As far as music goes, Dagoba are still stylistically doing the same thing they have for the past three albums, and so it somewhat baffles me why they have decided to pick an outer pirate theme here. There is one odd (not bad, just odd) thing about this album, though, that deserves mention - its outer concept. It is great to see him back in fine form on here, even though it is obvious by now that he will never beat his own performance on What Hell Is About, which by the way was just flat out immense. He has since worked on his cleans, and on Poseidon they're already much more enjoyable. The problem, namely, was in his clean vocals, which just weren't as good as his screams, and in a couple of times, didn't flow well with the overall sound. ThatРІР‚в„ўs especially good to hear since on Face The Colossus, ShawterРІР‚в„ўs vocals weren't quite as excellent as on earlier releases. While mainly shouting and screaming his way past songs, he doesnРІР‚в„ўt shy away from the occasional semi-melodic singing, keeping the vocal department equally interesting to the instrumental one. Much of the same can be said about ShawterРІР‚в„ўs vocals. Just when you are growing tired of the onslaught of double bass and heavy palm muted riffs, a relatively catchy chorus or a cool industrial effect makes its way to the forefront, delivering some needed contrast to the heavy general sound and varying things up. The instrumental side is delightfully heavy most of the time, but is nevertheless varied enough to keep the listener glued. Everything else on Poseidon is well-calculated and superbly working. That is the only possible con to this album, though, and even that is arguable. This in itself isnРІР‚в„ўt a big problem, since the overall sound does not directly suffer from it, but for those who appreciated the more melodic approach of Face The Colossus, it may be a slight disappointment. The industrial soundscapes are still there, but many a time they get buried under machinegun riffs and ferocious double bass. The only thing one could complain over, here, is the fact that the band didnРІР‚в„ўt put as much emphasis on melody as they did on Face The Colossus. It takes the more calculated, well thought-out sound of the former, but also brings back the grittier bite of the latter. Poseidon on its part fixes that problem, finding a solid middle ground between the two aforementioned albums. While Face The Colossus was in no way Dagoba gone soft, with tracks like 'Face The Colossus', 'The Nightfall And All Its Mistakes', and 'Sudden Death' bringing us undoubtedly heavy metal cuts, I did miss some of that pure crushing force that What Hell Is About packed, whilst listening to it. The result is Poseidon, an album that exceeds in sounding both heavy and sophisticated. Now, in 2010, Dagoba have taken their mature approach and have coupled it with the heavy as balls, industrialized metal sound of Face The ColossusРІР‚в„ў equally good predecessor, What Hell Is About. It was a fully mature album, exhibiting both Dagoba's versatility and ear for melody (something that the previous albums didn't have much).

With 2008РІР‚в„ўs Face The Colossus, French metallers Dagoba proved that they are more than your casual heavy as balls metal band. Review Summary: Dagoba bring back the harsh bite of What Hell Is About and fuse it with Face The Colossus-esque mature approach.

Devildriver discography tpb