ALBUM REVIEW – DVNE

Dvne – Voidkind

Reviewed by: Denis Bridger

Review Score: 8.5

When I’m looking for music for myself and for music to review, I’m always looking for something a little different, innovative, reminiscent of past musical loves, something completely off the wall or something that simply makes me go “hmmm” and makes me want to listen more. That is the case with Dvne. From the opening bars, I wan’t sure if this was my thing, but the riff was pretty captivating, so I continued to listen and wasn’t disappointed.

Dvne began life in Edinburg ( Scotland ) in 2013 and is the brainchild of Frenchman Victor Vicart and Scotsman Dudley Tait. Their music is descibed in the bio as post-metal/prog- sludge, but I shall leave that down to the listener to decide.

Voidkind is the second record on the mighty Metal Blade label and follows the much acclaimed first album Etemen Ænka, which I have to say is also a good record. If I review a new band, I generally listen to the back catalogue to get an overview of changes of sound and progress from a band. As such, I’d say that Voidkind follows in the vein of Etemen Ænka, but, there have been some obvious changes. Victor says “We still have the big nine-minute songs, but now we also have these more concise songs that still feel like us. We want people to immediately recognize the riff.” The sound on both albums is recognizable as the same band and there are a few memorable riffs, so I’d say that goal has been achieved. There has also been the addition of full-time keyboardist Maxime Keller, so a big change there.

‘Summa Blasphemia‘ is the opener and, to be honest, I don’t really go in for shouty, scream-y vocals. I do like a clear melodic singer but the opening riff hooked me and drove me forward, regardless of the vocals. When the singing changed to a more melodic style, it became more progressive and easier for my ears, but then the shouty vocals came in again. To be honest, the contrast works… maybe a few screams here and there are okay. I guess there was no going back now, as Dvne had me locked in for the duration.

‘Eleonora‘ again opens with a memorable riff and the feel is more of a traditional prog tune. At 8:34 minute mark, ‘Eleonora‘ stays true to the complex compositions that Dvne are already known for. You have the heavy parts that scream at you with blasting drums and bubbling bass, and then the contrast of the melodies, and then both at the same time. A solid tune, indeed.

There seems to be a theme going on here. At about half way though the song ‘Reaching For Telos‘ there is a breakdown and progressiveness that comes in once the heavier first-half has passed. I think the more melodic proggy parts are what kept me interested on the first listen, the more melodic proggy parts. The screams/shouty vocals are not so necessary for me as Victor Vicart’s vocals are pretty good, but if you like the really aggressive vocals, then it’s all good. Luckily for me, the riffs and general feel to the music is powerful and exciting, which has averted my ears during the screaming.

‘Reliquary‘ Is a very heavy track with parts that remind me of early Sepultura, but then you have some psychedelic rock about halfway through the track. At three quarters through, you have some melodies with heavy riffs. A lot to think about here. Dvne seem to have found the formula that works for them and they do what they do with confidence, brutality, and sensitivity.

Both track five, ‘Path of Dust‘ and track 7, ‘Path Of Ether‘, are ninety second ambient interludes, which makes me ask again: is there a concept album in here somewhere?

‘Sarmatæ‘ is the shortest of the main tracks at just four and a half minutes and is more prog based, allowing for Daniel Barter’s vocals to shine here. Maybe this track will be one of my faves as I listen more times. It kind of sits nicely between ‘Path Of dust’ and ‘Path Of Ether.‘

‘Abode Of The Perfect Soul‘ has a lot going on and has a little bit of a Puscifer/Tool feel in places (Puscifer is a band I’ve been getting into lately, so maybe that’s why it’s reminded me of Mr. Maynard James Keenan’s work). The last three tracks on this record are all epic, between seven and ten minutes. Victor’s wish to have recognizable riffs has definitely been achieved and the bass on this track is immense… or is it a synth? Hard to tell these days.

The penultimate track ‘Plērōma‘ (which has been released as a single) is probably a good choice for a single. It builds from synths with more reliably good guitar and gradually grows and grows into a really nice riff and vocals that are maybe the clearest on the record (if, like me, you like to understand lyrics). This is possibly the most accessible track for a new listener who may not like such heavy vocals, although there are still some growls between the melodies. Definitely a worthy entrance into the world of Dvne, if you are a newcomer.

