Caligula's Horse "Bloom" Album Review

Caligula's Horse - Bloom - Album Review

Album Review
Caligula's Horse
Bloom (2015)

1) Bloom

2) Marigold

3) Firelight

4) Dragonfly

5) Rust

6) Turntail

7) Daughter Of The Mountain

8) Undergrowth

Through Bloom, Caligula's Horse offer a spectacular journey for the ears. With beautiful sweeping melodies and vocals that ebb and flow in an almost effortless breeze, Bloom brings so much of the theatricality that makes progressive music so addictive. 

First Impressions...

One thing I want to bring up early is the choice of production. In a genre filled with the constant pursuit of perfection, from over sampled drums to quantised bass and guitar rhythmics, it's truly refreshing to hear something more raw. The rattling of bass strings hitting frets as it gallops along in 'Firelight' is a great example of this. That sense of life and vibrance draws you in to the music as if you were watching a performance, not listening to an album. 

Vocals...

One of the most impressive part of Jim Grey's vocals is his control and understanding of his voice. The dynamics he shows throughout the album are simply brilliant. The soft sections in the opening title track, swaying harmonies in 'Firelight' to the heavier sections in 'Rust' and 'Marigold' show immense versatility, with what seems a relatively small range. The unique timbre in his voice is somewhat reminiscent of fellow countryman Ian Kenny, of Karnivool fame, with folk influences that draw you in with that story-telling style of speaking in melody that then erupt in gritted soaring rock moments. Again, this isn't necessarily unique in itself, but for this genre it's certainly not commonplace. You could also draw some influence to Opeth's Mikael Akerfeldt, particular in the softer, more folky sections. Regardless of the influences, Grey's vocals stand confidently on their own and effortlessly guide you through Bloom.

Instruments...

My previous production comments are possibly most evident with the guitars. I've previously read that guitarists SamVallen & Zac Greensill and bassist Dave Couper weren't hung up on getting everything perfect, instead they wanted to keep the live vibe and rawness alive. This was absolutely the right choice. The occasional "mistakes" (if you could even call them that - these guys are seriously talented muso's) connect you far more to the music as It feels like it's being made by people, instead of computers. I can see more of that Opeth and Dream Theater influence seeping in with the riffs and transitions. Riffs are fluid and rarely end in the way you think they will. Repeating passages are flavoured with tasteful layering and colourful flourishes that continue your journey through the album, always hearing new things, never fatiguing or losing interest. Excellent composition, expertly executed. 

Geoff Irish completes the line-up on drums and keeps Bloom driving along with creative grooves, tidy fills and inventive accents. He seems to have a diverse background as the influences and styles are varied and you always catch something on the next listen you missed the last time round. I know I keep coming back to the production, but hearing REAL drums is just so cool. I will admit however that you get use to hearing these massive, precise and "perfect" drums that sometimes I felt that the drums could use a little more push, particularly with the snare and kick drum. There's just moments where a bit more heft would compliment the impressive dynamics in the playing.

Verdict...

As if you couldn't already tell, I'm a big fan of this album. I feel it's best consumed in or as close to it's entirety as you can manage as to make the most of the journey it takes you on. Caligula's Horse are another stellar example of an Australian band fuelled with accomplished musicians and songwriters that will no doubt win the respect of fans all around the world. This is a must listen for anyone that needs their next prog fix.

Bloom - 8/10

Only have time for a song or two?

Marigold, Firelight, Rust

Previous Albums

Moments From Ephemeral City - 2011

The Tide, The Thief & River's End - 2013

Veil of Maya - Matriarch Album Review

Album Review
Veil Of Maya
Matriarch (2015)

1) Nyu
2) Leeloo
3) Ellie
4) Lucy
5) Mikasa
6) Aeris
7) Three-Fifty
8) Phoenix
9) Matriarch
10) Teleute
11) Daenerys
12) Lisbeth




Armed with a new singer, Veil Of Maya return with what is in my opinion, their best effort yet...

First Impressions...

Technical musicianship has always been a staple of the metal world and with play-throughs and rig rundowns running rampart through the internets, bands that push what is possible rhythmically and harmonically find wide praise from music lovers and musicians alike. For me, founder and guitarist, Mark Okubo, has been a great inspiration for unconventional rhythms, obscure riffage and the cause of many hours of hand-crampingly, headache inducing guitar pro sessions trying to recreate his work.

Initially, it was purely the musicianship that lead me to VOM as then singer, Brandon Butler, was fatiguing in his vocal delivery, never really exploring alternate ranges or styles. In stark contrast, the addition of Lukas Magyar's exceptional vocal talents has helped VOM hone their craft by blending absolute brutality with soaring melody and creating a more cohesive and polished sound overall.

