Words Of Farewell | A Quiet World | Album Review 2016


Words Of Farewell | A Quiet World | 2016


Label : AMF Records/Germany
Release Year: 2016
Country: Germany
Genre: Progressive Melodic Death Metal


Band Members

Alexander Otto – Vocals & Lyrics
Erik Gaßmus – Lead & Rhythm Guitar
Robin Dirks – Lead & Rhythm Guitar
Konstantin Voßhoff – Bass
Tristan Wegner – Drums
Leo Wichmann – Keyboards & Ambient

Contact Links 

Words Of Farewell Official Website

Words Of Farewell Official Facebook Page

Words Of Farewell Official Twitter

Words Of Farewell Offiicial YouTube Channel

AFM Records Official Website

AFM Records Official YouTube Channel


My first gateway into Melodic Death Metal came in 1995 at the expense of a damn good band called Dark Tranquility. They had been at the head of a new pioneering metal movement out of Sweden called Swedish Extreme Thrash Metal or Swedish Melodic Death Metal depending on who in this industry you ask. Anyway I remember the reoccurring power metal almost doom metal aesthetic it had going through it on the instrumental portion of the music. That would be met with a wall of almost blackened death folk metal vocal that ran side by side with the expert musicianship in the instrumental narrative.

Bands from Sweden such as Dark Tranqulity, Amon Amarth, At The Gates, Children Of Bodom, In Flames, etc… were all part of that Gothenburg Sweden sound that was taking the world in the first half of the decade of the 1990’s . Meanwhile you had the old guard of Grindcore metal in the United Kingdom in the form of Carcass, and later Norwegian Black Metal pioneers Enslaved starting to get more and more progressive in later years on later releases. It just seemed that once the Florida Death Metal scene with bands such as DEATH, Obituary, Morbid Angel, etc … gave birth to the genre as a whole many other parts of the world were placing their flavour and unique individual sounds on it thus making more melodic journeys with the sub genre.

The same can be said for Germany. Many of us who have been listened to progressive rock and progressive heavy metal along with death metal know that once it gets to Germany that it takes on a whole other sound and dichotomy that makes it uniquely German. Bands like the Scorpions, Accept, Helloween, Gamma Ray, Blind Guardian, etc … all have had one of the strongholds on metal particularly in power metal. Now marry the progressive, power and melodic death metal all into a well even balance with a German sound and it gives you a band like Words Of Farewell.

Taking every element from the Swedish Melodic Death Metal, the American Death Metal, the Power Metal of Germany with a taste American Progressive Metal of Dream Theater, Symphony X , Fates Warning, etc.. sound that is Words Of Farewell. In just about 10 years time Words Of Farewell have been able to take many forms of metal and blend them to a sound so distinct and unique you can tell it is Words Of Farewell and not another band out there. The music itself may be an acquired audio pallet however with the proper objectivity a traditional metal listener could absorb the beautiful audio assault provided by Words of Farewell.

Their most recent release from AFM Records titled A Quiet World, is a true tour de force and adventure into more and more melodic layers of melodic death metal. This is also one of the more progressive albums I have heard out of this particular genre or lot of music. With A Quiet World, Words Of Farewell also go into the realms of symphonic metal as well. In doing my research to prepare for this review I wen out and got a lot of the band’s earlier albums to listen in contrast to the current album A Quiet World. Where some bands may change their sound and call it ‘evolving’ Words of Farewell have truly evolved in their unique sound without losing any of the quality of the sound from album to album. The band has maintained and even improved on their sound to produce the best possible product possible to their fan base and future fan bases to come.

Let us look at some highlights off the individual tracks of Words Of Farewell A Quiet World.

My Share Of Loneliness explodes right away with a progressive frenzy of various time signatures and chord progressions that seem more rooted in progressive metal. The chord progression also resemble a light industrial passage that has been very popular in Germany for the last 30+ years. The vocal tracking takes a spoken word element about to enhance the narrative of the lyrical content. The vocals are also tracked with such fullness and brilliance that it gives the illusion of many vocalists involved in reality there is only one.

Gaia Demise begins with a balanced keyboard and heavily drum induced rhythmic section. Soon the vocals begin to play off the drum backbone and follow the rhythmic progressions. The vocal also carries the the track in its initial minute and is as much a instrument as it is a vocal telling a story. There is a wicked hesitation in the rhythm guitar narrative.

