MindMaze - Back From the Edge (2014)

Female-fronted metal is a growing field, as I mentioned previously in my review of Vandroya's debut.  In fact, with bands like Benedictum, Kobra and the Lotus, recent output by White Skull, Epica, Serenity, and the solidification of Floor Janssen as Nighwish's new vocalist, one might say the future is bright for bands taking that direction.  One might also say that since women fronting metal bands has become so trendy that the field is quickly becoming crowded.  Standing out from the pack is essential for an album to really go anywhere or make any kind of impact.  MindMaze is well poised to get some positive attention, at the very least.

Having been unfamiliar with MindMaze prior to receiving review copy, I did just a bit of research to find out more about the band.  According to the press release, the band had already received acclaim for their previous album, "Mask Of Lies", and so far, the reviews I've skimmed over seem to solidify that claim.  Jeff and Sarah Teets, along with drummer Kalin Schweizerhof were apparently also in an earlier incarnation of the band called "Necromance", dating back to 2005, so these guys have toiled in the underground for quite some time trying to make a name for themselves.  I'd have to say that MindMaze is a more fitting moniker for the band, given the lyrics, musical style, and overall feel of the music.

Right away, it's evident that this is a tight production with talented players.  Guitarist Jeff Teets does a great job with his axe, playing interesting riffs and choosing chording that strays from the usual power chord-only chugging you often get in standard, off-the-shelf power metal.  Dare I say, there's a progressive metal vibe all over this CD, and the riffs exemplify that by keeping things interesting.  Of course, some chugging is present, and helps with the heavy factor at times, but overall, Jeff's riff writing skills are impressive.  Drummer Kalin Schwezerhof is proficient as well, with a good sense of rhythm, and a feel for playing in a way that enhances the material without hogging the spotlight too much.  The album's production by Brian J. Anthony helps this as well, because the drums are at the right place in the mix.  Bass guitar is handled by none other than Symphony X bassist Mike LePond.  He does a great job here, as can be imagined, and his bass work is a treat on this album, especially in tracks like "Moment of Flight" where he gets to take the spotlight during the intro and at various points throughout the track where you can hear him doing more than just keeping pace with the riffs.  The same can be said for his work in "The Machine Stops" - he really shows that the bass guitar is an instrument unto itself and not just part of the rhythmic feel of the music.

Vocalist Sarah Teets has a great voice, and utilizes it well throughout the album.  She has good range, though she generally sticks to the alto and lower soprano areas for the bulk of the album.  She apparently knows her voice and limitations, and does well to shine within that framework.  One thing I'll note is that while I enjoyed the tone of her voice immediately, the subtlety of her performance was something that I didn't latch on to right away.  Power metal is usually rife with inflection and overwrought vocal manipulation, and there's very little of that with Sarah's performance here.  Granted, the material doesn't suffer much because of it, but I would suggest she have a listen to some of the current female metal vocal powerhouses like Liv Kristine or Floor Janssen and take some cues from what they're doing for future reference.  Her most spirited performances are probably album highlights like "Dreamwalker", the epic, progressively tinged "The Machine Stops", or "Consequence of Choice".  She also does a great job with the vocal harmonies she records for the overdubs, and the background vocals she records to accent the material.  That stuff all adds quite a bit to the overall sound and feel of those songs.

Overall, this is a solid album of progressively-minded power metal that is a bit of a grower.  I enjoyed this from my first listen, but like Vandroya's debut, I felt like it sounded a touch generic at first blush.  Repeated listens have broken that opinion down, however, in part because I've grown to appreciate Sarah's voice, as well as Jeff's penchant for interesting riffs and solos that combine melody and technique so as to make them more memorable.  Unlike a lot of power metal bands who try and make long songs that meander and never go anywhere, or are just painfully repetitious, both examples of longer songs on this album are well done, and are highlights.  I'm not asking for a full album of said material, but if the band continues to write longer tracks of this caliber, they will certainly be welcome additions to future albums, and should be considered a strength.  I do feel that the songwriting could still use a bit more work, if only because only half of the songs were playing repeatedly in my head hours after listening to the album.  That's no slight, either; most bands are lucky if they get 1 or 2 tracks that you remember after spinning the album.  My only production gripe is that the cymbals sometimes sound a bit muffled in the mix.  I noticed this mostly sitting at my desk at work playing this CD over and over, but even listening via headphones, I felt like cymbal crashes especially sounded a touch weak.  As I mentioned before, Sarah should try and diversify her vocal approach a bit, and keep pushing her instrument to achieve the most from it.  Those 2 elements, along with her perhaps a talented permanent bassist, would help this Pennsylvania collective rise to the top of the female-fronted prog/power metal heap.  For now, I'd say this is recommended to all fans of progressive power metal looking for a good album to sink their teeth into.  Inner Wound Recordings was smart to snap this band up - they should have a bright future ahead of them.

82/100

Voyager - V (2014)

Progressive Metal has become a crowded field.  In order to stand out, you really have to do something special, unique, or just be so insanely talented that people sit and listen to your album with their jaw on the floor, much like most of us did when Dream Theater first hit the scene and were wowing us with their level of playing talent.  Now that they've spawned a generation of copycats and gone toward a sound increasingly concerned with solos and individual playing, but have forsaken actually writing great songs about 50% of the time, other bands have more opportunity to showcase their talents and get noticed.  While Voyager has been releasing albums since 2003, I've only become aware of them recently, and "V" is my first exposure to their sound.

Upon first listen, I was taken aback at how much I felt their sound was at once unique and also quite familiar.  They remind me of some other recent semi-progressive bands playing a vaguely modern hard rock/metal sound with a unique vocal approach.  LA's Clandestine comes to mind, especially since their single "Disappear In You" has a similar hard-hitting yet melodic approach that opening track "Hyperventilate" has.  If you can imagine Orphan Project making an album immediately after listening to a couple Halcyon Way albums, that might give you a small idea of what this sounds like, but only hints at what you can expect on this record.  Their sound isn't that far removed from the likes of Souljorners or Ascension Theory either, though with a focus on songwriting and pop sensibility, perhaps a bit like Mehida.  One-time Canadian outfit Asher is another audio touchstone.  If you like progressive metal of the highly melodic and subtle variety, you're in for a treat.

It must be said immediately that this record sounds very "clean".  Those who like some level of grit, grime, and dirt in their metal will find almost none of that here, save for the distortion in the guitar tone, which is bassy and heavy.  Even so, the heavy, distorted guitar lines still sound "clean", in that they're processed and produced to get the sound and tone without any aural artifacts.  Don't think that diminishes the heaviness factor, because it doesn't.  The riffs sound meaty, and the solos have some bite to them when need be, and a real smooth feel to them at other times.  There's a fair bit of clean guitar work present, and it often creates a good balance between achieving a melodic center to the song and providing the listener something they can sink their teeth into before ramping up the heavy and knocking them around a bit.  The solo work also has a balance between complex runs and licks, and melodic lines that make them more memorable and tuneful.  I'm not sure who does more soloing, Scott or Simone, but hats off to whomever takes the reigns on that front, because the solos on this record are interesting and highly listenable.  Alex's bass work is good throughout, though he doesn't often get the opportunity to shine like some prog bassists do.  And drumming by Mark Boeijin is quite good, with a lot of niceties here and there, and it sounds like he gives the drums a solid pounding.  The bass drum sound is also nicely up front, with that satisfying thump you expect out of a modern sounding record.  Keyboards aren't overdone, and there are some songs where they aren't included at all, but used as an accent in some areas, and a focal point in others (especially the piano work in "Summer Always Comes Again") they work really well and are an integral part of the sound of "V".

