Review of Echoes Of Battle by Caladan Brood

Band: Caladan Brood
Album: Echoes Of Battle
Release Date: 15 February 2013
Record Label: Northern Silence Productions
Buy from Bandcamp (digital) for $10: Here
Buy from Storenvy (CD or vinyl): Here (temporarily sold out)

Cover of Echoes Of Battle by Caladan Brood

We don’t usually cover albums from bands outside the greater DC area but to end 2013 I gave my album reviewers the chance to write about their favorite album of the year that they felt deserved more attention. Tal has done a great job relating how one of her favorite albums this year influenced her in the following review of Echoes Of Battle by Caladan Brood. You can always get more of Tal’s writing on her blog In My Winter Castle. I posted Grimy Grant’s choice, On The Edge by Volture, earlier today and you can read that post here.

In addition to spouting my opinions about metal (and sometimes other music), I also write fiction, generally of the wilderness-trekking, cavalry-charging, fireball-lobbing, epic clash of good and evil variety, and that metal in its various forms serves as inspiration for pretty much every scene I write (the good scenes, anyway). This fall, I embarked on a dark post-apocalyptic fantasy novel, and ended up wading into the marshes of black metal (fairly unfamiliar to me) to see what I could find that was suitably dark and fantastic enough to inspire my story. After struggling with the likes of Hollenthon (too grandiose) and Morgul (too creepy), I finally found what I was looking for in Austrian epic black metal band Summoning – and then I discovered newcomer Caladan Brood of Salt Lake City, Utah.

Indeed, I think Caladan Brood has bested Summoning at their own game this year. While songs like “Mirdautas Vras” and “Land of the Dead” off Summoning’s 2006 release Oath Bound fired my imagination, I didn’t find their 2013 release, Old Mornings Dawn, very inspiring. Caladan Brood’s debut album Echoes of Battle, on the other hand, made my heart soar and my fingers fly.

Caladan Brood takes their cue from Summoning’s darkly epic style, with its morose atmospheric guitars, medieval-sounding melodies and peculiarly evil vocals. Like Summoning, Caladan Brood mainly uses a raspy growled vocal style, like some dark creature that crept out of the earth, perhaps a more evil version of the cave-dwelling, croaking creature Gollum from Tolkien’s Lord of the Rings. But adding to the epic reach of the album, Caladan Brood also uses resounding clean vocals that sound like they could fill a cathedral. Further setting themselves apart from Summoning, Caladan Brood also augments the dark maelstrom of atmospheric guitar with some heavy guitar riffs and wailing guitar solos.

Where Summoning explores Tolkien’s Middle Earth, Caladan Brood takes on a different fantasy universe, the world of Steven Erikson’s Malazan Book of the Fallen. I must admit I’m not familiar with Erikson’s series – but that didn’t detract from my enjoyment of the album. The music paints such an epic picture of great cities, sweeping landscapes, huge armies and the devastation they bring, fallen empires and fallen warriors, that for some time I didn’t even need to read the lyrics. The song titles alone are evocative of fantastic images: “City of Azure Fire,” “Wild Autumn Wind,” “To Walk the Ashes of Dead Empires.”

Amazingly, this debut album from an unknown band topped the release from the masters of the fantasy metal genre. Summoning’s new album sounds a bit monotonous to me, a continuous flow of raspy vocals over a swirl of melodies and ominous guitar, just on the beautiful side of creepy. It’s nice as a non-distracting backdrop, but not much stands out or catches my attention. Echoes of Battle, by contrast, is full of epic moments that injected life into my writing, and should enflame the imagination of any fan of fantasy, whether writer or reader.

My favorite moment is in the second song, the eponymous “Echoes of Battle.” The song is full of epic melodic guitar, but about halfway through, the guitars sweep skyward in wave after wave, and even the rasped vocals seem to reach for the heavens as they lament about “Swords held high to the desert sky at such great a cost / Standards fly above funeral pyres.” It’s impossible not to be caught up in the soaring energy of the song; the brightest moment in my dark novel was brought about by this song, and I still have to stop what I’m doing and wave my fist in somber triumph whenever I hear this song.

