Poser power metal band Rhapsody of Fire made history on July 10, 2016, by playing their first concert in Tel Aviv, Israel. This took place at the traditional ‘Rock the Havana Club’ and probably attracted many a power metal connoisseur from the deconstructionist school.
The consistently bombastic and melodramatic (except when splitting into two bands) Rhapsody of Fire has revealed the cover art and tracklisting for Into The Legend. Intended for release on January 15th, 2016, Into the Legend will likely continue the band’s signature style, although word on the street is that its predecessor (Dark Wings of Steel) was a partial departure from such. Without a promotional single, there’s not a great deal of information we can work with. On the other hand, expect the media to compare this to Luca Turilli’s competing and recent Prometheus, Symphonia Ignis Divinus, and perhaps for the bigger symphonic power metal fans to insist that it either does or does not live up to whatever standard some of the other bands in the genre have set with their recent material.
After parting ways with Rhapsody of Fire, legendary mastermind Luca Turilli started his own project officially called “Luca Turilli’s Rhapsody”. The style of this new Rhapsody echoed the style that Turilli was recognized for in his own solo projects.
The project saw its first release in 2012 with Ascending to Infinity. Luca Turilli’s Rhapsody is now set to release a second album on June 19th.
Growing up as a ruthless barbarian in a desolate and cruel world born made Conan the toughest around. He is the wet dream of every orthodox power metal fan and the unspoken desire of funderground war metal addicts. This is a list of the 10 underground metal songs that this head crusher chose for us:
10. Blood – Sodomize the Weak
Crush your enemies. See them driven before you. Hear the lamentations of their women.
9. Atrocity – Hold Out (To The End)
Crom, I have never prayed to you before. I have no tongue for it. No one, not even you, will remember if we were good men or bad. Why we fought, or why we died. All that matters is that two stood against many. That’s what’s important! Valor pleases you, Crom… so grant me one request. Grant me revenge! And if you do not listen, then to HELL with you!
8. Cirith Ungol – Master of the Pit
The riddle… of steel.
7. Iron Maiden- The Duelist
For us, there is no spring. Just the wind that smells fresh before the storm.
6. Bathory – To Enter Your Mountain
He is strong! If I die, I have to go before him, and he will ask me, “What is the riddle of steel?” If I don’t know it, he will cast me out of Valhalla and laugh at me. That’s Crom, strong on his mountain!
Power metal releases are, admittedly, not the the first thing this site’s audience mainly come here for, but every once in a while we grace your eyes with the occasional appraisal of very rare honorable mentions of this superficial genre. More often than not, power metal is vain and empty, and although musically competent, also musically laughable. By its very nature, it has a higher incidence of worthless products, but that could be said of almost any mainstream genre when compared to underground ones. Contrary to your expectations, Imperial Age will receive praises here today. A cursory glance at Warrior Race might leave the impression that there is nothing new, nothing different in here that could set it apart from the bulk of contemporary power metal releases. It does not even pretend to have the progressive inclinations that some of its most ambitious competitors boast of. Structure-wise, it is as predictable as the most rigid sing-along pop acts. The tone is typically flamboyant and aristocratically haughty as becomes a European power metal ensemble.
Warrior Race distinguishes itself almost imperceptibly by placing musicality itself on a pedestal. Not theatrics or virtuosic display as is the common staple of the genre they move in. In this, they follow in the footsteps of old-school (pre-2002) Rhapsody (later known as ‘Rhapsody of Fire’ due to a legal mix up). A marked difference exists between the Italian veterans and these upcoming Russians, and it is that whether by conscious or natural limitations, Imperial Age’s music is far more toned down, and concentrates on the clarity of long melodies and creating a very fluid feeling around it by not being sloppy with the accompaniment, turning it into a complement rather than simply a generic support. One of the better traits they borrowed from Rhapsody was the art of allowing the music’s tempo to swing from slow and mid-tempos to cautiously implemented faster ones without being obvious and applying smooth, slow transitions and never introducing brusque changes within a song.