I can't describe Daniel Estrin's voice without first stating that it's just so stinking smooth.  A lot of vocalists have an ability to transition seamlessly from gritty, gravelly vocals to a "smooth as butter" kind of sound, but the latter is Daniel's default setting.  There are a couple moments where his voice gets just slightly raspy, but on the whole, his performance is really even.  That doesn't diminish the emotional impact, either, because he has a nice sense of when he needs to be loud and frantic, and when things should get quiet and be a bit more plaintive.  He has a real nice tone to his voice, and his annunciation and phrasing have a bit of a unique feel to them.  Per the press kit, Chino Moreno of the Deftones likened Daniel's voice to that of Simon Lebon from Duran Duran, and I can hear a resemblance and similarity in the richness of their voices, though I'd say Daniel's voice has a richer, "thicker" tone to it.  All in all, this guy can sing and sing well, and I thoroughly enjoyed his performance throughout the record.  I also really liked in "A Beautiful Mistake" where guest vocalist Zemyna Kuliukas and Daniel were layered together harmonizing, because they really fit with the pop-infused progressive metal vibe on this CD.  Whoever she is, her voice is lovely and needs to be heard by more people.  I also enjoyed the occasional light sprinkling of mid-range growls, because they add just another minor ingredient to the mix.

I was pleasantly surprised by the album, and frankly, quite shocked that I'd only heard of the band before and hadn't heard their music.  Having gone back and listened to the previous 2 releases to get a frame of reference, I can safely say this is the best of at least the last 3 albums, and if the band continues in this vein of a hyper-melodic, pop-tinted semi-progressive metal sound, I see great things ahead.  Both singles thus far (opener "Hyperventilating" and "Breaking Down") exemplify the core sound of the band, and represent the album well, but only tell a small portion of the story that is "V".  I probably listened to this album 40 or 50 times in preparation for this review, and was honestly dreading writing the review.  Not only can I not put into words how excellent this slab of music truly is, but it also means having to move on and listen to other, likely less worthy music for a while until the next truly awesome album comes my way.  Until then, I'll have to pull this one out again on occasion, because the songs have been stuck in my head for weeks.  Highly recommended, if not downright essential.

90/100

Silent Voices - Reveal the Change (2013)

There are many fields of music that are overcrowded, due to years of a particular style or genre gaining popularity and then seeing a glut of bands enter the market playing that same style.  Some fans can't get enough of a certain style or genre, and will buy up nearly everything of that style they can get their hands on.  But aside from that small, core group of fans, bands that enter crowded markets really need to do something to separate themselves from the other groups of that genre to really stand out and make an impact.  That, or they need to combine familiar elements in a unique or interesting way that warrants more than a cursory listen.  To my ears, Silent Voices is doing the latter, with positive effect.

Being unfamiliar with Silent Voices prior to hearing this record, I wasn't sure what to expect, other than some vaguely progressive metal.  In fact, based on the cover art alone, I figured it would be a middle-of-the-road combination of progressive hard rock with a few solos littered about, and just enough grit in the guitar to call it metal.  I was pleasantly surprised, then, that I was only right to an extent of roughly 20%.  Yes, there is some material here that touches on the progressive hard rock spectrum, but I would argue that the overwhelming majority of stuff here is squarely on the metal side of the fence, and the other touches give the sound a bit of an expansive feel beyond the basic tenets of the sound & framework.  How they mix in the various elements of their sound is what gives the album validity.

The instruments on this album are all well produced and have decent separation w/in the sound.  Guitars sound good overall, and have plenty of weight with the lower chords, so riffing is often fairly heavy sounding.  I would assume the guitars are overdubbed in many places, given that this is a one-guitar band courtesy of Timo Kauppinen.  I like the guitar sound and how it shifts seamlessly between the heavier, low-end riffing and the higher scale runs and solos.  Not all guitar tones can move from one to the other without one sounding weak, or giving up some level of heaviness for clarity, so I think this is a good compromise.  I like how as a soloist, Timo swings back and forth effortlessly between highly melodic playing and absolute shredding.  It provides another nice contrast in the sound.  Bass guitar has a nice meaty feel to it, with a lot of low-end and providing not only the necessary thump under the guitar, but also having enough definition in the mix to be a vital part of what's going on.  Bass playing by Pasi Kauppinen is more than solid, and is a good example of how bass can be done right in metal so it's not buried in the mix, but up front enough to really do its job fully.  Henrik Klingenberg provides the keyboard work for the band, and I consider it quite superb.  He exists in that space between the tasteful Kevin Moore style, and the more all-out style of someone like Jordan Rudess.  He can help keep the melody buoyant when necessary, and go nuts with runs, solos, and effects when the song calls for it.  Drumming by original skinsman Jukka-Pekka Koivisto (apparently no longer with the band) is well done and has some nice juxtaposition within some of the songs between fast, double-bass propelled rhythms, and more syncopated, thought-out pieces.  Here's hoping newcomer Jani Hurula does the material justice in the live setting.

Vocally, the album is a mix of folks following the departure of original vocalist Michael Henneken.  In the vocal slot, there is Mats Levén, Tony Kakko (Sonata Arctica), Mike Vescera (Obsession), and Mike DiMeo, along with newcomer Teemu Koskela (who is apparently now a full member).  There's plenty of variety, and the range of voices work well over the course of the album without sounding too disjointed.  I'd be curious to hear how Teemu pulls this stuff off in a live setting, though with Pasi and Henrik likely dedicated most of their time to Sonata Arctica, who knows how much this stuff will get played live.  Specific to the album, however, everyone sounds pretty on-point from a vocal perspective.  I think the vocalists that were chosen for each song were also chosen wisely, because the songs all sound as though they fit the vocalist singing in that track.

One thing I like here is that while the band is clearly influenced by Dream Theater, they're not aping the sound.  To me, it sounds like a power metal-influenced version of what might be the meeting point between the overly complex progressive metal sound of Dream Theater, and the more subdued, lightly progressive sound of, say, Orphan Project.  Both bands are progressive in their own way, but at different extremes in the genre.  Silent Voices exist somewhere in the middle, and it works well for them.  The songs aren't overly memorable, which is a bit of a detriment, but they're not throw-away filler, either.  They do well enough to keep your attention while they're playing, but you won't have these tracks running through your head for weeks after you listen to them.  They're solid compositions that play to the band's strengths, but don't quite reach the level of stronger songwriting that would propel the album to instant classic status.  To sum up: Silent Voices doesn't bring anything new to the table, but they certainly do what they do well enough to justify checking them out at this point.  I can't speak for their back catalog, but this album is recommended to prog and power metal fans who enjoy both styles and enjoy the middle ground between the two.

