Eluveitie is a folk metal band that has had its ups and down and experiments in the early stages of its career. The horrendous debut extended play Vên with its unbalanced genre mixture and terrible production was followed by the much smoother and more structured full length effort Spirit. Slania was the band's breakthrough record with a perfect mixture of folk instruments, inspired lyrics and uplifting melodies on one side and energetic guitar riffs and harsh vocals on the other side. The band then released a lukewarm acoustic record in form of Evocation I - The Arcane Dominion just to show its other side in form of the aggressive Everything Remains as It Never Was with its domineering death and thrash metal influences. 

While the band's early years were lacking balance, the Swiss collective found stability earlier this decade as it went back to the formula of Slania on Helvetios and Origins. Despite numerous line-up changes that almost destroyed the band three years ago and another forgettable if slightly improved acoustic record, Ategnatos also follows the path of Slania more than a decade ago. This record isn't bad but it is simply stated Slania 4.0. If you expected something new due to the numerous new musicians that joined the band three years earlier, you've got it all wrong. This is an Eluveitie signature release, no more, no less.

Objectively speaking, the record should appeal to fans of this band. The uplifting folk melodies in ''Ambiramus'' are still beautiful and the harsher tunes like ''Threefold Death'' are scarcely used and therefore quite efficient. The record finds the perfect balance between calmer melodic tunes and more energetic raw tracks. The songs however fail to leave a deeper impression and can't compete with the memorable material on Slania eleven years earlier. This release is missing the spark of creativity.

In the end, Ategnatos is a solid genre release that can be descried as routine job that fails to leave a deeper impression. I'll pass this release and would only recommend it to particularly faithful fans of the band and folk metal enthusiasts.

Final rating: 70%

Three years after the versatile predecessor The 2nd Law, Muse opted for a more contemporary alternative rock release with dystopian imagery in form of Drones. This already starts with the thought-provoking cover artwork. Opener ''Dead Inside'' starts with distorted electronic sound effects and a somewhat robotic instrumentation but Matt Bellamy's charismatic vocals add enough emotions to the tune to make the contrast sound truly intriguing. His vocals somewhat remind me of Michael Jackson in this song. The opener could be described as something the King of Pop could perform if he were to record a futuristic record.

Fans of the band's alternative rock sound might be afraid by the opener but while keeping a futuristic soundscape with emotional vocals, several songs have great rocking vibes as well. ''Psycho'' for instance convinces with distorted guitar sounds reminding of Black Holes and Revelations a decade earlier. ''Reapers'' is quite a potpourri that mixes futuristic electronic elements, danceable vibes and hectic hard rock guitar sounds that make for the record's most energetic tune. The dramatic conceptual tune ''Detector'' lets the band's Queen influences shine through while incorporating a balanced mixture of electronic and symphonic soundscapes.

Despite its conceptual dystopian approach and a focus on electronic soundscapes, Muse manages to keep things diversified, energetic and surprising. Almost each song has a great idea that makes it stand out as the group varies from laid-back ballads over danceable rock tracks to progressive alternative rock songs. Even the two short interludes blend in very well and keep the balance between conceptual guidelines and musical experimentation. Drones isn't as impressive as some of its predecessors at first contact but grows steadily with every spin and could be described as a very good alternative rock record in general and an average release by Muse's sophisticated standards. Alternative rock fans will like this output but those who aren't too familiar with the band should rather start with the similarly diversified but even more gripping career highlight The Resistance or the group's timeless breakthrough record Absolution that still represents the band's signature soundscapes best.

Final rating: 78%

Six and a half years after Manowar last released new material in form of the horrible The Lord of Steel, the band has decided to release what is supposed to be its final album in three separate extended plays to make more money. This release is the first of the trilogy and one has to wonder whether the band is ever going to bring the other two to life since it's hard to imagine any overtly positive reactions to this travesty. Those releases might just never come to fruition like the Asgard Saga in collaboration with Wolfgang Hohlbein that was supposed to be released throughout the past decade. Don't get me started on the old-fashioned misogynist cover artwork, the cringe-worthy lyrics or the sub-par production with loud bass guitar sounds and thin electric guitar sounds. Let's strictly talk about the four songs that are offered to anyone who is still willing to give this band that has overstayed its welcome by a decade and a half another shot.

''March of the Heroes into Valhalla'' is an instrumental overture with a weird break that basically separates the tune into two even shorter instrumental tracks. It's not the first time the band has done this as could be witnessed on the endlessly dragging Gods of War. The music manages to establish an epic atmosphere even though it would have had even more energy with actual orchestral sounds instead of keyboard sounds recalling scores for adventure video games of the nineties. One also has to wonder whether such a short extended play consisting of only four songs in total even needed an instrumental overture. The track is average, forgettable and you should skip it right away.

''Blood and Steel'' is an average mid-paced heavy metal tune with domineering bass guitar sounds, decently employed keyboard layers, thin electric guitar riffs and stoic drum patterns that don't impress much. The emotional, epic and skilled vocals by Eric Adams who is going to celebrate his sixty-fifth birthday this year save the tune from mediocrity.

