Getcha Rocks Off

Blackmore's Night - Paris Moon

2009-11-13T00:58:00.000-05:00

For rock and metal fans, the name Richie Blackmore should stir some good memories. (For those that may not know, Blackmore was a founding member of Deep Purple and Rainbow.) With such a storied history playing in two of the most legendary rock bands, some fans may have been taken by surprise when in the nineties Blackmore released Shadow of the Moon, a renaissance revival kind of album that featured his longtime partner Candice Night on vocals. While the instruments used to make that album weren't entirely traditional to the era it represented, it still wasn't an album one would call a rock album, either—though rock elements were present. Some would call it folk rock, but folk rock is simply "heavy" folk—which is not rock music at all.

Fans of Blackmore's past musical output seem divided over his jaunt back in time with Blackmore's Night.

To date, Blackmore's Night have put out seven studio albums (one being a Christmas album of originals and standards), two compilation albums, a live album, and a DVD. For their ten year anniversary, fans were treated to Paris Moon, which puts another nick in the live CD and DVD categories. Paris Moon is a DVD/CD release; each disc featuring a live performance filmed and recorded at the Olympia in Paris. The DVD has nineteen songs plus one introduction track, while the CD side has only eleven—nine from the Olympia performance and two studio tracks.

Paris Moon was my first encounter with the band (I've since picked up nearly all the studio albums). Previous to hearing it I was as skeptical as anyone, as much from listening to Blackmore fans whine that he's bending to the will of his hot girlfriend (plausible, I must admit) and because of the simple fact that—rock legend or not—going renaissance seemed to be a bit lunatic. But after watching Paris Moon, I'm convinced. Blackmore's Night is much more than I ever expected, and far more than those aforementioned whiners think.

Candice Night does a fantastic job fronting this band. Her voice is sweet and her presence commanding. She does great speaking to the crowd, explaining things like what certain songs are about, the writing process, or where the lyrical inspiration of a certain song came from. Blackmore himself takes the backseat for most of the show, but does show off his chops from time to time, like on "Ariel," one of the most rock-like songs the band has done. The rest of the band members get to show off from time to time as well ("Durch Den Wald Zum Bauchus"). Aside from Night classics like "Fires At Midnight," "The Village Lanterne," and "Under A Violet Moon," they pull out some classic rock covers (with a thematic twist, of course), such as "Rainbow Blues" (Jethro Tull), "Diamonds And Rust" (Joan Baez), "Soldier Of Fortune" (Deep Purple), and a very interesting take on "Saint Teresa" (Joan Osborne).

The multi-angle DVD is a pleasure to watch, but the music is so laid back that for me it plays better as a musical background than a visual piece. (Since I have little time to watch television or movies of any sort, this is probably just a very biased opinion based on my personal lifestyle and likely won't be any sort of common opinion.) It's unfortunate that the full DVD isn't represented on two CDs. With that said, the entire package here is outstanding. The two bonus studio tracks on the CD are a radio edit of "All Because Of You" (from Fires At Midnight) and "The Village Lanterne" (from the album of the same name). Both are good additions to the album, but largely pointless when considering that there are only nine live tracks on the CD when there are nineteen on the DVD.

Overall, Paris Moon might be the best way to start with the band. You get a nice smattering of some of the band's most liked songs, which span all their albums, some great covers, and a solid, intriguing performance by all. Plus there's a visual companion, if you want to watch it all as it happens. There's also some behind-the-scenes and interview footage. Either way, Paris Moon is a winner.

Video: Introduction/Past Times With Good Company/Rainbow Blues

Website: http://blackmoresnight.com
MySpace: http://www.myspace.com/blackmoresnight1

Note: Many of these links are external. In time, they may become obsolete.

Zero Hour - Specs Of Pictures Burnt Beyond

2009-11-11T12:55:00.004-05:00

When I was in the Air Force and stationed in Arkansas, every summer would see countless houses destroyed by the devastating power of tornados; but the foundations always remained, on which new houses could be built. Some people chose to give up and move on, while others chose to rebuild upon that unmoving foundation. We cannot build without a strong foundation. This simple concept can be applied to anything in life.

And, like the ever-growing, digging roots of a great old tree, the brothers Jasun Tipton (guitars) and Troy Tipton (bass), along with Mike Guy (drums), are the foundation on which Zero Hour is built. Erik Rosvold (vocals) was the tower that was built upon the foundation for two albums, Zero Hour (re-released in 2003 as Metamorphosis with two bonus tracks) and The Towers Of Avarice. The winds of change swept through and Rosvold left the band after The Towers Of Avarice, an album widely considered their best. It took four years and the release of A Fragile Mind (my personal favorite) for the band to re-emerge as a solid unit; this time the vocals were handled by Fred Marshall. Again, the seemingly impenetrable walls crumbled and Zero Hour was left as a skeleton without skin, as Marshall took his leave from the band.

Rosvold and Marshall were both excellent vocalists, their abilities airtight, both offering something a little different but neither negatively affecting the quality of the music, only enhancing it in their own special way. So how does a band rebuild and forge ahead after losing two extremely strong vocalists before the foundation begins to crack? We’ve seen it countless times when bands go through multiple singers or musicians; eventually the odds go against the band and everything implodes, or the band simply begins to release sub-par or downright terrible music (Sepultura and Skid Row, respectively). Zero Hour have done neither. Less than a year after the release of A Fragile Mind, Zero Hour had an entire new album written: Specs Of Pictures Burnt Beyond. But they needed to add one key element: a singer. The band not only found a strong singer, but one that makes the extremely talented Rosvold and Marshall seem like distant, hazy memories.

Enter ex-Power Of Omens vocalist Chris Salinas, one whose breath also possesses the devastating power of a tornado, a cross between Geoff Tate (Queensrÿche) and Ray Alder (Fates Warning), with an occasional Rob Halford (Judas Priest) moment. Like Marshall after Rosvold, Salinas brings Zero Hour to a new plateau. Where Rosvold was a little more unique and poetic with his melodies and Marshall was more catchy with his, Salinas is far more emotional and powerful, his vocal lines stretch and expand across the musical landscape. Musically, the Tiptons are all over the place as usual, and once again corralled into a cohesive, monstrous beast by Mike Guy; and with the addition of Salinas’s undeniably powerful and captivating vocals, he almost becomes the substratum of Specs Of Pictures Burnt Beyond.

The album opener, “Face The Fear,” begins things in typical Zero Hour fashion: Jasun’s ultra-technical, bone-crushing riffs; Troy’s twisted and endlessly entwined bass runs; relentless drum work from the underrated Mike Guy; and sparse, melodic interludes. But this time things cut a little bit deeper when Salinas injects his moody, melancholic, darkly poetic, and chill-inducing vocals. You could listen to this track on repeat all day long, totally satisfied, with no need to go to track two. (You’d be crazy, of course.) “The Falcon’s Cry” is that next track; it’s a heavier track intermingled with some melodic passages, oddly timed, musically and vocally, but mesmerizing in its consummate angularity. “Embrace” follows. It’s a short instrumental, one of two on the album (the other being “Zero Hour,” an aptly titled heavier number), an acoustic/electric number, with some subtle, distant harmonies playing out in the background. After that brief respite, the pummeling “Specs Of Pictures Burnt Beyond” bursts out of the speakers, stomping through a piercing wall of wails from the lungs of Salinas. The final two minutes is pure shredding, a crushing cacophony of contradicting beauty (that also incorporates part of “Embrace”). The short instrumental “Zero Hour” is followed by “I Am Here,” a stunning ballad of acoustic guitar and vocals, one that bleeds pure emotion, showcasing just how far Zero Hour have come with the addition of Chris Salinas on vocals. Saving the best for last—as if the previous tracks weren’t good enough!—“Evidence Of The Unseen” is a rollercoaster ride of epic progressive metal; shifting from euphonious breaks to jackhammer rhythms layered with some of the most exceptional vocal melodies I’ve heard on a progressive metal album. Specs Of Pictures Burnt Beyond ends with a spectacular display of brilliance, which makes the entire album shine that much brighter.

Zero Hour have made quite a name for themselves within the progressive metal community over the past few years. A distinction that has landed them high upon the massive heap that is progressive metal. The masterpiece known as Specs Of Pictures Burnt Beyond only further solidifies Zero Hour as one of the finest, pound-for-pound progressive metal acts in the world. It rarely gets any better than this. So raise your glasses—and your horns—in honor of this genius band. —K. Allen Wood

Video: Evidence Of The Unseen, Face The Fear

Website: http://www.zerohourweb.com
MySpace: http://www.myspace.com/zerohourband

Note: Many of these links are external. In time, they may become obsolete.

