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Silent Revenge

SKU: AFM477-2
Label:
AFM Records
Category:
Power Metal
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"My first introduction to Brazil's Hibria came with last year's DVD/CD live package Blinded By Tokyo. It seems, besides their popularity in South America, they've been a hit in Japan from earlier on in their career. The live set was good showcase for their power metal skills. Now seeking more international recognition, Hibria releases Silent Revenge through AFM Records.

I'll admit I was almost put off by Silent Revenge from the start, thanks to the first, and title, cut. Silent Revenge features Andre Meyer of death metal act Distraught offering competing death vocals. I get the addition, but it's still annoying. Later, with Walking to Death, Hibria vocalist Iuri Sanson nears hardcore screamo vocals. All this makes me wonder if, in attempt to be edgier or more commercial, Hibria wants to move more towards modern metal.

Alternatively, listening to Silence Will Make You Suffer, Lonely Fight, or the powerful anthem Shall I Keep on Burning (unplugged version is even better), you find both Sanson and Hibria straying little from their traditional heavy power metal roots, with emphasis on heavy. However, sometimes they get a little over ambitious as with The Way It Is. It's decent power metal, just too long. One thing Hibria has always been known for is powerful guitar leads, and there's a truck load of ripping leads all over this album. This simple, but necessary element, puts Silent Revenge beyond a better than average album. Their traditional South American and Japanese fans should enjoy this album, and the band will probably collect more fans in Europe as well. Recommended." - Danger Dog

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  • "‘Idiosynchratically beautiful’. These are two words that have stuck with me for nearly 20 years and which I recall almost every time I hear or read the name Arcturus. These words were quoted on an advert for the Norwegian band’s 1997 release, ‘La Masquerade Infernale’ within an issue of either Terrorizer or Metal Hammer magazine; I can’t remember which. What I do remember was that I was deeply into a stage of black metal discovery at the time and this quote resonated with me for some reason. I took the punt and received the album as a Christmas present. It wasn’t love at first listen; instead it was a slow and steady slog that has ended in a lasting and deep love affair. It was the track ‘Ad Astra’ that was the catalyst for repeat listens. Full of drama, avant-garde vaudevillian oddness and a compelling crescendo, it impressed me and forced me to listen to the remainder of the album more than perhaps I might otherwise have done.It is arguable that in the intervening years, Arcturus have never managed to hit the heights of ‘La Masquerade Infernale’. Neither 2002’s ‘The Sham Mirrors’ nor ‘Sideshow Symphonies’ spoke to me in the same way and despite containing some outstanding moments, I came away both times with feelings of slight disappointment. And that, as they say was that. In terms of original studio albums, nothing has been released since; indeed after the release of ‘Shipwrecked in Oslo’ in 2006, the band called it quits with the individual members going on to do different things. And so it has remained until now.Rumours were rife from around 2011 when various members made comments that alluded to a resurrection of the band and later that year the rumours were confirmed. However, for one reason or another it has taken until 2015 for a new original recording to see the light of day, a development that has been greeted with great euphoria amongst the loyal Arcturus following.Arcturus version 2015 is comprised of Steinar Sverd Johnsen (keys), Hellhammer (drums), Knut Magne Valle (guitar), Hugh ‘Skoll’ Mingay (bass) and ICS Vortex (vocals). Together, they have created an album very much worthy of their lofty status and one that I would argue just about manages to match the quality of ‘La Masquerade Infernale’. The only reason I hedge my bets and say ‘just about’ is because I’ve only had about three days with ‘Arcturian’ as opposed to the 18 years I’ve had to enjoy ‘La Masquerade Infernale’. That said, I’ve listened to ‘Arcturian’ more times than I care to mention in recent days and it gives me chills on each and every listen. It is complex, quirky, brilliantly composed and professionally executed. I have no doubt that with even more time and attention, it’ll delight and captivate me even more than it does already.The one thing that perhaps I wasn’t expecting was the sheer amount of melody and accessibility that ‘Arcturian’ displays. It’s