Review : Eternity's End - Unyielding by MetalWani

Via MetalWani : "At the eleventh hour of 2018 – quietly but swiftly – a supergroup featuring former members of those horrible (not) bands Obscura and Necrophagist was set to embark their second effort through the merciless world of power metal. The monster Hannes Grossmann (drums, Alkaloid, Hate Eternal, Howling Sycamore and many others), guitar virtuoso Christian Münzner (Alkaloid, ex-Majesty, ex-Obscura) and competent keyboardist Jimmy Pitts joined forces once again, this time around accompanied by Phil Tougas (guitars Chthe’ilist, Zealotry), the multi-faceted Mike LePond (bass, Symphony X, Ross the Boss, Mike Lepond’s Silent Assassins) and my countryman Iuri Sanson (vocals, Hibria) to bring ‘Unyielding’, to life.

Their first album with Ian Parry (vocals, Elegy) was absolutely killer, so would these dudes be able to top such a massive effort with significant changes in the lineup? Well, the answer comes quickly with a thunderous, grand beginning in “Into Timeless Realms”, a heavy, powerful display of classic euro-centered power metal.

Iuri’s howling vocals match Grossmann and Münzner’s instrumental speed perfectly, as he screams throughout the verses and chorus easier than taking candy from a baby, all while LePond’s magical fingers pound the bass non-stop and Pitts’ wizardry in the melodic lines put the icing on this insanely beautiful start to an album.

“Cyclopean Force” showcases the neoclassical side of the sextet with virtuous songwriting and prolific execution. The track exhales an early Symphony X vibe without losing the pure power metal essence.

When things get more rythmic and heavier, like in “Blood Brothers (The Oath)”, classics like Metalium’s ‘Millennium Metal – Chapter One’ (1999) come to mind, while when melodic and speedier lines are in place such as in “Under Crimson Moonlight”, memories of Lost Horizon’s ‘A Flame to the Ground Beneath’ (2003) will pop in your head. This happens during the whole course of the album, from showcases of technique à la Cacophony and Yngwie Malmsteen to more brutal moments akin of Stormwarrior and even Obscura. Hell, there are even some Orden Ogan-esque parts on “Triumphant Ascent”.

Every track here feels in their right place and sufficiently balanced between velocity and cadency, even the surprisingly good instrumental “Dreaming of Cimmerian Shadows”. Less fruity, more direct approaches like “Necromantic Worship” are also present, giving the experience a more than welcomed heterogeneous nature, especially when talking about power metal, which can be overwhelmingly uninspired at times.

There isn’t a single filler here, rest assured. The title track, “Horizonless”, the epic closer “Beyond the Gates of Salvation” and even the bonus track “The Arsenal” were also crafted with extreme caution and executed in an organic and clearly passionate form.

Production-wise the record is flawless, with Tougas at the production helm and legend Piet Sielck (Iron Savior) co-producing, mixing, engineering and mastering the sound, which is always a great thing. Piet also contributed in the vocal choirs and lead vocals for “The Arsenal”, while Yenz Leonhardt (ex-Iron Sabvior, ex-Stormwarrior) and Renato Osório (ex-Hibria, Magician) complete the choir for the choruses in the album.

With so many good musicians and metalheads united in one place, it’s hard not to make a memorable effort. To answer my question earlier in the review, Eternity’s End managed not only to match the quality of ‘The Fire Within’ (2016), but surpass it in every way possible.

Ace execution, impressive songwriting and passionate playing are what make ‘Unyielding’ a monster of an album, and worthy of every respect and praise. Had it came out earlier in the year, it would have definitely been on my top 5 power metal records of 2018, without a doubt; All in all, it’s actually pretty simple: if you love power metal, you can’t miss this album, period."

Review : Eternity's End - Unyielding by powermetal.cl

Via Powermetal.cl (translated) : "After their promising debut album "The Fire Within" from 2016, the Heavy Metal band Eternity's End returns to the attack with their second full-length release, titled "Unyielding" . This album comes with important changes in the formation of the group, starting with the departure of veteran English vocalist Ian Parry , giving way to Brazilian Iuri Sanson (ex- Hibria ). To this is added the arrival of the well-known Mike LePond from Symphony X , in addition to the incorporation of a second fixed guitarist, the Canadian Phil Tougas . They are joined by the founding members Christian Münzner(guitar), Jimmy Pitts (keyboard) and Hannes Grossmann (drums).

