Interview by Ed MacLaren
Harkening back to the heavy metal heyday of the 1980s, Kentucky’s Hydrogyn are keeping the sound alive with its raunchy guitar crunch combined with the powerhouse vocals of singer Julie Westlake. On their latest release, “Judgement”, Hydrogyn keep one foot in the past while looking directly into the future, putting a modern spin on a classic metal sound. Julie took some time to talk to Femme Metal about image, the lasting influence of hard rock and how sometimes one good guitarist is all you need.
It’s clear from the opening riff of “Lost Reality” that Hydrogyn brought the metal on “Judgement”. The guitars are beefier and the overall tone of the album is heavier. You guys really mean business!
Yeah, you’re right. It wasn’t anything we did as a plan – it’s just the way it happened. Jeff Westlake has always liked the real heavy guitars but I don’t think until this recording we had the drummer he felt he needed to back that guitar tone up. He really likes Joe Migz’s drumming and he said it really helped to bring out the heavy playing to its full capacity this time around. I like the heavy stuff as well so for us this was a great blend of melody and heaviness so to speak.
Hydrogyn plays blues-based hard rock but you’re getting progressively heavier with each release. Even with the increasingly “metallic” influence, you’ve never compromised your hard rock core. Did you have a clear idea of where you wanted to take the music when you hit the studio?
No, not really Ed. We go into the studio with a theme in mind for every CD – we almost always have the CD title in mind before Jeff and the guys start putting the music together. We don’t do anything that is pre-meditated so to speak for the songs. Nothing like, this one’s going to be heavy or this one’s going be this or that. Jeff has many different sides to him as a writer, as do I, but we just have this certain thing we do as Hydrogyn and we let it take its course without planning in advance.
Are you still working towards finding the perfect Hydrogyn sound?
No, not really. I think we have established, as you stated earlier, our base sound. Outside of that, however, we are always looking to push the boundaries in different directions. One thing I’m proud of is the fact that we have not made CDs that sound like each other. Each release has progressed from the previous ones and has its own character and that’s very, very important to the band to be able to accomplish that on every recording. That’s something we do consciously in the process. Someone will say, that kind of sounds like such and such, a part from such and such a song and then we go…well that’s gone… on to the new part. *laughs*
You and guitarist Jeff Westlake are the nucleus of Hydrogyn (sorry, bad pun!). How would you describe your relationship? How has it evolved over the years?
Besides the fact we tend to fight like cats and dogs during the writing and recording process, we do pretty good together… *laughs*. We both are pretty intense at times and sometimes butt heads a bit. But for the most part, we’ve done well together over the years and have become a stronger team during the writing process and work really well together.
There aren’t many bands making the kind of music you’re creating right now. They’re either going in a more pop rock direction or towards a more extreme metal sound. There seem to be very few straight-ahead hard rock bands out there. Why do you think that is? What is the attraction of that style of music for you?
It’s just what we do. If you look at all the fans that go to the festivals and how people like Dio, Heaven and Hell, Maiden, Whitesnake – the list could go on – and continue to pack places, there’s a big call for it. I’m not interested in extreme metal and I’m not interested in pop music per se. I’m interested in good songs and something I can relate to. If something extreme would come up in the process, that’s fine if we can make it a great piece and the same goes for pop-oriented rock as well. If it works then it does but as for the screaming from beginning to end I can’t give that more than five seconds but I do think if you mix that extreme stuff in properly to what you do – like we do – it can work. Now this is strictly my opinion but I see those crowds of people packing places for that type of music – melodic heavy rock – and as we have seen with Ronnie James Dio’s passing, someone is going to have to fill that void once these guys are no longer with us and I would love to fly that flag. I’m not saying we’re like them – we have our own sound and that’s a fact – but we are a heavy band and if you strip the vocals away the band is killing it. The added vocals make it melodic, and that I love, as do the guys.
It’s amazing to listen to your vocals on “Judgement”. There are few singers that can command a vocal like you do. There’s real attitude in your voice –a power and vocal control that permeates tracks like “Self Destruct” and “Medicate”. But at the same time, you can give a track like “Gold Dust Woman” an emotional root that’s essential to the believability of the song. Have your vocals always been so confident? What has changed in your voice since the early days of Hydrogyn?
Thank you, Ed, for those comments. It hasn’t always been that way. The voice has always been there but it wasn’t until I met Jeff Westlake and Jeff Boggs that I really started taking singing in a big direction. I always wanted to sing professionally but hadn’t done so until those two pulled me into Hydrogyn. We’ve done a ton of music together over the past eight years but Hydrogyn is what did it.
