Sputnik Synopsis: Our Q3 Mixtape

Published: September 30, 2015

Hi there!

It’s a bit of a busy time this season, but I hope you’re all doing well. As a consequence of the busy season, I couldn’t corral all the staffers to contribute, so some writers and/or genres are going to be underrepresented.

This will hopefully change as we gear up for the Year-End list, and perhaps my Lions will actually decide to win a game by December. To help out you non-sports people, I won’t use specific names.

Star Receiver: “Alright, we need to score two touchdowns in two minutes. What are we going to do?”

Quarterback: “I dunno, hopefully we just march down the field and throw it deep to you twice. Let’s see what our offensive coordinator says.”

Offensive Coordinator: “How many time outs we got?”

Head Coach: “Zero. We have no timeouts.”

Offensive Coordinator: “THREE YARD SCREENS UP THE MIDDLE, I GUESS! BUT FIRST LET’S RUN THE BALL TO REALLY SURPRISE THEM.”

I need to adopt a new team.

Anyway, enjoy these last few weeks as we roll into Q4. –Jom

David Maxim Micic feat. Dan Wieten – “Satellite” (08:36)
Eco
Listen if you like: Devin Townsend, The Omega Experiment
Bandcamp | Facebook

While I absolutely adore ECO, as I adore most of David Maxim Micic’s unreasonably brilliant albums, “Satellite” is undoubtedly its most forward and upbeat rocker. Built around a charming little marimba piece and utilizing the very talented Dan Wieten (The Omega Experiment) and Micic’s always on-point instrumentation to grow and shrink the incredibly dynamic eight and a half minute track allows this musical entry to take on a fully formed life of its own. With in-your-face rock, open air ambiance, and an excellent balance of restraint and soaring bravado, “Satellite” loudly punctuates a stellar album that melds EDM influence with the progressive metal sound Micic has made his own. –Thompson D. Gerhart


Psycho Choke – “No Place in My Soul” (3:34)
No Place in My Soul
Listen if you like: System of a Down, Lamb of God, Pantera
Facebook

Psycho Choke’s third album was born amidst a handful of unfavorable conditions. The absence of a record deal that would work for all involving parties, combined with internal turmoil, kept the outfit away from live stages in Greece and abroad, and pushed back the release of new material. What can’t kill an outfit only makes it stronger, though. To that end, the Thessaloniki quintet resurfaces in 2015 with its highly effective take of crossover metal, in which all things alternative and hardcore have been blended seamlessly with traditional and contemporary metal. –Voivod


Rotor (GER) – “Volllast” (07:11)
Fünf
Listen if you like: Colour Haze, Samsara Blues Experiment, Causa Sui
FacebookSoundcloud

After a 5 year break, Rotor returned with a second guitarist and one of their most consistent – if not their best – effort to date, 5. The centerpiece, ‘Volllast’ is a moody tune, whose gentle acoustic intro resembles a nice, desert scenery at sunset. However, it descends into heavy riffage, with a trademark “broken” approach. The keyboard touches towards the end help create an uneasy atmosphere akin to a chill, stormy night. This is definitely one of their hardest hitting tracks and a major highlight in their catalog. –Raul Stanciu


Wolfheart – “Aeon of Cold” (06:34)
Shadow World
Listen if you like: Amorphis, Black Sun Aeon, October Tide
Facebook

Being from the north, I don’t think I’ll ever get tired of melodic metal hymns to the cold/harsh/winter. I like the cold. I like how it keeps your mind cool and your senses alert; how away from the cities, there’s still a pristine element to the Scandinavian winters; how you can read so much from the face of a person who is looking back at you in a minus twenty-five degrees Celsius weather. I also love arriving back inside after spending some quality time in the great cold outdoors – rediscovering the comforts of a warm cabin – a sanctuary – never gets any less rewarding. Spending even a day in the grasp of winter really brings back some of that focus and wonder that dull workdays seem to dissolve. Wolfheart’s music reflects all that, and more. Due to its melodic, yet icy nature, it manages to capture both the harsh and compelling side of a Scandinavian winter. With Shadow World, a more even-keeled effort than the already-excellent Winterborn was, Tuomas Saukkonen is making it known that Wolfheart is not going to be just another project of his, but is here to stay and progressively provide listeners with top notch winter metal. There’s less obviously single-worthy tracks on Shadow World than there were on Winterborn, but the whole is all the stronger for it and makes for a compelling listen from the first piano note to the last, containing some seriously good metal music in between. –Magnus Altukla