Vocals...

Magyar's vocals have reinvented this band and almost certainly opened them up to a much wider audience while revitalising their diehard fan-base. The way the tracks cascade between relentless beat-downs, bellowing with intense but articulate screaming and then stunningly clean, emotive melodies that dance between the syncopated onslaught is just hauntingly enjoyable.

Upon first listening, it's easy to assume that the numerous styles of vocals, layering and generally frantic pace would be near impossible to produce live, but hit up good ol' Youtube and it's hard not to be impressed with Magyar's breath control and his choice of which vocal lines to perform live. Magyar's confidence in his ability is quickly evident and knowing that these songs can be delivered with the conviction and flair displayed on record solidifies him as easily one of the top metal vocalists right now.

Instruments...

The unholy trinity of Marc Okubo, Sam Applebaum (drums) and Danny Hauser (bass) create some of the most interesting compositions in the genre and they've made a great transistion into a more melodic element, without losing that signature VOM sound. Disjointed riffs that aggressively ebb and flow, hurling the listener around like a your dog's favourite chew toy. I think what makes these tracks so addictive is the almost unsettling way it keeps you on edge. A snare hit in an odd place, a major 7th between chugs, it's never predictable, building tension until the
perfectly timed release of a chorus or atmospheric moment where the simpler but still inventive rhythm's takeover and the vocals soar.

Hauser's bass isn't always very evident as is so often the case in metal, but some great tapping licks and chordal work makes the use of the crazy 7 string bass he wields. Applebaum's blisteringly precise polyrhythms and constantly switching grooves keep things exciting and are a perfect match for the eclectic output from Okubo's guitar.

This band is a muso's treat, without crossing the line in to elitism.

Verdict...

This could easily be one of the best albums of 2015. Not only has the lineup change brought VOM to
a larger audience, it's bridged another gap between technical metal and the mainstream. There's something for all heavy music fans here. The only downside is that the first few tracks can be a tad relentless, with the heavy/melody mix being weighed towards the beatdowns. This will be a balance that they'll continue to explore and perfect in albums to come.

Matriarch makes Veil Of Maya one of the most exciting bands at the moment and if you haven't already, it's time to get on the bandwagon.

Matriarch - 9/10

Only have time for a song or two?

Mikasa, Phoenix, Lisbeth.

Previous Albums

All Things Set Aside (2006)

The Common Man's Collapse (2008)

[id] (2010)

Eclipse (2012)

The Color Morale Know Hope Quick Album Review

Album Review

The Color Morale

Know Hope (2013)

1) Burn Victims

2) Smoke And Mirrors

3) Learned Behaviour

4) Living Breathing Something

5) Strange Comfort

6) In Light In Me

7) Silver Lining

8) Steadfast

9) Hole Hearted

10) Saviorself

11) Have.Will
12) Never Enders

Since discovering The Color Morale's previous effort, My Devil In Your Eyes, they've regularly visited my ears as a break from the over saturated "as-much-autotune-as-possible"tunes of modern metalcore and hardcore. Not that that's entirely a bad thing, but when you hear something that deviates from the cookie-cutters it makes you sit down and pay attention.

Know Hope sees The Color Morale tightening up their sound and delivering an album full of memorable hooks, heavy breakdowns and more meaningful lyrics (thank your respective religious leader!). Oh and there's also some mad play-on-words.

The main thing that sticks out for me are the vocals. In a genre filled with either no clean singing, or high-register clean chorus', it's refreshing to hear another Jesse Leach, where raw emotion and "message" take precedent over technical skill. Garret Rapp delivers a big range of sounds, from Johnny Craig-esqe cleans, to deep low rumbles, mid-range power screams and whatever the f##k you call the vomiting/multiple knife wound victim screaming in agony episode in opening track Burn Victims. I have no idea what he's doing...no idea. Now I know I'm not alone when I say that one of the pleasures in listening to this music is the awesome one-liners that lead in to breakdowns, my favourite here is from Silver Lining - "...the devil you know...is better than the devil you don't" and...breakdown ensues - awesome.

Instrumentally, I was happy to hear them shy away from overused rhythmic patterns and instead favour more complex and interesting patterns, with plenty of guitar layering. The only downside is occasionally this can split focus a little too much, leaving the vocals to fend for themselves, and creating a little confusion in the overall sound. There is also a great use of groove throughout the album, plus a few high-energy punk moments to keep the heart beat quickening.