The following song, “Wild Autumn Wind,” is driven by a lovely keyboard melody. Even the rasped vocals can’t take away from the beauty of this song. The atmospheric guitars and harsh vocals keep things grim, especially with lyrical themes involving the fleetingness of not just lives but whole civilizations:

“The bones of beasts and the bones of kings
Become dust in the wake of the hymn
Mighty kingdoms rise, but they all will fall
No more than a breath on the wind“

But the keyboard rises above the desolate imagery, giving it a romantic beauty. After all, the rise and fall of mighty kingdoms lie at the heart of every great epic story.

Another favorite moment of mine is at the very end the album, where the choir-like clean vocals urge the warriors ever onward:

“Strap on your shields and raise your banners
Hear the call of raging battle
Beneath a hail of burning arrows
Push ever forward, never surrender
Siege weapons tolling out like thunder
Ripping the city walls asunder
Columns of flame reach ever skyward
Horizons filled with burning pyres”

In general, this final song, “Book of the Fallen,” wraps up the album in a satisfying way – with mournful vocals and dirge-like keyboard, the guitars at times hymnal, at times heavy and atmospheric, bidding farewell and encouraging us onward at the same time. Because for a fantasy writer or reader, the story is never over, but lives on and on in our imaginations; we relive the carnage and remember the fallen, and look forward to the next battle.

Though I started out listening to this album without any knowledge of the story behind it – and even used it to fuel my own, completely unrelated story – now I find I need to read the Malazan Book of the Fallen series. Caladan Brood’s take on the story has left me hungry to know more about the world of grandeur, bloodshed, loss and memory that they’ve evoked. I only hope that the books live up to epic yet dark vision they’ve painted with Echoes of Battle.

Echoes of Battle:

Wild Autumn Wind:

December 30, 2013
Categories: Album Reviews, Black Metal, Dark Metal . Tags: , , , , . Author: Metal Chris . Comments: 1 Comment

Review of Evolution by Primitivity

Band: Primitivity
Album: Evolution
Release Date: 16 October 2013
Buy from CD Baby (digital) for $9.99: Here

Cover of Evolution by Primitivity

Did you know the DC area has its own heavy metal cello based group? You may not be familiar with Primitivity since they, at least so far, haven’t played many of the venues we tend to find metal bands at. They just released an album of originals that is, well, I’ll let DCHM writer Tal’s review speak for us on this. You can also check out her personal blog here, which includes a review of a recent Primitivity concert she attended. And as always there’s a couple songs you can stream at the bottom of this post so give the band a listen as you read the following review.

Primitivity, a quartet of three cellists and a percussionist led by Loren Westbrook-Fritts, debuted three years ago with Plays Megadeth for Cello – an obvious nod to Apocalyptica’s Plays Metallica by Four Cellos. Primitivity’s new album, Evolution, which is made up entirely of original compositions, demonstrates that this group of University of Maryland grads is far from a copy of that pioneering cello rock band. On Evolution, Primitivity blends the flavors of heavy metal and classical cello music in a way that is all their own, and will appeal to metal heads and classical music fans alike.

When I first heard Primitivity’s music, I was immediately struck by how guitar-like the sound was. The first thing I heard, through a sample track on their website, were the opening “riffs” of “Sacrifice” and then “Primitivity,” and that was just what they sounded like – guitar riffs. “Sacrifice” starts off with some energetic, slightly thrashy riffs, that you can just figure out are cellos if you really think about it. “Primitivity” begins with hammering NWOBHM-ish riffs – and then about half a minute in a clean cello melody comes in, giving the music the feel of symphonic metal.

I was hooked right away by the cello “guitar riffs”, but as I listened to the rest of the album, I realized that Primitivity uses their cellos to imitate all sorts of guitar sounds. Not just riffs – there are also shreddy solos, complete with distortion and “guitar squeals,” eked out by driving the cello to the very top of its range and pizzicato segments that sound very like acoustic guitar (pizzicato notes are plucked with the fingers). I had the opportunity to see the band live at their CD release show on October 16 at the Mansion at Strathmore, and in a live environment they sounded more like cellos – but even live, the lowest parts still sounded surprisingly like bass guitar riffs.

Not only that, but the trio of cellos backed up by drums manages to recreate pretty much the whole sound of metal music, up to and including “vocals.” Primitivity is purely instrumental, with no vocals, yet in many songs the cello parts (that is, the parts that actually sound like cello) play the role of vocals. This is quite appropriate, considering that the cello is considered the instrument that most closely mimics the human voice. I first noticed it in the song “Forgiven” – when the drums, the melody and the background parts all came together at the climax of the song, it suddenly sounded like a rock ballad with the lead cello delivering the anguished vocals. There are a few other songs where I had this impression, too, most notably “Transcendence,” where the leading cello seems to sing over a chugging “bass.”

