Ildra – Eðelland (2011 / 2018) – Review

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RockmusicRaider Review - Ildra - Eðelland - Album CoverSome bands bury themselves so far underground, it is amazing that we can actually find them. You need to be a tunnel rat for Norad to unearth them, though. And still, you will be able to find them only with some sort of nuclear powered detection device. Or else they will just dig down further, like some giant metal mole in a cosmic rage.

A myriad of Black Metal outfits have already tried this hide-and-seek approach, wearing masks and threatening everybody and sundry with the Dark Lord, should they try to uncover their identity. But seldom have we come across a band like Ildra and their first-born Eðelland. This particular band is so invisible that they probably don’t even show in mirrors.Got hooked? Raid this some more...

Godhead Machinery – Ouroboros (2017) – Review

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RockmusicRaider Review - Godhead Machinery - Ouroboros - Album CoverIs this a case of Yet Another Extreme Metal Band? An ubiquitous metal offering of the garden-variety in approach and execution? This often comes to mind when a new jewel case of an Extreme Metal band is cracked open and the metal starts to spill out. Seen it, heard it, got the black t-shirt with the unintelligible darkly magic scripture emblazoned on the front. A record with much of the same brand of metal all over again. With almost no difference from the usual and commonplace delivery of their brethren.

Along with genres like Symphonic Metal, Extreme Metal has become somewhat of a household brand. And many fans blatantly expect to get the same or – at least – similar slices of their metal.Got hooked? Raid this some more...

Ostura – The Room (2018) – Review

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RockmusicRaider Review - Ostura - The Room - Album CoverI am amazed. These guys managed to get the attention of Arjen Lucassen (Ayreon, Guilt MachineStream of Passion, The Gentle Storm), plus secured the services of a felt gazillion of additional guest performers from 12 countries. As if this weren’t enough, they got Jens Bogren of Fascination Street Studios to do the mixing and mastering piece. Then the band forged ahead and landed us with 74 minutes of progressive goodness on 12 tracks. Wow!

And this raised a major concern right from the beginning. Do we have another case of extensive, badly managed complexity that raises its ugly head? It for sure sounded like that to me at first. After all, this kind of pitfall already was a point of major discord in many a prog record in the past. Got hooked? Raid this some more...