utm_source=ig_tumblr_share&igshid=u21l8zoojar3
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If thereâs anything prog bands like to do, itâs put out big, sprawling concept albums. Last year was full of them, and Iâve already lost count of how many have been done so far this year. Not that this is at all a complaint, mind you, I love concept albums. So when I got the new Threshold album to review and discovered that âLegends Of The Shiresâ was a sprawling 83 minute double album I was quite intrigued. I knew the band mostly by reputation, so was excited to delve into the album, and the band. I was not disappointed.
Although it is a concept album I canât say much about the overall plot of the story. Firstly because without the lyric sheet, and accompanying artwork Iâm not positive about everything, and second, because the band has been deliberately quiet about details, with keyboardist Richard West saying âItâs like when you watch a movie preview and they tell you the entire story in three minutes. With music, you donât want it to be as one-dimensional as some movies are. You want to provide space for people to put themselves in the story, so I donât want to say much more!â What they did say is that it is about a nation (or perhaps an individual; which I feel makes more sense) finding their way in the world. The album also marks the return of vocalist Glynn Morgan to the band for the first time since 1994, a move I enjoyed thoroughly. They also made the conscious decision to write a deeper and more complex album than their previous album, âFor The Journey,â which, from the tracks of that album that I listened to, they seem to have done admirably.
The album starts off slowly with the acoustic âThe Shire (Part 1)â and sets the mood of the album up nicely with the narrator vowing to make it on their own, and leave their rural settings. The song bleeds directly into âSmall Dark Linesâ which starts the heavy riffing and manic drumming that are a hallmark of the album. Morganâs vocals, in contrast to many prog metal or power metal vocalists, do not sound like his testicles are in a vise grip; instead they are a grittier mid-range style which I find quite refreshing and I think fit the music better than a higher ranged singer would. The first thing that was readily apparent is that unlike many prog bands, Threshold is not afraid to write really catchy, but still interesting music. The chorus of âSmall Dark Linesâ will get stuck in your head for days. And while guitarist Karl Groom certainly shows some nice chops, his heavy and memorable riffs are what really stands out to me, not only on this song, but the rest of the album as well.
This is followed up by the first lengthy track of the album, the 12 minute âThe Man Who Saw Through Timeâ and itâs a fantastic example of prog metal done well. It contains the requisite lengthy instrumental section where Groom shows off his soloing skills, but also is cemented by the excellent bass work of Steve Anderson which, unlike too many metal albums, is actually clearly audible and gives song the proper weight and heaviness that it deserves. Johanne James also takes the opportunity to show why he has won numerous Best Drummer awards over the years. Like the rest of the band, his drumming is not super flashy, or overwhelming; instead it concentrates on fitting and driving the music. Westâs moody key work floats over the whole thing, and he takes off on some nice runs which bring out the more progressive elements of the bandâs music.
The band shows off a more melodic, almost power metal side with the heavy, but essentially ballad driven, âStars and Satellitesâ and their tendency for writing big sounding choruses is again pushed into the forefront. In this way, and their overall approach, they remind me quite a bit of Vanden Plas, which is not at all a bad thing. The fact that they focus more on songwriting than bowling you over with feats of technical prowess might cause some prog fans with limited musical appreciation to turn their noses up at this album, but they would be doing themselves a serious disservice. I love mind melting complexity and blazing speed as much as the next guy, but to be honest eventually that sort of a thing becomes a one trick pony and after a while you wonder if the band can do anything other than play fast, like actually write songs. Threshold takes the time to prove they can write good songs as well as play their instruments.
The second disk opens with âThe Shire (Part 2)â an obvious sister piece to the opening song. And it begins in the same way; same music and lyrics for the first minute and a half as Part1 before morphing into a new direction as the narrator goes into further plans to break out of where he is, and the music takes on a heavy, guitar driven sound, while still maintaining the main melody of the song. Â It works as an effective setup for the rest of the disk. The song moves directly into the heaviest song on the album, âSnowblind,â a song driven by jaunty riffing and almost jackhammer drumming and vocals. The strong melodies that make up such a part of Thresholdâs style are still very much present, but the signature element is certainly the more aggressive nature of the majority of the song. âSnowblindâ also features another heavy, yet extremely memorable chorus which works its way into your ear, and takes up residence there. This one of the more ever-changing songs on the album, as soon as you get comfortable with a catchy moment, it abruptly changes direction and does something else, often in a heavier manner than before. Despite being relatively short (just over 7 minutes) it is arguably the most progressive song on the album in my opinion.
