Bane Of Winterstorm - The Last Sons Of Perylin (Digipak Edition) (2013)

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Bane Of Winterstorm - The Last Sons Of Perylin (Digipak Edition) (2013)

Príspevokod užívateľa Horex » 26 Jan 2014, 17:31

Bane Of Winterstorm - The Last Sons Of Perylin (Digipak Edition) (2013)

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Year : 2013
Style : Symphonic Power Metal
Country : Australia
Audio : 320 kbps + all scans
Size : 169 mb


Bio:

Bane of Winterstorm was conceived in July of 2009 as an unrelenting force in a new wave of dark symphonic power metal fusing mysticism, beauty and crushing heaviness with a powerful and progressive nature, while borrowing from many other styles allows aggression and romanticism to flow throughout their unique style.Having already set itself apart from other Australian metal acts by offering something that until now has been otherwise absent from Australia, the Melbourne Quintet aim to take the next step with the release of their ominous debut album ‘The War of Shadows I: The Last Sons of Perylin’. With its roots deep in European power metal and Tolkien-esque storytelling, the band delves deep into melodic thrash and death metal to allow the sound to breathe a certain darkness over the usually uplifting genre. A foreboding terror looms over soaring melodies, while epic choirs chant over blast beats and crushing riffs creating a balance of graceful and menacing tones. The band is joined by some of the most powerful singers in the world including vocalists of Dragonland, Anarion, LORD, Damnation’s Day, Divine Ascension, Desecrator, Orpheus Omega and Vanishing Point to accurately portray the lore of ‘The War of Shadows’ and take symphonic metal to new menacing heights.

Album:

There is an undeniable correlation between symphonic music and programmatic subjects, if for no other reason than that the evolution of orchestral music has always needed a conceptual aspect in order to avoid becoming too abstract to be accessible. During the 18th century this was primarily accomplished through the title of the work itself and sub-headings given to its various parts, though words were used to greater effect in the operatic field. Symphonic metal tends to follow the same general formula, only the approach has more of a visual character to it since the music is heavily impacted by film score music, though the operatic character of the vocal work and the general tone and tenor of the music often leans a bit closer to a pre-film Baroque through Romantic era period. It was largely the handiwork of Rhapsody (Of Fire) and Nightwish in the late 1990s that brought this older approach to music into metal in a dense, atmospheric sense, rather than simply as a technical expression as was accomplished via Deep Purple, Uli Jon Roth and Ygnwie Malmsteen years before.Bane Of Winterstorm, a massive Australian project with a collection of guest vocalist to rival Avantasia, is a recent beneficiary of said tradition, and one that has taken it in a fairly different direction than Rhapsody Of Fire, which is easily seen as this band's principle influence. On their debut offering The Last Sons Of Perylin, principle songwriter, guitarist and vocalist Anthony J. Finch (aka Morthion) makes his own twist on things largely by relying more heavily upon the grandiose and epic Manowar influences that Alex Staropoli is known for and exaggerating them a bit further. In essence, he's a guitarist who thinks and composes like a keyboardist and places a heavy emphasis on symphonic timbre and atmosphere than fancy riff work, resulting in something that is extremely ambitious technically, yet also possessed of an almost minimalist simplicity where the guitar work provides the obligatory rough edge, yet doesn't truly dominate things save during the guitar solo sections which are actually quite massive. It's a bit more straight-line in approach than most other symphonic outfits, avoiding any auspicious period instrument moments or Baroque cliches, coming off more as a modern symphonic soundtrack to a dark version of a high fantasy film than a quirky nod to Neo-classicism after the Malmsteen school.What ultimately gives this album its heavy charm factor is that in spite of being fairly simple in approach and generally accessible to most fans of symphonic power metal, it has a complete lack of regard for conventional songwriting and concepts of brevity, listening more like one massive 50 minute song separated into five very large sub-sections. The only song on here that could really pass for radio is "The Warlord's Last Ride" which has more of a mid-paced folksy quality to it, only lasts for five minutes and exclusively features the vocals of Riccardo Mecchi (aka Aranon), who essentially functions as the de facto lead singer of the band. His soaring high timbre is fairly similar to Daniel Heiman's, though without the glass-shattering, extreme high register, and provides a much needed contrast from the typical operatic shtick of Fabio Lione. The rest of the album is basically a massive journey through a dark, war-torn fantasy world where the battle only sees occasional respites, usually in the form of brief orchestral interludes that function like scene transitions. Perhaps the best analogous album from this style's lengthy past would be Power Of The Dragonflame, only being a combination of the long-winded journey through transition of "Gargoyles: Angels Of Darkness" and the violent, thrashing character of "When Demons Awake" rather than a full out nod to everything that was on said album.It's a curious contradiction, but this album is basically a highly accessible listening experience that becomes difficult to access primarily because of how it is structured. It would be understandable for some who generally see Rhapsody Of Fire as being a band capable of doing no wrong to not go for this because it leans a bit more in a modern, stripped down direction as far as riff work goes and has a less frolicking character to the orchestral backdrop, but most coming from this direction should take to most of what this album has to offer. It forces the listener to pay closer attention to the story it tells by placing greater emphasis on the vocal work, which features a wide array of differing talents, thus functioning more as a story set to impressive music rather than being an impressive musical feat that happens to tell a story. The collaboration of Luca Turilli with Rhapsody Of Fire will be more likely remembered for the incredible musical display it brought forth rather than the Emerald Sword Saga, though the later story featuring Christopher Lee's narrations were a bit of a different story. With Bane Of Winterstorm's The Last Sons Of Perylin, the lyrical content and the vivid pictures that the music accomplished as a whole is what sticks in one's memory, irregardless of a lack of technical intricacy to all its moving parts.

Line Up:

Anthony J. Finch - Guitars, Vocals, Orchestrations (2009-present) - See also: Envenomed, Ark of Silence, Human Thesis Experiment, The Nightbreed, The Shadow Room, Ysguard, ex-Visceral Plague
Tristan Petersön - Bass (2009-present) - See also: Chained Lizard, Son of Aeslepius, ex-Sapere Aude
Alberto di Biase - Drums, Percussion (2012-present) - See also: ex-Accursed, ex-Eidölon, ex-Order of Orias

Tracklist:

01. The Black Wind of Morthion 10:33
02. The Magic of Mithren's Ring 07:26
03. The Ancient Ritual of Räkth 06:37
04. The Warlord's Last Ride 05:05
05. The Last Sons of Perylin 16:10

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