ALBUM REVIEW – ARMAGH

Armagh – Exclamation Po!nt

Reviewed By: Denis Bridger

Review Score: 9.5

Formed in 2012 (and hailing from the mighty Warsaw, Poland), Armagh are set to release their third album, Exclamation Po!nt. I have to be honest, when I saw that Hawkwind are an influence on the band, and especially the bass player Tom Cultcommander (classic metal name!), I was instantly hooked. I am a massive Hawkwind fan, and one can easily here the influence on the bass on this record.

Within Armagh, you have it all: NWOBHM, all your favourite metal bands from the 70s and 80s, and a familiar-yet-unique vocal style that is immediately comforting. In general, this album has the feeling of all things that one would love in a hard rock band. Armagh have been through some line-up changes since the last record, with Galin Soulreaper being the only original member. Exclamation Po!nt follows the style of 2022’s release Serpent Storm, and I am confident Exclamation Po!nt is going to make an impact in metal circles. Armagh have found their groove on this record and it is a blinder.

Having lived in Poland for more than a decade, I am familiar with the music scene and it is quite unique. Pop music has not been so well embraced like in other countries and the market is not oversaturated with auto-tune (not yet, anyway). There is, and has always been, a thriving underground scene in much of Poland. This is likely due to Polish musical history (a very interesting thing… if you are interested ) and alternative music has always been a force to be reckoned with. I can remember seeing pictures of Polish metal fans in the 80s in Metal Hammer, where the politics at the time were a great breeding ground for angry people to express themselves though music, and that tradition has continued to this day. Even the fact that Chopin is still so respected shows us what a truly musical nation Poland is. It is the perfect place for such bands, allowing for bands like Armagh and any emerging artists to hone their art, build a fan base, and get ready for the greater world.

Armagh are also credited with starting the “First Wave Only” movement, which connects Polish bands playing old school metal (bands such as label mates Gallower, Sexmag, Torpor, Wielki Mrok, and R.I.P.). Bands like Vader and Behemoth, who are now legends in the field, have both become two behemoths (mind the pun) in the realm of metal, which has opened doors for bands such as Armagh, and hopefully many others, to kick down some walls and put Poland firmly on the map. If Behemoth and Vader are too heavy for you, then Armagh might just be your cup of tea. You are in for a real musical treat with this release.

ROUGH EDGES
Exclamation Po!nt opens with ‘Rough Edges‘, a thrashing metal song of classic proportions with driving bass lines, which is a theme of this record (the bass is very prominent throughout the album). There are classic riffs at every intersection, big drum fills, and very warm vocals that have an Ozzy feel and sound.

This song is half thrash and half hard rock. The lower-fi production, which, I assume, is not by accident, gives this song and the album a special feel. To be honest, when the first couple of bars came in, I thought the production was not up to scratch and I think that is due to many bands having such high production standards. When a band like Armagh come about, it may seem inadequate, but it really isn’t. As the band bio states, “less is more.” In this case, the under production adds a special quality, giving it a very warm, authentic 70s sound and feel.

MASTERS OF TIME
This is the first song that is really reminiscent of Hawkwind and bands of that ilk and. In fact, the ‘Masters Of Time’ could very well have been a Hawkwind title. I think this could be one of my favourite songs (and we are only two songs in). It has a mix of Black Sabbath’s ‘Megalomania’ vs Hawkwind’s ‘Spirit Of The Age’ along with ‘Motorway City.’ Clocking in at seven minutes, it truly is an epic piece of work.

AFTERMATH
Almost immediately I was struck a NWOBHM vibe, with a touch of early Iron Maiden. The song has some excellent riffing, basslines, and fantastic drumming. Galin Soulreaper’s vocals are perfect for this sound and I particularly like his tone. Quite simply a great track. What more to say?

