As I’ve mentioned in previous reviews about the latest POS releases there’s a weird rule that takes place. Every previous release sounds better than the one that’s fresh. I don’t know how they manage to do so. Maybe all latest releases have this mature approach and need to grow inside the listener. Maybe, on the other hand, not being predictable at all, this band has learned all listeners and followers to be cautious of their every next step. I prefer to believe the first version with a slight taste of the second, both as general truths.

The same thing, dear readers and friends, I’m afraid happens here as well. Very close to the music approach and philosophy of “I”, “Roadsalt II” dives deep into the 60s sound, with a touch of 70s progressive rock. Vast orchestrations, beautifully placed in musical carpets, that create a wide path for Daniel to unveil his greatest “weapon” and simultaneously the only thing that stays untouched as far the brand POS stands. Thus being nothing else but his voice. Intriguing vocal lines, passion, expression, acting all are there as always. Blended to entertain to the maximum. As for the rest of the band, although they are there existing and performing extremely beautiful themes and generally contributing each one and all together as a team, they sound rather guided and not free at all. But in this band it has been this way since always isn’t it?

To sum it all up, in one last paragraphy, we can see, hear and say that Daniel Gildenlow, being the driving force of this band since day one, has choosen to walk to another level of music expression, which unfortunately has nothing to do with the band’s past and has even less to do with metal in general. I have to say as well, to be honest, there were moments in some of these songs, that if the distortion and the production was in the typical metal path. Then we might had been talking in aonther mood and not for somekind of departure but for just a sneak glimpse that soon will look back to our/his roots! Everyone, that had a good time listening “Roadsalt I” and “Linoleum” EP should listen to “Roadsalt II” as well and he/she would probably indulge him/herself. All others, on the other side, check it out but I’m afraid, that this might be completely out of your taste. I’m on the second category, so until the next one that will make me receive “Roadsalt II” as a better record than the one I’m listening now…

In this new solo album” Oceana“ which is the seventh studio album by Sherinian, he has once again teamed up with some outstanding musicians as Joe Bonamassa, Tony MacAlpine, Simon Phillips, Steve Lukather, Steve Stevens, Doug Aldritch, Jimmy Johnson and Tony Franklin. Each musician who is featured on the album puts his own mark on it. From the first song we can see the elements of his album which is like a modern prog fusion style with many guitars and keys in all the length of the album.

His album is a master class in instrumental music. Each track is constructed beautifully, not with the focus on one instrument, while everything else provides the backdrop. ”Oceana” is an album that showcases Sherinian’s energetic prog-fusion music and ability to pick the right musicians to add their own special touch to each composition and should appeal to lovers of both fusion and heavy rock. Derek Sherinian is one of the finest musicians around, without a doubt. This album is a testament to that fact, and he’s also a great visionary, and very selfless, which are extremely good qualities to have. Listen to the music, and you’ll know exactly what I mean.

From the very beginning of the album with the title track entering, it is clear that Leif did his miracle once again. A heavy riff just like the ones we’re used in listening in mister Edling’s albums breaks the initial agony for the result and entering Mats Leven, you get just by the first minute the feeling that you’re dealing with an album that you will listen many times in your life. Thinking that it just might be your good will to like the album, come the next two compositions to make you close your eyes and think you’re the face in the great colourfull psychedelic cover of the album (you may think you’re one of the stars also, none would mind after all), with ”The Hades Assembly” adding some more tons in the album’s ultra heaviness and ”Emily Payne (And The Black Maze)” grabbing you all of a sudden with its crawling atmosphere and violently bringing you back to reality. What you thought to be as something good, may easily prove more than special for you, as your ears experience this album from the beginning to the end.