I spent all of 2003 building my voice up in strength because Westlake said it had to be done. When we started doing that, I sang in a tuning that was much lower than the standard we work in now. Over 2003, I built that power and strength but I don’t think it really took hold until we went in to do “Bombshell” with Michael Wagener. My voice has gotten much stronger since then and now I feel like I can hang with anyone but it did take some time. Also, singing rock, you either do it or you don’t and there’s no hiding behind anything so it was sink or swim and sinking was not a choice. *Laughs*
Vocally, today’s women in metal and hard rock have arguably developed into two main camps: the corset-wearing soprano singers and the unbridled screamers. Your voice doesn’t fit into either group. It has power and an excellent clear tone – a distinctly American style – in company with vocalists like Pat Benatar and Anne Wilson. Do you ever see a resurgence of your “classic rock” vocal style?
I don’t know. Has it ever really gone away? I like Anne and Pat but I look more to Ronnie or Rob Halford for what I do. I’ve always heard that I don’t have the typical “girl” voice which is very cool to hear. I can also do a lot of different things but my voice is my voice. I didn’t try to be that way or model myself after anyone in particular. I released a solo CD in February of a bunch of stuff from country to rock to gospel just to show the different things I like and do but I love to rock. I am not much on the operatic stuff that is out there and I’m not about any pitch correctors on my voice either. I am just blessed with a clear powerful voice and I love it.
You perform and belt out your vocals like a true rocker. You would never think that your background is in country music. How does a country princess end up a metal queen?
*Laughs* Well, again, blame Westlake and Boggs. I’d stumbled onto Westlake in a studio in Ashland, Kentucky to do a demo and he was the engineer in there at the time. So I did the singing and he and I started working together on writing material but I was still in country. One day he and Boggs approached me and said we have a gig in 14 days and no singer –think you can try to do it? I said yes so they made me a CD of 40 cover songs ranging from AC/DC to Dio, Whitesnake, Priest, Heart and on. I was like, wow I don’t know. So what I did is learn the melody of the songs and then taped 40 songs worth of lyrics to the stage and did the show. It went over so well that I decided to keep going with it and here we are today. I love to sing anything but I love to rock the most.
With all the success of “Judgement”, in other ways it was a difficult year for you and Hydrogyn. You gained and lost a potential guitar match made in heaven with ex-Megadeth guitarist Jeff Young. It looks like the dust has finally settled from that failed collaboration. What have you learned from the experience?
That having one guitarist is plenty good enough *laughs*. You never know how things are going to work until you try it, and some may refer to it as a match made in heaven and others or myself may say hell. *laughs* Sorry. Needless to say, it just didn’t work for us, for me, for whoever. I’m just glad it’s over and we’re able to move forward with the release. Lesson learned. Why fix it if it’s not broken. We’ve been playing with one guitarist for a couple of years now and that’s how we’ll continue on for the duration.
Legendary producer Michael Wagener has been a great friend of the band since “Bombshell”. How has your relationship with him impacted the musical evolution of the band?
A lot of ways. Just his support has been enough but the biggest way is probably that Jeff Westlake has been mentored by him as an engineer and music producer since 2005. That has been the biggest impact of all I think. The last two releases, “Deadly Passions”, and the new one “Judgement”, have had three songs on each produced by Michael and the others by Jeff. Jeff has learned so much it’s amazing. Reviewers have said they can’t tell who did what because it all sounds so good and that’s huge for us and especially Jeff. Jeff is also building a new studio as well as he’s busy with other bands all the time so the relationship with Michael has been big on many, many levels but the bottom line is that we love the guy.
You managed to score Doug Pinnick of King’s X to perform on the track “Big Star”. How did he get involved in the “Judgement” project? You must have had some high expectations for the result. So how did he do?
Well, he did great! *Laughs* We’ve known him since 2006 as King’s X works with Michael as well so that’s how it came about. Jeff Westlake had mentioned it one day to Jeff Young and so Young contacted him and the rest is history. He’s unreal and soulful and a great player as well so he did the male vocal part and the bass line for the song. We love it.
You release regular albums with Hydrogyn and tour extensively. It doesn’t leave a lot of free time yet you still found time to record a solo album. Why did you decide to step outside your comfort zone with the band and do something on your own? Did you have a creative itch that couldn’t be scratched within the confines of the band?