no exaggeration to say that for all of the complexity and raw heaviness, almost every track on the album contains a melody, lead vocal or some kind of hook that makes me sit up and take real notice. When I listen to new music, I have a tendency to make an ‘oooh’ noise and smile broadly if something excites me. I suspect that there will be some of you out there who do something similar. On ‘Arcturian’, I admit to ‘ooh’-ing all over the place.One of main reasons why this album feels so melodic and accessible is, I believe down to vocalist ICS Vortex. Yes he is an acquired taste but so unique is his delivery and so impressive is his range that seemingly very little is off-limits. He complements the music beautifully, managing sound both majestic but also a little unstable, as if he could spiral out of control at any moment. I mean, at times, he sounds like he’s yodelling for heaven’s sake; it’s superb.Onto the compositions themselves, they are all dense, multi-layered affairs that contain an abundance of richness. There are no songs that tend to extend over six minute mark and yet, such is the ambition of Arcturus that it feels like a million different ideas are injected into each composition, testing the listener and toying with them at every turn. I strongly suspect that this has been done with a certain playful, yet mischievous intent. Those strong Vaudervillian overtones of the band’s past make a welcome return, as do a number of various influences that pull Arcturus away from being simply discarded as a black metal band. As they demonstrate on ‘Arcturian’, there are elements of black metal to their underlying sound but they deliver so much more that to pigeonhole them in such a way would be inaccurate and disingenuous.Opening track, ‘The Arcturian Sign’, starts off somewhat disconcertingly with weird electronic noises and sounds. It’s a typically eccentric beginning which soon gives way to those unmistakable vocals of ICS Vortex and, at its core, a black metal meets prog composition. Dominated by powerful synths and relentless double pedal drumming, those odd sounds like laser guns nevertheless re-surface throughout. But within the tumult and idiosyncrasies is a really catchy, hook-laden chorus.‘Crashland’ has a light and breezy feel to it, taking in influences from space rock, folk music and more extreme climes. The sweeping synths are immediately reminiscent of the ‘La Masquerade Infernale’ era, as they are during my personal standout track, ‘Game Over’ with its addictive melodies and the way it builds and morphs so elegantly from one guise to another almost imperceptibly, ending in a crescendo of sorts that elicits another ‘ooh’ from my lips.‘Angst’ is a powerful and more extreme slab of metal, dominated by a blistering tempo, tortured screams atop another strong synth melody and the threat of a descent into chaos on more than one occasion. ‘Warp’ on the other hand introduces more electronic influences but has such an imposing and catchy melody that it’s impossible to ignore. ‘Demon’ has demonstrable Gothic synth pop overtones whereas ‘Pale’ delights with a marvellous driving central riff, a great chorus of sorts and some of the most varied and brilliant vocals on the entire record. The album ends with ‘Bane’, a track that further backs up the gorgeous ‘The Journey’ by providing amongst other things, some truly beautiful and subtle acoustic guitar playing which is a real joy.For all that, I have to say that ‘Arcturian’ is an album that’s best enjoyed in its entirety rather than picking and choosing individual songs. The album has a distinct flow and overall feel that helps to make it as special as it is, something that could be lost if listened to in a piecemeal manner.For the sake of balance, my only small gripe relates to the production which I think is a little on the weak side and robs some of the aforementioned richness from the music. Occasionally, the layers of music come together is a slightly messy muddle of impenetrable white noise which is a bit disappointing. But then again, there’s a certain ‘old-school’ charm to the mix too, reminding me of their heyday more than once. 