Review by Adam M on April 18, 2018.

Howling Sycamore perform a jazzy progressive metal form of the metal genre that is quite interesting to behold. Right from the start of this recording we’re treated to an interesting flair with the use of horns. The early moments of the album are heavy and combine nicely with the horns for maximal impact.

It would be somewhat appropriate to compare this band to Nevermore even though they don’t use any horns in their recording. There is the same dark flavor to these tracks that would inhabit the best of Nevermore’s recordings. The style is still fairly unique because not many metal bands have performed it in this way. The album has to be impactful because it doesn’t last very long when the instrumental tracks have been taken into account. Even with a short running length, there is still some of the most interesting music of the year performed by this act. One can sense their goodness even from the line up alone which contains Hannes Grossman from Obscura and Alkaloid fame. The line up makes for a very complex grouping that can perform these frequently technical songs at the blink of an eye. The music here represents a progressive metal opus that has traditional trappings running through it. The vocals nicely match up with the music as they are high pitched and similar to Warrel Dane at times. They match the dark style of the music perfectly.

This band is somewhat strange sounding, yet able to maintain a normal enough sound to be quite impactful. Could the music be improved upon? Yes, there could be even more interesting passages interwoven into a longer running time, but this is mere speculation for the future of the band. They are still pushing boundaries and able to craft one of the more memorable experiences of the year so far. Fans of Nevermore and progressive metal with traditional tendencies will find something to like here.

Rating: 7.9 out of 10

Review by Adam M on April 18, 2018.

Howling Sycamore perform a jazzy progressive metal form of the metal genre that is quite interesting to behold. Right from the start of this recording we’re treated to an interesting flair with the use of horns. The early moments of the album are heavy and combine nicely with the horns for maximal impact.

It would be somewhat appropriate to compare this band to Nevermore even though they don’t use any horns in their recording. There is the same dark flavor to these tracks that would inhabit the best of Nevermore’s recordings. The style is still fairly unique because not many metal bands have performed it in this way. The album has to be impactful because it doesn’t last very long when the instrumental tracks have been taken into account. Even with a short running length, there is still some of the most interesting music of the year performed by this act. One can sense their goodness even from the line up alone which contains Hannes Grossman from Obscura and Alkaloid fame. The line up makes for a very complex grouping that can perform these frequently technical songs at the blink of an eye. The music here represents a progressive metal opus that has traditional trappings running through it. The vocals nicely match up with the music as they are high pitched and similar to Warrel Dane at times. They match the dark style of the music perfectly.

This band is somewhat strange sounding, yet able to maintain a normal enough sound to be quite impactful. Could the music be improved upon? Yes, there could be even more interesting passages interwoven into a longer running time, but this is mere speculation for the future of the band. They are still pushing boundaries and able to craft one of the more memorable experiences of the year so far. Fans of Nevermore and progressive metal with traditional tendencies will find something to like here.

Rating: 7.9 out of 10

Review by Denis on October 16, 2004.

Frost is one of those strange, but decent projects mostly fathered by one man. In this case it's Anaal Nathrakh's front man Migg. With the help of two great vocalists, The Fog and Shid. Add to this the enchanting presence brought by the feminine touch of Lady Abigail Winter on viola and vocals.

Talking to God is the band's second output and since we owe the words, music, artwork and production to Migg, it shall be said in all fairness that this is his brainchild. Talking to God is a modern day black opus showing a melodic sense into its sinister ambiance. The words are purely black and mystical. The vocals are a constant duel of a duo made of that typical black style versus a more cybernetic and futuristic one, both forming a demonic set of characters. Female parts are scarce but well appreciated on the song 'Filthy Black Shit' and incorporated into the choir on the closing title track. The trump card arrives with 'Subliminal Hell'. This masterpiece alone is worth the price of the CD, let me tell you. The pace is mid-range and after a mysterious intro, the intensity picks up right until you get the riffs that would make you crawl in idolization! To make this marvel even greater, viola parts are being used to add more beauty.

Talking to God is a hell of a good album and the production is excellent. The compositions are intelligently written, heavy, mystical while remaining simple and accessible. I found the rhythm parts at times a bit repetitive but some of you might like it this way mostly if you are into old school. For the new school fanatics, you'll be more than pleased by the great atmosphere that Frost is bringing.

Categorical Rating Breakdown

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

Rating: 8.2 out of 10