Jonathan Hill

A Soapbox for Uninformed Opinions

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Agalloch Pale Folklore Review

General Information:

Artist: Agalloch
Album: Pale Folklore
Genre(s): Heavy Metal
Subgenres(s): Black Metal, Progressive Metal
Released: 1999
Length: 62 minutes
Language(s): English
Label(s): The End Records

Track List:

01. She Painted Fire Across the Skyline I
02. She Painted Fire Across the Skyline II
03. She Painted Fire Across the Skyline III
04. The Misshapen Steed
05. Hallways of Enchanted Ebony
06. Dead Winter Days
07. As Embers Dress the Sky
08. The Melancholy Spirit

Agalloch Pale Folklore Cover

Agalloch Pale Folklore Cover

Agalloch Pale Folklore Review

Pale Folklore is the debut album of American heavy metal band Agalloch. The band has lofty ambitions that are shown through their blending of different metal genres, namely black metal and progressive metal, with neofolk and some other non-genre specific sounds. On top of that, these genres are woven into lengthy songs with much of it being composed of instrumental passages.

The album is introduced with wind sound effects and a slow guitar melody which goes on for 2 minutes before the distortion is played up and the drums kick in on the first part of the She Painted Fire Across the Skyline trilogy. This quickly demonstrates some of the unevenness that permeates Pale Folklore because Agalloch intentionally use lo-fi production techniques on the black metal elements but not in other places (in the same song no less). The end result is clunky and muffled percussion that lifelessly patters around in the background while vocalist John Haughm rasp-speaks many of the lyrics, which gives way to the soft, cleanly produced moments with an opera singer wailing before jumping back to the lo-fi black metal sound.

She Painted Fire Across the Skyline I and II are bridged together with more wind sound effects before turning into a straight-forward black metal song that lies on the softer end of the spectrum and contains another jarring transition near the end that upsets the flow needlessly. The final part of the trilogy has some quirks about it although it manages to remain the most focused part and it is a better example of their progressive metal song-writing. The dramatic clean singing moment is out of place but the performance by John Haughm deserves praising for his compelling delivery. Tubular bells make a brief appearance later on and they offer an interesting and memorable dynamic that is unfortunately short lived.

Agalloch over-indulge on the wind sound effects as they make further appearances on The Melancholy Spirit and Hallways of Enchanted Ebony, which eventually descends into the ill-advised inclusion of animal noises and barking. These needless indulgences take on the form of sound effects more often than not but one exception is the out of place hammering of a piano right at the end of Dead Winter Days, which is an otherwise stand out song.

The soft side of Agalloch is fully embraced on The Misshapen Steed, a melancholic ballad-turned-dramatic incidental music piece that has a cinematic quality to it. This song strays outside of heavy metal territory entirely and instead focuses on tasteful piano and keyboard playing.

As Embers Dress the Sky is another well-rounded black metal excursion and is the second song to feature the unnamed opera singer. This time the raspy vocals and her own trade off each other in a well-executed beauty and the beast style before transitioning flawlessly into an acoustic passage. The heavy metal guitar work then jumps back in awkwardly and if it hasn’t become clear that Agalloch haven’t quite got the transitional elements of their song-writing down yet then this will convince you.

Agalloch are a forward-thinking band that has demonstrated a great deal of potential on their debut album and while their song-writing can be unfocused and unpolished at times, it is clear that they have plenty ambition that if refined will yield some exciting results for the heavy metal community.

Performers:

Don Anderson: Guitar
John Haughm: Vocals, guitar, drums
Jason William Walton: Bass
Shane Breyer: Keyboards
Unnamed: Operatic vocals (tracks 1 and 7)

External Links:

Agalloch Homepage
Agalloch on Wikipedia
Pale Folklore on Wikipedia

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Disturbed Ten Thousand Fists Review

General Information:

Artist: Disturbed
Album: Ten Thousand Fists
Genre(s): Heavy Metal, Rock
Subgenres(s): Hard Rock, Traditional Heavy Metal
Released: 2005
Length: 56 minutes
Language(s): English
Label(s): Reprise

Track List:

01. Ten Thousand Fists
02. Just Stop
03. Guarded
04. Deify
05. Stricken
06. I’m Alive
07. Sons of Plunder
08. Overburdened
09. Decadence
10. Forgiven
11. Land of Confusion (Genesis Cover)
12. Sacred Lie
13. Pain Redefined
14. Avarice

Disturbed Ten Thousand Fists Cover

Disturbed Ten Thousand Fists Cover

Disturbed Ten Thousand Fists Review

Ten Thousand Fists is the third studio album by Disturbed. With the popularity of nu metal rapidly declining most bands in the subgenre chose to take another path and Disturbed are no exception to this as they embrace a sound that is somewhere between hard rock and traditional heavy metal for Ten Thousand Fists.