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  • "Back in 2008, a force in the German melodic power metal scene released an album called “Eternal Empire.” The album was met with as much disdain as I have seen critic’s muster. It seemed that after the release of epic power masterpieces “Lord of Earth and Heavens Heir” and “Defenders of the Crown,” the band had all but abandoned the foundation that built the Human Fortress. On one hand, creating a new sound to generate a bigger audience is understandable, but to hardened power metal fans it’s a sacrilege. So, after a five year hiatus, the departure of Carsten Frank (who sang and played guitar on “Eternal Empire”) and return of one the original members Volker Trost (guitarst) and vocalist Jioti Parcharidis, the band was set to regroup and attack. However, in 2010 Parcharidis left again for health reasons, leaving the band to seek a new vocalist. The search turned up one of the rising voices in metal - Brazil’s Gus Monsanto (Symbolica/Code of Silence/Ex-Adagio). With that, Human Fortress seeks to reclaim lost glory with “Raided Land.” The end result is a successful transition back to pre-2008 derailment as the the train coasts back on the track of straight melodic power metal, with the added bonus of the best production in the band’s history.In Monsanto, the band has brought back the soaring beauty that was lost with Frank’s pseudo-harsh style vocals. His range is even more varied than with his other bands (Code of Silence and Symbolica) and there are brief moments where he is inseparable from Tommy Karevik (see “Under Seige”). It seems there is no end to the breadth of what he can sing. His style is more wide open than that of original vocalist Parcharidis, though I suspect that many fans will identify his style with the band. In a similar aspect to MasterPlan, yet on a much smaller scale, the band’s rabid fanbase will raise red flags with a new vocalist. However, the only red flag that should be raised is the one depicted on the album artwork. Monsanto is by far the best vocalist Human Fortress has ever had, and it is his range that properly propels the band to a modern audience while keeping true to its history.With a perfect mix and fantastic sound (from Orden Ogan vocalist/guitarist Sebastian "Seeb" Levermann on the music side and vocalist extraordinaire Michael Bormann on the vocal side), Human Fortress draws elements from the first two releases with a distinct nod to the current style of Kamelot. Pure power metal fans might find that it leans more progressive and is mired in mid-paced muck and pure progressive fans will find it dips into more power than they might like. For those in the middle, “Raided Land” is the band’s finest hour. The songs are a perfect balance of power and progressive with the songs averaging a svelte 4 minutes.With a recipe of “Silverthorn” Kamelot and “Mystery of Time” Avantasia, the band also throws some shades of Running Wild within the riffs of “Gladiator of Rome, Pt. 2,” the album’s strongest track. “Evil Curse” is the longest track – at 5:22 – and also the heaviest. I do wish that mighty riff was carried in force through the first verse, but it comes back half way in the second. However, if there was one song on the album that shows the full range that Monsanto offers, this is it. Other notables are “The Chosen One,” “Child of War” and “Wasted Years.” The one most closely related to Kamelot is “Under Seige,” which if I hadn’t known better could have easily fooled me as coming from that band.“Raided Land” is a return to the style that started it all for Human Fortress. With Gus Monsanto, the group added the most versatile vocalist its ever had (with no disrespect to Parcharidis). The sound and production is the most pristine in the band’s history, striking a perfect mix – a testament to the mastery of both Sebastian Levermann and Michael Bormann. While I know some diehards will find the album unfulfilling as a pure power metal album, I cannot find a time in the band’s history outside of “Eternal Empire” where it sounded dramatically different, or better. “Raided Land” is one of the finest efforts from a German band with a tremendous upswing for the future." - Metal Underground
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  • Latest from this Italian band create an intelligent mix of folk and power metal.  Love that violin!  Era is spiced up with some special guests: Jon Oliva, Teemu Matysaari (Wintersun), and Maurizio Cardullo (Folkstone).
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  • "Formed in Florence, Italy, in 1996, Inner Shrine was one of the first Symphonic bands to emerge from the European metal scene. The band released first full length album 'Nocturnal Rhymes Entangled in Silence' in 1997 and, since then, has been able to develop a strong identity mixing classic heavy metal, doom, classical music and ppera with powerful visuals and a deep lyrical approach."Following the critically acclaimed album 'Mediceo' (2010), 'Pulsar' is the band’s ultimate musical statement, an intriguing concept about the end of the world and the creation of a new species. The album has been described as one of the heaviest in the band’s career, with a particular emphasis on the melodic death and Gothic influences."