After multiple listens to this album, I get the same impression as I did with Woe, Is Me's Number[s]. There are memorable moments, but the full effect comes from listening to the album in its entirety. With the exception of a couple of tracks, the memorable parts were just that, parts, not full songs and not memorable enough to make you remember the title of the track or pick it straight away when the song starts. There is a major downside to this, as there is great joy in hearing the first couple of seconds of a song and instantly know what you're in for.

This is a solid album and one that will definitely inflict neck-pain on those long car trips. I think the best  is yet to come from The Color Morale, the difference between My Devil... and Know Hope shows a big improvement and honing of their craft. If you're already a fan, you'll love this instalment. If you're new to The Color Morale, or to the genre entirely, you should do yourself a great service and pick up    Know Hope.

Know Hope - 7/10

Only have time for a song or two?

'Strange Comfort', 'Saviorself'

Previous Albums

My Devil In Your Eyes (2011)

We All Have Demons (2009)

Crown The Empire The Fallout Quick Album Review

Quick Album Review

Crown The Empire
'The Fallout' (2012)

1) Oh, Catastrophe
2) The Fallout
3) Memories of a Broken Heart
4) Makeshift Chemistry
5) The One You Feed
6) Menace
7) Graveyard Souls
8) Two's Too Many
9) Evidence
10) Children of Love
11) Johnny's Revenge

First Impressions...

This is my first experience with Crown The Empire, and so far it's been a pretty good one. The theatrical style Is something I've always been a fan from old Iron Maiden albums to more recent examples such as Chiodos' brilliant, 'Illuminaudio'. And 'The Fallout' starts out like musical theatre with opening pieces, 'Oh Catastrophe' and 'The Fallout' forming a two part series (with matching film clips, worth a watch if you're youtubing). Unfortunately, this theatricality begins to fade from track 3, with the album taking on more of the standard sing/scream popcore sound.

The Album...

Singer, Andy Leo reminds me of a hybrid of Gerard Way and every punk/"emo" (hate that term) singer in existence, but for what it's worth he has a great set of lungs and a great flare for performance and vocal melodies. He really does that angsty/desperate voice well. David Escamilla handles the screaming and he too has a great performance on the album. He doesn't quite share the same air time as Leo but he adds great contrast and when the tempo picks up and he's bellowing away, they're some of the best parts for me.

Musically, the use of keyboards is something I've really enjoyed in this style of music, with bands like Still Remains and its use here is great, always adding atmosphere and nice little touches in between rhythms. The guitars and drum work is what it should be for the genre, simple, cohesive and full of hooks.

Verdict...

Ultimately, this album is enjoyable and will definitely keep you entertained, but it doesn't stand out to me as being mould-breaking or something new, just a good example of a well defined genre and a solid debut album. The only thing I really wished was more evident is the theatricality I mentioned earlier. If you're looking for something to fill the gap between your My Chemical Romance and Chiodos CD's then Crown The Empire's 'The Fallout' will be a welcome edition.



'The Fallout' - 6.5/10

Only have time for a song or two?

'Johnny's Revenge', 'The Fallout' 

Woe, Is Me Genesi[s] Album Review

Album Review

Woe, Is Me

Genesi[s] (2012)

1) D-Day

2) FYI

3) A Story To Tell

4) With Our Friend[s] Behind Us

5) Nothing Left To Lose

6) The Walking Dead

7) I Came, I Saw, I Conquered 

8) Call It Like You See It

9) I've Told You Once

10) Family First

11) Nothing Left To Lose (Acoustic)

Woe, Is Me's debut album 'Number[s]' was excellent. For me, the main reason for it getting stuck in my head was the awesome blend of hardcore and electronic elements and the unique voice of Tyler Carter. The poppy vocal aerobatic style was a fantastic juxtaposition to the heavy rhythms and Michael Bohn's aggressive screaming vocals. It was interesting, it was different, and the entire album rolled together in a short but very enjoyable blend of hooky passages and crushing breakdowns that frequently makes it on to my playlists.

Since 'Numbers' they've lost both vocalists, Tyler Carter and Michael Bohn, along with brothers Cory and Ben Ferris (keyboards and bass).

So, new members, new album and a new beginning? Lets hope not...

First Impressions...

"Hey guys, lets all grab a notepad, write all the ideas we can in 5mins, throw them in the hat, then randomly pull them out, tape them together, plaster some immature whinging about how much we hate our previous members for ruining the only originality we had and maybe we'll make our album deadline!"

Look, this entire album just reeks of a band in trouble. The talent is there, all the new members have plenty of promise and skill, but they need to let go of all feudal rubbish and get back to the music.

Vocals...