Gallows Frame begins with a very eerie atmospheric passage before changing gears into a heavily rhythm based chord progression. The vocals once again play a wonderful part in serving both as a narrative vocal and instrumental. The keyboard is also tuned to play a piano style synth giving the stringed section as much atmosphere as the guitar plays to the drum/bass rhythmic section. This track has a very brooding rhythmic section that generates a further heaviness to the song.

Limit Cycle starts out as a semi film soundtrack style in the guitar passage. Soon the drums come in with subtle beats. There is a steady progression towards a heavier chord progressive passage. The keyboards once again serve a a technical instrument and a piano passage. The vocal is more spoken word until about the 2:00 mark. Then the track takes a wicked step steady progression using both the drum and keyboard narratives as a backbone to the rest of the track. The band really establishes the vocal narrative both as a melodic and a spoken word narrative on this track. The vocal almost leans towards a alight black metal echo as well.

Zero Temperance begins with atmospheric synths combined with grity distorted rhythm sections joined by the stringed portion of the guitar playing as a rhythmic instrument. The vocals remain brutal. The drums have many signatures and time progressions. The band thoroughly maintains the vocal order playing more off the explosive rhythm sections over the stringed sections.

Momentary Life begins with a very on off time signature almost dabbling into Djent. The time signatures are all over the place on this while still remaining on point to the bands primary sound aesthetic. The band clearly has a cohesive vision throughout A Quiet World and this particular track serves as a affirmation to that main objective. There is even some clean vocals serving as echoes off the main grunts.

Oversoul starts with a thick synth atmosphere. That is soon met with a explosive rhythm section that remains a anchor for the atmosphere. The vocals on this one really assault the listeners senses almost in a surround sound register. Although they are grunts and growls the vocals are really thick in harmony. About the 2:35 mark the drums go into a insane blast beat with the vocals playing into a brief spoken word narrative. Much like the rest of the album the guitar solos are very front and center on this as well.

The Farthest Reach begins with a almost Symphonic metal progression with heavy multi stringed guitars and basses. This track is also very heavily industrial in its nature, almost in the vein of a progressive Rammstein. This track also has a heavy oriental middle eastern element within it as well.

This Shadow My Likeness is the epic on the album clocking in at 10:45. It begins with a actual rare piano passage. It is borderline baroque meets progressive metal. The guitar solos rest heavily more on the progressive metal side to enhance the melodic experience. This is one of those typical epics that have a lengthy build up throughout the track. At the 2:55 mark the track is finally joined with vocals. The frame up of this track does not depend on a solid full 10:45 assault. There are some nice breaks for the listener to digest what the audio pallet is being delivered. There is a heavy spoken word element throughout this track as well. The guitar solos show hints of a classical influence as well. There is a nice conclusion to this epic as well. There is a spoken word element that concludes the story at the end.

I believe Words Of Farewell have taken all their influences and forged their own distinct metal sound. They have clearly placed Germany on the map for Progressive Melodic Death Metal. They have not really replaced all the Melodic Death Metal that was pioneered in Scandinavian countries they have enhanced it and taken it into another direction of posterity and evolution. I do not do this lightly but I am giving Words Of Farewell’s A Quiet World a strong 5/5.

Red Bazar | Tales From The Bookcase | Album Review (Installment #49)


Red Bazar | Tales From The Bookcase 

Label : White Knight Records
Release Year : 2016
Country : United Kingdom
Genre : Progressive Rock

Band Members

Andy Wilson – Guitars
Paul Comerie – Drums
Mick Wilson – Bass
Gary Marsh – Keyboards
Peter Jones – Vocals

Contact Links

Red Bazar Official Website

Red Bazar Official Facebook Page

Red Bazar Official Twitter

Red Bazar On Youtube


I must admit Red Bazar have taken me quite a bit by surprise. They totally embody a vast ray of vintage 1970’s progressive rock influences and sound. They certainly have proven this again with their latest and most recent effort Tales From The Bookcase. They have brought a serious panoramic of various progressive styles from that era into the 21st Century with modern elements. Tales From The Bookcase is also their first effort with vocals on the album as the band is joined by the soulful Peter Jones on this one.

The bands panoramic sound ranges from Yes and Genesis on the ethereal end to King Crimson, Rush and Deep Purple on the heavier end. Much like Yes and Genesis the band has such lyrical elements to paint motion pictures on the tapestry of the mind of the listener. On the heavier end of Rush, King Crimson and Deep Purple they add that 1970’s almost proto stoner rock vibe. The band even goes into soulful vocal styles such as Paul Rogers of Bad Company.