In terms of character, Warrior Race displays the traditional hymn-like chanting of epic power metal made more enticing by the healthy and non-pretentious use of at least four different lead singers (or distinct variations in the singing style) that do not clash or contrast too much with each other. This smoothness may be given to the fact that most of the time the voice is leading yet does not “steal the show” on the level of opera singing. This may also have to do with the way vocal lines are composed which melds them to the river-flow of the folk song. On the surface level, the folk element of traditional European power metal also makes an inconspicuous appearance that further contributes to this suave and rather humble album.
Imperial Age will not leave an indelible mark on the genre, nor will they be praised by innovation, but innovation is not required for excellence and interest of the deeper kind. As music with the right amount of variety balanced with a human feeling that streamlined pop metal artists would call “amateur”. Like many an authentic folk music rooted in a strong intuition of simple human sensibilities, Imperial Age’s Warrior Race presents one of those rarely-seen releases that grows with repeated listens from its musicality, making no claim to direct summonings of a deeper, more transcendental nature.
Five years have elapsed since 2010, a year that seemed to mark a slight renewal in creative forces, a kind of premonition of a metal renaissance that came after 15 years of horrid decadence following the decease of black metal as a movement. By 2013 this force was still incipient but already showed potential for future development as acts with more refined views about composition grounded themselves in tradition, promising to build monuments to a past glory for future times. Musicians from the metal underground’s classical era also formed the bulk of this rebirth, either through perfection or purification of their own take on the art.
The last two years have seen a manner of steady output that is weakened in quantity of quality releases, little manifest presence to speak of, with a few exceptions. The same can be said of the years between 2010 and 2013. This seems to be in accordance with a 3-year pendulum swing as the small cycle of metal. The long one probably signaling stronger points of birth and decay – probably decades: 1970-birth, 1980-underground, 1990-golden era, 2000-dark ages, 2010-renaissance.
It was a different time, and when Slayer, Metallica and Iron Maiden were doing their thing at the beginning of the 1980s, metal was also at a mainstream high with many poopoo acts dominating the scene. When mainstream metal drowns in its filth at the end of the decade and the 90s leave them with unmetal metal like Pantera or Soundgarden is when the underground rears its head in greater numbers.This coincides a little with what is happening now, as nu-funderground and mainstream whoring like female-fronted so-called metal flourishes in numbers just as the shock rock and glam metal (hard rock) plague in the time of Slayer.
To make matters more complicated, we have the internet, along with other means of communication and technology that allow for pockets of both good and bad music to survive with less regard to overall trends. Metal is not yet at another apocalyptic end of an era like the one that saw the explosion of death metal, we may have to wait another decade for that, but there is rise not dissimilar to the rise of underground NWOBHM and soon after speed metal. The next ebbing of the tide is at hand, but not yet its climax. What changes is not the fact that there is or there isn’t more mainstream crap, but how much excellent underground music there is. The year 1990 was a very special time marker that signaled the advent of a climax low for the mainstream and climax high for the underground.
Now, that we posit the existence of such critical years does not mean that no excellent albums occur outside of them, but that there is a sort of genre-wide, or community-wide, perhaps, pulse that pushes general tendencies. Now, according to this idea, the next “big year” in the small cycle would be 2016. Below we give an overview of these so-called big years and some band releases we are looking forward to this year.
What are your expectations in metal releases in 2016?
A quick reference to distinguished metal works in the ‘pulse’ years. Not especially comprehensive.
