Interview: Michael Stavrakakis (Doomocracy)

Earlier this year Doomocracy released their album "Visions & Creatures of Imagination" through Steel Gallery Records. I've now had the honor of speaking to vocalist Michael Stavrakakis about the album, the Greek scene and record collecting.

Interview conducted on 2017-08-15:

Hey Michael! First of congratulations on your latest album "Visions & Creatures of Imagination", you must be very satisfied with the response you have received at this point? I myself suspect it will place quite high on my best of 2017-list. 

Hey David, thank you for your kind words. Our new album "Visions & Creatures of Imagination" has indeed received wonderful reviews from all over the world. We've worked hard to compose and record this album and we are very satisfied with the reception of Magazines e-zines and fans. I think it is a step forward for Doomocracy to more heavy and eastern paths while maintaining the doom metal elements present at all times. We have been picked as album of the month in several important magazines so I do hope we will be in the top lists for 2017.

To my knowledge you are responsible for a large part of the songwriting for Doomocracy. Did you face any challenges with writing a follow-up album this time? It usually involves some more time constraints than writing for a debut that you basically could have been working on for several years even before forming the band. 

I write both music and lyrics just like every band member of Doomocracy. The music you hear in both of our albums is based on teamwork and everyone in the band helps with ideas, riffs, melodies and lyrics. The challenge we faced writing music for our second album was big, as I think our debut album "The End is Written" had set a high quality standard for Doomocracy. We did not rush (as you saw we released our second album two and a half years after our debut) as we wanted to promote our debut album in the best possible way, including more than ten concerts around Europe. When we started composing music for our second album, we were a bit stressed but in a good way, as to which direction to follow in order to compose a worthy successor to "The End is Written". So basically the challenge we faced was to take our music a step further in all aspects (compositions, production, promotion, artwork), a challenge which I think we faced in the best possible way. We spend many hours in the studio to work all songs to the final detail and I am confident to say that we have produced an album worthy and even better than our debut.

Your lyrics seem to always have a story to tell, among others I sense some Egyptian themes this time. Do you do a lot of research for historical- or mythological lyrics in order to be accurate? Or is it more often stories "out of your own mind" so to say?

For us writing lyrics is an important process. We don't just write lyrics to get the songs going. We have many lyrical concepts in the new album, but not a certain specific concept. In other words "Visions & Creatures of Imagination" is not a concept album, but contains different stories, some fiction and some experiential. We used themes from Egyptian mythology for the song "Lucid Plains of Ra", which is a very important song in our album, as it was the main influence for the album cover as well. The lyrics of the song were written by our guitarist Angelos Tzanis and I know that he did some research before writing the lyrics as he also loves Egyptian mythology. For the rest of the songs we have lyrics influenced by Greek mythology, religion and life itself with all its agonies and anguish.

You mastered the album at Morrisound Studios. A place I mainly associate with Savatage- and related projects and above all: death metal albums of the 90'ties, but not so much doom metal. What made you want to work with Jim Morris?

We mixed and mastered the album at Morrisound Studios with Jim Morris, a man who is responsible for milestone productions in heavy metal for major bands like Crimson Glory, Savatage, Iced Earth and of course Death. We love his mix in all those bands and especially in Death. Working with him was a learning process for us and we are satisfied 100% from the mixing and mastering process. As for the reason why we decided to work with Jim Morris other than his great productions overall... we actually wanted a different approach for our mix. Not that we weren't satisfied with the mix of our debut album, but we wanted to try a production that is less compressed and has a more live feeling to it. Nowadays most European productions seem to be over compressed and that is something we did not want for our second album, as like I said we wanted to give a more live feeling to the mix. With the great help and guidance of Jim Morris we were able to achieve this.

I'm glad to see that the album is released on several formats this time around, both digitally, on CD and vinyl. Particularly vinyl is close to my heart, is this something that you guys in the band pushed for? And are you personally a collector of physical releases as well?

We are trying to release our albums in all possible formats. There are people who download albums through iTunes, amazon and so on, so although it is not our preferred music format we wanted to include that option as well. Of course we released the album on CD, but our main passion and effort was, and will be to release our music on vinyl. We are all vinyl collectors and we love its sound and everything else that comes to owning an album in vinyl. I was personally touched as I just yesterday received the vinyl records for "Visions & Creatures of Imagination". From my point of view the new vinyl is amazing both in sound and artwork and is a must for every vinyl collector. We will always do everything possible to release our music on vinyl.