Tales From The Bookcase is a thematic concept album where the album does not really take on a full concept but rather a common theme and thread. The come theme and thread are stories inspired by actually stories and events or the potential of them happening thereof. I will point out various highlights from every track of Red Bazar’s Tales From The Bookcase.

In The Beginning starts off Tales From The Bookcase with a very dark psychedelic passage. The synths remind me very much of Jon Lord in most Deep Purple Mark 2 albums with late 1960’s American Psychedelia in the fashioned of The Doors meets The Jefferson Airplane.  The guitar has a beautiful ethereal atmosphere to support In The Beginning.

Queen Of The Night Part 1 explodes in the progressive passage of early King Crimson meets Deep Purple Mark 2 with a very heavy rock progression backed by Peter Jones channeling his inner soulful Ian Gillian ,John Wetton and Paul Rogers. While some bands have chosen to go neo progressive, Red Bazar are not afraid to unleash a heavier sound. The listener will find this throughout Tales From A Bookcase. The rhythm section very brooding and heavily orchestrated especially towards the end. The bass sounds like a backing vocal at times.

Calling Her On begins with a very soulful and psychedelic vibe especially in the vocal department. Peter Jones is making himself a serious vocal force to be reckoned with about now in the album. The band relies heavily on heavy rhythmic guitar sections trading on and off. This track is one of many on this album inspired by a book or tale. Lyrically it is a introspective and personal reflection work. The track takes some nice breaks and allows the listener to breathe in the story both on the instrumental and lyrical portions.

City And The Stars opens with a beautiful piano passage with a very warm inviting vocal. This track takes on layers and atmospheres of guitar, bass and keyboard tracks making a very soothing performance and allowing the composition breathe. This track is inspired loosely by many various futuristic idealistic novels. The vocal harmonies are excellent. Towards the end the band takes a trip back into the heavy zone that is more of progressive hard rock.

Lights Of Home opens up with one Mr. Mick Wilson performing a rhythm clinic with the way his fingers dance of the bass to open the track. That is soon joined in harmony with a wonderfully warm lead guitar of Andy Wilson.  Soon Peter Jones joins in on vocals that take another dynamic. The crystal clear backing vocals run well in harmony to the lead vocals. Another dynamic of the track is actual guitar solo’s that seem hit and miss in progressive rock these days.  Another great dynamic to this track is all the vocal content that appears for a 12:22 track. Usually the longer the song the longer the instrumental. This however is not the case with this one. It balances as much lyrical content as it does instrumental.

Sunset For A New World starts you off with a beautiful semi electric guitar passage. This is soon joined by some very inviting and warm vocal harmony to perfectly accompany the instrumental. This track completely allows the listener to soak in the album as a whole with two more songs. The semi acoustic guitar in the solo brings this and the album to another dimension.

Almost Over appropriately title for the second to the last song. This one begins with a ghostly style vibe. The keyboards are great the way they can depict a foggy atmosphere before the guitar adds a layer of warm to the passage. Soon the vocal comes in pulling at the mind strings of the audience. This track is 11:00 solid minutes of various layers upon layers of instrumental and vocal elements. The harmonies tighten up a lot in this one. The solo around the middle of the track is one of tower audio assault blending the best of progressive hard rock with mild neo progressive influences.

Queen Of The Night Part 2  opens up with a sort of Peter Gabriel vibe especially with tracks like Games Without Frontiers and Excellent Birds with a lot more progressive meat on the marrow of the progressive skeleton. This track really starts out with such organic elements and adds to them layering time signatures and progressions with every passing second to minute. Between Queen Of The Night Part 1 and Queen Of The Night Part 2 here it can make for a wonderful surprise live if the band chooses to play it in its entirety. Queen Of The Night Part 2 builds and concludes the story with such grace and poise. There are so excellent breaks to allow the listener to really comprehend what the band is conveying.  The bass does a beautiful job as the backbone to some of the break passages.

I was very surprised by this album. Red Bazar made a excellent transition from being a total instrumental band to a vocal oriented progressive hard rock convincingly. With the band as a vocal oriented entity now I firmly believe that the band will be able to expand their fan base. Red Bazar are among some of the best modern bands that will be able to carry posterity in prog music to carry it well towards the middle half of the 21st Century. Red Bazar Tales From The Bookcase gets a 4.5/5.

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