80/100

Deliverance - Hear What I Say! (2013)

Bands break up all the time.  Some burn out from touring, some have inter-personal conflicts and can't sustain friendships enough to maintain the band, some just get tired of doing "the band thing".  Some bands break up because the style of music they've been playing has fallen out of favor, and rather than dragging fans through a shift to something they might not be on board for, they change the name or break up and reform under a different moniker.  Other times, the motivation for carrying on just isn't there, and artistic integrity demands that a stopping point be chosen.  Whatever the case may be, we're all human, and we can't carry on making music forever.

When a band decides not to change the name as a stylistic change is afoot, sometimes fans feel slighted.  Anyone making music, unless it's absolutely devoid of artistic pursuit or merit, has to be satisfied, at some level, with the art they've created, or it becomes a hollow pursuit.  When the artist chooses to do what feels right from an artistic perspective rather than perpetuate the machine that may please fans more, there's usually a backlash.  Such is the case with Deliverance, forever in the shadow of the 1st 2 albums they recorded, their eponymous debut and "Weapons Of Our Warfare", a high watermark of tuneful thrash/speed metal and a fan favorite.  When band leader and chief songwriter Jimmy P. Brown II decided to begin moving away from that style and guitarist George Ochoa wasn't keen on doing so, the resulting 3rd album "What a Joke" demonstrated that artistic conflict doesn't always make great records like it did with The Beatles.  Once Jimmy was back at the helm 100% of the time with George's departure, he took the band in a number of different directions over the next few years, and created several excellent albums.  The entire "D" fan base wasn't on board with the move away from thrash, because let's be honest - most thrash fans are a kind of picky.

I'm of the mind that while the band's 1st 2 albums are awesome, they're not the be-all, end-all of the Deliverance musical canon.  I happen to quite like some of their non-thrash material as much as those 1st 2 records.  In particular, "River Disturbance" and "Camelot in Smithereens" are both top-shelf albums that any band should be proud of.  I never felt like a full-on return to a thrash metal sound was warranted, and I believe the band proved me right with 2007's "As Above, So Below".  Granted, it was as much a groove metal album as it was thrash, but it didn't sound as vital as it should have, had largely forgettable riffs, and just didn't grab me the way much of their discography had.  I had the same experience with the band's "Learn" album, though repeated listens has given me a much greater appreciation of that record.  I still don't have much to say about AASB, because it still doesn't do much for me.  Now that "Hear What I Say!" is out, and is reportedly the band's last album (again), does it fare any better?  I'll answer that with a resounding "YES!" this time around.

Where the previous album was hampered by largely forgettable songs, this album is far tighter and more interesting, in part because Jimmy and company aren't attempting a halfhearted recapture of the "glory days" of thrash .  Instead, they wisely choose to provide a sort of stylistic retrospective of the Deliverance catalog via a new set of songs.  This works pretty well since the tracks are interesting, the production is much improved, and the whole thing just feels like a concerted effort to make a good album.  The album is a bit slight in terms of content, since you have an intro track that segues into 1 of only 7 new original songs, followed by a cover of Iron Maiden's "Where Eagles Dare", and "Entgiftung", which is a German-language version of "Detox".  Despite the somewhat slim pickings here, it still has enough meat on the bones to satisfy.

The guitar sound is improved here over "As Above, So Below".  Not so much because it's heavier (it's not), but because it has a crisper feel to it.  The production helps that somewhat, but both Jimmy and Mike have a guitar sound that is just tighter and snappier than before.  I think it hearkens back to an earlier time for the band, and that's a good thing, because the production of AASB was just a bit heavy-handed, with its 90's groove metal sound and wall of sound bass.  I'm all for a heavier sound, but when it doesn't enhance the songs or make them sound better, it falls into the "more is just more" category.  I'm happy to report that both Jimmy and Mike sound great here, with a meaty tone that doesn't sacrifice clarity or definition.  In addition, the guitar solos here have a nice wail and bite to them, where they appear.  Acoustic & clean guitars sound great, too, in the songs they're utilized, with that hint of reverb that helps them ring out a bit.  Bass is provided again by long-time Deliverance bass guitarist Manny Morales, who has played on more "D" studio albums than any previous bassist.  It's only fitting that he would play on the final album.  His bass guitar is loud and clear this time around, and is nicely placed in the mix where it provides both an audible companion to the guitar and drums, but also provides necessary weight to the sound.  Drumming on this final album is provided by none other than renowned skins man Jayson Sherlock, who many will know from his time in Mortification, Paramaecium (and later InExordium), as well as his prog metal band Altera Enigma and one-off black metal band Horde.  While it would have been cool to have Jeff Mason behind the kit again to echo the Deliverance power trio days, Jayson's drumming here is powerful, dynamic, and spot on for what this album needed to really take it to the next level.

Vocally, Jimmy sounds as good as ever, and in my opinion, a bit more focused and on-point than he was on AASB.  Jimmy's David Bowie-esque wail has become a signature of his style since he really started singing, and he uses that to great effect here, but there is a bit of variety as well with some shouted vocals, a bit of grit now and again, and a nice rapid delivery vocal in "Angst" that has a bit of a "tunnel" effect on it.  Anyone who has been listening to Deliverance for years knows that Jimmy isn't the world's best singer, but he uses his voice as effectively as he is able to get the lyrics out there, and that's what you get here.  The slower passages and more mid-tempo bits have the best vocal work, as is par for the course with Deliverance material, and in some of those sections he sounds really well honed.  He does some nice dual-layer/multi-octave vocals like in "Hope Lies Beyond", and of course the chorus of "Detox" where there's the mid-range vocal for the melody, and a bass vocal underneath.

In terms of the songs, the new material here is stronger than that of AASB.  Firstly, the intro track ties into the album nicely, giving a hint of the main riff in "The Annals of Subterfuge".  There's no 11-minute aimless instrumental, no tracks that go on longer than they ought to, and really no filler to speak of.  This is a lean album, clocking in at just over 41 minutes.  "The Annals of Subterfuge" destroys any of the thrashier or speedier tracks on AASB, and "Angst" pretty well trounces the previous album's material as well.  Beyond those 1st 2 major songs, you get a lot of variety in a short time.  "Hope Lies Beyond" is a lot of atmosphere with a little riff, and "Detox" is a major groove-fest with a heavy riff and catchy chorus.  "Nude" is a mid-tempo song that echoes the band's more progressive outings with its vocal layering, interesting riff, and different melodic structure.  "Pass" returns to a bit more of the groove metal sound, but with a melodic riff and more interesting presentation than most groove metal can hope to boast.  Rounding out the new songs is "A Perfect Sky", which echoes the balladry on "Camelot in Smithereens" somewhat, with its somber yet buoyant melody, gentle acoustic guitar and spirited vocal from Jimmy.  The cover of "Where Eagles Dare" sounds good, with its chunky guitar, Jayson giving Nicko a run for his money, and Jimmy straining a bit to hit a handful of the notes.  He really does have a bit of that Bruce Dickinson vibe to his voice, and it's a wonder Deliverance hasn't done a Maiden cover before.  And of course the German-language version of "Detox", "Entgiftung" is fun to listen to, especially if you don't speak German, because it's interesting to hear the lyrics of the song delivered in a different language.

