Standing Ovation - Gravity Beats Nuclear (2015)

The Finnish band Standing Ovation is a interesting bunch of guys, to say the least. Formed in 2006, the band has created a unique mix of progressive metal and, according to themselves, a flurry of addictive details, or as I would call it, fun and insane quirkiness. Judging from the cover, the band seems pretty serious, but it is not until you see their band photos that you realize that they might have a screw or two loose, in a good kind of way. These goofballs have now released their sophomore album, entitled "Gravity Beats Nuclear".

I first got my eyes of the band when they released the music video for the song "Hellbillies", a heavy and wacky song about cannibalism. Yes, this is a song about some drunk chef from Texas that loves to cook human flesh and eat it, it is just as heavy and insane as it sounds. It is without a doubt the most fun song in the entire record, and the instrumentation is impressive as well, especially in the keyboard and guitar solos. As for the music video itself, it is probably my favourite one that was released this year, and it is probably mostly thanks to the singer Jouni Partanen and his pitch black teeth. Check it out for yourself.



The band does mix tons of different styles in their music, without sounding too shattered in their own personality. Most of the music is really melodic and progressive, like the 18 minute mastodon "Lifeline", but it does have its fair share of heavy stuff in it, making the album cover a wide spectrum of the musical landscape. An impressive feat in itself.

The album has several great tracks in it, but none of them really sticks to you as "Hellbillies" does, which is kind of a shame, not because "Hellbillies" is a bad song, but because every other song deserves some more credit. "Permafrost" and "Killer, Iron" has some of the sweetest choruses I have heard all year, "Lifeline" is a fantastic journey from start to finish, and "Run Little Mouse Run" that has a fun groove that is reminiscent of Devin Townsend. Just take your time, and let the songs sink in, then you will understand that his album is more than meets the ear.

I do have some criticism before we round out this review. The ending of the album is a little weak, and while the overall song quality is good, I still feel like the band has some way to go before they can reach the next level. With that said, I still enjoyed the album a lot, and if the band happens to watch this review, just keep doing what you are doing, and you will be fine. You got something cool going on, and I do not want you to hold anything back.

The band certainly aims for the stars in "Gravity Beats Nuclear", and they do succeed to some degree. While the whole picture could have been a little sharper, the experience in itself is interesting enough to be a part of. With a mix of humour, technicality, and finesse, Standing Ovation presents us with a album that is excellent in many ways. Seeing that this is only their second album, I cannot wait to see what they have in store for the future.

Songs worthy of recognition: Hellbillies, "Killer, Iron", Lifeline

Rating: 7,5/10 Permafrosts

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Katana - The Greatest victory (2015)

Even if it was only three years since last they released an album, I had almost forgotten about the Swedish heavy metal band Katana. They emerged to the scene in 2011 with the release of their debut album "Heads Will Roll", and continued the next year with the release of the fantastic "Storms of War", a album that made it into my top 20 that year. But since then, it has been dead silent about this band, so I did take a big sigh of relief when I found out that their third album was done and out.

"The Greatest Victory" is more or less what you would expect from the Swedes, it is metal that is highly influenced from the NWoBHM movement, but the lyrical themes are all about Japan and its culture. The Japanese theme is the main reason to why I love this band, because there is no other band out there that sings about it. Sure, Trivium has touched it in the album "Shogun" and there are Japanese metal bands out there, but Katana is the only one that has really succeeded in making compelling music about this culture.

"Shaman Queen" opens the album in classic Katana fashion. It is fast, the vocals delivered by Johan Bernspång are big and epic, and the solo is sweet as hell. A splendid start. "Yakuza" follows there after, a song that was released over a year ago, and I remember that my first initial reaction was disappointment. This song was a let down to me because there was not much power to it, and my mind on that has not changed since then, but I appreciate the song more now because it is a classic old school tune that works as a first single. Not my favourite song on the record, but it is not the worst either.

The band doesn't really pick up the quality again until the 5th song "Kingdom Never Come". It almost appears as if the first songs were only there as a warm up, so the listener would be ready for the onslaught on the second half, because it is here most of the best material exists. "Within An Inch of Your Life" keeps you on the edge, "Mark of The Beast" tells a grand story, and while "In The Shadows" sounds a lot like Scorpions' "No One Like You" in some parts, it is still a great, moody song that ends the album really well.

While the overall quality is a little all over the place, the band cannot be blamed for their performance, because it is close to flawless. Bernspång has a great and unique voice that fits so well in this genre, while Patrik Essén's guitar work has a nice mix of both old and new sounds. But the most important part is still the Japanese theme, and it is as present as always. Frankly, that is all I could ever ask for from this band.

"The Greatest Victory" is by all means not a bad album, but somehow, I am still a little disappointed over it. With how good "Storms of War" was, I was hoping that the band would continue their evolution. Instead, they take a step backwards to a safer route. I still enjoy this album, and my affection for Katana is unchanged, but I am not really sure if it was worth the three year wait. Oh well, I am sure they will bounce back and make a kick ass album next time, striking like a ninja when we least expect it.

Songs worthy of recognition: Shaman Queen, Kingdom Never Come, In The Shadows

Rating: 6,5/10 Shoguns

Saxon - Battering Ram (2015)

Being one of those bands that seem to not stop until death tells otherwise, Saxon keeps on trucking and releases a new album every other year. Say what you want about them, but you cannot deny that these guys are very productive, releasing 21 albums in 39 years. A impressive rate for sure.

Fortunately, this almost mass production of new albums has not at all affected the quality of the craft. "Battering Ram" may not be all to original, but it is far from bad. On the contrary, it is actually one the more solid albums I have heard from them in recent years (and the same can be said about that gorgeous album cover). It is not that the band has created a couple of songs that will go in history as instant classics, instead they have created 11 songs that all hold a good, high standard that every fan should have no trouble in banging their heads to.

Just like any other Saxon album, there are no big surprises in store. They start off by pulling their most powerful (and possibly the strongest) punch with the title track. Worthy of its name, it punches through your door with loud drums, sweet riffing, and Biff Byford's stand out vocals. Certainly a start that makes an impact. The strong starts continues with the groovy "The Devil's Footprint" (that more or less steals the intro to Iron Maiden's "The Number of The Beast" and just puts other words in it) and a slow, chugging Alice In Wonderland tribute in "Queen of Hearts".

The album does sink a little after that, but it never really submerges fully below the surface. All songs are steady as a rock, succeeding with its only mission, to entertain the listener with good music. Songs like "Stand Your Ground", "Top of The World" and "Three Sheets To The Wind (The Drinking Song)" does stand out among its brethren, but are these songs that will blow you away? No. Do they have to blow you away? Absolutely not, you will still enjoy them.

