I want to introduce to you Athena, the Crowgrrl!
She comes to The Chamber with a deep love for the hard, dark music so many of us love. Every two weeks she'll feature something new and special, so please come back on a regular basis. All titles are linked to Amazon.com where you can listen to clips and get great prices.
* Scar Symmetry’s unique and addictive music is a yin/yang of both beauty and rawness reflected not only in the instrumentation but also in the vocal harmonies as well. The band’s name - thought into existence by drummer Henrik Ohlsson - denotes a peculiar balance. A combination of a hard word (scar), and a soft word (symmetry), it symbolizes the emotional scars everyone harvests from living a human life and the symmetry we share with each other as a result.The vocals are the first thing that caught the Crowgrrl’s attention from the get-go – the balance between the two vocal styles (from harsh guttural growls to crystal clear soaring vox) is stunning! Even more so when you realize it’s one person - Christian Älvestam - doing both and not two separate singers working in harmony! Add to that the guitar artistry of Jonas Kjellgren and Per Nilsson and the rock solid foundations of bassist Kenneth Seil and the aforementioned skinsman Ohlsson.
These Swedes are back with a third release, Holographic Universe (Nuclear Blast), still with the signature sound and profound, futuristic lyrics but this time delivered with more maturity and a heavier edge.
I love the melodies and vocal harmonies in Morphogenesis, which ushers in a brave new post-apocalyptic world. The soul-stirring Timewave Zero sends signals to awaken the mind. The intense Quantumleaper is an unstoppable entity indeed. The simple yet idyllic violin that ushers in Artificial Sun Projection gives way to musical majesty as it tears down deceptions and illusions.
The blindingly fast The Missing Coordinates wages a psychic war, and features a surreal break and delightfully dark outro. The catchy Ghost Prototype I – Measurement of Thought takes us on a free flight of mind and spirit. The gripping Fear Catalyst warns of how some organized religions resort to fear tactics to control their flocks. The soaring Trapezoid severs strings that attempt to entrap the very soul.
The changing paradigms of Life itself are explored in Prism & Gate. The Holographic Universe title track is a chaotic view of the cosmos. The esoterically profound The Three Dimensional Shadow lyrically breaks out of everyday existence to find the deeper meaning of Life; and musically is the most complex track on the album – mostly brutal but with eloquent moments. I love the fretwork and the dreamlike break that picks back up from the intro in Ghost Prototype II – Deus Ex Machina which lyrically is a full scale rebellion that refuses to conform to any outside standard.
I have an interview with guitarist Per Nilsson waiting for you down by The Moat!
You can learn more about Athena, the Crowgrrl at: MySpace!
*Power Quest’s fourth album, Master Of Illusion (Napalm Records) casts a timeless epic Power Metal spell. Hailing from the U.K., Power Quest – vocalist Alessio Garavello, keyboardist SteveWilliams, bassist Steve Scott (on the album; Jon Hoare is the bassist for live shows), guitarist Andrea Martongelli, and drummer Francesco Tresca – are joined by guest appearances from Firewind’s Bob Katsionis, Threshold’s Richard West, and Cellador/Coldera’s Bill Hudson (who has since joined the band).
Cemetery Gates – which is very reminiscent musically of Children of Bodom – is a heart-wrenching farewell to a loved one. I love the soaring keys set against bone-crunching foundations and guitar solo in Human Machine. Civilised? is a beautiful epic about building a better tomorrow. Kings Of Eternity is triumphant.
There is a futuristic/electronica flavor in the Master of Illusion title track, which bemoans people who refuse to face truth or take personal responsibility. The Vigil is a frantic search for Truth. The desperate Save The World is a call for the end to war.
Of Hearts And Voices is an anthemic cry for Unity. I Don’t Believe In Friends Forever bares raw agony. The powerful Never Again refuses to hide in shadows or take the easy solution over making the wrong things right.
*Warrel Dane’s emotionally charged solo debut, Praise To The War Machine (Century Media) is a wonderful treat indeed – excellent musicianship throughout behind Warrel’s distinct vocals and soul-baring lyrics. Teaming up with Warrel for this excellent disc is former Soilwork guitarist Peter Wichers, who in turn enlisted Soilwork skinsman Dirk Verbeuren for percussion. When We Pray is a powerful plea to change the world for the better. The irate Messenger (which has a guest appearance from Nevermore guitarist Jeff Loomis) sends chills down the spine! Obey is absolutely ominous. Warrel definitely puts his own edgy stamp on the excellent cover of Sisters of Mercy’s classic Lucretia.