Harmony - Dreaming Awake

2009-11-11T12:04:00.001-05:00

I stumbled upon this CD by complete chance. I was trading on lala.com and someone that was sending me another CD had this one up for trade, so I requested it. The cover looked cool and I took a chance. I’m glad I did. This is a pretty solid album, akin to prog-metal heavyweights Circus Maximus, though not as heavy on the progressive side.

Dreaming Awake kicks off with the first of three instrumentals, “Into The Afterlife.” It’s the only one that’s not orchestral, relying on fast guitars and a heavy rhythm section that leads directly into “Eternity,” which follows a stylistic pattern of fast and furious power metal. “Dreaming Awake” is up next, and it’s easily the album’s best track. A heavy mid-paced number with a ridiculously catchy chorus; this is the song that draws the most comparisons to Circus Maximus. If by this time you’re enjoying the album, the rest shouldn’t let you down. Dreaming Awake continues a similar path throughout the rest of the album: uptempo power metal numbers with a progressive edge—“Fall Of Man” and “Maze Of The Past”—and mid-paced anthems—“Then Shadows Fall” and “Remember.” The two orchestral instrumentals are largely forgettable, but they’re short and really don’t interrupt the flow of the album.

Dreaming Awake may be tough to locate, as it has been out of print for a while now. In 2008 Harmony released a new EP (End Of My Road) and full-length album (Chapter II: Aftermath). Both are highly recommended.

Also check out Darkwater and their debut album Calling The Earth To Witness. Four of the five members of Harmony make up the same number in Darkwater, all playing the same role in each band; the only one not making jump is the bass player. They're not too far off in terms of style; they’re simply more progressive and heavier.

Video: Eternity, Maze Of The Past

Website: http://www.harmonymetal.net
MySpace: http://www.myspace.com/harmonyofficial

Note: Many of these links are external. In time, they may become obsolete.

Ben Harper And Relentless7 - White Lies For Dark Times

2009-11-09T19:08:00.000-05:00

"Ben Harper's 'Relentless' return to rock."

I've been reading similar tag-lines about White Lies For Dark Times for a while now. I must be missing something, because Ben Harper's return to rock sounds suspiciously like...well, the same old Ben Harper. Sure, this time he's brought along his old backing band (among others), now dubbed Relentless7 (a play on "relentless heaven," I assume), but there's really no "return" of anything here besides some musicians of old. Not a damn thing wrong with that, either.

White Lies For Dark Times does boast a collection of tunes that lean more toward the blues/folk-rock side of things, but not in a style that Harper ever abandoned. This album simply has less of his trademark folk/ballad leanings (though it is present in the back-to-back form of "Skin Thin" and "Fly One Time," and the album closer, "Faithfully Remain"). If that's a "return" to rock, well, then, welcome home, Mr. Harper.

There isn't a bad song on this album. Ben and his new relentless crew bang out some fantastic tracks throughout its near 50 minutes. "Number With No Name" sets the tone with its fuzzed-out, straight-from-the-70s guitar and catchy hook riding a foot-stompin' groove. "Shimmer & Shine" nails it down in similar fashion, with a radio-friendly hook. "Lay There & Hate Me" spreads out a layer of old school R&B, while the brilliant blues-rocker "Why Must You Always Dress In Black" was tailor-made for that groovin' Memphis strip they call Beale Street.

Ben Harper And Relentless7 strike another gold notch in Ben's already brilliant catalog. Whether it's rock, folk, blues, or even the gospel-tinged album Let There Be Light—with the Blind Boys Of Alabama—Harper never fails to craft memorable songs. White Lies For Dark Times isn't as dynamic as previous albums, but it's an outstanding piece of work, one that stands tall and proud among those past giants.

Video: Shimmer & Shine, Lay There & Hate Me (Live)

Website: http://www.benharper.com
MySpace: http://www.myspace.com/benharper

Note: Many of these links are external. In time, they may become obsolete.

Endeverafter - Kiss Or Kill

2009-10-27T01:29:00.000-04:00

For the past few years, the US mainstream market has been giving more and more attention to bands that churn out old school rock music. Supagroup, Airbourne (Roadrunner is reissuing their debut in 2008), Miss Crazy (just signed a three-record deal), even Sebastian Bach (ex-Skid Row) has gotten an unexpected (but deserved) amount of exposure for his latest album Angel Down, considering five years ago it would have largely been ignored. Well, Endeverafter now join the ranks of modern rock bands injecting that old school flavor with their Razor & Tie Entertainment debut, Kiss Or Kill. But while other bands manage to channel their sound completely from that old (and great) era of music, Endeverafter ocassionally struggle with this, hopping from foot to foot, from 80s rock to something more akin to modern alternative rock.

Kiss Or Kill immediately lines up four hefty shots of no-frills, gritty—with maybe a bit too much sheen—rock ‘n’ roll; "I Wanna Be Your Man" and "Poison" are both driving rock songs, sometimes bordering on metal with their double bass, galloping riffs, and speedy leads; but their big hooks betray that notion. While "Baby Baby Baby" and "Gotta Get Out" don more traditional garb, mid-paced AC/DC-like anthems. The modern stylings first surface during the chorus of "Gotta Get Out," touching upon something Blink 182 might have written, but it bares itself full on the ballad "Next Best Thing." While the power ballad was something of a staple in the eighties, here it comes off like a stolen (post-mainstream success) Hoobastank song. It simply lacks the magic of a true rock ballad, leaving much to be desired. But it has radio hit written all over it.

Endeverafter haven’t struck gold with Kiss or Kill, but they’re not far off the mark either. While some songs may sort of lose their identity in a shallow sea of radio pop, they also find redemption every time with quality songwriting, whether showcasing a rock style ("Tip Of My Tongue"), metal ("Road To Destruction"), or the unfortunate (but still decent) foray into pop oblivion ("All Night"). Kiss Or Kill won’t blow you away from beginning to end, but among the good there stands tall a few that are great.

Video: I Wanna Be Your Man, Baby Baby Baby

Website: http://www.endeverafter.com
MySpace: http://www.myspace.com/endeverafter

Note: Many of these links are external. In time, they may become obsolete.

Pyramaze - Legend Of The Bone Carver

2009-10-23T22:08:00.000-04:00

Flower metal. That's a term someone came up with to describe power metal bands that lack the most important part of that label, power. I've always thought Pyramaze fell into this category. Not sure why, but that's what was in my head. Then sometime last year the band announced that former (at the time) Iced Earth vocalits Matt Barlow had joined the band to sing on their third album, and that piqued my interest.

Matt has since rejoined Iced Earth, but none of this happened before Matt laid down vocals for Immortal, Pyramaze's third album. When samples from Immortal were first put online, I was surprised at how heavy they were. I remember commenting that the band must have consciously went for that Iced Earth sound, probably to accomodate Matt's strong vocals. (Remember, I was thinking they had been a "flower metal" band. I was wrong.)

Legend Of The Bone Carver showed up in a Newbury Comics used bin a few weeks ago, the first time I'd ever seen a Pyramaze album outside of the internet. I contemplated buying it then, but decided against it (it was $8.99, a bit pricey for a used disc by a band I was unsure about, if you ask me). It wasn't until the other day that I finally listened to some Pyramaze samples from their first two albums. Flower metal? Pffft! Hardly. Not sure what convinced me that that was their style—I'm sure the label of "Epic melodic power metal with symphonic touches" had nothing to do with it—but it's not. So I broke down (not hard) and bought Legend Of The Bone Carver, and, as they say, I am pleasantly surprised. The music is just as heavy as the samples from the upcoming Immortal. Lance King, the previous vocalist, and a fantastic one at that, is not as heavy as Barlow, but the album is still a hefty kick in the nuts. Tracks like "What Lies Beyond," "The Birth," and "Souls In Pain" shatter the notion of there being no power behind Pyramaze's music.

I strongly recommend Legend Of The Bone Carver, if you can find it. This album comes off like a more streamlined version of Pagan's Mind. Not sure how many would agree with that, but that's my early impression. An excellent album either way.

Video: What Lies Beyond
Video: The Bone Carver
Video: She Who Summoned Me
Audio: Souls In Pain

Website: http://www.pyramaze.com
MySpace: http://myspace.com/pyramaze

Note: Many of these links are external. In time, they may become obsolete.

Circus Of Dead Squirrels - The Pop Culture Massacre And The End Of The World Sing-A-Long Songbook!

2009-10-12T02:11:00.004-04:00

Recently a band sent me their latest EP for review. The package consisted of one CDR that had the band and album name spelled incorrectly (sadly, I'm not making that up). There was nothing else in the package—no tracklisting, no band info, no website info, absolutely nothing but a twenty-five cent CDR. This was sent to me by a band member, one who couldn't even spell his band or album name correctly. I'm still annoyed at this, thinking back to the time when I was sending out albums from my own bands and how much time I'd put into it. Luckily, not every band is of the same uncaring mind when it comes to their presentation, what represents them as artists, as a whole. Circus Of Dead Squirrels takes the old school approach, understanding that the music is not all that matters, there is a visual aspect that also speaks to people.

