Alright, sweet, I'm gunna give it a go. I've got two separate drafts set up, one in which I'll tidy up what you just analyzed and another that'll be the alternate version.

Hey Mr Wyrm! So, I made a new draft for The Ninth Hour from Sonata Arctica. I've tried to be not so prolix than the previous one and focus on the main themes of the review, trying yet to correlate them with the overall album feeling and some selected tracks. I'm waiting anxiously for some comments and tips! rgds

Hi! This took longer to get to than I'd hoped.
Notes in spoiler.

Hi everyone. This review:
Well, here we are. Another album by the Dark Throne. Does it really need a review? Probably not. Let's get it straight, during their long and honourable career, they've reached a point of "love or hate us" kind of band, and the supporters of their late albums usually are for a 100% score approach.
But it seems that this album could divide furthermore their hardcore followers, because it is different. It is quite different.
To be honest, some of the influences that Fenriz and Culto spread here were already in and there in some of their album since 2006 The Cult Is Alive album (Dream Death in example). But here these same influences are massive and crushing like a bulldozer, and making way for a slower approach especially on the Fenriz's side songs.
This slower approach could be a let down for many fan, but I actually appreciate that. The feeling of the album is overall of doom and gloom with a basic energy that comes out of the darkness in a more punching way than in the underground resistance, see the opener "tundra leech" in particular and in other cool moments too like the final part of "boreal fiend", even with a unexpected riffing in a totally seventies style (!).
Be careful, there's nothing new or incredibly fresh here, but then who really wants that from the darkthrone guys? Anyway, this is a solid release that pleases the ears of anyone that is looking for some crushing riffing in a completely underground darkthrone style and this album deserves to be checked out because of the way more serious approach that it has, for sure more serious than the last ones that lack of the sinister and obscure feeling that you can easily find here. Well done guys.
Noteworthy is the vocal performance, this time only by the almighty Ted Culto, probably at his peak since years for the growling grasp that he delivers here; Fenriz can be a decent singer but he's not suited for the old school blackened style.
The highlights are definitively the opener and, to me at least, also the title track with its 'egyptian' kind of a riff.

This review has been rejected 2 times by one of the Metal Lords of this site; can someone, maybe one of these Metal Lords, make it acceptable? It's first one I've ever written and I'm not english native speaker, but damn it I would like to have it on the Encyclopedia. Thanks.

There's only so much that can be done until the English competency meets the site standard, and that's inevitably up to you, not a Metal Lord. Corrections that amount to rewrites will not generally be made to a submission. There are some organizational tips that, while not enough on their own, can improve reviews that retain language errors.

Notes in spoiler.

Ok, I'll try. Thank you.

Hello all. I submitted a review that was rejected and would like some feedback on it. Here's the review:

The Work Which Transforms God, a grand claim in one light. A work through which the idea of the Judeo-Christian God, who goes by a number of names, can be remade. Into what?... Does the composer have an idea?

"We charge tradition with being an excuse for idleness, unpersonality and regression. We praise evolution for being the logical consequence of creation, progression and elevation."

Let's credit an artist the caliber of the one behind this work with meaning his words, against recent tradition as feels fitting.
TWWTG came to us from France in the year 2003 from an artist and a group of artists who had been composing black meal since the crest of it's second wave. 2003 was a fallow time in black metal barring a handful of exceptions, this foremost. Many of the ideas that first presented themselves in second wave black metal had been explored in a matter of ten years. One of the possible paths ahead was now being found and traversed by Blut Aus Nord
European man has a 1500 year relationship with the God of Christianity and he still haunts us despite being pronounced dead in 1882. Hence the need for his transformation. Can the strength that we've spent in giving life to a God be re-harnessed and redirected into our own lives, into the world as we experience?
The Work which Transforms God. As part of the overall process of overcoming Christianity, of which black metal is an important part, this work can live up to it's name, but really this is a surpassing of black metal, a new sage in the development of Western music.With the works of Blut Aus Nord and other great artists today we are finding the path of our spirit. The great works of our descendants will be the successors to these, though they will likely sound very different.