”Small Deadly Curses” is correctly put in the middle of the album, being a little more up – tempo compared to the first three tracks, with a magical chorus that Leif’s colleagues in Candlemass would be really envious he didn’t use it in a song by them. Mats gives a theatrical and sarcastic performance on this one, proving why he’s been one of the most acknowledged singers of the last decade. If you have caught this guy live with any of the bands or musicians he’s toured (and believe me, they are a lot), you know better than I describe that we’re talking about a singer which not only can do anything he wants with his voice, but he lives and feels every moment of each song he’s taking part in, that’s why Leif Edling has always been saying the best about him. And we all know that the band’s charismatic leader is a very demanding person that isn’t used in compliments throughout his long almost three decade career.

To make matters even better, the album closes with ”The Death Farm” and ”A Place Of Crows” that add a special touch on ”He Who Sleeps Among The Stars”. It is a very important thing that an album can begin and end in such a way, because fans sometimes focus on the initial or final impression. Of course, this album has nothing to do with the pile of albums released out there, as every song can stand on its own as a great sample of what Krux is about. But without any thought, you will certainly consider that it is a much better album than its predecessor (”II”), maybe not that bitter and ”black” as a listening, but surely more ”bright” in expression and as the final feeling it leaves you is concerned. Maybe the surprise the first self-titled album created can never be substituted, but on the other hand, it’s albums like this one that establish a band and prove that a once great creation was not just a random moment of inspiration, but the show goes on and on and on…

To be honest, I left as a last statement the large track of the album ”Prince Azaar And The Invisible Pagoda” on purpose. MAYBE (I put it in capitals so no misunderstanding is caused afterwards) we’re dealing with the best song Leif Edling has written since…well, hard to think, but it’s one of the best tracks for 2011 for sure and not only can stand as equal next to the large epic ”Lunochod” from the first self-titled Krux album, but may also prove even larger as a song in the future. Knowing personally that Leif has always been a perfectionist, this should be no surprise to me. But it’s songs like this one that make a reviewer’s work much harder than you, the reader can imagine. All I can suggest is listening to this one rather carefully and make your own statement, as I really feel that words escape me this time. The album will flow like clear water for 45 minutes and you will have an extra terrestial reason to make you smile when you feel a little confused, or even lost in your thoughts. Listen to this one and all will clear, no doubt!

Anubis Gate do a nice job in terms of diversity. They have the requisite long songs prevalent in the genre, but also shorter songs like “River.” I like how they transit between moods, such as “World In A Dome,” which sometimes has a darker, ominous vibe, then lightens up. “Desiderio Omnibus” has a super heavy beginning, then dials it back a bit while still having some crunch.

Anubis Gate don’t lose a step with Fevre on vocals. His voice is strong and emotional, and although he sings mainly in a middle range, he has no problem hitting the higher notes when necessary. The guitar work on the album is also nominal, with Kim Olesen and Jesper Jensen supplying a wide and effective range of riffs, fills and solos.

Being released on the same day as albums from much more well-known progressive bands like Dream Theater and Arch/Matheos (which is basically Fates Warning with former vocalist John Arch returning on vocals), Anubis Gate is in danger of being lost in the shuffle. That’s a shame, because it is definitely on par with the aforementioned releases, and some would say it’s superior. There are riffs to satisfy fans of Arch Enemy, In Flames, and Nevermore without becoming just a sum of their parts.

To put it simply, this is an impossibly grand effort that only enemies of melody could justifiably dislike this album . ”Anubis gate is an excellent job from the band that has many to give in your fans of music

The whole album lasts around 80 minutes. Whichever of the two discs (Andvari or Gola) you listen, you can easily count each other as an independent disc, because Andvari is less heavy and darker than the second disc. Starting with the first cd, a 10minute track opens “Svartir Sandar”. Even it has a very drone atmosphere and an obvious long duration, “Ljós í Stormi” escapes monotony. In my opinion Adalbjörn’s vocals perhaps are the best in the band’s career. Next song is “Fjara” and it’s one of my favorite songs in this album. Here, even I don’t understand Icelandic, the depressive song’s attitude took me from the beginning. It has very beautiful guitar compositions with the drive in high levels, and somehow a soft drumming just to give an atmospheric point to the song. A song that reminds something of black metal music is “Din Ord”. The low tuning is clear in this track too, but the drumming and riffing are a bit faster and darker.

