Rapid Fire Reviews: Episode 3

Rapid Fire Reviews is a series where I give some quick takes on some albums I recently listened to and did not have enough thoughts on to make a full scale review, but still garnered enough interest from me to give them acknowledgment. In today's episode, we take a look at something weird, something heavy, and a double dose of Switzerland.

A New Revenge - Enemies & Lovers

In the last episode, we looked into Spirits of Fire, a band that was fronted by former Judas Priest and Iced Earth singer Tim "Ripper" Owens. Well, guess what, we have another band that Tim fronts here in A New Revenge, a more hard rock oriented group that shows a good knack of crafting catchy tunes, unfortunately with varying results. There are definitely several songs in this debut record that has some good staying power, where both Tim and the guitarist Keri Kelli flexes their muscles ("The Distance Between", "The Way", and "Scars" are just some highlights), but there is also a good amount of bland fillers in here that ruins the flow of the record, which is quite impressive considering "Enemies & Lovers" is only 36 minutes long. There is some hope to be found in A New Revenge, but if you are gonna listen to one Tim Owens album this year, let it be the self titled one by Spirits of Fire.

Rating: 6,5/10 Scars

Cellar Darling - The Spell

When I listened to the debut record of Cellar Darling two years ago, entitled "This Is The Sound", I was intrigued by their doom like version of symphonic metal, but there were still a lot to be desired. With the sophomore effort "The Spell", the band continues to solidify their sound into something original, creating a hauntingly beautiful atmosphere that is easy to take to heart, which is no real surprise since the band features former Eluveitie member Anna Murphy. The band still has a problem though that the song writing is not strong enough to stay put inside your mind, and it rarely goes out of its comfort zone too, even if Anna is trying her hardest to put some emotions into the music. It is still solid work though, and any metal album that includes an instrument called hurdy gurdy is a winner in my book.

Rating: 7/10 Insomnias

Eluveitie - Ategnatos

So we segway from a former Eluveitie member and her new band to her old group, a band that has always made solid contributions to the folk metal genre, and while their 8th full length effort "Ategnatos" does not deviate too far from what they normally do, it does feel more cohesive. The quality of the songs are consistently at an high level, which is really important since there are a lot of them (16 to be exact). The meaty nature of this record might be a little too much to swallow in consistent, frequent doses, but there is enough top notch craft in here that will make you come back to it again and again. Easily my favourite Eluveitie release in recent memory.

Rating: 8,5/10 Deathwalkers

Nightrage - Wolf To Man

Nightrage have consistently put out some excellent melodic death metal for several albums now, creating a formula that  obviously works. The band has yet to blow me away though through an entire record, and while their 9th studio offering "Wolf To Man" tries its absolute hardest to impress me, it still makes the same decisions as its predecessors. It is still a good record with a lot of great, thrashy guitar work, and the song writing is as solid as you could expect, but there is no edge to the music, nothing that stands out or blows your mind. Just like one of the tracks are demanding, I am fully willing to embrace Nightrage and give them a big bear hug, but I guess a simple handshake will do to acknowledge another solid presentation.

Rating: 7/10 Starless Nights

Waste of Space Orchestra - Syntheosis

I know this might sound like a bold statement, knowing that we have not even reached the half way point of 2019, but believe me when I say that the debut record of Waste of Space Orchestra is gonna be the most unique and strange album you will hear all year. This extremely super secretive band (seriously, they make Ghost look like Instagram models) just comes in here, drops "Syntheosis" on the table, possibly together with some LSD, and say "Let's ride". What follows is a mysterious acid trip through eerie sounds, heavy bass lines, and mad unforgiving drums, executing a sensation that just cannot be defined by words. It is simply fantastic... until Linda Blair from "The Exorcist" comes and vomits all over the place with the vocals. The vocals will divide, but be sure that this orchestra is not just a waste of space, they have something extra ordinary to offer, and is an experience worthy of at least checking out.

Rating: 7,5/10 Vacuum Heads

Periphery - Periphery IV: Hail Stan (2019)

As a prog lover, Periphery should be right at my wheel house, but it is something with their complicated djenty style that just does not sit well with me. The guys are talented and all, but the connection between them and me have never fully clicked, probably because they have been so odd in their behaviour. Just look at this album title for example, despite it being called "Periphery IV: Hail Stan", this is actually album number 6 for the band, so they are not that great at counting. Also, who the hell is this Stan they are hailing? Is it the late Stan Lee? The even later Stanley Kubrick? Or perhaps it is that weird little puff ball hat wearing kid from Colorado, Stan Marsh? Who knows, who cares.