Yeah, I do in a way. I’ve had so many comments made about the “country” background and friends and family asking me to do some stuff along those lines that I decided to do it. This solo CD is basically for them and I have another one on the way that will be more of what I want to do which again is different than Hydrogyn. Westlake and Boggs are working on a side project too called Ura-Kia and then Westlake has another one as well called Slave Train. These will all see release in 2011 and another Hydrogyn record as well. Now that’s a lot but it’s the way we love it. I really don’t have just one comfort zone. On the solo release, which is called If Ever a Day, I do country, rock, gospel and the title cut is a bit of a jazz/blues tune that I wrote so it’s a bit of everything. The next one will be more of a rocker.
You’re no stranger to singing cover songs – you’ve had at least one cover on each Hydrogyn album. As a cover expert then, what’s the attraction to putting a cover song on an album when you could be adding another original track?
You hear songs you like and you catch yourself singing them and then you go, “Wow I‘d like to do that!” So we do! On “Judgement”, we have fans asking for “Gold Dust Woman” as a lot of people have heard us doing that one in acoustic settings so we did it for the fans. “Assault Attack” from the Michael Schenker Group is done because I love the song and so do the guys, so we did it. We could always write another song to put on the CD but those cover tunes are for us and we enjoy them a lot.
What’s the criteria for selecting a good cover song? You’ve performed covers by everyone from AC/DC to Alanis Morissette to Fleetwood Mac!
Just loving the track. We did “Back in Black” in our live show when we met Michael and he said can we please record that and we said sure. I think the only cover song we have done that had some resistance to it is “18 And Life” because Westlake hates the song. Other than that, we have a vault of cover tunes recorded just waiting for their time, so to speak. Now “Assault Attack” was my idea but it took no time for the guys to jump and do it. That’s been one of Jeff‘s faves since it came out in 1982.
“Big Star” was part of your original “Best Served With Volume” demos from 2004. Why did it take so long to formally record?
We also recorded it for the “Bombshell” sessions and it made the live release of “Strip’em Blind Live” in 2007. We just love the song. Westlake wrote it in like 1999 and we said this song has never had an official release so we reworked it a bit and then got Doug involved and it just came out so good that it finally got the green light.
Do you have any other great tracks lurking in the Hydrogyn vaults that are waiting to see the light of day?
Yes. A ton actually and Jeff would kill me if I said what. We’ve been talking of releasing a cover CD so for now I have to keep mum.
Fashion alert! OK now, is that really the “Bombshell” outfit you’re wearing on the “Judgement” cover?
Yep, sure is. I thought that since the album title was “Judgement”, and that a lot of people have judged myself and the band since we started with the “Bombshell” album, that it only made sense to be viewed with the same outfit that started it all.
How much does your image play into your music?
I think this industry is a lot about image. So a big part of what we do with my image is about marketing. It really doesn’t have anything to do with the music; it’s just the role and persona I play on stage.
Look at any Hydrogyn album cover from “Bombshell” to “Judgement” and anyone can see that you play the role of the “rock vixen” to an extent. How much of that image is you merely expressing your own sexuality or a facet of your personality and how much is a product of women having to play that role in hard rock/metal music to be successful?
With the album covers, the pictures are supposed to represent the title of the album, not what or who Julie Westlake is. What I wear in the pictures on the covers is not always what I wear on stage. I don’t think it’s necessary that I have this particular image, it’s just the image I choose to represent each album.
Has your image had any negative impact on how seriously people respond to your music? Is there a stereotype you have to constantly fight against?
I wouldn’t say negative. Some people don’t like it but you’re not going to make everyone happy. I’m here to hopefully make people happy with our music, not with my clothes. If they don’t like the image, then they can close their eyes because the music is still good.
How do you see your image evolving as Hydrogyn becomes more and more established?
You never know. Again, a lot of it has to do with the album title and how it influences me. Of course, fashion is always changing, so you just never know what I will do next.
You’ve battled in the business and media trenches for many years now. Do you have any advice for young women aspiring to a career in music?
It’s really tough. You have to be willing to work long and hard for it. Don’t expect things to happen fast. It’s a long road and a lot of work and it’s important to create thick skin because people are always going to be tough on you no matter what.
When will you be hitting the road to tour behind “Judgement”? Is the focus going to be on the United States first and then head over to Europe?
Hopefully in the spring. We’re trying to focus more on the States this time around but also feel that Europe is such a strong area for us and we love our fans so much there. So, hopefully we will be able to hit both next year.