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  • "The successor to "Obsessions" (2011) was mixed and mastered by Jacob Hansen at Hansen studio in Denmark (Volbeat, Pretty Maids, Amaranthe a.m.m.)Beside band leader Samuel Arkan, the following vocalists and musicians contribute to"Fantasmagoria": Tom S. Englund (Evergrey) Henning Basse (ex-Metalium, ex-Sons Of Seasons, Mayan) Ida Haukland (Triosphere) Matt Marinelli (Borealis) Tezzi Persson (Between The Silence) Mike LePond (Symphony X) Léo Margarit (Pain Of Salvation) Julien Spreutels (Ethernity) Simone Mularoni (DGM)The quite unusual thing is that all these guests came to the Noise Factory studio (Belgium) to track down their parts. Nobody recorded his/her parts at home, like with some many other projects."I wanted the whole thing to get a real "band" feeling", Arkan says. "Therefore having all vocalists and musicians here was very important to me. We got to know each other better and better while spending time together. The new material sounds very fresh, dark, heavy, modern and "true" with "straight in the face" guitar riffs, intense voices and melodies, massive work on progressive atmospheres and orchestral parts. All the artists who participated in this album gave their soul to it, gave their best, they travelled deeper into sensitivity and sincerity. That's probably the best words which define this next album... sincerity & spontaneity! This album comes from the heart of each musician and vocalist who worked on it, and you can feel it when you listen to this new EPYSODE album."Compared to the debut "Obessions" the new material is a step forward in every way, with even better songwriting, a massive sound, powerful production and an intensity you rarely find these days.With the top notch vocalists that are gathered here (a.o. Evergrey’s Tom S. Englund, who is contributing to 5 songs) the "Fantasmagoria" concept story comes to life in a very intense and thrilling way, with lots of facets, expressive singing, deep & dark emotions. Englund’s duet with Ida Haukland (Triosphere) on the album’s title track especially gives goosebumps to the listener. There is also a plot to the "Obsessions" album and many fans of concepts will have their pure delight in discovering the story behind the story.The "Fantasmagoria" recordings took place from December 2012 to end of April 2013. Responsible for all keyboards, piano, arrangements was again Julien Spreutels, "my brother in crime, without him Epysode would not be as it is", Samuel says. "He did one more time an outstanding job and gives magic to Epysode, It's always a pleasure and very inspiring to work with him". "
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  • "The second album from melodic power metal quintet Civilization One finds a few member shifts as well as a label change- so fear sets in when three-fifths of the lineup receives a re-boot. In the case of these musicians, it was necessary due to proximity and related productivity. Enter drummer Michael Stein- who also plays with vocalist Chity Somapala in Red Circuit, along with new guitarists Oliver Marmann and Nicklaus Bergen. What does the mean in terms of sound relative to their 2007 debut "Revolution Rising"?For one, the emphasis on these 12 songs (plus brief "Aazis" 54 second intro) appears to be on a more lively, easier to replicate sound than the multi-tracked vocal harmonies and waves of keyboards lurking in the shadows. Chity is an affable front man- professional and more than capable of keeping the melodies versatile and memorable: be it in a lower / mid-range capacity for the commercial leaning "The Land In Flames", the more heart-tugging ballad "Reunite" or his potent lung capacity for the conventional double bass driven number "True Believer". Oliver and Nicklaus perform to high caliber standards: challenging the listener with many dazzling lead breaks and a mixture of riffing techniques that combine crunchy, almost thrash-like parts in "The Supernatural Virtue" as well as standard Firewind meets Brainstorm guitar hero work on the title cut and "Hell Awaiting". Many will even smile at the Phil Collins/ "Take Me Home" laid back percussive aspect of closer "Dreams of Fire"- once again illustrating the band's desire for individuality.Another aspect I enjoy is the shorter time frames for the twelve songs: proof that you can cut to the chase, provide the level of energy and excitement, and move onto your next arrangement in a tidy 3-4 minute measure. "Calling The Gods" is a proper follow up to its predecessor, which is always a great move in today's crowded power metal sweepstakes. Those on the fence after their five year layoff will be adequately appeased." - Eternal Terror