BETWEEN THE SIDES
Right out of the gates, this song is heavy on drums and bass, which serves to drive the pummeling rhythm relentlessly forward. Galin absolutely puts his heart, soul and emotion into this track. I really can’t put my finger on it, but, as mentioned earlier, the mix on this record is completely unique to the ears. The production really grows on you. There is something very emotive about this song, particulary with the phrasing of Galin’s vocals, which are mezmerizing. This is another new favourite (I think there will be a few by the end of this review).

THE PORTAL
The song opens with a grunge-like riff. The bass is particulary heavy (as has been the case thus far) and drives the song on to be another excellent track. I’m not sure what it is, but this track makes me think of Jethro Tull (this is another reason to love this band… but that could just my ears). Another banger of a tune with lots of different components and a cornucopia of classic rock.

RAPID STR!DE
Another track that doesn’t disappoint. The song definitely moves at a heavy stride with the drums marching forward full-on. The track is slow, yet at times becomes fast and heavy (work that out, if you can). I bet these guys are a great live. It makes me want to move back to Poland just to catch them onstage.

THIS !S NEW A
The first thing I thought of when the track kicked in is The Police‘s ‘Message In A Bottle’ (give it a listen and you’ll see why). That being said, it very quickly changes into that classic heavy rock that Armagh do so well. A steady track that again reminds me of Jethro Tull and Hawkwind, but obviously a lot heavier. This track has actually grown on me over listens and has just got better with time. Lots of time changes during this track keep things interesting. It really picks up the pace in the last third of the track, morphing into a frenzy of drums, droning guitar and bass, and those ever impressive vocals.

ENOUGH FOR NOW
The final track, ‘Enough For Now’, which, I guess, is appropriate for the last track, isn’t really enough. That said, they saved one of the best tracks just to make you crave more. It’s another thrashing, hard rocking number with pounding drums and is a fine track to finish on. A banger of a tune to ends things off.

FINAL THOUGHTS
At first listen, I thought it was a bit short. Upon further thought, back in the day when classic rock was fresh (and not yet classic), the albums were not so long… it was as much as you could fit on a round piece of plastic, basically. So, with that in mind, maybe less is more. If it isn’t quite enough, you’ll just have to listen again, won’t you? Who needs fifteen songs anyway, eh?

This is a very warm record and gets better with every listen. As the band continues to evolve, without compromising their sound, there are definitely many more great records to come. Armagh‘s approach is simple: play hard rocking music that feels good and sounds authentic.

The band member names have a touch of humour to them, in that Venom, Celtic Frost vein, but possibly easier to pronounce than their real names. Armagh’s first album, ‘Cold Wrath Of Mother Earth’, was a bit more black metal (well worth checking out ), and their asthetic was a little Venom-esque. With this in mind, maybe Galin Soulreaper took inspiration for the band member names from that period of his musical life. It all adds for good effect, I think.

To sum up, the more you listen, the better it gets. I highly recommend Exclamation Po!nt. Be sure to grab your very own copy when the album drops on March 15th via Dying Victims Productions.

ALBUM REVIEW – GOST

Gost – Prophecy

Reviewed By: Denis Bridger

Review Score: 10

I have to say that I have been most excited about this release. Being a fan of metal and electronic music, and most other music that has integrity, this album may be one of the most interesting releases of this year.

Gost is Texas-based multi instrumentalist James Lollar, and Prophecy is his sixth release. This album is a journey into the dark abyss of industrial synth and sound design at the highest level. The music contained within will terrorize your ears whilst at the same time raising your adrenalin and pleasure senses with its intense rhythms, heavy bass and drums, and even the occasional guitar. Phophecy is an industrial landscape that is brutal from start to finish. Gost dwells on the outskirts of both metal and electronic worlds, but dives in and out of both genres with brutality and ease. It is a complicated piece of work, and bound to impress.

