As Daylight Breaks

"It’s Canadian to do things in an unorthodox fashion. Not like there’s anything wrong with it (there isn’t), and when it comes to metal, all one needs to do is look at the long list of prominent Canadian bands and it makes sense: Voivod, Kataklysm, Neuraxis, Cryptopsy, etc., etc. None of them bothered to do anything by the book, resulting in some of metal’s most expansive and off-kilter sounds. In the mix is Montreal’s Heaven’s Cry, who are returning after a seven-year hiatus with their third album, Wheels of Impermanence.A band of the progressive/power variety, Heaven’s Cry function largely in their own sphere, with perhaps the only real comparison being Perfect Symmetry/Parallels-era Fates Warning. This means that wacky time signatures, weird chord movements, and initially hard-to-digest songs come to the fore, making Wheels of Impermanence sound…very Canadian (FW is not Canadian, though). Nevertheless, there’s an assortment of quirky riff action going down here, rolling up into songs that for the most part, have some guile to them, such as opener “Empire’s Doll” and “The Mad Machine.”Singer Pierre St. Jean has a solid AOR caw to him, one that is occasionally ill-fitting for the band’s malleable music. That doesn’t prevent him from unfurling some adventurous vocal takes, as heard on the title track and “Consequence,” where he benefits greatly from back-up gang vocals and spurts of melodic guitars. Ultimately, St. Jean is able to cross the ever-difficult divide between power metal majesty and progressive metal over-thinking. He’s absolutely stellar.Evidently, Heaven’s Cry reformed at the right time, able to catch the attention of Prosthetic Records for the release of Wheels. Not to be forgotten is the inclusion of guitarist Eric Jarrin, who used to do time in deathcore merchants Despised Icon, which again, breeds additional peculiarity with this one. Canadians…they are a tricky bunch. " - Blistering.com

"SILENT VOICES is a relatively unknown band hailing from Finland, nevertheless they had already published many recommended albums such as their debut in 2002 “Chapters Of Tragedy” or 2006’s “Building Up The Apathy” or the great “Infernal” (2004), the line-up team is also composed by ex-members of REQUIEM and also share some musicians with SONATA ARCTICA like Henrik Klingenberg as keyboardist and bass player Pasi Kauppinen (WINTERBORN / KLINGENBERG SYNDROME). It’s been a while since the last SILENT VOICES album was out in the streets, it had occurred a lot of things in their lives, lots of turmoils, hassles -you name it-, the band was on deep winter sleep and they lost their vocalist, the great but rather inconstant Michael Henneken (SENTIMENT / ADAMANTRA) was gone for good.While they were in quest of searching for a new perfect singer they opted for the trick that consist to have different famous vocalists at the same time in order to increase their creativity and the band’s polyvalence, it’s also a good marketing move but the risk is to weakened the impact, to have a dilution of the personality of the music with each guest singer's specificity but finally the idea works pretty well, I believe.Now the new permanent singer for SILENT VOICES is known as Teemu Koskela from WINTERBORN’s fame (their 2008’s release “Farewell To Saints” is warmly recommended). But the album contains, beside the impressive vocals of Mr. Koskela in the very first song (which is a killer), nothing more than four guest vocalists such as:Mats Leven (ex-TREAT / ex-SWEDISH EROTICA / ex-ABSTRACT ALGEBRA / ex-RISING FORCE / ex-SOUTHPAW / ex-THERION / ex-ADAGIO / ex-AT VANCE / ex-FATAL FORCE / ex-SABBTAIL / DOGFACE), Michael Vescera (ex-LOUDNESS / OBSESSION / ex-RISING FORCE / ex-FATAL FORCE / ex-DR SIN / ex-REIGN OF TERROR / ex-KILLING MACHINE / WARRION / ANIMETAL USA / SAFE HEAVEN / MVP), Tony Kakko (SONATA ARCTICA / ex-NOTHERN KINGS) and Mike DiMeo (PHENOMENA / THE LIZARDS / ex-RIOT / ex-ILLIUM / ex-MASTERPLAN).Swedish citizen Mats Leven is absolutely stunning within the songs “No Turning Back” & with “Burning Shine”, his vivid interpretations, his deep implication and his voice leaves no hope for another contender, his signature vocalizing are clearly unbeatable, he is the king. Those songs are very well composed , maybe a little more direct than before but with still some intriguing arrangements and great orchestrations plus as always some acrobatic playing.Mike Vescera from USA delivers also a very solid performance, within the third track that is quite reminiscent of the SILENT VOICES old style, with an amazing display of virtuosity in the solo section, that’s funny that they opted for the titled “Reign Of Terror” with Vescera singing on it. Tony Kakko is the weakest of all the hired vocalist, the track is quite good but don’t fit with the thin voice of the SONATA ARCTICA’s mastermind, I believe that Teemu Koskela could do a better job with that particular one.“Black Water” is an instrumental number that allows to each member to shine a little more, a fine demonstration of agility. New York City very own Mike DiMeo is doing a fine rendition of this song called “Through My Prison Walls” but I still think that Teemu is able to sing even better, the long epic cut itself  is a good mix of past and fresh Prog Metal , with some amazing musical parts and many twists and turns.Only little disappointment is the length of the disc itself, after seven years in the making I had wished for one more song with Teemu, a remake of an old song could have been a good ide. Maybe this is their best album, I don’t know only time will tell, but it surely can compete with their great back-catalogue, easily. " - Metal Temple