If you're going to go out with a bang that leaves fans mostly satisfied but still wanting more, this is the way to do it.  You're not giving them so much material to chew on that they'll be analyzing the album for years to come, but enough that they don't feel slighted that you ended on such an abrupt note.  This 40+ minutes of music is just about right because it gives that retrospective look at the career with quality songs, doesn't overstay its welcome, and encourages repeat listens through memorable melodies, excellent production, and great performances.  Though it's sad to see a band go when their music has been a steady companion for so long, it's nice to see it happen on the band's terms, and to go out on a high note like this.  I would recommend this to all fans of Deliverance, and especially those who like the bulk of the band's catalog.  Anyone else who is open minded where their metal is concerned would do well to look into the album as well.

87/100

Theocracy - Theocracy re-issue (2013)

Anyone who has read through a number of posts on this blog over the last few years knows I'm a big Theocracy fan.  Their last 2 albums, "As the World Bleeds" and "Mirror of Souls" are both excellent examples of progressive power metal, and I own both the CD and vinyl issues of both, as well as the 7" vinyl release for the "Wages of Sin" single.  Needless to say, I'm a fan.  That wasn't always the case, however, as I didn't discover them right away when Matt Smith debuted the project a decade ago.  And after I did listen to samples online and heard some of the material, I wasn't immediately taken with it like some were.  I bought the debut, listened to it and shelved it, having been somewhat unsatisfied with Matt's vocal performance and the lack of overly memorable material.  2008's "Mirror of Souls" was a completely different story, as it hit me hard when it came out, and was exactly what I wanted to hear.

Now that Matt and company have established themselves as one of the front runners of the power/prog scene in the US and abroad, Ulterium records has seen fit to re-issue the debut and give it a bit of a proper release.  On the original, the mix was a bit weak, and didn't give the material enough weight.  In addition, Matt used a drum machine for all the drum parts, which didn't really bother me, but compared with what followed, it sounded quite out of place.  This re-issue seeks to fix that by doing 3 things.  First, drummer Shawn Benson re-recorded the drum tracks so the album could have proper drums.  Second, the whole thing has been remixed so that the instruments sound better alongside and in conjunction with one another.  And third, the remaster has given the whole thing a more "full" and "big" sound compared to the original.

For those who were fans of the original, this is going to be a treat.  There are albums that are "remastered" and re-issued to cash in on fan fervor, but often those fall into the "make it louder" category where no real tidying takes place, only volume levels are adjusted.  Some remix/remaster projects legitimately improve the release on multiple levels, and I believe this is a good example of what a little TLC can do to really improve upon something without taking away from what the original was or was trying to accomplish.  When listening to the original and this re-issue back to back, I immediately noticed how much cleaner the mix was in this new version, and you notice a lot of background flourishes, like acoustic guitars, symphonic bits, and keyboard backgrounds that you may not have heard before unless you cranked it up full blast.  In addition, though Matt's vocals are still the original recordings, they sound a lot more like the Matt Smith that Theocracy fans have come to enjoy.

The guitars don't crunch as much as latter Theocracy material, but there's a lot going on here, as the album is a bit more layered because it was just Matt writing, recording, and performing everything on his own, so he could afford to go all out.  Bass guitar is present, but still not very noticeable in the mix, so aside from the low rumble you hear under the guitar and keyboards, you don't get much of that coming through outside of parts where there is no guitar (like during an early portion of "Twist of Fate").  There is a lot of keyboard work on the album, which is more prominent than the 2 albums that followed, and Matt makes good use of the instrument here.  There are a lot of keyboard layers going on, and he makes use of all kinds of effects like bells, a harpsichord sound, and various other symphonic instrument sounds to try and flesh out the sound of the record.  And of course Shawn's drumming on the album is far superior to the original drum machine parts, and makes the album sound so much more vital than it did in its original incarnation.

I'm going to be in the minority here and say that I don't think this is Matt's best work for a number of reasons.  Matt was still developing as a vocalist here, and there are spots where he doesn't show as much control over his vocals as he came to demonstrate on this album's follow-up.  The songs all sound great to me, and the melodies are nice, but I don't feel as though they're quite as catchy or memorable as those on either of the next 2 records.  I liken it to the "Wages of Sin" single - that is a good song, but I understand why it was left off "Mirror of Souls" because it's not as memorable as any of the songs on the album and may have come across as merely filler.  The guitars don't have the authority or presence they ought to, and that takes away slightly from the power the record should have based on the style and sound of the music.  Not to say they don't sound good, but when I crank this album up loud compared with the other 2, it just doesn't hit me as hard.  Even with the remix/remaster, which sounds a lot better than the original, I feel as though the mix is still the tiniest bit claustrophobic at times, in that there are bits that should have a bit more separation.  I know I'm nitpicking here, but Matt set the bar pretty high with "Mirror of Souls" and this re-release still hasn't met that, even though it's still exceedingly good.

Ultimately, fans of Theocracy like myself are going to want to have this in their collection, especially those who missed out on the original CD release and aren't willing to pay a premium on eBay for the original release.  I would say that's a smart move, because this just sounds so much better than the original version.  Folks just discovering Theocracy would do well to wait on this and give either of the band's other 2 albums a listen first, as I feel those records better represent what Theocracy has become as a full band effort.  There's no denying that 10 years on, however, this is still a powerful album that deserves much of the praise lauded upon it.  I just don't personally feel that it's the absolute apex of the style as some fans have tried to assert.  Your mileage may vary, but I still recommend this highly to anyone looking for a quality prog/power metal album.

85/100

Extol - Extol (2013)

Music is always evolving.  Music is ever changing.  Music doesn't sit still and rest on its laurels, because music is a constantly moving target, with a new generation of musicians coming up and making waves, writing music and distilling their influences in new and interesting ways.  Not everyone understands this, however, and some people decry a musician (or collective thereof) for changing styles, sounds, aesthetic or production values, or even minor elements that aren't to the liking of said fan or critic.  Music is, however, art, and whether or not the changes that take place are ultimately positive should not be gauged by how much fans buy a new record, but whether an artist or band sees the shift as artistically successful.

Extol is a band that has seen its fair share of complaining fans due to a shift in style or approach.  Some fans didn't like the slight shift from "Burial" to "Undeceived" from a somewhat melodic black metal focus to a more progressive death metal one, even though the stylistic differences between the albums are relatively few.  A bigger shift occurred from that record to "Synergy", a conscious move toward a highly technical thrash metal style with harsh vocals that mirrored the band Believer, one that Extol had long been known to be fans of.  Even greater change came when guitarist Ole Børud left the band in 2004 and the sound changed again to a post-hardcore influenced alternative metal sort of vibe that, though still dark and brooding, was too much a change in sound for many fans to swallow.  Less than 2 years after the album's failure to catch fire and the fan backlash surrounding the change in styles, the group went on indefinite hiatus, and the possibility of Extol regrouping became more slight with each passing year.