Rhythms staggering and blasting by turn, harmonies and discords float and scrape and scythe.
Gradually the patterns emerge. Where there was madness, rhyme and reason. Our ears learn to enjoy textures they would previously have rejected.
Abysses rear before us, mountains crash like waves and splinter and above all the howling of a God in transformation.

Hi everyone, I'm a Spanish user, not so good with English. I've been trying to post some reviews for a while now but I have a lot of issues with the typos and I've been told to ask for help here. Here's one of my reviews, if you can help me with the typos I'd totally appreciate it!

"Creatures Watching Over the Dead it's the third album by this "particular" American band. It's hard to define their style since they sound like a fine mix between heavy, power and thrash with brush strokes of more extreme styles. This album is the consecration of this caracteristic sound. A lot of people say we should expect something more for such a line-up but, in terms of musicality, the tracks of this record showcase a pretty decent level of skill of each member of the band. I confess, it's a pretty predictible album, but I'm sure that if you liked the previous two records, you would also like this one. It's a heavy metal powerhouse filled up with late 90s and early 00s nostalgia in terms of composition.

Now, it would be a little hard to rate this album since, as I've said before, a lot of people judge this kind of "superbands" by the past of their members, hoping they'll make similar or better stuff. Since this is another band it should not be compared this way to other bigger ones, and it's not meant to sound as anything else. With this in mind, we find a solid album with dark atmospheres and deep lyrics, complex vocal lines, fast and hard guitars, and a rythmic section which sounds pretty crazy in terms of heavy metal, maybe not for thrash... but a great mixture here!

In conclusion, as you don't judge a book by it's cover, you shoudn't judge a new band by it's members' previous bands. Charred Walls of the Damned have found a nice sound which they're exploiting, and that's a great quality in a band. Pretty decent and solid album, no matter what. Heavier metal coming from the new world!"

Could I have some please have some grammatical help? It's for my deicide debut album review.

I remember the first song that got me into Deicide was the furious "Dead By Dawn." I heard this song through playing the GTA IV expansion pack, and It was just awesome to do drive by's on innocent bystanders and thugs while listening to LCHC (Liberty City Hardcore) hosted by Max Cavalera. It featured a lot of early 90s old school death metal and other extreme metal sub genres. This album is still to this day one of the most evil, visceral, and monumental death metal records ever recorded as well as one of the most popular (if you go by sales). Deicide hasn't been great for a number of years but their early stuff was tremendous in musical quality and effort. This album you could just hear pure unadulterated hatred for Christianity as a whole and the praise for the metaphysical powers granted by Satan; it was over the top, evil, and disturbing. Songs like "Oblivious to evil," "Lunatic of God's Creation," and "Sacrificial Suicide" really show how evil death metal could be. With lyrical lines like

"Sacrifice of the unborn child
Enter the kingdom of darkness
Sodomized for the ritual
For there is nowhere to run" or from Sacrificial Suicide

"Suicide sacrifice, thrust of evil deep inside
Lucifer never lies, take away thee mortal life
Demigod, Satan son, commend to body to the ground
Father Satan, I'll find peace when I am God."

The lyrics presented on this album are extremely vulgar and filled with hate for Christianity. Also the praise for the dark lord is another central theme for this album. Glen Benton unleashes absolute fury on this album; never again did he sound so angry; later on his lyrics became less hateful and more laughable, not here though. The musical elements presented on Deicide epitomize old school death metal in its fullest. Shrill, nasal, atonal, unmuted hammer-on riffs, set to sterile snare and pedal blast beats that absolutely refuse to swing. For example, in songs like "Dead by Dawn" it features descending, percussive mid scooped palm muted riffs based off of minor thirds, set to relentless double bass drumming, opened with a brittle snare roll. Another example of old school death metal at it's finest is "Mesistopholes" where the main riff is based on 6/8 march tempo of galloping triplets, set to double bass drumming, and dual layered vocals. Things like this give off a sense of brutality that was unparalleled in its time.

