Rising From Ashes (Digipak)

"Formed in 2008 under the (thankfully dropped) name Rightdoor, Within silence are a melodic power metal band in the vein of Blind Guardian. As such you can expect huge swathes of guitar, souring vocals and banks of keyboards all vying for space amidst the pounding rhythms and heroic soloing. Growing steadily, the band have taken their time to draft their debut offering, the gleaming ‘gallery of life’, and it appears that it has been time well spent because the rehearsals, the time spent writing and then honing material on the road with the likes of Blaze Bayley has paid off with this confident and powerful album.Opening with a short, choral ‘intro’, ‘gallery of life’ immediately sets out its stall as an ambitious body of work designed to be heard as one contiguous piece. The intro builds nicely to the powerful guitars of ‘silent desire’. A perfect opening song, ‘silent desire’ immediately highlights the fact this is a production that oozes quality. The guitars are razor sharp, the choruses soar memorably and the playing is ultra-precise. It shows that Within Silence will settle for nothing less than perfection and there’s a sparkling ambition here that is impossible to ignore. ‘Emptiness of night’ is a fast-paced rocker with blazing guitars and a full-on vocal performance that is both powerful and brimming with confidence. There’s a strong Iron Maiden influence underpinning the cracking pace and guitar work, and it’s clear that the band have nothing less than world domination in their sights. Keeping the energy levels high, ‘Elegy of doom’ is another taut rocker with a rampaging riff and just the right amount of keyboard to add atmosphere without overpowering the song. It’s an early highlight of the record and make no mistake, within silence are a band who like to rock! It’s a trend that continues on the equally stunning, ‘The last drop of blood’, a full-on belter of a track that sounds like the band channelling Metallica, Maiden and Judas Priest all at once. It’s one of those adrenalin packed tracks that will get the blood pumping no matter what, and it must surely be a live favourite with its brutal riffs and memorable chorus. The track reaches its peak, however, with the excellent extended solo that runs wild over the second half of the song. Showing a lighter touch, ‘Love is blind’ keeps the energy levels maxed out but offers up a more pop-infused side of the band than found elsewhere, and whilst it still remains on the metallic side of the musical spectrum, it shows that Within silence have both the talent and confidence to fully explore their genre.The band briefly slow their pace for the more subtle opening strains of ‘anger and sorrow’, although the song does not take long to explode into a typically multi-stranded beast complete with extended solos and deft changes. Representing Within Silence at their most commercial sounding, ‘Judgement day’ is the sort of rollicking heavy metal ride that would have been all over the radio back in the eighties. Powerful and driven by a chorus that is only slightly less addictive than crack, ‘judgement day’ is a beast of a track. Next up, pounding drums lead us into ‘the world of slavery’, a song with a strong folk influence. Another track that benefits from some stunning guitar work, ‘the world of slavery’ is a metal epic that only gets better with repeated listens. The album concludes with ‘road to paradise’ which dips into ‘seventh son…’ era Maiden for inspiration. Another epic length track, it is a last chance for the musicians to spread their wings and soar, something which they duly do in impressive fashion. A short ‘outro’ sees the disc spin to a halt with choral voices echoing in the dark. It is a suitably dramatic ending for a CD that takes the listener on a wonderful journey from start to finish.Power metal can be, all too often, a genre where the keyboard elements overshadow the metallic elements. Thankfully, Within Silence, perhaps because of their lengthy time spent out on the road, keep their sound hard-edged throughout and the result is an album that packs a similar punch to the classic Maiden albums of the early eighties. There are crunchy riffs galore, endless solos and the sort of huge, soaring choruses that have made Blind Guardian such a powerful force. Talented, oozing confidence and with a wonderfully powerful set of songs, Within Silence have arrived and metal fans had best sit up and take notice, because these guys have the skill and the burning ambition to go far." - Sonic Abuse

"Released on 16/11/09. CD1 – Thunder Steel. This 1988 album takes everything that was metal at the time and is a classic combining thrashing guitars and pounding percussion indicative of the underground thrash movement of the time. It has more riffs than Anthrax and undertones of the hair metal that was riding the charts at that time. It is a classic and has everything that makes metal great! CD2 – The Privilege Of Power. This 1990 album saw the band augment their state-of-the-art heavy metal sound with horns, courtesy of the Brecker Brothers and Tower Of Power. It also features guest vocals by Joe Lynn turner (rainbow). The album employs 10 complex tracks that work as a single unit."