''Sword of the Highlands'' is the best track on here and this above average tune would have even been great if it had been about two minutes shorter towards the end. The cinematic keyboard layers, smooth bagpipe sounds and diversified vocals make this gradually more intense ballad stand out. It's rather a song one would expect from other heavy metal bands like Grave Digger and it's interesting to see Manowar try out something new so late in its career.

Extended play closer ''You Shall Die Before I Die'' also tries out something new but that isn't positive in said case. That's actually an understatement. That might be the single worst song Manowar has ever written. Instrumentally, this song is unspectacular which would make this track boring and forgettable. However, the terrible vocal performance by Joey DeMaio makes this track unintentionally funny. He sounds like a grumpy grandfather who is about to have a stroke. The performance is somewhere between theatrical spoken word efforts and low growls that don't have anything to do with extreme metal but rather with a slightly irritated dog. The track could have been average if it had been sung by Eric Adams but nobody seems to have had the courage to tell Joey DeMaio that he was committing an atrocity. The unusual closer doesn't leave anyone wanting for more and should make most listener wish the band just called it quits already.

Manowar's The Final Battle I isn't a triumphant victory but a dragging defeat. The final result is painfully average and should only please to unconditional Manowar fans who would even praise the recording of Joey DeMaio's farts as masterful true metal. To be fair, this extended play is better than the vapid The Lord of Steel and the unnecessary new recordings of past records which makes this release the best since the Thunder in the Sky extended play ten years earlier. However, this new release is still worse than anything Manowar has recorded in the first three decades of its career which speaks volumes for the quality of the band's accomplishments for the past ten years. Manowar should just quickly complete its final tour and call it quits. Aside of delusional true metal followers who would like to be brave warriors surrounded by female sex slaves as the characters in Manowar's lyrics and on their album covers instead of having boring or no jobs and being domineered by people around them, nobody really wants to listen to any new Manowar material anymore.

Final rating: 45%

The cover artwork of Muse’s eighth studio record Simulation Theory makes me think of movie posters for cinematic blockbuster Ready Player One. Since the movie takes place in a dystopian future but references popular culture of the eighties, this comparison makes even more sense because Muse offers the musical equivalent of it. This record is an electronic rock record with domineering synthetic soundscapes and some references to experimental pop music of the eighties from Ultravox, Pet Shop Boys and Giorgio Moroder. 

While the band certainly explores new soundscapes on this record, it feels as if the trio were jumping the retro chic hype train. The combination of futuristic electronic elements and mellow pop melodies might sound intriguing at first contact but ends up sounding repetitive, formulaic and even lifeless. The last element is the record’s biggest problem as it sounds devoid of any emotion. There isn’t one emotive keyboard layer, gripping vocal line, passionate guitar solo, surprising bass rhythm or vivid drum pattern on this release. 

Aside of the facts that the popular British trio continues to experiment nearly twenty-five years into its career and that the record has a clear guiding line, there aren’t any positive elements to mention. This album sounds soulless to me. Fans of electronic pop music might partially like this record but those who admired the band’s past alternative and progressive rock soundscapes will be disappointed by this lifeless release.

Final rating: 20%

Inspired by the acoustic re-imagination of Dead End Kings released as Dethroned & Uncrowned, Katatonia went on a short acoustic tour playing in exotic locations such as London's Union Chapel where this release was recorded. The band didn't only feature songs from its acoustic album but performed tracks from many other records acoustically which gives them completely different soundscapes. Since it was a very short tour, it's quite appropriate to give fans all around the world the occasion to appreciate its moments of magic on screen.

The appeasing, melodic and timid guitar play, the smooth yet playful percussive work and the soothing and melancholic vocals complement one another and create an enchanting atmosphere in a beautiful building illuminated by candlelight in front of an intimate and welcoming crowd. Even though the band members were nervous performing such an unusual show, they pulled it off in a versatile way as this album might be the most technically impressive of the Swedish band so far. 

Even the session musicians and guest singer Silje Wergeland of The Gathering fame are perfectly integrated and harmonize with the core trio of Katatonia after some complicated line-up changes. 

The sound of the concert is crystal clear and the image quality is equally convincing. Pointing out any specific songs on this release wouldn't make much sense since the sum is greater than its parts. Be assured that all tracks have been arranged very carefully and that there is no filler material to be found.

This release also features a one-hour long documentary which actually consists of a very long interview with Anders Nyström and Jonas Renkse. Even though this feature might seem boring at first sight, the questions they are asked are quite intimate and interesting and show that the interviewer was perfectly familiar with the band history. The two musicians give careful but honest answers that will help the spectator learn more about the past, present and future of the band.

In the end, Katatonia's Sanctitude features an atmospheric, creative and skillful acoustic concert where the band pushes its boundaries and experiences a career-changing event. The acoustic album Dethroned & Uncrowned was already quite convincing but these live renditions of diversified acoustic songs are even more essential. It doesn't matter if you are a fan of rock music, metal music or even gothic music as this intimate release should definitely please your eyes and ears.

Final rating: 90%