Anyway, the band starts off with a real knockout punch in "Reptile", as in half of the people who listen to this record are gonna fall off because Periphery starts with a close to 17 minute monster. It is a bold start that sort of acts as a microcosm of what the band is, putting in everything from heavy breakdowns, melodic singing, technical passages, and U-turn tempo switches. It is a tough barrier to get through with tons of information to take in, but it is one worth busting your head over and over for.

The rest of the tracks (except the final one "Satellites") range between a more comfortable 4-6 minutes, but be sure that you brain and ears will not get much rest for that. "Blood Eagle" has this great Gojira vibe to it, chugging along like a melodic jackhammer, while "CHVRCH BVRNER" (a pretty metal song title if I say so myself) is a bundle of chaos, much like the kind that The Dillinger Escape Plan used to cook up when they were active. We also got the more leaner side of the band in a bunch of other songs, making "...Hail Stan" a fairly versatile record with both salt and sweet tastes in it.

The album does lose some momentum somewhere in the middle though, where the song writing is not coming to fruition. "It's Only Smiles" has that ominous feeling of being a cheesy teenage ballad, which is not exactly a good sign for a metal band. Even singer Spencer Sotelo (who is otherwise excellent in this record) seems juvenile here. Then we have "Crush" that uses a lot of electronical sounds, and it takes away all of the focus from the track. To put it lightly, it is an experiment that just fizzled out. The down period ends with "Sentient Glow", who tries to pick up some speed again, but does so with some really questionable vocal lines, thereby ending up half stalling.

The end of the record is saved though with "Satellites", a nice, soothing ending that ultimately leaves me with mostly the same feelings as I usually have with a Periphery record. "...Hail Stan" obviously has a lot of technical qualities, and some of the music in here is great and imaginative, but the consistency is still not there, having tracks that fumbles when the band is seemingly charging down the field. I still highly enjoy "... Hail Stan" as a fun brain exercise, the band surely knows how to keep the interest of the listener while showing their skills without shoving it to your face. I would give this album a higher rating, but I will not, because each time the record reaches its end, it tells me to suck its balls. So rude.

Songs worthy of recognition: Reptile, CHVRCH BVRNER, Satellites

Rating: 7,5/10 Sentient Glows

http://www.periphery.net/
https://twitter.com/PeripheryBand

More reviews of Periphery
Periphery III: Select Difficulty

Helloween - Gambling With The Devil (2007)

After making such a massive concept record in "Keeper of The Seven Keys: The Legacy", Helloween decided to go back to basic with their 12th offering, an album that did not have an over arching theme or story, just a CD with kick ass Helloween music. It is definitely a sensible approach, a way for the band to let off a bit of steam from their pressure cooker. It is a gamble though, because if they let out too much, then the album will suffer dearly, so the title does make a lot of sense in that regard.

Despite its title, "Gambling With The Devil" is pretty standard stuff from the Germans, at least from what they have been doing up to this point during the 21st century. It is heavier power metal that leans on being catchy and epic, and also has some humour to it hopefully. The band has created this solid formula that works for most times, and while I do not think it is broken here, it just does not have the same impact this time around. Could be that I have heard similar, but better, songs previously made by the band, but there is something off with this record.

One explanation could be that this is one of the lighter records in recent memory. Sure, we still get our dose of bone crushing metal, like the insanely aggressive "Kill It" and the chugging "Paint A New World", but there are more songs in here that either lowers the tempo, or has a softer touch to it, and it would be nothing wrong in doing such songs as long as they hold a reasonably good standard, which they unfortunately do not. The first single "As Long As I Fall" is not only ridiculous in its meaning (trust me guys, you will hit the ground eventually), but it is one of the lamest Helloween songs I have heard, not offering anything of substance. Then we have "Heaven Tells No Lies", which is just all out forgettable, which is not good normally, but it is even worse since this is the track that ends the album. A disappointing way to close things up. I do think though that "Fallen To Pieces" is proof that the band can do more light types of tracks, because this is one of the more epic ones of the record with its orchestral incorporation and a varied solo that takes some unexpected turns.