The Pop Culture Massacre And The End Of The World Sing-A-Long Songbook!, Circus Of Dead Squirrels's third album, is lavishly presented as a children's book featuring full-colored, detailed artwork (cartoons, to be exact) correlating with songs on the album: a squirrel slitting the throat of the McDonald's owner (I presume) and making Ronald and friends eat worm-filled burgers ("The Happy Meal-Worm"); a ghoulish-looking squirrel with a chainsaw chasing down current presidential failure George W. Bush, depicted as Pinocchio ("President Pinocchio"); A squirrel performing a "fatality" a la Mortal Kombat ("Prizefighter"); a squirrel operating a guillotine, about to behead beloved Elmo while his Sesame Street pals happily watch on ("Elmo's Last Laugh"); and a squirrel raising a pitchfork over its head in a fiery, hellish cavern, looking to be commanding knife- and tuna-can top-wielding killers in the manner of the Pillsbury Doughboy, Tony the Tiger, Charlie the Tuna, Mr. Peanut, and the Hamburger Helper Helping Hand ("Hell's Kitchen"). And that's not all. Circus Of Dead Squirrels put in a lot of time and effort creating The Pop Culture Massacre, and they did the same on their previous two releases, Indoor Recess and Outdoor Recess.

Of course, as they say, you can't polish a turd. So what of the music? Well, Circus Of Dead Squirrels's talent doesn't end with creating a nice visual package, the music is pretty damn good—for what it is. The Pop Culture Massacre is a mash up of GWAR meets Misery Loves Co. meets Slipknot meets the lyrical prowess of Tesco Vee and (one of the greatest bands ever) The Meatmen—with less homo-erotic comedy (though Ninja Turtle Liberace does play guitar and keyboards, so I could be wrong).

The first true song on the album is "Overpopulation Annihilation," a brutal, pounding industrial metal anthem that's sure to get the blood flowing, through the body or knuckles. "The Happy Meal-Worm" follows a similar path, but more upbeat, layered with a twisted, circus-like foundation. "Losing Touch" sounds like a Slipknot song played through the haunted speakers of a techno dance club. The rest of the album flows in a pretty similar style, not throwing out many curveballs until the track "Nobody Quite Like Me," a mid-paced, eerie, atmospheric gem of a song. This song finds the band in more serious and mature territory, musically and lyrically. I'm tempted to say the song doesn't fit on the album, because it does seem to sort of skewer the satirical flow of the rest of the songs, but it's simply too good a song to ignore.

The Pop Culture Massacre isn't without its flaws. As is the case with many industrial-like bands, sometimes a little noise overindulgence interrupts the flow of a song; it's easy to include too much, making for a somewhat distracting listen. This doesn't apply to any one song completely, only parts now and then. The production is outstanding, and the mix is killer. While I think some songs have a little too much going on from time to time, nothing ever gets lost in the mix. The music is generally captivating in its driving rhythms and grooves, and the lyrics, while satirical, aren't necessarily stupid or cringe-worthy. And again, the artwork and layout is topnotch, an outstanding visual companion to a great album.

The Pop Culture Massacre begins with a disclaimer track, a warning to those would-be naysayers with no sense of humor, which, to quote the final moment of the track, essentially states: Thoroughly fuck off, or enjoy the show.

The latter is what I did.

Video: Elmo's Last Laugh, Nobody Quite Like Me (Fan-made)

Website: http://www.circusofdeadsquirrels.com
MySpace: http://www.myspace.com/circusofdeadsquirrels

Note: Many of these links are external. In time, they may become obsolete.

Conjure One - Conjure One

2009-10-12T00:04:00.000-04:00

Conjure One is a project by Delerium's Rhys Fulber. Delerium started as something of an instrumental ambient/electronic band. In 1994 they evolved a bit, releasing Semantic Spaces with Kristy Thirsk on vocals. On the follow-up, Karma, Delerium brought in multiple guest female vocalists. They scored a big hit with the song "Silence," which featured Sarah Mclachlan on vocals. In Europe, a few techno remixes of "Silence" became even bigger hits, huge among the dance crowd. On follow-up albums, Delerium shifted gears a bit again, trying to please the fans of the "Silence" remixes. On those albums, the ethereal ambient style became more of a dance pop style. They still featured guest female vocalists, and even a few male vocalists, but they never did quite match the success of Karma.

With Conjure One, it seems that Rhys Fulber wanted to go back to the more ambient sound heard on Semantic Spaces and Karma. The design is the same: ambience, electronic soundscapes, and female vocals (Poe and Sinéad O'Connor among them). But this didn't stop someone from turning a few songs into bad dance remixes (see "Tears From The Moon" video below). The album, however, is devoid of that techno style. Definitely an album worth checking out.

Video: Redemption
Video: Tears From The Moon

Website: http://www.conjureone.com
MySpace: http://www.myspace.com/conjureone

Note: Many of these links are external. In time, they may become obsolete.

Helltown - Lead To Hell

2009-10-08T01:46:00.000-04:00

After a long drought, Brazil's metal scene has come alive in the past few years—a drastic rebirth that includes such bands as Claustrofobia, Syren, Korzus, Andralls, Torture Squad, Drowned, Terrorstorm, Chaosfear, Ungodly, Hicsos, and the almighty Scars, all either risen from the ashes or simply now shining under the ever-brightening spotlight. Helltown is among this New Wave of Brazilian Heavy Metal. Their roots go back to 1996 and a short-lived band called Blood Course. A reunion of sorts would happen five years later in a cover band called WTC,a band that would lay the foundation for what would become Helltown. After finding a few more members to complete the line-up, the band released their first demo in 2003. In 2005, after a few more line-up shifts, the band began recording their debut full-length. The result was Lead To Hell, released in 2006.

For a young band, Lead To Hell is a damn good debut album; it plays like a high quality demo, and sounds like it could be an early demo from the great and currently missing-in-action Sinergy. Helltown play traditional heavy metal with female lead vocals and the occasional male vocal harmony. Symone Syann does a very good job on vocals for the most part; but occasionally she can sound a bit too reserved, like a little more power—which she is capable of—was needed to reach that optimum vocal level. Musically the band handles business with ease, offering great musicianship and songwriting for most of the album. The production is a little weak and the tones on the record are a little too thin and subdued; the guitars need a little more depth and crunch, while the drums and bass could be a bit thicker, adding a more solid foundation. But those things aside, Lead To Hell is still a commendable effort.

"Run For Action" starts things off and pretty much sets the standard—traditional metal fare, solid songwriting, and a great chorus. "Wanted" and "Breaking The Time" follow suit in similar fashion. "Alone In The Night" is something of a dark, mid-paced rocker with a great chorus. "Lead To Hell" and "Flames Of Fate" are two more highlights with outstanding hooks. The album dips a bit toward the end with "Forever A Rebel" and "Reach The Highest Mountain." Both are decent songs but lack a necessary hook to really grab the listener. "In The Heart Of The Storm" suffers the same problem, but to a lesser extent; this one with a riff taken right out of Metallica's "No Remorse" and a great mid-section and solo, and some outstanding bass runs (albeit short ones).

Helltown doesn't manage to break new ground with Lead To Hell, but they rest upon a solid foundation. They play a style we've heard before, but they do it well enough to warrant a listen. For a debut, Lead To Hell is a very worth release. There are some things that need to be worked on—production, strengthening the vocals, and more memorable melodies—things that should be corrected by the time they think to release a sophomore album—but Lead To Hell is a solid debut, and a very enjoyable listen.

Note: This review was written in 2006. Since then, the band has gone through some member changes; most notably new lead singer Kell Hell.

Video: Run For Action, Alone In The Night

MySpace: http://www.myspace.com/helltownmetal

Note: Many of these links are external. In time, they may become obsolete.

By Blood Alone - Seas Of Blood

2009-09-28T01:29:00.000-04:00

As a reviewer—and an all-around obsessive music fan—I welcome unknown bands into my life with more fervent passion than new releases from bands I know and like. A few years ago I was fortunate enough to be asked to review Eternally by an unknown—to my ears—band called By Blood Alone. The EP was a great little piece of what I consider to be true gothic metal. In that first review I ranted a bit about the misconception of what today's everyday music fan considers to be "gothic." To put it simply, without repeating myself here: I disagree with most labels. I will, however, set this review up by quoting myself from that previous review:

"Like the legendary Bauhaus (arguably the most famous gothic rock band ever) stylistically mixed it up in the 80s, By Blood Alone have combined many different elements from rock, metal, doom, gothic romanticism and even a little pop, and created a tapestry that is undeniably gothic in style, but also much more if you can listen beyond the free-form, minimalist nature of the songs."