The focus on atmosphere is another trait which must be brought in light. The atmosphere on this album is incredible, when I first heard it I felt I truly descended into the pits of hell itself, it was scary, uncomfortable, and euphoric at the same time. I kept on wanting to hear more and more of it, just like a crack addict needing his daily fix of crack. The very first song "Lunatic of God's Creation" the very first thing you hear in the song are the gates of hell opening themselves. Then the guitar riffs of the Hoffman brothers kick in and the relentless drumming of Steve Asheim pulverizes you into a hellish frenzy. This song is basically an ode to the madman Charles Manson. Another song that gives off an incredibly disturbing atmosphere is "Carnage in the Temple of the Damned." This song deals with occult leader Jim Jones who cultivated the massmurder-suicide of Jonestown, Guyana in November 1978 killing 918 people in the process.

In conclusion this is one of the greatest debuts by any band ever. The focus on visceral atmosphere, the metaphysical powers granted by Satan, and the vehement hatred of Christianity makes it one of the datrkest, bleakest, and most evil death metal albums ever written. If there was ever an example of how to craft a perfect death metal album this one would be the blueprint to follow. Take my words and listen to this thing if you haven't heard it.

Notes in spoiler.

Notes in spoiler.

Notes in spoiler.

Feedback for a rejected review? On coherence that is . . . or anything that might pop up

Notes in spoiler.

I've been had at the learning center, haha. I guess proof-reading is what I'll be needing more. Appreciate the feedback.

Not a problem. Keep going to the learning center as often as you need to. It's a good thing to work hard at. Learning can be fun!

Thanks for the reply and the feedback.
I didn't get a rejection message but I'm sure some the points you raised are why it was.
I feel most of your feedback is on the money and I'll take it on board, at the same time I like the impressionistic feel to it and I'm not sure a subject like this could be treated thoroughly, let alone in the space of a few hundred words. Also, I can see why you'd want more musical description but to me the closing section is more than adequate in this role.
Then again once I've implimented the other changes I might feel differently.
Time to pack a bong and get writing again.

Thanks for the reply and the feedback Grave_Wyrm. Maybe we could discuss it more in PMs? I've a few things to say which you'd likely have more to say to in turn and I'd rather not derail any threads.

Sure, let me know.

My review was rejected, i would like some help since english is not my main language. Thanks!

Since the 90s, Metallica is attacked by severa oldl fans, including the old school ones. Albuns like “Load” and “ReLoad” were a full depart from the Thrash Metal sound, which made some fans ignore some hidden gems in those albuns. But, let’s be honest: those records suffered from several filler songs. “St. Anger” was a controversial release, with a poor production and very strange decisions. “Death Magnetic” was a great album but was cursed with the Loudness War.


Now, in 2016, we received “Hardwired... To Self-Destruct”. The album represents an evolution of the 2008 “Death Magnetic” mixed with different Metallica eras like “Kill ‘Ell All”, “...And Justice For All”, “Load” and the self titled album, known as “The Black Album”.The album opens with the already known “Hardwired”, a tune that rescues elements from “Kill ‘Em All”. It’s a fast, thrashy and agressive song with the Metallica trademark. Next, we have “Atlas, Rise” a song that pays respect to one of their greatest influences: the NWOBHM (New Wave Of British Heavy Metal). With guitars that would make Iron Maiden proud, they deliver an interesting and full of energy track. Coming up next, we find “Now That We’re Dead”. This song sounds like “Sad But True” because of the influences of “The Black Album” and sure will be played in live shows because of the sing along catchy chorus. Then, we have the already released “Moth Into The Flame”, a song that rescues the “...And Justice For All” sound with James delivering a great vocal performance and Lars doing a great job that i dare to say one of the best in his 20 years at the band. The song “Dream No More” is a surprise. It mixes the “Load” era feeling with Black Sabbath lines. With dark lyrics about the Cthulhu mythos, Metallica makes an incredible heavy track almost going to the Doom Metal. The first cd closes with “Halo On Fire”, a semi-ballad that delivers one of the best vocal performances of James Hetfield and a great solo by Kirk Hammet.