Speaking of the productions, and the vinyl format: have you done a dedicated vinyl mastering for the album, or is the mastering for the CD- and digital platforms fit to be used on the LP as well?

We discussed this with Jim Morris and he told us that the mastering he did is ideal both for CD and vinyl. We did a test pressing just to make sure that the sound would be good, which it really was. So we used the same mastering after all.

Is there any releases in particular that you collect? Bands, genres, albums from certain regions, or do you just in general prefer to have your music collection on physical formats?

I collect all kinds of good music, especially heavy metal of course. But I don't just collect doom metal albums for example. I don't buy music in digital format and I usually buy the vinyl version of an album, unless there is no vinyl version so then I buy the CD to support the band.

Are you happy with the way your label, Steel Gallery Records, have handled your releases so far? Can we expect to see you continuing to work with them? Must be nice being signed to a label in your home country. 

We are very happy with Steel Gallery Records, which is why we chose to renew our contract with them. Working with a Greek label has many benefits as by doing this we are also supporting the Greek heavy metal scene, but we also have great communication with Kostas Athanasoglou, Steel Gallery's owner which is a crucial factor for us in choosing a record label and Kostas is doing everything he can to promote our music. If we receive a better proposal from a bigger record label we will discuss it within the band, but for the time being we are very satisfied with our current record label.

People seem to have a tendency to throw around Candlemass-comparisons when speaking about Doomocracy, but I think there is more beyond that. Do you think that you guys have any influences that usually go over the head of the press and first-time listeners? Be it influences from other bands or anything else. 

It's natural for people who have not listened much to doom metal music to just say "these guys sound like Candlemass". By all means it is not a bad comment to say that we sound like Candlemass, as they are one of the best doom metal bands of all time. Just as Candlemass's main influence was Black Sabbath or Trouble for example. People tend to do this: Instead of describing the music, they just say “they sound like this or that”. It's the easy way. People who have listened to a lot of doom metal music understand that, of course we are influenced by Candlemass and Solitude Aeturnus (and many other bands) but we have developed our own personal style in sound and compositions taking our music a step further. The more albums we produce the more this will be more evident. It happens with all bands you know… with their first albums people compare them to other bands. But as the bands produce more albums they develop a more personal style, so fans-critics stop doing this.

According to the information I've found online Doomocracy is your first venture in the realms of metal, have you been involved in any other musical projects that have released albums before?

I was involved in some Greek cover bands in rock, metal, funk and blues music. After a while I recorded an album with a Greek alternative metal band called Master Reset, which started with a different more progressive metal concept but developed into a more modern style. So right after the album release I quit the band to find another music direction. Thank God, I met my good friends Minas Vasilakis and Angelos Tzanis (Doomocracy's drummer and guitarist) and we formed a new doom metal band called Doomocracy!

I can't say that I'm very well versed in the Greek- or Crete scene. Do you have any bands, present or past, from your area that have inspired you? If not musically, in any other way. 

We have some great metal bands in Greece and the Greek Metal scene is going through a long spring period the last years. Just to name a few bands you might already know: Sacral Rage, Dexter Ward, Wardrum, SiXforNine, Pulse R, Diviner, Inner Wish, Suicidal Angels, Immensity, Exarsis and many more. You should really invest in the Greek Metal scene as you will find many gems in all genres. In Crete we had some very good bands but right now they are all in quiet mode. Still be aware for new releases by Winter Crescent and Chaos Eternal in the coming future.

Thanks you very much for your answers Michael, I hope to hear more from you and Doomocracy soon! Is there anything you would like to add?

Thank you very much for this interesting interview and your support David! Be sure to check out the vinyl release of our second album "Visions & Creatures of Imagination". We will tour Germany in December 2017 so we hope to see our fans there. We are already composing music for our third album and it sounds really good. So be assured Doomocracy is here to stay! Thank you for your support! See you on the road!

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Doomocracy - Visions & Creatures of Imagination (Steel Gallery Records - 2017)

Doomocracy from Greece deals out a brand of very melodic, and somewhat progressive, doom metal with a lot of eastern-sounding melodies and atmospheric keyboards. "Visions & Creatures of Imagination" is a step-up from their debut in 2014 when it comes to song writing and shows promising development for the future.