Münzner , leader and main composer, explained in a recent interview that the changes in the line-up had to do in part with the new musical direction of the project, wanting to take the technique and speed to the extreme, with a more aggressive approach than on his album. debut. Furthermore, these changes were influenced by the future projects of each musician, since Eternity's End is currently a priority for Münzner , who even contemplates the possibility of playing live with the band. On the other hand, we have four nationalities in a group of six members, so it seems difficult to bring them all together at the same time.

But entering fully into the music, the album opens without further ado at full speed with Into Timeless Realms , where we immediately notice the intention to reinvent the sound of the band towards a more direct and less rock heavy Heavy Metal than "The Fire Within" . The theme knocks us out like a hammer to the nape of the neck and allows the new members to shine. LePond's input is clear from the start, with dizzying bass arrangements. Sanson's voice is also a perfect fit for this new sound, reaching high notes only audible to bats. Grand opening for this futuristic adventure.

Cyclopean Force is in charge of continuing the action, and from the initial cry " All Right !" We know that a glorious and energetic song awaits us. The pace is a little more varied, going from halftime to explosive extreme speed segments. Midtones are more predominant in the vocal line, revealing other areas of the Iuri register, which in this case feels more natural and less forced. Unyielding , the song that gives the name to the plate, marks a brake step and a break after such a frantic start, allowing them to explore the most melodic side of their sound.

Blood Brothers (The Oath) , the first preview of the album, is a classic song with an epic and battle stamp. Highlights are the perfectly timed guitar harmonies of Münzner and Tougas , which seem to have played together a lifetime. The chorus is catchy and the backing vocals are reminiscent of HammerFall . For its part, Dreaming of Cimmerian Shadows is an interesting instrumental in which they delve into the technical part, with amazing guitar solos and the immeasurable contribution of Jimmy Pitts , who gets applause for his work on keyboards. They are the best passages on the album.

Horizonless is a calmer and more introspective song, which serves to give the album a little balance and a breather, but which in the end is quickly forgotten. It is one of the weak points of the album IMHO. In contrast, Under Crimson Moonlight is everything we expect from a Power Metal genre play: swift, pompous, and melodic, with a chorus meant to be shouted with the raised fist at full blast. The atmosphere is closer to the debut album of Eternity's End , also reminding us at times of the first Symphony X albums.

If Münzner's idea was to exploit a more aggressive and uncompromising sound, Necromantic Worship is the perfect statement of principles for this new attitude. The song is brutal from start to finish and in particular Hannes Grossmann's work on drums is remarkable , perfectly accompanying the countless changes in rhythm. Triumphant Ascent is a correct halftime song, although it feels repetitive at times and lacks that element of surprise that makes a composition somewhat memorable. Perhaps this is one of the criticisms that can be made of this work in general, the lack of innovative elements.

The thing improves substantially with Beyond the Gates of Salvation , song that closes the album and with which this story comes to an end. It is a bombshell once again full of virtuosity, speed and melody. The structure is more complex than in the rest of the songs, with a bass and keyboard interlude in the central section that is a real delicacy for the ears. The Japanese edition of the album includes The Arsenal as a bonus track . As a curiosity, this song was sung by Piet Sielck of Iron Savior , who also co-produced the album. We will have to wait a while to hear this song in the rest of the world.

In summary, "Unyielding" is an excellent successor to "The Fire Within" and marks an evolution towards a more direct and aggressive sound, leaving aside the more rock influences from the first album. Despite not offering many novelties from the compositional point of view, it is an undeniable display of virtuosity and musical performance. Especially the lethal pair of guitarists made up of Christian Münzner and Phil Tougas is going to give a lot to talk about among lovers of more technical Power Metal. We hope that things happen to be able to enjoy the power of this interesting musical project live, which is gradually taking shape and strength."

Originally written by David Araneda for http://www.powermetal.cl/

News : Serocs ranked #1, Zealotry #12 Eternity's End #36 in Trevor Strnad's top 100 albums of 2018

Via Metal Injection : "These are my favorite heavy albums of 2018, in some kind of order.  As usual, I am aiming for both quantity and quality with this list in an attempt to expose you to as much cool shit as I can.  I think all of these are great albums… it was such an absurdly awesome year for the underground that I found it nearly impossible to rank all this stuff.