With the musicianship of drummer Mike Wengren and guitarist Dan Donegan being heavily contained on Disturbed’s nu metal albums for the most part, Ten Thousand Fists makes its evident that they want to do more or at the least get back to the level that they were at when playing groove metal under the name Brawl.

The songs are faster, sound more powerful and for the first time there are guitar solos to be heard on several songs including Stricken, Overburdened, Forgiven, Avarice and Land of Confusion, an unexpected cover of a Genesis song that translates exceptionally well into their new sound. There aren’t any weak songs to be found per se but after a few listens it can start to sound a bit played out due to the lack of variety, which isn’t helped by a 56 minute running time and it seems hard trying to justify the length of it for this reason.

David Draiman’s vocals are as strong as ever and on I’m Alive he cleverly enunciates the words rage and anger when he sings “change again, cannot be considered/I rage again, dispelling my anger” for effect without having to resort to shouting. However his trademark barking noise from The Sickness make an appearance on the title track, Sons of Plunder, Forgiven and Avarice but is absent from most songs.

His lyrical themes have now progressed onto topics such as war and personal struggles with Decadence addressing self harm and I’m Alive dealing with the pressure of others trying to influence the bands artistic direction to create something that wouldn’t be Disturbed and their subsequent rejection of this.

Overburdened looks at people killing others in the name of religion or political ideology only to finding themselves queueing up to enter Hell, which is overburdened by the sheer number of people caught up in harmful ideology all while thinking that they’re fighting for a righteous cause. At the start of the song one of these people reflects on this by saying “Fate is so unkind/Now I should have known/Blind leading the blind/Reaping what I’ve sown/If it all amounts to nothing/Why, then, am I standing in this line?” after believing that they were right in doing what they did. David Draiman puts a different lens on this perspective to infer that “holy blessed homicide” is wrong in any context and that people that believe otherwise have been misled, possibly for the gain of others.

The improved musicianship and deeper lyrical content that has come with the change in sound will surely have won over some new fans and there are many infectious hooks that will get stuck in your head for days after hearing them but on repeated listens some songs will start to wear thin due to the rank and file nature of the album.

Performers:

David Draiman: Vocals
Dan Donegan: Guitar, electronics
Mike Wengren: Drums, percussion
John Moyer: Bass guitar

External Links:

Disturbed Homepage
Disturbed on Wikipedia
Ten Thousand Fists on Wikipedia

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Shylmagoghnar Emergence Review

General Information:

Artist: Shylmagoghnar
Album: Emergence
Genre(s): Heavy Metal
Subgenres(s): Black Metal, Progressive Metal
Released: 2014
Length: 52 minutes
Language(s): English
Label(s): N/A

Track List:

01. I Am the Abyss
02. Emergence
03. Edin in Ashes
04. This World Shall Fall
05. Squandered Paradise
06. Eternal Forest
07. The Cosmic Tide
08. A New Dawn
09. The Sun No Longer

Shylmagoghnar Emergence Cover

Shylmagoghnar Emergence Cover

Shylmagoghnar Emergence Review

Emergence is the self-released debut album of Dutch metallers Shylmagoghnar. While the core of the band’s sound is black metal they take cues from progressive metal to create longer, multi-faceted passages without ever needing to resort to self-indulgent musicianship. There are also influences from melodic death metal, most notably on the lead guitar, and the band makes good use of this along with tasteful keyboard arrangements to contrast with the black metal aesthetic which manages to be polished and accessible without attempting to pander to anyone.

There are 4 instrumental songs to be heard on Emergence. Eternal Forest and The Cosmic Tide are both performed in the aforementioned black metal/progressive metal style whereas I Am the Abyss has noticeable influence from post rock/metal and is the longest song on the album at 9 minutes. This is a bold introductory song that grabs your attention and establishes Shylmagoghnar’s musical vision while expressing a great deal of personality and depth so effortlessly.