The Wonder Years – “Stained Glass Ceilings” (04:45)
No Closer to Heaven
Listen if you like: letlive., The Hotelier, Man Overboard
Facebook | Official site

Featuring guest vocals from letlive.’s Jason Butler, “Stained Glass Ceilings” is very easily one of The Wonder Years’ darkest songs in their discography. Given the incendiary perspective ascribed to religion throughout the album, I’m not sure if the church metaphor for gender discrimination makes the most sense for a title (although I see the connection), but Soupy and Butler pull no punches with their sardonic commentary of various -isms and social injustices that exist in the world and the disparities in what the proverbial American Dream ‘looks like’ for people. The bridge and outro is a firestorm and one of the more cathartic moments on the record. –Jom

The Dear Hunter – “King of Swords (Reversed)” (05:08)
Act IV: Rebirth in Reprise
Listen if you like: Duran Duran, Tears for Fears
Facebook | Official site

The product of sharp orchestration and sugary synth pop, “King of Swords (Reversed)” is nothing like the rest of the dense progressive rock masterpiece it calls home, and that’s why it’s both beautiful and luminescent. The song is one of the catchiest The Dear Hunter have crafted. As uplifting as anything on The Dear Hunter’s Yellow EP and with a beat that could drive both a disco dance floor and a marching band at a college football halftime show, “King of Swords” is a breath of fresh air amid the weight of the tracks it shares an album with. –Thomas D. Gerhart

After branching out like few other bands did with the 36-song, Color Spectrum, Casey Crescenzo proved nothing is impossible for him and The Dear Hunter. Looking to level things up, he went full orchestral on the 4th act of the main story. There’s so much to love on the album, it might be overwhelming at a first listen. Still, one of the songs that sticks out most is ‘Waves’, a beautiful, mid-tempo tune with a downright infectious melody. The orchestra plays the leads while the band complements by focusing on the rhythm section. I must admit the music often detracts the attention from the vocals being so complex, however, here Casey’s voice beautifully merges with the multiple instruments. The lovely verses and chorus display some nostalgic lyrics, but the overall atmosphere is rather celebratory than mournful. Undoubtedly, this is a contender for the best song of the year. –Raul Stanciu


Tim Bowness – “Sing to Me” (05:46)
Stupid Things That Mean the World

Listen if you like: Steven Wilson, No-Man, The Pineapple Thief, Gazpacho
Facebook | Official site

Stemmed from a forgotten, 20-year old No-Man instrumental, recorded during the Wild Opera sessions, Tim Bowness and his collaborators have created another gem to include in his growing solo catalog. This lovely ballad that shares some eerie guitar leads, a warm bass line and echoed piano leads sounds as beautiful as any of the highlight recordings with Steven Wilson. There’s an old school vibe to the song as Tim delivers his gorgeous, ethereal vocals. The lyrics share several intimate moments in a relationship that might or might not have gone awry. It’s a small but amazing fragment of a larger story presented on his latest two solo albums, Stupid Things That Mean The World and Abandoned Dancehall Dreams. –Raul Stanciu

Buried in Verona – “Can’t Be Unsaid” (04:38)
Vultures Above, Lions Below

Listen if you like:
Still Remains, Underoath, The Amity Affliction
Facebook

As a person, I find a lot of joy in the little things and little victories, so it comes as no surprise that when something elemental is executed in an assertive way in music, I’m also prone to take notice. Whether it be a specific riff, hook, sample, arrangement, it doesn’t matter. As long as that “it” possesses the ability to burrow into the brain, I’m its captive. “Can’t Be Unsaid”’s main melody is one such “it”: really simple, but also really effective – the type that you start humming while watching time fly by. The song instantly made me interested in Buried In Verona’s new album, and while poppy, sing-along metalcore usually isn’t my thing, Vultures Above, Lions Below is a positive surprise as a whole. Each song here has a memorable riff, there’s ample energy being thrown at the listener, and while the “insert a soft chorus” modus operandi gets a little old by the end of the album, most of those choruses are built on catchy melodies that make it worth the while. The production is also strong, and the band doesn’t use breakdowns as a crutch, like so many similar groups do. Most importantly, Vultures Above, Lions Below is just plain fun to listen to while you’re commuting or running, for example, and compared to what I’ve heard from BIV’s earlier albums, it’s also a huge step up for them. So if theacademy looks like a cool guy to you and you strive to find your own Atreyu, giving Buried In Verona’s newest a shot is a pretty good idea. There are hooks aplenty! –Magnus Altuka

