Review by Adam M on August 13, 2012.

This is a varied and interesting Progressive album that has an innovative edge that pushes it above the various Dream Theater and Symphony X clones that plague the genre.

There is an operatic vibe to the vocals that gives the songs a flair that elevates them above much of the pack. The singing actually recalls Slough Feg as do the song structures to a lesser extent. There is a futuristic vibe to the proceedings here that makes them stick out from typical Progressive Metal. This makes for an album that has innovative elements as well. But it still could be pushed further. There are moments where the band seems too restrained and could be pushing their material into more compelling and adventurous directions, however. Some songs, such as the folky 'Oceans' stick out from the remainder of the material, but generally there are some high and lows on this album. The vocalist has a Power Metal flavour that is slightly annoying, but fits in well with the music mostly. Instrumentally, the band is tight and well versed, but not spectacular.

Overall, "Monolith" is a solid, but not special Progressive Metal album overall.

Categorical Rating Breakdown

Musicianship: 8
Atmosphere: 7
Production: 7.5
Originality: 8.5
Overall: 7.5

Rating: 7.8 out of 10

Review by Adam M on August 13, 2012.

This is a varied and interesting Progressive album that has an innovative edge that pushes it above the various Dream Theater and Symphony X clones that plague the genre.

There is an operatic vibe to the vocals that gives the songs a flair that elevates them above much of the pack. The singing actually recalls Slough Feg as do the song structures to a lesser extent. There is a futuristic vibe to the proceedings here that makes them stick out from typical Progressive Metal. This makes for an album that has innovative elements as well. But it still could be pushed further. There are moments where the band seems too restrained and could be pushing their material into more compelling and adventurous directions, however. Some songs, such as the folky 'Oceans' stick out from the remainder of the material, but generally there are some high and lows on this album. The vocalist has a Power Metal flavour that is slightly annoying, but fits in well with the music mostly. Instrumentally, the band is tight and well versed, but not spectacular.

Overall, "Monolith" is a solid, but not special Progressive Metal album overall.

Categorical Rating Breakdown

Musicianship: 8
Atmosphere: 7
Production: 7.5
Originality: 8.5
Overall: 7.5

Rating: 7.8 out of 10

Review by Tammy on May 8, 2002.

Rain Fell Within has come out with a second CD. “Refuge”, the dictionary defines it as, a place where one can find shelter or protection from danger or distress. In all honesty I need a refuge from this CD. Although I am not familiar with Rain Fell Within’s previous work, I do have to say that “Refuge” is a horrible, horrible music disk. All music must have a balance, and that balance is placed in the vocals and music. “Refuge” sounds like two different CD’s when it is played, one focusing on the music, two focusing on the vocals. They do not compliment each other at all.

The musicians in Rain Fell Within know half their job; playing good music. The music does a good job of playing on the listeners emotions. The band also does an amazing job of brining in outside sounds and instruments, like in the song ‘In My Dreams’ when the band brings in what sounds like native drums for the intro. My only problem seems to be that these outside influences are only brought in for the introductions to the songs; I think it would be more benificial if they continued these influences throughout the songs. “Refuge” has many quality music tracks, but there is of course the odd one out. In this case ‘Save Your Soul’ has to have the most horrible introduction I’ve ever heard. The way they have used the drums sounds like they want to break out in Polka. The musicians on Rain Fell Within’s “Refuge” have made one drastic mistake. To be considered an excellent musician one must be able to shape their playing around the voice of the singers. A band is only as good as its weakest member, in this case both vocalists.

Both the lead singer Dawn, and the backup vocalist Laurie just don’t strike me as good vocalists at all. Their voices are so completely different that when they sing together it sounds garbled and out of tune. Laurie has a very high soprano voice, her high notes sometimes sound nothing more then screeches, and it sounds like she struggles with some of her notes. The lead vocalist Dawn, has some “odd” tendencies to her voice. As she rises from a simple note to a high note there is no variance in tone, leading the voice to sound flat and out of place with the music behind it. Because both singers sing in an almost “opera” style, they do not suit the rock/melodramatic music at all, and it leads me to think they did not hear the music while recording the song.

In conclusion Rain Fell Within has shown me nothing noteworthy. This band needs to re-think their vocal and musical strategy before recording their next CD. “Refuge” has left a bitter sting on my tongue, and has turned me off from ever listening to this band again. This band needs to take a good listen to the kind of CD’s they are producing.