And of course, I can’t leave out the drumming. The band wouldn’t sound metal without it, after all. The percussion is nothing super fancy, leaving the spotlight of complexity on the cellos, but it does give the music the familiar rhythm and kick of metal, and is delivered crisply and energetically. I’ve heard it said that percussion is the backbone of a metal band, and that’s what the drummer creates here – a solid backbone for the cellos to build on.

Without a doubt, my favorite song on Evolution is “Convergence.” It begins with a heavy intro of moderately paced riffs, which quiet momentarily as a lovely melody begins. Soon the riffs start up again, and the fusion of riffs and melody will touch the heart of anyone who enjoys sorrowful melodic metal. Aggressive riffs occasionally come to the fore only to yield the stage to the melody again, and then about midway through they come together in a perfect fusion of heaviness and beauty that gives me chills. After that guitar sounds take over for a bit, with what sounds like twin lead “guitars” and then a short shreddy “solo” before the melody soars over the riffs again. I catch myself playing air guitar, laugh and start playing air cello instead.

As a fan of guitar (and cello) riffs, I most enjoyed the energetic, riffy parts of the other songs as well. The rocking, guitar-like intro to “Primitivity” was one of the things that first drew me to the band. Then a sweeping cello melody soars over the riffs, the smoothness and vivacity of the melody contrasting with the moderate staccato marching of the lower riffs. (Staccato notes are short, fast, percussive notes made with the bow.) The first song on the album, “Sacrifice,” also has a strong guitar-riff sound, which is almost thrashy; the melody actually falls in the background to the riffs for most of the song. The way the cellos mimic the sound of electric guitars in these first two songs is pretty amazing; there are parts where if you didn’t know better, you might actually think there was a bass guitar riffing away with a cello playing the melody. “Psycho Logic” and the short, intro-like “Overdrive” right before it are probably the most energetic and metallic songs on the album, with some more rocking riffs in “Overdrive” and very heavy, almost thrashy riffs opening “Psycho Logic.” “Psycho Logic” is carried by a jaunty cello melody, but features a lot of, shall we say, weirdness, in keeping with its name – frantic high-pitched “shredding,” very dark and harsh grinding moments that sound impossible for an acoustic instrument to produce – along with ever faster takes on the melody and some furious “bass” riffing. It’s undoubtedly the most powerful metallic song on the album. “Revival” also gets furious near the end, although the beginning is very classical-sounding, with pizzicato that sounds almost like acoustic guitar, a flowing melody and a background of short but obviously cello-sounding notes backing it up. The drums and the “riffs” don’t come in until nearly two minutes in, when the background starts to pick up a bit of distorted, heavy sound. Three quarters through the song, it suddenly changes character entirely, with racing riffs and a feverish melody that dissolves into scratchy high-pitched sounds, to end on a fast note. “Emergence” also features some solid riffing, although the cello sound shines through even in the lower notes for most of the song. It also has a very sweet melody that soars over the infectious momentum of the riffs, and sometimes takes a backseat to more complex guitar-like work, including some shreddy moments.

These songs alternate with slower songs, which I did not dig as much at first, but they started to grow on me as I listened to them more closely. Even these slower songs have energy – they feature riffy backgrounds and shreddy solos, intense climaxes and lovely melodies. “Ascend,” a song which Loren described at the show as an attempt at “simple” songwriting, is dominated by long sweeping cello notes. It keeps my attention more with the catchy riffs in the background and some thin, high sounds that eventually resolve into a short “solo,” however. “Forgiven” starts out very slow, with an almost synthy sound that is encouraged by the distant, minimal drums. Long, sad notes eventually give way to an achingly beautiful melody, and finally about two minutes in the “guitar riffs” and drums pick up. Finally things come together in the climax where I noticed the leading cello delivering the “vocal line.” Unfortunately, this energy is quickly dropped for a quiet, slow take on the melody over distant drums; fortunately, the quiet interlude is quickly ended by a “solo” and then the song intensifies again. “Transcendence,” as the slowest song on the album, is sort of a shock after the fast and energetic “Psycho Logic.” But it’s not all long flowing notes – there’s some pizzicato and “bass guitar” notes as well, which add texture and intensity. Like in “Forgiven,” things eventually come together and the cello delivers emotional “vocals” while the “bass” chugs away in the background and the drums keep slow but insistent time. This time the intensity is not dropped but keeps going until a crescendo near the end. The album also closes on a slow note with “Prayer,” which the band played “acoustic” when I saw them live. I didn’t understand what they meant by that at first – weren’t all the instruments acoustic anyway? But I think what they did was to turn off their speakers and distortion, and let the cellos speak for themselves, à la chamber music. Unlike the other slow songs, this one is devoid of any riffing in the background, and the percussion is restrained to some barely audible thumps, metallic clicks and some sort of shaker. It’s a beautiful and relaxing end to the album, and although I found my attention wandering a bit, the frequent changes in tempo and intensity drew me back.