The second cd opens with “Confusion”, a song that deals about the traumas of war. It is sad, heavy, interesting and has some of “The Black Album” elements in it. “ManUNkind” is a song with great bass lines by Trujillo, with the open section remembering a little “My Friend Of Misery”. Probably, a song that won’t grow you at the first time, but listen to it a few times to get the idea of the catchy chorus and the really cool rifs. “Here Comes Revenge” is a pure heavy metal tune that looks like that came straight out of “The Black Album”, it is a simple heavy song that fits the album. The next track “Am I Savage?” has a “Am I Evil?” feeling, which means great chorus, riffs and dark lyrics. “Murder One” is a pretty beautiful tribute to Lemmy Kilmister, that passed away in the last December. The song has a melancholy vibe and lyrics that fit the song. Wherever Lemmy is, he is proud of his boys. The closing track of the album is their best tune since the 80’s. “Spit Out The Bone” has all the elements that made a Metallica fan fall with love with them: pure thrash agression with great melodic elements in the middle. The band sounds more agressive than never.


The third album has a new version of the already released song “Lords Of Summer”. It has different lyrics, it is shorter and most important: better. Much better and fits the album perfectly and can be considered one of the best tracks of this work. The next 3 tracks are covers. The first one is a Rainbow cover called “Ronnie Rising Medley” with Metallica delivering a great performance that would make Dio extremely proud. “When A Blind Man Cries” is the weakest cover of the three, but still an interesting track with a great vocal perfomance of James Hetfield. The last cover is “Remember Tomorrow” with a great performance of the entire band. The next tracks are from live shows. Like always, we find a Metallica full of energy.


The veredict of “Hardwired... To Self Destruct” is an album with a familiar sound and pushing forward to the future. We find epic tunes with melody and fury that only Metallica knows exactly how to do and several riffs that can be considered the best of them in decades. With almost four decades of history, they transcended the time to make their fans still curious about this release and delivered their best effort in almost 30 years. Long live Metallica!

Notes in spoiler.

Grave_Wyrm, thanks for the tips. I will try again, add some another ideas and fix other stuff. The "albuns/albums" mistake is because in portuguese the noum album is albuns in the plural, in english i just learned that it is "albums". The "old fans" i really didn't see. I will try again and post here. I really appreciate your help.

You're welcome. Thanks for taking all those notes in stride.


That's interesting. Proofreading must be rough when you're looking at a word that's correct, but is simultaneously totally wrong.

I tried again, hope that i did right now.

Metallica finally is back, after eight long years since their last record. In the year of 1991, with the release of their self-titled album, lots of fans despised the new sound of the band. In the following releases, the band decided to give up all the thrash metal roots and follow a hard rock with some southern rock influences, making another set of fans giving up of them and fueling the haters. In 2003, for St. Anger., the strange decisions of removing solos and raw production were considered a declaration of war against the fans. With a return to the thrash roots in 2008 with Death Magnetic, the band started following the right path to bring back their old fans again. With this release, they finally found the path to rescue the fans that were disappointed with the band. Hardwired... To Self-Destruct is their best album since 91 and their strongest effort since ...And Justice For All.


