Katagory V – Awaken a New Age of Chaos Review

By Dolphin Whisperer

Katagory V, not to be confused with any band called Category 5 or Five or any variation thereof, has been rollicking with power chord and falsetto vocal abandon for the better part of a quarter-century. Not continuously, though, as founding bass-slinger Dustin Mitchell put the riff-train on pause from 2014 to 2023 after struggling to fund the release of 2015’s Resurrect the Insurgence. With roots in a progressive and riff-heavy attitude that mirrored the doom-weighted Swedish power metal sound of (then) contemporaries Memory Garden and Tad Morose but with a stronger foot in early USPM progenitors like Fates Warning and Queensrÿche, Katagory V carved a niche within a niche in the American underground. And now with a reunited vigor for overdriven and melodramatic riffcraft, Awaken a New Age of Chaos hopes to stir in wanting loins the tingle of amplified bravado.

Awaken a New Age sees only a couple of line-up shifts from the Katagory V early days, with Resurrect vocalist Albert Rybka (Acracy, Empyrean Sanctum) returning to the mic—his more “modern” prog/power croon had previously shifted the sound towards a big chorus focus. As a band with minds set to reverence for a faded style, Katagory V’s emergence in the early ’00s put them beyond the tail end of their target audience, so a little change went a long way. Wielding classic tones, playful rhythms, and meaty guitar drives, the working man, angsty escapades of 2001’s Present Day or 2007’s Hymns of Dissension could have sat comfortably alongside the Sanctuary and Morgana Lefay CDs in a 12-disc changer with a slot to spare. But with Rypka at the vocal helm, a great world of vocal possibilities held the potential to unfold across Katagory V’s earnest and downtrodden societal observations.

For whatever reason, though, Rypka has chosen the path of the Ripper1, often relying on a shaky, low-power talk-sing that bursts into glass-shattering falsetto to imbue this new outing with extra metal force. While the shrill technique has earned a place in the hallowed halls of heavy metal, Rypka’s particular tendency on Awaken to jump from hobbling refrain to cloud-crashing wail derails the midtempo riff-groove of far too many tracks, “Legacy in Blood,” “Night Wing,” and “I Miss You” being the most screechy offenders. The kind of steady-drive prog/power in which Katagory V exists depends on a song navigating swiftly through its narrative dips and dives. And though Rypka can pull off plenty of smoother mic-twisting contortions against thrashy accelerations (“Empire of Ignorance,” “Prophet of Sorrow”) and moody, progressive growers (“Through Fate’s Eyes”), his theatrical and treble-abusing antics make continuous enjoyment difficult.

Katagory V, however, glues enough runtime together with a tight rhythmic chemistry, which keeps Awaken from succumbing to its more grating qualities. From the classic piano-to-drum tumble of “Absolution Divide” to the Iced Earth-galloping “Blood Siphon” to the Death-worshipping bridge of “Prophet of Sorrow,” Katagory V can carry a mighty thump and rumble. At their most epic and progressive on “Through Fate’s Eyes” and “Escape to Beyond,” they even approximate the kind of sweeping heavy metal of a power-to-prog transitioning Fates Warning in a way few bands attemp in this modern age. Though Awaken doesn’t wear this level of success at every step, the brief walk along this road that reclaims the glory of Katagory V’s youth shows that the fire for metal remains.

As an act like Inner Strength has shown, the sounds of the past can live anew in hands dedicated to iteration, refinement, and exploration. With Awaken a New Age of Chaos, the idea of growth within this aged style of heavy, progressive metal from a pre-Meshuggah world,2 leans far closer to a thoughtfully executed jam session of remembered riffs than it does towards finding its own brand of melancholy. Katagory V never, unfortunately, got the chance to make much of a mark in the annals of the developing prog frontier. And while a grander level of success is normal in the dreams of hopeful musicians—and in light of Awaken a New Age of Chaos not being likely to accelerate their ascension—Katagory V can still stand proud with their dusty contributions to the history of the Utah underground.