I've read a few reviews that suggest there is some prog-rock on this album, but I would disagree with that. On Seas Of Blood, not a lot has changed since Eternally, in terms of style. By Blood Alone still mixes it up pretty well, but they keep that musical sea a bit calmer than the term progressive—or the album cover—depicts. The album does, however, boast some very interesting and style-shifting pieces. But overall, Seas Of Blood seems to show a band that has kicked up the metal and symphonic elements a few notches. This is immediately evident on the opening track "Serpentarius," which starts like a lost 80s metal classic; it then shifts into a keyboard-heavy masterpiece with some excellent stylistic twists and turns which keeps its seven-plus minute length seem much shorter. "Wants Me Dead" (re-recorded from their 2004 demo) continues to carry the proverbial metal torch, its fire fed by John Graveside's galloping "fist in the air" breaks. However the song's heaviness seems to come not from the guitar but from the chilling keyboard work of Jenny Williamson, as if it were a mystical shroud that hangs heavy like a funeral pall. "Lovely Lies" and "Nidhogg" embrace a similar style, slowly exuding a sense of dread and foreboding like sweat from pores.

With four of the album's eight tracks walking a relatively similar path, it could have been very easy for the band to get bogged down in a well-traveled rut. Fortunately By Blood Alone understand balance. The creepy "Undead Friend" plays like a burial waltz for the recently departed—if it were the 1800s. And the twisted and quirky "Little Lady Lillit"—with Cruella doing her sadistic best at sounding cute and downright devious—reminds me of Emilie Autumn's post-Enchant foray into the self-dubbed Victoriandustrial style. A new recording of "Deny Yourself—which was on the Eternally EP—is the album's heaviest track, relying more on the crunch of guitar and double-bass than the atmospheric veil of keyboards, though that is still present. The epic—and arguably best—of the album is "Seas Of Blood," a graceful and expansive track that evokes a sort of sad beauty. The music rises and falls with the slow intensity of an ocean swell, with Cruella's voice lightly but passionately rocking on its surface.

By Blood Alone isn't a flawless band. Part of me wishes the guitars had a fatter tone, and others have mentioned that Cruella's vocals aren't as strong as some others. While those might be valid complaints for most bands, I think it actually adds to the character of the band's music. There's something real and warm in its imperfections. And there's nothing bad about this band, especially when it comes to the songs. A band like Linkin Park might have the luxury of spending two years doing pre-production, two more years of studio recordings and even more overdubs, for what ends up a thirty-minute album with not a note out of place; but it loses the human element in the process—it lacks the passion and defined character of something real. While not flawless, By Blood Alone is a band that is nearly so, in spite—or possibly because—of its flaws. Seas Of Blood is an outstanding album.

It's also worth noting that the album artwork is simply beautiful. The painting, A Mediterranean Brigantine Drifting Onto a Rocky Coast in a Storm, is a piece by Willem van de Velde, the younger, a Dutch painter of sea-pieces. The painting has obviously been slightly altered with added design elements, but the intensity of the image remains.

Video: Seas Of Blood, Lovely Lies, Nidhogg

Audio: Wants Me Dead, Undead Friend, Deny Yourself, Little Lady Lillit

Website: http://www.bybloodalone.com
MySpace: http://www.myspace.com/bybloodalone

Note: Many of these links are external. In time, they may become obsolete.

Devin Townsend - Devlab

2009-09-16T01:18:00.000-04:00

Devin Townsend has been one of the most prolific and unique musicians of the past 20 years, and he's not even been making music that long. His musical visions range from chaotic to serene, melancholic to happy, and everything in between. The man is a musical genius, a talent that knows no bounds. Whether it's the relentless onslaught of the controlled, chaotic mind-fuck that is Strapping Young Lad or the sweeping, sonic and majestic beauty of Terria, there is no denying that Devin Townsend is one-of-a-kind.

His musical tentacles extend far beyond metal, too (no pun intended). With his two Ass-Sordid Demos compilations we saw that he could stretch his musical being into realms not often explored on his main albums and still come up with some amazing music. But it's an album like Punky Brüster's Cooked On Phonics, for example, that really showcases the extent of his talent—and in a very simplistic way. The album is a tale of Cryptic Coroner, a Polish death metal band that sells out and goes punk because they weren't making any money (see Pyogenesis for a real life comparison—doom-death to pop punk). In 1995 Devin called up the record company and said, "Give me $1,500 and I'll give you a new record in a week." Cha-ching! And in that week, Devin wrote and recorded one of the best punk records you'll ever hear. A week! Seven days! And it's funny, too. Who does this? Who can do this? Granted, punk isn't the hardest style of music to write—which obviously helped—but it's the whole package: great riffs (much closer to metal than basic punk chords, though), killer vocals, hilarious lyrics and between-song skits, and excellent songs. One week. The man isn't even capable of writing a bad punk song.

More recently he's been branching out a little further, in a different direction. A few years ago, with the special edition release of Accelerated Evolution, there was a bonus EP included: Project EKO, three songs of light and fluffy ambient music, layered with clean guitar strumming and soloing, smoothed out with soft, swirling lullaby-like vocals. It wasn't anything mind-blowing, just an experiment with some new software that Devin had picked up, but it was still very good. And considering that there are people out there that make their living off of writing and recording music like that, it was simply another display of his seemingly endless prowess.

From Project EKO there spawned Devlab.

When this album arrived, upon first listen I started to realize that I would have a difficult time commenting on it. It's just plain weird; and it's definitely not for every Devin Townsend fan (read: not for the close-minded). Devin calls it "heavy metal ambience," but there's really no metal to be found. There is definitely ambient music in the mix, even a little techno ("Track 8"), but the metal aspect—or what I assume Devin here refers to as metal—is more in line with Japanese noisecore than anything metal. It is, however, exactly what I think Devin intended it to be: an experiment in sampling and loop-based music, much like Project EKO, but this time fleshed out and explored with a more focused passion for the end-product. In that respect I think it succeeds, and probably surpasses all my expectations.

There are fifteen untitled tracks on the album, so it plays like one song, one narrated journey through countless insane minds. Some of it is very mellow and sounds like the backing tracks to songs from Devin's various solo albums, while some of it is noisy and very disjointed; some both. The sampling throughout is captivating, the randomness and absurdity of some of it is just baffling because it works so well. Listening with good headphones makes it even better, the richness increases tenfold and it's clear that this is no lazy man's product; a lot of work went into the making of Devlab. As with Project EKO, there is not much in the singing department, at least not in the foreground. Devin seems to more or less hum and whisper his way through the disc (think "The Death Of Music" from Ocean Machine), which also adds to the album's haunting insistence.

When I first heard this album I wasn't anywhere close to being blown away, but then it caught me in the right mood, and then it was a stunning piece of work. I've now found a place of deep respect for Devlab. For the most part, though, this will be background music for many people; you won't always be able to give it the attention it demands, the time it takes to dig deeper and deeper to find the harmony in the shifting and seemingly unconnected layers. It's unobtrusive and subtle, but arresting in its own quietude. I give Devin credit for putting this out there. It's an ambitious album, and one that I think should be applauded.

Devin Townsend's willingness to once again try his hand at something different is even further proof that the mind of a genius never sleeps.

Audio: Track 10

Website: http://www.hevydevy.com
MySpace: http://www.myspace.com/devintownsenddtb

Note: Many of these links are external. In time, they may become obsolete.

Assemblent - Equilibrium

2009-09-15T01:48:00.000-04:00

Portugal is not a country known for its abundance of metal bands. For many, if asked to name a Portuguese metal band, the band that would likely come to mind would be Moonspell, probably the most well-known metal band from that region, at least outside of the country. Portugal may not be overflowing with internationally known metal bands, but rest assured, like in any country, they do exist.

Enter Assemblent.

Formed in 1998, the band was then simply just a group of friends playing cover tunes under the name of Dawn. It wasn't until 2002, as the band members matured, that Assemblent was born and the band began to write their own original material. A 2-song demo followed shortly thereafter and garnered positive reviews. After touring throughout Portugal in 2004, the band decided to record a full-length promo album with Miguel Fonseca (Thormentor), for the purpose of generating label interest. It worked. A young Portugal-based label going by the name of Nemesis signed the band. The label felt that the 10-song promo was strong enough to be released after being properly mastered, as the current promo version needed a little added boost.

Enter Equilibrium.