For us metal fans, this is just another Saxon release among the other 20. It is not a album that will baffle and it will have a hard time to make any best of lists this year, but it does what it was intended for, it entertains. "Battering Ram" lives up to the name, even if the bang is not too big. It is a good, strong album that does not disappoint anyone. It is simply Saxon, and we would not have it any other way.

Songs worthy of recognition: Battering Ram, The Devil's Footprint, Top of The World

Rating: 7,5/10 Queen of Hearts

Júlio Stotz - Dark Ravishing Energy EP (2015)

About a year back in time, I reviewed a EP made by Brazilian-German music composer Júlio Stotz called "Suspended In Reverie", a beautiful instrumental EP that mixed heavy djent inspired riffs with more fluent and vibrant piano melodies. An all in all great effort that still to this day is one of my favourite EPs that I have reviewed on this blog.

The same guy has now come with "Dark Ravishing Energy", a EP with more of the same, sweet thing. 4 brand new songs that will cleanse your mind with beauty and emotions. All of the songs displayed here are nice individual works that ties together perfectly in both style and sound to create a grand unity.

All 4 songs are worthy of a listen, for different reasons. The opener "Will To Power" succeeds in telling a story, without uttering any words, while "Delusions" shows some good technicality with its epic synths, sustained guitars, and oddly satisfying drum beats. Then we have "Verstonnen" (German for thoughtful), a calm song with no guitars, only beautiful piano melodies that never seem to end. Finally, we have "In Spite of Everything", a nice, epic song that includes guitar solos from Olaf Thorsen (Vision Divine, Labyrinth) and Ivan Mihaljevic (Side Effects).

The song line-up certainly matches the one in "Suspended in Reverie", but because this EP was named "Dark Ravishing Energy", I expected something that would resemble the name, something more feisty. And just like with the last EP, I would have loved to heard more. 4 songs  with a combined play time of 17 minutes is just not enough to satisfy my needs for good music.With that said, I still think this EP is another fine release from Júlio. Here he shows again that he knows how to create a stunning mood and accompany it with great musicality. A marvelous EP of unique and stunning music.

Songs worthy of recognition: All four songs are worthy

Rating: 8/10 Delusions

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Intronaut - The Direction of Last Things (2015)

I should really stop judging a band of its album covers and genre description, it keeps me from finding awesome bands. Intronaut is labeled as a post-metal sludge band, which might be true (I have low knowledge of these sub genres), but I was a little skeptic in giving them a fair chance. It was not after I decided to read a few reviews of the album that made me take them into consideration of hearing their new release. Parables with bands such as Between The Buried And Me, Mastodon, and Tool? Sounds great, give it to me now!

"The Direction of Last Things" is album number five by the Los Angeles lads, making them quite experienced by now, which I think is reflected good in the music. The compositions fits well together and the instrumentation is nice and technical, although I am a bit annoyed over the fact that it sound so similar to Between The Buried And Me. It is close to ridiculous at times, especially in the beginning of the album.

So where do we find the Mastodon and Tool in this record? If we start with Mastodon, Intronaut does manage to create a fantastic groovy song in "The Pleasant Surprise", the shortest song on the album with its 4 minutes of play time. It is a spaced out sound that is much like the one we heard in "Crack The Skye", and while the song may not fully match up to that amazing album, it is still a great tune that gets your body rocking. But when it comes to the similarities with Tool, I cannot really find any obvious ones. The album is progressive, and has some psychedelic parts in it, but I do not hear any Tool in the music at all. Instead, I would put Scale The Summit as the third band influence because it has several organic instrumental parts. Still, not too bad to be compared with such fine acts.

But let us look past the comparisons and instead focus on the important part, which is how good the music sounds in one's ears. I am definitely enjoying myself when listening to "The Direction of Last Things", it has a soft and cool approach, but still manages to create some organized chaos within it. It is well crafted on more or less every level, from the crisp production to the logical song lengths. It also shows a lot of different layers and influences of genres. From jazz and prog, to more groovier sounds. It is a complete package.

One thing I would have liked the band to do though is to give the songs more legs to stand on their own, because they all seem to depend on each other. Take one random track out, and it will not seem so tough anymore. I also feel like this album demands a lot from its listener, even if it is not overly long (46 minutes), nor have any songs that reaches past the 10 minute mark. It is great that the band has managed to cram so much into so little space, but the high density of the music can be tough on the mind sometimes.

I am glad that I finally gave Intronaut a fair chance, because I thoroughly enjoyed "The Direction of Last Things" as a whole experience. Sure, it is hard to ignore that some of the music is almost copied from other established acts, but in this day and age, it is hard to make a new album and not be compared to another band, because there are so many out there. Intronaut has certainly created a beautiful album that has a lot of depth in it that no one should miss out on. I know I almost did, and I am relieved that I got to hear it.

Songs worthy of recognition: The Pleasant Surprise, Digital Gerrymandering, Sul Ponticello

Rating: 7,5/10 Fast Worms

Light The Torch (ex-Devil You Know) - They Bleed Red (2015)

Okay, I do not know what kind of biology lesson the guys in Devil You Know has been too, but if they tried to create some mystique or originality to their album title, I have some bad news for them. We all bleed red, it is as common as super groups. So yeah, the title is corny and close to flat out stupid, but the band does keep the same color palette from their debut, "The Beauty of Destruction", creating a stable theme in the cover department that is recognizable for the band. That is something, I guess.

For those of you who missed out on who these guys are, Devil You Know is a super group consisting of Howard Jones (ex-Killswitch Engage), John Sankey (Fear Factory, Divine Heresy), Fransesco Artusato (All Shall Perish) and Ryan Wombacher (Bleeding Through). Unlike 90% of all other super groups, the band actually created something interesting in "The Beauty of Destruction", mixing classic mainstream metal core melodies with much heavier vibes.

Even if there has only been one year since the last album, "They Bleed Red" displays a different approach. Gone are almost all of the mainstream songs, and left is the heavier material. You will not find a new "Seven Years Alone" in this album, but this does not mean that the songs lacks some catchy hooks to them. Songs like "The Way We Die" and "Your Last Breath" contains choruses that are easy to hum along to, but still holds a fair amount of heavy beats to it so the mainstream rock radio stations will think twice before letting them out in the air ways.

One thing the band has improved on is creating a more stable and even outing in "They Bleed Red". All of the songs holds about the same standard of quality, which certainly is nice for the ones that prefers to listen to entire albums. If you however are a guy who does not have that kind of patience, and worry that the individual tracks are bland, then let me calm you by saying that this album does have some tracks that shines. "Stay of Execution" has a aggression that is very much alike the one we see in Machine Head, which of course is a good thing, and songs like "Shattered Silence" and "Consume The Damned" keeps this aggressive flame running wild throughout the album.