A great point to add about this album is how he is extremely varied. Do you miss the old agression from their early albuns? No problem, you can check “Hardwired” and the new thrash metal anthem called “Spit Out The Bone”. Honestly, i never thought that Metallica could make a song like this anymore. Songs like “Moth Into Flame” , “Halo On Fire” and “Atlas, Rise” show that Lars decided to have some extra lessons. We see a drummer trying to get out of his comfort zone that followed him through decades, a true surprise.
Are you a fan of the more heavy metal approach? No problem. Songs like “Now That We’re Dead”, “Confusion”, “ManUNkind”, “Here Comes Revenge” and “Am I Savage” will make you happy and with a lot of nostalgia. The song that really surprises here is “Dream No More”. The song can be described like a crossover of Black Sabbath and Alice Chains with lyrics about Cthulhu awakening. Metallica here has some Load and Reload sound but almost heading in the doom metal direction. They show here that you don’t need to be fast to be heavy. In interviews, Metallica always said how Lemmy inspired them, it is no secret for us. Like everyone knows, Lemmy passed away in the last december, so they decided to make a tribute to him in the song “Murder One”, entirely dedicated to him. Don’t expect a rock anthem in Motorhead style. It is a slow, heavy and melancholic song. A beautiful, simple and direct tribute.


The bonus cd of the deluxe edition has the new version of the already released song “Lords Of Summer”. The song has different lyrics, it is shorter, a better production and sounds more heavy and fast than the first pass version and fits perfectly the album. I would dare to say that it was a sin leave it out from the regular version edition as a bonus track. The covers are already known for being released before in tributes albums. The rainbow cover is called “Ronnie Rising Medley” and shows the band paying respect in a very decent and well done way. The others covers are “When A Blind Man Cries” from Deep Purple and “Remember Tomorrow” from Iron Maiden. They are pretty well played and mixed.


James Hetfield sings better than ever in this record, accepting his age and doing the best he can. Lars Ulrich shows an energy that we all thought that was lost with the past years. Robert Trujillo has a great performance proving to everyone that he deserves to be in the band but Kirk Hammet is the only guy here that decided to stay in the comfort zone. His solos are pretty commom but effective. Only in “Halo On Fire” and “Spit Out The Bone” we see him trying to do something more creativity but we can consider his job here more decent than on Death Magnetic.


The veredict of “Hardwired... To Self Destruct” is an album with a familiar sound and pushing forward to the future. We find epic tunes with melody and fury that only Metallica knows exactly how to do and several riffs that can be considered the best of them in decades. With almost four decades of history, they transcended the time to make their fans still curious about this release and delivered their best effort in almost 30 years. Long live Metallica!

Hi, I would like to make this review acceptable, so pleae give me some tips so that I can make this possible. Thanks in advance!

When it comes to cosmic black metal, Alrakis and Darkspace are the first bands that usually come to people's minds. Maybe not the precursors of this sub-genere, but definitely one of the standouts within it. While Darkspace displays a very aggressive and harsh style, venturing in the horrors and chaos of deep space, the German prefers to focus in the immensity and beauty of the unexplored universe.

In "Alpha Aeri", A1V majestically combinates the basic elements of ambient black metal with drone synths to create a space atmosphere without comparison. And that synth is without a shadow of a doubt Alraki's seal of identity, the key of A1V success in providing the listener such an awesome and fulfilling experience. The vocals are not the highlight of this album, they are effective, but nothing special, besides, they are only present in 3 of the songs, and even so, the instrumental parts occupy the majority of them. The drums and guitars are solid, placed in the background are a big complement to the songs with catchy and melodic riffs.

The production is not the cleanest, maybe the vocals could be a bit more sharper but, honestly, a very clean one wouldn't have worked as good. The tracks are perfectly placed, and in terms of efficiency, they come as one piece, perfectly connected and contributing to the listener's mood, so I'm not going to rate them one by one. Having said one, I can tell that my favourite songs (to pick some) are "Gas und Staub zwischen den Sternen", the most epic and captivating, and "M20", maybe the purest "black metal" song of it.

This is a must listen, a mesmerizing soundtrack to nothingness and a journey to the unknown. To some peaople this album may seem a bit repetitive as there isn't much variation between the pieces of music, but to me that is the charm of "Alpha Aeri", a magnum opus of this sub-genre.

And i need help, i still don't get it how to put italic on the cds name on the review...

PMed.

Quote this reply, and look at the formatting. Also, formatting options are offered in Full Editor.