Rating: 2.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Labels: Metallic Blue Records (USA) | High Roller Records (EU)
Websites: katagoryv.bandcamp.com3 | facebook.com/KatagoryV
Releases Worldwide: May 16th, 2025

#20 #2025 #AwakenANewAgeOfChaos #FatesWarning #HeavyMetal #HighRollerRecords #IcedEarth #InnerStrength #KatagoryV #May25 #MemoryGarden #MetallicBlueRecords #MorganaLefay #PowerMetal #ProgPower #ProgressiveMetal #Queensryche #Review #Reviews #Sanctuary #TadMorose

Ancient Bards – Artifex Review

By Killjoy

Italy’s Ancient Bards was one of my formative bands as a budding metalhead. Their original trilogy (The Alliance of the Kings, Soulless Child, A New Dawn Ending) received tons of playtime as I dove headfirst through my twin gateways of symphonic and power metal years ago. Then, one fateful day amidst my excitement for a brand new album, I happened upon Eldritch Elitist’s review of Origine by way of a Google search, the first I ever read on Angry Metal Guy. Its brutal and unflinching honesty initially shocked my naïve, uninitiated mind but though I would have rated Origine a touch higher, I had to agree that it was the weakest Ancient Bards record thus far. And now that fifth album, Artifex, is here, I’m relieved to report that this is still the case.

Ancient Bards have now completed their transition from symphonic power metal to power symphonic metal. Songwriter Daniele Mazza’s orchestral and choral arrangements were always important, but now they positively drench the music. It’s impossible not to hear Epica in the unabashed bombastic excess, an association further cemented by a guest appearance from Mark Jansen as he practically breathes fire delivering his lines in “The Empire of Black Death.” Sara Squadrani’s voice sounds sharper than ever, soaring and slicing like the Black Crystal Sword that serves as the focal point for the Bards’ epic saga. Martino Garattoni’s frisky bass noodling crosses over from Ne Obliviscaris to Artifex—especially echoing his other band when paired with the guest violin1 in “Soulbound Symphony”—and offers rich counterpoint melodies while filling out the lower end nicely.

Ancient Bards have grown more confident with increasingly complex songwriting. The choir’s lines are largely distinct from Squadrani’s, discontinuing the prior tendency to dilute her lead vocals. The operatic swells that punctuate “Soulbound Symphony” and “My Prima Nox” supercharge the music with euphoric energy. Further, “My Blood and Blade” literally channels the climactic power of Ancient Bards’ earlier work by cleverly weaving an identical choral melody from A New Dawn Ending’s “Showdown” into this chapter’s final battle. Unfortunately, some of the issues that cropped up on Origine persist on Artifex, most noticeably when the orchestral compositions evoke the heavy-handed, “tell, don’t show” style common in movie trailers (“Ministers of Light,” “Luminance and Abyss,” “Mystic Echoes”). Regardless of how strong each orchestral segment is, it’s disappointing that they’ve essentially supplanted Claudio Pietronik’s guitar leads, which are usually buried underneath everything else outside of their allotted shredding time during the bridges. Artifex is an improvement in many technical respects, but it sometimes feels like the symphonic elements have become the end rather than the means.

Artifex has no shortage of adventurous and exciting moments, but the overall pacing makes it less enthralling as a whole. The hour-long album sags under the weight of two ballads (“Unending,” “Sea of Solitude”) and the two bookending narrative tracks (“Luminance and Abyss,” “Artifex”). “Unending” is particularly troublesome, as it clotheslines the momentum garnered from back-to-back guest vocalists Francesco Cavalieri of Wind Rose (“The Vessel”) and the aforementioned Mark Jansen of Epica (“The Empire of Black Death”). This generic love song stands in stark contrast with other Bards ballads that advanced character development with heart-wrenching topics like the loss of an infant child and, crucially, weren’t afraid to speed things up to keep the listener engaged. Luckily, Squadrani’s raw talent as a singer functions as a safety net when the songwriting fizzles and falls off the track. The other major speedbump is the Suite of Requiem and Solace (the final four songs replacing the customary epic concluding track), which takes a bit too long to wrap up the story after the electric resolution of “My Blood and Blade.”