The drone-like atmospheric songs are continued with “Sjulki Skunning”. My opinion about Sólstafir is that, from “Masterpiece of Bitterness” ’till now, they are a heavier version of Katatonia. And this track, reminds a lot of Katatonia’s depressive rock music. Another favorite song of “Svartir Sandar” is “Æra”. Once again great vocals, full of expression, smashing drums and very fast guitar riffing.I think the sound of keyboards gives a psychedelic atmosphere to this song. The result is a very successful and mind blowing music composition. The first side finishes with the ambient and psychedelic “Kukl” and Adalbjörn’s vocals are still full of emotion.

The second disc, begins with a great track for me. “Melrakkablús” is one of those songs that reminds the music of Katatonia, in my opinion. This is clear from the song’s intro and the guitar melodies. But mainly the drums and secondly some riffs make it a heavy depressive song. Then three instrumental songs are following. Well, “Draumfari” is in the Katatonia category song too, for the second one I can’t say many things. It has minimal music and a narration. In the third instrumental song the narration is continued at the beginning and it has a fast riffing. To be honest, they didn’t impress me very much. As I said Gola differs, because it is a bit heavier. The title song has very strong and fast rhythm drums and very powerful vocals and the characteristic heavy guitars, dominate in this song, too. The psychedelic atmosphere due to the guitar melodies and the backing vocals at the end, should also not be omitted. And the last song “Djákninn” follows the same way. A perfect intro at the beginning and next a riffing in fast tempo. It’s like a rock’n'roll song but if you add the emotional vocals it becomes a heavy depressive post rock song. Sólstafir know that, because despite the long duration, the variety of tempo doesn’t make it boring. Also the drumming is equally powerful and complex and the vocals once again, absolutely perfect.

Maybe “Svartir Sandar” is closely to “Köld”, but this album shows all the band’s experience for music compositions. Sólstafir keep playing awesome post rock music, with all the psychedelic or ambient elements and the depressive attitude, in which we are used to listen. It’s hardly difficult to find a very good album with so much expression and flow of feelings. “Svartir Sandar” meet all these requirements. Both the band’s fans and the fans of post rock music, should be something more satisfied with releases like this.

It was 2009 with their second album ”Vigilance” that fans started getting worried. Not only it had nothing to do with ”Under Reprisal”, but also showed the band in a very difficult situation. Having changed three out of five members on their line-up, the remained stable basis of Jon Howard and Pat Kavanagh, (having already offered a controversial album called ”Years In The Darkness” under the name of Arkaea, alongside Christian Olde Wolbers and Raymond Herrera, both recently departed from Fear Factory) seemed to lose the element that once made them special: Nerve! It was such a disappointment for most of their fans, as ”Vigilance” without being that bad, was sounding rather distant from their potential, showing like it was made to gain some more publicity and fans, sounding a lot more commercial and pointless in terms, so that many people (including me) believed that there would be no turning back in the days of inspiration.

The crucial third album entitled with the band’s name was long awaited and guess what…It’s a large success! I surely didn’t expect such a comeback and the band sounding so fresh and willing to close the mouth of those that dared disputing their worth (including me once again). This time, with guitarist Travis Montgomery more experienced in his second effort with the band, they change members again, but it seems that the departure of Alex Rudinger on drumss and Chris Feener on guitars, helped them in such a way that we can already consider this is the second birth of the band and a good basis to build their future career around the sceptics of this album. I don’t know if giving their name on this album is a statement that they imagined such a sound and performance from the beginning, like telling us ”this is who we are”, but I can surely tell you that this album is one of the best that were released in the year of 2011 (and we had many great releases to choose from).

From the first seconds of ”Uncensored”, it is clear that the groove delivers pain and sweat and the clean production gives more space for the band to express themselves as direct as they want. Tracks like ”Comatose” or ”Fallen Disciples” will definitely make you stare for some seconds somewhere else, losing your attention from the quality and intensity of the Canadians and a big smile will return to your face, just like when you were listening to ”Under Reprisal” in 2006. If you are a newcomer on the Threat Signal sound, sit back and relax to enjoy an album lasting 45 minutes that will offer you more than you can imagine. The rhythm section acts as the perfect vehicle to transport the gigantic guitar work made on this album, right at the most sensitive areas of your brain and your heart too, and easily without hesitation, starting to move along the rhythms that take over the whole album is what will follow and you’re surely gonna love it.