Assemblent are going to find themselves constantly being compared to one band: Moonspell. Not a bad band to be compared to, and not a completely inaccurate comparison, but one that should be taken lightly. Assemblent simply has far more to offer that is of their own making. Equilibrium begins with a short atmospheric instrumental of the same name. Nothing to sweaty yourself up over, but it's a good intro, a nice segue into "Heartwork," the album's first true song. "Heartwork" sees the band getting right down to business with a death metal groove chock full of heavy riffs, double-bass, keyboards and raw, tormented vocals. "Into My Sleep" follows suit, but with more of a driving industrial lilt and a great chorus. Things slow down a bit with "A Dying Moment" and "Silent Cries." Both songs bring the Moonspell comparisons to light, the former for it's clean, somber vocals during the verses and the heavier chorus; the latter for the same reasons, but more so because Moonspell's Fernando Ribeiro actually performs guest vocals for the entire song. Excellent tunes, and though "Silent Cries" could easily pass as a Moonspell song, it does not detract from the integrity of the album.

The second half of the disc begins with "Grammaton Cleric," a brutal song that essentially has its own intro. One that sounds like the beginning of a sci-fi concept album: an atmospheric backdrop and an apocalyptic narrator talking of a third world war and the creation of a "new arm of the law, the Grammaton Cleric, who's sole task is to seek out and eradicate the true source of man's inhumanity to man, his ability to feel." The rest of the album traverses a similar path of industrial-tinged metal with hints of death metal and thrash, the keyboards and atmospherics lending a light gothic element. "From Red Core To Black Sky" is a standout, with its speedy riffs mixed with a pounding groove. "Terria" is another short instrumental not unlike "Equilibrium." The album ends with "Subtellurian Darkness" and "Fears." The former starts out with a great riff and has its moments throughout, but kind of falls apart in too many spots (definitely the worst on the album); the latter of the two solidifies the overall quality of the rest of the album as it, too, is a commanding slab of industrialized thrash-death metal.

Although only meant as a promo-only release to send out to labels, Assemblent created something that deserved more exposure than A&R trash bins or the inside of a box stored in a basement or closet, never to be heard by the masses. Equilibrium is an impressive debut. The mix could be better and the guitar tone stronger, and while the production is raw and gritty, it all works well within the dark, monolithic confines of the album. And though the band will be compared to Moonspell, I feel that the comparison should only be used as a reference point and it is no reason to not lend an ear to this band. The comparison is valid, but the band stands on their own merit and has their own distinct personality outside of that similarity in style. Equilibrium is not a masterpiece, there is room for improvement, but it is a highly recommended debut.

Video: A Dying Moment, Heartwork
Audio: Heartwork (Radio Edit)

Website: http://www.assemblent.com
MySpace: http://www.myspace.com/assemblent

Note: Many of these links are external. In time, they may become obsolete.

Juliette & The Licks - Four On The Floor

2009-09-12T00:05:00.000-04:00

Famous Hollywood actors have been trying to make the transition into music for...well, probably forever; and most did so with little success. Remember Keanu Reeves and his horrible Dogstar album? Jared Leto shocked me, however. His band, 30 Seconds To Mars, is outstanding, and the dude has a tremendous voice. And it's not studio magic making him sound so good, he pulls it off just as well in a live setting. But generally its musicians making the transition into acting that's been successful. And they usually continue to maintain both careers. So I was skeptical when I'd heard that Juliette Lewis had a band called Juliette & The Licks. But then I figured she was probably just insane enough to pull it off.

And it's true. She's like the female version of Iggy Pop (just watch the live clips on YouTube)! After digging for opinions, many people encouraged me to buy the band's albums. I had heard plenty of their songs online, so I knew I'd dig them. And today I finally found Four On The Floor, their third release, in the used bin for $5.99. Schwing! Musically, the band plays a nice mix of sleazy 80s rock and gutter punk, like AC/DC meets the Rolling Stones meets Babes In Toyland. Four On The Floor features Dave Grohl (Foo Fighters) on drums for the entire album. Not an official band member, but his skills as a drummer surely enhance the already great songs (just listen to the fills). Four On The Floor is excellent. Juliette Lewis has made the transition from actress to rock-and-roller with ease. She's a natural.

Video: Hot Kiss
Video: Sticky Honey

MySpace: http://www.myspace.com/julietteandthelicks

Note: Many of these links are external. In time, they may become obsolete.

Midnattsol - Nordlys

2009-09-11T02:14:00.000-04:00

Midnattsol's rise within metal community was probably a bit premature. They're a so-called "gothic metal" band, fronted by Carmen Elise Espanæs, who just happens to be the sister of Liv Kristine (Theatre of Tragedy, Leaves' Eyes). Instant exposure! But at least they live up to some of the hype. Their full-length debut, Where Twilight Dwells, was a solid album, even though it was a faceless album in a sea of faceless albums (i.e. unoriginal).

On Nordlys, they haven't deviated from that style much. But I don't look for originality; I look for quality, and to their credit Midnattsol has kicked the songwriting up a few notches on this album. It's a bit heavier, faster, and catchier. While still not original, this album is much better than a lot of similar albums out there. The limited edition—which I bought—also has a badass bonus track called "Octobre", sung entirely by guitarist Daniel Droste. Male vocals add a nice dynamic to the band; they should have used him on other tracks. He actually sounds like Mikael Stanne (Dark Tranquillity), when he sang in a clean tone on Projector. Either way, if you like this style of music, definitely pick this one up.

Video: Northern Light
Video: Octobre
Video: Desolation (from Where Twilight Dwells)

Website: http://www.midnattsol.com
MySpace: http://www.myspace.com/midnattsolfolk

Note: Many of these links are external. In time, they may become obsolete.

Great White - Rising

2009-09-05T15:45:00.000-04:00

I've heard a lot of rumblings about Rising over the past few weeks. (One thing I hate is when people get online and piss and moan about an album they downloaded/stole. Just shut up until you've sacrificed a little hard-earned cash.) The main complaint has been that it's not very rockin', too mellow. To which I ask: when the hell has Great White been anything but that? They've had their moments, of course, especially on the first few albums. In general, though, all their albums have mixed in those mid-paced bluesy rockers with ballads and slower numbers. Rising is no different.

On the heels of the excellent Back To The Rhythm—an album with more "rockers," which may explain why some fans had their expectations in the wrong place—this new album is no slouch. If you're looking for a comparison point, look no further than Can't Get There From Here, a very underrated album. Rising is more mellow than not, with a handful of slower tracks, like "I Don't Mind" and "Is It Enough," and the ballads "Only You Can Do," "Last Chance" and "My Sanctuary." Standard fare material here, but done very well. Then there are the rockers...you know, those tunes that apparently are too few on this album.

The album starts with "Situation" and "All Or Nothin'," the proverbial one-two punch, and the result is a knockout. Both tracks channel some old school ZZ Top; the former with some excellent Billy Gibbonsesque lead work, and the latter with a main riff that is without a doubt way too similar to "Sharp Dressed Man," but they mask it well with some great melodies. "Shine" and "Danger Zone" bolster the heavier side of the album, but it's "Down On The Level" that really solidifies things. It's another rockin' track, but it pulls in some of that old time 70s rock/funk, big harmonies, horns, and a smooth groove. Definitely the highlight for my (increasingly hairy) ears.

All in all, Rising should please longtime fans of the band. It's another solid effort in a long line of really good albums.

Video: All Or Nothin', I Don't Mind

Website: http://www.greatwhiterocks.com
MySpace: http://www.myspace.com/officialgreatwhite

Note: Many of these links are external. In time, they may become obsolete.

novAct - Tales From The Soul

2009-08-26T16:12:00.000-04:00

Ken Golden is the man! For those unaware, he is the owner of three separate labels under one roof. The Laser’s Edge focuses on progressive rock (White Willow, A Triggering Myth, Wobbler), Sensory is for progressive metal (Zero Hour, Redemption, Wastefall) and Free Electric Sound is set aside for progressive fusion (At War With Self). I praise him solely because everything I’ve heard from either label has been excellent. Ken Golden knows good prog when he hears it, and he doesn’t simply go for bands that sound the same. He often signs bands that offer something a bit different within the prog field. Behind The Curtain for example, sounds like no other prog band I’ve heard before. The same can be said about A Triggering Myth and even Wobbler, to an extent. Even if similarities exist, such as with Zero Hour and the upcoming Twisted Into Form, the music is always killer. Recently I came upon novAct, a prog-rock/metal outfit out of the Netherlands. I ordered Tales From The Soul shortly thereafter and it’s been in heavy rotation for the past two months.

The band formed in 2001 under the name Morgana-X. They released a three song live rehearsal demo, then a follow-up promo EP called Misunderstood (which Roy (guitars) kindly sent me. Thanks, dude!). They then changed their named to novAct, showcased two tracks on a split compilation called Arnhem Trolleymetaal, and finally in 2005 released this, their first full-length, Tales From The Soul.