And then, finally, ‘Cobalt Sun Necropolis‘, an epic ten minute track, leads with some great reverb guitar and has the feel of an album ending. This time the melodies are aplenty. The prog heart is open allowing for a scream here and there. This track builds and builds, maybe to a crescendo, an explosion, a full force, or maybe just a steady jaunt,. You’ll have to listen to find out. ‘Cobalt Sun Necropolis‘ feels like an encore song at a gig; it’s long and you want to see what’s coming next. The track finishes off the album nicely.

CONCLUSION
Definitely a good record that will please prog folks and the heavier metal folks. I would say it is a step up from the last record but stays in the same vein. Dvne are consistent to say the least. From a personal point of view, I would like to be able to hear the lyrics a bit clearer. I would need the lyrics to know what is being sung, and I don’t know if it’s my ears or speakers, but I find hearing the keys or synths not so easy, but on the flip side, probably, if there weren’t keys, I would notice the difference. A good all round record that will please the fans and I have a feeling this album is going to be a real grower, so watch out.

Voidkind will available April 19th via Metal Blade Records. ORDER HERE. Check out Dvne on tour in The UK and Europe this summer.

ALBUM REVIEW – MY DYING BRIDE

My Dying Bride – A Mortal Binding

Reviewed By: Kenneth Gallant

Review Score: 9

It’s been four years since Ghost Of Orion was released by My Dying Bride. When the album was offered
up in 2020, the world was reeling with the start of COVID and all the subsequent lock downs that followed. As for the album, it hit at the right time; becoming a grim, oppressive, and powerful soundtrack to reflect the time we all found ourselves in.

The band has always been prone to sweeping you up into a deeply emotional voyage of sonic dirges;
embroiling your senses along the way into a whirlwind of doomed sounds. They truly are one of the more unique bands in the doom/death/gothic metal genre and it shows here on A Mortal Binding. This
represents the band’s fifteenth studio recording and it’s a stunning testament to an enduring legacy that began at the start of the 1990’s.

As I attempted to gather my initial thoughts, I noticed how tight and refined the production was on this release. Much like the last record, the songs here are crisp, engaging and moving. The first track ‘Her Domain’ is completely guitar-driven and is proceeded by thick and doomy tones. Aaron Stainthorpe’s vocals are raspy and tortured sounding, but quite pronounced throughout this piece. He doesn’t let up for any reason and it’s a big statement to make on an opening track of this magnitude. At least on the next track ‘Thornwyck Hymn’ the vocals are dominated by clean singing and followed by soaring melodies that drip nothing but melancholia.

‘The Second of Three Bells’ starts up slowly and continues to pull back, until the guitars grind hard and the growls are heard. The song falls back again into what I feel is a beautifully realized track. ‘Unthroned Creed’ features some beefy guitars and probably some of Andrew Craighan’s best lead work. The lyrics fall inline perfectly and I love the line “I won’t help you anymore” repeated several times throughout the song.

Following that is the eleven minute opus called ‘The Apocalyptist’ which twists and turns with violins, heavy guitars and Aaron’s guttural vocals. I love how it rips along and then slows down to slither at a menacing pace. My ears can pick out a Ride The Lighning vibe in the guitars in one part and then suddenly hear the brilliance of a Tony Iommi riff in another part. This is my favourite track by
the way.

The second to last track; ‘A Starving Heart’ again blisters along with a sweeping melody; allowing Aaron to provide clean and snarly vocals on top of it. This is a solid piece overall setting up the final track ‘Crushed Embers’ to be ushered in at a slow and deliberate pace. There’s heaping amounts of doomy goodness here, and I love the line “I waited such a long time and questioned my sanity.” The growls at this juncture work so well; punctuating the ending of the song soon after.

A Mortal Binding clocks in close to fifty-five minutes and becomes an epic long player in the process. I
simply love the guitar harmonies and crystal clear production brings all that on point. Aaron Stainthorpe continues writing poetically and morbidly; getting better on every album with his lyrics. He can also switch effortlessly from clean to gnarly vocals becoming old hat to him at this point. There’s not a bad song to be found here and you can easily slot this release along side The Ghost of Orion. My favourite track is ‘The Apocalyptist’, but other tracks like ‘Her Dominion’, ‘Thornwyck Hymn’ and ‘Unthroned Creed’ are all equally good.