I must also mention the bonus material, especially the cover of the Survivor classic "Eye of The Tiger". I do think the guys had the right idea when making this cover, the instrumentation really transform this classic into a modern metal song, but the over the top vocals by Howard Jones keeps me from loving it, but it could also be that I am dead sick of the song after playing it over a million times in Rock Band. Anyway, the other two bonus tracks, "I Am Alive" and "We Live", are fine, enjoyable songs, but they do not quite fit in with the rest of the album, which is why I think they were left as bonus material.

"They Bleed Red" tend to be a bit monotone in its sound, even with the slower "Let The Pain Take Hold" being there to break things up, and I also think that the first half of the album overtakes the second half in both memorability and quality, but the album is too good to let these negative things be a baggage. The band has done something that almost all super groups has failed at, creating a sound that fans can identify them with without involving any of their other bands. Devil You Know are taking the right steps in establishing a permanent place in the music business, and they are doing so by giving out stellar albums.

Songs worthy of recognition: Shattered Silence, Consume The Damned, Stay of Execution

Rating: 7,5/10 Masters of None

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More reviews of Light The Torch
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Vanden Plas - Chronicles of The Immortals: Netherworld II (2015)

Growing older comes with several down sides, one being the sensation that every year feels shorter and shorter, giving you the realization that you are closer to your demise. I still cannot believe that there has gone a full year since the Germans in Vanden Plas released "Chronicles of The Immortals: Netherworld (Path I)", and that they are now ready to unveil the second part of this massive saga, in which they created together with the German author Wolfgang Hohlbein. Oh, how time flies by...

Anyway, let us snap out of this depressive mood, because the first part was a fantastic experience, so naturally, the second part follows in the same foot steps, both musically and atmospherically. The music is still classic Vanden Plas, very epic with several heavy and melodic riffs thrown into it, creating a complex synergy that is hard to resist. And to aid the music, the band has certainly brought their A-game, especially the singer Andy Kuntz, whom I have always thought had a unique, but strange voice. Here though, his voice fits perfectly with the music and helps in creating a stunning mood. Andy has never sounded better than what he does in this album.

Another thing that has not changed since the first album is that the songs are called visions. This was one of few complaints I had on the first part, and my mind over it has not changed since, it looks so dumb that they are labeled as 11even, 12elve, 13teen, and so on. Please, just decide on if you want to use numbers or letters, do not compromise. I know that this critique is petty, but it still bugs me.

The album opens in a beautiful fashion with "In My Universe", a slow, epic tune that drags you in into the Netherworld and gives you a first person perspective of all that is happening here. the same tempo goes in the following song, "Godmaker's Temptation", before kicking it up a notch with "Stone Roses Edge", a heavier song that still contains the same amount of epic within it. These thrilling riffs makes my bones chill in an exciting way, the same thing happened when I listened to "Godmaker" in the first part.

Another highlight of the album is the grand epic "Blood of Eden (All Love Must Die)", a three part, 13 minute song where the band shows all of their skills. Even if it is easy to distinguish the three parts aside, they fit together nicely and creates a great epic piece that serves as the main part of the story. But my favourite part of the album comes in the same part in which some of my favourite movie scenes of all time takes place, which is the final battle. Cleverly titled "The Last Fight", this track mixes fast, frenetic riffing and keyboard loops with more soaring parts. Let us also not forget that it also have some of the best solos in the whole "Chronicles..." series. A well worthy climax to a fantastic concept.

So if you have not guessed it by now, the both parts are practically the same cup of tea, which I think is the biggest strength. Why fix something that is not broke? They are so similar that I think that none of them should be favoured over the other. Both albums could have easily been released as one, humongous entity, because there is no fillers on either albums, making this concept fluent and strong. Kudos to Vanden Plas and Wolfgang Hohlbein for making such an amazing double album experience.

Songs worthy of recognition: The Last Fight, In My Universe, Stone Roses Edge, Blood of Eden (All Love Must Die)

Rating: 9/10 Godmakers

Gama Bomb - Untouchable Glory (2015)

It is once again time to summon our inner thrash guy, and indulge ourselves in the pride and joy of Northern Ireland, Gama Bomb. And judging by the cover, they are better and crazier than ever, paying homage to Hong Kong Kung-Fu movies, James Bond, and snakes that knows how to blow up shit. And sure enough, "Untouchable Glory" is another album filled with what the guys does best, blasting out riffs and beats in a incredible fast pace, while shouting lyrics that are hard to comprehend.

The band's humour has always been their greatest asset, to create a crazy fast spoken story that may be hard to sing along with and discover with only your ears at your disposal, but once you open up that lyric sheet, you will get a good laugh out of it. Actually, the laughs comes early on when you glance at the titles. How can one go wrong with titles like "Drinkers, Inc." and "James Joints".

Just like in the predecessor "The Terror Tapes", the band has made a great effort in making every song in here memorable, a problem that is common in crossover thrash albums. Despite that every song has more or less the same speed, they all have small, intricate details that makes them stand out, whether it be a great and groovy chorus ("Avenge Me!"), funny lyrics ("My Evil Eye"), insane riffing ("She Thing"), or Snoop Dogg references ("James Joints").

Despite containing 12 songs, the album is barely over half an hour long, which I am not surprised over since the genre is built around shorts songs. Fortunately, the only song that is too short is "James Joints", and that song is long enough (1 minute) to pack some good punch in it. It is a shame that the album ends in the blink of an eye, but at least the band favours quality over quantity, which is always good.

The only thing that really bothers me with this record is that they got rid of the thing that got me hooked to the band in the first place, the sci-fi vibe. I guess that "My Evil Eye" and "I Will Haunt You" still have some of that in it, but it is certainly not the focal point anymore. I am not saying that it is a bad decision of the band to focus on other themes and such, but it is a shame that they leave their roots behind to rot. Okay, I am being a little too nostalgic here, so let us get to the closing words of this review before I start a "this band used to be good" rant, because that would just consist of me lying straight to your faces.

For those of you who are experienced with the band, you know what to expect, they do not surprise you with any new age influence here. It is good old crossover thrash from first to last minute, so if you have enjoyed any of the band's previous albums, you should enjoy this one as well, because it is packed with the same amount of action that Bruce Lee got. The glory may be untouchable, but it is well worthy of the band.

Songs worthy of recognition: Avenge Me!, "Drinkers, Inc.", My Evil Eye, I Will Haunt You

Rating: 8,5/10 Ninjas

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Teramaze - Her Halo (2015)

For those of you who have followed my blog for some time, you know that I discovered the Australian progressive metal band Teramaze by pure coincidence. But after just one listen of the fantastic album "Esoteric Symbolism", I was hooked on the band. It was something with that mix of prog, thrash and speed that was mesmerizing and captivating, just amazing. That album eventually made it into my top 20 last year, so naturally, I was thrilled to find out that the band is already ready to present the follow up.