Artifex is a wild ride with higher highs but also lower lows than ever before. When the symphonic compositions are integrated well, it feels exhilarating; when they feel forced, the songs fall flat. I’m not convinced that moving away from power metal is the right choice, as the guitarists are underutilized in this new style. But, while I don’t agree with every creative decision, I still enjoy Artifex and its masterful performances. It’s a humbling privilege to write the next Ancient Bards review after stumbling onto Eldritch’s years ago. Call it nostalgia if you like, but their earnest, heartfelt music still makes me happy. By that measure, I dub Artifex a success.

Rating: Good!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Limb Music
Websites: ancientbards.bandcamp.com | ancientbards.com | facebook.com/ancientbards
Releases Worldwide: April 25th, 2025

#2025 #30 #AncientBards #Apr25 #Artifex #Cinematic #Epica #ItalianMetal #LimbMusic #NeObliviscaris #PowerMetal #Review #Reviews #SymphonicMetal #SymphonicPowerMetal #WindRose

Panthalassan – From the Shallows of the Mantle Review

By GardensTale

Angry Metal Guy is an institution, and not just a mental one. Artists often dip into our comment section to express a fondness for our site specifically, and the review requests that land in our contact form are even more devoted (or attempting to ingratiate themselves by pretending to be; politics plays a part too!). The case of Panthalassan is a step further, though. It’s a one-man band inspired by bands we have hawked relentlessly: Lör and Wilderun. After playing guitar for Viathyn and Ravenous, Jake Wright sought to carve his own path, striking out on his own with only the drums of session musician and Viathyn bandmate Dave Crnković to accompany him. Have the AMG classics steered him true?

Well, it’s clear that one has had more pull than the other, because From the Shallows of the Mantle will sound fairly familiar for anyone who’s heard Lör’s In Forgotten Sleep. Lithe, winding guitars dish out multi-layered riffs and whirling solos alike, largely at dazzling speeds. The compositions are progressive, and though they don’t eschew choruses altogether, the tracks are arranged in a free-flowing form, prioritizing a musical narrative thread over rigid structure. And it must be said, Wright is a crack at the axe. There are enough great solos dotted across the running time to supply 3 albums, and the rapid and evolving melodic riffs thrill without fail. Just check the triumphant ascending chords that kick off “Coral Throne” or the Fellowship-worthy “By Shank’s Mare.” Cheesy? Sure. But it is some of the catchiest riffing I’ve heard yet this year.

Which is why it’s such a shame that both vocals and lyrics weigh on the album like an anchor. It’s not a technical disaster. Wright does glance off pitch on occasion, but he doesn’t veer completely wild. But sometimes I wish he would, because as adventurous as the guitars are, so safe and consequently flat is the vocal performance, leaving little room for emotional involvement. Exacerbating this issue are the lyrics. The text itself is not awful when read on paper; the problem is the near-total lack of flow, which is ironic considering its oceanic themes. I’m of the opinion that a good flow is the most important and oft-overlooked element of lyrics in music. You can sing about utter nonsense and I’ll suck it up like a sponge if you get your cadance and prosody right. But Panthalassan sounds stilted and awkward across most of the album, with ‘The gasp that slips my lips’ the tongue-twisting nadir. The difference it makes when it does fall into place, in the closer’s chorus, is downright startling. It makes me wonder how much better From the Shallows of the Mantle could have been with this issue resolved.

The quality of the instrumentation might have been enough to overcome the above issue, and it almost does. Besides the sweet guitars, Crnković does a solid job keeping up the pace on the drums, and the tracks weave enough variation and supplementary instruments into the compositions to stay reasonably fresh. Even so, more than an hour is a long sit, and most of the tracks that push past 7 minutes should not. “Worth My Salt” overuses the title phrase, and the extended outro on the back of the otherwise excellent “Embers on our Shore” drags it out even further. On the bright side, I do enjoy the production, which is light but doesn’t lack in power. The guitars are crystalline and the bass gets enough space; the only unfortunate consequence of the mix is the attention the vocals get, putting more emphasis on the shortcomings there.

