Along with the following "Horrorscope", this 1989 effort is considered one of the strongest albums in both the Overkill catalog and in the general field of thrash. Musically, the album is a hybrid of sorts and combines the more epic nature of "Taking Over" with the more raw aspects of the previously released "Under The Influence". It was the first album to be produced by Terr Date and was unfortunately their last album to feature founding guitarist Bobby Gustafson.
Time To Kill: Ominous guitar feedback fades in and soon leads in some dramatic guitar/bass chords and a strong drum heavy romp during the introduction, an upbeat pace with vocalist Bobby Ellsworth at his best during the verses, a solid one-liner and more menacing bass during the chorus, a smooth breakdown during the bridge, and some sweet solos in between. Not quite a classic but a pretty sweet start.
8 out of 10
Elimination: One of Overkill's famous songs comes in with an introduction with riffs similar to those of Metallica's "Master Of Puppets", the verses continue at an even more active pace and amusingly delivered vocals, the choruses feature great backing chants and rapidly delivered lead vocals, the bridge brings in a uplifting sound that reminds me of "Blood Money" off of the following album, and the solo section packs in some cool shredding. All in all, classic thrash.
10 out of 10
I Hate: Bright guitar riffs and subtle backing bass open this song's introduction nicely, the verses provide more enegetic rhythms and rapid fire vocals, the choruses remind me of Anthrax's cover of "Got The Time" for some reason and feature lyrics that would sound quite bitchy if Ellsworth wasn't the one singing ("I hate people that make you feel small/I hate having my back against the wall/You know, I hate being talked down to/I hate your rules/I hate 'em all/Hate being marked to take the fall/Planet's not big enough for me and you/But most of all/I hate you..."), and the solo section is another great shred fest. Another great track.
9 out of 10
Nothing To Die For: More building guitar harmonies start this song off before an upbeat groove that sounds like a better version of Exodus's "AWOL" comes in, the verses continue with more dissonant riffs and solid vocal/guitar trade-offs, the chorus features more cool trade-offs, and the solo section features more great guitar solos and even a little slap bass around the 2:20 mark. Another cool addition.
8 out of 10
Playing With Spiders/Skullkrusher: Here we truly embrace that epic nature I was talking about earlier. The introduction (I'm guessing that's the "Playing With Spiders" part) comes in with strange guitar noodling that soon leads into doomy guitar riffs that wouldn't sound out of place on a Black Sabbath album, the verses continue at a foreboding album with more melodic vocals thrown in, the chorus are similar with a particularly catchy refrain thrown in, and the bridge and solo section unsurprisingly leads into a much more violent direction. One of my favorite Overkill tracks and perhaps their best track done in the doom metal style.
10 out of 10
Birth of Tension: Back to thrash we go as this track comes in. The introduction comes in with crashing guitar chords and speaking voices in the background before going into another intense thrash rhythm, the verses continue at an upbeat pace like the songs before it, the chorus brings in heavier drums and guitar riffs, the bridge goes into another interesting breakdown accompanied by the most unusual lyrics on the album ("did you kill your father, sleep with your mother/idolize your sister, jealous your brother/did ya kick the dog, were you beat a strap/were you really be abused, were you fakin' all that"), and the solo section returns the song to its original style. A pretty cool track.
9 out of 10
Who Tends the Fire: Melodic guitars and a backing melody that bares resemblance to Diamond Head's "Am I Evil?" open this eight minute in a most dramatic fashion, the verses continue with groovy mid-tempo guitar chugs and more melodic vocals, the chorus slows the song down with a smooth refrain thrown in, and the bridge is another fast paced segment with driving guitars and unusual vocal effects on display. Not as powerful as "Skullcrusher", but it's probably not supposed to be. . .
9 out of 10
The Years Of Decay: Now we come to a strong ballad, quite a rarity in the Overkill catalog. This song is dominated by somber accoustic guitar and an emotional vocal performance during the verses, a much heavier mid-tempo chug and angrier vocals during the bridge, soaring guitars during the solo section, and a climactic chant towards the end. A great track that kinda reminds me a more melodic version of Megadeth's "In My Darkest Hour". All apologies for the numerous comparisons, I make too many random associations. . .
9 out of 10
E. vil N. ever D. ies: Closing the album out is the fourth and final (Until 2007's "Immortalis") installment of the band's "Overkill Saga". Spacy guitar effects similar to those of Metallica's "Damage Inc." start this introduction off in an interesting fashion before going into a much angrier thrash assault, the verses continue with more intense riffs and more quickly sung vocals, the chorus features some unusually catchy vocal lines and a brief melodic flourish, a great bass solo leads into a doomy direction, the bridge follows suit until angrily returning to thrash territory, and the second solo section packs in a brief moment to shred before the final verse comes in. A most powerful closer.
9 out of 10
Overall, this album gets 81 out of 90, 90%, and 4.5 stars. If you consider yourself to be a thrash metal fan by any means, then this album is required listening. It showcases a strong band performance and awesome constrats between thrash and doom. Not to mention you should be able to get a copy cheap if you can find it. I got mine for about $7.99 at the Greenwood mall. . .
Tuesday, November 25, 2008
Monday, November 24, 2008
Floodland (The Sisters Of Mercy)
One of the sacred cows of the goth rock scene, The Sisters of Mercy are made distinct by their dark imagery, danceable tempos, solid timekeeping by the literal drum machine Doktor Avalanche, and the eerie vocals of bandleader Andrew Eldritch. This 1987 effort is the group's second release and is the first to feature Eldritch as the only remaining member of the original line-up.
Dominion/Mother Russia: Right away we get into the album's spirit with one of its upbeat tracks. The song features an infectious drum beat, typically lower pitched vocal lines, great female backing during the chorus, a cool horn solo, and guitar/synth flourishes throughout that kinda remind me of "Goodbye Horses" by Q Lazzarus (AKA the part in Silence of the Lambs where Buffalo Bill does his "tucking dance). It may be a little overlong, but it's an excellent opener.
9 out of 10
Flood 1: As the opener fades away, we come to this menacing mid-tempo track. This song features an interesting drum beat, almost overwhelming synths, more drawn out vocals, and an overall eerie atmosphere. Not as catchy as the song before it but a good song.
7 out of 10
Lucretia My Reflection: This song may be the band's best known tune and my personal favorite on the album. The song is made memorable by its mesmerizing bass lines, eerily whispered vocals during the verses, explosive chorus, and synth heavy bridge. Truly a classic track.
10 out of 10
1959: Now we come to the album's first ballad track. It is made memorable by its emphasis on the synthesized piano playing and mournfully mumbled croons.
8 out of 10
This Corrosion: Dramatic choirs open this song in a most theatrical fashion before another upbeat rhythm comes in, the verses and pre-choruses continue with some unusual but fun vocal trade-offs, the chorus may be the best song on the album, the guitar solos throw in a little grit, and the riffs remind me of Devo for some reason. It could just be the general 80's atmosphere. . .
9 out of 10
Flood II: The second "Flood" is similar to the first, but may be a little more haunting in its delivery. It features a more upbeat rhythm, a nice plodding bass line, exotic melodies in the background, melodic accoustic guitar strums that provide an uplifting feel, and direct vocals. In fact, I think I might like this "Flood" a little more. . .