As you can see, there are many albums here that I sadly never got around to posting about this year in The Obituarist, and for that I truly apologize.  2018 was one of The Black Dahlia Murder’s most successful years as an outfit, which came with an even more exhausting touring cycle than usual.  Once I fell behind on releases, it was a slippery slope that I was never truly able to recover from, despite pressure from different bands, labels, and fans.

Now that 2019 is about to begin, you will be seeing both a lot more of me and a lot less of me.  I’ll be back with ten entries a month, everymonth.  It’s important to me that I hit this mark.  You’ll be seeing less of me, in that each entry will have a lot less hyperbole on my part (read: much shorter), in an attempt to save my personal sanity and to help maintain my energy for the task at hand.  Besides, I think getting the Youtube sample into your ears is far more important than what buzz words I poorly choose to use about them (crushing!  Monolithic!  Face-ripping!).

Am I right?  Anyway, thanks for reading about and hopefully buying the albums that I write about.  Be sure to hit the comments sections with anything you think I missed. Without further adieux, I present my favorite heavy albums of 2018!

1.) SEROCS – THE PHOBOS/DEIMOS SUITE

I’ve known Antonio, the main man behind Serocs for some time now.  First through our beloved world wide web but then in real life as well when The Black Dahlia Murder played a one-off with Serocs in Mexico.  I’ve been on board as a fan for a couple of albums, and this is bar none the finest hour the band has brought forth and surely one of the best and most creative death metal albums I’ve heard in a minute.  As if Antonio weren’t already too talented, in 2012 he enlisted the brilliant contributions of a young Phil “Pat” Tougas (Chthe'ilist, First Fragment, Zealotry, Cosmic Atrophy, Eternity’s End, Funebrarum, ex-Vengeful) who has since joined the band full-time and offers his incredible soloing and an even heightened sense of technicality, all of which has really come to a head here with The Phobos/Deimos Suite.  I feel like if Cryptopsy were still pushing boundaries rather than just resting on their speedy laurels we’d be greeted with something like this.  The hair-raising neo-classical flourishes would make Jon Levasseur extremely proud.  Speaking of legends Cryptopsy, they are really the only direct influence I can comfortably site for this wildly original, boundary pushing band.  They’ve amalgamated so many outside influences into this shapeshifting monster that it’s become something entirely new. Rounding out the line-up this time we have an impressive roster of players mostly hailing from the tech death scene out of Montreal, save French drummer Kévin Paradis (Benighted) who bomb blasts and grooves his way to victory.  Laurent Bellemare from Montreal’s progressive death metal freaks Sutrah provides a sick, dry, Lord Worm-ish low vocal that fits the sideways assault of the music just perfectly to these ears.  These indecipherable growls are of course way more on time than Lord Worms wily free-for-all approach. Chthe'ilist bassist Antoine Daigneault does a bang-up job as well, displaying a complete and utter mastery of his instrument.  Truly impressive musicianship on all fronts.  Outstandingly creative yet immensely violent progressive death metal mastery that just might be the greatest thing you’ll hear all year long.  If you’re looking for the next thing in technical death metal, this is as good as it gets.  Prepare to be dazzled.

2.) MICHAEL ROMEO – WAR OF THE WORLDS // PT. 1

WHAT?!  A progressive/power metal album at number TWO?  That is correct, sir!  Read em’ and weep.  War of the Worlds // Pt. 1 is the perfect blend of forward-thinking adventurousness and balls out heaviness.  Romeo absolutely murders the guitar on this album.  Naturally, the approach here has a lot in common the last few Symphony X offerings, but honestly, I prefer Rick Castellano’s higher register here by just a hair (sorry Sir Lord Russell The Great!).  This album fucking RULES.  Don’t believe me?  Hit play and take the plunge!

3.) DECEASED – GHOSTLY WHITE

Goddamn!  I was really hooked on this for a while.  I was playing it twice a day when it first landed.  What an incredible offering from our old pals King Fowley and Deceased.  King is without a doubt one of the biggest lyrical inspirations for my band The Black Dahlia Murderand here he is as brilliant as ever.  I like how unashamedly raw the production is… takes me back to first hearing them on Blueprints For Madness.  This is easily the best thing they’ve put forth since the incredible Supernatural Addiction.  It’s a real shame that drummer Dave Castillo passed away before he was able to see the massive positive reaction to this fine album.  I can see some of you of pro tools generation youngsters being “too cool” for this band… I can’t begin to explain how very wrong you are.  There is simply none more metal and none more death than Deceased!