What can longtime fans expect to see in your new live show?
One thing you can always expect is a very energetic show. Our live show now consists of a variety of songs from all of our previous albums, as well as a few cover tunes along the way. And then, of course, we always take time after the show to spend time with our fans and we really enjoy meeting everyone.
(Famous) Last words?
I guess I would have to say, “Don’t judge a book by its cover”. In this case, an album. Let the content decide whether or not you’re a fan, rather than making assumptions based on an image of someone you’ve never met.
Label : Nightmare Records
Review by Alessandro Narcissus
American heavy metallers A Sound of Thunder are a young yet fast growing act. Fronted by powerful and charismatic lead singer Nina Osegueda, this Washington D.C.-based quartet has released three records – an EP, a non-album charity single and its first full-length – between 2009 and 2011, and shows no signs of slowing down. A Sound of Thunder‘s challenge this year is to confirm the positive impression they’ve given with their critically acclaimed debut album “Metal Renaissance”, which they accepted releasing their sophomore album, “Out of the Darkness”. Will they overcome it? Well, first of all let’s state this clear: in a crowded scene such as that of female-fronted metal, the only means to survive is a strong identity. With this record, A Sound of Thunder proved to have their own with a well balanced, captivating blend of different elements that, by drawing from a wide range of genres, creates a unique, unmistakable sound. We can basically define this recording a power metal-influenced hard rock album which enriches its hues with progressive digressions, gothic touches (used in a very classy, non-clichéd way), even going as far as getting jazzy or slightly folkish at times, including some virtuosity every now and then which, for a change, really fit the songs rather than being pretentious. Moreover, all the instruments, supported by the crystal-clear production of Kevin “131″ Gutierrez, are perfectly balanced and each of them gets the right recognition: Nina Osegueda‘s powerful, versatile vocals become a fitting completion to the other instruments rather than dominating them; Jesse Keen‘s keyboards add many different flavours without being overwhelming or drowning the rest; Josh Schwartz‘s guitars are heavy and smacking without sounding pretentious, and even his solos are truly functional to the song structure rather than being thrown in just for the sake of showcasing his ability; finally, the rhythmic patterns provided by Chris Haren‘s drums and Jesse Keen‘s bass provide variation and avoid being boring, but without getting abstruse or hard to follow. The songs are well designed to stand out individually while giving a cohesive yet not flat ensemble, with only a couple of unremarkable episodes. Some of them venture into more progressive territories, while others exploit old formulas by taking and performing them at their best. The opener, “The Day I Die”, is a true killer track that immediately sticks the listener to the record by providing variety and freshness, filling each of its 8 minutes with something worth its length. With its jazzy guitars and soulish keyboards, it’s an immediate statement: this record is not going to sound like the same old stuff. The second track, “The Night Witch”, is a perfect example of old formulas used in a clever way: it opens with a creepy keyboard melody that manages to avoid sounding clichéd despite its music box flavour, which quickly makes room to a catchy hard-rocking tune with a dynamic verse, a really enjoyable and memorable chorus and a praiseworthy guitar solo. The next songs, “Kill That Bitch” and “Murderous Horde”, confirm the high level of this record, the former with a distinctive hard-rocking sound powered by a simple yet interesting rythmic pattern, the latter with haunting backing vocals that make it sound cinematic, but without overdoing. The eponymous “A Sound of Thunder” showcases the band’s power metal influences in a non-garish way, despite the agressive vocals being a bit annoying at times. Unfortunately, the experiment is not equally successful with the title track, “Out of the Darkness”, whose tacky outright power metal structure, which includes pretty much all the most annoying clichés of the genre without anything diverse to dilute them, makes it the least remarkable song of the album. Generally speaking, this song marks the beginning of the second half of the album, which is slightly duller than the previous despite having its memorable episodes. For instance, the clearly gothic-influenced, a bit clichéd intro of the eight-minute long “Calat Alhambra” may seem pointless, but it works perfectly as a cheesy appetizer that lowers the listener’s expectations to surprise him with a complex, enjoyable and outstanding song. Nevertheless, the subsequent “Fight Until the End” is a rather canonical heavy metal anthem which, despite not being bad, does not add any particular value to the record. Although occasionally skimming over cheesiness, the semi-acoustic guitar and cello-driven “This Too Shall Pass” avoids being a random ballad thrown in just to have a slow song in the bunch and manages to sound, all in all, genuine. It also sets the mood for the sophisticated conclusion of the album: the longest track of the set, “Discovery” summarizes the whole album, giving an insight of all the different elements that make this record stand out and going down smooth despite its length. Besides the technical skills of the musicians, the real strength of this album is a solid songwriting that blends a whole host of influences, something that’s further emphasized by the fact that the only missteps in the album are those two songs that cling to a particular genre without providing variety. “Out of the Darkness” is a rich kaleidoscope that manages to add flavour to classic hard rock and heavy metal, bring some freshness to gothic and power metal elements and present progressive metal in an easily listenable fashion. It’s designed to satisfy fans of many different genres without scaring them with unfamiliar elements, but does so in a genuine, non-calculated way which, together with the uniqueness A Sound of Thunder proved to have, is the only true strength a band can rely on today.