Former 'That's Outrageous' screamer Doriano Magliano opens the album with a barrage of unrelenting aggression that certainly grabs your attention. While he doesn't have a very unique sound, It's not a bad effort from the newcomer. For the timbre of his voice his annunciation is pretty good, with a reasonable amount of clarity. The real trouble is the lack of range, half way through track 3, you've had more than enough of his sound and are just begging for the clean vocal breaks for the remainder of the album.

Clean singer Hance Alligood certainly has a great voice, and a terrific range (even besides the terrible over exposure to vocal effects). He is sorely underused in this album, but the parts that he does have can sound cluttered with too many vocal aerobics and harmonies happening all at once. There are a few saving grace moments like 'A Story To Tell' where he really carries the rest of the band, pulling it from the mundane.

Lyrically, 'Genesi[s]' is rubbish. Full of cliche's, immaturity and a relentless barrage of insults thrown at ex-members. Like this gem from 'I've Told You Once': "You're so proud of the one-liners you wrote. It must be hard to talk shit with a dick in your throat". I mean really, are YOU proud of the one-liners YOU wrote? I thought the genre was better than this, scratch that, the genre IS better than this! It's stupid bullshit like this that gives heavy music a bad name. Besides this, lyrical content is a broken record about how much better they are than the previous members, blah blah blah - to be honest I stopped caring half way through. The 'Vengeance' single got the point across perfectly, there is simply no need to go on and on about it for a whole album - It doesn't make the previous members look bad, It just makes the current line-up look inspirationally drained.

Drums, Guitar and Bass...

Unfortunately there's nothing really mentionable here either. The drums are very uninspiring with the vast majority being repetitive with the constant over use of the same fills. This isn't really a complaint againt Austin Thornton's drumming, more a comment on the general laziness shown in this album. Guitar and bass efforts are weak. There's a lot of relentless chugging and the interesting melody lines that riddled 'Number[s]' have all but disappeared.

As a musician, and music lover I understand that all music is derivative, but sometimes you just can't help but think that an idea has been stolen. One of the only interesting riffs in the entire album is almost an exact copy of Periphery's 'Icarus Lives!'. What's worse is in both cases the riff starts the song, making it completely obvious. Poor form.

Verdict...

This is just such a disappointing effort from a band that showed such promise on their debut. I think one of the most ridiculous things is that so many of the lyrics are declarations of being something different and something better, when in reality, it's the exact opposite. Everything on this album is a lazy and will unfortunately lead it to being tossed on the "maybe later" pile. While they all may be talented, the only real stand out here is Alligood and he keeps this album from being a complete disgrace. For some die hard fans, none of the above will matter, you'll still punch randoms in the pit to an incredible amount of breakdowns. For big fans of 'Number[s]' and the people searching for something different however, 'Genesi[s]' certainly isn't the answer.

'Genesi[s]' - 4/10

Only have time for a song or two?

'A Story To Tell'

Previous Albums

'Numbers' (2010)

This Or The Apocalypse Dead Years Album Review

Album Review

This Or The Apocalypse
Dead Years (2012)

1) Hell Praiser
2) Powerhawk
3) In Wolves
4) Americans
5) Hate The Ones You Love
6) You Own No One But You
7) A Damn Moment
8) Gaunt and Fierce
9) Kill'Em With Guidance
10) Hard Branch to Snap





I was initially pulled in to TOTA by their musicianship - these guys are talented, very talented. Their blend of interesting rhythms and polyrhythms interlocked with memorable melodies and harmonies, some of the most impressive drumming to hit the genre and a singer with some true lyrical talent and a Rob Flynn level of aggression was not only inspiring but a gift that kept giving. Every listen through leads you to a melody you missed the first time, a perfectly placed cymbal accent, or a lyric you didn't quite catch that just keeps their albums on repeat for weeks.

Great albums can sometimes be a double edged sword for bands; they open your sound up to new ears and often solidify your position in the genre, but on the other hand, they set up a precedent for all albums to come. For me, This Or The Apocalypse's previous release "Haunt What's Left" was one of those albums. It is easily one of my favourite albums of all time and in my opinion, was the perfect balance of musicianship, lyrics and raw emotion, that at the time set it apart from everything else on offer.

Needless to say then, the wait for their newest release "Dead Years" was filled with much anticipation and high hopes, but did it deliver?

First Impressions...

With the above in mind, If you choose to give TOTA a go, which I strongly suggest you do, ensure you listen to Dead Years at least twice before passing judgement. Even though I am a huge fan of the band, the first listen through for me was, to be honest, lacklustre. It sounded too relient on breakdowns, less clean vocals, less melody, less guitar technicality and the magic of Grant MacFarland behind the kit had seemed to disappear. But after I took off the rose coloured glasses that came free with Haunt What's Left I delved deeper in to Dead Years and the magic is definitely still there, it's just a different magic.