A Mortal Binding will be released on April 19th via Nuclear Blast Records.

ALBUM REVIEW – TYR

Týr – Battle Ballads

Reviewed by: Blake Mossey

Review Score: 9

Folk/Viking metal band Týr are set to release their 9th studio album Battle Ballads on Metal Blade Records. On February 8, 2020, the band’s collaboration with the Symphony Orchestra of the Faroe Islands to record the double-disc/DVD “A Night at the Nordic House” was a dream come true for founder and frontman Heri Joensen. He was excited to fuse his two favorite music genres, folk and classical, into the band’s unique musical style. The collaboration had a profound impact on Joensen, inspiring him and significantly influencing the direction of this album.

This album has full orchestration with it and is a little less progressive then previous works which might displease some long time fans but this is the new vision of the band. So we have classical music mixed in with Týr‘s Viking, folk and power metal elements. The lead-off track ‘Hammered’ dispels any notion of ballads, assaulting the listener with a fusion of power metal and the majestic undertones of classical music.

‘Unwandered Ways’ is a vibrant, uplifting mix of vocal harmonies, traditional folk hooks, and driving guitars, featuring a solo that showcases Hans Hammer’s virtuosic shredding skills. ‘Dragons Never Die’ presents an ideal mixture of power metal with classical instrumentation full on display. ‘Row’ is very viking metal with the pounding drums to lead off the track and such a massive full sound as the song progresses and Joensen distinctive vocals on point. ‘Torkils Døtur’ slows things down, featuring the most folk metal elements, complete with folk guitars and baritone vocals, making it the closest piece to a ballad on the album.

‘Vælkomnir Føroyingar’ begins at a midtempo pace before erupting into a fast-paced power/viking metal masterpiece. It’s certainly one of my favorites on this album. The tempo persists with ‘Hangman,’ featuring choral chants, sing-along vocals, heavy riffing, and neoclassical feel. Another awesome track. These two tracks in particular showcase the album’s exceptional production and the remarkable sound quality attained throughout.

The band has ventured in a slightly different direction with this album, yet they have crafted a colossal-sounding epic that blends Viking and power metal with classical music, enhancing its grandeur.

Album available April 12th on Metal Blade Records. ORDER HERE

Band
Heri Joensen: Vocals / Guitar
Hans Hammer: Lead Guitar
Gunnar Thomsen: Bass / Vocals
Tadeusz Rieckmann: Drums

Discography
How Far to Asgaard (2002)
Eric the Red (2003)
Ragnarok (2006)
Land (2008)
By the Light of the Northern Star (2009)
The Lay of Thrym (2011)
Valkyrja (2013)
Hel (2019)
Battle Ballads (2024)

ALBUM REVIEW – VULTURE

Vulture – Sentinels

Reviewed by: Blake Mossey

Review Score: 8

The German five-piece thrash band Vulture is releasing their fourth full-length album, Sentinels. For those unfamiliar with the band, expect a throwback to the early days of thrash, combined with their unique, and fresh ideas.

Brimming with rapid and intense riffs, lightning-fast guitar solos, and a relentless bass and drum barrage, the sound strongly reminds me of the early days of Exodus. This comparison comes largely from Steeler’s style of vocal delivery. Like many thrash bands, they strive to play with increasing speed and heaviness, yet they retain a knack for catchy choruses and demonstrate maturity in their songwriting.

Since their last album in 2021 Dealin’ Death they have played some big German metal festivals like Summer Breeze and Wacken. And in 2022 they joined Canadian Thrash Legends Exciter for a European tour.

This album delivers a rapid and intense experience, scarcely allowing a moment’s breath throughout its entirety. It decelerates slightly with the instrumental ‘Der Tod Trägt Schwarzes Leder,’ which features guitar parts reminiscent of Megadeth.