The story of the album is wound up with the final three songs starting with âThe Shire (Part 3).â Â Unlike the first two parts it does not share the melody or lyrical approach. It is instead an airy piano driven track that serves more as an introduction to the following song than anything else. It is unique for fans of the band however as former bassist and founding member Jon Jeary makes a vocal cameo on the track. The following track, the 10 minute âLost In Translation,â finds the narrator forced to stop and look at where his deeds and actions have gotten them, the regrets, and things that didnât go as planned, compiling to make them who they are, and forcing them to come to grips with it. Musically everything is tied nicely together, with all the elements of the album coming together for a fitting conclusion, itâs melodic, plenty heavy and the vocals are an easy highlight.
The album closes with the sound of birds and piano with âSwallowedâ as our narrator finds himself back on the farm where everything started. And, more importantly; their finding peace within for being who they are, and for where they are in the world. The second half builds into a melodic guitar driven ballad, and things end in a peaceful and ultimately satisfying manner not only for the protagonist, but the listener as well. At least thatâs my reading of it.
With âLegends Of The Shiresâ, Threshold have created a highly engaging, and at times very beautiful epic for which they are justifiably proud. Through the two disks, they take the listener on a journey of frequently heavy and very memorable music that fans of song oriented progressive metal will find hard not to enjoy. As a newcomer to the band I can assert that it is an excellent introduction to their music, and imagine that longtime fans of the band will find plenty of things to be excited about as well. Highly recommended.
WHY WE MUSYC: Matthew Powers
I believe music is not only a sound, but a feeling. The first time I heard a guitar riff as a kid, I knew it wasn't just a sound I immediately loved but a compass that would guide my passions in life. Fast forward to now, twenty-some years later, and that small hunch I had was exactly right. I've spent the last five years getting to know my favorite musicians, but also witnessing incredible live displays of musical prowess and power, the kind only heavy music can bring about. I musyc because it expresses exactly what I'm feeling at any given time and guides me through the darkest times. It's always there for me.
Matthew Powers is a 23 year old music journalist from the small town of Ferdinand, Indiana. He is best known as one of the original writers and album reviewers for California-based live performance page CaliberTV and recently, for gaining steam through his work with MetalWani worldwide and Florida's The New Fury. Through his love for metal, he has networked with several webpages, thousands of music lovers from all over the world, interviewed members of Soilwork, Lacuna Coil, Miss May I, As I Lay Dying, All Shall Perish and Trivium as well as spilled his thoughts on hundreds of albums of varying genres. Powers also works with up-and-coming bands, frequently helping them to get their music known. His other passions include animals, video games, traveling, theme parks and being a Disney fanatic.
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TOP 12 THRASH METAL ALBUMS OF THE 21ST CENTURY
Thrash metal: what was once an underground movement spearheaded by pockets of bands across the continental United States has blossomed into one of the most vibrant musical movements in extreme entertainment. The following 12 records are the pinnacle of thrash metal musicality in the 21st century, spanning everything from mutants to space exploration. kreator-eogKreator â âEnemy of Godâ (2005) The number 1 entry on this list is none other than Kreatorâs eleventh studio release, âEnemy of Godâ. While many of the bandâs 21st century records are enjoyable â namely âPhantom Antichristâ and âViolent Revolutionâ â it is âEnemy of Godâ that stands head and shoulders above the rest as the defining thrash metal album of the last 16 years. The title track and âSuicide Terroristâ are just two of the tracks on the album that demonstrate why Kreator deserve as much recognition as their American metal counterparts. municipalwaste-taopMunicipal Waste â âThe Art of Partyingâ (2007) Municipal Waste is gonna fuck you up! Bands mixing thrash (or metal in general) with hardcore punk is not a new thing, as represented by a wide plethora of bands such as Hatebreed, Suicidal Tendencies, Napalm Death, Killswitch Engage and many more. However, very few manage to combine serious metal with a comedic lyrical edge, which is exactly what Municipal Waste achieved on this record. âHeadbanger Face Ripâ, âSadistic Magicianâ, and of course âBorn to Partyâ reign true as some of the best crossover thrash songs in existence. exodus-biboExodus â âBlood In Blood Outâ (2014) For a band that have been at the forefront of the thrash movement since its very (and I mean, very) inception, the fact that Exodus has continued to put out good music continuously decades after their debut is a commendable achievement. While the records the band made with now-Generation Kill singer Rob Dukes are all great, it is their most recent album âBlood In Blood Outâ that stands out for me. Having Zetro back on vocals means that the band can revisit the famed âFabulous Disasterâ era of Exodus while still maintaining a modern-sounding production quality. anthrax-fakAnthrax â âFor All Kingsâ (2016) Joey Belladonna to Anthrax is a lot like Bruce Dickinson to Iron Maiden; people can say their respective