Did you get a rejection message?

Notes in spoiler.

English is not my native language and I am not a skilled reviewer. I hope some of you will help me making this review acceptable. Thanks in advance.

At the time when I was listening to this album, I was staying in Norway. The eerie nature of this beautiful country was the perfect environment to feel the magic of the newest Zloslut spell (along with Paimonia, Kozeljnik and Ophidian Coil, my favorite black metal act from Serbia).

There is no need to introduce Zloslut because I did that in my earlier review (Zloslutni horizont – Donosilac prokletstva ocaja i smrti). The only new thing is that the band gained a full line-up now, so it’s not one man project anymore. “U transu sa nepoznatim siluetama" is their sophomore full-length offering and I’m glad that Utvara improved the things that critics indicated on the previous album (total running time to begin with). “U transu sa nepoznatim siluetama” reveals a newfound depth in Zloslut’s songwriting. With every next release, this band dive deeper and deeper into the abyss of their art exploring their artistic limits. It’s still black metal that doesn’t offer something new in musical way (I think that was their plan), but one can bet that in the sea of black metal bands I will still recognize Zloslut because they are able to build very authentic atmosphere which is complemented by the use of the Serbian language (Utvara definitely is coming up with the most sinister song titles ever!). In the first album the lyrics mainly dealt with depression, suicide and misanthropy but in this release the guys from the band decided to go one step further and explore the darkest secrets of mysticism and the occult. Speaking of lyrics, man, that is pure poetry. The band has improved so much in that area. Because I understand Serbian language 100% I can easily connect the spoken words with the music and experience the concept, but I’m not sure that the one who doesn’t understand this language could do the same thing.

The first thing that got my attention when I played this record for the first time was the almost perfect production. I’m saying "almost perfect" because of the drums. Yes, they were being played very good but at some points they are too much suffocated and you can barely hear them. During the slow and mid-tempo passages they sound perfect, but during the fast parts the snare drum is lost. This is an issue with the most underground bands that are trying to sound raw, but only few of them can overcome this problem. Same goes to the vocals. Utvara has rough haunting voice which must be used properly. The atmosphere is the strongest element of this album. Cold, sinister, hypnotic, melancholic, angry – you may use such words to describe it, and they all fit. “U transu sa nepoznatim siluetama” has many layers, on which Zloslut are building their story, music and atmosphere. There are plenty of fast and relentless episodes, as much as mid-tempo and slower parts - just imagine Judas Iscariot, Behexen, Sargeist and even early Taake, about that kind of atmosphere you will get by listening to this record.

The album starts with an ominous intro in which Utvara murmurs in “trance like” conversation with some ancient apparitions. The second song “Kletva ozaloscenog” is an 11 minutes beautifully crafted masterpiece. This song has it all – furious, slow, atmospheric parts. It’s obvious that this black metal giant was made very passionately and patiently. I like the whole album, but this song gives me the goosebumps. A very interesting part of “U transu sa nepoznatim siluetama” is “Transcedentalni ples ludila” (English translation: Transcendental Dance of Madness) – nearly 2-minute-guitars-only instrumental. Now when you know the translation, just use your imagination, it works perfectly if you let your intoxicated brain lead you through this. This kind of guitar-only instrumentals became a trademark for Zloslut and are giving an avantgarde sensibility to their releases. The album as I wrote is mainly influenced by the old school black metal bands, but that doesn't mean that Zloslut is not open for fresh ideas because throughout the album I can hear riffs that are recognizable for the contemporary black/thrash metal bands.

The strength and might of Zloslut lies in the ideology and visual expression (music counts too of course). They are one of those BM bands that get their art very seriously and full of passion. They stick to their ideals proudly and that is the most important to the underground black metal circles. “U transu sa nepoznatim siluetama” is an obscure death trip to the realms of mysticism and poetry. I recommend this one to all black metal fanatics out there.