9 out of 10
Driven Like The Snow: Mystical keyboards open this song with imagery that makes one think of the Northern Lights before a solid mid-tempo rhythm makes its way in, the verses bring in some solid vocal lines and a barely detectable guitar melody in the background, and a few synth melodies from the previous song seem to make their way into this piece. Another cool tune that sounds like it'd be fun to make babies to. . .
9 out of 10
Never Land (A Fragment): This brief two minute track is dominated by the same drum beat used in Led Zeppelin's "When the Levee Breaks" (People sure do love sampling that song), spooky keyboards thrown in over the top, and eerily whispered vocals come in halfway through the tune. An interesting addition.
8 out of 10
Torch: We now come to the album's second ballad, which I think may be even more emotional than "1959". The track is made memorable by a solid drum beat, prominent accoustic guitars, somberly sung vocals that do sound a little silly when drawn out, an emotional chorus, soft bass thumps, and what appears to be a pleasant flute solo. Another great album highlight.
9 out of 10
Colours: Closing the album out is its most unsettling track. It features a dark atmosphere that brings to mind a sinister military march, more overwhelming keyboards, and more eerily whispered vocals. A cool song to space out to, though it may be another overlong track.
8 out of 10
Overall, this album gets 86 out of 100, 86%, and 4 stars. I can see why people would either love or hate this album. Most of the songs are fairly accessible and are filled with some great hooks but they may also be a little too unsettling and not organic enough for the average listener. It's certainly worth checking out if you're a fan of the darker music genres.
Dominion/Mother Russia: Right away we get into the album's spirit with one of its upbeat tracks. The song features an infectious drum beat, typically lower pitched vocal lines, great female backing during the chorus, a cool horn solo, and guitar/synth flourishes throughout that kinda remind me of "Goodbye Horses" by Q Lazzarus (AKA the part in Silence of the Lambs where Buffalo Bill does his "tucking dance). It may be a little overlong, but it's an excellent opener.
9 out of 10
Flood 1: As the opener fades away, we come to this menacing mid-tempo track. This song features an interesting drum beat, almost overwhelming synths, more drawn out vocals, and an overall eerie atmosphere. Not as catchy as the song before it but a good song.
7 out of 10
Lucretia My Reflection: This song may be the band's best known tune and my personal favorite on the album. The song is made memorable by its mesmerizing bass lines, eerily whispered vocals during the verses, explosive chorus, and synth heavy bridge. Truly a classic track.
10 out of 10
1959: Now we come to the album's first ballad track. It is made memorable by its emphasis on the synthesized piano playing and mournfully mumbled croons.
8 out of 10
This Corrosion: Dramatic choirs open this song in a most theatrical fashion before another upbeat rhythm comes in, the verses and pre-choruses continue with some unusual but fun vocal trade-offs, the chorus may be the best song on the album, the guitar solos throw in a little grit, and the riffs remind me of Devo for some reason. It could just be the general 80's atmosphere. . .
9 out of 10
Flood II: The second "Flood" is similar to the first, but may be a little more haunting in its delivery. It features a more upbeat rhythm, a nice plodding bass line, exotic melodies in the background, melodic accoustic guitar strums that provide an uplifting feel, and direct vocals. In fact, I think I might like this "Flood" a little more. . .
9 out of 10
Driven Like The Snow: Mystical keyboards open this song with imagery that makes one think of the Northern Lights before a solid mid-tempo rhythm makes its way in, the verses bring in some solid vocal lines and a barely detectable guitar melody in the background, and a few synth melodies from the previous song seem to make their way into this piece. Another cool tune that sounds like it'd be fun to make babies to. . .
9 out of 10
Never Land (A Fragment): This brief two minute track is dominated by the same drum beat used in Led Zeppelin's "When the Levee Breaks" (People sure do love sampling that song), spooky keyboards thrown in over the top, and eerily whispered vocals come in halfway through the tune. An interesting addition.
8 out of 10
Torch: We now come to the album's second ballad, which I think may be even more emotional than "1959". The track is made memorable by a solid drum beat, prominent accoustic guitars, somberly sung vocals that do sound a little silly when drawn out, an emotional chorus, soft bass thumps, and what appears to be a pleasant flute solo. Another great album highlight.
9 out of 10
Colours: Closing the album out is its most unsettling track. It features a dark atmosphere that brings to mind a sinister military march, more overwhelming keyboards, and more eerily whispered vocals. A cool song to space out to, though it may be another overlong track.
8 out of 10
Overall, this album gets 86 out of 100, 86%, and 4 stars. I can see why people would either love or hate this album. Most of the songs are fairly accessible and are filled with some great hooks but they may also be a little too unsettling and not organic enough for the average listener. It's certainly worth checking out if you're a fan of the darker music genres.
Sunday, November 23, 2008
Dream Evil (Dio)
Dio's fourth album was a fairly interesting turning point in the band's history and sound. It is the first to feature Rough Cutt guitarist Craig Goldy, the last to completely feature keyboardist Claude Schnell, and the last to feature drummer Vinny Appice and bassist Jimmy Bain until 1994's "Strange Highways" and 2000's "Magica" respectively. Musically, the album retains the theatric keyboards of past efforts but uses them to create a dark, menacing sound that the band has continued to elaborate upon in the modern era. The lyrics have also changed and appear to hint at personal conflicts overcoming Dio's infamous fantasy metaphors.
Night People: As expected, this album's first song is a strong speed metal number. The song features brightly prominent keyboards during the introduction, fast paced guitar riffs and solos, soaring vocals, and a steady drum beat through it all. One of the album's greatest tracks, even if its lacks a truly outstanding chorus.
9 out of 10
Dream Evil: Bluesy guitar melodies open this song in a way similar to Rainbow's "Man On The Silver Mountain", the verses and pre-choruses continue at an upbeat pace with excellently delivered vocals and chugging guitars/bass, the chorus provides an excellent hook and a return to the introduction's style, and a few odd effects are thrown in for good measure. An excellent example of a great Dio title track.
10 out of 10
Sunset Superman: Dramatic keyboards open this song's introduction before a particularly bright guitar gallop makes its way into the piece, the verses continue in a similar style with Dio at his most erratic, the chorus suddenly goes to a mid-tempo pace and throws in an arena ready drum beat and refrain, the solo section features some solid guitar experimentation, and the ad libbing features some neat though dated vocal layering in the vein of "One Night In The City". A pretty cool track.
9 out of 10
All The Fools Sailed Away: Now we come to what is often considered to be the album's centerpiece. The introduction and opening verse feature atmospheric keyboards and accoustic guitars accompanied by a somber vocal performance, the following verses bring in almost symphonic mid-tempo riffs and more aggressive vocals, the chorus is simple but uplifting, the bridge returns to the ballad style before going into a theatrical solo section. A great Dio epic
9 out of 10
Naked In the Rain: While this song is nowhere near as epic as the song before it, it retains a hint of its drama. The introduction fades in with more keyboards and a more subtle guitar riff, the verses and pre-choruses continue with more drawn out vocals and bombarding chords and keyboards in the background, and the chorus is another great one-liner. Not as hard hitting as the songs before it, but a great addition.