4.) ABORTED – TERRORVISION

Fuck Goremageddon.  There, I said it!  People need to realize Aborted is currently in their prime right now.  If you’re still stuck on Goremaggedon, I’ll bet you just haven’t given any release of theirs a real chance starting with Coronary Reconstruction and forward.  This is when in my opinion they reclaimed their rightful throne of skulls and it’s been gradually growing more impressive ever since.  Retrogorewas sick.  Like really sick.  But Terrorvision is a whole other level altogether.  I simply don’t know how they continue to do it… besting themselves with each and every release.  They sound so fucking energized.   Ferocious without ever losing a sense of Carcass-esque melody.  Terrorvision has everything a death metal head could want in a modern death metal album.  Bruising breakdowns, blazing technicality, unreal solos, blasting cruise control set to a terrifying 280bpm… Aborted are more deadly than ever!

5.) VEIN – ERRORZONE

Yep!  I caught the Vein fever, just like everyone else.  What a breath of fresh air these young Bostonites provide to these grumpy old man ears. These dudes are wonderfully stuck in the early 2000s metalcore sound… particularly the more angular stuff that was coming out on the likes of Ferret, Trustkill, and Eulogy records.  The nostalgic feelings when hearing this are very powerful.  Vein wield a sick mix of riffage that recalls bands like Botch and Deadguy at times and the springy metalcore bounce of Barrier others.  Throw in touches of industrial and an occasional dash of nu metal violence and you have one of the most refreshing albums I’ve heard in years.  I must’ve listened to it a billion times by now.  The uber distorted main vocals remind me of that of latter day Deadguy. Mean as fuck!  Yes, there are some clean vocals but I feel like they are done in a cool climatic way how the old metalcore bands used to do it (see Torn Apart, Cave In, Poison the Well etc) for maximum effect. The production by Will Putney is pretty much perfect.  Such a massive guitar sound.  I think this would be just as big as it is at the moment if it came out in 2000 on Ferret or Trustkill records.  If you’re somehow still in the dark about these guys, do you self a favor and check them out immediately.

6.) TOMB MOLD – MANOR OF INFINITE FORMS

I’ll bet you aren’t surprised to see this here.  I mean, who the hell didn’t like this record?  Tomb Mold are having a massive year.  I need to see these dudes live as soon as humanly possible.  Also, it’s already been said that these dudes will crank out a new full length in 2019 so you might do good to write your will right now.  Be sure to leave me all of your death metal CDs.

7.) IMPERIAL TRIUMPHANT – VILE LUXURY

I ended up listening to this album at Coney Island on acid.  Night had fallen and the neon of the amusement park behind us was all lit up.  This album scared the shit out of me in the best way possible that night, and if given the chance, it’ll get you too!

8.) REVOCATION – THE OUTER ONES

The shapeshifting Revocation return in a more death metal form than ever, and I for one dig the fuck out of it.  Lovecraftian themes, inventive songwriting, the godly solos of Dave Davidson and the serpentine rhythms of one of the most talented drummers in extreme metal today in Ash Pearson… Revocation are simply unstoppable this year.

9.) OBSCURA – DILUVIUM

I will admit that I was definitely put off for a second there when Obscura lost their ex-Necrophagist connection in the departure of both Hannes Grossmann and Christian Münzner but this album reminds me why I was so excited for this band in the first place.  Diluvium is absolutely bonkers incredible.  It has a lot of urgent energy that hasn’t felt as prevalent since their break-out release Cosmogenesis.  It’s as aggressive as it should be.  This is death metal, after all.  It also has an awesome sounding vocoder voice that recalls Cynic’s Focusalbum and more Castlevania-sounding neoclassical riffs than you can stick up your ass.  Unreal!