Bottom Line: “Refuge” has to be the most horrible attempt at an opera/metal CD that I have ever heard. My advice is to burn down any music store that carries it, because they have tainted gothic metal forever.

Categorical Rating Breakdown

Originality: 7
Musicianship: 6
Atmosphere: 3.5
Production: 2.6
Overall: 3

Rating: 4.4 out of 10

Review by Chris Pratl on September 13, 2017.

Some things in metal music are pretty much expected and accepted standard these days: the music is loud, the music is fast, the music will invariably piss off your family and assorted religious groups, and Vader will always deliver a right cross to the throat in the most simplistic form possible. Tibi Et Igni is, of course, no exception to this coveted rule. This now becomes a question of why Vader can seemingly do no wrong, and the answer is because the band is just that brilliant. 

What can be said about Vader that isn't evident in the long and epic career they have? Poland's pride delivers yet another 40-minute slab of death metal with all of the tempestuousness and volatility you'd come to appreciate from them. The opener, "Go to Hell" pretty much sets the stage for what is to come, and not a single second of it is less than Vader's standards. Peter's vocals are some of the best of the genre, with that familiar friend growling and barking horror over raucous, lightninng-fast riffs straight from Hell. What has impressed me about Vader since 1992 is how the band manages to create some of the finest death metal music this side of the Florida keys without giving way to over-production or boring, repetitive nonsense for the sake of a legendary name. Much like fellow DM legends Master, Vader follows a formula befitting the lineage of pride the band has behind it.

"Triumph of Death" is one of the single best tracks I've heard the band do in a decade, and with as much as I hail pretty much everything they've ever done that speaks volumes for me. Its catchy and very "metal" chant of "to the grave...to the grave...still marching on!" can very well be the extreme version of Judas Priest with all of its stylish bravado that is perfectly devoid of pretension and infringement on past ideas. I will go as far as to say this is the best Vader album in the last ten years, even edging out Welcome to the Morbid Reich by the slimmest of hairs; it's simply amazing from start to finish. There are, of course, those that would say that Vader's sound is stagnant, that the band doesn't go anywhere new or "take chances" with its music. I dare to say that Vader takes a chance each and every time a new CD is released; by not acclimating to the Hot Topic crowd as one of our Los Angeles-area bands has seen fit to do over the last decade-plus they walk out on there on that ledge and keep the product familiar, yet widely innovative and interesting. I can't ever accuse Vader of being dull or "samey" in its output. The familiarity that is the band's signature sound in the vocals and the guitar tone is hardly a recipe for hum-drum complacency.

With every caustic shredding opportunity that presents itself in tracks like "Hexenkessel" or "Abandon All Hope," which is also about as close to black metal as the band gets without crossing that ever-thickening line. By all accounts, this is the most evil and lyrically dark record I've heard this year, and upon each added listen it gets more evocative and sinister, and that guitar tone is just as dim and overpowering as it's always been. Even when "The Eye of the Abyss" begins with its serene, symphonic Phantom of the Opera music you know the bombastic delivery isn't far away; what I can only call the best power metal effort I've heard in the last 20-years gets summarily decimated under the heavy boots of brutality and angry chord changes in what might well be the band's "slow" track on the album. It doesn't come much better than this, folks. Seriously. 

Vader never fails to influence, impress and engulf me, and I cannot recommend Tibi Et Igni enough. Buy this yesterday and become one with the flames sure to spill over you as you find the most vivid visions of the underworld that you'll ever hope to see while still upright and lucid.

Rating: 9.5 out of 10 

(Originally written for www.metalpsalter.com)

Review by Krys on July 8, 2014.

At this point I don't think Vader needs any introductions. For almost 30 years Peter and Co. have consistently put out quality material with unmistakable sound that can only be described as 'Vader sound', and since they very rarely strayed from their path, saying that Tibi Et Igni is a very good, high caliber 'Vader album' should be more than enough to describe current release. But wait, there's more.