9 out of 10
Overlove: I find this track to be quite similar to Rainbow's "Kill The King" (If Dio hadn't been a member of that group, I'd be a tad concerned). The introduction comes in with more bluesy guitar riffs, the verses suddenly bring in more aggressive riffs and soaring vocals, the chorus keeps the speed flowing with another one-liner, and the solo section throws in some great shredding and neat rhythm fills. Slightly derivative, but another great song.
8 out of 10
I Could Have Been A Dreamer: Like "Mystery" and "Hungry For Heaven" before it, this song is the album's blatantly commercial track. Fortunately, it has a darker tone not seen on those songs and features sinister but catchy guitar playing, more great vocal lines, and slightly overwhelming keyboards during the chorus. Still a solid addition that reminds me of what would come on the band's next effort. . .
8 out of 10
Faces In The Window: This song returns to the speed metal style. The introduction starts off slow but leads into more energetic riffs and solos, the verses bring in some catchy vocal lines, the chorus provides another great refrain, and a melodic bridge leads into some varied ad libs. You could consider it to be more of the same, but it's another cool track that makes a catchy anthem.
8 out of 10
When A Woman Cries: Closing the album out is another dynamic mid-tempo track. The introduction comes in with strange sound effects and solid guitar/drum patterns, the verses bring in more excellently drawn out vocal lines and plodding riffs beneath, the chorus is another one-liner with more keyboard emphasis, and the bridge goes in a more uplifting direction with the solo section continuing in the same style. Probably my least favorite track but a good closer.
8 out of 10
Overall, this album gets 78 out of 90, 87%, and 4 stars. I think this album may be one of Dio's strongest efforts and stands up to the classic "Holy Diver" as their greatest album of the 80's era. The only flaws I can point out are a few dated effects, the heavy keyboard emphasis (Dream Theater, this is not. . .), and a few simplistic song structures. Unfortunately, it would soon introduce an era typically seen as being the band's downward spiral. . .
Night People: As expected, this album's first song is a strong speed metal number. The song features brightly prominent keyboards during the introduction, fast paced guitar riffs and solos, soaring vocals, and a steady drum beat through it all. One of the album's greatest tracks, even if its lacks a truly outstanding chorus.
9 out of 10
Dream Evil: Bluesy guitar melodies open this song in a way similar to Rainbow's "Man On The Silver Mountain", the verses and pre-choruses continue at an upbeat pace with excellently delivered vocals and chugging guitars/bass, the chorus provides an excellent hook and a return to the introduction's style, and a few odd effects are thrown in for good measure. An excellent example of a great Dio title track.
10 out of 10
Sunset Superman: Dramatic keyboards open this song's introduction before a particularly bright guitar gallop makes its way into the piece, the verses continue in a similar style with Dio at his most erratic, the chorus suddenly goes to a mid-tempo pace and throws in an arena ready drum beat and refrain, the solo section features some solid guitar experimentation, and the ad libbing features some neat though dated vocal layering in the vein of "One Night In The City". A pretty cool track.
9 out of 10
All The Fools Sailed Away: Now we come to what is often considered to be the album's centerpiece. The introduction and opening verse feature atmospheric keyboards and accoustic guitars accompanied by a somber vocal performance, the following verses bring in almost symphonic mid-tempo riffs and more aggressive vocals, the chorus is simple but uplifting, the bridge returns to the ballad style before going into a theatrical solo section. A great Dio epic
9 out of 10
Naked In the Rain: While this song is nowhere near as epic as the song before it, it retains a hint of its drama. The introduction fades in with more keyboards and a more subtle guitar riff, the verses and pre-choruses continue with more drawn out vocals and bombarding chords and keyboards in the background, and the chorus is another great one-liner. Not as hard hitting as the songs before it, but a great addition.
9 out of 10
Overlove: I find this track to be quite similar to Rainbow's "Kill The King" (If Dio hadn't been a member of that group, I'd be a tad concerned). The introduction comes in with more bluesy guitar riffs, the verses suddenly bring in more aggressive riffs and soaring vocals, the chorus keeps the speed flowing with another one-liner, and the solo section throws in some great shredding and neat rhythm fills. Slightly derivative, but another great song.
8 out of 10
I Could Have Been A Dreamer: Like "Mystery" and "Hungry For Heaven" before it, this song is the album's blatantly commercial track. Fortunately, it has a darker tone not seen on those songs and features sinister but catchy guitar playing, more great vocal lines, and slightly overwhelming keyboards during the chorus. Still a solid addition that reminds me of what would come on the band's next effort. . .
8 out of 10
Faces In The Window: This song returns to the speed metal style. The introduction starts off slow but leads into more energetic riffs and solos, the verses bring in some catchy vocal lines, the chorus provides another great refrain, and a melodic bridge leads into some varied ad libs. You could consider it to be more of the same, but it's another cool track that makes a catchy anthem.
8 out of 10
When A Woman Cries: Closing the album out is another dynamic mid-tempo track. The introduction comes in with strange sound effects and solid guitar/drum patterns, the verses bring in more excellently drawn out vocal lines and plodding riffs beneath, the chorus is another one-liner with more keyboard emphasis, and the bridge goes in a more uplifting direction with the solo section continuing in the same style. Probably my least favorite track but a good closer.
8 out of 10
Overall, this album gets 78 out of 90, 87%, and 4 stars. I think this album may be one of Dio's strongest efforts and stands up to the classic "Holy Diver" as their greatest album of the 80's era. The only flaws I can point out are a few dated effects, the heavy keyboard emphasis (Dream Theater, this is not. . .), and a few simplistic song structures. Unfortunately, it would soon introduce an era typically seen as being the band's downward spiral. . .
Monday, November 17, 2008
Lateralus (Tool)
Despite being a fan of some unusual bands (Pain Of Salvation comes to mind), I have found Tool to be a fairly tricky band to get into. Musically, the band is best known for their strange song structures, constantly changing time signatures, and generally dark overtones. This 2001 effort was the group's third album and saw them achieve even greater critical and commercial success.
The Grudge: Sounds of a starting machine briefly open this song before a building bass heavy rhythm makes its way into the tune and the rest of the song continues with an almost robotic vocal delivery and strange soft/heavy constrasts all the way through. A very interesting opener though there isn't as catchy as it could be.
8 out of 10
Eon Blue Apocalypse: The album's first instrumental is noteworthy for having been about the death of vocalist Maynard James Keenan's Great Dane. The song itself features some interesting eastern styled melodies and an appropriately mournful atmosphere.
7 out of 10
The Patient: More building guitars open this song's introduction in a spacy but unsettling fashion, the verses continue with a soft rhythm and melodic vocals thrown into the mix, the chorus features louder riffs but keeps the melodic vocals in tact, the bridge features more drawn out vocals and eerie whispers, and the song eventually returns to its quieter style. A pretty cool song that astonishingly never completely gives in to aggression.
9 out of 10
Mantra: Another instrumental. This one features a strange sound apparently made by a cat being squeezed (Or a whale song, depending on who you ask). Strangely intriguing, but another slight filler track.
7 out of 10
Schism: If I'm not mistaken, this track won a Grammy back in 2002. It starts with melodic guitars/bass that remind me of Opeth for some reason before going into its signature bass melody, the verses feature some infectious bass/vocal harmonizing, the chorus brings in heavier riffs and angrier vocals, the solo section features some cool guitar effects, and the bridge comes out with softly drawn out vocal lines. A great track that may be the most accessible on the album.
