Neopera – Destined Ways

December 10, 2014 –


I’ll let you in on a dark secret from music reviewers: sometimes we write about stuff that is fun to write about even if it will quickly slip under the foamy surf of history. Neopera is one of these bands which is proficient in a terrible cheesy style but whose presence evokes so many observations on metal and society that it cannot be passed up. It is not an easy bash like the phenomenally boring Abysmal Lord, nor a making fun of chronic idiots like a Pantera or Meshuggah review would be, but an insight into human thinking about the uses for music and what it says about us.

To get it out of the way, let it be said that these musicians clearly know what they’re about. These players could have made an album in any style, but deliberately chose one that allowed them to target a power metal audience that wants male and female vocals with extensive harmonization and a positive outlook to the music as a whole. What emerges as a result is basically “princess metal” in that it has more in common with Disney theme songs and inspirational (Christian) rock than anything else, adorned in some folk-metal trappings but in that sweetened overly-romanticized way that works in children’s movies but not so well with red-blooded stout-hearted metal. Excessive sentimental and lush in its use of keyboards and vocals in a swell that relegates guitars to a constant background texture and primary rhythmic instrument, with drums shadowing that role, Destined Ways overflows with the kind of soaring choruses and heavy use of theme that Hollywood soundtracks made famous. The descriptions of this album mention “classical music,” but the closest it comes to that is the instrumentation and moments that sound like Andre Rieu covering Tchaikovsky with Trans-Siberian Orchestra overseeing.

Songs follow the Iron Maiden formula of a compelling intro, a descent into theme through paired contrasting motifs, and then a deepening with verse and chorus repeated in layers as melodic adornments expand the vocal, then a triumphant return and fade out in a variation on the theme. Far more organized than the average metal composers, Neopera show the promise of their name: a kind of melodramatic adaptation of the vocal forms of European music but applied through the pop formula for satisfaction with underlying metal. Fortunately, the metal they use tends to be consistent with the better half of speed metal, but it cannot take away from the perception that this music is essentially a saccharine play set to words with guitars going in the background.

Khand – The Fires of Celestial Ardour released on tape

January 31, 2014 –


The crossover between metal and keyboard music is vast and well-documented to the point that the well-dressed death metal site simply ignores instrumentation and picks the keyboard bands that sound as evil and nihilistic as death metal. Whether that’s works by Neptune Towers, Beherit, Jaaportit, Goatcraft, Burzum or Danzig, evil metal has crossed over to occult keyboards.

Another entry into this world is Khand, made by lifelong metalhead and now synthesizer jockey Arillius. Describing his music as “cosmic ambient,” which overlaps with black ambient and dark ambient and neoclassical, Arillius started Khand back in 1998. Influenced by medieval, space and fantasy themes, Khand’s demo “Interstellar Dominions” was released in 2006 and immediately attracted an unusual but dedicated audience. Seven years later, Khand released The Fires of Celestial Ardour which is now available on tape for those who wish to order it.

The Fires of Celestial Ardour shows Khand having refined its style and narrowed its focus, which enables the band to train its resources on a certain type of deep space exploration sound. For those who want to experiment, the album is available as a free download from hi.arc.tow records.

The relationship between black metal, ambient and neoclassical music

April 7, 2013 –

nordic_dark_ambient_neoclassical_black_metalIn the mainstream press, black metal has a reputation for being solely misanthropic, heavily distorted anthems of aggression and despair that are defined by their primitive minimalism.

While this may hold true for the majority of contemporary bands, this view overlooks the foundational bands of the genre, who possessed a deft sense of melody and the focus to create longer compositions that allowed for more introspection.

Just as black metal musicians created a more minimalistic form of death metal, some were able to apply the same approach to the ambient and neoclassical genres, crafting tracks that through the use of repetition, stirring melodies, and tonal variation reveal the genre’s primal elegance without need of layers of distortion.

Given the news that Neptune Towers is being released on vinyl and Burzum is releasing an album comprised entirely of electronic music, now seems a fitting time to investigate this interesting subgenre and how it arose from black metal in several instances.


Favoring simple but expansive compositions, contemplative melodies soar over mild arpeggios; in addition to a few tracks of industrial nihilistic deconstruction. Through the utilization of modern technology, Burzum makes narrative and meditative music that like its inspiration Tolkien, takes the participant on an internal journey to another realm.

Neptune Towers

A side project of Darkthrone‘s Fenriz, in Neptune Towers haunting melodies glide over dark drones while otherworldly noises color the backdrop. Evocative tracks signal the coming to Earth of a yet-unknown alien species or perhaps the future evolution of humanity, the soundtrack to the future.


This band fuses its earlier black metal style with the industrial, pop, and ambient genres, featuring melodies that would not be out of place on a metal album, but pairs them with repetitive trance-like drums, synths, and found sounds that coalesce into epic moments before fading away like the rays of a burned out sun. Fans of multiple genres should appreciate this one.


Elegant and skillfully composed tracks celebrating the beauty of nature in their simplicity reveal a greater depth of expression than would be possible with over-produced tracks. Just as he did with black metal, Ildjarn with compatriot Nidhogg reduces neoclassical music to its most basic form and builds from it an enchanting structure.

Lord Wind

A side project of Graveland, with Lord Wind martial drumming and heroic melodies bring to mind the battles of old, while synths and choruses expand the project’s horizons, providing reach to contrast with the grounded and earthy rhythms. Well-crafted neoclassic folk music, this is the further continuation of Graveland‘s second stage.