It turns out that the new album, entitled "Her Halo", is a whole different experience from "Esoteric Symbolism". For instance, the band has gotten a new singer. Gone is Brett Rerekura, and in goes Nathan Peachey, a clear upgrade if you ask me since Brett had some limitations in his voice. Nathan has more range and presence, which fits really well with the overall mood of "Her Halo", which is more beautiful and fragile than what its predecessor was.

"Her Halo" does not have any of the thrash metal influences that the previous Teramaze records possesses, which I am a little sad about, since it was something that made the band stand out. However, they still managed to maintain their core sound, which is big, epic, and futuristic metal. It all sounds incredible, and the instrumentation is fantastic, as one would expect from a progressive metal band. My only issue with the album is that the songs do not have the same impact as the ones in "Esoteric Symbolism". I miss that it factor that makes the songs so unique and memorable.

With that said, there are still a couple of songs that do impress me. The opening track "An Ordinary Dream (Enla Momento)" is a perfect representation of what Teramaze is, a close to 13 minute giant that dazzles with its complexity and melodies. The album also ends in a terrific way with "Delusions of Grandeur", another giant piece that clocks in just under 10 minutes, displaying some of the darkest moments in "Her Halo". Speaking of dark moments, "Out of Subconscious" has that as well, giving out a sense of despair that really pops out of the speakers.

The band also tries to make a couple of ballads in this record, which does not turn out all too well. The title track does have an interesting verse and some good guitar work, but the chorus is way too boring, close to whiny. Only thing saving this weird pop and prog fusion is a pretty cool guitar solo. There is still one song in the album that is even worse, and that is "Broken", a full fledged ballad that is closer to Nickelback than Teramaze. My god, I do not see any reason to why this song should be on here, it is a boring sleeping pill that may confirm this album's different look, but it does not strengthen it.

I like the fact that the band wanted to make a new, different sounding album, and doing it in such a short amount of time, without losing too much of the quality is surely impressive. With that said, I still think "Her Halo" is inferior to "Esoteric Symbolism". It just does not have the same impact and originality. I still enjoy the album, and it is definitely one of the better releases this year, but if you want to hear some great progressive metal, I suggest "Esoteric Symbolism" over "Her Halo" (that does not mean that you cannot listen to both albums if you have the time and courage :) ).

Songs worthy of recognition: Delusions of Grandeur, An Ordinary Dream (Enla Momento), Out of Subconscious

Rating: 8/10 Trapezes

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Clutch - Psychic Warfare (2015)

If I had to compare any band to a gigantic happy pill, I would instantly think of Clutch. Not only was their last effort, 2013's "Earth Rocker", a groovy monster that made me grin from ear to ear, but it confirmed what the band has been doing for so long, delivering high quality groove rock that is extremely hard to match. Who can dislike the band when they put out such groovy tunes!

Clutch's latest offering to the world is called "Psychic Warfare", and it is more or less more of the same stuff that you have heard before from the band. Tunes so groovy that you can't sit still, and a Neil Fallon that hypnotizes you with his incredible and unique voice. Needless to say, if you like the band, "Psychic Warfare" will not make you disappointed.

Instead of spinning further with what made "Earth Rocker" so great, "Psychic Warfare" stands on its own two legs with a more American sound, with both blues and country mixed with the typical Clutch groove, but when the band released their first song from this album, "X-Ray Visions", one would think that "Psychic Warfare" would become a direct sequel to "Earth Rocker", since "X-Ray Visions" sounds like it would fit neatly into that album with its groovy attacks and playful lyrics. When that song plays its final notes, there are no more direct comparisons between the two albums.

I am not a big fan of blues at all, but the band does make its own spin on the genre, making it pretty fun. Songs like "A Quick Death In Texas" and "Sucker For The Witch" has such a great attraction to it that it is irresistible to ignore it. They also change the mood neatly with the country hymn "Doom Saloon/Our Lady Electric Light", so the album does not get all too stale. It all leads up to the climax known as "Son of Virginia", an amazing 7 minute closer that ultimately shows that the band can create other songs that power groovers. This is a strong tune that takes you to the wild west and shoots a lot of great instrumentation at you, while Neil Fallon takes out his most emotional vocals, just to give this track even more depth. Incredible.

But while the album is as great as it is, it is still miles away from the quality that "Earth Rocker" had. That album literally made all of my bones jiggle with excitement and joy, attacking from all fronts with a great arsenal of songs. "Psychic Warfare" does not have the same strength in either numbers nor force as its predecessor, but it is still a great general in the army known as Clutch's discography.

So "Psychic Warfare" does not reach the same astronomic heights as "Earth Rocker", but I do not mind it since it is so hard to follow a master piece with another one. I do appreciate that Clutch did try to re-invent themselves instead of taking the safe route, making a "Earth Rocker 2.0". With the talent that the band possesses and a momentum that seems unstoppable, the band has created another highly enjoyable album that gets your groove on.

Songs worthy of recognition: Son of Virginia, X-Ray Visions, Sucker For The Witch

Rating: 8/10 Noble Savages

Amberian Dawn - Innuendo (2015)

Most of us are bummed out that Amberian Dawn have gone down the same path as Nightwish, from being a exciting power metal band with opera influences, to becoming more "normal" in their approach. And while I did enjoy "Magic Forest", I had an uneasy feeling that the band's original personality was close to be extinct, and that the extinction would happen in any of the coming album. It certainly seems like I spoke too soon about that.

Released only one year after its predecessor, "Innuendo" is Amberian Dawn's 6th studio album, and it continues on the same road in which the band has been going on for quite some time. While the performance is stupendous as usual, I miss the technicality and speed that the band had in its early phases. No crazy guitar solos, no power songs a la "Lionheart", and no Heidi Parviainen and her opera voice. The only thing remaining is the symphonic aspect of the music, which even seems to be highlighted with the song "Symphony Nr 1, Part 1 - The Witchcraft", a interesting song that acts more like a play than a actual song, which is kind of weird.

Now, I will say this, the cover looks amazing, certainly my favourite cover from the band to this date. It got details, and it just fits the band perfectly. It also displays the music pretty well, those small touches of classical music takes you to some royal masquerade ball some time during the 18th or 19th century. I can imagine that it was a simple time to be alive, no worries about global warming and the phenomenon known as Hipsters had yet to be invented. Splendid!

But back to the music in "Innuendo", I rarely find myself disliking any of the tracks in this album, but I cannot really say that I love any of the tracks. During the short period of time Amberian Dawn has been around, they have created some amazing power metal, so I guess it is easy to compare this with the early material, which really makes it injustice. I tried to disconnect those thoughts, treating "Innuendo" for what it really is, but it just left me feeling the same way anyway. Not saying that the album pure out blows, but it does not blow me away either.

