Embryo-Embryo

Logic(Il)Logic Records/Andromeda Dischi
2015

The first of two promo CDs to recently come my way from the fine folks at Atomic Stuff Promotion and Logic(Il)Logic Records (Badmotorfinger, Twintera, Steel City, Hex, Nightglow....), "Embryo" is the latest release from this long-standing melodic death metal band from Cremona, Italy. Formed in 2000, with vocalist Roberto Pasolini and guitarist Eugenio "Uge" Sambasile the sole original members and influences listed as Fear Factory, Meshuggah, Strapping Young Lad*, Embryo first hit the scene with the demo "The Source of Hate" in 2001. Following the release of "Promo 2002" the band issued their full-length debut album, "Chaotic Age" in 2006. Another demo ("Promo 2009") appeared before the band would release the highly-rated "No God Slave" in 2010. It was "No God Slave" that truly brought the group into the limelight with stellar reviews pushing the band upward and onward. Here it is 2015 and the band is finally rolling out album number three, the self-titled "Embryo". Currently rounded out by keyboardist Simone Solla, bassist Nicola Iazzi and drummer Enea Passarella** this five-piece band falls somewhere between melodic death metal and standard death metal with the harsh voice of lead singer Roberto Pasonlini often times moving this metal band into deathcore and/or extreme territory!  With a grand total of eleven-tracks and a run-time of over forty minutes the recently-released "Embryo" (recently-released as in the 10th of this month!) is all at once intimidating and intriguing. Lyrically-speaking the album "Embryo" is "a descent into the Maelström of human soul 'til the door to the abyss that is the denial of being part of mankind" even if you'd have a hard time catching on to that given the otherworldly/demonic delivery of Roberto Pasonlini. As stated it's his unapologetic approach to "singing" that gives this Italian band that extra edge making this self-titled studio recording excessively brutal! By balancing out his beastly voice with complex arrangements that are deep and soul-steering an album like this becomes much more than merely a LOUD death metal release. That isn't to say that "Embryo" isn't LOUD as it is! It's also extremely HEAVY as touched upon. But, thanks in no small part to the fact that "Embryo" was recorded, mixed and mastered by the skilled hands of producer Simone Mularoni (DGM, Empyrios, The Modern Age Slavery, Vision Divine...), it is all that (LOUD and HEAVY) and so much more! This Italian band plays with purpose and the various musicians involved with this recording did more than just unleash unholy amounts of hostility and vulgarity dressed up as "music". These numbers offer interesting riffs and imaginative keyboards. The bass parts are progressive and the drumming (while certainly pummeling!) shows passion and personal pride. When brought together the music gives the listener a reason to pause and reflect what Embryo is really about. "Embryo" is worth tracking down as there is much more than meets the eye when it comes to this particular death metal band.     

*Given the band's complex arrangements and the compelling ingredients that found their way into this mix those three influences don't even begin to scratch the surface when it comes to everything that "Embryo" has to offer. Whether you are into melodic death metal or extreme metal this album has something worthwhile to say to you if you should choose to listen!

** Drums on "Embryo", which by the way are freakin' smashing(!), were performed by the talented Francesco Paoli (Fleshgod Apocalypse).

Flutronix-2.0

Flutronix Records
2014

Sometime (long) ago, back in 1992 or 1993 to pin-down a more precise time-period, I was a younger man from a small town mindset, setting off for college. That was Kent State and, circa the early nineties, it was a move that served as an (eyes wide open) awakening to the full richness that was "alternative" music. As I listened to "2.0" I couldn't help but think back to that time when I began to observe music as a movement (if not as a means of revolution, as it was in a time not that long ago at Kent State, then at least with one's own internal battles) and I slowly became aware of the beauty that was to be found in music that didn't fit into a neat little package. Those days are so long ago that I find the memories are but mere flickers of a fading light and yet it taught me the valuable lesson that you should try everything once (otherwise think of the wonders you might miss out on in this thing we like to call life!). Still, with twenty years or so now having past since I wore a much younger man's wardrobe, even I find that (music-wise) there is always something unexpected, new and fresh new, and (now and then) something that will really catch you off guard! Enter Flutronix. As boldly as I like proclaim that  "I've heard it all" I have never heard Flutronix. And with that I hereby suggest that a new classification of music be established that will simply be known as "Flutronix"! Composed of Natalie Joachim and Allison Loggins-Hull, a critically-acclaimed flute duo, Flutronix is unlike anything I have ever had the privilege of experiencing! Modernizing classical music by way of electronic programing, Flutronix, with the help of (co-) producer Tony Maimone, hip-hop producer Ski Beatz ("They Ain't You"), drummer Joe Blaxx and the Melodia Woman's Choir of NYC (on the memorizing "She Is"), takes on the challenge of finding common ground between not only classical music and the sounds of modern electronic elements, but soul and hip-hop. As "2.0" proves the pair (easily) achieves this task with a graceful presence that borders on heavenly! A soulful, R&B-inspired cover of "Sweet Dreams" (Eurythmics) only adds to the elegance of "2.0", but be aware that this is still very much in tune with today's pop/dance scene. There are no dubs to be found among this CD's nine-tracks as opener "Everything Begins" and closing number "She Is" simply hold in place a collection of endearing numbers that will find you walking on clouds as the sensation that everything is right once more with the world returns to your spirit. This is a simply enchanting collection of music that makes Flutronix a name to watch as they challenge the world's perception of classical music and, more specifically, the supposed limitations of the flute as an instrument!