Let You Down (with Megadeth guitarist Chris Broderick) has a remorseful beauty. August – a Crowgrrl’s Favorite track – is melodically gorgeous! Your Chosen Misery is morose and melancholic. The Day The Rats Went To War (with a rare appearance by former Testament/Death guitarist James Murphy) is powerfully anthemic.
Brother is powerfully emotional and tormented. There’s also a tortured edge as Warrel makes Paul Simon’s “Patterns” his own. A bittersweet beauty permeates This Old Man. Another Crowgrrl Favorite is the fierce Equilibrium (which features Matt Wicklund from Himsa).
*Baltimore-based Ego Likeness is one of the brightest stars in the darkest night skies – with a distinct ethereal sound that ranges from infectiously danceable Electronica/EBM/Darkwave to stark, morose moods.
The dynamic duo behind this delicious music is Donna Lynch and Steven Archer – an amazingly creative couple who not only deliver this wonderful sound, but Donna has authored two books of poetry and is preparing to unleash her new horror novel at Horrorfind Weekend in August. Steven is not only a familiar face DJ’ing some of the best Gothic dance nights at clubs (mainly in the DC/Baltimore corridor), he has authored a children’s book, is a visual artist, and has a couple musical side projects as well.
Since their most recent release, South, is completely sold out, let’s look back to earlier classics which are also a great introduction to Ego Likeness’ unique sound.
Where better to start than with their first album, Dragonfly, originally released in 2005, and re-released by Dancing Ferret Records not too long ago. In Shamanic lore, the Dragonfly symbolizes being able to transcend two elements – Air and Water, metaphorically also meaning Intellect and Emotion. The ethereal music on this excellent album does just that.
A Different Kind Of Loss starts things off sounding like dialogue clips from vintage Universal or Hammer horror flicks. The vocal duet in Hydra adds an extra touch of magic to this danceable Darkwave treat. Second Skin is a rebirth of sorts – shedding the past and beginning a new phase of life. Drown Like You musically plunges into dark sea depths.
The Ocean Beside Us is as gentle and beautiful as sunset rays flickering of gentle waves lapping at a shore. The Map Is Not The Territory gives the feeling of racing through a dark, scary forest that may hold unseen dangers around every turn. Song To The Divine has a very Zen feel albeit intensely danceable. The exotic Blind Arms has a hint of a middle east vibe; the overall sound is beautifully romantic.
Too Many Empty Nests feels lonely and forlorn. I Live On What’s Left seethes with Determination and Hope. The gorgeous Aurora starts subdued as dawn’s rosy fingers touching the horizon and gets increasingly brighter. The Explanation At The Center Of It All can only be described as cosmic.
Now moving on to another great album.
Water To The Dead (Noir Records/Dancing Ferret) is one of The Crowgrrl’s personal favorites. This album explores many aspects of Life, from heart-rending anguish to the triumph of Survival. All delivered with Ego Likeness’ own unique chemistry.
Water To The Dead’s title track takes its lyrical inspiration from Frank Herbert’s “Dune”, and helps heal a soul by washing away guilt and sadness (the gurgling water FX are a nice touch). The frantic 16 Miles is a desperate race to freedom. Above The Soil (Isabel’s Version) features a wonderful vocal duet between Donna and Steven while weaving a melancholic yet romantic tale. Isabel first portrays a tragic loss of love, but then shows how love transcends the grave – that it can be eternal.
The gorgeous Mandala is a healing journey leading to a spiritual awakening. The extremely danceable The Breach seriously Rocks, with a fantastic romantic vocal duet depicting two souls joining as one. I love the percussion in the powerful Hurricane, which delivers a whirlwind of emotion while defying anyone to stand still; it sweeps the listener up on many levels.
The subdued Axis may be sad and morose, but helps the listeners catch their breath after Hurricane’s wild ride. Traveling Son is sultry and bluesy. Wolves has a terrifying edge behind the mellow, haunted musicianship. Ego Likeness evoke ghosts of the past as they put their own unique stamp to the traditional Southern folk hymn, The Wayfaring Stranger.
