Andrew Danso

It’s difficult to stay objective and accurately review Fire:Water:Ash. There are periods of excelled atmosphere with majestic overtones, but ultimately there’s a definitive cog missing throughout this entire release. ‘If you are searching for something with a canny pagan resemblance, then this is certainly one to pick up’ – at least that is Ironwood’s assertion that we cannot fully agree with. There is somewhat a traditional-esque overhaul on some aspects of their work, but fundamentally the final exorcism is received very much in a different way (quite conventional and atypical themes are mostly present).

I have since never been able to recall anything within my collection which warrants to loosely be pagan oriented metal, thus I was hoping for something to blow me out of the water. Instead the introduction to Fire:Water:Ash, is a diluted affair, with a particularly dull approach – especially on Ironwood’s folk progressions (which I certainly mean in the literal sense). This culminates to a formula throughout the twenty-five or so minutes, that stagnantly comes to a halt. However, if you can get through the first three tracks of the record, the ambition, the acclaim, and the rich atmosphere portray ilks of soundscapes that are in themselves very unique to the group. The metallic component of Ironwood does work to a justifiable means, but we can’t help but feel a missing link with that of the folk progressions and the periodically extreme metal reoccurrences.

Fire:Water:Ash, is an experience, positive or negative that does manage to appeal ever so slightly form the competition. But for all of the production, all of the acclaim, and all of the meaty presentation, Ironwood lack an integral design on the record that missed an adept insight into becoming something close to a masterpiece.

7/10 Metal-Mayhem.co.uk

Progressive metal, with melodic additions, folk movements, restrained keys, and cogent vocal takes, welcome Cathis Ord. And although you’ve heard all of this before (similar to Opeth, Katatonia, etc) this is not a canny replicate. Moreover, an expansion to similar themes and an effort that easily deserves recognition. Cathis Ord, is also (surprisingly) an uncharacterised solo project. Containing just the James Russell within its vicinity, he has been able to capture everything commendable in the genre.

Here at MMuk, we’re rather humbled by Russell’s latest offering, as a single entity he’s achieved most aesthetics all too many groups merely outcast. There are two tracks on the demo, with the entire disc clocking in at around 22:24. The objectivity upon highlighting this is that for either of the tracks (particularly pertaining to the length of eleven minutes) to hold much water, they must be blessed with rich and compounding song writing. Russell presents excellent song writing, further complex song structure combined with atmosphere dubbed in a wealth of beauty and artistry. He’s certainly synthesised our checklist. Each track has their fair share of acoustic, melodic and metallic doom-esque passages; in addition it’s the way they’ve been moulded which makes Cathis Ord as fresh as it is breath taking.

This isn’t exactly an innovator nor does it have to be, though Russell has brought to the fore a formula worthy to any commercial release. And sure, it is a little rough around the edges, with the mix sounding ‘muddy’, production periodically being sparse, and the drum programming staying within their stereotype. Yet these idiosyncrasies fail to mask an albeit, wondrous journey. A simply exceptional contribution.

9/10 Metal-Mayhem.co.uk

With ilks reminiscent to Children Of Bodom, Arch Enemy and Carcass, it’s extremely facile although unwise to suggest that Grim Drowsiness are too late in latching the commercial bandwagon. There is a specific lack of ambition that is resoundingly disappointing with this EP, as the capabilities and potential within the band are squandered by blindingly obvious (and periodically low brow) song writing.

Yet, Grim Drowsiness are extensively good at what they do. Aside from the minor anomalies, the band are easily one of the more objective quintets around, progressing with a clean coherence through each track, often felt from their very forerunners. It’s effortlessly easy to slam the door on various personal performances through the EP with successive lead, bridge, and vocal sections beckoning the question; to what extent has this demo been finished?

Sonically, this is rich stuff, proving bang for your buck based on the mixing quality the record exudes.

This isn’t a demanding release for the listener, that will work as an easy stepping stone for newcomers of the genre, but invites a hit or miss attitude for experienced users to adopt. Grim Drowsiness’ biggest hurdle lies with their own stylistic positioning. Everything the group has achieved has already been done so since 97’. And although Grim Drowsiness will most certainly prove popular locally, they are an incremental update to the genre.

6.5/10 Metal-Mayhem.co.uk

“Dark Oriental Metal” – I’ll stamp this at progressive metal for all intensive purposes. To not begin to further become confused with how to define Bilocate is a much superior use of words than to bog down on categorically attempting to place them in more than four genres – yes there’s a lot here, but the mirages of influence and genre are two completely different things. As read, there is a rapture of ideas to behold within Sudden Death Syndrome. From the opportunist to the majestic, the sombre to the brutal, Bilocate capture everything commendable within the genre.

Beginning and concluding in ambient domain, Bilocate are easily one of the more remarkable groups at kissing the horizon. It truly is plentiful in its soothing yet dark characteristics that set a resonant chord, to echo throughout the release. The layers of eastern magic, level in these ambient showcases too, expanding on similar themes that bands such as Opeth and Porcupine Tree have touched on, and also introducing to newcomers of the genre that the east/west division (particular in the archives of metal) is not lost in translation. “Blooded Forest”, is clever as it is idealistic. It packs a strong experience reminiscent of strong influence. It’s also an excellent perception to the similar themes explored by Bilocate throughout other aspects of the release. Capturing the essence of progressive metal with consistent fluidity, “The Dead Sea”, “Ebtehal”, “Inoculate” and “Pure Wicked Sins” intertwine themselves gracefully. There’s a notable beauty to Bilocates artistry, as well as an accessible reverence in their work. With a discernible passion in each gift-wrapped souvenir, Bilocate have handled their packages with extreme care that never fails to deliver.

Not to mask Bilocate’s glorious feat, Sudden Death Syndrome is subject to a peerlessly healthy master with Jens Bogren along with other engineer’s involvement on the album. It has been polished, and further refined.

This is a fresh and significant contribution to the genre which must be recognised. Bilocate will certainly be pioneering the Jordan scene, but who knows what’s next to come, as in the west, Bilocate will be effortlessly distinguishable. Within the current economic climate, this will be the only easy choice you’ll make to depart with your hard earned cash.

9/10 Metal-Mayhem.co.uk