"Tellus Requiem was formed back in 2007 by guitarist Stig Nergård. In 2010 Tellus Requiem released a self-titled debut album digitally. This album opened up some doors for the band, and resulted in some live concert supporting acts like Keep of Kalessin, Edenbridge, and Pagan's Mind. “Invictus” was mixed and mastered by Tommy Hansen (Jailhouse Studios, Jorn, TNT, Helloween) with the cover art done by Thomas Ewerhard (Symphony X, Theater).According to the band’s biography, the main theme of the band’s writing is about worlds shattering to pieces. This can either be global or personal experience, fictional or literary. Tellus Requiem means; the earths death mass. Tellus being Latin for The Earth, Requiem being the last composition a composer writes before they die. Listening to the ten tracks featured on “Invictus”, it’s obvious that the band is comprised of five very talented musicians with a love for melodic progressive metal in the style of Symphony X and Dream Theater with flourishes of Eastern Folk and the big sound of a motion picture film score (as is evident on the opening instrumental song “Ab Aeterno”). “Red Horizon” kicks in with a vengeance and is highlighted by very Symphony x-like keyboard work by Anders Sundbø (whose frenzied playing style steals the show on this song) and heavy guitar crunch by Nergård.  Vocalist Ben Rodgers has a unique and impressive style and range without resorting to sounding like peers such as James Labrie or Russell Allen.Drummer Vidar Lehmann shows off his considerable chops and fast feet on the middle-eastern tinged “Eden Burns”. A beautiful acoustic guitar passage introduces “Reflection Remains” which leads into a melodic and majestic vocal performance by Rodgers accented by soaring harmonies and a soulful yet blistering guitar solo by Nergård.  The heavy melodic prog metal of “Twilight Hour” has plenty of melody, groove, instrumental chops, and odd time signatures to satisfy the most jaded prog metal fan.  “Sands of Gold” is a complex and chaotic attack of progressive drum patterns, middle-eastern melodies, heavy guitar and keyboard wizardry with Rodgers voice providing the melodic anchor holding it all together. The appropriately titled “Tranquility” is a slower, peaceful and introspective song with Rodgers showing his emotional side as well as his considerable range to great effect. “Redemption” starts off with an impressive Spanish style guitar playing and kicks into a heavy guitar rhythm and aggressive lead vocals and beautiful harmony vocals courtesy of a vocal choir. The heavy prog of “Invictus” is a fast paced and the vocals and musicianship are razor sharp here.  The final song is “Dies Irae” which is the “day of wrath” and was an old Medieval poem sung during the Mass of the Dead ceremony, is a short and sweet outro track and a fine way to end this musical journey. For such a young band, Tellus Requiem has created a stunning and impressive progressive metal feast that fans of Symphony X and Dream Theater will find quite enjoyable. " - The Metal Pit

I'm not the biggest fan of speed metal but this one is surprisingly good.  Almah features former Angra lead vocalist Edu Falaschi.  The music has good intensity and movement.  Lots of hooks, staccato crunch and shredding solos.  I'm suprised at how melodic it is.  Falaschi was always a more than able replacement for Andre Matos and he does a great job here fronting his own band."Allow me to begin with a quote: "There comes a moment in a man’s life when it is necessary to make a radical decision in order to move forward with dignity and renewed energy”. This is from the statement that famed Brazilian Metal vocalist and composer, Edu Falaschi, released, upon his departure from home country metal giants, ANGRA. I had been a fan of them for a long time, and also Falaschi's newer solo work. His leaving of one of my favorite bands managed to turn from a disappointment to a renewal of hope for some of my favorite music, for he, if I may say, as one of the musicians I most genuinely admire (that title does not get thrown around) continued on with his solo band, ALMAH. The previous releases with the band, now a permanent act, marked a step away in style from his ANGRA, not only in compositional style, but also in vocals; no longer was he constrained to the high-pitched, soaring melodies 