The biggest problem with the record though is that it just is not memorable. I have listened to it a whole bunch, but there are just a few songs that sticks with me. Not saying that the songs are not catchy, but you forget about them as soon as they are over, which just shows that they do not have that impact that you would want from a Helloween tune. "The Saints" is a pretty good example of this, it is a catchy song that has all the tools to become a great track, but it fails at punching it in, mostly thanks to that it is a carbon copy of what Helloween has previously done. This is also why more original songs like "I.M.E." and "Can Do It" stands out more, they do not remind us of any previously made song.

This is a surprisingly frustrating record, because there is quality in here for sure, but it is quality we already knew the band possessed, so it does not have that lasting impact. "Gambling With The Devil" is definitely a record you can take for a spin now and again, fully enjoying the experience every time, so it honestly does not do much wrong. It is however a more laid back version of Helloween we get, which keeps it from reaching those high levels. It seemed like a safe bet from the start, setting up for a sure fire jackpot, but I guess good old Beelzebub has tricked us once again, leaving us with a decent, but forgettable, record.

Songs worthy of recognition: Fallen To Pieces, Kill It, Paint A New World

Rating: 6,5/10 Saints

www.helloween.org/
twitter.com/helloweenorg

More reviews of Helloween
Walls of Jericho
Keeper of The Seven Keys: Part 1
Keeper of The Seven Keys: Part 2
Pink Bubbles Go Ape
Chameleon
Master of The Rings
The Time of The Oath
Better Than Raw
The Dark Ride
Rabbit Don't Come Easy
Keeper of The Seven Keys: The Legacy
7 Sinners
Straight Out of Hell
My God-Given Right

Battle Beast - No More Hollywood Endings (2019)

If there is one thing that I think a lot of bands do way too much of today, it is referencing the 80's. Sure, it was during this period when metal was at its peak, both in quality and commercially, but the amount of bands that tribute this era through their music makes me pretty sick to be honest. Well, now we can add Battle Beast to that group as well, a Finnish group that started out as a pretty exciting power metal power house who has gradually added more of the synth-like 80's influences for each album.

Now, I know that I said in my "Bringer of Pain" review that the added 80's influence was an advantage for the band, so why is it a problem in "No More Hollywood Endings"? Simple, what was once an added flavour is now the entire main course. Battle Beast has turned into a 80's pop metal band, and while there is still some power in there, it is far from the impactful force that the band produced in their early days. Every song in here is a nod to that decade and its colorful neon lights, so the cheese factor in here is insanely high, and not in an entertaining way.

An example, "Endless Summer" is more or less a Whitesnake song that borrowed some lines from Kid Rock's "All Summer Long". I do not know if it is a tribute or what, but by god is it ever a slog, something my younger self could not imagine that this band might do. It is only one of several softer tracks in here, really enhancing the pop elements to a maximum, and it mostly ends in boring fluff such as "I Wish" and "Bent And Broken". Then there are tracks that are just odd, like the Bon Jovi flirting "Unfairy Tales", and "My Last Dream" that is going everywhere at the same time.

I do have to admit though that there are moments when the 80's vibe does hit the spot just right. "The Hero" obviously steals the main riff from "Maniac", but this is a track that uses the echoing drums, the synthesizers, and the glossy flair in a nice, epic fashion. Guitarists Juuso Soinio and Joona Björkroth steals the show here with two really nice solos, especially that last one is goosebump inducing. Epic rock ending for the win! We also get a nice part of the album where more of the classic Battle Beast appears with the trio of "Raise Your Fists", "The Golden Horde", and "World On Fire" unleashes hell upon us, showing that there is still some power in this band. I do have to question the ending of "The Golden Horde" though, where Wilhelm comes on and does his usual scream. Makes me laugh every god damn time.

Well, there is ultimately not much battle in this beast anymore, they are just acting tougher than what their music implies. "No More Hollywood Endings" is a confusing pop power mess that never seems to get a footing, slipping and sliding in the mud of its confidence. There are still some nice highlights in here, but just like you do not watch a movie for a specific scene or two, you do not listen to an album for just a couple of songs, it is the entire experience that is the most important thing. Now that the credits have rolled, let us move on to the next album.

Songs worthy of recognition: The Hero, Raise Your Fists, The Golden Horde

Rating: 5/10 Unfairy Tales

www.battlebeast.fi/
twitter.com/BattleBeast

More reviews of Battle Beast
S/T
Unholy Savior
Bringer of Pain

Devin Townsend - Empath (2019)

After an incredible run with the DTP, renowned musical mad man Devin Townsend felt that the group had run its course, disbanding it to search for new ways to express himself. It sucks since it felt like Devin and the rest of the group was doing great, but the ways of the Canadian is strange to say the least, a man that is seemingly easily bored if he stays in the same spot for too long. So, after a lot of soul searching in these last three years between records (which is almost a life time for fans eagerly awaiting new music from the Dev), "Empath" has finally emerged, so let us dive head first into what might be the most dense Devin album yet.