I was very impressed by the album. It’s remarkably heavy and metal, while at the same time not losing sight of the essence of the cello. This band is not as aggressive as Apocalyptica – when I saw Primitivity live, I didn’t experience that terror of them destroying their instruments that Apocalyptica’s take on Metallica inspires in me – but Loren Westbrook-Fritts and Primitivity capture the sound and the spirit of heavy metal in a way that’s more in tune with the classical background of the cello. They don’t just use the cello to mimic the sounds of electric-guitar-based heavy metal, but create a mix of classical and heavy metal, using the natural sound of the cello, the ability of the cello to mimic the guitar as well as the voice, and the unique sounds somewhere in between to express themselves in an unusual way that is both headbang-worthy heavy and classically beautiful.

November 7, 2013
Categories: Album Reviews, Local Band Info, Washington DC / Maryland / Virginia Metal Scene . Tags: , , , . Author: Metal Chris . Comments: 2 Comments

Review of Alma de Guerrero by Metanium

Band: Metanium
Album: Alma de Guerrero
Release Date: 19 September 2013
Buy from iTunes (digital) for $9.90: Here
Buy from CD Baby (digital) for $9.99: Here

Cover of Alma de Guerrero by Metanium

Tal is back with her second album review for DCHM and it marks a first on the site. Specifically, this is the first time we’ve reviewed a non-English album on the site. Alma de Guerrero by DC locals Metanium is, except for an alternate version of one track, entirely in Spanish. As always you can stream a few songs from it at the end of this review and you can also find more of Tal’s writing on her regular blog here.

I first became acquainted with Metanium’s music when I saw them open for Spanish folk metal band Mago de Oz in May. I really enjoyed Metanium’s set – a groovy mix of heavy metal right on the edge of power metal, with a cover of Helloween’s “I Want Out” that the singer delivered effortlessly. I wasn’t able to attend their album release party on September 19th, but I was looking forward to hearing the new release, Alma de Guererro, hoping for more heavy metal and Helloween-esque goodness.

Alma de Guererro (Soul of a Warrior) is a solid, enjoyable album, and pretty ambitious, too, reaching for the heights of the vocalist’s range and striving for hard-hitting heavy metal power. It has some really cool moments. But in contrast to the singer’s breezy take on Helloween at their show in May, here he frequently sounds strained. The recording quality is also rather low, which detracts a little from the ability to enjoy the guitar goodness – but for an underground, self-produced album, it’s a pretty good effort. The album cover and booklet, by contrast, are very professional and nicely designed. The digital design of a horned skull reflects the aggressive and (mostly) straightforward heavy metal direction of their music. Inside the booklet, one finds quality photos of the band and a simple but effective layout for song lyrics and the band’s thank yous.

The first song, “Veneno Mortal” (“Deadly Venom”), is a solid heavy metal track. It starts out a bit low key, but the random shreddy guitar bits scattered throughout the first two verses keep it interesting. After ending the second verse with a wail, the pace picks up, galloping for a few moments before settling into an aggressive NWOBHM sound. Toward the end is a fun segment where the drums and guitar thrash furiously for a couple seconds. The song provides a good taste of what’s to come on the album – solid heavy metal riffs, unfortunately a little obscured by the fuzzy production, gritty vocals with some wails thrown in, and random moments of amazing inspiration.