I own Doomocracy's debut "The End is Written" on both CD and on a signed LP that I proudly display even if it was quite badly damaged while shipping. I always prefer to own an LP if available, and only bought the CD because no vinyl was available at the time. This time however I am waiting for the vinyl to release as it was announced at the same time as the rest of the versions. My digital copy has had serve as a stand-in though as I could not wait to hear if "Visions & Creatures of Imagination" has taken the band on the path I desired, hoping for more memorable songs rather than a few that stand out among the many.

Opening track "Ghosts of the Past" sets the bar really high for the rest of the album, immediately showing which type of melodic riffing we can expect from the band. The song features incredibly heavy drumming from Minas Vasilakis, who throws in rapid kick-bursts leading into the hits, creating that dragging sensation while still being completely on point. Michael Stavrakakis's vocals soar above the very rhythmisized riffing, gluing it together with long notes and languished vocal melodies. This is a very catchy number, with each riff being "hummable" and memorable and I can imagine singing along with the "aah-aah" part in the middle of the song at live shows. To my knowledge the track features keyboards arranged by Miguel Robaina (ex-Memento Mori), either way they add a lot of atmosphere to it.

"Lucid Plains of Ra" dives even deeper into the experimental rhythms and progressive realms after some oriental instruments has set the tone of the track. The hi-hat work is extremely well done and the kicks are well coordinated along with the bass lines in the intro. Michael offers shorter vocal lines in the verses here, rather enhancing the unorthodox rhythms than gluing it together as with the opener. It's all very precisely played and doesn't get so progressive that it's hard getting into or to enjoy, a very thin line that has to balanced between showing off your skills and creating enjoyable music instead of masturbatory self-indulgence. The track climaxes at the four minute mark where a well executed falsetto scream leads into the solo, and what a solo it is! If guitarist Harry Dokos or Angelos Tzanis is responsible I do not know, but the solos on this album are fantastic, carefully balancing the same thin line as just described above.

Opening with a heavy break interlude with harmonized guitar leads "My Bane" sounds like something you could have found on the last album by Solitude Aeturnus in 2006, the same type of leads and rhythms that I associate with the band are used here. The verses take a step back to simpler, chugging guitars. A welcome break from the tracks that have demanded more from the listener, with less layers to the music you get a chance to lean back and nod along to the riffs. Doomocracy makes sure you don't loose focus for too long though, as they make a point of fooling you that the song is over before once again diving into chorus a final time. Overall a simpler track, but no less a great one.

Doomocracy decides to put the "epic" into "epic doom metal" with the intro of "One with Pain", which completely crushes the listener under the weight of planet-sized meteors crashing into the earth only to lead into a freight train of a double bass riff. This track reaches over eight minutes and fits its demeanor of anguish just right. The chorus riff is slow and heavy, with a unison attack of all instruments. The lyrics does however rhyme in a way that feels a bit shoehorned, but the overall power of the chorus is not lost. After a short clean interlude, the track leads into another of my favorite solos on the album. The outro/final chorus of this track takes two minutes to get through before it fades out... as already stated: Epic.

"Guardian Within" somewhat of a power metal-feel to it, with mid-temp galloping guitars and many melodies thrown in. Once again the lyrics rhyme in a way that makes me feel a bit uneasy though. I can imagine that this track would work well live as it is rather short (for doom metal) and shakes things up a bit, and putting it here after the longest track on the album was the right choice. It is however the most skippable track on the album, one has to be right?

Title track "Visions & Creatures of Imagination" opens strongly with Doomocracy demonstrating all that I have previously commended them for, also with a church organ adding to the weight of the riff. Once again they make use of interesting rhythms, this time much heavier though with the guitars and drums sounding like they're limping forward as if wounded while the vocals soar above. Michael seem to have gained more control over his voice since the bands debut, and nowhere is it better showed off than in this track. The bridge quickly jumps into more up-beat drums before a chorus worthy of a title track. Worth mentioning is that someone made the wise decision to dust of their wah-wah pedal for solo as well, which is done way too little dese days.

"Trinity of Fates" takes a more classic approach to doom metal, with a dead heavy main riff that is later stripped down to the bone once the vocals enter, only to reappear again later. The snare drum patters on a marching beat in the background, where the dynamics between a hard hit and the softest strokes well audible and shows that Minas has a good ear this kind of playing. As well as that the production has had to have this in mind while mixing the drums. After all, conveying emotion from just a snare drum would be hard if it was triggered or compressed to oblivion. The chorus is delivered with an admirable passion, and is probably one of my favorites on the album. The song ends way before I am finished listening to it, meaning that I usually have to give it another spin before moving onward to the last track.