Still, From the Shallows of the Mantle is a very promising debut for Panthalassan. Most of the issues with the album are surface-level, not fundamental. A re-examination of how to write vocal parts that flow well is in order, and that might in turn help entice a more passionate performance. I’m also curious to hear how Wright would fare trying to move away from the trappings of Lör’s fairly specific sound, something I’m convinced he has the chops to. That, as well as keeping the album more concise, would be more than enough to make the next installment of this oceanic saga a smash hit, because the bones are all there: solid songcraft, virtuoso play on every instrument, and a knack for a good hook.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: PCM
Label: Self-released
Websites: panthalassan.bandcamp.com | facebook.com/panthalassan
Releases Worldwide: March 28th, 2025

#25 #2025 #CanadianMetal #Fellowship #FromTheShallowsOfTheMantle #Lör #Mar25 #Panthalassan #PowerMetal #ProgressiveMetal #Ravenous #Review #Reviews #SelfReleased #Viathyn #Wilderun

Epica – Aspiral Review

By Kenstrosity

Since their founding in 2002, Epica garnered my everlasting adoration as my absolute favorite symphonic metal band, followed by other household names like Nightwish and After Forever. However, unlike the overwhelming majority of their ilk, Epica’s music bares sharper teeth, maintains a stronger connection to the greater pantheon of metal and its more extreme fringes, and remains to this day the most consistent in quality album to album. Few symphonic bands celebrating over 20 years of uninterrupted activity exhibit these characteristics. Consequently, my anticipation for Aspiral soars in my trust that Epica could never let me down, grounded by a great anxiety that one day, they just might.

The sigh of relief I let out after my first spin of Aspiral could be heard around the world. Brimming with drama, loaded with hooks, and laser-focused on delivering passionate, energetic songs, Epica’s ninth opus sees every member of this remarkably stable1 Dutch sextet operating in rare form. Running for bang-on one hour, Aspiral follows the classic Epica blueprint: epic, opulent symphonic metal informed by prog and power, and grazed across the cheek by death’s bony phalanges. However, new accoutrements and novel structures showcase a group exploring the boundaries of their sound with a gentle growth indicative of a collective eager to play and learn. While this never leaves any of these 11 songs unrecognizable as an Epica piece by any means, these admittedly light risks allow Aspiral to shine as a late career highlight.

Aspiral, first and foremost, is a triumph of performance in music. As the world already knows, lead siren Simone Simons is a powerhouse, her voice only getting better with time (“Obsidian Heart,” “Apparition,” “The Grand Saga of Existence—A New Age Dawns Part IX”). However, a delightful surprise, Mark Jansen’s immediately recognizable growl and scream rips across the record with a palpable presence and rabid tone (“Metanoia—A New Age Dawns Part XIII,” “Eye of the Storm,” “The Grand Saga of Existence”). Ariën van Weesenbeek’s incredible drumming steals the show all over the place, too, whether in the service of creating additional interest inside breakdowns and riffs (“Arcana”); by driving transitions smoothly between faster freakouts and slower spells (“T.I.M.E.,” “Apparition”); or when manifesting a groovy beat that all but guarantees remembrance (“Obsidian Heart,” “Fight to Survive—The Overview Effect,” “Apparition”). Thankfully, Mark Jansen’s and Isaac Delahaye’s axework keeps up, injecting oodles of fun leads and riffs (“Cross the Divide,” “Darkness Dies in Light—A New Age Dawns Part VII”) and quite a number of killer solos (“Apparition,” “Eye of the Storm”). Even Rob van der Loo’s bass guitar gets to shine a bit more, too, though he’s still a bit difficult to spot sometimes—a clear point of improvement for future records. And of course, Coen Janssen’s orchestrations need no introduction, but his gorgeous choirs in particular make a huge impression this time around (“T.I.M.E.”).