Tad Morose – “Remain” (03:23)
St. Demonius

Listen if you like:
Morgana Lefay, Memory Garden, Judas Priest
Facebook | Official site to “Probably the best band in the world”

While promoting their comeback album Revenant after a hiatus of 10 years, Tad Morose promised to return with new material within a much shorter time interval. Similar commitments were made by several bands only to be sadly misplaced, but the Swedes put their money where their mouth is, and returned with a new album which traditionally revolves around power/thrash (with a serious Judas Priest influence) while holding a solid regard for Swedish power/doom metal as well. Check “Remain” and crank the volume to 11 while you’re at it. –Voivod

Trad.Attack! – “Kuukene / Moon” (04:24)
Ah!

Listen if you like:
Triinu Taul, Rändaja, Äiö
Facebook | Official site

There are absolute musical gems that only locals know about coming out each year all over the world, and being as up to date as anyone with Estonian music in 2015, it would haunt me if I didn’t make an effort to introduce some of our local talent to foreign shores. Trad.Attack! is a three-piece ethno band whose roots and core sound lie in traditional Estonian folk music, but who add their own youthful twist and disposition on the genre. This desire to try and create something that sounds both old and new at the same time is also what makes them the front runners for current Estonian folk music, which is still very popular in the mainstream down here. Trad.Attack!’s readiness to truly explore Estonian folk music in a modern context is what makes them sound so much more fresh than a lot of their peers, who forgo this exploration in favor of what’s tried and true. That’s not to say that Trad.Attack! are the only folk band in the country with this forward thinking mindset (Äiö and Malva & Kirsipu spring to mind instantly), but they’re the ones pulling it off with the brightest results, in no small part due to the trio’s mastery at maintaining a solid balance between catchiness and experimentation; the old and the new.

While there are many wonderful tracks on Trad.Attack!’s new album Ah!, my favorites tend to be the ones that focus more on creating an immemorial atmosphere, than the more upbeat cuts. Out of those, “Kuukene / Moon” (which was already featured on the band’s 2014 EP and won video of the year in Estonia) is the most stunning, because there’s some serious unexplainable mysticism in the air of that song. The way the track opens with the sounds of a creaking gate, the ear caressing whistles, the runic stylings of the vocals, the hazy melody, all of it sounds like it belongs to another time, but here it is, right in your grasp, making audible contact with you. I bet this is what it feels like to stumble upon an auroch that was supposed to have died out tens of thousands of years ago: textbook-based knowledge tells you that it can’t be, but there it is, decidedly gazing back at you in the morning glow, before disappearing into the mist it emerged from. Experiencing songs like “Kuukene / Moon” get my heart racing at a speed very few other things can, and I’m actually glad that musical gems such as it are few and far between: that way, the breathtaking mysticism remains. The veil is lifted every now and then, but never for long enough to satiate. –Magnus Altuka

** Note from Magnus: the video and album version of “Kuukene” differ a little in structure, and the song was re-recorded for the debut LP, with a noticeable change occurring in the vocal mix. The video is captivating, but the album version of “Kuukene” is the musically superior one. a


The Souljazz Orchestra – “As the World Turns” (04:13)
Resistance

Listen if you like:
Kokolo, Chopteeth, The Shaolin Afronauts
Facebook | Official site

I was curious how Resistance would turn out, given that it was the Canadian sextet’s first album with an emphasis on vocals — per Pierre Chrétien, it was “a big step forward” for the band.  There are songs where the vocals do have an adverse effect – sometimes rollicking drums, screaming saxophones, and frantic horns can be effective enough for any political statement – but percussionist Marielle Rivard’s performance on “As the World Turns” is sublime amidst the integrative Afro-Caribbean/soul/zouk instrumentation. See also: “It’s Gonna Rain” and “Soleil Couchant”. –Jom