Rating – 80/100
- The Day I Die
- The Night Witch
- Kill That Bitch
- Murderous Horde
- A Sound of Thunder
- Out of the Darkness
- Calat Alhambra
- Fight Until the End
- This Too Shall Pass
- Nina Osegueda – Vocals
- Josh Schwartz – Guitars
- Jesse Keen – Bass, Keyboards
- Chris Haren – Drums
Label : Victory Records
Review by Tony Cannella
From Sweden, Sister Sin has previously released two full-length albums. Their last one, “Switchblade Serenades” was released in 2008 and really helped to get the band a lot of press throughout the world. Their newest – and third – release is titled “True Sound of the Underground” and continues in the vein of their previous effort. The songs are played with hard and heavy intensity, some straight forward aggression and a great deal of attitude.“True Sound of the Underground” really rips from the opening minutes of the title track. The band display a simplistic style, reminiscent of Motorhead or AC/DC and the vocals of Liv are simply crushing throughout the new CD. She may not have the technical skills of some singers, but in what she lacks in technicality she more than makes up for in heart and attitude. The next two tracks, “Outrage” and “Better Than Them” keep the adrenalin level going upwards and are two of my favorites. The next track was a huge surprise. Usually when bands decide to cover a song they choose an older favorite of theirs. Not so on this one as the band decide to take on the track “24/7″ from one of the more recent albums by former Accept frontman UDO. From there “True Sound…” just proceeds at a rapid pace as the band tears through other highlights: “Heading for Hell”, “The Devil I Know”, “Times Aren’t A-Changing” and the final track, “Beat ‘Em Down”. Make no mistake about it, this is as straight-forward and raw as it gets. Don’t expect anything pretty and absolutely no ballads on “True Sound of the Underground”. Fans who liked their previous release will no doubt love this one. Sister Sin has not veered too far off the path of “Switchblade Serenades” with “True Sound of the Underground”. Their new one is perhaps a more intense, meaner animal than their previous one. That is all open to debate, but one thing is for certain, with “True Sound of the Underground”, Sister Sin has delivered a more than worthy follow up to “Switchblade Serenades”.
Rating – 93/100
- Sound of the Underground
- Better Than Them
- Heading for Hell
- I Stand Alone
- Built to Last
- The Devil I Know
- Times Aren’t A-Changing
- Beat ‘em Down
- Liv Jagrell – Vocals
- Jimmy Hiltula – Guitars
- Benton Wiberg – Bass
- Dave Sundberg – Drums
Label : Drugstore Records
Review by Tony Cannella
From Norway comes Citizen Charlie. This one caught me totally by surprise, the style of Citizen Charlie is hard – down n’ dirty, in-your-face – rock, with some elements of Punk thrown in there as well. Their self-titled debut has just been released via Drugstore records. The CD contains 11-songs and 39-minutes worth of high energy, high octane rock n’ roll. The country of Norway is perhaps best known for it’s black metal scene but Citizen Charlie are here to prove that there is more to the Norwegian music scene than black metal – and man, they have made that statement loud and clear with their debut.The oh, so subtle lead off track “Pulling Out Your Nails”. This is a great first impression as the band showcase their basic rock n’roll style with their AC/DC like riffs and their punk rock attitude and swagger. Lead vocalist Charlie has a lot of attitude and energy in her voice and the band add some great energy and adrenalin to the songs as well. “Rock ‘n’ Roll Poser” and “Bring It On” are two more songs that keep the pace going full-speed ahead. Probably my favorite track is the mid-tempo number “I Still Wanna”, this would make a great single if the band chose to release one off this album. It’s a bit of a change of pace from the rest of the material but it works quite well and the chorus is just so infectious that it is impossible not to love. Other highlights include: “Wounded Lion”, “Kill You All” and “Running Wild”, with the final track “Holding On” wrapping things up nicely. All of the songs are in the 3-4 minute range and their impact is immediate. Citizen Charlie are different from your typical female fronted metal, their debut album features plenty of rock solid riffs and great songs. If given the right kind of exposure, I wouldn’t be surprised to see Citizen Charlie seep into the mainstream – and it would be well deserved.