9 out of 10
Parabol: This three minute interlude is made memorable by its spacy guitar/bass melodies and its soft vocals. A nice melodic space, but it doesn't seem to have much energy. Then again, that could just be the lack of percussion. . .
7 out of 10
Parabola: Heavier riffs immediately come in just as the previous track fades away, the verses continue with solid croons and building chugs above some strong drum patterns, the chorus brings in some solid layering, and the bridge goes in an even more melodic direction. A pretty cool track, though not as strong as "Schism".
8 out of 10
Ticks & Leeches: Strong drum patterns and powerful backing bass open this song's introduction nicely, the verses continue with an almost rapped vocal delivery and nicely complementing guitar dissonance, the chorus brings in an angry refrain that may or may not be directed towards the band's critics ("Hope this is what you wanted/Hope this is what you had in mind/Cuz this is what you're getting/I hope you're choking/I hope you choke on this."), the solo section finally continues into a melodic direction, and the bridge sounds even more pissed than before before going into an erratic guitar solo. Easily the most pissed off track on the album and one of its most dissonant.
8 out of 10
Lateralus: Yet another wave of melodic guitars/bass open this introduction smoothly with a building rhythm beneath, the verses continue with eerie vocal layering and prominent percussion above melodic guitars in the background, the chorus brings heavier riffs but retains the soft croons, the solo section features a few soaring guitar wails, and the bridge is another soft segment before reaching a building climax. A solid addition, though not as memorable as the songs before it.
7 out of 10
Disposition: Not quite an instrumental, but a solid interlude nevertheless. It features more of those trippy guitar melodies, odd sound effects in the background, and quietly delivered vocals.
7 out of 10
Reflection: Now we come to the album's longest song. This eleven minute epic comes in with more tribal percussion, a sinister but catchy bass melody, and eerie guitar effects that remind me of Rush during the introduction; the verses bring in oddly sequenced vocal lines; and the solo sections feature more cool guitar effects. Perhaps a little overlong, but it's a greatly memorable piece.
9 out of 10
Triad: Unlike the instrumentals before it, this tune could be considered a stand alone piece. It features plenty of crashing guitar and bass riffs, consistent drumming, some interesting effects and solos every now and then, more soft/heavy constrasts, and a minute of silence towards the end. Another decent addition though I wish it was a little more energetic.
7 out of 10
Faaip de Oiad: Closing the album out is a short spoken segment about a guy who is apparently on the run from Area 51 (Hey, that rhymed). It's definitely an interesting bit that makes a pretty decent closer.
7 out of 10
Overall, this album gets 100 out of 130, 77%, and 3.5 stars. I can understand how this album came to be so influential; it features some interestingly complex tunes and demonstrates the members' technical abilities. However, it is definitely a challenging task to take in all at once and a few fillers disrupt the album's already unstable flow. Just because the compact disc can hold 80 minutes of music doesn't mean it should actually be used to its full compacity. . .
The Grudge: Sounds of a starting machine briefly open this song before a building bass heavy rhythm makes its way into the tune and the rest of the song continues with an almost robotic vocal delivery and strange soft/heavy constrasts all the way through. A very interesting opener though there isn't as catchy as it could be.
8 out of 10
Eon Blue Apocalypse: The album's first instrumental is noteworthy for having been about the death of vocalist Maynard James Keenan's Great Dane. The song itself features some interesting eastern styled melodies and an appropriately mournful atmosphere.
7 out of 10
The Patient: More building guitars open this song's introduction in a spacy but unsettling fashion, the verses continue with a soft rhythm and melodic vocals thrown into the mix, the chorus features louder riffs but keeps the melodic vocals in tact, the bridge features more drawn out vocals and eerie whispers, and the song eventually returns to its quieter style. A pretty cool song that astonishingly never completely gives in to aggression.
9 out of 10
Mantra: Another instrumental. This one features a strange sound apparently made by a cat being squeezed (Or a whale song, depending on who you ask). Strangely intriguing, but another slight filler track.
7 out of 10
Schism: If I'm not mistaken, this track won a Grammy back in 2002. It starts with melodic guitars/bass that remind me of Opeth for some reason before going into its signature bass melody, the verses feature some infectious bass/vocal harmonizing, the chorus brings in heavier riffs and angrier vocals, the solo section features some cool guitar effects, and the bridge comes out with softly drawn out vocal lines. A great track that may be the most accessible on the album.
9 out of 10
Parabol: This three minute interlude is made memorable by its spacy guitar/bass melodies and its soft vocals. A nice melodic space, but it doesn't seem to have much energy. Then again, that could just be the lack of percussion. . .
7 out of 10
Parabola: Heavier riffs immediately come in just as the previous track fades away, the verses continue with solid croons and building chugs above some strong drum patterns, the chorus brings in some solid layering, and the bridge goes in an even more melodic direction. A pretty cool track, though not as strong as "Schism".
8 out of 10
Ticks & Leeches: Strong drum patterns and powerful backing bass open this song's introduction nicely, the verses continue with an almost rapped vocal delivery and nicely complementing guitar dissonance, the chorus brings in an angry refrain that may or may not be directed towards the band's critics ("Hope this is what you wanted/Hope this is what you had in mind/Cuz this is what you're getting/I hope you're choking/I hope you choke on this."), the solo section finally continues into a melodic direction, and the bridge sounds even more pissed than before before going into an erratic guitar solo. Easily the most pissed off track on the album and one of its most dissonant.
8 out of 10
Lateralus: Yet another wave of melodic guitars/bass open this introduction smoothly with a building rhythm beneath, the verses continue with eerie vocal layering and prominent percussion above melodic guitars in the background, the chorus brings heavier riffs but retains the soft croons, the solo section features a few soaring guitar wails, and the bridge is another soft segment before reaching a building climax. A solid addition, though not as memorable as the songs before it.
7 out of 10
Disposition: Not quite an instrumental, but a solid interlude nevertheless. It features more of those trippy guitar melodies, odd sound effects in the background, and quietly delivered vocals.
7 out of 10
Reflection: Now we come to the album's longest song. This eleven minute epic comes in with more tribal percussion, a sinister but catchy bass melody, and eerie guitar effects that remind me of Rush during the introduction; the verses bring in oddly sequenced vocal lines; and the solo sections feature more cool guitar effects. Perhaps a little overlong, but it's a greatly memorable piece.
9 out of 10
Triad: Unlike the instrumentals before it, this tune could be considered a stand alone piece. It features plenty of crashing guitar and bass riffs, consistent drumming, some interesting effects and solos every now and then, more soft/heavy constrasts, and a minute of silence towards the end. Another decent addition though I wish it was a little more energetic.
7 out of 10
Faaip de Oiad: Closing the album out is a short spoken segment about a guy who is apparently on the run from Area 51 (Hey, that rhymed). It's definitely an interesting bit that makes a pretty decent closer.
7 out of 10
Overall, this album gets 100 out of 130, 77%, and 3.5 stars. I can understand how this album came to be so influential; it features some interestingly complex tunes and demonstrates the members' technical abilities. However, it is definitely a challenging task to take in all at once and a few fillers disrupt the album's already unstable flow. Just because the compact disc can hold 80 minutes of music doesn't mean it should actually be used to its full compacity. . .
