Arriving from Italy, today we have one of the most diverse and exciting self-released albums we have received in the last few months. Oblyvion delivers 13 tracks of very diverse and well executed Melodic/Gothic Death Metal with a great deal of headbanging passages. With a knack for dramatic guitar leads and atmospheric keyboards, this self-titled release is a great one to enjoy.

After the typical intro, the band digs deep into their musical range with the captivating “Oblivion”. In this song we have a very Dark Tranquility-esque chorus section that is complemented by some brilliant shredding acrobatics. This unique blend of skill and melody works wonders for the band’s sound. Perfectly pacing their music, “Buried Angel” keeps the same level of creativity but with a more mellow and melancholic vibe.

With crazy bands creating their own genres like Alestorm’s Pirate Metal, and others just mixing completely random music into brilliant mash-ups Ruskaja and the Leningrad Cowboys, Trollfest comes to occupy the niche of Troll-based Folk Metal with their extremely catchy, but ultimately bizarre music. With Kaptein Kaos, the band brings their music to new heights with 13 crazy songs that while very chaotic and totally mad; they seem to be quite catchy and enjoyable.

Using their own language for the lyrics (trollspråk), they create short short songs filled with odd instruments (banjo, accordion, and sax). The madness starts slowly in the album’s intro “Trolltramp” and keeps escalating as we go through songs like “Kaptain Kaos”, “Vulkan”, “Ave Maria”, and “Filzlaus Verkundiger”. The band’s theatrical sound is quite intense and their instrumentation makes their music quite catchy an enjoyable. They remind us of a less serious version of the Leningrad Cowboys.

Arriving today from Sepulchral Productions we have a four-way split release that provides a nice introduction to four very solid Black Metal bands from Canada. Divided in two discs with each featuring a song on each side, this Canadian label does a great job in matching similar bands with sense for the more melodic and atmospheric side of BM.

Opening with Fortresse, we have a punishing Atmospheric/Depressive BM sound filled with intense riffs and demoralizing vocals. While the song is quite engaging, it gets to be a bit repetitive, but this is not a total deal breaker. Side B of this disc has Chasse-Galerie and their well-developed track “Les Bois des Belles”. This song has a better structure to it, merging incisive riffs, a pulsating Bass guitar line and traditional vocals.

In a year filled with exciting new Gothic/Symphonic Metal releases from bands like Within Temptation, Epica, Stream of Passion, Diabulus In Musica, etc., Delain delivers their best effort (to date) with “The Human Contradiction”. Led by the charismatic vocals of Charlotte Wessels, this release is the whole package in terms of excellent songwriting, a perfect balance of aggressive and melodic tracks, and an overall intensity that only the best bands of the genre can deliver.

Opening with the engaging “Here Come the Vultures”, we are immediately immersed in the band’s melancholic melodic vibe. The songs are quite well structured around powerful guitars and expertly crafted vocal melodies that make for a very intense and exciting album. With guest vocals from Marco Hietala, a staple in the band’s best songs in their previous releases, “Your Body Is a Battleground” and “Sing To Me”, the band keeps the intensity to the max.

After blowing away the Black Metal scene with their 2010 masterpiece “Let the Devil In”, Sargeist finally returns with an even more visceral and punishing release with “Feeding The Crawling Shadows”. Led by Shatraug, of Horna fame, this album combines the raw and decadent feeling of early 90’s Black Metal releases with the current progression of the genre in a 10-track package that will leave your ears buzzing for days.

Blasting the listener since the first riff of “Feeding The Crawling Shadows”, the opener track, the band delivers a raw and unfiltered look into the depths of hell with their crushing sound. Being very raw and aggressive, the band delivers punishing music without giving the listener that feeling of trying too hard that most BM reek of these days. This is easily seen in the demoralizing “In Charnel Dreams” and “Unto The Undead Temple”.

Returning with a renovated sense of freshness and energy, today we have Sonata Arctica and their eight full-length release: “Pariah’s Child”. Going back to the band’s roots, this release is both extremely catchy and very basic in terms of Power Metal. Filled with superb melodic passages and captivating lead vocals, this is the album all fans of the band have been waiting for years. 

The band kicks off with the playful “The Wolves Die Young” and “Running Lights”, two extremely catchy tracks that delivers the old sound the band used to have. The music feels like a jump in time to the days of “Tallulah”, “Shamandalie” and the killer “Paid In Full”. Filled with lush atmospheric passages, “Take One Breath” nicely features all the best elements that Power Metal and Sonata Arctica have to offer. With the band refining their skills over the years, they function now as a perfectly well-oiled machine.

Completing Frozen Ocean’s ‘Norse’ trilogy, today we have the raw and decadent “Natt Over Meg”. With 33 minutes of raw and barbaric Black/Punk Metal split into 16 tracks, Vaarwel nicely pays homage to traditional Black Metal with a solid onslaught of instrumental tracks mixed in with a few filled with hateful snarls.

As the album opens with “I”, Frozen Ocean delivers a Darkthrone like atmosphere with raw guitars and a very basic and rudimentary exposition of the genre. The punkish drumming is very prevalent through the release. The whirlwind velocity of the band in this release is what gives the music a bigger authentic feeling, and the instrumentals like “II”, “IV”, “VIII”, “XII” and “XV” perfectly capture this violence and primitive riffing.

Delivering a monumental collaboration between Ulver and Sunn O))), two of the most pioneering bands when it comes to creating their own sound; today we have “Terrestrials”. In this three-song, 35-minute album, the bands merge their styles together creating a very dense an atmospheric performance that is extremely engaging and sonically orgasmic.

Kicking off with the highly atmospheric “Let There Be Light”, we can hear the assortment of Ulver aural experiments work perfectly with some Drone elements of Sunn O))). The track slowly unravels 11 minutes of atmospheric tension filled with very minimalistic elements such as sparse trumpets and a great build up that seems to take momentum as the track progresses.

With “the power of the riff” being in its highest moment, bands like Electric Wizard and Bongripper are killing it in festivals like Roadburn and Hammer of Doom. Under these circumstances comes The Wounded Kings, a UK outfit that delivers uncompromising Doom Metal with crunchy distortion and a very natural vibe. With “Consolamentum”, the band fourth full-length release, they are looking to consolidate themselves as one of the premiere bands of the genre.

Wasting no time, the release opens with the 13-minute monolithic “Gnosis” to give the listener a good idea of what the band is all about. With a hearty distortion and excellent pace, the band rips through endless punishing riffs nicely adorned by Sharie Neyland’s captivating vocals. Just imagine a more traditional Jex Thoth and you can picture what The Wounded Kings sound like, as they evidently display on the pummeling “Lost Bride”.