I truly believe that new album is well above any material that Vader has released in a while. Maybe it's because the current lineup has been together for at least couple of years, or maybe Peter finally let other members chime in into creation process, but Tibi At Igni is fresh, vibrant and firing on all cylinders. Starting with opening 'Go To Hell' where symphonic intro feels like a prelude to a full attack, Vader is brutal and uncompromising. From stand out riffs through more varied songwriting and more memorable guitar leads and solos Vader reloaded its arsenal, and with hits like thrashy 'Triumph Of Death', battle hymns 'Hexenkessel' and 'The Eye Of The Abyss' they aim to bring down venue after venue with those sure to be new fan favorites. There are no surprises, no experimentations - just straightforward death/thrash metal from the beginning to 'The End', and even after 30 years of existence I'm convinced no one wants to have it any other way. Vader was put on this earth to bring battering and headbanging music and I'd rather throw knives with blind monkeys than listen to progressive, post-metal album from Peter's death squad.

Anyone who thought that Vader have had its best days behind them, better pick up this record and be prepared to revise his/her views. Vader might have lost a few battles in the past but they're still winning the war! Tibi Et Igni is a quintessential album from Polish veterans but it stands above its predecessors with more militaristic vibe and delightfully thrashing rage.

Rating: 8 out of 10

Review by Krys on May 28, 2002.

Honestly, the first time I gave “Binge and Purge” a spin it didn’t do much for me but I guess it had something special after all because somehow it made its way back into the player and actually stayed there for a while. Now, after few good sessions I have to say this album has to be one of the most interesting hard rock releases I’ve heard since early 90s.

Torok’s fusion of rock genres from the 70s to the 90s is amazing; the band mixes styles from greats like Kiss, Ted Nugent, and early Iron Maiden through Skid Row to blues guitar touches from Vaughn to Clapton. Recorded with a raw sound and atmosphere of earlier rock days it reminded me of flower power concerts and loudmouthed potato-sack wearing hippies. These 11 tracks were made for you to listen to while you lie on the ground and smoke a fat pipe. What else could come from a bunch of guys that thank Playboy and motorcycles for gratuitous inspiration?

Ex-Impaler guitarist Michael Torok feeds this music with his excellent guitar skills and his amazing blues/rock touch, and while most rock bands turn me off with cheesy vocals, Bryan Erickson is one of the strongest points of this band. From clean vocals to tearing screams his performance is simply excellent. But not everything is excellent here; most tracks are very good tunes but some of them seem to lose direction and at the end make an impression of nothing more than a jam session. What might have been an intentional move by Torok’s musicians didn’t have the desired effect on me and actually broke my attention and sometimes even bored me. Overall “Binge And Purge” is a very good debut and with few tweaks and bigger production budget a break through moment is well within Torok’s reach.

Bottom Line: Recommended for anyone hungry for pure hard rock based on good songwriting and even better delivery.

Categorical Rating Breakdown

Originality: 7
Musicianship: 9
Atmosphere: 8
Production: 7
Overall: 7

Rating: 7.6 out of 10

Review by Krys on May 28, 2002.

Honestly, the first time I gave “Binge and Purge” a spin it didn’t do much for me but I guess it had something special after all because somehow it made its way back into the player and actually stayed there for a while. Now, after few good sessions I have to say this album has to be one of the most interesting hard rock releases I’ve heard since early 90s.

Torok’s fusion of rock genres from the 70s to the 90s is amazing; the band mixes styles from greats like Kiss, Ted Nugent, and early Iron Maiden through Skid Row to blues guitar touches from Vaughn to Clapton. Recorded with a raw sound and atmosphere of earlier rock days it reminded me of flower power concerts and loudmouthed potato-sack wearing hippies. These 11 tracks were made for you to listen to while you lie on the ground and smoke a fat pipe. What else could come from a bunch of guys that thank Playboy and motorcycles for gratuitous inspiration?

Ex-Impaler guitarist Michael Torok feeds this music with his excellent guitar skills and his amazing blues/rock touch, and while most rock bands turn me off with cheesy vocals, Bryan Erickson is one of the strongest points of this band. From clean vocals to tearing screams his performance is simply excellent. But not everything is excellent here; most tracks are very good tunes but some of them seem to lose direction and at the end make an impression of nothing more than a jam session. What might have been an intentional move by Torok’s musicians didn’t have the desired effect on me and actually broke my attention and sometimes even bored me. Overall “Binge And Purge” is a very good debut and with few tweaks and bigger production budget a break through moment is well within Torok’s reach.

Bottom Line: Recommended for anyone hungry for pure hard rock based on good songwriting and even better delivery.

Categorical Rating Breakdown

Originality: 7
Musicianship: 9
Atmosphere: 8
Production: 7
Overall: 7

Rating: 7.6 out of 10