Closing the album is "A Taste of Absinthe" and finally bassist Manolis Sx gets some room, albeit for a short while. I can't seem to say enough that the bass should be mixed louder in almost all albums released these days, especially if you have such a nice tone as Manolis has here. I have had a different experience with the bass though where it is much louder on certain sound systems, for example in my car, rather than in my headphones. It's always a hard thing to get mixes to sound the same in different systems. This is a dreamy track which features a lot tom-work from the drums, the vocals are very soft and the bass plays a couple of leads in the background before the somber chorus kicks in. "Visions & Creatures of Imagination" does not end with a bang even if this final track picks up the tempo later in the middle. It rather slowly drifts away, and I guess that was what they were going for, to create and album that you should best enjoy while sitting down and having a proper and dedicated listen. If so they succeeded even though I think "Trinity of Fates" would have been a more effective finish.

Verdict:
When you spit out the term "epic doom metal" most people will immediately think of the mighty Candlemass, and rightfully so. Doomocracy however has taken somewhat of their own twist on the genre to revitalize it and avoid becoming a full-on clone. Taking a few tricks from bands like Tad Morose and maybe Savatage they have created something that sounds like Doomocracy. For the sake of this review I have listened extra closely to the album, and it has actually grown from the process as there are many layers to the music to explore, rather than become boring after multiple spins. "Visions & Creatures of Imagination" demands a lot from the listener, especially with a playing time of more than fifty minutes, but it is worth it even if a small amount of fat could be trimmed off. I sure do hope that Doomocracy does not end up as overlooked as the bands that seem to have inspired them, I for one will be buying the LP once it is available. Depending on how the album holds it's own during the months to come, this is a strong contender for the end of the year lists. "Visions & Creatures of Imagination" earns 7,8/10

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Monasterium - S/T (No Remorse Records - 2016)

Monasterium is the side-project of a couple of the mysterious members of Evangelist and both these bands feature many of the same elements. What Monasterium has to offer that Evangelist has not got already is a slight pivot towards the realm of heavy metal, not a far leap from the safety of Epic Doom Metal, but an ever so effective one non the less. This self-titled debut starts- and ends strong, with a slight dip in the middle and features very fine bass work throughout.

I've been a fan of Evangelist since the release of their second album "Doominicanes" in 2013, and have been eagerly awaiting a follow-up as I felt that album was stronger than their debut. While I don't know how many of the Evangelist members are involved in Monasterium, other than that they obviously share the same vocalist, due to Evangelist deciding be one of these anonymous acts of late. I was still excited to see a new album released from the same creative minds.

Monasterium sure chose the right song to open the album. "Christening in Blood" is a very effective number with incredibly heavy riffs that even manages to get to the first chorus before the time meter hits the minute mark, a remarkable feat for a doom metal band if anything. It also doesn't take long to hear that vocalist Michał Strzelecki is an obvious fan of Messiah of Candlemass fame, and no one can blame a doom metal vocalist for this. Though Michał's vocals does sound a bit "throaty" and almost at the brink of being strained at times. Luckily he seems to be very aware of where his limit lays and never bites of more than he can chew, even though it sounds like he is very close to at certain times. When he hits the notes in the line "a lost offering of life" in the chorus, it is with a great passion and seriously goose-bump inducing. A special mention needs to be made of Filip Malinowski bass work as well, who doesn't fear doing his own thing behind the wall of riffing guitars instead of just following the rhythm guitar, neither here or in any of the other songs. Which is something that plagues doom metal of this type, and metal in general. Filip does instead seem to have taken a page from Geezer Butler's great book of bass playing, rather than Leif Edling's (there's truly enough of Leif to be heard on this album anyway).

"A Hundredfold Cursed" opens with power chord riffing, and we get better insight in the instrumentation that Monasterium has to offer with a dynamic shift into the clean verse, with even more great bass lines. The drum production fits this dynamic composition very well, and has a sound that can carry both heavy riffing, clean interludes and double bass lines, all demonstrated in this song. The chorus here is far from as powerful as the song before, but somber and languishing, even more so towards the end of the song where they scale things down to bare minimum. I tend to more often get the double bass riff that follows the chorus stuck in my head rather than the actual chorus.