The title track, “Alma de Guerrero” (“Soul of a Warrior”) is also very strong. Starting off with a dramatic intro, epic guitar strains and a nice clear wail, it seems destined to be a thundering heavy metal attack. The vocals are quite powerful and gritty, although the singer seems to lose control a little at the end of the verses. The song urges the listener – the metalhead – to fight on in the face of evil, to keep pressing forward confidently, never to look back or give in to weakness; and the guitars and the strong vocals pack the energy the theme needs.

The album also includes an English version of this song which I didn’t enjoy as much. Some of the lyrics sound far too simple in English; the Spanish version is a little more poetic. For instance, the second verse of the song:

En este mundo, tienes que luchar
Siempre adelante tienes caminar
Con pasos firmes, y sin mirar atrás
Mantente fuerte, y sin debilidad

Vocalist Marvin Serrano, who wrote the lyrics, has translated this almost word for word:

In this world you must learn to fight
Always look forward when you’re walking down the path
So keep your head up and remember don’t look back
Remain strong and don’t ever give up

It’s still a great message, and conveys the literal meaning of the Spanish lyrics pretty closely, but in translation, especially of evocative works such as song lyrics, capturing the feeling and rhythm of the original is just as important as the literal meaning – and this translation is a little lacking in that department. Still, including an accurately translated English version of the title track is a nice touch for any listeners who don’t understand Spanish.

The two versions do differ slightly in more than just language. The Spanish version is sung solely by the vocalist, whereas the English version includes gang vocals in the chorus which sound a little disorganized. On the other hand, the verses sound a bit better on the English version.

My favorite song on the album is undoubtedly “Perdiendo el Control” (“Losing Control”), and I think it’s their most solid piece as well. It’s fast-paced, with strong, aggressive vocals throughout, and has some unusual guitar work for this genre – a thick, very distorted tone, with segments of buzzy tremolo picking and racing drums that have quite a black metal feel. Ironically, the song is called “Losing Control,” yet the vocalist seems much more in control of his vocals in this song than in some others.

The rest of the songs aren’t as memorable, though they do have their cool moments. “Al Filo del Metal” (“At the Edge of Metal”) is an old school heavy metal song with a decent rocking energy, but didn’t really hold my attention. “La Marcha Vikinga” (“The Viking March”) is another decent, moderately-paced song with a few snatches of shreddy guitar. The ballad, “Hace Mucho Tiempo” (“It’s Been a Long Time”) starts off nicely with an acoustic intro and then some beautifully mournful electric guitar, but the singer’s gritty vocals seem a little rough for this song at first, while his clean vocals on the agonized chorus are a bit weak, wavering as he tries to sustain notes. As the song goes on, though, the forceful singing style seems more appropriate, conveying the intensity of the persona’s grief and loneliness. “Victimas de la Religión” (“Victims of Religion”) starts off rather monotonous and plodding, but soon picks up the pace with a bit of a thrash vibe. Admittedly the dangerous-sounding bridge, about halfway through, is pretty ear-grabbing, as is the ending where the singer insists, “No seas victima de esta religión” (“Don’t be a victim of this religion”) over more of those dark and intense tremolo-ish riffs. “Sangra el Corazón” (“Bleed the Heart”) is notable for its polka rhythm, which makes it a fun song, in spite of the repetitive lyrics (several songs on the album suffer from those). The beginning of “Sangra el Corazón” is also the only song where I could actually hear the keyboard – if I hadn’t seen the keyboardist’s picture in the booklet, I would probably not even have known the band has one.

Besides the English version of “Alma de Guerrero,” the album also includes another bonus track, a half-acoustic alternate version of “Veneno Mortal.” I’m not a fan of acoustic versions of metal songs in general, since they usually lack the punch of the electric versions, so I was relieved when, about a minute and a half in, the electric guitar and drums started to pick up. About two thirds through, the same thrashy heavy metal vibe as in the first track took hold – so much for an acoustic version. I prefer the sound of original song, but hey, some people may enjoy the acoustic part.

I was surprised that the high-pitched and clean vocals on the album sounded so forced, compared to my fond memories of the singer’s wails at the show in May, and a little disappointed at the low production. The latter is perhaps to be expected for an underground album, though. As for the former, it doesn’t take away too much from my enjoyment of the album, since the aggressive vocals are still very strong, and there are some solid riffs to back it up as well as some flourishes of brilliance. I’ll be following these guys with interest to see how they progress on their next album.

