Shade Empire: Omega Arcane

Shade Empire, a symphonic black metal band from Finland,  are clearly influenced by  the likes of  Dimmu Borgir. However,  I believe Shade Empire surpasses their role models in technical prowess and emotional impact. Omega Arcane is a complicated yet cohesive album, the kind you can hear a hundred times and notice some new detail with each listen. 

Omega Arcane maintains a  precarious balance between melodic ambiance and raw heaviness. The album is simultaneously atmospheric and grotesque. The sound walls are multi-layered and complex, but the long tracks and slow tempos prevent it from being overwhelming. Intricate piano melodies emulate the baroque masters. The epic grandeur of the orchestral compositions  are complemented by acoustic guitars, bringing it all back down to earth. The drumming is inconspicuous but nevertheless provides a rhythmic backbone to the melodies.

The vocals are predominantly black metal screams, but there are occasional female cleans, notably in my favorite track, Disembodiment. The orchestral elements are at their peak in Disembodiment, which opens with suspenseful yet understated violins. The intro to this song is tantalizingly subtle, slowly blossoming into an intense black metal style. Several other songs feature atmospheric chorals in the background. 

I thoroughly enjoyed the album, although I'm used to faster tempos, faster songs, and shorter records. However, symphonic black metal is a niche  genre for those who can appreciate lengthy, nuanced, and epic music. All things considered, Shade Empire are skilled musicians and Omega Arcane is a testament to their abilities. Four stars out of five.

Septicflesh: Titan

The sheer depth of this album suggests musical influences ranging from death metal to Wagner. Although following in the same symphonic vein as their previous material, Septicflesh are taking more musical risks in Titan. Freaky shifts in the rhythmic pattern keep songs suspenseful, yet the technical proficiency of the harmonic progression keeps it focused. One is reminded of the Theodore Roosevelt quote: "Keep your eyes on the stars and your feet on the ground."  The atmospheric unease of the choirs make an elaborate and beautiful background on which Spiros Antoniou projects his relentless harsh vocals, which tend to be the focal point of almost every track.  Like prior releases by Septicflesh, the lyrical content is often derived from mythology, which lends to the cinematic grandeur of the album. As it's name suggests, Titan strives to embody massive scope and overwhelming power. The album exemplefies blind fury tempered by disciplined precision, resulting in a brutally beautiful masterpiece.

Although the whole album is cohesive, some songs excel and innovate where others stay more predictable (but still pretty damn good.) The opening track, War In Heaven, hits the ground running but then retreats to a more comfortable song structure.  Prometheus, although obviously referring the the eponymous figure in Greek mythology, is likely inspired by the famous lament O Fortuna. The former emulates the latter in sorrowful melody and theatrical intensity. Similarly, the title track, Titan, offers a striking contrast between dynamic leads and drastic, almost dissonant orchestral arrangements. Other memorable tracks include Order of Dracul and Dogma, which feature exceptional composition and airtight execution.

 Confessions Of A Serial Killer failed to impress me with its unimaginative title and cheesy opening sound effect, which resembled a halloween ghost "Oooooh" sound. The repetitive Burn was the only other song that sounded out of place on an otherwise phenomenal release. Titan's shortcomings are few and easily overlooked. Five stars out of five.

Last minute reminder: Don't miss out on Septicflesh and Fleshgod Apocalypse, co-headlining the Conquerors Of The World tour. They hit my neck of the woods on July 11th, featuring Black Crown Initiate, Necronomicon, Deforme, and Endless Infection. The madness takes place at Blackwater Music on 109 4th street, and it's only $12 in advance or $15 at the door! See you there.

Modern Masterpieces: The Connexion Between Metal and the Compositions of Yesteryear

Terrorizor Magazine made a comparison between Arch Enemy’s Bloodstained Cross and the Seasons of Vivaldi. Revolver Magazine’s resident freelancer, Chris Krovatin, authored a superb article on the 6 most Metal classical compositions. Such is my textual evidence, yet my strongest proof is empirical. Listen to virtually any modern Metal, and it is clear that such music is inspired by the great classics. Contrary to the teachings of pop-culture, Metal is an extremely painstaking, technical, and complex genre. Unlike most modern music, contemporary artists of Metal are based less on Blues and more on Classical music. The intricate melodies, polyphonic sound-walls, and frequent use of syncopation differentiate Metal from most contemporary musical styles, yet link it inextricably to the genius compositions of yore.

Metal originated with the blues, taking the simple riffs to unknown, cathartic depths. As time went on, movements such as Thrash have brought speed and technicality back into the equation, giving us masterpieces to rival those of classic musicians. Take, for instance, the lessons imparted from Gradus Ad Parnassum, written by Johannes Fux. (Yes, that’s his real name.) In my brief yet torrid study of Counterpoint Compositions, I learned the difficulties of obeying the rigid structure of consonance, harmony, motion, and even the controlled use of dissonance. It was tedious to follow these rules and still manage to make the piece interesting and lively.

Yet, my favorite bands do just that, if not every day then at least often enough to get paid.

We are not the Hollywood stereotype of stoners living in our parents’ basements, mindlessly banging our heads to anything loud. We are artists. Even those of us who are neither musicians nor composers are just as cultured as the monocle-wearing crowd who pine over Baroque instrumentals. Hell, we probably listen to the exact same Purcell operas as Mr. Cunningsworth. The only difference is we crank it to 11, while Old Man.C crosses his index fingers and flings Holy Water at our supposedly satanic asses.

Modern Metal utilizes the same rigorous structure, artistic enterprise, and musical talent as the enduring works of Mozart or Beethoven. Now we have10 string guitars instead of harpsichords, and we have growls instead of choirs. Then again, the phenomenon of Symphonic Metal proves that these vocal styles don’t have to be mutually exclusive. Even radio-friendly bands such as Killswitch Engage are a testament to the possibility of operatic vocals juxtaposed with screams.  

Metal is so much more than mere fan-fodder to entertain and anger the unwashed masses. It is simultaneously malleable and durable… In a word, resilient… It has the same immortal virtue which sanctifies the gorgeous art that has endured for centuries.