The Sun No Longer is the final instrumental song and it also brings Emergence to a close all while being the biggest curveball on the album. While Nimblkorg is the primary song-writer, this one was composed by vocalist Skirge and is played entirely on keyboards with a melancholic feeling that isn’t present on any of the other songs. The feeling found here is thematically linked to his lyrics which deal with misanthropy and the end of humanity by citing the self-inflicted death and destruction done to one another throughout history. He then proceeds to mockingly cry “Hail the glorious humankind – Hail! Hail the splendour of our kind!” on Squandered Paradise to express his contempt.

While these themes are prominent throughout Emergence the tone changes on A New Dawn when Skirge reflects on his negative assessment of humanity and conclude that “what’s done is done; the dice were cast/and the only path before us lies/striding towards the riches of a new dawn”. Lyrically this leaves Emergence on a hopeful note and looking at the previous songs it appears as though they chronical the duo struggling with the seemingly endless troubles of the world (we once gave in/to endless waves of melancholy/the weight of the world/and the torment of troubled souls) before having an epiphany that allowed them to push on.

This World Shall Fall is another curveball found earlier in the album that is best described as “black metal without the guitars”. The tempo slows down and the focus is put on a drum and keyboard combination that is used to create a unique atmosphere that sets it apart from the other songs.

Emergence is an ambitious debut album that blends different subgenres of heavy metal together while showcasing some adventurous song-writing abilities that never fall short of the mark. Shylmagoghnar aren’t afraid to throw themselves in at the deep end and if they can continue down this path they will undoubtedly carve out a well-deserved niche within the heavy metal community.

Performers:

Nimblkorg: Music, guitars, bass, drums, synths, vocals/lyrics on Emergence, mixing and mastering
Skirge: Vocals, lyrics, music and synths on The Sun No Longer, additional compositions

External Links:

Shylmagoghnar Homepage
Shylmagoghnar on Bandcamp
Shylmagoghnar on Metal Archives

Thursday 01/10/15: An excerpt of this review has been published on Shylmagoghnar’s Bandcamp page at the request of the artist.

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The Autumn Offering Embrace the Gutter Review

General Information:

Artist: The Autumn Offering
Album: Embrace the Gutter
Genre(s): Heavy Metal, Metalcore
Subgenres(s): Melodic Death Metal
Released: 2006
Length: 35 minutes
Language(s): English
Label(s): Victory Records

Track List:

01. Prologue
02. Decay
03. The Yearning
04. Embrace the Gutter
05. Ghost
06. Misery
07. This Future Disease
08. One Last Thrill
09. No End in Sight
10. Walk the Line
11. The Final Cut

The Autumn Offering Embrace the Gutter Cover

The Autumn Offering Embrace the Gutter Cover

The Autumn Offering Embrace the Gutter Review

Embrace the Gutter is the second album by The Autumn Offering. It features a fluid blend of metalcore and melodic death metal, a style that had gained a lot of traction by its release in 2006, but Embrace the Gutter is far from a run of the mill bandwagoning effort. There are plenty of guitar leads and tasteful solos without many of the typical hardcore breakdowns or drawn out guitar chugging sessions that can be found on albums by many of their contemporaries.

Vocalist Dennis Miller has improved a lot since the bands 2004 debut Revelations of the Unsung and while he still utilises a throaty shout, it is more accessible and easier to understand than before. His lyrics revolve around personal struggles so the mentions of decay and disease are metaphors for these things instead of being over the top and literal like in other bands.

Aside from the excellent blend of metal guitar soloing and hardcore bridges, The Autumn Offering has some tasteful clean guitar interludes on No End in Sign and One Last Thrill that would have been a brilliant third side to the band’s sound if it was utilised fully. This third side is only brought to life properly on the instrumental closer The Final Cut and features classical piano playing over the drums and guitars. This then transforms into a cinematic interlude complete with wind effects that take up about half the song before closing with one final dramatic guitar chord and drum beat.

Embrace the Gutter is an overlooked album but it is a worthy addition to the collection of melodic death metal or metalcore fans. Its short length works to its advantage and prevents it from ever becoming stale or tired and instead offers a great deal of replay value.

Performers:

Sean Robbins: Bass
Nick Gelyon: Drums
Matt Johnson: Guitar
Dennis Miller: Vocals
Tommy Church: Guitars

External Links:

The Autumn Offering on Wikipedia | Embrace the Gutter on Wikipedia
The Autumn Offering on Metal Archives | Embrace the Gutter on Metal Archives