Grimgotts – Tales Review

Score8/10
GenreSymphonic Power Metal
CountryEngland
Runtime20:04
Release Date1 May 2020
Record LabelIndependent

England’s best adventure metallers have returned from across the sea, bringing with them all the noble majesty of the dragons of old. The mighty Grimgotts have been hard at work to deliver a new EP, having released their sophomore album, Dragons of the Ages, just last year. Entitled Tales, it contains four imaginative tracks that, while sounding a bit more touched-up, stay true to the nautical/storybook/power metal combo of Grimgotts sound.

Like their previous works, each of Tales‘ four tracks rings with bombastic optimism, cheese, and keyboard insanity (ok, maybe not insanity, but they’re soooo fucking good). Additionally, the guitars, drums, and keyboards all keep things exciting, rarely settling into a single lick for too long, and frontman Andy Barton continues to lead the way with his deliberate mid-range pipes. One of the first differences I noticed about these songs, though, is the vocal layering in the choruses. On top of that, this album also comes off as more symphonic than Dragons of the Ages did, and the backing tracks sound more refined, but, hey, maybe that’s just me.

(Think THAT’s hot? You should hear their music!)

The most impressive aspect of Tales is its variety. The songs, all close to the five-minute mark, have multiple sections and a there’s good degree of dynamism, especially between songs. As far as specific songs go, it’s tough to pull favourites from such a short tracklist, but ‘The Dawnbringer’ slightly wins it for me. The keyboards are extra cheesy and the guitarwork is a notch above the other songs. But then, the solo section in ‘Fight ’til the End’ is pretty fucking sweet. Honestly, it doesn’t take much for me to be happy with an album; just throw in some flying synth solo cheese and a couple facemelters and we’re good. (Just kidding, it takes more than that (Except not really (?).).)

Anyway, if you were already a fan of Grimgotts, you’ll love Tales. Conversely, if you aren’t a fan of Grimgotts, maybe you should get your ass in gear and check them out, especially if you dig the likes of Atlas Pain, ShadowStrike, Freedom Call, or Power Quest. AND, if you REALLY like Grimgotts, you can look forward to two more EPs by the end of the year. Yeah. How’s THAT for modern music consumerism?

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Bioplan – Epipath & Ocular Review

Score9/10
GenreProgressive Metal (Synthwave Fusion)
CountrySweden
Runtime49:20
Release Date29 May 2020
Record LabelLayered Reality

The ever-busy multi-instrumentalist Andi Kravljaca (Aeon Zen, Thaurorod, Nibiru Ordeal) is back with another dose of nostalgia-laden shred madness in the second installment of Bioplan. Epipath & Ocular is functionally a double EP, featuring the previous EP’s (Ocular’s) tracklist, as well as five new tracks in the Epipath section. If you’re coming in never having heard of Bioplan before, expect to hear chunky djent and intense, glowing synthwave in equal measure. You can also expect to be blown away, because this shit is destructive.

I’m only gonna cover the new portion of the album, because I already wrote a review for Ocular last year, which you can read here if you’re so inclined. The biggest difference Epipath has from its predecessor is that it is way more synthy. There’s a lot more emphasis on atmosphere this time around, but there’s still no shortage to relentless neoclassical shredding or flying guitar melodies. Furthermore, the numerous background synth harmonies, melodies, and syncopated drumming are as on point as ever, so the album is an all-around blast.

The album begins with a very Flash Arnold opener in ‘Ingress’, which leans very far onto the more atmospheric side of things. There’s still a fair amount of shredding, but it’s nice to get something different right off the top. However, staying true to the core of Bioplan, the album continues into ‘Perspex Cassidy’, which offers more of that familiar Jeff-Beck-meets-Joe-Satriani-meets-modern-prog experience.

While the entire album features truly masterful guitarwork, highlights can be found in the entirety of ‘He’s a Transporter’ and my personal favourite song on the record, ‘Atomic Era Cocktails’ (which also has a mean fucking synth solo by Harri Koskela, a cool dubsteppy section, and a super trippy fade into the outro).

Another thing I noticed is the fact that the naming conventions for songs is entirely different this time around. Where Ocular had pretty generic modern prog titles like ‘Inclement’ and ‘Refractive’, Epipath has a little more fun with things (most of which I’ve already mentioned).

Anyway, fans of cheesy 80s synthwave, technical prog, or instrumental fusion with undoubtedly love Epipath & Ocular. It’s got all the flair, skill, and facemelting fuckery you could want, all wrapped up in a retro-yet-crystal-clear package.

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