The remainder of the album features tempo and tonal shifts, yet it is predominantly played at a breakneck speed. The second track highlights Vulture‘s classic style with breakdowns, scorching solos, and rhythmic changes. Lyrically, the song draws inspiration from the Blind Dead Film Series, known for its insatiable bloodlust. ‘Realm Of The Impaler’ pays homage to their classic metal origins with abundant twin guitar harmonies.

My personal favorite tracks include the title track and the closing ‘Sentinels (Heavier Than Time),’ the stomping ‘Where There’s A Whip (There Is A Way),’ and the crowd participation anthem ‘Death Row.’ If you appreciate a nod to the old school ’80s thrash and are in need of some head-banging music, check out this album by Vulture.

Album available April 12th on Metal Blade Records.

Screams From The Abattoir
Unhallowed & Forgotten
Transylvania
Realm Of The Impaler
Draw Your Blades
Where There’s A Whip (There Is A Way)
Der Tod Trägt Schwarzes Leder
Death Row
Gargoyles
Oathbreaker
Sentinels (Heavier than Time)

Vulture:
L. Steeler – Vocals
S. Castevet – Guitar
M. Outlaw – Guitar
A. Axetinctör – Bass
G. Deceiver – Drums

Vulture discography:
Victim To The Blade (EP, 2016)
The Guillotine (LP, 2017)
Ghastly Waves & Battered Graves (LP, 2019)
Dealin´ Death (LP, 2021)
High Speed Metal (Single, 2022)
Sentinels (LP, 2024)

https://www.facebook.com/vulturekills
https://www.instagram.com/vulturekills/

https://vulturekills.bigcartel.com/
https://vulturekills.bandcamp.com/

ALBUM REVIEW – MORGUL BLADE

Morgul Blade – Heavy Metal Wraiths

Reviewed by: Blake Mossey

Review Score: 7

Morgul Blade, hailing from Philadelphia, PA, USA, presents their second studio album, Heavy Metal Wraiths. The band delivers classic metal infused with elements of black metal. The album conjures an image of the band wielding swords instead of guitars—until the first riffs tear through the silence. Their lyrics are a testament to their love for Tolkien’s lore.

Morgul Blade‘s debut album Fell Sorcery Abounds in 2021 swiftly garnered Album of the Year accolades across the metal scene. After its release, the band cemented its lineup by welcoming guitarist Sister Midnight and bassist Jimmy Viola.

From the opening riffs of the lead track ‘Eagle Strike,’ the influences of Maiden/Priest are immediately evident. The guitar melodies from Sister Midnight throughout the album distinctly echo Maiden. Lord Klauf’s vocals take on a gruffer and more gravelly tone. The band delves into classic black metal vibes, particularly in tracks like ‘Beneath The Black Sails’ and ‘Frostwyrm Cavalry.’ Elements of black metal, accompanied by blast beats, also find their way into ‘Razor Sharp.’

The band enjoys diversifying their music with various styles to maintain interest. The album features two instrumentals, ‘A Welcoming Hearth’ and the outro ‘The Last In A Line Of Kings’, which concludes the album. Additionally, the track ‘Widow’s Lament’ is slightly over 90 seconds long and showcases vocals accompanied by a droning background.

My two favorite tracks are ‘Spider God,’ which features thrashy moments and stands as one of the album’s heavier tracks with its rapid, pounding drums and an impressive solo that resonates with a power metal anthem. ‘Neither Cross Nor Crown’ is another intense track, showcasing galloping riffs and the raspy, sinister vocals of Lord Klauf.

The album is a solid power metal offering, infused with black metal elements and the more aggressive vocals that are not typically found in traditional power metal. Although it’s only 35 minutes long, which is shorter than I usually prefer, and includes two instrumentals that I could pass on, it remains a worthwhile album to explore.

Available April 26th on No Remorse Records.

TRACKLIST

Eagle Strike
Beneath the Black Sails
Heavy Metal Wraiths
Frostwyrm Cavalry
Widow’s Lament
Spider God
Razor Sharp
A Welcoming Hearth
Neither Cross Nor Crown
The Last in a Line of Kings

(playing time: 35:49 min.)

LINE-UP
Lord Klauf – Vocals, Guitar
Will Spectre – Drums, Production
Jimmy Viola – Bass, Guitar, Keyboards
Sister Midnight – Lead Guitars