*Svartsot’s debut album, Ravnenes Saga (Napalm Records) transcends the mists of time blending the souls of their Viking ancestors with the sheer primal power of modern Metal. This album is a celebration, of the Asgardian gods, of triumphant victories, of Life itself as seen from the historical Nordic perspective. Hailing from Denmark, Svartsot are: Cris J.S. Frederiksen (guitars & mandolin), Michael L. Andersen (guitars), Claus B. Gnudtzmann (vocals), Stewart C. Lewis (whistles and bodhran), Martin Kjelland-Brandt (bass), and Niels P. Thøgersen (drums). Not only does the band blend Black Metal with Folk elements, but they also look at the pre-Xtian supernatural and spiritual elements of Scandinavia. The Crowgrrl loves it!
Although the lyrics are in their native Danish, you can still feel the spirit behind each song – the vibe transcends language barriers. This “Ravens’ Saga” indeed looks at the historical world through the eyes of Hugin and Munin, Odin’s very own raven messengers.
Check out the video of their live rendition of Havets Plage or give a listen to Gravøllet, Jotunheimsfaerden and Tvende Ravne
Gravøllet (translating to “The Funeral”) is more celebratory than grim, like remembering the good times of the person’s life. I absolutely LOVE Tvende Ravne, which absolutely soars on ebony wings – punctuated by the corvid cawing in the outro. Nidvisen (which translates loosely to “ditty” or “song”), which is a rollicking, fun song like you’d hear in a tavern. Jotunheimsfaerden (although I can’t fully translate – I don’t know what “faerden” means, but “Jotunsheim” is “home of the Frost Giants”) indeed has a cold-hearted brutality along with a festive liveliness.
I love the percussion and bone crunching fretwork in the deadly Berserkergang. Hedens Døtre (“daughter who departed from this life”) is a somber, bleak instrumental. Festen (“feast”) is a lively celebration indeed. Spillemandens Dåse (“fiddler’s case”) just begs the listener to dance to a traditional, festive folk riff.
Skovens Kaelling (sorry, I couldn’t translate) is fierce, it reminds me of a Viking crew manning the oars of a longship. Skønne Møer is a fierce battle cry. Brages Baeger (“god of poetry’s call”) is absolutely majestic. The dangerous Havet’s Plage is menacingly punctuated by storm FX in the intro and outro.
*Atrocity have taken a bold approach to their new album – updating some ‘80’s New Wave classics and giving them a Metal flavor. Entitled Werk 80 II (Napalm Records) this is a totally fun album to dive into! Check out samples in the medleys available on their MySpace page.
Based in Germany, Atrocity are: frontman Alexander Krull, guitarists Thorsten “Tosso” Bauer and Mathias Röderer, and drummer Nick Barker (of Cradle of Filth and Dimmu Borgir fame).
The band has released a powerful video for their cover of A-Ha’s The Sun Always Shines On TV! The video also features a guest appearance by frontman Alexander’s wife, Liv Kristine Espenaes Krull of Leave’s Eyes.
Atrocity certainly put their own stamp and Metallic flavor into the Depeche Mode classic, People Are People. I’m not too familiar with Bronski Beat’s original of Smalltown Boy, but this incarnation of it is full of fantastic vocal harmonies and strong melodies. I almost didn’t recognize Frankie Goes To Hollywood’s unforgettable Relax – it was definitely transformed into Atrocity’s own!
I was super critical going into Don’t You Forget About Me – the Simple Minds version is one of my all-time favorite songs. But I was not disappointed; it was excellently done and very true to the original. A-ha’s The Sun Always Shines on TV’s morose intro exploded with raw emotion. Great song! I wasn’t familiar with Hey Little Girl, but this version at least is dangerous to say the least! Visage’s Fade To Grey was dark and threatening.
The bittersweet Such A Shame – originally done by Talk Talk – painted beautiful vocal melodies over a dark orchestral background. Ideal’s Keine Heimat is another that I’ve never heard the original of, but this version pulls out all the stops to flat-out Rock! Here Comes the Rain Again was stronger and better than the Eurythmics’ original. The cover of Alphaville’s Forever Young was absolutely gorgeous!
Creature Feature © D. Dyszel 2008
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