Dirty sounding guitars lead into "The Pharisee's Tongue", playing a dissonant chord before proceeding into another power chord onslaught. This song has a good drive to it, and features exciting drums  and energetic vocals in the verses, I am however not a fan of the dissonant elements to the guitars in this track, which kind of kills it for me. The guitar solos could also use some work, as they get the job done but doesn't really raise any eyebrows neither here on or the rest of the album, with a few exceptions.

Tribal drums echo under ominous synthesizers as we enter "In the Shrine of the Jackal God" and are treated to the heaviest riff on the whole album. Monasterium then dives into an oriental sounding heavy metal riff that fit's the theme of the track just perfectly. And when the first word of the line "twelve names of the demons" hits, shivers run down my spine. With a bit more energetic chorus this would have bumped down the opening track as my favorite track on the album, but now falls a bit flat. The guitar solo on here reaches the highest point of the album, with some extra harmonies and even more middle-eastern sounding melodies. Guitarist Tomasz Gurgul seem to do his best lead work when keeping it simple and effective.

Things pick up again with the monumentally titled "In Hoc Signo Vinces", another track leaning toward the heavy metal-side of things with a jumpy riff and somewhat upbeat attitude. The lighthearted demeanor is quickly rectified though when the crushing verse rumbles into the song like a slow-motion avalanche. What I have yet to mention is how much I like Monasteriums lyrics, which are very well written. Especially in regard that English is not their first language, or is even taught in regular school programming in Poland to my knowledge and speech in foreign movies is overdubbed to Polish.

"I will tremble the walls of Rome, in the Orient I will raise my throne
All the west I reclaimed and Byzantium shall carry my name
Apparition in heaven above, divine light descending like a dove
This God I invoke, to perdition I sentenced my foes" 

That's some well-written stuff if I've ever seen it. This song has an excellent chorus, beautiful clean interludes and a short and effective solo, even if Tomasz tries some flasher stuff. Do yourself a favor and go listen to it, as it is available for streaming both on the Monasterium's YouTube channel and their bandcamp page.

"Moloch's Uprising" takes the tempo down again into doomier realms, but sadly disappears a bit among the other strong finishing tracks on the album. However, since this is not an overly long album, which actually clocks in on the rather perfect forty minutes and the song itself is the shortest on the album it doesn't disrupt much and gives you a chance to take a breath and gather your thoughts before the finish. "Moloch's Uprising" feature parts that are what I usually call "Iron Man-esque" where the vocals and guitar work in unison on the same melody, this is something that I rarely appreciate. Luckily the whole song is not written like this.

Finally we ascend "Into the Mountain of Power", a Conan - The Barbarian inspired number (the movie, not the short stories), and I am all for that. A bass intro leads into this full blown heavy metal epic, which draws to mind Manowar's more grandeur moments, like "Gates of Valhalla", "March for Revenge" or even "Battle Hymn". Michał even gives his best shot at a falsetto scream á la Eric Adams in the end, which I would gladly welcome more of. Drummer Maciej Berniak experiments with some interesting tom work and syncopation in this track, and it all feels very tight and like the instrumentalists are well rehearsed and aware of what the other guys are doing instead of just focusing on their own parts.

Verdict:
Lets call this is a very good "debut" from Monasterium, even though at least some of the guys have released albums together in the same genre before. It features a very good production overall with a clearly audible bass (thank the gods of doom that we don't miss any of these bass lines), excellent drum sound, clear vocals and crisp guitars. The lyrics are very well written, although Michał's accent takes a bit getting used to if you haven't listened to eastern European bands before. The guitar solos could use a bit of work from time to time, but always gets the job done. No one can complain over the quality of the guitar riffing and song composition though. Monasterium's self-titled album shall conquer in the sign of: 7,8/10

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Below - Upon a Pale Horse (Metal Blade Records - 2017)

 

Below plays Epic Doom Metal in the vein of bands like Candlemass and Solitude Aeturnus. "Upon a Pale Horse" is their second full-length album, and offers some improvements in certain fields. If the album manages to grow over time in the same way as the debut, the minor problems it suffers from will be all but forgotten.

 

I really enjoyed Below's debut "Across the Dark River" which had a few songs at really grabbed me right away on my first listen, and the rest grew on me a lot as time passed. I was naturally quite looking forward to the follow-up, having pre-ordered the silk-grey marbled vinyl as soon as it was available. So, how does it hold up?

"Upon a Pale Horse" opens with an ominous intro, clocking in at just over one minute, while it sets the mood just fine for the music to follow I cannot say that an intro of this type is something I listen to more than the first time playing the album. Even lifting my tone-arm over it when playing my LP.