Rating – 75/100
- Pulling Out Your Nails
- Rock’n'roll Poser
- Bring It On
- Wounded Lion
- Kill You All
- Running Wild
- Ain’t Gonna Take It
- Beer & Rock’n'roll
- I Still Wanna
- To Dance by Moonlight
- Holding On
- Bluer Skies
- Charlie Forsberg – Vocals
- Tarje Kjorlaug – Guitars
- Endre Hallre Hareide – Bass
- Remi Fagereng – Drums
Label : Ravenheart Records
Review by Tony Cannella
Hailing from Columbia, South Carolina, Suhgarim (pronounced sue-gair-im) play classic sounding Metal, with Hard Rock influences as well. Their new album – currently available via Ravenheart Music – is titled, “Between Life and Death” and it is a worthy to addition to the ever growing catalog from that great label. The band is fronted by Tricia Montfleury who adds a certain attitude and conviction to the songs. Among the 10-songs and 40-minutes worth of music present on “Between Life and Death”, there exists a lot strong guitar work and vocals that characterize the complete body of work on this CD. “Dirty Little Sinner” is the adrenalin-fueled opener and from there the band are only getting warmed up, as the following tracks “Loser”, “The Key” and “Hate” will attest to. The band simply rip on the tracks, “Straight Jacket Hands”, “Fall in Line” and “Tragic”. This is one of those albums, that you will find a new favorite track with each subsequent listen, for now, my favorite is the dramatic closer, “Portland”. Just a great song with fittingly powerful lyrics. The vocals of Tricia are powerful and go straight for the jugular, while the rest of the band members add their talents, in particular the guitar work by Dave Sudak and Charles Traweek is stellar as the riffs just keep on coming. Suhgarim add the best elements of classic bands such as AC/DC, Guns N’ Roses with the technical precision and musicianship of latter day Queensryche and Megadeth. The songs have a decidedly metallic edge to them that really put, “Between Life and Death” over-the-top for me.
Rating – 90/100
- Dirty Little Sinner
- The Key
- Straight Jacket Hands
- Fall in Line
- Tricia Montfluery – Vocals
- Charles Traweek – Guitars, Keyboard & Backing Vocals
- Dave Sudak – Guitar, Backing Vocals & Shaker
- J.Leidy – Bass & Backing Vocals
- Patt Trikk – Drums
Style switcher only on this demo version. Theme styles can be changed from Options page.
- Tuomas Holopainen – “The Life and Times of Scrooge” (2014)
- Anna von Hausswolff – “Ceremony” (2013)
- Introducing Margaret Berger
- Zuberoa Aznárez – Diabulus in Musica
- Xandria – “Sacrificium” (2014)
- Arkona – “Yav” (2014)
- Asami – Voice of Divine Children (Japanese version)
- Hanna Pakarinen – “Olipa kerran elamä” (2013)
- Stream of Passion – “A War of Our Own” (2014)
- Leah – “Otherworld” EP (2013)
- Nina Persson – “Animal Heart” (2014)
- Cristina Scabbia – Lacuna Coil
- AkromA – “La Cene” (2014)
- Temperance – “Temperance” (2014)
- Rebekka Karijord – “Music for Film and Theatre” (2014)
- The Floating World – “The Apparition” (2012)
- Still Corners – “Strange Pleasures” (2013)
- Magistina Saga – “Two-Facedness of A Tale” MINI ALBUM (2013)
- Lacuna Coil – “Broken Crown Halo” (2014)
- Heart – “Fanatic Live From Caesars Coliseum” (2014)
- Eths – “Ex Umbra In Solem” EP (2014)
- Wallis Bird – “Architect” (2014)
- Revontulet – “Hear Me” (2014)
- Louna – “Behind a Mask” (2013)
- Shear – “Katharsis” (2014)
- Memoira – “Memories, Tragedies, Masquerades” (2013)
- Nene – ElupiA (JAPANESE version)
- Diabulus in Musica – “Argia” (2014)
- Kari Rueslåtten
- Loreena McKennitt – The Journey So Far (The Best of) (2014)