Knowing the career Devin has had up until this point, you know that he has ventured into a ton of musical spectres, and yet, they all seem to intertwine on this record in a way that should not be possible without it sounding like crap. Seemingly every part of Devin's career is represented in here, minus the "Punky Brüster..." punk album, acting as sort of a retrospective of what the man has accomplished. We have the earthly tones of "Terria", the soothing calmness of both "Ghost" and "Casualties of Cool", the epic cheese of "Epicloud", the brain shattering brutality of his Strapping Young Lad days, and of course, we also got some Ziltoid in here (and in the album artwork as well, why wasn't that featured on the cover instead of that white background?). It is a goody bag of sounds that mix surprisingly well.

Speaking of mixes, the production on this record is out right phenomenal. It is as loud and vibrant as you could expect from a Devin record, but he somehow turned it up another notch, making every single little noise crystal clear for our ears, and the sound design shines as well with these small clips here and there. Even if Devin did much of this on his own, he did still get a lot of help from his friends, with a guest list that Devin fans should mostly recognize. We got Steve Vai, Anneke Van Giersbergen, Ché Aimee Dorval, Ryan Dahle, Morgan Ågren, Chad Kroeger... wait, Chad Kroeger? From Nickelback? Well I'll be damned, that is a surprise, and he is on the heaviest track too ("Hear Me")!

To say the least, this is an emotional record that is gonna take you on one hell of a ride, starting off slowly with the intro "Castaway", then flinging you into orbit with "Genesis", a truly chaotic song with a cheesy sing along chorus and disco beats, and I love every second of it. "Spirits Will Collide" follows after with tons of cheesy power pop that is on the verge of being too much, but the album transitions early enough to "Evermore", a neat little catchy tune that just makes you smile and nod your head sideways o the beat, just like the cartoon astronaut cat in the music video. Then we have "Sprite" that opens up with some Dr. Seuss, just to roll with some Spring feelings, a very fitting tactic considering the current season.

After that, Devin wonders if we can hear him in "Hear Me", and yeah, we do. This is complete madness in a can, borrowing both from SYL and "Deconstruction", while also throwing in Anneke and Chad into the mix, creating an unholy mix of epic emotions and insanity, which of course ends up being amazing. Then we get transported into a Disney musical with "Why?", which is beautiful for sure, but so odd still. "Borderlands" is next, and it is one of the more memorable tracks with its steady and catchy main riff. Add in some casual cool into it all, and we get a laid back 11 minute track that goes by in a flash.

The interlude "Requiem" prepares us for the final stage of "Empath", the insane 23 and a half minute monster "Singularity", a six-piece track that is the epic finish to end epic finishes. At first, I had a rough time getting into this beast, and it did not help that we had already been given 50 minutes of music prior, but trust me, this is a grower. Every time you listen to this monstrosity, you find new angles and parts that speaks to you, making you wanna come back to it time and time again. I also found it stunning that all six bits of "Singularity" where unique in its own right, being really different from each other, yet they all come together so perfectly that the transitions are hard to notice. It is still not my favourite track on "Empath", but "Singularity" is a track that deserves respect.

At the end of the day, "Empath" is ultimately Devin in a nutshell, an album that is so insanely expansive that it is hard to get a grip on, but still so accessible that you cannot get enough of it. It is obvious that Devin has released all of his restraints, going all in on this record with everything that he got. It acts as the perfect summary of the man's career, while also showing that there is still a ton of material left in that shiny head of his. This is an insane record, one that has tons of emotions, one that no other musician can make. It is effervescent quality through and through, just a brilliant effort from a brilliant mind.

Songs worthy of recognition: Hear Me, Genesis, Evermore, Borderlands, Singularity

Rating: 9,5/10 Sprites

https://www.hevydevy.com/
https://twitter.com/dvntownsend

More reviews of Devin Townsend (solo work)
Punky Brüster - Cooked On Phonics
Ocean Machine: Biomech
Infinity
Physicist
Terria
Devlab
The Hummer
Ziltoid The Omniscient