I wasn't sure where to complain since I'm not even sure if anyone's going to read this. My review on Metallica's Hardwired...to Self Destruct had been pending for for days and during that time dozens of other reviews have been published here, even a couple reviews on the same album. Could it be that my review is somehow lost or is there something wrong with it? It would be nice to even get a rejection so that I could edit it. Why is it ignored? It's hard to imagine that there were so many new reviews that it would take days and days to get approved/rejected. I've made a couple reviews here before and it didn't even take a whole day. What's going on?

Reviews may take upwards of several weeks to get approved sometimes, plus the queue is grossly understaffed.

I'll get to the queue today. Rest assured.

Patience.

I PM'd this to a mod and I was told by said mod to post this here. Because he's the only one handling reviews right now apparently.

Generally Dia does a huge amount of the queue work, so yeah things can get backed up if he takes some time off or just doesn't feel like dealing with one review or another (I know I personally tend to just skip right over ones that were previously rejected by a different mod). There's no set time limit for reviews. Sometimes they'll get accepted in minutes and other times much longer. It's best to not really worry about it, the oldest ones are at the top, we can't lose something in the shuffle, for whatever reason yours just wasn't handled.

I feel bad explaining this while not doing anything for months though so I'll go check the queue right now and see what I can do to help.

Notes in spoiler.

I go back to the queue once a month and the amount of unreadable crap makes my blood boil. I'd love to help regularly but I want to smash my computer within minutes. Two reviews in and I understand why Dia is so fucking cranky.

"Unreadable shite" isn't a constructive rejection message. Unfortunately.

i have no clue what is wrong with this review, and as somebody who has psychiatrically confirmed ocd, i dont think im nearly as bad as whoever keeps rejecting this simple, passionate review.
Maybe one of you guys know whats triggering the OVERSEER.

Just listen to the first two tracks. If you are not amazed, then listen to them again, because you are wrong. The intro is one of the most evocative folk tunes i have ever heard. And when the metal hits, it does with some of the finest production the genre has to offer. The guitars sound great. The tremelos are searingly high. When the guitars get heavy they have a nice base to it, sometimes a real crunch, and the drums are explosive. AND THE DRUMMING... masterful work...
The sound of this record is overwhelming. With a soft bed of distortion almost always in the background, and at times synths and choruses as well, in a couple of tracks you even have Bells. The sound is just thick, weighty, and just extremely gratifying. And when the sound goes high, its like being suspended in air facing the cold sun, yeah the tension can get intense, and the pay-offs are rewarding. But a lot of the times these songs can be instantly gratifying, as i should have noted earlier, this is Melodic bm. This album is incredibly anthemic, full of soul.
The vocals are epic, and at times really mournful. Like the vocalist is trying so hard to overcome whatever it is he is saying... i do wish lyrics were posted, but its the sound that matters.
So many bm bands have tried to capture the essence of nature, of the wilderness, and Autumn Eternal has depicted it perfectly. I can't get the scenery of rolling hills and mountains, falling leaves out of my mind when i listen to this. As corny as that sounds, the record portrays it so genuinely.
One of the best aspects of this album is how memorable, and unique it is. It's not avant-garde, but it truly has a sound of its own. A sound i havent gotten from other records, it has its own character. Each song has memorable compositions, textures, and some have surprise instrumentation, effects, and vocal deliveries. This album Does not go stale for a moment. Each song is developed, and does overstay or understay its welcome.
Atmosphere- Perfect
Instrumentation and Composition- Perfect
Production- Perfect
Cohesiveness and Variety- Perfect
Vocal Delivery- Perfect
Everything feeds into itself, everything complements itself, and provides an emotional journey through Panopticon's land that i will love to return to time and time again... just listen to it already. Did i mention this is a one man project... HOW? great job

Thats it... yeah, pretty banal, whatever, ill just listen to the fucking record. god forbid i try to submit a simple review

Banal SPAG errors - present
Bad formatting - present
Checklist at the end - present
Your cum all over the album - present

That's about it.