10.) NECROPHOBIC – MARK OF THE NECROGRAM

Remember how dark it was looking for these guys for a moment there around 2013?  I for one feared that the mighty Necrophobic might be done forever.  They first lost both guitarists and then their long-time vocalist Tobias Sidegård when he was arrested on some pretty heinous domestic abuse charges.  It was looking pretty darn dire.  I am SO happy the line up I was able to tour with in 2010 came back (save Tobias of course) to once again unfurl their godly brand of Death/Black metal mastery in the way that only Necrophobic can.  Regaining Sebastian Ramstedt and Johan Bergebäck was a crucial move, but rehiring Anders Strokirk (who offered his growling approach to their debut album The Nocturnal Silence way back in 1993) was probably the only thing they could have done to save face… a truly brilliant choice that worked and then some.  Mark of the Necrogram has received the most praise I’ve ever heard sung for the band, who I consider to be criminally underrated.  Finally, the world is awakening to the power of the Darkside.  Good on them and good on you for checking it out!" In addition, Trevor has included his top-runner up albums of the year :

Skeletonwitch – Devouring Radiant Light

Zealotry – At The Nexus of All Stillborn Worlds

Arsis – Visitant

Khemmis – Desolation

Burial Invocation – Abiogenesis

Cist – The Frozen Casket

Mournful Congregation – The Incubus of Karma

Ascension – Under Ether

Our Place of Worship is Silence – With Inexorable Suffering

Hate Eternal – On Desolate Sands

Mortuous – Through Wilderness

Monstrosity – The Passage of Existence

Ingested – The Level Above Human

Outer Heaven – Realms of Eternal Decay

Molested Divinity – Desolated Realms Through Iniquity

Necros Christos – Domedon Doxomedon

Azusa – Heavy Yoke

Scorched – Ecliptic Butchery

Oxygen Destroyer – Bestial Manifestations of Malevolence and Death

Micawber – Beyond the Reach of Flame

Facelift Deformation – Dominating the Extermination

Haunt – Burst Into Flame

Lago – Sea of Duress

Habitual Depravity – Realms of Abysmal Servitude

Obliteration – Cenotaph Obscure

Eternity’s End – Unyielding

Tribulation – Down Below

Infernal Coil – Within A World Forgotten

MDMA – Chemical Obliteration

Cosmic Atrophy – The Void Engineers

Homewrecker – Hell is Here Now

Internal Bleeding – Corrupting Influence

Cryptopsy – The Book of Suffering: Tome II

Depravity – Evil Upheaval

Runemagick – Evoked From Abysmal Sleep

Taphos – Come Ethereal Somberness

Torture Rack – Malefic Humiliation

Innumerable Forms – Punishment in Flesh

Sectioned – Annihilated

Incinerator – Concept of Cruelty

Harm’s Way – Posthuman

Fecundation – Decomposition of Existence

Funeral Mist – Hekatomb

Ossification – From the Suppurate Bowels of Innermost Earth

Certainly Demented – Inhaling the Fragrances of Insanity

Unbirth – Fleshforged Columns of Deceit

Evoken – Hypnagogia

Outre-Tombe – Necrovortex

Anachronism – Orogeny

Candy – Good to Feel

Uada – Cult of a Dying Sun

Immense – Slaughter of Brutality

Corpsessed – Impetus of Death

Ineffable Demise – Beyond the Marrow Gates

Black Tongue – Nadir

Pig Destroyer – Head Cage

Plague Years – Unholy Infestation

Chalera – Theophobium Excruciation

Injurious – Abominable Extermination Through Uncanny Passages

Skeletal Remains – Devouring Mortality

Infuriate – Infuriate

Terrorizer – Caustic Attack

Mutilation Rites – Chasm

Spectral Wound – Infernal Decadence

Gruesome – Twisted Prayers

Quantum Hierarchy – Neutron Breed

Abysmal Torment – The Misanthrope

Drawn and Quartered – The One Who Lurks

Mammoth Grinder – Cosmic Crypt

Gravestone – Sickening

Svartidaudi – Revelations of the Red Sword

Soreption – Monument of the End

Petrification – Hollow of the Void

Mass Infection – Shadows Became Flesh

Baest – Danse Macabre

Reduced – Majesty from Within

Bane – Esoteric Formulae

Heteradelphy – Inundated with Decomposed Torsos

Nightmarer – Cacophony of Terror

Psycroptic – As The Kingdom Drowns

Osmed – Territory of Warfare

Horrendous – Idol

Dysmorfectomy – Disembodied Anomalies

Posthuman Abomination – Transcending Embodiment

The Heretic’s Fork – Tormentore

Flesh Consumed – Hymn for the Leeches

Archgoat – The Luciferian Crown

Ripped to Shreds – 埋葬

Inferi – Revenant

Rivers of Nihil – Where Owls Know My Name

Originally written by Trevor Strnad for MetalInjection.net