There is still some interesting music in this album, and it certainly meets the standard that the band has established during its existence. The opening act "Fame & Gloria" is one of my favourites with its great instrumentation and a structure that helps in telling the story. It is also one of few songs in which Capri excels with her voice. "Rise of The Evil" catches my attention with its heavy approach, and while the chorus may be tamer than what I want it to be, it is evened out with a terrific two part guitar solo, and the same can be said about "Chamber of Dreadful Dreams". For those who wants more classic AD, listen to "Ladyhawk" and the title track

"Innuendo" is a charming little album, with a nice old fashioned personality that fits the band as well as the fantasy did in the previous album. The music might not be as strong as one would hope, but it is certainly still enjoyable. With that said, I still find the early material to be better and more exciting, and no, it is not because of the opera vocals. Bring more insanity to the music please, and loosen up on being as fancy as a upper class citizen.

Songs worthy of recognition: Rise of The Evil, Fame & Gloria, Innuendo

Rating: 6,5/10 Ladyhawks

Black Tide - Chasing Shadows (2015)

You guys cannot understand how afraid I have been about listening to this album, like really, REALLY afraid. Let me tell you about the background of this fear, Black Tide burst out into the music scene in 2008 with the album "Light From Above", an amazing album that mixed old school speed metal with more modern elements. It was my jam for several years, and I could listen to songs like "Shockwave", "Black Abyss", "Light From Above", and "Warriors of Time" for hours. Then came the much awaited follow up, the 2011 release "Post Mortem". I freaking hate that album, they completely removed the old school part of their music, and became just like any other stupid mainstream rock band from that time. Some songs had a little redeeming quality to them (like "That Fire" and "Let It Out"), but most of them was just trash. It wasn't even the same band anymore.

Before entering "Chasing Shadows", I made sure to pray to every god like creature that the album would turn out good. I prayed to God, Allah, Buddah, Spongebob, Arceus, and even the three Egyptian God cards from Yu-Gi-Oh, just so the band would return to the kick ass music they performed in "Light From Above", with soaring vocals, insane guitar play, and playful lyrics. I even got a glimmer of hope back when I saw that their old logo was back, maybe there was a god after all, hearing my prayers.

Sadly, the grim truth stared right at my face after just one spin of the album. This album takes Black Tide further down the pit they have dug for them self, a pit they most likely will never escape. I am stricken over how tame everything is, from the overall presentation to the lyrics ("Sex Is Angry" is a big contender in the "worst lyrics" category when I summarize 2015). The album cover may be 70% pure darkness, but the inside is all warm and cuddly, and not in a good way.

The thing that pisses me off the most is just how weak the band has become. Sure, they can nail a solo here and there, but the song writing is so bland and uninspiring that I just want to beat the crap out of it. There is no bite, no fire, and no fight what so ever. And what happened to the singer Gabriel Garcia? Is this really the same guy that screamed his heart out in "Light From Above"? I can understand that his voice has gone through some changes (since he and the rest of the band was really young during the recording of "Light From Above"), but this cannot be blamed by puberty.

Now, I know what you are thinking, isn't there some way that they have matured and evolved their sound, and do you not encourage bands to evolve? Yes I do, but there has to be a good reason for the band to evolve their sound, and most importantly, the evolution has to go smoothly so the core of the fan base is not lost. Black Tide has failed miserably in that part, changing waaaaaaaaaay too fast for their own good. It is practically a new band that is presented in "Chasing Shadows".

So, are there some redeeming quality to this album? Yes, the guitar work deserves some praise, hitting a couple of nice solos scattered around the album. It is the only part of the band that is consistent and trust worthy. I also guess that the production is not that bad, sounding fairly polished. So the album is not the worst piece of shit I have ever heard, but you cannot polish a turd and sell it as gold.

With the release of "Chasing Shadows", I have officially lost all respect and hope for Black Tide. The guys are still young, but the fact that the band has changed so drastically and is still releasing records via Interscope Records (whom also have Limp Bizkit, Nine Inch Nails and Lady Gaga (?!)) makes me believe that they have left their metal roots behind them. "Chasing Shadows" is just god awful, a fluffy album with some interesting guitar work, but nothing else that is even close to enjoyable. In conclusion, there is no god, listening to our prayers, and the youthful passion that characterized Black Tide is long gone, and so is the awesome music.

Song barely worthy of recognition: Guidelines

Rating: 1,5/10 Predators

Queensrÿche - Condition Hüman (2015)

It feels so good that the whole Queensrÿche controversy is completely over, and that the band can now fully focus on what really matters, creating a kick ass album. While I did love "Queensrÿche", I did feel it was a bit short, so I was really hoping that the band would create another album like that one, just longer.

Enter "Condition Hüman", a album that certainly goes in the same tracks as its predecessor, reliving the band's glory days with songs that is reminiscent of the band's earlier works. It is progressive, epic and well crafted, displaying a harmony the band has not shown in ages. I can tell that they have left all of this mumbo jumbo behind them (unlike one certain gentleman said he would).

I am still a little bit uncomfortable with the new singer Todd La Torre. It is not that he sings bad or that he does not contribute in the song writing process (he is a co-writer in all but one song), but the fact that his voice is so similar to the one of Geoff Tate. I can still endure it since it fits so well with the music, but it is pretty damn hard to ignore it all together. You just have to live with it, which I certainly can do as long as the band is pleased with him.

The band seem to have listened to its critics, making "Condition Hüman" 53 minutes long, a perfectly ideal length of an album. However, this does make this album not as tight as "Queensrÿche", fitting some fillers among the twelve songs. It still does hold some good fire power within it, enough to make it a really pleasant experience. Most of this fire power comes in the beginning of the album, setting a high standard instantly with great tracks like the melodic "Arrow of Time", the epic "Hellfire", and a fist pumping "Guardian", in which it sounds like the band wants revolution cola (wonder how much different it is from the regular kind?).

After a strong start, the album loses some momentum, but not enough to lose the listener entirely. While songs like "Hourglass" and "Bulletproof" may not be some of the most thrilling songs the band has ever created, they do help in giving this album a grand and complete feeling of satisfaction. While "Queensrÿche" was mostly dark, "Condition Hüman" is more on the lighter side of the spectrum, displaying some sort of a "light at the end of the tunnel" mood that does fit well. It stands clear that the band knows how to give their albums personalities, and they do it with the honor.

"Condition Hüman" is definitely in the same league as "Queensrÿche", but for different reasons. The albums are almost as polar opposites to each other, one being short and tight, while the other is longer and more loose. It definitely seems like the band is in a state of peace and that they fully enjoying their current situation, and they should, because they are creating some of their best music in ages. Music so good that you almost forget that guy who tried to steal the name of the band.