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  • Under the Red Cloud marks the 12th studio album from Finland’s grandfathers of extreme metal, the band’s sixth LP with Tomi Joutsen as vocalist and his 10th year in the band. The string of Tomi’s six records started with 2006’s Eclipse and had an absolutely epic beginning. Eclipse, Silent Waters and Skyforger  showed the band’s new found drive and energy, reclaiming some of their death metal heritage, while veering further into what Nuclear Blast has fittingly labeled ‘melancholy rock.’ Unfortunately, Angry Metal Guy’s Law of Diminishing Recordings™ is a fickle mistress, and The Beginning of Times and Circle were both records that were good, but lacked the urgency of that initial trilogy. These records saw the band pushing into newer territory—heavy Jethro Tull influences bled through on the former, while Circle developed some of the band’s folky elements in cool ways. Neither album gripped me. But when Amorphis releases an album, it’s hard for me not to get excited, and upon seeing the cover art for Under the Red Cloud, all that warm anticipation came back. And fortunately, they didn’t disappoint.Under the Red Cloud is a return to form for Amorphis, and the most cohesive album the band has released since 2009’s Skyforger. Clocking in at 50 minutes, it’s made of ten thematically cohesive tracks. The album isn’t a story though. Instead, the lyrics (written, as always, by Pekka Kainulainen) are conceptually foreboding; about living under a red cloud in troubled times. The music matches this feel, and while I wouldn’t say the album is necessarily so much heavier than previous records, it may have been influenced by the 20th Anniversary of Tales from the Thousand Lakes, because the band has certainly produced the most growl-heavy material of the Joutsen-era.You wouldn’t notice that on the opening title track, however. “Under the Red Cloud” starts with an atmospheric piano bolstered by throbbing bass and a clean guitar in harmonic minor before merging into prime Amorphis territory: a chunky, groovy riff with Tomi’s cleans augmenting the sound perfectly. This format—the classic hard rock song-writing—is the stamp with which the band’s newer material has largely been pressed. “Sacrifice” is similar, breaking in with a “House of Sleep” intro, and a heavy, syncopated verse before giving way to a hooky chorus and a slick guitar melody. “Bad Blood” features Tomi’s growl in the verse, but it’s heavy on the groove and light on the melody before giving way to an epic chorus and beautiful bridge.Amorphis isn’t afraid of their death metal side here. Between “The Four Wise Ones” and “Death of a King,” every single track starts with growls, and the former doesn’t feature any clean vocals from Joutsen at all—instead there’s a short bridge with a haunting, effected vocal line that evokes Elegy. “The Four Wise Ones” and “The Dark Path” both feature crescendos with a ’90s black metal feel—wet with keys and a trem-picked melodies—only undermined by Rechberger’s refusal to use blast beats and Tomi’s growls. The death-laden material works well, though moments like the verse in “Bad Blood” or “Death of a King,” which is one of the singles from Under the Red Cloud, are places where I would have chosen clean vocals rather than growls.There is a danger, however, in Amorphis‘s modern sound, in that it’s pretty easy to fall into a rut. A fairly close listen to Under the Red Cloud reveals that the songs pretty much all follow the same structure, which when the band isn’t producing their sharpest writing can become repetitive. When the album hits its stride, though, it’s an extremely well-crafted record. From “Sacrifice” to “White Night” is a stretch of pure enjoyment—each song flowing into the next, while peaking on the final two tracks. “Tree of Ages” features a folky Celtic theme that has been stuck in my head since the first time I heard it, and “White Night” is a moody track that closes the album out with a surge.Under the Red Cloud is a very good album