Of course, all of those performances would mean nothing without great songs in which to showcase them. Thankfully, Aspiral is loaded with pieces that live rent-free in my head. Hits like “Cross the Divide,” “Arcana,” the VOLA-esque “Obsidian Heart,” “Apparition,” the energetic “Eye of the Storm,” and beautiful penultimate epic “The Grand Saga of Existence” compete viciously for top spot as the album progresses—to the point that I always feel I’m giving the wrong answer when I call any one of them my favorite. Moreover, despite Aspiral’s adventurous and exuberant spirit, the whole feels cohesive, well-conceived, and smartly arranged. Even instrumental moments that threaten to derail my attention, like the initially questionable breakdowns in “Arcana” and “Fight to Survive,” get scooped right up by Mark’s and Isaac’s clever leads, Ariën’s kit wizardry, and Coen’s uplifting orchestrations. This, in turn, creates a dynamic experience that evokes a range of actions and reactions, logical progressions of story, and thoughtful decorations which make repeat spins valuable to invested listeners.

There’s so much more I can say about Aspiral, but as I continue to overwrite, I want to leave with a couple of notes. Firstly, while it occupies an ideal placement in the tracklist, delicate closer “Aspiral” might be the one song that meanders too long, creating a spot of bloat at the tail end. Secondly, I was hoping to hear more of the extremity that Epica unexpectedly unleashed on “Human Devastation” from their The Alchemy Project EP. I recognize that it was a one-off collaboration, but I do hear little hints of its beastly spirit in places here, and I crave more of it now that I know that Epica are willing to engage with it. Finally, Aspiral, flaws and all, made it impossible for me to go back to previous records as a point of comparison, because its pull is just too strong. Every impulse to pick up something else instead resulted in withdrawals, followed by yet another ravenous draught of Aspiral.2 If that’s not the making of a Great record, I don’t know what is.

Rating: Great!
DR: N/A | Format Reviewed: Stream [Stop This!]
Label: Nuclear Blast
Websites: epica.nl | facebook.com/epica
Releases Worldwide: April 11th, 2025

#2025 #40 #AfterForever #Apr25 #Aspiral #DutchMetal #Epica #Nightwish #NuclearBlast #PowerMetal #ProgressiveDeathMetal #ProgressiveMetal #Review #Reviews #SymphonicMetal #VOLA

Buried Realm – The Dormant Darkness Review

By Owlswald

Colorado’s Buried Realm, the technical melodic death metal project of multi-instrumentalist and vocalist Josh Dummer, has built a steady following since 2017’s The Ichor Carcinoma. This is largely because— alongside his role as the primary writer and producer of Buried Realm’s music— Dummer is one hell of a guitarist. Additionally, he enlists a prominent cast of guest musicians for each album, adding another layer of proficiency to his progressive soundscape.1 While Dummer’s talent and networking ability are compelling, 2020’s Embodiment of the Divine received a mixed reception from AMG’s own Twelve. Since then, Dummer has made notable upgrades through the addition of drummer Heikki Saari (Fintroll, ex-Norther) and the outsourcing of post-production duties, resulting in a heavier and more polished sound on Buried Realm’s 2022 self-titled third album. With these refined elements and the promise of further evolution, I was eager to delve into The Dormant Darkness to see what I would find lurking in the shadows.

What I found was a great album. Building upon the foundation of Buried Realm, The Dormant Darkness finds Dummer taking the next step in his power-tinged melodeath assault. The opening barrage of “Bloodline Artifice,” with its relentless blasts, tremolo onslaught, and visceral screams, channels the power of tech-death giants like Allegaeon. At the same time, the album’s overall melodicism is indicative of The Living Infinite-era Soilwork. Guest appearances include the likes of Per Nilsson (Scar Symmetry) and Christopher Amott (ex-Arch Enemy), who fortify tracks like “Human Code” and “Futuristic Hollow Nation” with sweeps, dives, and wails galore. Saari’s intricate rhythms and colorful accents amplify Buried Realm’s dazzling riff craft. Additionally, Dummer’s Laiho-esque rasps intertwine with Bjorn “Speed” Strid’s (Soilwork) roars and Christian Älvestam’s (ex-Scar Symmetry) soaring choruses to add sophistication and depth. With a well-rounded mix that delivers plenty of punch and low-end heft, The Dormant Darkness features a concentrated and layered sound that is rich, heavy, technical, and a ton of fun.