Songs worthy of recognition: Hellfire, Arrow of Time, Guardian

Rating: 8/10 Hümans

Lightning Bolt - Fantasy Empire (2015)

There has gone some time now since the release of Rock Band 4, and out of the entire on disc set list, there is one song that has caught my attention for several crazy reasons. Lightning Bolt's "Dream Genie" is one of two songs that has a devil tier rating on all of the instruments, mixing incomprehensible vocals with spastic guitars and bass. And the drum section? This song has the absolute hardest drum chart I have ever seen in a Rock Band set list (not including DLC), with a fast bass pedal pattern that goes on for 7 straight minutes, with no breaks in between. And to top it off, we have some quick fills scattered throughout the song, just so your arms gets a workout as well. Just take a look at it for yourself and judge just how insane it really is.

This certainly got me interested in the band, and how they sounded in a full album, but before I dove myself into that, I did some research on the band just to understand them and their music more. Lightning Bolt was formed by Brian Gibson (bass), Brian Chippendale (drums) and Hisham Akira Bharoocha (vocals), with the latter one leaving the group 2 years later, leaving Chippendale with the vocal duties. The duo performs a genre called Noise, which is a pretty self explanatory name. It is not a genre I am too familiar with, and after listening to "Fantasy Empire", I do not think I will dive deeper into it.

Because noise is exactly what you would expect it to be, pure noise. I can admit that there is some melody to it and some structure, but man, it is often so insane that you would think the guys just recorded them self smashing a hotel room using their equipment as hammers. The production is far from clean, which I actually think is intended, just so the overall mood of the record is right for the band. While it does work, I still find it odd that the vocals are so muddled out that you barely can hear it, even less extinguish the words.

Even though this genre is one of the weirder ones I have encountered, there is one thing I do admire, and that is the groove. Damn, some of these tracks are so groovy that some people would think I have parkinson by looking at my twitching feet. Most of this groove is created by Brian Gibson and his bass. He has sort of a spastic, frenetic style that tingles your nerves in a pleasing way. Add the insane drumming style of Chippendale, and you get some groovy insanity in songs like "The Metal East", "Over The River And Through the Woods", and my personal favourite, the RB4 song "Dream Genie". It goes without saying that I understand why this song made it into the set list.

Despite some really groovy tunes, I am having a hard time appreciating the album. The middle part of the album is cluttered with songs that are hard to identify, songs that has no memorability factor to them at all. And even if there is some guitar in the album, it is heavily under used, probably because there is no official guitar player in the band. Not saying that you cannot enjoy a song that does not include a guitar, but the guitar is better than the bass to focus around.

With all this said, the duo does seem to have a lot of energy and passion to put on a good show. I watched some of their live performances on youtube, often performing close with the audience, in a sort of guerilla type environment, creating tons of insane energy. I would certainly visit one of their shows for this reason alone, because the music sounds like complete chaos to me, so it would be all about the experience.

After getting a clear picture over Lightning Bolt, I would probably put them under a folder I would like to call "bands I would like to see live, but not follow thoroughly". I can see why some people would enjoy this type of music, however it is a little too chaotic for my own taste. With that said, I still find "Fantasy Empire" to be a interesting album with some good highlights that I will put in my main set list on Spotify. As a whole, "Fantasy Empire" is a decent album for the ones that likes to be crazy once every now and then, and for the ones that likes to get their feet destroyed by mimicking Chippendale's drumming.

Songs worthy of recognition: Dream Genie, The Metal East, Over The River And Through The Woods

Rating: 6/10 Mythmasters

Trivium - Silence In The Snow (2015)

I have always considered Trivium to be the modern day version of Testament. While the bands are quite different when it comes to their sound, they both emerged into the scene fairly quietly, gaining a respectable and loyal fan base, but never getting the big world wide recognition. While Testament has been in the shadow of Metallica, Megadeth and Slayer, Trivium has fallen behind such acts as Avenged Sevenfold and All That Remains. They have still made some good music through the years, and have certainly not lacked the quality to compete against the best.

With this said, "Silence In The Snow" could be one of my bigger disappointments of the year. Okay, I did not have humongous expectations for this release, but I did like their latest album "Vengeance Falls", so I hoped that they would be able to keep the momentum going high. I should have probably seen this coming, since the band has stated that this album would resemble their most famous creation, "Shogun" (the title track was even written during the "Shogun" era, but did not make it into the album). It usually does not bode good when bands does this kind of thing.

The most notable thing with "Silence In The Snow" is the complete absence of harsh vocals. Matt Heafy uses only his clean vocals in this album, which I do admit is his stronger side of the vocal spectrum, but it takes away some of the Trivium identity by doing this. Naturally, it also makes the album a little softer than the average Trivium album, which could be positive or negative depending on who you ask. I can stand it, if the song material is up to par with what the band is capable of.

Starting with the "old" song, the title track does have a tiny touch of "Shogun" in it, but I can see why it did not make the cut. The song is okay, but not overly thrilling, lacking intensity and wow factor. It gets better though, both "Blind Leading The Blind" and "Dead And Gone" are way more interesting, displaying good musicality and technicality.

But something happens after that. The songs loose their killer instinct, and starts powering down to about half the power. I am having a really hard time remembering the songs, because they are so bland and dull that I get the urge to do something else while I am listening, just to get things going. There are way too many songs in this album that is gonna be completely forgotten by this time next week (or even sooner) to make "Silence In The Snow" even a little interesting. It is about as colorful as the album cover.

"Beneath The Sun" and "Rise Above The Tides" does bring me out of my sleep, but they do not help the fact that "Silence In The Snow" is a surprisingly flat album. The main problem is not that Matt has stopped screaming, but the fact that the band has been unable to create 11 songs that utilizes his clean vocals. The album is the pure definition of the word monotonous, holding a even, but far from impressive, standard throughout the album. The band can do a lot better, with or without the harsh vocals.

Songs worthy of recognition: Blind Leading The Blind, Dead And Gone, Beneath The Sun

Rating: 5/10 Tides

Children of Bodom - I Worship Chaos (2015)

After wandering in darkness for the last couple of albums, Children of Bodom finally seemed to be back on track with their release of "Halo of Blood" two years ago. A great, melodic assault that was easily the best from the band since "Hate Crew Deathroll". This certainly got my hopes up that the follow up would follow in the same foot steps, creating a perfect blend between the old and new Bodom.

The thing that made "Halo of Blood" so successful was that the riffs was no longer the main focal point. Instead, the band focused on a heavy attack. Going into the new album, entitled "I Worship Chaos", I was hoping they would use the same tactics again. They did, but to a much smaller extent. "I Worship Chaos" is more of the newer CoB than the older, a more melodic album where the structures are fairly simple and the riffs tries to steal the attention. This ultimately hurt the song writing in my opinion.

It also seems like the band has become more egoistic in the last two years, or one would think that when they release a album called "I Worship Chaos" and it contains songs as "I Hurt" and "My Bodom (I Am The Only One)". Besides from that, it is the Bodom we all know and love. The aggression is there, the technicality as well, they just miss the killer songs.  "Morrigan" is a typical single release that is easy for the fan to enjoy, but harder to love, and "I Hurt" has a good bite, but it will probably be forgotten in the long run.