I am a little surprised that Gost is so well accepted in the realm of metal. I have to wonder if there is as much love for the band in the dance music world? No matter the band’s affiliation, music is the universal language and is always breaking down barriers. Gost follows in the footsteps of other groundbreaking artists like Trent Reznor and Al Jorgensen, who both moved slightly away from the guitar-based music for the world of the electronic. That being said, both Nine Inch Nails and Ministry created equally-as-impressive metal sounds, just with analogue and digital hardware and software. Also, if we were to look from the otherside, bands like The Prodigy and Depeche Mode have broken into the rock world to some extent. So, progress is being made and Gost definitely has the aggression of metal and, from time to time, it will make you want to dance (if you like that sort of thing).

Prophecy is rife with drum and bass, dubstep, dark industrial metal, classic techno, and much more. It is a journey into the dark and evil side of life done with electronics and some guitars and live drums. Gost recreates the metal-ness with synths, distortion, and a helluva lot of grandiose sound design. Gost has been on tour with black metal’s infamous Mayhem, which must have been an experience for all concerned, and it also shows how open the metal world can be. James has said himself that he finds it “strange but warming” that he has been accepted in the metal world more than the dance world, but I reckon the electronic world will catch up eventually (and I think some venues like the now infamous Berghain in Berlin would really appreciate Gost’s work as hard, underground music.

THE JUDGEMENT
The album opens with a dark, slow track. ‘The Judgement’ has a remorseful intensity that you might expect from industrial music, yet it also has some classic dance music synth sounds. It eventually picks up the tempo becoming a full-on dance track but without completely losing its industrial vibe. The drums are mostly programmed, which also lends to that industrial sound that acoustic drums can’t replicate (not without a lot of effects, anyway).

PROPHECY
The title-track dives straight into some scorching darkness and despair with some frightening screams and screeching. There is also what sounds like live drums with some mega rapid-fire processed beats that are probably impossible to play with two feet (and a crazy bell!). Prophecy then edges into a more classic industrial sound with some heavy bass synths and more of that bell. I love the up-and-down of this track. It really is everything one would want from heavy techno mixed with industrial metal. All at once it is dark, moody, and changeable with some excellent bass-lines going on. The track finishes on a mellow note. Love it!

DEATH IN BLOOM
The third track is filled with lots of crazy, processed beats (with what once again sounds like live drums and guitar). The drums and bass lead into an early Reznor-esque, gothic 80s electronic thing (I’m almost running out of ways to describe what I am hearing). We are then subject to some manic drum blasting, evil morbid screams, and even heavier guitar. The song continues to evolve, which, to be fair, is the theme of this record – genre-swapping sound design that will make any dance producer think a little more creatively (rather than the same old generic formulae).

DECEIVER
Nearing the halfway point of the album, we are met with a bit of a reprieve from the insanity-inducing drum loops, giving the brain (and ears) a much-needed break. The song has an excellent rhythm, driving bass lines, and massive leads. Definitely a dancer, and a little bit of light in a dark place.

OBITUARY
Gost, to my ears, are the epitome of industrial hard techno (with some metal elements). ‘Obituary’ is a good example of this, starting with some classic guitar riffs but then plunging into heavy bass synths with some melodic leads and some wicked drum programming. The song finishes off with a slow, heavy drone. All in all, a banger of a tune.

TEMPLE OF TEARS
Like all of the tracks on Prophecy thus far, ‘Tempel Of Tears’ builds and builds, constantly adding more layers and distorted synth with driving drums and some well placed drum fills. I love the synth sounds that James has created here. It is obvious he put a lot of thought into what he wanted (and maybe more thought about what he didn’t want).

DECADENT DECAY
This track might please the death metal fans out there, as it has lots of heavy guitars with blast beats and soul-crushing screams. It’s definitely more metal, yet not at the expense of distorted synths, heavy bass and even some acid house sounds going on (is that an 808 I can hear, maybe?). The end of the track is brooootal!

WIDOW SONG
The first single released. More of a traditional goth industrial sound. This song actually has vocals from James (which may please many). I can see why this track would a single, as it is perhaps more accessible to those unsure if they can leave the world of guitars. There are a lot of elements to this track, making it an all-round pleaser. There is some very excellent sound design going on here (and those bells from track one return to finish the song).