Black Sabbath – Master of Reality
1974: (Not really metal, Black Sabbath is WAY ahead)
Deep Purple – Stormbringer
Rush – Rush
King Crimson – Red (Editor’s note: Probably closer in spirit to future metal than others)
Judas Priest – Sin After Sin
Motörhead – Motörhead
Iron Maiden – Iron Maiden
Black Sabbath – Heaven and Hell
Angel Witch – Angel Witch
Cirith Ungol – Cirith Ungol
Metallica – Kill ‘Em All
Slayer – Show No Mercy
Iron Maiden – Piece of Mind
Mercyful Fate – Melissa
Manilla Road – Crystal Logic
Manowar – Into Glory Ride
Slayer – Reign in Blood
Metallica – Master of Puppets
Kreator – Pleasure to Kill
Morbid Angel – Abominations of Desolation
Sepultura – Morbid Visions
Fates Warning – Awaken the Guardian
Candlemass – Epicus Doomicus Metallicus
Sepultura – Beneath the Remains
Morbid Angel – Altars of Madness
Bolt Thrower – Realm of Chaos
Voivod – Nothingface
Helstar – Nosferatu
Powermad – Absolute Power
Rigor Mortis – Freaks
Pestilence – Consuming Impulse
Burzum – Burzum
At the Gates – The Red in the Sky is Ours
Demigod – Slumber of Sullen Eyes
Morpheus Descends – Ritual of Infinity
Therion – Beyond Sanctorum
Sinister – Cross the Styx
Amorphis – The Karelian Isthmus
Deicide – Legion
Incantation – Onward to Golgotha
Atrocity – Longing for Death
Autopsy – Mental Funeral
Cadaver – …In Pains
Asphyx – Last One on Earth
Cenotaph – The Gloomy Reflections of Our Hidden Sorrows
Darkthrone – A Blaze in the Northern Sky
Emperor – Wrath of the Tyrant
Graveland – In the Glare of Burning Churches
Immortal – Diabolical Full Moon Mysticism
Sacramentum – Finis Malorum
Skepticism – Stormcrowfleet
Suffocation – Pierced from Within
Vader – De Profundis
Gorgoroth – The Antichrist
Graveland – Thousand Swords
Summoning – Minas Morgul
Deicide – Once Upon the Cross
Sacramentum – Far Away from the Sun
Immortal – Battles in the North
Abigor – Nachthymmen (From the Twilight Kingdom)
Funeral – Tragedies
Dissection – Storm of the Light’s Bane
Iced Earth – Burnt Offerings
Gorguts – Obscura
Vader – Black to the Blind
Incantation – Diabolical Conquest
Dawn – Slaughtersun
Sorcier des Glaces – Snowland
Angelcorpse – Exterminate
Blind Guardian – Nightfall in Middle-Earth
Symphony X – Twilight of the Gods
Rhapsody – Symphony of Enchanted Lands
Suffocation – Despise the Sun
Absurd – Asgardsrei
Soulburn – Feeding on Angels
Arghoslent – Galloping Through the Battle Ruins
Master – Faith is in Season
Skepticism – Lead and Aether
Gorguts – From Wisdom to Hate
Absu – Tara
Martyr – Extracting the Core
Lost Horizon – Awakening the World
Deeds of Flesh – Mark of the Legion
Averse Sefira – Battle’s Clarion
Graveland – Raise Your Sword!
Krieg – The Black Plague
Avzhia – The Key of Throne
Quo Vadis – Defiant Imagination
Blotted Science – The Machinations of Dementia
Avzhia – In My Domains
Krieg – The Isolationist
Burzum – Belus
Divine Eve – Vengeful and Obstinate
Atlantean Kodex – The Golden Bough
Graveland – Cold Winter Blades
Profanatica – Disgusting Blasphemies Against God
Autopsy – The Tomb Within
Overkill – Iron Bound
Decrepitaph – Beyond the Cursed Tombs
Black Sabbath – 13
Condor – Nadia
Graveland – Thunderbolts of the Gods
Satan – Life Sentence
Argus – Beyond the Martyrs
Autopsy – Headless Ritual
Profanatica – Thy Kingdom Cum
Imprecation – Satanae Tenebris Infinita
Deströyer 666? (Editor’s note: I have my doubts about this one’s possible… transcendence)
Exmortus is a speed metal band with leanings towards what is commonly called ‘power metal’, although the general public seems to lump them in the mixed bag that so-called melodic death metal is due to their use of angsty growled-barked vocals. Exmortus have built up quite a following in the young, mainstream metal community. Ride Forth is the exciting fourth album these youngsters and guitar enthusiasts have been awaiting. This album features ‘neo-classical’ metal gestures that were first introduced in very small quantities by NWOBHM bands in combination with pentatonic soloing. It took the likes of Malmsteen and Randy Rhodes to bring this aspect to the fore. Exmortus themselves highlight it to the point of making it more than just the center of the music; enlarging it to be all the relevant music to be found herein.