A glimmer of hope was offered when a teaser for a documentary about Extol (subtitled "of light and shade") appeared online, and fans began to speculate whether this was a hint that Extol was reuniting or that it was indeed just a documentary.  The latter turned out to be the case, but little did most fans know that the band had actually reformed (sans a couple members) and had begun writing new music.  Vocalist Peter Espevol, Drummer David Husvik and Guitarist Ole Børud were writing music together once again, and once word got out that a new album was in the works, Extol fans wondered if the album would be a continuation of the dark & broody post-hardcore rock/metal of "The Blueprint Dives", a return to the earlier technical melodic death metal of early albums, or perhaps somewhere in the middle, like what Ole and others did with the Mantric project.  Thankfully, the answer is none of those, and instead, we get the eponymous "Extol" album to answer the question definitely on its own merits.

I would say that, musically, this is still Melodic Death Metal in form and scope, though it sort of rides the line between what I would call melodic death metal and what I would instead constitute as either extreme progressive metal, or some hybrid of progressive and death metal styles.  There are fast double-bass sections, heavy and driving guitars, death growl vocals, and plenty of up-tempo rhythms to bang your head to, but there are more layers to this new album that make it difficult to pin down by simply calling it "melodic death metal", because that tag doesn't do the sound of this album justice.  The heaviness factor is there, but the sound is so melodic, and at times so "clean" sounding that it's almost a misnomer to call it death metal at all.  It reminds me of Monolith's 2 albums (especially "Voyager") or the lone In Grief album "Deserted Soul" because it successfully marries a very modern, heavy death metal sound with progressive structures and other elements in such a way that it's hardly death metal at all, yet there's no denying how heavy the record is.  The interplay between heavier elements and sparser bits is part of what makes the album so exciting.

In terms of instrumentation, there's no mistaking the guitar presence of Ole Børud at the helm again, and this is a good thing.  His highly melodic playing is very recognizable, and with his departure after "Synergy", it was obvious on "The Blueprint Dives" that he was absent, both due to the tone of the material, as well as the guitar sound.  While the guitars on "Extol" may not be quite as brutal as the 1st 2 albums, they come pretty close, having that sound that blends the thick and meaty tone with the clarity and precision that Extol's sound had become known for.  Ole's solos are also here in some quantity, and they're as melodic and tuneful as ever.  Bass guitar is also present in the mix and audible as much as it can be alongside the guitar, though it's pretty deep and "boomy", in that it is less recognizable as an individual element as it is backdrop.  Since Ole plays both, it makes sense that he'd want the guitar at the forefront and bass in behind a bit, and it works well here.  There are times when the bass guitar does have a bit more tuneful presentation, like in some of the more nimble passages where there are more notes being played, but often during faster sections, the bass is relegated to the back.  Drumming by David Husvik is excellent as always, incorporating necessary dynamics, and keeping the tempo where it needs to be to propel the music forward.  The drum sound here is especially good, with very clear, yet powerful drum hits and a reasonably strong snare drum sound that isn't too high pitched but remains "punchy".

Vocally, the album has 3 different styles.  Primarily, you have Peter Espevoll's mid-range growl which occasionally creeps up toward the higher pitched shriek he employed early on, and sometimes it will dip a bit lower into a more low end growl, but never so high or low that it sounds like someone else.  Ole Børud continues to provide the clean vocals as he did on the band's 1st 2 albums, and here it's a bit different approach.  He layers the vocals here multiple times, and there's a bit of a "sheen" over top of them that gives them a very modern, processed feel.  Not so much where they sound auto-tuned, but just more produced than before.  This has been a complaint from some fans about the new album, but honestly, I think it sounds great, and I'm just glad to have Ole back in fine form.  The 3rd, less often used vocal is more of a Kurt Bachman-esque throaty yell (ala Believer), which shows up in a couple tracks and is used to great effect.  Overall, the vocals on the album are well done and definitely sound like the Extol most fans are familiar with.

The thing that makes this record so listenable is just how it's all so pristine and produced.  For those that like their death metal "dirty" and "filthy" sounding, they'll need to look elsewhere, because this is nothing of the sort.  Instead, like a lot of modern death metal, this has a nice polish and shine to it, to the point where the heaviness is slightly diminished, but not so much as to make the album sound "wimpy".  Rather, it allows the full spectrum of elements to be heard clearly, so between the heavy guitar, thumping bass, crisp drums, layered vocals, and keyboards sprinkled about, everything is clear and present.  Nothing hides in the mix, which makes the whole thing sound really big and full.  The melodies are also very memorable in comparison to a lot of other bands that play a melodic death metal style.  If you're going to sacrifice grit, grime, and overall heaviness for the polished sound, make sure it's memorable, and these guys do just that.  Apart from the overly simplified melody of the instrumental track "Dawn of Redemption", this album has no shortage of sharp melodicism.

I don't really have any complaints of the album, other than I understand why some don't care for Ole's "super clean" processed vocal approach, and it would have been nice if the sound of the album could have been just a teensy bit heavier to match the heaviness factor of the 1st 2 records.  Save for those minor wish list items, this is quite possibly Extol's finest hour.  I've spun this album countless times over the last several weeks, and if I had a CD player in my car at this point, it'd still be in heavy rotation there as well.  This is one of those albums that will continue to play in my head for days after I've listened to it, and that's a sign of a well written album and batch of songs.  So while it may not be as heavy or blistering as either "Burial" or "Undeceived", I find myself going back to this album even more often than the previous works, and that's coming from a guy that has purchased much of their material as new releases.  This is a triumphant return for Extol, and I look forward to hearing what they do next, assuming this regrouping is more than just a one-off album.  Let's hope so, because this is far too good not to expound upon with future material.  Highly recommended.

90/100

Voivod - Target Earth (2013)

Bands don't often get a second chance at glory.  In fact, most bands don't even get a first shot.  They record material, get signed by a label, get a few accolades (if the music is solid), then fade into relative obscurity.  Very few bands rise above their peers to make their mark.  Voivod did just that in the late 1980's with 3 progressively (pardon the pun) more exciting albums in a row.  First was "Killing Technology", which kept the thrash aesthetic of the previous releases but added more technical, angular riffing.  Next came "Dimension Hatross", which tightened the new approach and expanded upon its predecessor.  Finally, there was "Nothingface", which took the ideas of "Dimension Hatross" and created an atmosphere all its own, combined with an excellent melodic approach that birthed what is arguably the band's best album.  So when original vocalist Denis "Snake" Belanger" left the band after 1993's "The Outer Limits" release, some thought that would be the end of Voivod.  But they emerged as a 3-piece with new bassist/vocalist Eric Forest and re-visited the more aggressive thrash days of yore, while keeping much of the sci-fi element and not forsaking the progressive elements that brought them to the front of the scene.  When "Snake" came back to the band and they put out their eponymous 2003 album 10 years after his departure, it seemed as though they were moving in the right direction.  Tragedy struck the band, however, when original guitarist Denis "Piggy" D'Amour was diagnosed (a 2nd time) with cancer, and after battling with it a few years, finally gave up the ghost in 2005.  He left his band-mates enough guitar tracks and song ideas for 2 albums worth of material, but fans once again feared the reinvigorated band would die.