'required' by a power metal band; in ALMAH, as he has already said, he has found his niche.This brings me to the release of the band's latest release, "Unfold". Different again from the modern, progressive and heavy "Motion", this new piece appears to combine the elements most exquisite found in his previous solo work, and even some ANGRA-like hints. As I could have expected, it was a thrilling experience; and yet, not one piece of it was predictable. "In My Sleep" is one hell of an opening track, that is riled up with a technical drum roll by a monster on the battery, Marcelo Moreira, that explodes into a lightning-fast and energetic power metal riffage, that tends to (rightly) dominate most of the song. Falaschi once again proves his vocal abilities are nowhere near restricted, and floats between gruff baritones and soaring melodies; this kind of versatility is found on each of the album's exquisite tracks. Upon listening to the balladic "Warm Wind", I am pleasantly reminded of ANGRA's "Wishing Well", one of my favorite ANGRA tracks of all time. In part, this new piece is stylistically similar, but retains that slightly heavier, slightly more unpredictable, "ALMAH" touch, and is smoothed over by one of my favorite Falaschi vocal performances of all time."Raise the Sun" rightly chosen as the single to showcase "Unfold" in all its glory. It begins mid-tempo and graceful, but quickly ascends to a progressive grove rife with riff mastery that pops up from time to time, and contains some beautiful bass lines. Raphael is certainly an expert at his instrument, which is saying something, since ALMAH's former (and current ANGRA) bassist, Felipe Andreoli, is a bassist most influential to me. "Believer" once again pushes the musical envelop within this album, and is a brutally intricate and furious track, full of powerful, thrashy riffage, yet also infectiously catchy vocal melodies; one of my two most favorite track on the album. Finally, I cannot finish writing this up without touching on "Treasure Of The Gods", a meaty, nine-and-a-half-minute composition, made up of many passages that, while are stylistically different, amalgamate to create my other favorite piece. On this track, I hear some of the most complicated and intricate drum, bass and guitar interplay, and beautiful guitar solos, and stellar vocal belt-outs. This song is metal personified."Unfold" is one of the albums I have ever had the most pleasure writing about and listening to. It is a reminder to myself and other fans why Brazil is ultimately a metal powerhouse; after leaving ANGRA, continuing ALMAH was the best thing Falaschi could have done, and I hope 'that, with them, he continues to belt out more masterpieces in the future." - Metal Temple

"7 long years it has been since PYRAMAZE’s last album, “Immortal”, with the famed Matt Barlow at the vocal helm. Come 2015, the band has seen half of the original lineup revamped; still remains Jonah Weingarten on keyboards, Morten Gade Sørensen on drums and Toke Skjønnemand on guitars, but have welcomed about longtime-friend and producer Jacob Hansen on guitars and Terje Harøy on vocals. “Disciples Of The Sun” assuredly marks the beginning of a new era for the band, adopting a new and fresh musical trajectory.Who would replace the former members were always at the forefront of the minds of their fanbase. A Danish band, with the exception of American Jonah, Jacob Hansen is well-known in the metal echelons of his home-country and abroad for working with and producing many of Metal’s greatest bands; DELAIN, ABORTED, ANUBIS GATE and EPICA among them. Already the band’s producer, the transition to guitar simply made sense. As for vocals, many considered Matt irreplaceable; such cynicism does not have a place in the metal world, for the band pulled in Terje from Prog/Heavy band CROSSNAIL (formerly TEODOR TUFF).On one hand, the decision to pick a relatively-unknown singer to take the vacant vocal position could be considered risky, but it was the best-possible decision the band could have made, because “Disciples Of The Sun” is chock-full of uplifting and powerful heavy-hitters, to which his voice is perfectly-suited. The introduction of epic proportions sets a spanning, cinematic scene for chugger “The Battle Of Paridas”. One of the album’s heaviest moments right off the bat, the track soon gets into the lyrics, where Terje’s power is obvious right away. Come the chorus (in fact, any chorus on the album, especially that of “Fearless” or “Hope Springs Eternal), the man’s voice lets loose with raw, unrestrained energy. Not losing their trademark, soaring atmospherics either, which are incredibly present in this track, as well as in the infectiously-catchy “Back For More”, PYRAMAZE proves that they have successfully moved forward without losing any trace of their identity.In hearing the wonderful lyrics for the album, written with absolute poetic flair in “Genetic Process” and “Hope Springs Eternal”, I learned that ANUBIS GATE’s very own