The highest quality comes particularly in three songs. The title track and "Widdershins" both display some high speeds and nice technicality. They also have a cool solo to complement their sound. But my clear favourite is "Prayer For The Afflicted", a dark, gloomy, and slow song that shows a different Bodom than what we are used to. I really like this one because the mood and instrumentation goes incredibly well together, creating a overall impression that lifts the whole album.

Something that does not lift the album though is the three covers that comes with the digipack version of the album. I have never considered CoB as a great cover band, and these covers do not change my opinion one bit. Both the covers of  "Mistress of Taboo" by Plasmatics and "Black Winter Day" by Amorphis are acceptable, but then we come to "Danger Zone" by Kenny Loggins, and I loose my shit. Because every time the band covers a song that has normal vocals, Alexi sings horribly, like he is trying to hold back just so you can recognize the song they are covering. I think they could have done something cool here, made the song their own, but failed miserably. If you want a good "Danger Zone" cover, search for the one made by Psychostick instead.

I think "I Worship Chaos" suffers from the high expectations that "Halo of Blood" brought in. It is not a awful album, but it is not spectacular either. It has some small highlights here and there, but the quality of the craft does not meet up to the cover of the artwork (which I must say might be one of my favourites from the band this far). The band can do better, but they certainly can do much, much worse.

Songs worthy of recognition: Prayer For The Afflicted, I Worship Chaos, Widdershins

Rating: 6,5/10 Horns

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Halo of Blood

Hexed

Gloryhammer - Space 1992: Rise of The Chaos wizards (2015)

Power metal is a funny genre. It is a very simple genre that is easy to enjoy, but also easy to hate. It also has its cheesy clichés that are hard to ignore while inspecting a newly released album. It gets even funnier when the band was created as sort of a parody band, bringing up all of those cliches, and adds a whole new dimension to them. Ladies and gentlemen, this is Gloryhammer.

Created by Christopher Bowes, singer and keyboardist of the renowned pirate metal band Alestorm, Gloryhammer tells the story of the epic and magical fights and tales from the wondrous and mysterious land we humans know as Scottland. In their debut, "Tales From The Kingdom of Fife", we got to know our hero Angus McFife, a brave king that defends his land from the evil wizard overlord Zargothrax. Does this sounds wacky to you? You have heard nothing yet.

Because in their sophomore album, they take the battle out to space, and to the future, more specifically the distant year of 1992. "Space 1992: Rise of The Chaos Wizards" is bigger, badder, cheesier, and most of all, better than its predecessor in any possible way. You just have to take a look at the band's new costumes to find out how far they have taken this project. Just look at Thomas Winkler, he has transformed from the Green Goblin's personal knight to the perfect mash up of Iron Man and The Green Lantern. I can only imagine the insanity they create on stage, with the costumes and their characters.

Behold, the mighty heroes (and villain) that makes Gloryhammer

The story here is taking place a full millennium after the first album, Zargothrax has been released from his prison of liquid ice and seeks revenge of McFife's kingdom. To stop his horrible plans of unlocking a portal that will finish off all life in the galaxy, Angus McFife XIII sets out on a quest to gather a mighty army, the ancient city Inverness, and yes, even Hollywood, CA. It all leads up to a grand and epic battle the likes the world have never seen. To say that the band took the whole concept over the top is an understatement.

The story is a fun one, but it gets a lot of help from the music. Because despite using a style that many would think is outdated and stupid, Gloryhammer sounds fresh, being more exciting than a lot of the more modern power metal bands out there today. Gloryhammer helps one remember why you loved this genre in the first place. The epic tales, the powerful music, and the confidence this album is showing are all huge parts of what makes "Space 1992..." such a wonderful record. Almost feels like you are a kid again, searching the CD shelves to find this colorful and intriguing album that sets of a spark inside you that turns into a hot flaming passion for metal.

"Space 1992..." does also have a impressive amount of variation in it, which certainly keeps it from being stiff. We do of course have the more or less standard, speedy power metal songs, like "Universe On Fire" and "Rise of The Chaos Wizards", and they are a clear highlight just because they fit the theme so well. Those are being mixed in with some more theatrical, Rhapsody of Fire like power tunes ("Goblin King of The Darkstorm Galaxy") and muscle metal ("Victorious Eagle Warfare"), but I do also hear that Bowes has borrowed some tricks from his other band Alestorm and implemented them in "The Hollywood Hootsman". A nice little touch. The strongest portion though is when the album reaches its epic finale, with the duo of "Heroes (of Dundee)" and "Apocalypse 1992", two ultra epic songs that does give the album, and its tale, the epic closure it deserves. If this was a movie, everybody would stand up in the movie theater and applaud while the credits starts to roll.

Yes, "Space 1992: Rise of The Chaos Wizards" is cheesy, but Gloryhammer does something that has not been done in at least a decade, bring something new and exciting to the medieval power metal. Taking the story into space is one factor, but it is also the great musicality that should get a lot of praise here for being the strong force that the genre needed. Gloryhammer does look a little ridiculous in their outfits, but I do not mind at all, because this is what makes metal so great, that a goofy gang that seems like they are ready for a game of Dungeons & Dragons can make such incredible music. I cannot wait to see what kind of shenanigans Angus McFife and Zargothrax will embark on in the future.

Songs worthy of recognition: Heroes (of Dundee), The Holliwood Hootsman, Universe On Fire, Apocalypse 1992

Rating: 9/10 Goblin Kings

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Legends From Beyond The Galactic Terrorvortex

Operation: Mindcrime - The Key (2015)

Geoff Tate, what a fucking hypocrite. After a juridical dispute with his former band Queensrÿche that seemed to never end, Geoff said that he was completely done with the band and was going to make music that had nothing to do with them. I call bullshit on that statement. First off, he re-names his new project Operation: Mindcrime, literally taking the name of the most famous Queensrÿche album ever made. Then, he releases a album just before his former band does, which is more or less a statement in itself. Oh, and let us not forget the fact that several members of this band is also former Queensrÿche members as well.

But the biggest reason to why Geoff has not let go of his past is in the music. It is exactly the kind of music he has been doing for his entire musical career! Nothing different from anything else he has done. Okay, it may have some more fire and passion behind it than what his last couple of Queensrÿche albums had, but it is still the same. I am absolutely not surprised over this, just disappointed that he did not come up with something more creative.

The only way he could really put his former band in place is if he wrote a killer album, a album that puts the foot down and screams "You will be sorry for kicking me out". Is "The Key" that album? Absolutely not. It does have some interesting intentions, but it is not a album that kills its opponents, mostly because it is so uneven. "Burn" is the definition of the word bland, while "Discussions In A Smoke Filled Room" is the most useless interlude ever (god damn I hate useless interludes). Also, "On Queue" is a fine song if you like slow jazz, something I do not. It just makes me sleepy, that's all.