Enter guitarist Dan "Chewy" Mongrain in 2008 to help the band along during a number of live shows in support of the "Katorz" and up-coming "Infini" album material to pay tribute to the band's fallen comrade.  Something happened during his time with the band, however, and he gelled with them more than I suspect any of them would have guessed.  Dan's style was modeled after Piggy's playing, and his playing fit the band like a glove.  A live album in 2009 solidified Chewy's playing as a component of a once again revitalized Voivod, and now 4 years later we have what should permanently cement Chewy as a full-fledged member of the Voivod family in the album "Target Earth", the band's first release of truly new, collaborative material since 2003's self-titled release.

There was a bit of buzz leading up the album's release, hailing it as a triumphant return to form, a return to the "classic" Voivod sound, and the best thing they'd done in years, etc.  That kind of talk gets thrown around a lot when an old band makes a new album, and it's usually just shop talk.  When the rubber meets the road, however, the old dogs don't often deliver on the promise of "returning to their roots".  Voivod, however, has recorded one of the most fulfilling and listenable albums of their career without sounding as though they're repeating themselves too much.  It's a sort of return to the "golden era" of the band's sound and style, without sounding like a rehash, also without forsaking the other material they've released.  So what you get is a decidedly heavy Voivod album that sounds a whole lot like the triumvirate of "Killing Technology" through "Nothingface" with doses of the thrash from the first 2 albums and later Eric Forest material, as well as some of the more groove-oriented stuff present from "Voivod" forward.  It's an excellent summation of the total Voivod sound.  Need more to whet your appetite?  Read on.

For me personally, as a long-time Voivod fan and proponent that "Nothingface" is the band's strongest work, what had been missing for a long time was the angular, jazz-inspired riffing that used interesting time signatures and unique (for metal, anyway) chording.  That was part of what separated Voivod from the rest of the pack, and helped put them in a league all their own.  After E-Force's tenure with Voivod ended and Snake returned to the fold, I never quite felt that they recaptured that approach.  That doesn't mean they didn't have some good riffs, because they did.  "Voivod" was a strong record, and "Katorz" had some interesting ideas, but the overall feel of Piggy's riffs didn't match the strange sci-fi atmosphere the band had created years before.  And though Jason Newstead provided solid bass work during his time with the group, it didn't match the more nimble and interesting playing of original bassist Jean-Yves "Blacky" Theriault.  So with the band back together in its original form, save for Chewy in place of Piggy, the sound has come much more full circle and recalls a more atmospheric and "spacey" feel that the band had lost somewhat in the last 15+ years.

Unlike the occasionally sparse atmosphere of "Nothingface", "Target Earth", by contrast, is far more dense and immediate.  This record is never suffocating, but the almost constantly pulsing bass and propulsive drumming of Michael "Away" Langevin provide a slightly more evenly paced affair than "Nothingface".  The guitar sound has been brought into modern times as well, recalling and touching on the sound of previous albums, but having a nice weighty tone to it.  Chewy's riffing sounds like a late 1980's Piggy with modern production, which I'm sure is what he was aiming for, and the whole band sounds hungry, as if they know they're not going to be around forever and the amount of time they have left to bring the metal is limited.  In short, Voivod sounds as if they know this is the best set of songs they've recorded in years, and they're strutting their stuff because they know they have a winner on their hands.

As I hinted at in the last paragraph, instrumentation sounds great here.  Chewy's guitar sounds a lot like Piggy did on "Nothingface" but with a bit more beef to it, and Blacky's bass has that nice rumble we've come to expect from him, just with a bit more presence due to the production.  Away sounds as good as ever behind the drums (how is he so nimble at his age?), with lots of powerful double bass drumming, snappy snare hits and fills, and crashing cymbals when need be, but his usual dynamics present when the song needs something a bit more subtle.  And Snake is in near top form here, with a good combination of his more gritty approach utilized on recent records and on the band's early material, and the more melodic singing/droning he developed in the mid-late 80's and beyond.  The production itself is spot-on as well, with good separation of instruments and giving everything just enough room to breathe without sacrificing that dense atmosphere I mentioned earlier.

With everything that they've done right, what's not to like here?  My concerns are mostly minor, honestly, so mileage may vary with others.  The final track, "Defiance" feels like a bit of a throwaway, because it's basically a 1-minute instrumental intro, followed by the start of something that fades out shortly after, resulting in a minute-and-a-half track that closes out the album fairly clumsily.  My only suspicion is that Voivod is "pulling a Marvel", essentially giving us a hint of how the next album is going to start by giving us a taste at the end of the current release.  Be that as it may, it's still a bit distracting after an album of such great material.  The cover art has also been a source of frustration for many fans.  Away has done all the Voivod art over the years, and while it hasn't always been top-shelf ("Phobos" or "Kronik" come to mind), this feels quite amateurish.  My final gripe is far more personal, in that, I wish Snake utilized a bit more of the melodic approach to his vocals than the grittier voice, but the heavier nature of the material on the record suited the grittier approach throughout much of the album, so that's simply a preferential thing for me as a fan of his voice.

All in all, this is a very strong record, and indeed, statement from Voivod that they're not going to just go away now that Piggy is no more.  Piggy's memory lives on in the minds of fans like myself, and Voivod has done him proud by making a record worthy of his legacy.  Chewy should be awful proud of himself for striking that balance between aping Piggy and providing his own take on the Voivod sound.  "Target Earth" is a clear victory for the band, and it's my hope that enough fans took notice of this album that the members of Voivod are invigorated and energized so they can go back and write more material for us.  If "Target Earth" is any indication of the caliber of material we can expect from them in the future, we're in for a treat.  If it wasn't already evident, let me be perfectly clear.  Voivod is back, and are here to stay.

92/100

Signum Regis - Exodus (2013)

Whether you believe in the Bible or not, or put any stock in the historical accounts it contains, it's an interesting book filled with many stories that have captivated people for centuries.  Among the more famous and interesting is the Exodus of the Israelites from Egypt, with the familiar story of people in slavery to Pharaoh Ramses, and the various miracles performed by God via Moses, the humble Hebrew who grew up in the lap of luxury with the Egyptian Pharaoh, having been found by Pharaoh's wife and raised as his own son.  Upon receiving a revelation from God, however, Moses rejects his life with Egypt to go back to his Hebrew people and culture.  God then calls Moses to the task of forcing Pharaoh's hand to free the Israelites from slavery, only to confront his former "brother" Ramses and continue to beg for freedom as God ravaged the Egyptian land and people with several plagues designed to coerce Ramses into relenting, and allowing the Israelites to come out of bondage.