In Ride Forth, Exmortus wears their infatuation with Beethoven and outward classical aesthetics on their sleeves and include a metal cover of the third movement of Beethoven’s Piano Sonata No. 23 (“Appasionata“). Their previous album also included a track based on the third movement of his Piano Sonata No. 14 (aka “Moonlight”). Compare this to other bands that have gone beyond mere adaptation and have used them to expand compositions that take the themes and scale runs of the original piece such as ‘Pathway To The Moon’, by Pathfinder, based on the same Beethoven. Right at the top of the list lie the adaptations done by the Italian band Rhapsody, who only use the themes themselves for arrangements of interludes within otherwise completely original compositions. ‘Heroes Of The Waterfall’s Kingdom” sees Rhapsody using the main theme from the 4th movement (“Prestissimo”) of Beethoven’s Piano Sonata No. 1.
Exmortus Ride Forth can be vivisected for analysis in at least two ways. The first is in terms of the functions and performance of each of the three functional layers of metal; namely rhythm, leads and vocals. The second concerns the structuring of songs, the quality of the sequence of ideas exposed throughout the album. We may take a look at each of these individually and then at how they interact to produce a result.
The three layers are executed with metronomic precision, echoing the modern classical musician’s obsession with machine-like performance. The drums are standard and give no sign of humanity. The bass is functional but rigidly moves under the needs of the alto-soprano guitars. The guitars themselves have a clearly leading role. The whole instrumental texture is very reminiscent of C.P.E. Bach’s classical music, in which all layers are in the service of a main melody. The vocal department is not only out of place but also overdone, although this may have been somewhat enhanced and disfigured by a too clear-cut, synthetic production.
As a an aural story, Ride Forth shows the audience two faces. The first is what gives them what they think is their distinctive taste, their blatant and superficial imitation of classical music. The second is a mechanical speed metal without character that serves as neutral receptor for the former pretensions. The strongest contributor to the personality of the music on the side of metal is the vocalist. But just as Exmortus interpretation of classical music remains on the level of reflected shadows, their take on metal is that of a rebellious attitude that is closer to a child’s tantrum whose candy has been taken away than to a raiding viking.
The downplaying of the whole of instrumentation to emphasize guitar action along with the simplification on the metal side as mere bridge and support for pseudo-classical posturing give rise to the worst incarnation of Yingwie that one can imagine. In regards to the content, it has very poor communication value, as it takes music as pretty wallpaper noise. While these now cliched patterns were born out of the lingos of late 18th-century classical music and the incipient NWOBHM of the late 1970s, it is now presented as mere paper-mache for the fabrication of shiny toys; symbols without depth or reflection, enjoyed sensually in a tongue-in-cheek manner.
Here, we may insert a more general critique of the general ignorance the public suffers when it comes to genre significance and the importance of its ‘sub-cultural’ context for it to acquire meaning. We may assume that the reason why two genres are smashed carelessly in this way is because whatever gestures are native to each are considered mere adornments. However, we have reason to think that the particular tropes of different genres are very specific reflections of a very particular group’s intuitional understanding, so to speak, so that without understanding its proper setting, its depth is lost.
Exmortus’ guitarist obviously worships Ludwig van Beethoven, but instead of being inspired by the deeper aspects of the late master’s work, he seems content to masturbate to the angry German’s portrait while wearing a man-bikini made out of fur. The general metal ‘critic’ (haha…) will love this for its easy-going technically appeal and comical value, perhaps giving them the typical, meaningless high scores they hand out cheaply like condoms at a gay-fest. A more critical mind unmoved by gimmicks may see through the ruse and form a useful opinion. It is, therefore, that Death Metal Underground hereby assigns Ride Forth a score of 133/666 Bleeding Anuses.