"If La-Ventura hadn’t named their second full-length album White Crow, the word "testament" would have been a fitting alternative. That’s because it’s been almost 5 years since the Dutch melodic metal quartet released their critically acclaimed debut album A New Beginning. Sure, they released an EP between then and now, but La-Ventura have kept a low profile while working on their new material. Their online presence all but vanished – usually a fatal sign in this age of constant updates via Facebook and social media – and many international fans, including myself, wondered whether the band had split up. Thus, the fact that La-Ventura are still around is welcome news. And hearing the pulse of their music again on White Crow is like visiting an old friend who’s changed a bit since you two last met.What do I mean by "changed"? Well, White Crow presents a major shift in La-Ventura’s music. Instead of continuing the moody, gothic-like atmospheres of A New Beginning, the band focuses on guitars and vocals. (This may be because La-Ventura never replaced keyboardist Marco van Boven after he left the band.) So, on White Crow we hear more of Sasha Kondic’s nu-metal-esque riffs and the rhythm section’s throbbing and grooving, while keyboards highlight only certain moments on a few tracks. The production and mix quality have improved dramatically since A New Beginning, perhaps because La-Ventura opted not to self-produce the new record. This time, they worked with producer Didier Chesneau (Headline, Asylum Pyre) and mastering engineering Bruno Gruel (Septic Flesh, Asylum Pyre). The result is a sharper, thicker sound that augments the guitarwork and pushes the keyboards further into the background. Most of the melody on White Crow, therefore, comes from singer Carla (Douw) van Huizen. She thrives on the band’s intensity, and her mature voice and melancholy tones suit the new sound just as well as they fit La-Ventura’s earlier style.La-Ventura’s evolution is apparent as soon as White Crow begins. Kick-off track "Falling Down" is easily one of the band’s grittiest songs to date, with Kondic’s riff-ripping and new drummer Renzo van Poecke stabbing at the slow tempo. Van Huizen’s powerful chorus and the closing sonic eruption turn this track into an instant La-Ventura classic. "Human Vanity" takes a similar path but is more uptempo and contains one of the album’s best sing-along refrains ("You and I, we need / Something that’s compatible / Something that’s real"). La-Ventura, however, save their most searing arrangements and starkest contrasts for "Song For An Idiot." All of the band’s elements converge to portray the anger, frustration, and despair in van Huizen’s lyrics. "Time and Time Again," "Neverending Story," and "The Only One" also show how La-Ventura’s music has ripened.A few tracks on White Crow hearken back to the days of A New Beginning. The title track begins with a delicate piano / synthesizer intro before the full band comes crashing in. "Drowning," on the other hand, uses keyboards throughout as well as off-beat drumming and a cascading, mystical synth line. Van Huizen uses the full breadth of her range here, enhancing the lyrics’ anguish. The one song on White Crow that brings together the old and new of La-Ventura is "Close To You." The main guitar hook has a loose, alternative metal feel, and synths peek their way through on the verses and final bridge. Then the song ends with van Huizen crying out over bursting guitars and a shrieking last-second solo – a bold move La-Ventura didn’t dare to take on A New Beginning.For the most part, La-Ventura have taken the right steps forward on White Crow. Listen to both of their albums back to back and you’ll notice the difference, especially in the quality of the sound mix. The keyboards and treble dominated on A New Beginning and oversaturated the music, whereas White Crow’s concentration on metal and melody feels more natural and gives the listener a better idea of how La-Ventura may sound live. In the end, though, I still prefer A New Beginning over White Crow. Tracks like "Trefoil," "Only Love Will Find Its Way," and "Memoria" from the former album aren’t just well-written and memorable. They also drip with emotion and earnestness that the listener can feel. That extra touch is often what separates a great song from a good song. And unfortunately, the strongest tracks on White Crow don’t breach that difference, despite how catchy or tight they may be.Still, White Crow is a solid release and one that La-Ventura fans should be pleased with. It retains enough of the familiar melodic focus from A New Beginning, particularly van Huizen’s ardent vocals, while adding more musical crunch and distortion. And although White Crow may not move listeners the way that A New Beginning did, the passion we originally heard from La-Ventura still runs through the music’s veins. Of course, the passion has manifested itself in a different manner this time. But that quality is essential is making good music in any genre. And with White Crow, one of The Netherlands’ most promising female-fronted bands gives us another full-bodied dose of it." - Sonic Cathedral