bands are the same without them, but theyâre really not. Thatâs why âFor All Kingsâ is for me the best Anthrax release since their famed period (âAmong the Livingâ, âPersistence in Timeâ etc). Having seen Anthrax live a couple of times recently, the new material sounds so good live (namely âYou Gotta Believeâ and especially âBreathing Lightningâ). People can say that these classic thrash bands are dying, but Anthrax isnât one of them. vektor-trVektor â âTerminal Reduxâ (2016) Vektor are one of those rare bands that are so difficult to genre-pinpoint because their sound spans so many different styles. With elements of prog and thrash concocted together with fairly noticeable black metal vocals, Vektorâs work on âTerminal Reduxâ comes together as a heavymetal-themed journey spanning what appears to be the entirety of time and space. Definitely not for everyone, but if you think itâs for you, give it a shot. It has as much to offer Dream Theater fans as it does extreme metal fans. sodom-m16Sodom â âM16â (2001) Taking it back to the German style of thrash now for this next album, Sodomâs record âM16â directly borrows visual and musical influence from the horrors of the Vietnam War just like the classic âAgent Orangeâ, most notably by using sound bites from âApocalypse Nowâ for the track âNapalm in the Morningâ. Thanks to records like âM16â, Sodom remains perhaps the most visceral and musically menacing band across all of the genreâs classic bands, even above fellow groups such as Kreator and Slayer. testament-droeTestament â âDark Roots of Earthâ (2012) As could be said for many of the renowned bands of the genre, Testamentâs finest days could be seen as being in the past, with famed releases such as âThe New Orderâ being an example of this. However, âDark Roots of Earthâ is one of their best releases in many a year, featuring acclaimed songs such as the title track, âNative Bloodâ and âTrue American Hateâ. A worthwhile release from one of the godfathers of this style of music, it has to be said. B 18620 Warbringer â âWorlds Torn Asunderâ (2011) Warbringer are one of the more under-the-radar acts on this list, but donât let that affect the quality of âWorlds Torn Asunderâ, released in 2011. Featuring a more modern-sounding style of thrash as opposed to the contemporary releases of the 1980s Bay Area groups, this record from Warbringer provides all of the heavy-sounding metal you want, while still sounding fresh and unique as the band havenât been around for decades. deathangel-rrDeath Angel â âRelentless Retributionâ (2010) Of all the bands on this list, Death Angel is perhaps the band that deserves the popularity and fame it unfortunately never received, most likely due to their debut record being released so late as well as having to contend with some of the genreâs big players. Nonetheless, their 2010 album âRelentless Retributionâ is a solid display of what thrash can sound like when played right, as the band continue to be booked as the opening act for big tours and playing stages at festivals the world over. havok-tiuHavok â âTime is Upâ (2011) Now for a relatively newer band to grace this list, as Havok comes in at #10. Their record âTime Is Upâ, which came out in 2011, can stand face-to-face with anything other contemporary bands of the genre like Warbringer and Toxic Holocaust have released, as it has been compared to 80s masterpieces like ââŠAnd Justice for Allâ and âReign in Bloodâ by various media outlets. If youâre searching for something more modern, give this one a try. overkill-teaOverkill â âThe Electric Ageâ (2012) As Iâm sure nearly all of you reading this will know, Overkill are one of the originators of the thrash genre altogether, and one of the leaders of the New York scene alongside Anthrax and Nuclear Assault. The gradual surge in popularity around the world of some of those early bands has perhaps led Overkill to be forced to take a back-seat when it comes to the upper leagues of thrash, but their album âThe Electric Ageâ is a testament (no pun intended) to how this style of metal should be written and recorded. evile-skullEvile â âSkullâ (2013) Evile comes in at #12 with their 2013 studio album âSkullâ. This album was produced by Russ Russell (Napalm Death, The Exploited, Dimmu Borgir), so an aggressive style of music is obviously at the forefront of this record. Songs such as âHead of the Demonâ, âUnderworldâ and âWords of the Deadâ put this album and Evile in general as a band in place as one of thrashâs most relevant new bands. SOURCEâmetalwani.com ARTICLE BY: Jack Toresen
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Wardruna are a very special band. Part conceptual, part experimental, intensely spiritual and wholly entrancing, Warren uses old Norse instruments and atmospheric soundscape samples to take you on an epic journey through each of their albums, which form a triptych based around each of the 24 runes known as the elder futhark. Despite using primitive instruments, their latest album âRunaljod â Ragnarokâ has a polished and excellently-produced feel to it and is incredibly listenable. For this review, as it is such a cinematic creation, I was tempted to talk you through exactly what I envisioned as I listened to the album, but then it struck me that that is quite a subjective thing, so I will do my best to convince you through a broader description to take your own trip through this musical voyage. Rating: 8.8/10. Read more at Metalwani.com! #metal #metalwani #metalhead #newmusic #newmetal #musicreviews #music #heavymetal #folk #folkmetal #norse #norsemusic #scandinavianmusicgroup #wardruna #albumcovers #albumart #viking #vikings #Repost @metalwani ă»ă»ă»