On their first album, Obsequiae made use of very simple but consistent and creative melodies in a harmony emulating that of early western music from the late medieval period. Under the Brume of Eos consisted of songs that were essentially folk-heavy metal in the vein of Primordial with black metal vocals. Each few songs an interlude played in an acoustic instrument was inserted. The material was fine for the first fifteen minutes, after that it just boiled down to a collection of songs which were merely collections of riffs. Aria of Vernal Tombs unfortunately did not move beyond this same strategy.
It is important to go back to the just-mentioned style of Primordial. Primordial is one of those bands that is really ideology first, aura and image of the band first, and then music. The music itself is flat, only serving to carry a mood while the image that the listener has in mind (given by lyrics and song names — concept) is imprinted on it from the outside. Obsequiae work in a similar way, except that they take it a step further and actually make use of musical patterns that evoke the era they are using as theme. They also surpass Primordial in that in the short-term, songs are far more dynamic and in Aria of Vernal Tombs particularly coordinate wonderfully with the vocal pulse.
Obsequiae could still move beyond this “cool-riff” sequence approach and give us much stronger songs — and perhaps a conceptual album extending beyond the lyrical and well into the music. Inserting interludes is only the easy way to do this. Metal bands like Blind Guardian, Rhapsody and even Morbid Angel (on Blessed are the Sick) have done this light and easy concept album arranging, each going further in different ways. Obsequiae and any band looking for using relatively simple yet self-contained and solid songs as the bricks for a strong concept album can look up to Genesis’ The Lamb Lies Down on Broadway. Until now Obsequiae have only given us scattered ideas in an obviously consistent and distinguishable language. And if music is a language of some kind, Aria of Vernal Tombs is one message in a loop of synonyms and like-words drawn from a thesaurus.
Satan’s Host create power metal with death metal influences like a hybrid of Kreator and Blind Guardian creating music in an Iron Maiden mold. Slight death metal influences intrude on riff construction in some of the songs but the majority are good old-fashioned heavy metal with speed metal technique periodically sparkled with some more extreme expressions here and there.
This two-disc set shows wide variety within those influences. Vocal delivery varies between resembling Kreator, especially on the early songs on both discs, and emulating Nevermore while sometimes adding quasi-operatic vocals in the style of Blind Guardian. The latter presents a fairly typical attempt at a democratized concept of this vocal style, which is both clueless to the subtlety in the original and what makes it challenging to compose as music.
This double-disc album displays three types of songs which are distributed evenly, as in a mirror, on both discs. The first group occurs during the earliest two or three songs on either disc and these songs resemble Kreator and in that spirit display an inclination towards riff-oriented writing with little concern to where the narrative of those riffs leads. The second group of songs comprise tracks three and four on both discs as well as track five on the first. These leave the Kreator vibe a bit in order to favor a more typically Iron Maiden feel. Here we can most appreciate the juxtaposition of the speed metal riff with the monolithic heavy metal chorus. This is not a fusion of the two, but a copy-paste of either style to fill in different functions of the same song. The third group of either disc is found on the last two or three tracks and resembles what is commonly called “progressive” heavy metal, most closely approximating post-Powerslave Iron Maiden.
The progressive heavy metal tracks may be where this release loses the most points. Slow intro, blocks of verse-chorus, then soloing-develoment section followed by incessant hammering of one idea with little creativity (like this harmless turd from Iron Maiden). Following this same Steve Harris brand of prog-heavy-metal trend we see a lot of pointless repetition with sing-along chorus (cornholish) abuse (e.g. “We’re blood brothers”). Unlike Iron Maiden who are functioning within one music style, Satan’s Host has a hard time shaping this into something with anything remotely sounding like a build up or a development that encompasses the whole song because they seem to be too busy juggling around with the show-off speed metal riffs and over-the-top Heavy Metal choruses. While riffs and are often developed and moved forward and transitions are always fluid and seldom abrupt there is always a lack of convincing development. It is present, it is just not credible and sounds tired. Songs often sound like they just continue but do not necessarily reach any objective or make a statement of what it all meant.