Friday, November 14, 2008
Heartwork (Carcass)
Originally beginning life as an influential grindcore band, Carcass turned to a more accessible death metal style for their fifth effort. Musically, the album emphasizes more groove laden segments and simpler song structures that hide a more complex band performance. Lyrically, the album moves away from the pathological obsessions of the band's past and into more introspective material not unlike Death's transition around the same time. The album is also noteworthy for being the last to feature Arch Enemy/Spiritual Beggars guitarist Michael Amott and for being a major influence in the development of melodic death metal.
Buried Dreams: Building drums and powerful guitar harmonies open this song's introduction, the verses continue at an almost bouncy mid-tempo pace with some echoing growls thrown in, the chorus features some catchy vocal lines, and the bridge brings in a solid breakdown that leads into a squealy solo section. A pretty groovy start.
9 out of 10
Carnal Forge: Faster guitar harmonies open this song nicely, the verses continue with angry vocals thrown in, the choruses briefly slow the song down, and the first solo section leads into a more mid-tempo direction with the bridge's stanzas continuing with a similar style, and the second solo section returns to the more intense style. A solid addition.
8 out of 10
No Love Lost: Now we come to another groovy mid-tempo tune. It features more downtrodden guitar harmonies, memorable vocal lines, angry pre-choruses, a strong hook during the chorus, and more upbeat guitar solos. One of my personal favorites on the album.
9 out of 10
Heartwork: Dissonant guitar squeals open this song before going into another intense guitar chug, the verses continue at an energetic pace with more direct growls, the chorus features a more uplifting refrain, and the solo section offers more melodic guitars before going into another angry breakdown. A pretty cool track.
8 out of 10
Embodiment: Another downtrodden set of guitar harmonies open this song in a way that reminds me of "South Of Heaven"-era Slayer, the verses have that almost bouncy style, the pre-chorus returns to the downtrodden style, and the chorus goes in a more upbeat direction with uplifting solo sections following suit. Another cool track that reminds me of late period Death for some reason.
8 out of 10
This Mortal Coil: A strange mix of melody and dissonance open this song in an interesting fashion, the verses continue with a particularly upbeat set of guitar gallops, the chorus returns to the introduction's style, and the solo section continues in a melodic mid-tempo style.
8 out of 10
Arbeit Macht Fleisch: This track comes in with yet another upbeat set of riffs, the verses throw in some interestingly sequenced vocals, the chorus goes in a more violent direction, and the solo sections throw in more melodic guitar shredding. A good song, though the solo section is rather brief. . .
8 out of 10
Blind Bleeding the Blind: Without warning, another batch of violent gallops open this song's introduction before suddenly into a slower direction with looser rhythms and sweet guitar fills, the verses continue with more restrained vocals and solid fills kept in the background, the pre-chorus and chorus provide more faster segments, and the solo section keeps the intensity flowing with some great guitar trade-offs. Another particularly groovy tune.
8 out of 10
Doctrinal Expletives: This song opens with more of the same, the verses continue with angry guitar/vocal trade-offs with some strong drumming in the background, the chorus offers a solid refrain, the various solo section provide uplifting guitar parts, and the lyrics are filled with some interesting puns.
8 out of 10
Death Certificate: Drawn out guitar melodies and ticking drums open this song's introduction before another charging set of riffs come in with a more noticeable bass line beneath, the verses continue with more sweet guitar/vocal trade-offs, the chorus offers another great refrain, and the solo sections offer some great variety. A pretty sweet closer.
9 out of 10
Overall, this album gets 83 out of 100, 83%, and 4 stars. Death metal isn't exactly my forte, but I can certainly acknowledge this album for its major influence and for providing some sweet songs. I imagine it would be a good way to get a new listener within the metal scene. All in all, it's another one of those albums whose rating may go up once I get a better taste for it. . .
Buried Dreams: Building drums and powerful guitar harmonies open this song's introduction, the verses continue at an almost bouncy mid-tempo pace with some echoing growls thrown in, the chorus features some catchy vocal lines, and the bridge brings in a solid breakdown that leads into a squealy solo section. A pretty groovy start.
9 out of 10
Carnal Forge: Faster guitar harmonies open this song nicely, the verses continue with angry vocals thrown in, the choruses briefly slow the song down, and the first solo section leads into a more mid-tempo direction with the bridge's stanzas continuing with a similar style, and the second solo section returns to the more intense style. A solid addition.
8 out of 10
No Love Lost: Now we come to another groovy mid-tempo tune. It features more downtrodden guitar harmonies, memorable vocal lines, angry pre-choruses, a strong hook during the chorus, and more upbeat guitar solos. One of my personal favorites on the album.
9 out of 10
Heartwork: Dissonant guitar squeals open this song before going into another intense guitar chug, the verses continue at an energetic pace with more direct growls, the chorus features a more uplifting refrain, and the solo section offers more melodic guitars before going into another angry breakdown. A pretty cool track.
8 out of 10
Embodiment: Another downtrodden set of guitar harmonies open this song in a way that reminds me of "South Of Heaven"-era Slayer, the verses have that almost bouncy style, the pre-chorus returns to the downtrodden style, and the chorus goes in a more upbeat direction with uplifting solo sections following suit. Another cool track that reminds me of late period Death for some reason.
8 out of 10
This Mortal Coil: A strange mix of melody and dissonance open this song in an interesting fashion, the verses continue with a particularly upbeat set of guitar gallops, the chorus returns to the introduction's style, and the solo section continues in a melodic mid-tempo style.
8 out of 10
Arbeit Macht Fleisch: This track comes in with yet another upbeat set of riffs, the verses throw in some interestingly sequenced vocals, the chorus goes in a more violent direction, and the solo sections throw in more melodic guitar shredding. A good song, though the solo section is rather brief. . .
8 out of 10
Blind Bleeding the Blind: Without warning, another batch of violent gallops open this song's introduction before suddenly into a slower direction with looser rhythms and sweet guitar fills, the verses continue with more restrained vocals and solid fills kept in the background, the pre-chorus and chorus provide more faster segments, and the solo section keeps the intensity flowing with some great guitar trade-offs. Another particularly groovy tune.
8 out of 10
Doctrinal Expletives: This song opens with more of the same, the verses continue with angry guitar/vocal trade-offs with some strong drumming in the background, the chorus offers a solid refrain, the various solo section provide uplifting guitar parts, and the lyrics are filled with some interesting puns.
8 out of 10
Death Certificate: Drawn out guitar melodies and ticking drums open this song's introduction before another charging set of riffs come in with a more noticeable bass line beneath, the verses continue with more sweet guitar/vocal trade-offs, the chorus offers another great refrain, and the solo sections offer some great variety. A pretty sweet closer.
9 out of 10
Overall, this album gets 83 out of 100, 83%, and 4 stars. Death metal isn't exactly my forte, but I can certainly acknowledge this album for its major influence and for providing some sweet songs. I imagine it would be a good way to get a new listener within the metal scene. All in all, it's another one of those albums whose rating may go up once I get a better taste for it. . .