"Sharply Condemned" kicks things off with a heavy, driving riff, melodic bridges and a lush, heavy prog-rock tapestry coolly painted by Eddy Borremans’s outstanding vocals. Truly, it’s only when vocalist Eddy Borremans begins to sing that you realize there is something special about novAct. To say that Borremans is a unique vocalist in the rock/metal world is almost an understatement. I’ve read that he compares to Queensrÿche’s Geoff Tate, Pain Of Salvation’s Daniel Gildenlow, and Andy Kuntz from Vanden Plas and Abydos, among others. None are accurate, if you ask me. If I had to pinpoint a similarity in vocal style it would a heavier version of Roland Gift of the Fine Young Cannibals—gasp!—and the clean tones of the legendary Otis Redding. Maybe this isn’t the sort of thing a metal fan wants to hear, but that’s what I hear.

Tales From The Soul is, simply put, an amazing album. From progressive rock/metal anthems like "Hope And Fear," the Jeff Buckley tribute "The Eternal," "Path Of Daggers" and the heaviest track on the album, "The Rider," to the more melodic songs like the goth-influenced "Flower," it is clear novAct rival the greatest prog-rock/metal bands out there today. The slight gothic touches reminiscent of To/Die/For adds yet another dynamic that makes this band stand out from the pack. The interwoven guitars and keyboards create space for Borremans’s stunning vocals; the solo work is precise and fits perfectly, beautifully. The bass and drum work don’t go on any proggy tantrums, but they hold it all together, creating a solid foundation for the stars of the show: the guitars, keyboards and vocals.

Everything about this album is brilliant. From the music to the production, lyrics and artwork; it’s all outstanding. I’ve had this album for quite a while now, I’ve listened to it virtually every day since and its quality has not diminished yet, it sparkles brighter after each listen. Not only is this one of the best prog-rock/metal albums I’ve ever heard, its undoubtedly one of the best albums I’ve ever heard overall. Nothing more needs to be said. Ken Golden couldn’t have a more appropriate last name (clearly his first name is great, too), novAct and Tales From The Soul are both simply that: Golden.

Band note: Since writing this review in 2005, novAct have sadly broken up.

Video: Sharply Condemned (Live), The Rider (Live)
Audio: The Rider, Eternal Life (different version taken from the Morgana-X Misunderstood promo)

Website: http://www.novact.nl
MySpace: http://www.myspace.com/novact

Note: Many of these links are external. In time, they may become obsolete.

Pathogen - Bloodline

2009-08-26T02:05:00.000-04:00

When one thinks of melodic death metal’s roots, Sweden would likely come to mind. And that would essentially be true, though it’s simply the accepted and widely believed answer. A world away, Australia’s Pathogen has studied well the teachings of Sweden’s melodic death metal masters. Upon hearing Bloodline, their debut full-length, it’s hard to imagine the band comes from that unlikely locale.

The band formed in 1995 and quickly released two demos, Tyranny Of Hatred (1996) and Nightfall (1998). It took the band seven more years to release anything other than a single song, "Shallow," in 2000. The band never broke up during that period, they just chose to hone their skills and evolve as musicians. The result is thirteen solid slabs of melodic death metal with a little bit of standard death metal a big dose of aggressive thrash. Five songs from the Nightfall demo, and two songs from the Tyranny Of Hatred demo, have been re-recorded for Bloodline.

The album opener is an instrumental by the "name" of "…" (an ellipsis), a great two-and-a-half minute melodic dirge that leads into the blistering "Identity Theft." The first true song on the album is a brilliant example of what melodic death metal should be; there’s a heavy mid-paced groove broken up by melodic interludes and death metal runs, and throat-shredding vocal work that harkens back to Whoracle-era In Flames. All the same can be said about "Beyond Repent." They’re followed by "Bleeding Eye," a song showcasing more of the same, but at a faster pace littered with blastbeats. The first truly melodic song is "Fallen Kind," similar to In Flames’ "Moonshield." The seven-minute plus epic "Shallow" acts almost like a bridge between the first half of the album and the second. The song itself is a text book stunner, offering everything from brutal heaviness, to beautiful acoustic passages, grooves aplenty, and sick vocals that slowly build to an explosive crescendo.

Here the album begins to shift directions. "Eviscerated" comes out swinging like a lost Kreator track, more thrash than anything else and it rules. More thrash groove permeates from "C.O.W."—formerly titled "My Little Cow." "Nightfall" is a poignant melodic piece, carried by an outstanding solo. The final three songs are speed bumps in the flow of the album. Neither song is bad by any means, but they’re each a step down from the previous tracks. "Bleed My Soul, Pt. 1" has its fair share of moments, but is marred in spots from a simple groove that fails to grab the listener. "Warchild" follows a similar path, but it’s a better tune with only a few flaws. The last real song on the album is the one that disappoints me the most; "Tyranny Of Hatred" takes six minutes to kick in—and only lasts about a minute—but at that point it’s too late, the rest of the song just putters along with a slow, pounding groove with vocals more like a death metal growl than a melodic death metal scream. It just doesn’t work for me. Like the opening intro, the album closes with another great instrumental of the same name, this one all acoustic.

Bloodline is a great album, make no mistakes. The biggest flaws come from songs written ten years ago, which makes me wish the band just let some of those songs go in favor of newer music. However, some killer tunes have come from those early demos as well, namely "Beyond Repent," "C.O.W." and "Nightfall," and, like I mentioned, even those that I feel are flawed are not bad songs. Hopefully Pathogen won’t take another seven years between releases; I’d like to hear what they come up with on an album of all new material. As it stands, Bloodline is, for the most part, a great album of old school melodic death metal in the tradition of early In Flames, Dark Tranquillity and At The Gates.

Sadly, the album isn’t that easy to find in the US. At the suggestion of Aiden (Pathogen’s guitarist), the cheapest I found was from Singapore’s Pulverised Records (a great, honest label). I went through their eBay Store and was able to acquire it for a total of $16, about $10 less than most other places that were selling it. The price is well worth it.

Video: Beyond Repent
Audio: Identity Theft, Beyond Repent, Shallow, Fallen Kind, Bleeding Eye

Website: http://www.pathogen.com.au
MySpace: http://www.myspace.com/pathogen

Note: Many of these links are external. In time, they may become obsolete.

Angra - Aurora Consurgens

2009-08-23T00:55:00.000-04:00

Angra has never really impressed me much. They're a very good power metal band, but there's nothing really mind-blowing about them. I enjoy their albums, but I'd never pay a lot for one of them, which is precisely why it's taken me so long to get this album.

Aurora Consurgens is Angra's most recent album, released in 2006. Right off the bat it's clear that this album is the band's heaviest, and although the band has been labeled a progressive power metal band in the past, this is the first album that I can really hear that progressive style coming through. At least enough to slap on that progressive label. After a few listens, I'm also confident in saying Aurora Consurgens is one of the band's best to date. It doesn't change my opinion of the band, however; they're still just an everyday power metal band.

One could do far worse than checking out Angra, so I do recommend them to fans of power metal. Just don't raise those expectations too high and you'll find some quality metal in this band.

Video: The Course Of Nature
Video: The Voice Commanding You

MySpace: http://www.myspace.com/angraofficial

Note: Many of these links are external. In time, they may become obsolete.

Furbowl - The Autumn Years

2009-08-10T16:49:00.000-04:00

The year 1999 spawned an album called Moontower, it came bearing the name Dan Swanö—allegedly the only album that ever will. This album was hailed as one of the first true progressive death metal albums for its flawless mix of 70’s-influenced prog rock and death metal. A true masterpiece, indeed. But in 1994, an album by the name of The Autumn Years did virtually the very same thing. The band was called Furbowl.

Furbowl—what’s in a name?—is an oddity. To find a category to place this band in is almost impossible. The band consistently denied that they were a death metal band, though conceded to the fact that they would inevitably be placed in that category. In general terms, this would be correct, but what is it that makes it so hard to truly categorize this band? Well, they’re not one of anything, but more of many things. The label death-influenced progressive rock/metal I placed on this band sounds ridiculous I admit, but it’s simply meant to give you insight into what this band sounds like. I said they were an oddity, and they truly were, but a good one, and a band worth checking out.

The band formed around 1990 under the name Devourment, but four short years later, after releasing The Autumn Years, the band lost their singer who went on the form a new band. They briefly changed their name to Wonderflow, but never released anything and quickly disbanded. The singer in question was Johan Axelsson (aka Johan Liiva), most notable for his work with Hearse and Arch Enemy—which, incidentally, was the band he helped form after leaving Furbowl. In their short existence, Furbowl managed to release four demo tapes, an EP entitled Those Shredded Dreams—which features a Michael Amott (Arch Enemy) solo on two songs—and The Autumn Years.