GOLGOTHA
I can see this being a bonding tune at a decent underground rave. In fact, if this were played at any of the various European Teknivals (techno festivals), it would go down a storm. There is something about the song that reminds me of a heavier Prodigy, which is a compliment in every way.

DIGITAL DEATH
The song says what is does on the tin… destroys via digitalis! A massive track with explosions of sounds and rhythms. It truly is a beautiful mess of deathly sound and design. No other way to describe it.

SHELTER
Another song that builds and builds with layers of distortion, weird sounds and synth leads, and more heavy rapid-fire evil noises and driving bass lines. This is likely another tune that would go down well at any good underground rave.

THROUGH THE WATER
… and we’ve reached the penultimate track, which once again delivers vocals that sound like they have just climbed out of a grave. The live drums and basslines run deep here, and the guitars explode into the brain. All of it lends to the brutal, super-heaviness of the song.

LEVIATHAN
What an epic end to a great album! A lovely sub-bass rumbles while a growing dark sound swirls and vexes into a full-on power dance track. Gost‘s ability to create these dark hammering sounds with melodic breakdowns and a mix of many elements of music is something to behold. What atun incredible tune to finish on.

FINAL THOUGHTS
For those who are already familiar with Gost‘s work, James has said that Prophecy is going back to the style of his earlier work. For those of us who are new to Gost, it is a fresh view of his music and what is possible, when, for many decades, electronic music and guitar-based music were natural enemies.

This album is a reflection of religious panic in the good ole USofA and, as James has described, “an imaginative fall of Western civilization.” Prophecy is, without doubt, pretty scary for any conservative parent. That being said, the album is an excellent piece of work that seems to reflect James’ need to make the music he wants to make based on his own musical background. For the purists, this may be a hard pill to swallow… but if it’s good, it’s good!

Through and through, this album is a banger, and should be well-received across the board. If I had to put a tag on this record, I would say it’s ‘progressive industrial metaltech’… but certainly make up your own mind. I highly recommend this album and I give outmost praise to James for making the music he wants to make, rather than pleasing those who need to be pleased.

Prophecy will be released on March 8th via Metal Blade Records.

ALBUM REVIEW – EXHORDER

Exhorder – Defectum Omnium

Reviewed By: Billy Klare

Review Score: 7.5

Formed in 1986, Exhorder released two seminal albums in the early ’90s including Slaughter In The Vatican(’90) & The Law (’92) which most long-time fans still adore to this day, me included. Pantera is generally credited with bringing groove metal / groove thrash metal to the mainstream public, but it should be noted, Exhorder were playing this same style at the exact same time, or arguably before Pantera. Vocalist Kyle Thomas reformed Exhorder in ’17 after a long hiatus, ultimately releasing their critically acclaimed comeback record Mourn the Southern Skies in ’19 proving they could still thrash and groove like the old days, but also had a few stylistic surprises up their sleeves. I loved the Southern Skies record and watched Exhorder live that same year at the Philadelphia Fillmore, and they killed it. As a result, my anticipation was high for Exhorder’s new ’24 release, Defectum Omnium.

Vocalist Kyle Thomas is the only original member appearing on all Exhorder albums, and I have to say, his vocals in ’24 are as strong as ever. Unlike the previous release, Kyle is also handling rhythm guitar duties this time around and he’s in good form. Also new is the addition of Pat O’Brien (Cannibal Corpse) and he fits in perfectly with his raw aggressive guitar tone. The band is rounded out by bassist Jason Viebrooks and drummer Sasha Horn. Defectum Omnium (Latin for “the failure of all”) is easily the most diverse Exhorder album in their discography, I hear plenty of their early thrash groove, doom metal, some nu-metal, grunge, punk, hardcore and even a hint of atmospheric black metal on occasion. Safe to say there is something for everyone here.