Wednesday, November 12, 2008
Into The Electric Castle (Ayreon)
After releasing a few albums on a more obscure scale, Ayreon (Aka Arjen A. Lucassen) finally reached a new level of success with the release of his third effort. Musically, this album is the standard Ayreon mix of light and heavy constrasts with multiple vocalists and a few eclectic experiments along the way. Lyrically, the album tells the story of eight different souls of Earth that are taken from their respective time periods by a mysterious alien and forced to go through with his little research project. Kinda like a trippy sci-fi version of Saw. . .
Welcome to the New Dimension: Our journey begins with the usual ambient opening meant to build up some atmosphere. This particular bit is made memorable by spooky keyboards, crashing guitar chords towards the climax, and an unsettling spoken segment performed by Kaleidoscope/Fairfield Parlour vocalist Peter Daltery as the mysterious alien. A pretty decent start.
7 out of 10
Isis and Osiris: Now we come to the album's first real track, an eleven minute four part epic. The first part ("Let the Journey Begin") features vocal trade-offs between the Highlander (Played by the legendary Marillion vocalist Fish) and the Indian (Within Temptation vocalist Sharon den Adel) with some sweet accoustic backing and the Knight (Rick Wakeman/Threshold vocalist Damian Wilson) coming in towards the end, the second part ("The Hall Of Isis and Osiris") features more aggressive but exotic riffs backing a more commanding duet between the Roman (Omega vocalist Edwin Balogh) and the Egyptian (The Gathering vocalist Anneke van Giersbergen), the third part ("Strange Constellations") features a quieter spoken bit performed by Fish followed by some keyboard heavy jamming, and the final part ("Reprise") returns the song to its original style. A pretty awesome track that may be my favorite on the album.
10 out of 10
Amazing Flight: The alien's second spoken segment opens this song in a foreboding style, the first part of the song ("Amazing Flight In Space") features soulful trade-offs between the Barbarian (Bodine vocalist Jay van Feggelen) and the Hippie (Arjen himself. Leave it to Arjen to give himself the most amusing role. . .) backed by an unusual but welcome bluesy rhythm, and the other two parts of the song ("Stardance" and "Flying Colours") feature spacy keyboards and jazz flute, bass heavy guitar playing, and wordless vocals performed by the Indian. Another great tune, even though I still think the choice for Barbarian was quite an unusual one. Feggelen is certainly an awesome crooner, but he might not be as savage as the lyrics require. . .
10 out of 10
Time Beyond Time: We are now introduced to the remaining Earthling, who is none other than the Futureman (Kayak vocalist Edward Reeker). The song itself is a fairly mellow track that features gentle accoustic strums; subtle keyboards; vocals by the Futureman, the Knight, and the Roman; and another spacy solo section. Not as powerful as the songs before it, but still pretty good.
8 out of 10
The Decision Tree (We're Alive): The alien's third spoken segment opens this tune in a haunting fashion, the verses continue with a duet between the Barbarian and the Highlander backed by accoustic guitars and a bouncy rhythm, the chorus features more uplifting guitars and backing vocals performed by the other members of the cast with the Highlander in the lead, and the solo seciton brings in a heavier crunch. Another great addition.
9 out of 10
Tunnel Of Light: Another spoken bit opens this song; the verses continue with more somber accoustic guitar playing and melancholic vocals by the Highlander in his final song; the chorus provides more pleasant vocals courtesy of the Egyptian, the Knight, and the Roman. Not quite depressing, but an effective way to kill off Fish. Of course, I can't help but wonder why they terminated the most popular singer on here so quickly. . .
9 out of 10
Across The Rainbow Bridge: Dripping sounds and another spoken part open this song's introduction in a particularly dark fashion, the verses feature spooky guitars and mournful vocals by the Knight, the chorus features heavier riffs and vocals performed by the Roman, the bridge features soft/heavy riff trade-offs and amusing vocal lines performed by the Hippie ("I must be dead/Or stoned out of my head") followed by a spoken bit by the Alien that reminds me of a showman, and the song closes out on a heavier climax and a catchy duet between the Knight and the Roman. A pretty great close of the first act.
9 out of 10
The Garden of Emotions: After the sixth spoken segment, we go into another strong ten minute epic. The first part ("In The Garden Of Emotions") features a duet between the Hippie and the Egyptian backed by soft guitars/keyboards, a haunting chorus, and a few symphonic outbursts in between; the second part ("Voices In The Sky") brings in more menacing guitar chugs, trade-offs between the Barbarian and the Roman during the verses, and a keyboard heavy chorus sung by the Indian; and the third segment ("The Aggression Factor") comes to a quietly tense style dominated by the Indian, the Knight, and the Futureman; and the solos in between offer cool guitar and keyboard parts. Not as commanding as the first disc's main epic, but a great track.
9 out of 10
Valley of the Queens: One of the few solo tracks on the album. This song features melancholic guitars, nicely complementing keyboards and strings, a smooth flute solo, dark roars towards the end meant to symbolize Death, and soaring vocals performed by the Egyptian in her final song.
9 out of 10
The Castle Hall: Roars from the previous track mix with the alien's spoken parts during this song's introduction before a heavier Rush-esque riff opens the actual song, the verses and choruses continue in a haunting style with vocals contributed by the Barbarian and the Knight, and the instrumental sections throw in a mix of heavy and soft elements. Another neat track, though it would've been even better if a little more aggression thrown in.
9 out of 10
Tower Of Hope: As evidenced by the title, this may be the most upbeat track on the album. The dark sound of the previous track persists during the spoken introduction, the verses and choruses continue with a heavy but pleasant mid-tempo chug and a duet between the Hippie and the Futureman, and the solo section features some gritty guitar/keyboard trade-offs with a nice bass line underneath.
9 out of 10
Cosmic Fusion: Foreboding winds effects and spooky guitars/keyboards open the first part of the song ("I Soar On the Breeze") with haunting vocals by the Indian in control; the second part of the song ("Death's Grunt") suddenly takes the song into a more menacing direction and features the personification of Death (Within Temptation guitarist/vocalist Robert Westerholt and Orphanage vocalist George Oosthoek) in his/their sole performance, effectively killing off the Indian; and the final part ("The Passing Of An Eagle") is an instrumental bit that features shredding keyboards and guitars that remind me of Pink Floyd. Both of the women are now dead; anyone else thinking what I'm thinking?
8 out of 10
The Mirror Maze: Now we come to what may the album's most somber track. Yet another spoken bit opens this song in the usual haunting fashion, the first half ("Inside The Mirror Maze") continues with melancholic piano and echoing vocals courtesy of the Hippie (Wow, the one time he isn't the comic relief. . .) and the Futureman, and the second part ("Through The Mirror") features a heavier climax and catchy vocals provided by the Knight and the Roman. Where's the Barbarian? This song would've been quite fitting for him considering his less than favorable character. . .
10 out of 10
Evil Devolution: Another solo song with the Futureman performing the lead role. The song features bubbling sounds and the usual speech during the introduction, building keyboards and desperate croons during the verses, the chorus features some neat strings and nicely echoing vocals, and the solo section finally brings some crashing guitar riffs and haunting keyboard solos. Not as powerful as it could be, but a spooky addition.
8 out of 10
The Two Gates: The introduction of this song brings in the usual before going into some interesting keyboard parts, the verses continue with some strange vocal/keyboard harmonies dominated by the Barbarian, the chorus features backing vocals and heavier riffs accompanying the Roman's wails, the bridge features quieter keyboards and echoing vocals performed by the Barbarian in his final role, and the Knight closes out the final verse. Not as epic as it could've been, but a cool scene that would inspire a good deal of cheering if it was converted into a film. . .