For those who crave virtuosity, Buried Realm will not disappoint. Guitar wizardry is delivered in droves, with memorable solos, melodic leads, and powerful shredding across the record’s eight tracks. Nilsson’s dynamic fretwork at the heart of “Human Code,” Amott’s dive-bomb acrobatics within “Futuristic Hollow Nation,” and Daniel Freyberg’s (ex-Children of Bodom) blazing solo on “A Futile Endeavor” stand out as particularly jaw-dropping moments.2 Dummer and Saari’s merciless grooves— shredding and hammering with precision— strengthen the album’s star-studded guest list, constructing Buried Realm’s tech-heavy compositions. Contrasting Buried Realm’s unyielding virtuosity are Älvestam’s uplifting serenades on songs like “Jaws of the Abyss” and “Futuristic Hollow Nation” which present striking melodies and refreshing hooks that draw me back again and again. Ultimately, while the constellation of guest musicians warrant attention, The Dormant Darkness is filled with highlights that will appeal to a wide audience.

With its intensity and compositional depth, The Dormant Darkness could have easily become overwhelming. Indeed, the songwriting periodically suffers from overly dense passages and abrupt transitions. The disjointed vocal exchange between Dummer and Strid before the chorus in “Human Code,” for example, is jarring, as is the song’s mid-section where a whirlwind of blasts and leads stutters and starts erratically. That said, while occasional missteps somewhat detract from the album’s pacing and flow, they are minor quibbles in a record rife with strong songwriting. Furthermore, Francesco Ferrini’s (Fleshgod Apocalypse) poignant orchestral arrangements on tracks like “Ophidian Dreams” and “Where the Armless Phantoms Glide, Pt. II” provide atmospheric grandeur and emotional depth, mitigating aural fatigue and upholding sonic balance.

Overall, The Dormant Darkness is a blast. The album is the culmination of Buried Realm’s evolution and proves that Dummer’s persistence and dedication have paid off handsomely. It’s full of highlights and genuinely impressive moments, blending technical prowess with memorable melodic hooks, exceptional guest contributions, and compositional maturity. Despite the occasional minor slipup, the album’s technical and charming melodeath personality seizes my attention from the start and maintains its spectral grasp until the record’s final notes fade into the ether. With The Dormant Darkness, Buried Realm has established itself as a formidable force— one that melodeath fans won’t want to miss.

Rating: Great!
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Websites: buriedrealm.bandcamp.com | facebook.com/buriedrealm
Releases Worldwide: April 4th, 2025

#2025 #40 #Allegaeon #AmericanMetal #Apr25 #ArchEnemy #BuriedRealm #ChildrenOfBodom #DeathMetal #FleshgodApocalypse #MelodicDeathMetal #PowerMetal #ProgressiveDeath #ProgressiveMetal #Review #Reviews #ScarSymmetry #SelfReleased #Soilwork #SpaceMetal #SymphonicMetal #TechnicalDeathMetal #TheDormantDarkness

Judicator – Concord Review

By Iceberg

Seven albums into their career, Utah’s Judicator are back with another platter of American power metal designed to raise both your horns and your calorie load. Originally the epitome of Blind Guardian worship, Judicator began moving away from their Hansi-centric style with the departure of founding guitarist Alicia Cordisco in 2022. This coincided with the release of The Majesty of Decay, an album that saw Judicator adding prog to their power core, a move that satisfied the Eye of Holden but didn’t sit so well with resident power metal maven Eldritch. Their latest LP, Concord, has Judicator tackling the American West, a mythos that’s rightfully earned its reputation as good, bad, and ugly. With this timely subject matter in tow, can Judicator and sole remaining founder John Yellend find their new voice in power metal, or will they leave us looking over our shoulders at better days and greener shores?