The album contains twelve tracks clocking in at just under an hour. Defectum Omnium takes the listener on an extensive musical journey with multiple moods, feelings and styles. Kyle noted that he believes the album’s title is representative of current world affairs with lyrical themes going back and forth between surviving oppression, despair, melody, harmony and brittle hope. The album artwork by Travis Smith is striking, perfectly matching the underlying vibe of the album. The production works very well, somewhat modern with well-defined instruments but the overall sound is best described as crushingly H-E-A-V-Y!

The album starts on a strong note with the aggressive ‘Wrath Of Prophecies’ emphasizing thick massive grooves and a thrash attack consistent with early Vatican era material. ‘Under the Gaslight’ features Exhorder’ssignature New Orleans infused groove led by the very capable rhythm section of Jason & Sasha. The bass solos and powerhouse drumming are particularly strong on this track. The punk driven ‘Forever and Beyond Despair’ benefits from dynamic tempo changes and some cool old-school thrash-oriented riffing & lead work. ‘The Tale of Unsound Minds’ contains super addictive hooks and it’s surprisingly catchy. I hear broad based metal influences including Alice in Chains, Candlemass and Black Sabbath.

The shortest track ‘Divide and Conquer’ is another well executed thrasher delivering a catchy chorus and stellar riffing. ‘Year of the Goat’ exhibits plenty of hardcore attitude and reminds me of post Cowboys era Pantera. The drum work is intricate and well done but the overall track is too one dimensional in my opinion. ‘Taken by Flames’ transitions nicely from a slow heavy grind to a catchy thrashing pace with a hint of melody, strong lead guitar work and a diverse Kyle vocal performance where he ends with a signature Tom G. Warrior style grunt.

The longest track ‘Defectum Omnium / Stolen Hope’ is a favorite of mine taking the listener on a musical journey. It begins with a haunting Latin sermon and choir, becomes skull crushing heavy before ultimately speeding up into a hook laden melodic climax. Kyle’s vocal diversity and range is on full display here. ‘Three Stages of Truth / Lacing the Well’ is another multi-faceted track featuring outstanding shredding guitar work everywhere (both acoustic and electric). ’Sedition’ is a straightforward punky thrash track allowing Jason’s bass to standout, but it’s a little generic relative to the better material on the album.

‘Desensitized’ rebounds nicely, it’s rooted in thrash, but contains some well-placed hooks and melody, more excellent guitar work, and a killer Kyle vocal performance where he exhibits both anger and melody to great effect. The album ends with ‘Your Six’ featuring Rick Wartell & Bruce Franklin from the band Trouble. Given these talented guitar guests, it’s not surprising to hear some heavy doom-oriented guitar chugging in the Trouble vein. I hear some early Alice in Chains influence in Kyle’s vocals.

In conclusion, Defectum Omnium expands the Exhorder sound which will appeal to many but disappoint some preferring the more old-school Exhorder song writing approach. I sit somewhere in the middle. Although the entire album doesn’t click with me, there’s plenty here I do enjoy and I’m thankful to have a fresh batch of Exhorder tunes in ‘24. To my ears, all the contrasting styles make the album slightly less cohesive and tougher to listen straight through from beginning to end. That said, the best tracks are incredibly strong.

Best Tracks – ‘Desensitized’, ‘Defectum Omnium / Stolen Hope’, Three Stages of Truth / Lacing the Well’, ‘Divide and Conquer’, ‘Taken by Flames’, ‘The Tale of Unsound Minds’ and ‘Wrath of Prophecies’

Exhorder’s Defectum Omnium drops March 8th via Nuclear Blast Records.

ALBUM REVIEW – SKELETAL REMAINS

Skeletal Remains – Fragments of the Ageless

Reviewed By: Billy Klare

Review Score: 8.5

Originating from California, Skeletal Remains first appeared on the death metal scene in ’11, quickly releasing their first full-length album Beyond the Flesh a year later in ’12. The debut was followed by Condemned to Misery in ’15, Devouring Mortality in ’18, and their most successful and critically acclaimed album The Entombment of Chaos dropping in ’20.