I first heard this band in 1994 on a Carolina Records sampler CD—which I still have—called I Hear Ya - Winter Sampler 1994–1995. The song featured was "Weakend." The song began with a simple bass line and then kicked in with a burly "Oh yeah," which was followed by a quiet, creepy verse and then a riff-heavy pre-chorus and a catchy, galloping styled chorus. What caught me off guard was the middle of the song, here it switches to a soft, melancholic strumming punctuated by a killer, yet beautiful solo! I was hooked immediately and quite interested to hear how the rest of the album would sound. A band that could include these seemingly disparate styles, and make them work together so well, was intriguing to me, to say the least, as I’d only just begun to branch out and really try different genres of music outside of my few favorite bands.

Though I’d had it downloaded for ages, it took me a long while to find an actual copy of this CD, which I managed to find this past July. Like I said previously, when I’d first heard the song "Weakend" over ten years ago, I was intrigued. But from the opening moment of "Bury The Hatchet"—with its heavy, bluesy feel, strengthened by Liiva’s unique, quasi-death-like howl—I was thoroughly hooked. The songs on the album are groovy, fast and heavy, and showcase some amazing lead work throughout. "Dead & Gone" features a fuckin violin solo! All of the songs generally mix progressive rock with death metal, but most, like "Dead & Gone," offer up some unique, unexpected elements which keeps the album interesting; just slight twists in the program, even some dark, punk moments (gasp!). The album closes with the acoustic instrumental "Road Less Travelled," and the dark, brooding "Still Breathing." At this point you’d be hard-pressed not to hit the Repeat button.

Unfortunately, Furbowl remain virtually unknown having been so from their inception. This was a truly unique band at the time, and they remain so today. The closest resemblance being Entombed with their trademark death ‘n’ roll style. That is still not an accurate comparison, nor is Dan Swanö’s Moontower, but they’re both valid starting points if you're interested.

Video: Desertion (from Those Shredded Dreams)

MySpace: http://www.myspace.com/furbowl

Note: Many of these links are external. In time, they may become obsolete.

Simon Says - Tardigrade

2009-08-09T17:35:00.000-04:00

This was a blind buy. There was a short-lived American alt-rock band called Simon Says that formed in the late 90s, but I could tell by the cover art that this had to be a different band. With SPV and Progrock Records being involved, that settled matters. I don't often buy albums without listening to a good number of the tracks first, especially at full price, but Progrock Records is a label that generally always releases albums that appeal to my tastes. And Tardigrade is another hit.

This Simon Says is from Sweden, and apparently it's a studio project, not a band. But they're still a prog fan's dream. Tardigrade is the band's third concept album, again based in a fantasy world that their first album and parts of their second album was based in. You can find the full story of Tardigrade here. Musically they're very similar to The Flower Kings, Puppet Show, The Tangent, and many others. So not original. But they are very good.

Website: http://www.paradisesquare.net
MySpace: http://www.myspace.com/simonsayssweden

Note: Many of these links are external. In time, they may become obsolete.

Triarchy - Broken Dreams (EP)

2009-08-08T03:19:00.000-04:00

Though Triarchy formed in 2001, these Brazilians have managed to only come up with two songs since. That may sound a bit ridiculous, but the band sat dead in the water for a good portion of the past few years due to the departure of a few members and not being able to find suitable replacements. It wasn’t until 2004 that the band found themselves in a position to record some music. The result was 2005’s Broken Dreams EP, two tracks of high-quality doom death.

The bands plays a slow, haunting form of doom death with some very somber and melancholic orchestration. The production is excellent, with varying vocal styles and instrumentation mixing flawlessly. Vocal duties are split between Juliana Hernandes (clean) and Pablo Castelar (clean/death); typical of the genre, but executed very well. The guitars are heavy and melodic; the bass stands out from the mix, which adds an unconventional flare to the music. Subtle keyboard/piano work meanders throughout each song, creating nice textures that resonate with the lugubrious atmosphere of the short EP. The drums hold it all together and are fairly standard in style, though some double-bass does manage to work its way into the music, most notably on "Emotional Daze."

Both "Broken Dreams" and "Emotional Daze" follow a similar path of slow- to mid-paced doom metal punctuated by clean, sepulchral male singing, death metal growls and ethereal female vocals. The dynamics of the songs are bolstered by some stylistic shifts, albeit short, such as the solo and piano-driven breakdown in "Broken Dreams", or the more traditional death metal blast beats of "Emotional Daze."

With only two songs to base an opinion off of, it may not be indicative of what the future holds for Triarchy. But one can only assume the future is promising for this young band. You won’t find anything original on this EP, and those who’re not interested in this style of music won’t find anything here that will change their mind. But for those who do enjoy this style, what you will find is an excellent display of doom death, especially for a young band. Alongside some of the best of the genre, Broken Dreams is quite a worthy release. I sincerely hope the band gets a full-length out soon and it doesn’t take another four years for just two more songs.

Note: This review was written in 2005. Sadly, no recording updates have been issued by the band since that time.

Video: Broken Dreams
Audio: Broken Dreams, Emotional Daze

Website: http://www.triarchy.com.br
MySpace: http://www.myspace.com/triarchy

Note: Many of these links are external. In time, they may become obsolete.

Darkwater - Calling The Earth To Witness

2009-08-06T02:48:00.000-04:00

A while back I picked up Dreaming Awake by Sweden's Harmony through the trading website lala.com. It was a blind pick-up, but I was pretty impressed with the album. The band played a brand of power metal with a slight progressive edge, one that on the surface reminded me of Circus Maxiumus, but lacked that heavy progressive sound. The band Darkwater, consisting of four of the five members of Harmony, takes the progressive banner and raises it high. What Harmony is only on the surface, Darkwater is through and through. They don't break the mold that bands like Zero Hour and Wastefall and the aforementioned Circus Maximus create, but they do reinforce it.

Calling The Earth To Witness is Darkwater's debut, having only released one song prior—in 2004—on a compilation called The Sweet...According To Sweden. The album is nine songs deep (one being a short intro), and clocks in at just under sixty-nine minutes. "All Eyes On Me"—preceded by the short intro "2534167"—sets the progressive metal bar high; crushing guitar and drum work (very solid, heavy tones on both), powerful vocals with thick, lush harmonies, subtle keyboard flourishes that create depth, outstanding lead work, and—most importantly—brilliant songwriting. "Again" and "Habit" step up next and land a perfect one-two combination, with the latter pushing the thirteen-minute mark, showing a more dynamic and experimental style. Darkwater doesn't deviate from this heavy progressive style on the whole of the album, but they do add some different elements from song to song to keep things fresh: the short piano ballad "The Play, Pt. 1," the aggressive and keyboard-heavy "Shattered," a little acoustic guitar work and a cappella on "Tallest Tree."

While not breaking new ground, Calling The Earth To Witness is a formidable album in the field of progressive metal. While so many bands of this genre have too many loose ends flapping around while they try too hard to create something "progressive," Darkwater manages to keep things compelling and dynamic without getting sloppy. It's not always easy to make something memorable and tasty when so many ingredients are used, but Darkwater will both satiate and keep you hungry for more.

Video: The Play, Pt. 2
Audio: Again (Edit), Shattered (Clip), Tallest Tree (Clip)

Website: http://www.darkwater.se
MySpace: http://www.myspace.com/darkwaterofficial

Note: Many of these links are external. In time, they may become obsolete.

Before The Dawn - Deadlight

2009-07-26T15:36:00.000-04:00

For a music fan, one of the best things about living right outside Boston is all the used records shops scattered throughout the city. There is one store in the city that has a small area in the back where they put CDs priced at $2. I've been buying from this shop for nearly fifteen years now, and I've found countless amazing albums from that $2 section over the years. Finland's Before The Dawn is one of those bands. Years ago I found My Darkness there. I'd never heard of the band before, but the CD looked cool, and it was cheap—the perfect combo. From the opening riff of "Unbreakable," I was "all ears." I was blown away by its seamless mix of gothic, doom-death, and melodic death metal. A few months later, I found their follow-up, 4:17am, in the same section. Again, I was mightily impressed. Since then, I've not waited to find their stuff in the used bin; The First Chapter DVD, their third full-length, The Ghost, and its melancholic companion album The Darkness—released under the moniker Dawn Of Solace—were all purchased immediately upon release. The import prices are worth it; Before The Dawn is just too good to wait.

Just a year after the release of The Ghost and The Darkness, Before The Dawn mastermind Tuomas Saukkonen (ex-Bonegrinder, Teargod, The Final Harvest) churned out yet another album, Deadlight. Prior to its release Before The Dawn released a single for the song "Deadsong." The single features three tracks (two exclusive): "Deadsong," "The Bitter End" (a Placebo cover), and a re-recorded—and far superior—version of "Gehenna" (originally on 2001s Gehenna EP).