The ending of the album with tracks like ”Disposition” and the ending duo of ”Death Before Dishonor” and ”Buried Alive” will make things even better for you and listening to it again will be the next thing you will do. Of course, we have to point out some parts that once they get studied well and get fixed in the future, we’ll have to deal with the best album that the band will ever release. Howard’s harsh vocals are really great but he will surely have to work his clean sounding voice, as it sometimes pulls back the aggression produced by his rest four bandmates. Also, there has to be some more different approach in songwriting, as some of them sound like two or three songs are combined in a larger one. It’s something they can do in order to become even better. The point is that they recognized their mistake with their previous album at first. Things have taken their course for much better material, and once they don’t spoil it again, they will get their share in what they deserve. Check out the limited edition’s bonus track ”Resistance” and you will surely understand what I mean. U-turn was made successfully without any crash. That needed guts for sure…

The fact is that the new album is very difficult to listen. I admit that it took me more than three or four times to understand their music. Like Deathspell Omega’s “Paracletus”, the Parisians follow also experimental steps in “The Great Southern Darkness”. The band evolves the music they have played in 2009 at “Meet Us in the Southern Sign”. The new album has a lot of progressive and ambient elements. Someone can easily say that the new album has less black metal feeling, but the truth is that there is a compensation with a killer production, very good guitars, heavy bass and flexible drumming. The band surpasses the line of the stereotypical black metal and produce an innovative black metal album.

I will not try to analyze the songs, moreover everybody has a subjective assessment. Personally, I prefer “Secret Ride To Rebellion” with the chaotic riffs and my favorite song of the album “Negative Incarnate”(perhaps the best riff that they have ever wrote) with the combination of the crazy stoner solo. Also I like “They Call Me Black Devil” a song which also the stoner rock ingredients are apparent. Another good song that is worth staying in is “The Foolhardy Venturer” with amazing progressive guitars and a different black metal attitude. The final song I found very difficult I must say. Except the brutal vocals, at some points the guitars are clearly influenced by Monster Magnet’s music. As I said everyone has his subjective assessment. For the followers of their two first albums I recommend “Bring Down the Cosmic Scheme” and “The Science of Shifting” which are very close to their old black metal style.

In conclusion, “The Great Southern Darkness” is a very difficult album, but surely not a mediocre album. The title says it all: A great southern black metal. If I had to put a title for their music in this album, that would be “Black ‘n’ Roll for nihilists”. If you didn’t like the album from the first listening, give it a chance!

“Five Serpent’s Teeth” is a very energetic, powerful and heavy album. The band has written some very good songs in this album. Both the mid-tempo and the fast moments of the album are very good and the quality of the songwriting has reached very high levels. The vocals are very good and it seems that Matt Drake has worked a lot on them, the guitars are also killer in most of the album and you will find some very good riffs and solos in it , the drums are great and so is the bass. Almost all the songs in “Five Serpent’s Teeth” last more than 5 minutes but all of them are interesting. The influence of bands like Testament, Metallica and Exodus is clear in Evile’s music but that does not mean that Evile have copied these bands; they have put their own elements and their own style in the album and the result is a record that kicks ass! The sound of the album is clean and heavy. I would prefer the sound to be a bit more dirty and old-school, but this clean production also fits very well the music of the band.

Evile are here to stay. They managed to release another killer album; the 3rd in the row! Nothing seems able to stop them and I hope that they will continue the great work that they are doing.