8 out of 10
Forever of the Stars: Like the opening introduction, this song is completely dominated by the alien's particularly robotic spoken vocals (Revealing himself to be a mystic entity known as Forever Of The Stars) and more ambient keyboards. Another unsettling addition, though not quite a musical stand-out.
7 out of 10
Another Time, Another Space: More unsettling guitars and keyboards open this song nicely, the first set of verses continue with segments sung by the Hippie and the Futureman, the chorus is sung by both with heavier riffs thrown in, the second set are dominated by the Knight and the Roman with more uplifting piano and guitars joining in, the solo section features even heavier guitars/keyboard and echoing parts from previous songs, and Forever closes the song out with a single quotation. An unusual closer.
8 out of 10
Overall, this album gets 147 out of 170, 86%, and 4 stars. Like most Ayreon albums, its two disc format can be a lot to take in and the vocalists can be hit or miss at times. However, this album may be his best effort and is a strong example of an excellent rock/metal opera. It's probably be a good first purchase for a potential fan.
Welcome to the New Dimension: Our journey begins with the usual ambient opening meant to build up some atmosphere. This particular bit is made memorable by spooky keyboards, crashing guitar chords towards the climax, and an unsettling spoken segment performed by Kaleidoscope/Fairfield Parlour vocalist Peter Daltery as the mysterious alien. A pretty decent start.
7 out of 10
Isis and Osiris: Now we come to the album's first real track, an eleven minute four part epic. The first part ("Let the Journey Begin") features vocal trade-offs between the Highlander (Played by the legendary Marillion vocalist Fish) and the Indian (Within Temptation vocalist Sharon den Adel) with some sweet accoustic backing and the Knight (Rick Wakeman/Threshold vocalist Damian Wilson) coming in towards the end, the second part ("The Hall Of Isis and Osiris") features more aggressive but exotic riffs backing a more commanding duet between the Roman (Omega vocalist Edwin Balogh) and the Egyptian (The Gathering vocalist Anneke van Giersbergen), the third part ("Strange Constellations") features a quieter spoken bit performed by Fish followed by some keyboard heavy jamming, and the final part ("Reprise") returns the song to its original style. A pretty awesome track that may be my favorite on the album.
10 out of 10
Amazing Flight: The alien's second spoken segment opens this song in a foreboding style, the first part of the song ("Amazing Flight In Space") features soulful trade-offs between the Barbarian (Bodine vocalist Jay van Feggelen) and the Hippie (Arjen himself. Leave it to Arjen to give himself the most amusing role. . .) backed by an unusual but welcome bluesy rhythm, and the other two parts of the song ("Stardance" and "Flying Colours") feature spacy keyboards and jazz flute, bass heavy guitar playing, and wordless vocals performed by the Indian. Another great tune, even though I still think the choice for Barbarian was quite an unusual one. Feggelen is certainly an awesome crooner, but he might not be as savage as the lyrics require. . .
10 out of 10
Time Beyond Time: We are now introduced to the remaining Earthling, who is none other than the Futureman (Kayak vocalist Edward Reeker). The song itself is a fairly mellow track that features gentle accoustic strums; subtle keyboards; vocals by the Futureman, the Knight, and the Roman; and another spacy solo section. Not as powerful as the songs before it, but still pretty good.
8 out of 10
The Decision Tree (We're Alive): The alien's third spoken segment opens this tune in a haunting fashion, the verses continue with a duet between the Barbarian and the Highlander backed by accoustic guitars and a bouncy rhythm, the chorus features more uplifting guitars and backing vocals performed by the other members of the cast with the Highlander in the lead, and the solo seciton brings in a heavier crunch. Another great addition.
9 out of 10
Tunnel Of Light: Another spoken bit opens this song; the verses continue with more somber accoustic guitar playing and melancholic vocals by the Highlander in his final song; the chorus provides more pleasant vocals courtesy of the Egyptian, the Knight, and the Roman. Not quite depressing, but an effective way to kill off Fish. Of course, I can't help but wonder why they terminated the most popular singer on here so quickly. . .
9 out of 10
Across The Rainbow Bridge: Dripping sounds and another spoken part open this song's introduction in a particularly dark fashion, the verses feature spooky guitars and mournful vocals by the Knight, the chorus features heavier riffs and vocals performed by the Roman, the bridge features soft/heavy riff trade-offs and amusing vocal lines performed by the Hippie ("I must be dead/Or stoned out of my head") followed by a spoken bit by the Alien that reminds me of a showman, and the song closes out on a heavier climax and a catchy duet between the Knight and the Roman. A pretty great close of the first act.
9 out of 10
The Garden of Emotions: After the sixth spoken segment, we go into another strong ten minute epic. The first part ("In The Garden Of Emotions") features a duet between the Hippie and the Egyptian backed by soft guitars/keyboards, a haunting chorus, and a few symphonic outbursts in between; the second part ("Voices In The Sky") brings in more menacing guitar chugs, trade-offs between the Barbarian and the Roman during the verses, and a keyboard heavy chorus sung by the Indian; and the third segment ("The Aggression Factor") comes to a quietly tense style dominated by the Indian, the Knight, and the Futureman; and the solos in between offer cool guitar and keyboard parts. Not as commanding as the first disc's main epic, but a great track.
9 out of 10
Valley of the Queens: One of the few solo tracks on the album. This song features melancholic guitars, nicely complementing keyboards and strings, a smooth flute solo, dark roars towards the end meant to symbolize Death, and soaring vocals performed by the Egyptian in her final song.
9 out of 10
The Castle Hall: Roars from the previous track mix with the alien's spoken parts during this song's introduction before a heavier Rush-esque riff opens the actual song, the verses and choruses continue in a haunting style with vocals contributed by the Barbarian and the Knight, and the instrumental sections throw in a mix of heavy and soft elements. Another neat track, though it would've been even better if a little more aggression thrown in.
9 out of 10
Tower Of Hope: As evidenced by the title, this may be the most upbeat track on the album. The dark sound of the previous track persists during the spoken introduction, the verses and choruses continue with a heavy but pleasant mid-tempo chug and a duet between the Hippie and the Futureman, and the solo section features some gritty guitar/keyboard trade-offs with a nice bass line underneath.
9 out of 10
Cosmic Fusion: Foreboding winds effects and spooky guitars/keyboards open the first part of the song ("I Soar On the Breeze") with haunting vocals by the Indian in control; the second part of the song ("Death's Grunt") suddenly takes the song into a more menacing direction and features the personification of Death (Within Temptation guitarist/vocalist Robert Westerholt and Orphanage vocalist George Oosthoek) in his/their sole performance, effectively killing off the Indian; and the final part ("The Passing Of An Eagle") is an instrumental bit that features shredding keyboards and guitars that remind me of Pink Floyd. Both of the women are now dead; anyone else thinking what I'm thinking?