The album then descends into the real opening track "Disappearing into Nothing", which was released as a music video before the album release. The track has a great chorus that will get stuck in your head immediately and the song is fairly representative of what this album has to offer, with heavy riffing and soaring vocals. The first thing that strikes me is that Zeb's vocals have improved quite a bit since the album before, and they were pretty damned good already back then. He seems to have mainly developed in his high register, delivering several high pitch-perfect screams throughout the whole album that lends a power-/heavy metal approach to his vocal style, which is a welcome addition as he doesn't go overboard with it either. This goes to show that there is always room for improvement, and came as a happy surprise. The guitars have a huge and hollow sound that fits the style perfectly, and the overall production is an improvement from last time as well. Very warm sounding without becoming muffled.

If there is one qualm I would have with the production though, and this is a minor one, it would be the drums. In this day and age of drum triggers and precise compressors it's hard to say, but either the drums are triggered (albeit, quite tastefully so with good sounding samples) or Doc is a very hard-hitting drummer. Now, being a hard-hitter is a good thing, but in this type of dynamically written songs I would like for it to not sound like the drummer is trying to pound the snare into dust while the guitarists are plucking cords on clean guitars and while vocals are more laid back. This is best represented in the following track "The Coven". I do believe this is a production issue, because I hear a lot of tastefully played ghost-notes on the snare in this track as well, but I miss a little of the "middle ground" between ghost-notes and pulverizing blows on both kick and snare as I don't get the same impression from the toms.

Sadly the title track "Upon a Pale Horse" is the one I had the hardest time getting into. The verses are fine and have nice interludes between the vocals with some really stable kick-drum work and the bridges are epic with church choir-like vocals. But there is something awkward about the chorus to my ears and it doesn't quite stick to my head. This track clocks in at over nine minutes, which is fitting for a song about the end of the world, but I must admit that this is the track I have skipped the most on my several times listening to the whole album. A sad fate for a title track indeed, though things are about to pick up after this.

"Suffer in Silence" is a up-tempo offering (at least by doom metal measures), and the whole of Below really shines in this track, the drums are coordinated with a stable bass line and driving the track forward with some really cool hi-hat work in the bridges. Berg and Paud play interestingly colored chords in the verses while Zeb gives it all he got, later going in to a perfect doom metal chorus. The track finally ending with one of the aforementioned high pitched screams, just perfect.

The song seamlessly transfers into "Hours of Darkness" without the listener noticing, pulling the tempo down again when the unison verse kicks in, drudging onward relentlessly. A very melodic refrain is offered with high quality vocal melodies over some as good guitar leads. To top the track off we are also treated to the best guitar solo on the album, I am however unaware if it is Berg or Paud who is responsible. The song fades away with a kind of cheesy "Yeah, yeah, yeah, yeah" that I could live without, but it's a small price to pay for a track of this overall quality.

The absolute highlight of the album is the heavy-as-a-truck-of-bricks "1000 Broken Bones", the lyrics are ferociously spat out over a catchy riff, and the church choir from "Upon a Pale Horse" makes a return with the same epic results. The track might be a bit repetitive, but if you can't handle that you are probably not into doom metal. It's simple and effective, even utilizing a key signature increase towards the end.

For me personally, the album could have ended here and I would have been fully satisfied. But we get one final offering with "We are all Slaves" which picks up with some clean guitars. That the guys in Below are fans of the Tony Martin-era of Black Sabbath is no secret, having been stated in interviews and with them even playing a cover of "Headless Cross" at live shows. This is very apparent in the vocal delivery in this intro, just listen to the phrase "The faceless masters pulling strings" and try to say that that sliding glissando and vibrato is not straight from Mr. Martin's songbook. This is a somber track, and the band gets a tad political with addressing the problems with todays society in the lyrics. The chorus is grand, but much in the vein of previous songs, and we get another fine guitar solo before the song descends into a two-minute outro.

Verdict:
"Upon a Pale Horse" is a fine album, and earns the same score I would give "Across the Dark River" after the album has had the chance to grow on me for three years. Meaning that if this latest album from Sweden's Below manages to grow in the same way during the year we have left it will be a strong contender when the summary of 2017 is to be made. Even with some very minor hiccups in the production, and some parts I found to not be as catchy as others "Upon a Pale Horse" earns: 7,5/10

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