The timing signatures are always changing, which doesn’t leave much space for catchy and memorable melodies or riffs. The truth is this is darker than their last title, but that way of playing doesn’t impress me much. The guitar riffs are quite complex, they really make your head ache and also the solos sound out of this planet… The rhythm section is constantly switching, following inhuman time signatures, leading to a chaotic sound. It’s obvious that they are great musicians, handling their instruments like a child does with its toys. They’ve got incredible ideas, putting them down flawlessly on their instruments. The truth is I cannot say much about this EP because it’s certainly a matter of taste. If you like fast switching, aggressive riffs, unbelievable solos, endless technical bass lines and constant double bass drumming, then search no more and bow to this majestic piece of music. It was obvious since the very first moment that these 3 men would do magic in this EP, because they’re A class professionals. If your ears can take it, you need to check this out.

”Immortal Soul” is the fourteenth album of Riot, which may seem not so active if we count down that the first album was released 34 years ago. But don’t forget that they twice had a gap of five years inbetween albums (just like in this case, five years after ”Army Of One”) and a four year gap also. Line-ups changed many times but this time, the leader and soul of the band Mark Reale managed to count on previous partners of him, in order to create something really spectacular. And I can tell you that this was the right thing to do, because we are dealing maybe with the best Riot album since ”The Brethren Of The Long House”, back in 1995 (not to say way earlier). And though Mike DiMeo (a rather talented vocalist), Pete Perez (one of my favorite bass players in life) and Frank Gilchriest (known from his drumming duties in Virgin Steele) are out, Reale manages to create such a convincing album with his old fellows, that there is no doubt about Riot being strongly again in the first line of the whole metal scene for the year 2011.

I am in a very pleasant state of shock because listening to the album, even from the very first time it will leave you speechless with how fresh and powerful it sounds. I don’t know if it’s symbolical, but the first title of the album is simply called ”Riot”, like being a statement that this is the real Riot, after so many years of their quest in music. So, as soon as you will get over of the tremendous performance by Tony Moore, who sounds as if forgotten back in 1990 and still rolls on for ”The Privilege Of Power” sessions, you will easily understand what means to have the rhythm section of Don Van Stavern on bass with Bobby Jarzombek on drums back once again. Added to this line-up of course and not least in importance, is guitarist Mike Flyntz, who’s already been close to Mark Reale for eighteen years, since 1993’s ”Nightbreaker” album. The quintet sounds as if sparks from fire are unleashed in any direction and they will burn all who will dare and dispute the sincerity of this come back by one of the best bands in the history of music.

For the next 52 minutes, a storm of riffs by the skilled guitar duo of Reale and Flyntz will pave the way for the rhythm section to give an extra boost to these compositions, with an out of place Bobby Jarzombek proving once more why he’s played in almost thirty albums in his life, from Riot and Rob Halford’s personal albums, to Sebastian Bach, John West and Spastic Ink. albums, while he’s also been touring with Fates Warning the last five years and having also served for Iced Earth and Demons And Wizards. This album makes a two out of two for Jarzombek, as he took part this year on the Arch/Matheos collaboration album ”Sympathetic Resonance”, and of such worth is ”Immortal Soul” also. Some things surely don’t happen in luck. And of course, let us not forget that Moore’s vocals will travel you back in time and you will remember of vocalists with the vocal range of Geoff Tate, James Rivera, Harry Conklin, Mike Howe and many other American heroes that helped their bands be established as some of the best ones in heavy metal.

In overall, we are dealing with one of the best come backs that have ever taken place in the heavy metal history. An example close to Accept’s last album ”Blood Of The Nations” is what you may think of ”Immortal Soul” at first. The point is that Riot prove that they really have a great spirit on them as a band and not only they made one of the best albums of 2011, but they sound promising to repeat it again in the future, as long as this line-up stays the same of course. All I know is that from out of nowhere, came an album I wouldn’t count on being so great to be honest. On the other hand, I welcome this new version of Riot’s old sound, adapted to the likes of the present tense, and I wish to see them live at the current moment, in order to be able to live something of their glorious days two decades back. Riot’s soul may be really immortal if we think in cold blood. In any case, this is an album many 20 year old guys would like to release, but most likely, will never make it. Welcome back Johnny, we really missed you!