Album Review: Quayde LaHue - Love Out of Darkness

As with the two EPs they released in 2016 and 2017, Quayde LaHue’s first full-length album skirts the line between hard rock and classic metal. The overall mood has a metallic coldness similar to that of Sanhedrin, but the songs themselves generally opt for breezy tempos at an often-easygoing pace. There’s a heavy emphasis on melody executed with a certain sass that sometimes feels like Thin Lizzy as fronted by Heart’s Ann Wilson.

The musicianship also has a certain conviction that sets Love Out of Darkness apart from the band’s EPs. You won’t find too much double bass work or overtly aggressive gallops, but the drums hit hard, and the guitars put in plenty of active chugs and twin harmonies. I can also appreciate the slight snarl behind the vocal delivery, especially considering the woman scorned narrative that flows throughout. It might’ve benefitted from even more oomph, but the execution is tasteful as is.

There’s also some considerable variety in the songwriting. The upbeat “Give Me Your Love (Don’t Take Mine)” makes a solid first impression, but the fuzzy wash over “Heart of Stone” and the mid-tempo “Warrior” are even more effective contrast. I also appreciate how the last three songs form a semi-suite as “Fallout” sets up an ominous attitude that is played up even further on “It Still Burns” and reaches a speedy climax on “Right to Rock.” The light, grungy tinges of “Before the Storm” make for an odd outlier at the album’s halfway point, but it’s serviceable.

Overall, Quayde LaHue’s first full-length makes for some enjoyable hard rock swagger. It has old school elements without feeling too much like a throwback and the songwriting is fun without being too mindless. One gets the sense that these songs sound even better live but there’s enough weight to keep things from sounding toothless. The band likely has stronger efforts in their future but is clearly taking charge to see them through.

Highlights:
“Heart of Stone”

“Warrior”

“Widowmaker”

“It Still Burns”

Final Grade: B+

Album Review: Terminus - A Single Point of Light

Most bands tend to start with a couple core members and expand their lineup over time, but the opposite seems to have occurred with Terminus. What started as a quintet on 2015’s The Reaper’s Spiral has come down to a duo on their second album with drummer David Gillespie handling all the instrumentation and James Beattie providing vocals. Terminus remains not only undeterred in delivering their epic metal vision but might’ve actually improved on A Single Point of Light.

Thankfully the lineup shift never feels like a downgrade as the musicianship is sufficiently competent. The guitar tone has a grainy edge and the drums have an odd echo, but the actual performances are very natural. You wouldn’t guess one man is performing all the instruments as the harmonies are smoothly integrated and the rhythms have plenty of power behind them. It also helps that the vocals are in the sweet spot where they’re blunt without being one-dimensional and varied without showboating.

The songwriting is also pretty solid with songs consisting mostly of up-tempo gallopers. I find myself wishing some of these tracks had more breathing room but “As Through a Child’s Eyes” and “Cry Havoc” get in some memorable vocal lines. The album is at its best when opting for more mid-tempo pacing; “Harvest” is an early highlight thanks to its fluctuating march and the closing “Spinning Webs, Catching Dreams” puts in the sort of sprawling stride that would make Solstice proud.

When considering the circumstances of its conception, Terminus has a strong showing on their second full-length album. As much as I would like the hard-hitting riffs and rhythms to translate to more impactful hooks, the musicianship is undeniably powerful. The group isn’t quite at the top of the epic metal food chain but they’re definitely keeping up and could offer something even better. Fans of groups like Gatekeeper and Atlantean Kodex will find a lot to enjoy here.

Highlights:
“Harvest”

“Cry Havoc”

“Spinning Webs, Catching Dreams”

Final Grade: B+

Album Review: Lord Dying – Mysterium Tremendum

After two albums of solid but frankly one note sludge metal, Lord Dying’s third full-length dramatically broadens their sonic palette. The Portland group’s gruffer tendencies are still present but have been intercepted by progressive influences that seem to be taking more cues from Nevermore than High on Fire. There’s a massive influx of clean vocals and melodic guitar segments that allow the structures to work through a more dynamic spectrum.

This prog takeover may not lead to any elaborate shred-fests or unorthodox time signatures, but the band members have certainly upped their skills. The guitar work is easily the album’s most standout feature as the leads are gorgeously fluid, and the rhythms manage to keep their gritty weight despite the polish. The vocal shift is also quite welcome; guitarist/vocalist Erik Olson isn’t a powerhouse by any means, but his delivery mixes the clean and harsh elements with plenty of pathos. The rhythm section isn’t quite as flashy in comparison, but their presence makes for solid but flexible structuring.

While “Envy the End” starts things off on a driving note, the album’s songwriting takes a rather loose approach. There is a wandering character felt throughout as a majority of songs are driven by extended instrumental segments and meditative buildups. This could potentially make for a bunch of pointless navel gazing, but tracks flow smoothly into one another and the overarching themes of existentialism and death contemplations ensure a sense of direction.

And with that, there are plenty of distinct tracks on display.  The seamless transition from “Nearing the End of the Curling Worm” to “The End of Experience” is an early highlight. The two-minute tracks manage to put in some great variety as “Exploring Inward” builds into the Mastodon-esque “Severed Forever” while “Even the Darkness Went Away” has an almost campfire folk presence. But nothing tops “Saying Goodbye to Physical Form,” an emotional instrument that closes things out in gorgeously uplifting fashion.

Mysterium Tremendum is a fantastic sludge-prog album in its own right and a massive step up in Lord Dying’s trajectory. The band is near unrecognizable compared to their straightforward style on albums past, injecting a slew of new melodic elements but possessing the talent to use them tastefully. There is certainly room for fine-tuning the vocals and the free-flow songwriting method may take some getting used to, but Lord Dying is living up to their potential and then some.

Highlights:

“Envy the End”

“Severed Forever”

“Even the Darkness Went Away”

“Lacerated Psyche”

“Saying Goodbye to Physical Form”

Final Grade: A-