Various parts of the Exodus have been fodder for metal lyrics in the past, most notably Metallica's "Creeping Death", an interpretation of the final of the 10 plagues; the plague involving painting the door frames of each house with lamb's blood to avoid the angel of death claiming the life of the firstborn son of each household.  Their excellent one-off track notwithstanding, the only other example of a full concept album involving the Israelite Exodus I'm familiar with is the debut of Amaseffer, a band actually from Israel and steeped in the stories of the Exodus from a cultural perspective.  Their album, "Exodus - Slaves For Life" is purportedly the first in a trilogy of albums about Moses' life, the Exodus of the Israelites, and their entry into the Promised Land.  Having released the album in 2008, however, there has been no follow-up, and I'm beginning to wonder if chapter 2 (currently titled "When the Lions Leave Their Den") is ever coming out.

In the meantime, bass guitarist and band leader Ronnie König (also of heavy/prog metallers Vindex and power metal band Symphonity) has put together the 3rd album under the Signum Regis moniker and has decided to employ several guest vocalists to give the album range and breadth for telling the tale of Moses and the Exodus.  Given the scope of Moses' story that Amaseffer is tackling with their trilogy, it was wise of Ronnie to focus more specifically on the key parts of the story - Moses' call from God and subsequent mission, the struggle for freedom from slavery, the demand to Pharaoh, the exodus and escape from Egypt, and the resulting freedom and life outside of the clutches of Egyptian tyranny.  What is evident from the opening guitar chords of "Enslaved" is that this will be a much different journey than what Amaseffer presents.  Namely, rather than a lengthy progressive metal epic told with a lot of Hebrew language and cultural reference, this will be a succinct power/progressive metal album with a more straightforward retelling of the story.

I'm not familiar with Signum Regis' material prior to this release, but if this album's quality is any indication, it may well be worth looking into.  The use of multiple vocalists is always a gamble, as sometimes it works brilliantly, and sometimes it falls flat.  Here, I'm happy to report that the tactic works pretty well, for the most part.  The songs all have a bit of a different feel, and each vocalist brings a certain tone and feel to their respective track(s), which helps give the album a lot more diversity and makes for an interesting listen.  Had the album been full of more high-profile vocalists, I think the focus would have been too much on those voices, and not on the whole package, so drafting the talent he did was a smart move from Ronnie.  It also means that the sound varies a bit from track to track, with some tracks asserting a more aggressive, heavy style, while some have a bit more sheen and come off as purposefully more epic in sound.  As for the selection of vocalists themselves, they all add something to the album and all fit well within the framework.

As mentioned before, the guitar sound varies somewhat on the album, from the heavier, chunky riffing in "Let Us Go!" to the slightly more restrained tone in a track like "Song of Deliverance".  Guitar work by Filip Koluš and Ado Kaláber is generally excellent throughout, with a handful of solos really shining (like the bendy, effects-laden solo in "Wrath of Pharaoh").  The riffing is more interesting here than in your typical substandard power metal fare, with some interesting riff work that twists about in places, and is more than just power chords strummed fast and furiously.  If you hadn't already heard their work in Vindex, there's no doubt these gents have chops and technique to spare.  Keyboards are provided by Ján Tupý, also of Vindex, and for the most part, they're quite subtle, content to keep the background to provide atmospherics, though he occasionally gets to break free from the scenery and add flourishes here and there that make them more than just wallflowers.  Bass guitar is, of course, handled by Ronnie, and he does a good job propelling the tunes, with his bass in the mix where it's audible and able to be part of the proceedings.  Ronnie doesn't show off too much, and often keeps time with the guitar lines, but occasionally (like in "Last Days of Egypt") he gets to provide the bulk of the rhythm while the guitars go off into whiz-bang mode.  Drumming is courtesy of fellow Vindex alum Jaro Jančula, and is handled solidly.  As with his work in Vindex, he does a good job of providing what the song needs and not getting in the way.  He keeps time well and blends nicely with the group.  His drum sound here is good as well, having a nice combination of well produced, yet still sounding organic.  The drums have some oomph to them as well, so they don't sound overly "clicky" or hollow.

Vocally, the album is quite strong with all the various singers on here.  In the list of vocalists that lend their talents are existing Signum Regis vocalist Göran Edman, Matt Smith of Theocracy, Michael Vescera (Obsession), Lance King (you name it, he's sung for them), Daisa Muhnoz (Vandroya & Soulspell), along with Eli Prinsen (Sacred Warrior, The Sacrificed), Samuel Nyman (Manimal), Thomas Winkler (Gloryhammer & Emerald, neither of which I'm familiar), and Mayo Petranin.  The only vocalists from the list I have real familiarity with are Daisa, Matt Smith, and Eli Prinsen, so I can only guess who sings on the other tracks, but all vocalists sound good on their respective songs and bring a nice blend to the sound.  As for the lyrics, they convey the story of the Exodus from both a personal perspective, as well as simply a storytelling bent, so it's nice to get things from both angles.  The production here is good, as the instrumentation has enough separation so you can hear what's going on with each instrument, though I will say due to the number of sessions it took to record this album, there are some songs that have slightly less polish to the final product, and others that sound as though time was spent sanding off the rough edges to give it that butter-smooth feel like latter day Blind Guardian, where the heaviness is slightly diminished by how shiny it all is.  It's not overly distracting, but still noticeable.

At the end of the day, this is a quality album that will please fans of power metal and especially those who like these kinds of collaborations, because it allows the vocalists to do their thing in their own way.  One almost wonders if the songs were written with some of these specific vocalists in mind, because they come off sounding as though they were designed for a certain vocalist's talents or approach.  Specifically, "Wrath of Pharaoh", "The Ten Plagues", "Song Of Deliverance", and "Sole Survivor" all sound as if they were tailor-made with the vocalist in mind, because they blend so well into those settings.  I'd say too well, in the case of Matt Smith, as his performance sounds just a bit more restrained than he normally is with Theocracy.  "Mountain of God" being the bonus track is a bit strange, as it fits in with the theme (Moses on the mountain receiving the ten commandments), but this is a small thing.  The melodies on the album may not be quite as memorable as I'd like, but the enthusiastic performances, quality playing, and overall great sound partially make up for that.  I'd recommend this for fans of power metal who like more than just speedy, double-bass ridden fodder, and especially to enthusiasts of history and Hebrew culture, and metal fans in general looking for something a bit outside their comfort zone.

80/100

Vandroya - One (2012)

Female-fronted bands have become a "thing", in that they have become quite trendy over the last few years.  With high-profile groups like Evanescence, In This Moment, The Agonist, Lacuna Coil and others in the mainstream, there's no shortage of bands with female lead singers.  In the metal realm it's even more pervasive, with a large number of "gothic rock" or "gothic metal" bands having women as lead singers.  Several bands led the charge in the 1990's, including Nightwish, Lacuna Coil, and The Gathering, and with the combined success of those acts, many more groups started coming out of the woodwork.  Today, the market has been considered by metal fans to have been flooded with such bands, especially in the "gothic metal" scene.  Another growing area has been female-fronted power and progressive metal bands, and that's where Vandroya comes in.