Guitarist and vocalist Chris Monroy is the only constant in the band appearing on every album. Rounding out the current line-up is guitarist Mike De La O (who was an original member in ’11 but stepped aside for personal reasons, returning in ’20), bassist Brian Rush and drummer Pierce Williams. The earlier Skeletal Remains records were clearly playing homage to old school death metal legends like Morbid Angel, Pestilence and Obituary. These influences were extremely evident on the earlier material and the band faced some criticism for lacking originality. That may have been fair criticism at the time, but I always felt Skeletal Remains still delivered strong enjoyable death metal despite wearing their influences on their sleeves.

Fast forward to ’24, Skeletal Remains are about to unleash their fifth full-length studio album, Fragments of the Ageless. 2020’s Entombment of Chaos revealed a significant step-up in overall musicianship and songwriting quality, and I’m happy to report that trend occurs again on Fragments of the Ageless. The brutality and intensity levels remain sky high, but the technical progression continues to elevate Skeletal Remains’ sound. Chris’s vocals have never sounded better. He’s maturing as a vocalist and developing his own unique delivery. I dig his barbaric raspy delivery and appreciate the fact that his vocals are clearly decipherable.

The rhythm section of Brian and Pierce delivers pummeling grooves, well placed tempo changes, and a good old fashioned unrelenting aural battering. The guitar work is outstanding. I love the tones, massive chunky riffs and dialed up technicality displayed in the solos. Lastly, the tracks contain addictive hooks and are catchy as hell. Any prior criticism that Skeletal Remains lack originality has been to put to rest… END of story! Fragments of the Ageless is a high-quality slab of death metal featuring the best of the old and new approaches to the genre.

‘Relentless Appetite’ is the perfect album opener launching at a brutality level of 110% from the very first note, but also incorporates plenty of hooks, powerhouse drumming, and a pinch of melody (primarily in the well-executed guitar leads). It’s immediately clear Chris’s vocal delivery continues to improve and he’s becoming a significant weapon in the Skeletal toolbox.

The savagery continues on ‘Cybernetic Harvest’ which begins with a vicious machine-gun drum bombardment and benefits from some well-placed slower tempo changes and excellent technical guitar bursts. The guitar shredding shines again on ‘To Conquer The Devout’ sitting nicely on top of the underlying musical chaos. Skeletal Remains incorporate some impressive thrash elements into ‘Forever In Sufferance’ which also features some cool thick groove-oriented riffing, vicious drumming, and intricate guitar work.

The guys are back in old school death metal mode on ‘Verminous Embodiment’ with plenty of mosh inducing hooks, ominous riffing, and a very strong vocal performance from Chris. ‘Ceremony Of Impiety’ is a brief minute and a half atmospheric instrumental that’s heavy on keyboards (played by bassist Brian Rush). It provides a welcomed break from the crushing intensity of the other tracks. This piece wouldn’t be out of place on a horror soundtrack.

One of my favorite tracks comes next, ‘Void Of Despair’ is brutal, speedy, catchy and successfully utilizes rhythmic changeups to great effect. The longest track on the album ‘Unmerciful’ is the most dynamic and epic, progressing through doom, mid and blast beat tempos, and features all the best components of the modern-day Skeletal Remains sound. The album, surprisingly, closes with the instrumental track ‘Evocation (The Rebirth)’ and it’s stunning. The overall feel is somewhat eerie and mysterious, with each band member given the opportunity to showcase their evolving technical musicianship. I love it.

The album artwork by Dan Seagrave is striking and representative of the underlying music and tone. Interestingly, the band noted the artwork ultimately inspired some of the musical themes and lyrical content. The tracks were recorded using a mix of home and professional studios and the band had a clear desire to have the drums as imposing as possible. Once the guys completed the recordings, everything was sent to Sweden for mixing and mastering by studio whiz Dan Swano (Asphyx, Incantation). The final product sounds fantastic, the drums are imposing – mission accomplished, and everyone is positioned well in the mix with a nice balance between the traditional old school death metal sound and a slight modern approach more suited to the album’s newer progressive elements.