bassist/vocalist/lyricist Henrik Fevre was asked to write the new album’s lyrics, given that Michael Kammeyer, the previous writer, had left. And they fit the music PYRAMAZE has lovingly-crafted ever so perfectly; uplifting crescendos and dramatic cascades the ideal vehicle. Heavy-hitting, Progressive Power Metal the band’s tried-and-true engine, not one track on the album hints to any monotony; each piece has its own vibe, and is a story all in its own. For one, “Perfectly Imperfect” booms with a series of Stoner-like opening riffs, before transitioning into soaring and gloriously-melodic choruses. The track to follow, “Unveil”, however, provides some of the more ‘Proggy’ moments on the record; the key-change in the last chorus leaving me light-headed, and probably best display’s Terje’s impressive range. As for the most balls-to-the-castle-wall Metal track on the album, “Hope Springs Eternal” is the package, containing the album’s fastest, most aggressive, most blistering riffs; but in a gracefulness only Scandinavian metallers have perfected, transitions to long-lasting, memorable and melodic choruses.For my own personal pleasure, the band picked the right year to release “Disciples Of The Sun”, being able to look forward to new NIGHTWISH and new KAMELOT albums as well, for if Metal were a competition, the genre heavy-weights would have serious competition. PYRAMAZE is, quite frankly, the come-back I’ve been waiting for." - Metal Temple

After a 10 year absence Enchant are back.  The band started in 1993 making them one of the earliest prog metal band.  Actually they are sort of an interesting band in that they seem to exist in both the prog rock and prog metal realms.  Some metal fans think of them as a bit lightweight and some prog rock fans think they are too heavy!  One thing is for sure they are wildly successful.  This is definitely prog but it never loses sight of the melody.  Fronted by the great Ted Leonard (who is now doing double duty with Spock's Beard) this one is a no-brainer - whether you are metal or prog head.  "irst impressions are the similarities to Spock’s Beard. Hardly surprising since Ted Leonard has been singing with them since 2011. He’s been with Enchant longer; their first CD came out in 1993. And familiarity doesn’t breed contempt here, fortunately.Bay area progressive rockers, they steer a straight course composing guitar-structured songs that they extemporise over. Guitarist Douglas A Ott is also the band’s main producer, with The Great Divide having been recorded at his own studio, but if in the past the band’s followed his direction they’re now more involved after a ten year gap working on other projects. Also, while integral, Ott doesn’t dominate Enchant’s sound but flows in and out adding a hard rock bias to their generic musical flavouring. Drummer/percussionist Sean Flanegan and bassist Ed Platt have the solidity of early Kansas and musically there are some pretty snazzy and often too brief keyboard solos from Bill Jenkins.A rolling cyclical bass line forms the basis of opening number ‘Circles’ with Leonard pondering life going round well, like a circle – while the lyrics aren’t profound they feel right and though this isn’t a concept album, despite the band stating otherwise, there are common themes concerning the human condition in a loosely existential manner. Mainly straight verse and choruses ‘Circles’ breaks out into more complicated time signatures before an acoustic comes to the fore, vocals return, an electric guitar take over and it concludes with a nicely warm keyboard solo. ‘Within An Inch’ follows with a steady rock backbeat over which Ott’s playing echoes Camel’s Andy Latimer interrupted briefly by some John Ellis punk-styled sirening. ‘The Great Divide’ follows suit in a more epic manner, the arrangement akin to Genesis in their golden period.Enchant don’t play with the fairies, despite what their name suggests. If anything they’re two steps removed from an AOR sound leaning in towards early Asia with some latter day Beatles thrown in, and a less grandiose take on Spock’s Beard. One might refer to them as technically proficient rather than emotionally overwrought, meaning there is a heartfelt flavour to their songs, and they tend to grow on you.The subdued opening to ‘Life In A Shadow’ throws a brief curveball echoing the Canterbury sound of Hatfield & The North before a heavy chorded chorus takes this into a rocking tune with soulful harmonies. ‘Deserve To Feel’ pours on the technical drumming and dribbling triplet bass figures with some flashy pyrotechnics predominantly on guitar but with keen keyboard flourishes, moving into a more intricate musical score as Jenkins and Ott trade inspired lines towards its conclusion. Likewise, ‘Here And Now’ builds reflectively moving towards emotional drama.Finely composed, played well, Enchant’s The Great Divide might not have you falling under its spell, but you may well be surprised how you find yourself being drawn to playing it." - The Midland Rocks