While the mixture of styles is both comforting and challenge, it does not quite “gel” in the way it would need to for a first-rate metal album. The Blind Guardian influence brings a penchant for incessant high vocals and accompanying guitar leads which double the intensity of screeching sounds. This can be found throughout the whole album alongside a feeling of everything being cranked up to eleven most of the time, which is precisely what I find unbearable about Blind Guardian (who at least try to introduce unconvincing melodramatic acoustic interludes which only drip with cheap cheese). This is coming from a fan of old Rhapsody (of Fire) and debut-album Pagan’s Mind, bands who knew how to handle cheese with a delicacy which invests a feeling of care and purpose (especially the former at their peak) to the melodramatic work in question. Similarly, many of the “progressive” metal parts fail for the same reason that Iron Maiden has had trouble elongated NWOBHM into epic song structures: the characteristics of the heavy metal genre are assembled to support choruses, the telling of a story and accommodate climaxing solos. When you repeat them ad mortem they lose the impact they are supposed to have because the listener gets exposed to them beyond their utility. And adding a soloing section in the middle which is harmonically stagnant, as per the requirements of the genre, only increments the dreadful sense of sickening bloating. It is thus that the NWOBHM in Satan’s Host fails. This in turn makes the speed metal riff-driven music lose its impact and drive. Finally, the death metal component is not used prominently except to spice up and add to the intensity.
Each music piece must and should be judged on the basis of what it is trying to accomplish. To be more specific, on two different points: first its goal, second its means to that goal. The goal must be distinguishable. A point must be made that genres, as compromises regarding form as reflection of deeper intentions, have natural and intrinsic limitations. Following this train of thought, it seems to me like the main reason for the pointlessness and mendacity of this music lies in the mixing of NWOBHM, speed metal and small amounts of death metal flavor. There is a reason why these are different genres and it isn’t just because “some people like to box and tag everything” like the ignorant rabble who do not understand the concept of form and its purpose would like everybody to believe. These failings leave Satan’s Host short of finding an artistic voice to express what obviously are passionate ideas, causing this listening experience to fall apart half-way and not motivate the hearer to pick up the pieces and try again.
One of the great divides in metal music separates those who approach album making as holistic artworks in the tradition of European classical music, and those who view an album as a collection of songs in the tradition of old and new popular musics. If one takes the former route a certain artistic liberty is acquired that allows the artist to leave songs that occur in the middle of the album open to the possibility of continuation through incomplete conclusions.
Great Death Metal albums with work-oriented organizations like At the Gates The Red in the Sky is Ours and Morbid Angel Blessed are the Sick strategically position songs early in the album to serve as introductions to the album as a whole. An excellent and illustrative example outside metal is Ludwig van Beethoven‘s String Quartet Opus 132. Conceptual works also require a strong topical orientation, often including different styles or even wholly different genres which can be united under a topic that is not only general (music has no direct mappings to our mundane world) but also specific (music can evoke precise moods and auras that some might say lie in the world of ideal forms) and clear (so that it is apparent to the listener). Undefeated masterworks in this area are Johann Sebastian Bach‘s Mass in B Minor and Beethoven’s Missa Solemnis. This can be seen in the barely satisfactory conceptual realization of the otherwise great and inspiring The Voice of Steel by Nokturnal Mortum, more effectively (and miraculously, given the wildly different genres associated) solidified in Peste Noire’s L’Ordure Ã l’Etat Pur and more recently in the young Colombian effort of a more poetic nature and epic proportions Nadia by Cóndor.
If a band chooses the more simple song-collection method, it must again abide certain rules in order to maintain any semblance of reason because proper music, inspired, must go through the filters of reason to attain their greatest expression. These are born out of the whole of the mind, not just uncontrolled emotion, but rather harnessed emotion. Songs must be self-sufficient. Each song must be brought to satisfactory conclusion by both harmonic and rhythmic means appropriate for the nature of the song and of proportionate dimensions in relation to the rest of the song so that it wraps up the musical content as the ending of an essay brings the topic to a rational resolve. The song must have a parallel relation to that of the holistic conceptual artwork. The simplest way of attaining this independence is by simple Rondo form, or popular verse-chorus song as Iron Maiden does in unforgettable albums such as Powerslave or Slayer in South of Heaven. Epic Power Metal sometimes chooses to borrow a little of the concept-album emphasis of the former approach and effectively come to one type of middle-road arrangement; a good example of this is Rhapsody’s Power of the Dragonflame.