Seafair-Photographs

Self-Release/Independent
2013

On the surface it might seem strange to have a band like Cleveland, Ohio's Seafair grace the pages of a site like Heavy Metal Time Machine. Formed in late 2010, and with rumors suggesting that their humble roots were at one point planted deep within punk rock's soil, Seafair would likely be dubbed an indie act by the press at large. And yet, as characterized by the group's latest EP "Photographs", these Cleveland scene-toppers offer so much in such a small package that even a slightly-cynical old man like me can't help but smile in appreciation! With her instantly-heartwarming voice, Chayla Hope (who also provides splendid pop keys for Seafair) highlights this act. Fairly-accurately described as bellowing, her classy-style of singing is something that one would naturally expect to find topping the charts of  pop radio not fronting a local band from my part of Ohio! Meanwhile bass player Joshua Riehl (a holdover from the group's early days) and drummer Ryan Kelly (of Cleveland favorites, Unsparing Sea) toss a charismatic rock beat towards the listener and, with little hope of fighting back against the groove, it's a clear-case of hook, line and sinker! As for strings? I mean besides the intricate indie rock bass lines of  Joshua Riehl. Well, that's where the real fun begins when talking about a one-of-a-kind act like Cleveland's Seafair. Along with solo-artist turned (smooth as silk) guitar hero Michael Flaherty (a fine six-string musician whose playing adds to the elegance at the heart of this Ohio act) the band employees a classically trained cellist in Tara Hanish (also formerly of Unsparing Sea) and a classically trained violinist in Andrea Belding! All of which does make Seafair's second overall EP from last November (the first being "Paintings" which was released in May of 2013) a bit hard to describe on paper admittedly (especially as it pulls from pop-rock one moment before shifting over into post-punk territory the next while simultaneously having these delicate classical music elements that I absolutely adored!). Still, even if I can't quite put my finger on what Seafair is supposed to be (live shows reportedly expand the experience ever further with "elements of rock, pop, indie, punk, disco, some blues, and sprinkle a coat of classical on the top of it"!) or how they are supposed to be described (even they kid about such matters as evident by their Facebook page) I know enough to suggest that "Photographs" is as quirky as it is fun! It's geared towards pop fans mostly, but with the ghosts of many a great indie rock band floating around them and the obvious way in which post-punk's shadow can be observed in it's background this one has greater potential then I can properly put to pen. Definitely needs to be heard if one is to truly appreciated everything this act has to offer. 

http://seafairtheband.bandcamp.com/

Royal Hunt-A Life To Die For

Frontiers Records
2013

Released here in the U.S. earlier this month, "A Life To Die For" is the latest album from Danish act Royal Hunt. Following in the footsteps of the similarly-titled "Show Me How To Live", which previously saw the return of vocalist DC Cooper (Amaran's Plight, Missa Mercuria, D.C. Cooper, ex-Silent Force), this release makes album number twelve for a band that has seen countless line-up changes since first forming back in 1989. With sole surviving/original founding member keyboardist/guitarist André Andersen serving as producer (and doing a splendid job at it for what it's worth!) the band, which is rounded out by lead guitarist Jonas Larsen (ex-Barock), bassist Andreas Olsson (7days, Rob Rock, Stormwind, ex-Narnia, ex-Wisdom Call, ex-DivineFire, ex-Harmony) and drummer Allan Sorensen (Cornerstone, ex-Narita, Scarlet, ex-André Andersen, ex-Prime Time), has released an album that proves that wine isn't the only thing that gets better with age! "A Life To Die For" starts where 2011's "Show Me How To Live" left off and improves upon that album's solid melodic/progressive heavy metal by bringing in more symphonic elements and even a large choir! While I'm on record as saying that such additions usually detract from a metal album's overall appeal, which (to these old ears of mine) is usually true 75% of the time, here at least is one example of how to do it so that it actually enhances the metallic nature of your sound. With the way in which this band frames (what is otherwise) these classical elements it merely shines an extra spotlight on Royal Hunt's powerful melodic progressive metal. Yes, in regards to "powerful" and "melodic" that could be looked at as a oxymoron. Then again if you've ever heard the Danish act then you'll understand what I'm getting at. Sure, melodic metal lies at the very heart of this band and given how much the keyboards are employed in Royal Hunt that will likely never change. Even so lead guitarist Jonas Larsen gets his chance to shine and his playing often times adds a powerful edge to what is without a shadow of a doubt some of the best melodic power metal out there! As André Andersen employees flashy keyboard passages Jonas Larsen takes the listener on a journey of new discoveries! And by that I mean the great discovery that power metal can be as grand as it is empowering provided you have all the right set of players in place! Well, that and then the fact that there are still power metal outfits out there in this world of ours who haven't forgotten that power metal should be A) Powerful and B) Dead serious heavy! Royal Hunt falls into both of those categories even as they employee a small army of classical/orchestra personnel and a large choir! And while the album alone is a must for royal Hunt fans it gets even better when you realize that album number twelve from this Danish act includes  bonus DVD! Shot during the band’s last tour, the DVD features live music and interviews and it serves as the proverbial "cherry on the top" of this treat! For Royal Hunt fans this one is a given, but I'd also implore fans of melodic/progressive power metal to give this album a chance. Just between the skills of vocalist DC Cooper (who sings with some serious passion here!), guitarist Jonas Larsen and keyboardist/producer André Andersen there is plenty to love and appreciate about "A Life To Die For" and yet the whole band is top-notch and each and every song is well-written and planned out! If you've never had the privilege of hearing Royal Hunt before then this is as good of a place to start as any!