Perdiendo el Control:

Veneno Mortal:

October 14, 2013
Categories: Album Reviews, Local Band Info, Washington DC / Maryland / Virginia Metal Scene . Tags: , , , , , . Author: Metal Chris . Comments: 1 Comment

Listen To Nightmonger by Midnight Eye

Local metal band Midnight Eye is releasing their EP Nightmonger and they kick off their tour supporting it with a free show this Thursday, August 8th, at The Pinch in the Columbia Heights neighborhood in Washington DC (details here). Stream the EP above, pick it up on Bandcamp here and be sure to come out Thursday to watch these guitar wizards pull this stuff off live. And while you’re listening to Nightmonger, check out the review of it below by new DCHM writer Tal (you can find more of her writing on her regular blog here).

Band: Midnight Eye
Album: Nightmonger
Release Date: 8 August 2013
Buy From Bandcamp for $4: Here

Cover of Nightmonger by Midnight Eye

Midnight Eye further develops their distinctive sound with their 3-song EP Nightmonger. The new release keeps the energetic heavy metal/thrash groundwork that they laid in their first album, Sign, but also takes a few steps further in the progressive direction, with unusual vocals as well as widely varying guitar passages. But these guys have the guitar chops to tackle all the different styles they want to pursue, and piece them together fairly cohesively.

Rocking NWOBHM riffs just on the verge of thrashy form the base of their sound, occasionally taking off into a full-out frenzy-inducing thrash whirlwind. Along with shreddy guitar solos, there’s also a lot more noodling compared to the first album and even a low-tempo acoustic passage in the second song, “Chaos.” The change of pace when the acoustic segment begins is a little jarring, but it doesn’t utterly destroy the energy of the song. The bass and drums soon come back in to give the instrumental some thrash kick, and after the lead guitars meander for a bit, they finish the song with a speeded up version of the main riff, giving it a satisfying conclusion. Missing from the EP are the doomy segments that haunted a couple songs from the first album, but the third song, “Outsider,” features some buzzsaw black metal riffs instead. The end of this song, which really picks up the black metal sound with insistent drums and sweeping tremolo riffs, is one of my favorite moments on the EP.

While the guitars have immediate appeal, the vocals take some getting used to. The tone of the mid-range clean vocals, which dominate Sign, is unusual, although it sounds sort of like a mid-range take on early King Diamond. Nightmonger showcases a lot more of Simon Callahan’s ability to generate King Diamond-like shrieks and high-pitched notes, especially in the second song, “Chaos.” I’m still not quite sure if their attempt to combine the shrieks and clean vocals works in that song, but I do prefer the high-pitched vocals to the mid-range ones overall.

I enjoyed staring at the simple and yet intricate cover design for a while. It reflects the band’s carefully executed complexity, and hints at the black metal touches in their music. The depth of their lyrics also matches the complexity of the band’s sound. I enjoy lyrics that are a bit poetic, rather than obvious and straightforward. While the chorus of the first song is pretty direct – “people cling to these very truths:/they love their nation/before other nations/they love their friends/not others” – the verses are more subtle. This song is apparently based on the Chinese philosophical text Zhuangzi, which espouses harmony with the natural way of things, so the nature images in the verses are a fitting touch. The ending of the song – “sound the alarm/tell everyone/there’s no purpose/to anything at all” – at first seems like an abrupt break with the theme of waxing and waning concern for others. Chinese philosophical anecdotes often end with a lesson, though, and looking at it that way, the lesson in the last verse is that human attachments are so changeable that there’s really no purpose in pursuing them. The other two songs, while not as cryptic, are also nicely constructed, using images and metaphors to propel their message of distrust of those in power. I particularly like the phrase, “outsiders,/from shades of grey/are made in the/gears of the world,” from the third song, “Outsider.” It reflects a penetrating awareness of how otherness is constructed and used by the majority.

I’m enjoying the EP more with each listen, and looking forward to hearing the band play it live. Midnight Eye is holding a release party this Thursday, supported by Exar Kun and Thrain, so don’t miss the chance to see these stellar guitarists live. I’ll be there pushing people around when the thrashy parts take off!

August 5, 2013
Categories: Album Reviews, Local Band Info, Progressive Metal, The Pinch, Upcoming Album Releases, Washington DC / Maryland / Virginia Metal Scene . Tags: , , , , , . Author: Metal Chris . Comments: 2 Comments

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