Hailing from Brazil, this quintet has been around a few years, having released a demo in 2005, but only at the end of 2012 have we seen the band's debut album, "One".  Right out of the gate the band impresses with a nice logo, cool cover art (Felipe Machado), and a professional production courtesy of guitarist Marco Lambert and Heros Trench.  The addition of vocalist Daísa Munhoz to the band has made this a band to watch, not just because she is a woman vocalist in a metal band, but because her strong voice and ability makes this more than just "yet another female-fronted band".  Daísa has a natural ability that lends itself nicely to the band's style and material, and it will be interesting to see where they develop from here.

Instrumentally, this is quite competent.  Guitarists Marco Lambert and Rodolfo Pagotto have a solid grasp on melodicism, soloing without it becoming just speedy notes playing over a background, and a good overall sense of song construction.  The guitar sound is appropriate for this amalgamation of traditional heavy metal, power metal, and bits here and there where the music drifts slightly into progressive metal territory.  This approach keeps things interesting, because they don't really exist in any of those spaces entirely, but vacillate between them, which I think they do reasonably well.  It might feel to some as if the band doesn't entirely have an identity yet, but I think it suits them.  Bass by Gee Perlati is solid, never going for flashy runs, but sort of galloping along with the proceedings when speed is the order of the day, and rumbling in the mix when things slow down.  Gee's not doing anything you haven't heard before, but it's solid nonetheless.  Drum work by Otávio Nuñez is fairly good, with interesting bits here and there, nicely timed rolls and solid double-bass playing.  There are times that he reminds me just a bit of Murilo Marc from fellow Brazilian metallers Menahem, with well executed transitions and little pauses here and there to add effect.  There are also some nice keyboard and piano bits here and there, and little flourishes that give the album a bit more depth than just standard metal, which is nice to hear, particularly in "Within Shadows" when the song breaks down nearly halfway through for a minor piano diversion.

Daísa Munhoz has a good voice that is well utilized across this album.  She has a bit of Doro in her approach, in that she brings a bit of drama as well as including a bit of grit in the vocals here and there for some added aggression.  She can really sing, though, and I think she just might be one of the strongest female voices in metal from Brazil.  Of course, the spots where her vocals are double-tracked help that along, but it's apparent during verse sections where she's belting it out, or during slower, more mellow passages when her voice is more subtly applied.  Daísa has talent and she uses it well on the record.  She does kind of overuse certain tropes, i.e. specific wavering voice inflection or short vocal "runs" to highlight the end of a line in a verse or chorus, but that's a forgivable scenario considering the strength of her performance on this debut album.

Ultimately, the album is solid and quite listenable, but fails to catch fire as much as the band would like because the songs themselves aren't quite as distinctive as one would hope.  That's not so much a criticism as it is an observation of the band just getting started and still needing to find their voice.  Using "One" as an album title is either a lazy move, or somewhat pretentious, in that, despite the overall quality of the material, it's not good enough to title the album based simply on a number rather than choosing a title track.  The biggest flaw here is that the catchiest bits are the choruses when Daísa is belting out the notes over melodies that are somewhat memorable.  The rest of the material, while well played and having solid riffing, just doesn't stand out quite enough to stick in my head after I'm done listening.  For heavy metal and power metal in particular, this catchiness is a key element, and the band isn't quite there yet.  In a sea of quality power metal, Vandroya is still a small fish needing to soak in more influences and take more time to develop their songwriting before they'll have a real opus.  As it stands, however, "One" is a good listen and a solid way to start their career, showing that they have the talent and potential to go places if they take the time to develop their songwriting a bit more.  I will give this a tentative recommendation to those seeking quality female-fronted metal, or just looking for something new.  I enjoy listening to this, but I recognize the shortcomings for what they are.  I'd say this is a "try before you buy" release.

70/100

Deserted Island 500 - "Screams and Whispers" by Anacrusis

For the inaugural post in my "Deserted Island 500" series, I'll pick an album that has been unfairly marginalized by the metal faithful.  My favorite style of metal (by a small margin) is thrash metal, and my tastes often draw the ire of fellow thrashers because I tend to lean toward the more technical and progressive side of thrash versus the more straight-ahead aggressive thrash of Slayer and the Germanic bands (Destruction, Kreator, Sodom, etc).  I also quite like the Bay Area sound, as evidenced by my love for early Metallica, Megadeth, Testament, etc.  But in general, my favorite thrash bands take the basic constructs of the style (speed, aggression, razor-sharp riffs, energy) and inject them with a healthy dose of robust musicianship and musical adeptness.  I like it when thrash metal is more than just loads of energy and great guitar playing, and when they take it to the next level and make it into something even more.

Anacrusis, who hailed from St. Louis, Missouri, was a band that made a successful transition from the aggressive, no-holds-barred thrash of their early days to a much more technical, progressive, and intricate sound at the end of their short lifespan as a band.  Their debut, "Suffering Hour" was an intense affair, treading the same sonic waters as other thrash bands of the day, putting as much aggression and energy into the mix as possible, still retaining the melody and catchiness of the NWOBHM movement thrash was heavily influenced by.  While thrash purists often cite it or its follow-up "Reason" as the band's better output, some laud the more progressive 3rd album "Manic Impressions" as the peak.  While I like "Manic Impressions" a fair bit, I tend to think their final opus to be their best work.  This is due to the variety present and stylistic exploration while still keeping that razor-like guitar tone and the essential components of thrash metal as part of the overall construct.  Kenn Nardi's vocals have improved, his singing ability having been honed over 5 years of touring and recording, as well as his trademark screeching having become quite precise and piercing to nicely compliment his improved singing ability.

Part of what I love so much about this album is the guitar tone.  It retains that "icy" tone and texture of "Manic Impressions", but is crunchier in some ways, and has a more piercing quality to it that really compliments the songs well.  In addition, the clean guitar passages are just as haunting as the heavy passages because of the rhythms and riffs used, and the stark production fits this to a tee.  Drum work by Paul Miles is a high point, as I feel like his playing is spot-on for the material, and he never overdoes it, but always adds the right extra textures when needed.  I like the songwriting here best, because I think it represents Kenn's writing abilities so well, and offers what is probably the most memorable set of material he ever wrote under the Anacrusis banner.  Each song has at least one major hook, and these tracks and riffs get stuck in my head long after the music stops playing.  I can't say that about the band's other 3 albums, but this one release certainly stays with me far more than most any other under the "progressive thrash metal" label.  Lyrically, Kenn strikes a chord as well with his anthems of discontentment and disillusionment - we've all felt disconnected from society, loved ones, and life in general once in a while, right?  Those elements, coupled with the pristine production that compliments the songs and the recording just makes for what I consider to be a near-perfect package.

While there's no such thing as a 'perfect' album or release, this comes fairly close to what I would consider perfection based on the style, context, production, songwriting, and overall construction of the material.  I don't spin this constantly, in part because the material is best when it's had time to "breathe" a bit between listens, but every time I do spin this one, it is always affecting and jarring in its delivery.  That's one of the highest compliments I can pay to an album, really.  There are other albums I listen to very frequently because I really enjoy listening to them, or some due to long-time love of the release, but when I can come back to an album months after the last time I listened to it and it sounds fresh and vital each time, that's a special work of art.  This is an essential piece of thrash and progressive metal art, and if you're a fan of either and it's not in your collection, shame on you.