Review by Anna on October 2, 2011.

Rise And Shine is a doomy 70s-style rock band from Sweden, arguably in the “American” vein. "Empty Hand" is their fourth full-length. I cannot comment on their evolution as I’m not familiar with their back catalog, but I find this particular album to be decent, or mediocre.

I might enjoy this live at a summer festival where I’m distracted by the sun and the fun, but I can’t imagine listening to this in my spare time. There wasn’t one riff nor vocal line that conjured anything more from me than a mild semi-approval. Towards the end I found I wasn’t even paying attention anymore cause I was burnt out on the sound. Everything is so “in-the-middle,” with no sensitivity in execution, surprises or risks. The music is not hopeless, but what kills it for me is really the silly vocals.

From the description I read I thought maybe I would dig the vocals, but unfortunately I think it was the worst thing about this band. Obviously Josabeth can sing, but applying vibrato on everything, in such a mechanical, thoughtless way, combined with the incompetence of her English pronunciation made everything sound wobbly and almost incompetent. It’s really hard to take seriously. From the moment I put it on I felt a slight cringe of embarrassment for the band, and for myself in case my neighbor could hear the music- a cringe that ceased only when the album was over. It reminds me of the feeling I had while watching Sweden on Eurovision.

If you like “Heavy/Psych/Doom Rock”, you may want to check this out, but don’t have your expectations too high.

Categorical Rating Breakdown

Musicianship: 6.5
Atmosphere: 6.5
Production: 8.5
Originality: 6.5
Overall: 6

Rating: 8.1 out of 10

Review by Anna on October 2, 2011.

Rise And Shine is a doomy 70s-style rock band from Sweden, arguably in the “American” vein. "Empty Hand" is their fourth full-length. I cannot comment on their evolution as I’m not familiar with their back catalog, but I find this particular album to be decent, or mediocre.

I might enjoy this live at a summer festival where I’m distracted by the sun and the fun, but I can’t imagine listening to this in my spare time. There wasn’t one riff nor vocal line that conjured anything more from me than a mild semi-approval. Towards the end I found I wasn’t even paying attention anymore cause I was burnt out on the sound. Everything is so “in-the-middle,” with no sensitivity in execution, surprises or risks. The music is not hopeless, but what kills it for me is really the silly vocals.

From the description I read I thought maybe I would dig the vocals, but unfortunately I think it was the worst thing about this band. Obviously Josabeth can sing, but applying vibrato on everything, in such a mechanical, thoughtless way, combined with the incompetence of her English pronunciation made everything sound wobbly and almost incompetent. It’s really hard to take seriously. From the moment I put it on I felt a slight cringe of embarrassment for the band, and for myself in case my neighbor could hear the music- a cringe that ceased only when the album was over. It reminds me of the feeling I had while watching Sweden on Eurovision.

If you like “Heavy/Psych/Doom Rock”, you may want to check this out, but don’t have your expectations too high.

Categorical Rating Breakdown

Musicianship: 6.5
Atmosphere: 6.5
Production: 8.5
Originality: 6.5
Overall: 6

Rating: 8.1 out of 10

Review by George on July 9, 2020.

Valtari was brought to my attention a few weeks ago by someone claiming his newest album to be "a mix of old Dissection and Amorphis". Any band which cites those two as their influences is an offer I simply can't refuse, and so I was immediately inclined to give it a listen.

Truth is, while Dissection and Amorphis certainly do play a role in the melodic package the band offers, I'd much sooner liken it to several other derivative third-wave bands, the Brymirs, Nothgards and Aetherians of the melodeath underground. Valtari fit quite neatly within the box of conventional melodeath, which can be taken positively or negatively. The guitars do all the talking, so there's no shoehorning in of clean vocals or gimmicky folk instruments, but at the same time you won't find the tastefully crafted atmosphere seen in Duskmourn and Shylmagoghnar's works, nor, indeed, the clean and befitting inclusion of folk instruments and clean vocals in, for example, later Amorphis.

That's all the things Origin Enigma is not. What it is can be summarized as such: it's mid-paced melodeath that churns through melodies like a well-oiled machine. The riffs are good - melodic, euphonic guitar lines supported by very typical mid-range vocals and drumming with the occasional guitar solo, quieter section or keyboard line thrown in for good measure. At 40 minutes long the album goes by in a whirl of harmony, and this is one thing I feel he got right; any shorter and it would scarcely be worth listening to at all, and any longer would make it drag on and become a chore. But for a fun, light-hearted listen, the length is perfect.

But while catchy and fun are both accurate descriptions of the music, a key complaint I have is the lack of staying power - it's just melodic death metal. Good melodic death metal sure, but if you asked me to name one thing that sets these guys apart from all the bands I previously mentioned, I really would not be able to. The guitarwork is both technically skilled and well-composed, but not one melody from the whole album stuck with me after I finished listening.

Origin Enigma an album for the melodeath fans who know what they like and like what they know, making up for what it lacks in innovation with consistent vivacity. If that was what the project's mastermind intended to be, then he has succeeded.

Rating: 7 out of 10