In honour of Kalevala Day, we are proud to announce the title and artwork of the upcoming Amorphis album. The Beginning Of Times will be released at the end of  May,  preceded by the single “You I Need” in April. The tracklist is as follows:

1. Battle For Light
2. Mermaid
3. My Enemy
4. You I Need
5. Song of the Sage
6. Three Words
7. Reformation
8. Soothsayer
9. On a Stranded Shore
10. Escape
11. Crack in a Stone
12. Beginning of Time
(digipack bonus) 13. Heart’s Song

The new album is the most challenging Amorphis album so far in terms of both music and lyrics. Its central character is the iconic hero of Finnish mythology, Väinämöinen, whose tale has been masterfully retold by lyricist Pekka Kainulainen.  The Beginning Of Times was produced by the band; vocals were recorded under the guidance of Marco Hietala in his home studio in Kuopio. Like its predecessors, the album was mixed by Mikko Karmila. Its cover artwork shows Travis Smith’s magnificent interpretation of the mythological birth of the world from a goldeneye’s egg.

In June, Amorphis will embark on the extensive The Beginning Of Times tour, which is scheduled to continue through 2012.

 

Related posts:

1. Amorphis – The Beginning of Times Review
2. Amorphis – Skyforger on MySpace
3. Rhapsody Announce Official Release Date of New Album!

Barren Earth took me completely by surprise. As a rule I do not post reviews of records from labels that do not send me promos of them. I think it’s a disincentive for them to do so and generally bands don’t deserve the promotion. However, sometimes bands come onto the radar that I can’t ignore, as is what happened when I picked up this new Barren Earth record on a total whim. In fact, I didn’t even know that this band had ex-members from Amorphis, the drummer from Moonsorrow, the guitarist from Kreator or the vocalist from Swallow the Sun involved—or that it was mixed by Dan Swanö. I guess I should have expected that this would be a great record…

And great it is. No normal “super group” kind of album (you know, the kind that lacks a soul), this project has taken time to gestate and turn into a real band and the listener definitely gets that feel. If we start at the top and work our way down; one of the thing that stands out about this project is definitely how cohesive the record is. This is not an album with a “hit or two,” but instead a complete album that flows beautifully and is meant to be listened to from beginning to end every time you break it out. Not to say that the tracks aren’t strong, because they really, really are. The opening track on the album “Curse of the Red River” blends death metal pig squeels with a Jethro Tullesque flute solo and excellent melancholic melodic riffing. “Flicker”, another of my favorites, twists and turns from strumming acoustic guitars to machine gun double bass and bestial growls and back, showing off what dynamics can do for a band who is intent on using them to their full extent.

Curse of the Red River is, if you haven’t figured it out, the unholy union of Amorphis and Opeth. If you take Still Life and Blackwater Park era Opeth and mixed it with Elegy and Tuonela-era Amorphis, this is probably what it would sound like. You can hear the kind of mid-paced melodies that you get from those mid-era Armophis albums, for sure. But with the vocal breadth and dynamism that vocalist Mikko Kotamäki displays gives this a much deeper, heavier feel than anything they were putting out during that era. His vocals stand out from the background and offer that perfect contrast, with a good, smooth clean tone and amazing growls which give a force to the tracks that would be sorely missing if performed by anyone else.

The band, in what is quickly becoming a progressive death metal genre in the wake of Opeth‘s gigantic popularity, does an excellent job of blending the styles of doom and death metal with beautiful clean vocals and acoustic parts. However, unlike some bands who are intent on sticking clean vocals into the music, these guys aren’t just building tracks that are throwaway vehicles for a big chorus. Instead, they have all the intensity and melancholy that you expect of the genre and the band involved. On top of that, Barren Earth has a sense for catchy guitar melodies that really stick in your head, leaving the listener humming them for hours after listening to the record.

My biggest complaint about this album, honestly, is that it’s a little too easy to draw the continuous comparisons to Amorphis and Opeth as I’ve done here. Particularly the former band is ever-present in their sound. This isn’t bad, but one wonders if in the long run this will sit well with listeners, or if they won’t just go back and take out Elegy and Tales from the Thousand Lakes and relive something that happened a couple decades ago. While I personally think that this record will probably rank high at the end of the year list, I think there is a possible critique with it being considered too derivative and thereby losing some if its credibility. But personally, this Angry Metal Guy thinks that’s bullshit and will be listening to this album in as much free time as he can spare…

‘Cause it’s fucking great.

Related posts:

1. Claustrofobia – I See Red Review
2. In Mourning – Monolith Review
3. Omnium Gatherum – New World Shadows Review

In 2008 the underground was taken by storm by a little-known Swedish progressive death metal band called In Mourning that released a tour de force entitled Shrouded Divine. A powerful combination of melodic death metal, Opeth-y style progressive bits and death metal with just a touch of core (trust me, just a touch), they were ranked highly on many year end lists and, frankly, left a bit of an impression on this Angry Metal Guy. See, there is life past Opeth in Swedish progressive metal—something that I had been coming to doubt. In Mourning managed to put out a record that had all of the great heaviness and thickness that one wants in a death metal record, while still managing to keep the haunting progressive parts fresh and interesting. The question is can they keep it up? Is it possible that they’re able to follow up such a lauded record with something even better?

The answer to the previous question is an unequivocal YES! In Mourning has come back for their sophomore release sounding hungrier than ever. With improved production qualities and a new label (that has an eye for talent, obviously, and provided the band with great artwork by the same guy who has done the Katatonia, Opeth, Devin Townsend, and Bloodbath covers—Travis Smith) In Mourning has been able to shape their sound into something even more powerful and cohesive than what was established and distinguished on Shrouded Divine. That is to say: Monolith overshadows the earlier work from this band with its power and writing.

The basics are the same, of course. A blend of Swedish death metal (à la Dark Tranquillity, At The Gates) vocals, some hardcore vocals and some great brutal death metal vocals that round out the sound. There is a lot of downtuned chunk on this album, backed up by an excellent and tight rhythm section that makes the tight, technical bits sound crushingly powerful. At the same time the band is able to slow it down a bit and they use guitar melody and, sometimes, vocal melody to even out the landscapes of this record.

One of the most vastly improved aspects of this record, in my opinion, is the flow that they’re able to get. While Shrouded Divine was good, it sometimes felt like the band was too quick to write choppy pieces that felt unnatural moving into each other. Due to the improved production, and I think just a straight up tighter band, Monolith has hardly any moments that don’t feel natural and flowing. Instead, the songs are often deceptively long despite the fact that they don’t feel that way at all—clocking in at six or seven minutes when you think it’s only been 3 or 4—and the transitions are vastly improved. Tracks like “The Poet and the Painter of Souls” exhibit the smart composition that the band now exhibits, moving seamlessly between parts and never really following into bad patterns. The same is also very much true of “With You Came Silence.”

It’s hard for me to say this, as it’s the first record I’ve reviewed for 2010, but this album has the makings of a record of the year. It has everything that fans of doom, melodic death metal, metalcore and well, frankly, good heavy metal in general should look for in bands: technical proficiency, excellent writing, balanced production and cohesiveness. Monolith may well tower over 2010 as one of the best… Not to mention that In Mourning is definitely working its way into the echelons of amazing Swedish metal bands in my opinion. It has been a while since a new band from Sweden really blew me away, but In Mourning has all the makings of one of the greats.

Related posts:

1. In Mourning Streaming new Album Online
2. Barren Earth – Curse of the Red River Review
3. Arise – The Reckoning Review