Despite all their technical competence, like many other modern metal bands StarGazer takes neither of these paths and instead attempts to aggregate random elements without linear order. Stylistically within the metal universe, A Merging to the Boundless draws from the old school technical death metal such as Atheist (especially in the way the bass is handled within the jazz-metal framework, although they let it get out of hand into more explicitly jazz-like outbursts) and pre-CovenantMorbid Angel (a stark reference to Morbid Angel’s Brainstorm can be found in the fourth track of this album, Merging to the Boundless). Under the guise of Avant Garde, which is essentially a claimed right to disavow any of the conventions of the genres from which they derive their music, StarGazer use these genres as a container for unrelated, distracted riffing.
What this and other modern bands fail to realize is that certain conventions are in place as essential part of the genre and are inextricably related to the aesthetics that superficially define it, and when you forcefully rip the latter from the former, you end up with a non-functional husk that can only serve as wallpaper. StarGazer still shows much more local-level coherence and sense than most in its neighborhood and certain structuralist conventions of old school death metal are followed, such as the use of a motif to unite a song, although this occurs only in the first two tracks with looser instantiations in other tracks. The band can be credited with generally being able to fuse influences into the the particular Avant-Garde sound they want to reflect, even if to a connoisseur of the genre the influences are a little too obvious, with the jazz and post rock limbs sticking clearly out amidst the clear and separate death metal ones like a Frankenstein monster whose stitches are clearly visible.
The other major genre that surfaces in this album is a form of lite jazz that results from bringing jazz into post-rock/metal. This is unified under the pretense of making progressive music. This progressive element is sometimes pulled out with a hint of the old (late sixties and early seventies, peaking in bands from England) real prog-rock art of smooth, logical transitions and clear progression (as in track five, “The Great Equalizer”) at least in some stretches of the songs. Unlike the old prog-rock art and the classical music it emulates, StarGazer does not make a clear enough division of main and subsidiary material and thus it sometimes feel like it is lost and wandering in its own compositions. “The Great Equalizer” stacks random ideas and unnecessary out-of-hand variations within the post-rock-sludge territory in lieu of composition, joining a long line of poorly realized music that purports to be progressive. A Merging to the Boundless crosses the line into pure jazz with metal overtones in sections of tracks (“Old Tea” features soloing jazz bass), and in this same thought goes beyond that and into post-rock ambiance which consists of strumming or picking chords once and again. In this same spirit the opening of “An Earth Rides its Endless Carous” is very reminiscent of Animals as Leaders in its plain and unrefined yet very affected obvious use of scales and arpeggios in a way that barely describes theme and melody but rather just runs up and down like a kid playing on a flight of stairs. In the last three songs, the more prog-attempted side of the album are rather inconclusive and feel overextended arising from what I can only judge is sloppy high-level design. After the fifth track, a return to simple, late Morbid Angel-style Death Metal with a pseudo prog twist brought on by interpolating Sinister-style riffs feels like going back to something that was already said in the album. If “Ride the Everglade of Reogniroro” were arranged before “The Great Equilizer,” it would probably only sound slightly redundant with what came before. I have this same impression of the last (poor-prog) track, “Incense and Aeolian Chaos,” that makes use Animals as Leaders plainspoken use of scale that morphs into old-styled prog/tech death metal that is wordy (faster notes) yet not more dense in content.
In the end analysis, A Merging to the Boundless wanders everywhere and thus goes nowhere. Songs suffer from clever low-level (local) arrangement and poor high-level (long distance relations and overall progression) design, which results in their structure being entirely cyclic or not having a clear direction in the long run and being inconclusive. Cyclic songs have rather forced endings while the more prog-oriented ones just dissipate into nothingness. This last thing feels as if someone takes you to a walk in the forest, strays from the past and just disappears, leaving you in the middle of the forest with no purpose or direction.