Act of Defiance – “Throwback” (05:33)
Birth and the Burial

Listen if you like:
Shadows Fall, Lamb of God, Trivium
Facebook | Label site

After the malformed bastard child that was Megadeth’s Super Collider, “Throwback” – a tough as nails, down and dirty thrasher with aggression and energy aplenty – is a welcome reprieve for guitarist Chris Broderick and drummer Shawn Drover. Though Act of Defiance tend more towards the metalcore end of the metal spectrum, “Throwback” features some of the best shredding and soloing Broderick has delivered since Endgame, not to mention some of the heaviest riffing he has, perhaps, ever engaged in. While there’s little to be found in the way of deviation on the rest of Birth and the Burial, former Scar the Martyr vocalist Henry Derek’s screams and bassist Matt Bachand’s infectious grooves blend well with Broderick’s six string assault to show the world you can still thrash the night away in 2015. –Thompson D. Gerhart


Uncle Acid & The Deadbeats – “Melody Lane” (05:54)
The Night Creeper

Listen if you like:
Black Sabbath, Electric Wizard, Mondo Drag
Facebook

Although Uncle Acid released their least interesting album this year, The Night Creeper still features some of those gripping moments that used to make up most of their LPs. ‘Melody Lane’ is a prime example of the band’s chemistry, using a dirty, mid-tempo groove with catchy vocals. There’s a certain melody behind the riffs that bleeds through the vintage production and the grim, death-obsessed lyrics are once again interesting. Even though the lo-fi atmosphere has been upgraded, the track remains highly enjoyable on its own. There’s no doubt The Deadbeats still have it in them to build strong tunes and this is the proof. –Raul Stanciu

Vacivus – “Ageless, Nameless” (05:29)
Rite of Ascension

Listen if you like:
Bolzer, Dead Congregation, Portal
Facebook | Album Bandcamp

Through outfits such as Dead Congregation, Cruciamentum, Bolzer and Portal, death metal has been reclaiming its true (sic), excruciating shape, but now it’s time to cast the spotlight to yet another worthy addition to the said fold. Vacivus come from the Albion and while the EP Rite of Ancension maintains the style endorsed by the aforementioned outfits, it goes a few steps elsewhere, courtesy of the guitar leads that could hint at US death metal (Nile in particular), and the elaborate bass that emerges out of the mud. If this EP is any indication, it’s that Vacivus are already shaping up to become mainstays on this side of death metal. –Voivod


Eminem f/ Gwen Stefani – “Kings Never Die” (04:56)
Southpaw (Music from and Inspired By the Motion Picture)

Listen if you like:
anything from Shady Records
Official site

I didn’t get a chance to go to the movies too much in Q3, but I did have a bit of a laugh at Walter Chaw’s review for the film (specifically the line, “If you don’t know how Southpaw is going to end, then this is the first movie you’ve ever seen and you should have started with a better one”). Sometimes, it’s okay to know what you’re in for when it comes to film (hi, Happy Madison productions!) and music. While everyone seemed to gravitate towards “Phenomenal” first, I appreciate “Kings Never Die”’s harder-hitting tempo and snarl just as much as I like terrible low-hanging fruit puns. –Jom


Lamb of God – “Delusion Pandemic” (04:22)
Sturm Und Drang

Listen if you like:
DevilDriver, Decapitated, Chimaira
Facebook | Official site

Sometimes, the best remedy for a crappy mood is just a really good groove, and Lamb of God have been dealing those mood enhancers for a solid fifteen years now. The band has settled on a consistent, largely unchanged sound ever since 2006’s Sacrament (with only the production on their albums taking a big leap forward) but the age old advice “don’t fix it if it ain’t broken” fits this band perfectly. If I pick up a new Lamb of God record, I’m not looking for the next fresh thing, and so shouldn’t you, not in 2015 anymore. Instead, I expect to hear neat modern metal production, massive guitar grooves, catchy werewolf vocals (flipping it for you Gene Simmons) and plenty of blood rush inducing rhythms. Sturm Und Drang offers all of that in spades, and “Delusion Pandemic” is a fantastic example, with its sinewy riffs and relentless energy. If you can’t tap your foot to this, you might want to check your pulse and your pace. –Magnus Altuka

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