So it's been a while since I posted anything here and this piece is quite old but I never posted it. I've since cleaned up a few things and given it a name. I was actually taking some influence from Melodic Black Metal (Artefact) in this one along with Angra. Another thing I incorporated into this one was rhythms used in a dance style called Mazurka, which is pretty old. I think it's new for Metal to use it (specifically) though.

Hope you guys like it and I'm happy to C4C.
The Howling Void.gp5
I love your style, its dissonant, but still melodic. Like Jeff Loomis.
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I've seen your name around a lot and you've given some excellent criticisms to some senior members of the forum, so I decided to check this one out. Overall, I'm impressed.

As usual, I'll try to go in-depth with each part and then give a final, overall opinion.

In exchange, I'd like for you to review my newest WIP called Eidolon. Though, I do still wonder what people think of my revisions to Tempest....



Cool section, dark and foreboding as a result of targeting the tritone. The rhythm of the guitars is cool, the bass follows the guitars nicely but have just enough variation with the rhythm so that there is some cool interplay going on. The drums are steady and they fit well.


The "shit's about to get real" section. It was a nice preview for what was to come.


A more intense version of A1 as a result of having the distorted guitar layer play staccato power chords. There are also a few more crash cymbals on the drums that help build intensity.

B2 and A3

B2 is further build-up and it leads nicely into A3 which is similar to A2 except it now has a lead. The lead is nice, and the diminished harmonization of the lead was nice.


Good use of dynamics here. This is where the song calms down in order to set the listener up for something big.


This actually sounds quite a bit different from the other B sections, but it has the same overall feel as a result of the dissonance. This section lived up to the expectation set by the previous section. The lead wasn't overdone, which is actually quite impressive because that section seems like it would be rife for crazy shred (I'd certainly be a guilty offender in this case ). It leaves a bit more room for the lead in the next part.


The key change was awesome. The arpeggio sequence was beautiful. The rhythm was well done and the lead flowed incredibly well. I liked the whammy and note slides on the rhythm mutes. Probably my favorite section so far.


The chord change is cool. The phrasing of the lead isn't as interesting as in the previous section. The rhythm isn't as varied either, but it all works together and works within the framework of the piece as a whole. This part was made to be strong. The bass drums are a bit too much--it dominates. The open hi-hat and crashes do a pretty good job of highlighting the fundamental rhythm though. I do like the second half of the section a bit more, as it's a bit more dynamic than the previous half.

Despite the criticism, the two parts are really made for each other. Without the first half of E1, it probably wouldn't be possible to appreciate what's going on in the second half.

F1 and G1

The key shift is nice. The drums overpower a bit at parts. I really like the introduction of the classical guitar. The interplay between the overdriven lead and the classical guitar was very, very nice. G1 is cool and does an oddly good job of bringing the piece back to the B section.


While the bass drums are prominent, it doesn't stick out nearly as much as it did in E1 and F1. I'd imagine a good part of that is because this section is incredibly dense with many layers. On top of that, the aggressive drum rhythm is "permissible" because the other rhythms are much more "metal" than in any other part of the song. Furthermore, there's a lot more variation with the drum rhythm than in the beginning of E1 and parts of F1.

The harmonized leads are incredible. Excellent finale.


Overall Opinion: This is a really cool piece. The key changes were awesome, and the whole thing had a very dark feel to it. I'm not familiar with Mazurka, but this particular piece kinda reminds me of a "demented" waltz.

My only gripe is with the drums. In my initial opinion, the bass drum seemed to a very overpowering at times (particularly at E1, F1). I thought that it took away from a bit of the interesting changes that were going on with the rest of the piece. However, after muting the drums, I came to realize that the drums were the primary source of the song's metal influences.

Despite my (minor) criticisms, it's obvious that you have an incredible grasp on composition and there are a lot of interesting nuggets to digest and learn from.