Vocals

Straight from the get go, you can see the work vocalist Ricky Armellino has put in between albums, kicking off the album in brilliantly metal fashion with opening line - "I want to see the powerless rise, and BURN EVERYTHING YOU LOVE". The screams are well layered, pacing continues to improve, and the lyrics are still some of the best in metal today - filled with strong opinions and confronting questions, instead of cliche one liners.

On the technical side, he has a much better grip on his vocal range, often going from his standard mid-range aural assault to bellowing lows and screeching highs. I found this element much more engaging than in Haunt What's Left and it really made me hang on every word. His annunciation has also improved. As in the previous album, the use of gang vocals is strong. I'm not usually a gang vocal fan but I think it really works here. When you're listening, it feels like there's an audience screaming their hearts out along with him and the atmosphere created is just awesome.

On the cleaner side - there's less on this album than previous. I'm not 100% sure who is taking the lead here, but they clearly have a small range and unfortunately come up short of making it interesting or memorable. 'In Wolves' is an example of this. Besides sounding generic, the chorus' don't have much deviation and it feels like the melodies were written for a stronger vocalist and then under performed. I may sound harsh, but these guys aren't singers and I thought that on 'Haunt What's Left' they approached this in a better way, with a sort of yelling/gang vocal sound (check 'Lamnidae' or 'Subverse' for reference) and I feel this direction should've been continued. An interesting exception is the guest appearance in 'You Own No One But You'. I actually really like this song, and this passage. Does it fit the rest of the album? Probably not - Does it sound like TOTA? Not really... but do I care? No - just roll with it, it's a well written section and works well with the song.

Drums...

'Haunt What's Left', and earlier album 'Monuments' showed the immense talent of Grant MacFarland, who in my opinion really took TOTA's music to the next level. Working in absolute harmony with the guitar rhythms and melodies, he always managed to show off enough to make you appreciate the talent, while not taking over and detracting from the vocals or other instruments. 

This time around, Aaron Ovecka has the sticks, and while it's still very enjoyable, the uniqueness and flare just aren't there. He seems stuck in the shadow of MacFarland at present, but hopefully will take control and really add his touch and make the tracks his own for their next album. There are some exceptions like the aforementioned vocal passage in 'You Own No One But You' where he is left to groove and show his chops a little more. But apart from this, he's just a solid drummer that keeps the songs pushing along, which is great, but more time spent with intricacies would've really set him apart from the rest.

Guitars and Bass...

Guitarists Jack Esbanshade and Rodney Phillips and bassist Matthew Marcellus once again prove they have great control over their sound. Unfortunately though, it feels like they're holding back a bit here, with the majority of the parts being more chordal based and rhythm heavy, instead of the melodic string skipping adventures of songs like 'Lamidae' or the ferocious precision and speed of old favourite 'Elegiac'. These parts aren't completely gone, just a bit more hidden. Having said that, the rhythms aren't predictable, the chord voicing is interesting and the lead melodies are beautifully layered and compliment the mood of the songs perfectly. The less guitar heavy approach has subsequently made the vocals more salient on this album, and I feel that this was a good creative decision and fits the mood of the album better.

Jack & Rodney improving your chops on youtube.

One thing they all do very well is stay in the pocket, and after watching many live videos (one day they'll come to Australia...right?) this is something that's not just for the album. The groove that was so gripping in 'Haunt What's Left' is certainly still here - there are innumerable moments in this album where you'll just want to fight imaginary robots in your living room, or car, or the bus on the way to work because it's just so infectious it's impossible not to move your head in time with the music.

Verdict...

Dead Years is one of those albums that will get ingrained in to every day life. There is so much to like about this album that my small quibbles can be boiled down to my unrealistic expectations following Haunt What's Left. It has enough to make the general metalhead happy in the way of crushing breakdowns and anthemic one-liners but so much more to offer the listener that wants continual satisfaction, not just cheap thrills. Where This Or The Apocalypse really stand apart is the groove, intricacies in the music and lyrics that come straight from the soul of one very pissed off gentleman.       I still can't understand why this band isn't huge in the scene - if you haven't heard of these guys, do your self a massive favour, buy the CD and crank it to 11, you'll never look back.

Dead Years - 8.5/10

Only have time for a song or two?

'Americans', 'Hate The Ones You Love'

Previous Albums

Haunt What's Left (2010)

Monuments (2008)

Sentinels (2006)