The greatness of "Deadsong" is immediate. A pounding, riff-heavy intro leads into a mellow verse. Once again the outstanding clean vocals are provided by Lars Eikind (Winds, Age Of Silence, ex-Khold). A brilliant, double-bass-filled chorus follows, with Lars' clean vocals intermingled with Tuomas' subdued screams; and a brutal mid-section puts a gleaming stamp on this three-and-a-half minute masterpiece. The re-recorded version of "Gehenna" follows. On a basic level both original and new version are similar, but they play like different songs; the new version being much heavier, while the original sounds more like something done by Furbowl, only laced with 80s goth-pop keyboard flourishes. This new version fits in well with Before The Dawn's most recent output. The original also featured some great piano-like keyboard work during the mid-section and ending—that is sorely missed on this new version. The lack of it takes nothing away from this updated version, but I think it would have added a little more emotion to the song overall. The re-recording also lacks the whispered opening verse, and some other vocal bits, that were on the original. Either way, both new and old are great tunes. The single closes with their version of Placebo's classic "The Bitter End," from their Sleeping With Ghosts album. Being unfamiliar with the original, one would be hard-pressed to imagine this dark, goth-drenched Before The Dawn version as the light and fluffy, pumped-up pop-rock song that is the original. The grim, brooding nature of the music lends the lyrics a decidedly twisted and creepy feel, not present on the original, and making lines like "reminds me of the second time that I followed you home" and "reminds me that it's killing time, on this fateful day" seem more menacing and foreboding.

Deadsong was the perfect prelude to Deadlight. The outstanding title track filled the void until the full-length was released; the two exclusive tracks gave fans a little something extra to dig into; and it's a great nod to the past for those not fortunate enough to have heard the original Gehenna EP. Finding Before The Dawn's releases outside of Finland may be difficult—you won't see their albums on the shelves of retail stores here in the U.S., sadly—at least not around here—but they're definitely worth seeking out. Deadsong may only be a single, but it's worth the price of a full album.

Album note: The tracklisting on this single is incorrect. The booklet lists track two and three as "The Bitter End" and "Gehenna" respectively. What is on the CD, however, is the opposite.

Video: Deadsong, Faithless
Audio: Morning Sun (Clip), Wrath (Clip)

Website: http://www.beforethedawn.com
MySpace: http://www.myspace.com/beforethedawnmusic

Note: Many of these links are external. In time, they may become obsolete.

The John Butler Trio - Boston, MA - 11/11/07

2009-07-26T15:07:00.000-04:00

The John Butler Trio is a band I happened upon by chance. Somewhere out there there's a rock band called the John Smith Experience, or something like that. Someone had told me to check them out. So one day a few years back, surfing through the Music Choice video channels on TV, I saw a video for this group the John Butler Trio. I had thought it might be that rock group. The video was for the song "Zebra." Immediately I knew it was a different band, with it not being much of a rock song, but the simple yet catchy acoustic riff caught my attention. Half way through the video I was a fan. The next day I purchased Sunrise Over Sea and the US version of Three; I also found the What You Want EP used. I was thoroughly hooked at this point.

A few months later the John Butler Trio played a show here in Boston—on my birthday no less—so I convinced a friend of mine to come with me. She wasn't familiar with the band aside from a few videos I told her to check out. We caught the band at the Somerville Theater and they put on a brilliant show to about 350—if even that much—enthusiastic fans. The band won over a new diehard fan in my friend that night, and it was a sweet birthday present for me (she paid, too!).

So it was last night that we again ventured out for another show. They played the Orpheum Theater this time. My first thought walking up to the venue was, "Wow! There's a lot of people here." And that was just outside. Inside, the place was packed, wall to wall people. The diversity of the crowd was also pretty amazing; from 12 year old kids to people whose grandchildren could have teenage kids of their own, and every age in between. Quite a jump in crowd size since our first show at the Somerville Theater, just two years previous.

We found our seats on the upper level in the old theater—built in 1852—and finished watching the set of Ian Ball, member of British indie rockers Gomez. It was just Ian on an acoustic guitar and a keyboard player, and while the music wasn't terrible, I didn't find the songs to have much personality. By the time the John Butler Trio hit the stage my lower legs were asleep from the cramped space between the rows of seats, so I was pretty happy to stand. The band kicked into "Used To Get High" from the most recent release, Grand National. The cheers from the kids in the crowd every time John sang "I used to get high" tells me that they completely miss the point of this song, which has nothing to do with drugs. "Pickapart" and "Something's Gotta Give" came next and got the show and crowd rockin. The upper balcony was shaking and bouncing so much I couldn't help thinking that something was going to give—the entire damn balcony! Luckily the integrity of the building is sound and something didn't give. Next the band slowed it down a bit for "Daniella" and the hurricane Katrina disaster-inspired "Gov Did Nothing." Toward the end of "Gov Did Nothing" John was singing into the pick-up of his guitar, a cool little thing that seemed to confuse everyone around me; they all thought he was playing the guitar with his tongue or teeth. They slowed things down even further with "Caroline," a nice reprieve from standing, as now my feet were hurting.

The mid-point of the show is where the band seemed to change. The first half was great, but something seemed to energize them even more toward the middle, and the extended intro (a live staple) of "Treat Yo Mama" and the jammed-out mid-section was something to behold. At this point bassist Shannon Birchall and drummer Michael Barker left the stage. John then put on a touching solo performance of "Losing You" before launching into one the most amazing instrumental tracks I've ever heard, "Ocean." Before the song he spoke about this song being a prayer of sorts. His exacts words were lost on my ears as the younger people in the crowd couldn't seem to stand the quiet and had to scream nonsense every time John tried to speak (possibly the worst part of the show, along with people clapping along off-rhythm). Either way, as the ever powerful crescendos of this ten-minute-plus epic came and went, the goose bumps lingered well after the song was over. For a song meant as a prayer, and one without any lyrics, it still manages to be heard loud and clear. And John seemed to play it with more fire than I've heard before. A truly brilliant piece of music. "Groovin Slowly" came next, and that's what we all did. Then came the surprise highlight of the night, the not-often-played "Valley," from the first John Butler (solo) album, and it got the crowd and band energized again. And it didn't let up. "Zebra" and "Good Excuse" followed, with the latter showcasing an extended jam that included an awe-inspiring drum solo and a tremendous solo on the stand-up bass.

The band left the stage and returned for an encore with Ian Ball and his keyboard player. They knocked out a rockin version of the Beatles classic "Come Together," which was another highlight for me as I was telling my friend about how good it was earlier, but having only seen videos of it online beforehand. Ian Ball and his tie-wearing friend left the stage and the trio capped the night with "Better Than" and the perfect show closer "Funky Tonight," which at one point had all three band members joining Michael on the drum riser for an outstanding drum solo and jam.

Perfection.

The integrity of the building may have remained intact, but the John Butler Trio blew the proverbial roof off the joint.

At one point during the night, John mentioned that this show was the largest crowd they've played to in the US to date (not including festivals, of course), with more than 2,000 people having showed up. In today's musical climate, it's pretty amazing that an independent artist can go from playing to a crowd of just a few hundred to over thousands in just two years' time. It's also a testament to the power of great music, and this trio have it perfected.

Video: Funky Tonight, Zebra, Better Than, Good Excuse, Ocean (Live)

Website: http://www.johnbutlertrio.com
MySpace: http://www.myspace.com/johnbutlertrio

Note: Many of these links are external. In time, they may become obsolete.

Onward - Reawaken

2009-07-23T01:56:00.000-04:00

I grew up on a hefty diet of 80s rock. Def Leppard was the band that changed my life, when I was about 12 years old, and they remain my all-time favorite band today. Because of this I am a sucker for great hooks, no matter the genre. Obviously some styles are beyond my taste range, but I still appreciate a solid hook, whether it's on some horrible (but catchy) pop song or an epic 80s rock gem. Onward is a band that satisfies my love of "the hook."

Reawaken is the band's second release. I personally feel that this is a far superior album to thier excellent debut, Evermoving. Onward's brand of metal is old school heavy metal bordering on power metal, but there's a solid rock (as in music, of course) foundation just beneath the surface. Songs like "The Seven Tides of Labyrinthine" and "Night" have that rock groove (think Dio) and catchy-as-hell chorus. The ultimate combination for my ears! Others share the same attributes, and those that are more balls-out heavy metal still showcase some downright impressive songwriting.

Onward leave a lot off the table in terms of originality, but what they lack in that department they make up for tenfold with outstanding songs.

Audio: The Seven Tides of Labyrinthine
Audio: Reawaken

MySpace: http://www.myspace.com/knapptoby (guitarist Toby Knapp's page)

Note: Many of these links are external. In time, they may become obsolete.