The good stuff is there though, starting with the confusing title "Re-Inventing the Future". While Geoff has said that he would do no such thing, the song does live up to its name, being a good, modern Queensrÿche tune with solid riffing and smooth melodies. "Life or Death?" continues in the same direction, while the following song "The Stranger" takes a heavy turn, and it almost feels like Geoff is trying to get out his inner thug while still staying true to his sound. A surprisingly cool combination that may sound weird, but works out well.

The thing I enjoy the best in "The Key" is the excellent instrumentation in all of the songs. It is mostly subtle, but still well organized, creating the right mood for each of the songs. I especially like the riffing from Kelly Gray and Robert Sarzo, and also the nice saxophone in both "On Queue" and the epic finisher "The Fall". A nice little touch that gives the album a nice closure. And Geoff? How did he perform? I say ay okay.

In the end, Geoff Tate will always have that A-hole stamp on his giant, shiny head, but put it aside, and you will find a decently talented musician that can make a fairly decent album when he actually wants to. "The Key" may not make anybody fall backwards with excitement, but it does have that typical Queensrÿche groove to it, so some old fans should be satisfied in the long run. I was one of few that actually felt that the debut "Frequency Unknown" was a decent album (even if it was highly disrespectful to the original band), and I think "The Key" is another small step forward. Leaving Queensrÿche behind him? HA, good luck with that!

Songs worthy of recognition: Re-Inventing The Future, Life Or Death?, The Fall

Rating: 6,5/10 Strangers

Mustasch - Testosterone (2015)

Oh boy, looks like the feminism movement have found a new target. I hope not, because I love Mustasch, but they are certainly playing with fire here with this, their 8th studio effort known as "Testosterone", a big, burly, manly album filled with beer, beard, sweat, and a Ralf Gyllenhammar who does not seem to take any days off at all. I mean, it was not too long ago they released their latest album ("Thank You For The Demon", early 2014), and Ralf have been busy with both touring and various TV appearances (Swedish Idol and Swedish Fort Boyard just to mention a couple).

Despite this insane speed they are holding right now, they still seem to find time to evolve the band in the process. The music is very recognizable, you can easily extinguish Ralf's unique and manly voice, and most of the riffs are true to the history of the band, but it is the urge for evolution that makes "Testosterone" a unique and interesting experience. Because despite its name, "Testosterone" is probably the most melodic and soothing Mustasch album up to date. A lot of calm experiments takes most of the focus here, which could potentially split the fans in half. I always welcome new ideas and directions, especially for bands that more or less has a certain sound to them, so I was a little impressed when I heard the album for the first time.

If you after reading the last paragraph fear that the band has turned into something extremely different, calm down, the change is not THAT drastic. It may be awkward at first, but once you get used to the thought, it is a good chance that you will appreciate such songs as the symphonic opener "Yara's Song" and the spiritual "The Rider". I am more uncertain to what role "Dreamers", "The Hunter" and Someone" has though, but I guess they are a side effect to this evolution. You cannot be perfect the first time you try out something new.

But ultimately it is the classic Mustasch material that goes loud in my cabin, because it acts as sort of a safety blanket among these new, unexplored grounds the band has taken us to. The best example of this is "Down To Earth", a speedy and catchy mauler that is more Mustasch than that part of the beard with the same name. A great, epic anthem that might be their best one since the amazing double sandwich "Double Nature" and "Bring Me Everyone" from "Latest Version of The Truth". I am sure it will have a reserved spot in the set list when the band goes out on the road later this fall. Other classic Mustasch moments in this album are "Breaking Up With Disaster", the single "Be Like A Man" and the epic title track that ends the album in terrific style.

So despite having less of it than most other Mustasch albums in the discography, "Testosterone" is a nice, fresh listen that could be the stepping stone for the band's future. It does suffer some growing pains, which does make it a fairly uneven experience, but the potential is certainly there, and I am very curious to see were it will lead. Well, if the band continues on the same pace as always, we will not have to wait too long for the next part of their evolution.

Songs worthy of recognition: Down To Earth, Yara's Song, Testosterone

Rating: 7/10 Dreamers

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Thank You For The Demon

Silent Killer

Stratovarius - Eternal (2015)

If you are a fan of Finnish power metal, then 2015 has certainly been a mouth watering year for you. Not only has both Nightwish and Cain's Offering released great albums in "Endless Forms Most Beautiful" and "Stormcrow" , Amberian Dawn is about to release new material as well. But one of the most legendary of them all have also shown some new tunes this year. "Eternal" marks as the 15th studio effort from Stratovarius, a huge mile stone that many bands dreams of reaching, but only few does.

I was surely excited for this album since the band has done splendidly since Timo Tolkki left, doing better and better for each passing album. Even with my excitement, I still had concerns if the band could really match their 2013 release "Nemesis", or even the before mentioned "Stormcrow", in which Timo Kotipelto and Jens Johansson helped out on. And sure enough, "Eternal" is not an improvement over any of those two albums.

Do not get me wrong, "Eternal" is a excellent album that fits well amongst the other post-Tolkki albums, but I find it to be more of a normal power metal album with all of what you would expect. If you know the band and its discography, then you will not be surprised at all by "Eternal". It is definitely boring that it is the same old thing that is coming out through those speakers, but I can live with it as long as there is quality to it, and you know that Stratovarius has plenty of it.

The band certainly start out strong in "Eternal" with two classic Stratovarius pieces that will please the fans and be much appreciated when played live. Both "My Eternal Dream" and "Shine In The Dark" sets the bar for the rest of the album with their predictive, but effective structures and catchy melodies. "Few Are Those" stands out as well thanks to its grand chorus and really catchy riff, and "Man In The Mirror" has a hard edge to it that I enjoy. The band ends "Eternal" with the massive 10+ minute epic "The Lost Saga", a nice long song that ends the album in epic fashion. Stratovarius is not known for their long songs (especially since the humongous 18 minute long "Elysium" was not so successful), but this is a valid effort.

I generally like Stratovarius' last album "Nemesis" more than "Eternal" because it has more originality to it. "Eternal" just feels like "Stratovarius for dummies" because it has everything you would expect from the band. Still, the quality of the craft itself does make the album a pleasant experience, which just shows the experience the band has. Stratovarius does strengthen their position as Finland's premier export of excellent power metal, a position they have held in about 20 years. A good, solid effort, but if I would recommend a Finnish power metal album from 2015, I would still chose the Cain's Offering album "Stormcrow" over this one.

Songs worthy of recognition: My Eternal Dream, Shine In The Dark, Man In The Mirror

Rating: 7/10 Lost sagas