Judicator remain a reliable band for fans of quality, USDA Choice Power, while managing to streamline their songwriting approach. The orchestral grandiosity of Blind Guardians meets the rabid thrashing of Iced Earth, but this time around there’s a more straightforward, heavy metal sensibility not unlike genre titans Judas Priest or Iron Maiden. Gone are the long, experimental windings of The Majesty of Decay, and in their place are truncated song structures, sharpened riffcraft, and a renewed focus on powerful, hooky choruses. Yellend’s bright tenor carries the brunt of the workload here, shining in the barreling, traditional power metal moments (“Call Us Out Of Slumber,” “Concord”) but sounding slightly out of place in the slower, quieter passages (“Johannah’s Song,” “Hold Your Smile”). Yellend’s lyrics seem genuine, though, relating tales of lost valor (“Call Us Out Of Slumber”), the call of the wilderness (“Sawtooth”), the massacre at Wounded Knee (“Imperial”), and Cormac McCarthy’s harrowing epic Blood Meridian, an apt epilogue for an album about the scarring legacy of Manifest Destiny.

For all their pushing and rearranging of the genre envelope, Judicator are still a power metal band at the end of the day, and they shall be judged on the memorability of their hooks. I’m happy to report that after shying away from the magic of the chorus on The Majesty of Decay, the earworms have made a triumphant return. Singalong anthems pepper the album, less cheesy than the Italian variety and more like the unabashed brawniness of Manowar or last year’s Nemedian Chronicles (“Sawtooth,” “Hold Your Smile,” “Concord”). The riffs on Concord eschew the lightning-fast runs one might expect from Dragonforce-core and opt for a grounded, foot-stomping aesthetic that fits neatly into the album’s concept (“Imperial,” “A Miracle of Life”). Replayability is also helped by the album’s editing, running 51 minutes across 9 tracks, with a closing epic whose structure is well executed, justifying its runtime (“Blood Meridian”).

Concord feels like a turn in the right direction for Judicator, but it hasn’t fully avoided the pitfalls of its core genre. While the album is stuffed with some real crowd-pleasers, some songs don’t quite make the same impression as their brethren. The relentless major key optimism of “Johannah’s Song” feels like a musical idea that hasn’t been fully formed, and the narrative-dependent “Weeping Willow” never seems to find its footing. Tracks set up in a storytelling format often have clunky lyrics, a little too on-the-nose, and fall prey to power metal’s reputation for cringe (“Johannah’s Song,” “Weeping Willow,” “Hold Your Smile”). But Judicator succeed in channeling a genuine love for their genre on the lion’s share of Concord, and its hard to be untouched by their infectious enthusiasm.

Concord represents a laudatory return to form for Judicator. Cuts like “Call Us Out Of Slumber,” “Sawtooth,” and the embedded title track have monster choruses that threaten to secure slots on my SOTY playlist, and the album as a whole has the gift of memorability. While not breaking any new ground, it feels as if Judicator have finally found the feet to stand on since losing Cordisco, and not a moment too soon. Some may find the closing scene of “Blood Meridian”–ripped straight from the epilogue of the book–a bit hokey, but I think it sums up Judicator’s current state nicely. As the din of fiddles and revelry thickens, Judge Holden whips the bar patrons into an inebriated frenzy and repeats, endlessly, with a menacing snarl, “I will never die.”

Rating: 3.5/5.0
DR: 7 | Format Reviewed: WAV
Label: Self-Release
Websites: Bandcamp | Facebook
Releases Worldwide: March 28th, 2024

#2024 #35 #BlindGuardian #Concord #HeavyMetal #IcedEarth #JudasPriest #Judicator #Manowar #Mar24 #NemedianChronicles #PowerMetal #Review #Reviews #SelfRelease #USMetal