In conclusion, Skeletal Remains have once again elevated their death metal game. The perfectly executed Fragments of the Ageless has solidified their leadership position amongst the newer generations of death metal peers. They still retain all the best elements of old school death metal but continue to mature by elevating their songwriting, increasing technicality levels, and introduceing new components to the Skeletal sound. I’m a big fan of this album and give it an 8.5/10 rating. Highly recommended if you enjoy high quality crushing death metal and appreciate a band striving to improve as musicians.

Fragments of the Ageless will be released March 8th via Century Media Records. Preorder your copy here!

ALBUM REVIEW – NORTH SEA ECHOES

North Sea Echoes – Really Good Terrible Things

Reviewed by: Eric Valaer

Review Score: 8.5

Vocalist/lyricist Ray Alder and guitarist/songwriter Jim Matheos truly need no introduction whatsoever. These two stellar progressive metal titans have been playing together in Fates Warning since 1987. They both have a multitude of other side projects. I want to get right to the album review of their latest side-project which they contributed together.

Open Book
This is their first single off of Really Good Terrible Things. I discovered the song and video thanks to YouTube. It is an atmospheric piece which is ideal for an album opener. The guitar tone and effects are drawn from Jim Matheos. His distinguished style along with Ray Alder’s impressive range and voice let the listener know they are on a journey. The guitar theme is memorable yet patient. The chorus really lifts you up.

Flowers In Decay
New Wave music had an influence on this tune. Matheos implements a vibrato effect on the clean channel which is a trademark of his. Alder’s voice and the programming gel with the guitar.

Unmoved
Here’s the second single (another wise choice in my humble opinion). The arpeggios performed on the nylon-string guitar are the motor behind this song. The music displays contentment. However, the lyrics are on the other end of the spectrum. Here’s one of many phenomenal choruses on this release!

I’m tired of waiting here for the world,
To change around me every year.

Throwing Stones
This is what happens when Fates Warning, OSI, and Jim Mathoes/Ray Alder solo all intersect. Wow, what a vocal melody during the chorus. It’s arguably the strongest chorus on the album!

Empty
It feels good to hear some chugging guitar. The programming before hand is reminiscent to The Gathering (Souvenirs-era). The ‘live’ drums amplifies the energy during this one.

The Mission
Electricity bubbles from this piece. This is the first track that utilizes live drums and programming. Alder displays a masterclass on how to elevate a song by his singing during the chorus. The guitar playing is excellent too.

Where I’m From
The first sixty-seconds of this tune could be used in a dramatic movie. The verses are abstract with Jim’s blending of guitar parts with unique effects and some low key programming. His creativity and the song as a whole are more impactful while using ear buds.

We Move Around The Sun
What an emotional song! The tension during the chorus when Ray sings the word ‘Around’ absolutely hits you…This is easily the most glass half full tune on Really Good Terrible Things.

Touch The Sky
The layering of guitars and guitar parts had me mesmerized after the first listen (possibly a few more times?). Creative songwriting and emotive vocals are a ‘win/win’. The amount of percussion is just right for this song. Matheos’ use of slide adds another dimension to ‘Touch The Sky’. Adler’s singing especially during the bridge is a gem!

No Maps
Disconnected is one word that a) fits the description of the verses b) has some history with FW 😉 During an interview, Ray states that originally a train sound was going to run throughout the whole song. He went on to state that lyrically, him and Jim thought it would be cool if they wrote about what life would be like of a never-ending traveler (hobo). The soundscapes, lack of drumming, and piano give the tune a Neo-New Age tinge. While this song might not appear to be a typical closing song, it feels like a track that is gradually wrapping up the album.

Lyrically, one of the big take aways I had was the reflection and passing of time. With the first two singles being on the mellower side, I didn’t expect much heavy music. I for one am happy that Ray and Jim released a joint album which is slower, diverse, experimental and very melodic. From beginning to end, there isn’t any filler. Outstanding job Ray and Jim!

Really Good Terrible Things is available on February 23rd via Metal Blade Records.