and a return to form. The record simply sounds like Amorphis; the band has developed a sound that bridges the gap between their old material and the new—with plenty of moments on here that remind me of Elegy and Tuonela with sitar (“Death of a King”) or bong water keyboard solos (“Enemy at the Gates”). And it’s incredible how the band’s riffing can still be so idiosyncratic. “The Skull” and “Enemy at the Gate” have riffs you only hear in Amorphis and Barren Earth; and after 12 records they still pull them off without feeling like they’re ripping themselves off. Consistency is a virtue for big bands if they’re any good, but I think there are hints on UtRC that Amorphis could get more adventurous going forward, and I hope they do. Until that time, though, I’ll be sitting here enjoying these tunes under the red clouds." - Angry Metal Guy
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  • "Dog & Butterfly became Heart's fourth million-selling album and placed two songs of opposing styles in the Top 40. Like their Magazine album, Dog & Butterfly peaked at number 17 on the charts, but the material from it is much stronger from every standpoint, with Anne and Nancy Wilson involving themselves to a greater extent. The light, afternoon feel of the title track peaked at number 34, while the more resounding punch of "Straight On" went all the way to number 15 as the album's first single. With keyboard player Howard Leese making his presence felt, and the vocals and guitar work sounding fuller and more focused, the band seems to be rather comfortable once again. Average bridge-and-chorus efforts like "Cook with Fire" and "High Time" aren't spectacular, but they do emit some appeal as far as filler is concerned, while "Lighter Touch" may be the best of the uncharted material. After this album, guitarist Roger Fisher left the band, but Heart didn't let up. 1980's Bebe le Strange showed an even greater improvement, peaking at number five in April of that year." - All Music GuideRemasetered version with 3 bonus tracks.
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  • "Neal is best known for forming and being the front man of the prog rock band Spocks Beard.In 1999 he joined Mike Portnoy (ex Dream Theater/Winery Dogs) on the project that was Transatlantic and more recently Flying Colors.In 2002 Neal became a born again christian & has recorded prog christian rock albums since leaving Transatlantic & Spocks Beard as he felt a calling to make his personal faith more prominent in his recorded outputThis HUMUNGOUS boxset features 4 discs consisting of the live performances of Testimony (originally released back in 2003) & One (released back in 2004) & 2 live DVDs featuring the FULL concerts recorded over 2 nights making 6 discs in total.The DVD portion of this set runs for 5 hours & DVD 2 contains behind-the-scenes documentary with footage of Neal’s exclusive acoustic concert, rehearsal footage & “Name That Prog Tune” game with Mike Portnoy & created by Randy George, who has been a long time collaborator with Neal as well as being the touring bass player.The DVDs are beautifully shot & shows the band in full on fun & praise mode. It’s blatantly obvious with the amount of massive grins that the musicians really enjoy playing this music.The 4 discs of audio are tremendous in not only sound quality but the production alone actually leaves the DVDs audio in the dust.Personally speaking I’d recommend watching the DVD synchronized with the CD audio (not overly easy as it’s split over 4 discs but well worth persevering with)I’m a huge fan of Spocks Beard & Transatlantic so the inclusion of a couple of tracks on the 2nd DVD is superb. The version of Transatlantics Stranger In Your Soul is the best I’ve heard since the Live In Europe DVD (Transatlantic release 2003) & the classic The Light featuring Alan Morse (Spocks Beard from the album The Light released in 1995)If you’re a fan of Neal Morse, Spocks Beard, Marillion, Flower Kings or just a prog aficionado with a penchant for epic tunes you are not going to be disappointed by this.There are more time signatures than the world clock & vocal harmonies that even The Beatles would be hard pushed to replicate.It’s a stunning body of work. The time & effort that has been put into this set is perfectly clear. I cannot recommend this purchase highly enough." - All About The Rock
    $38.00