"Having existed in some shape or form since 1990, Greece's Black Fate is another band that has been seeking consistency and stability in their career for better than twenty years. Returning to life after a five year absence, the band offers their fourth album, Between Vision & Lies. And they've made a small coup d'etat by adding fellow Greek, guitar wunderkind Gus Drax (ex Biomechanical, Paradox, et al), another musician in search of a stable band.While not necessarily novel or to say that their sound is unique, Black Fate's sound is definitely something of interest and for explanation. It's a hybrid of various metal genres. The foundation is a division between traditional power metal and classic melodic heavy metal, probably larger on the latter. There's also some slight symphonic nuances. Perhaps, the most intriguing element is the inclusion of a solid rock groove in many songs, stealing something from both traditional melodic hard rock and metal.By arrangement, then, these elements are blended in such a way that may suggest progressive metal. You certainly will find this current in many songs including The Game of Illusion, Weight of the World, or State of Conformity. But that last song, along with the following Without Saying a Word, share some of that aforementioned melodic rock accessibility, while still being metal. I would say that Without Saying a Word, an anthem, is the most soaring song here, even stirring the emotions. It's definitely a fine platform for Vasilis Georgiou's strong vocals.Alternatively, songs like Perfect Crime, Weight of the World, and Into The Night can be a thorough thrust of heaviness, borne mostly from the riffage and rhythm section. But these, also, are not without the strength of melody and groove. And no song here is without Drax's terrific guitar wizardry, a strong fusion of traditional rock, neo-classical, and metal fret work. Between the skilled musicianship and versatile arrangements, Black Fate's Between Vision & Lies offers some intriguing music, hybrid heavy metal that suggests more than one listen to enjoy both the creativity and nuances. Here's hoping the band stays stable and returns with more in the future. Recommended." - Dangerdog

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

"Hailing from Hungary, Sorronia have been quietly honing and evolving their sound and style since their formation in late 2011. Now that everything is in place the band have released their debut offering ‘Words Of Silence’.Falling neatly into the Symphonic Metal bracket, Sorronia have come up with a rather tasty debut, the female vocal of Anna Király is particularly effective, displaying a real warmth and depth balanced with no shortage of emotion. Musically, the band have developed an excellent balance between the guitar riffs and the orchestral elements, leading to an almost fifty fifty split between the two, neither swamping or drowning out the other, all of which makes for an extremely accessible album.There are a good few tracks worthy of special mention, my personal favourite, ’Shattered’, is a glorious, piano and string led song with an incredibly catchy, pop tinged hook and chorus, a track I could see being a real gem when played live. ’Leave It Behind’, another really strong track, with a Gothic overtone that creates a darker atmosphere than some of the other compositions. Album closer ’This Is The End’ is a near perfect choice for the task, encompassing, as it does all that the band have set out to achieve with this record.The production sound contributes a lot to the finished article of course, and a really great job it is that’s been done as well. All aspects of the bands sound has been carefully balanced, ensuring that the album works as a complete unit rather than a sporadic and disjointed affair.The only problem I can see for Sorronia, is that they are competing in a currently rather saturated marketplace, where a host of bands are jostling and presenting themselves as the next big thing in the genre. Sorronia however, have undoubted talent and if the strength of writing and performance continues on this level then they should easily survive the cut. Well recommended." - Planet Mosh