8 out of 10
The Mirror Maze: Now we come to what may the album's most somber track. Yet another spoken bit opens this song in the usual haunting fashion, the first half ("Inside The Mirror Maze") continues with melancholic piano and echoing vocals courtesy of the Hippie (Wow, the one time he isn't the comic relief. . .) and the Futureman, and the second part ("Through The Mirror") features a heavier climax and catchy vocals provided by the Knight and the Roman. Where's the Barbarian? This song would've been quite fitting for him considering his less than favorable character. . .
10 out of 10
Evil Devolution: Another solo song with the Futureman performing the lead role. The song features bubbling sounds and the usual speech during the introduction, building keyboards and desperate croons during the verses, the chorus features some neat strings and nicely echoing vocals, and the solo section finally brings some crashing guitar riffs and haunting keyboard solos. Not as powerful as it could be, but a spooky addition.
8 out of 10
The Two Gates: The introduction of this song brings in the usual before going into some interesting keyboard parts, the verses continue with some strange vocal/keyboard harmonies dominated by the Barbarian, the chorus features backing vocals and heavier riffs accompanying the Roman's wails, the bridge features quieter keyboards and echoing vocals performed by the Barbarian in his final role, and the Knight closes out the final verse. Not as epic as it could've been, but a cool scene that would inspire a good deal of cheering if it was converted into a film. . .
8 out of 10
Forever of the Stars: Like the opening introduction, this song is completely dominated by the alien's particularly robotic spoken vocals (Revealing himself to be a mystic entity known as Forever Of The Stars) and more ambient keyboards. Another unsettling addition, though not quite a musical stand-out.
7 out of 10
Another Time, Another Space: More unsettling guitars and keyboards open this song nicely, the first set of verses continue with segments sung by the Hippie and the Futureman, the chorus is sung by both with heavier riffs thrown in, the second set are dominated by the Knight and the Roman with more uplifting piano and guitars joining in, the solo section features even heavier guitars/keyboard and echoing parts from previous songs, and Forever closes the song out with a single quotation. An unusual closer.
8 out of 10
Overall, this album gets 147 out of 170, 86%, and 4 stars. Like most Ayreon albums, its two disc format can be a lot to take in and the vocalists can be hit or miss at times. However, this album may be his best effort and is a strong example of an excellent rock/metal opera. It's probably be a good first purchase for a potential fan.
Sunday, November 9, 2008
Helloween (Helloween)
In a way similar to bands such as Queensryche, Helloween released a self-titled EP before going into a completely full-length career. Unsurprisingly, the work is identical in style to the following "Walls Of Jericho" and features fast tempos, aggressive but still fairly melodic guitar playing, and lead vocals performed by guitarist/vocalist Kai Hansen.
Starlight: In a way similar to songs such as KISS's "Detriot Rock City", we must endure a minute or so of pointless sound effects before going into the smashing opener. The song itself is a strong speed metal track that features a sweet series of shrieks and building guitar chords during the introduction, fast paced riffs and vocals during the verses, and a soaring chorus. A pretty good example of quality power metal but I ought to take off a point or two for the pointless introduction (Though I do find the "Happy, happy Helloween" bit to be fairly amusing).
8 out of 10
Murderer: Gritty guitar/bass harmonies open this track's introduction in a Maiden-esque fashion, the verses continue in a style similar to that of the introduction with darker vocal lines, the chorus features some catchy vocal exchanges, and the guitar solos continue with an uplifting atmosphere. One of my favorite tracks on the EP.
9 out of 10
Warrior: Sounds of battle open this track in what is now a somewhat cliche fashion, the song itself proceeds to come in with upbeat mid-tempo guitar harmonies, the pre-chorus briefly slows the song down, and the chorus throws in another catchy chant. A pretty cool track, even if it isn't as commanding as the songs before it.
9 out of 10
Victim Of Fate: Now we come to a more dramatic track. The introduction comes in with crashing guitar chords that immediately lead into the gritty mid-tempo verses and pre-choruses, the chorus is quite catchy in its subtle delivery, and the bridge brings in a darker spoken segment and eerie guitar lines before going into a more upbeat solo section. A pretty cool track.
9 out of 10
Cry For Freedom: Mysterious accoustic guitar playing and more melodic vocals open this song's introduction and opening verses, the following verses continue with predictably (but still enjoyable) fast guitar playing and more sinister vocals, and the solos keep the intensity flowing. A pretty cool closer.
8 out of 10
Overall, this album gets 43 out of 50, 86%, and 4 stars. Needless to say, you will enjoy this EP if you enjoyed "Walls Of Jericho" or old school power/speed metal in general. Of course, the reverse can be applied for Hansen's vocals, the raw riffs, and the primitive lyrics can be acquired tastes. Get the "Keepers" before checking this one out.
Starlight: In a way similar to songs such as KISS's "Detriot Rock City", we must endure a minute or so of pointless sound effects before going into the smashing opener. The song itself is a strong speed metal track that features a sweet series of shrieks and building guitar chords during the introduction, fast paced riffs and vocals during the verses, and a soaring chorus. A pretty good example of quality power metal but I ought to take off a point or two for the pointless introduction (Though I do find the "Happy, happy Helloween" bit to be fairly amusing).
8 out of 10
Murderer: Gritty guitar/bass harmonies open this track's introduction in a Maiden-esque fashion, the verses continue in a style similar to that of the introduction with darker vocal lines, the chorus features some catchy vocal exchanges, and the guitar solos continue with an uplifting atmosphere. One of my favorite tracks on the EP.
9 out of 10
Warrior: Sounds of battle open this track in what is now a somewhat cliche fashion, the song itself proceeds to come in with upbeat mid-tempo guitar harmonies, the pre-chorus briefly slows the song down, and the chorus throws in another catchy chant. A pretty cool track, even if it isn't as commanding as the songs before it.
9 out of 10
Victim Of Fate: Now we come to a more dramatic track. The introduction comes in with crashing guitar chords that immediately lead into the gritty mid-tempo verses and pre-choruses, the chorus is quite catchy in its subtle delivery, and the bridge brings in a darker spoken segment and eerie guitar lines before going into a more upbeat solo section. A pretty cool track.
9 out of 10
Cry For Freedom: Mysterious accoustic guitar playing and more melodic vocals open this song's introduction and opening verses, the following verses continue with predictably (but still enjoyable) fast guitar playing and more sinister vocals, and the solos keep the intensity flowing. A pretty cool closer.
8 out of 10
Overall, this album gets 43 out of 50, 86%, and 4 stars. Needless to say, you will enjoy this EP if you enjoyed "Walls Of Jericho" or old school power/speed metal in general. Of course, the reverse can be applied for Hansen's vocals, the raw riffs, and the primitive lyrics can be acquired tastes. Get the "Keepers" before checking this one out.
Saturday, November 8, 2008
Dreamweaver (Sabbat)
Before Andy Sneap gained fame as one of the most in-demand producers of the metal scene, he played lead guitar in a thrash metal by the name of Sabbat with the likes of Skyclad vocalist Martin Walkyier, bassist Fraser Craske, drummer Simon Negus, and rhythm guitarist Simon Jones. This was the band's second effort and is a concept album based on the novel The Way of Wyrd, a novel written by Brian Bates that deals with a Christian missionary encountering paganism within the ancient British Isles.
The Beginning of the End/The Clerical Conspiracy: Spooky sound effects and a brief spoken segment dominate "The Beginning of the End" and open the album in a sinister fashion. "The Clerical Conspiracy" then continues with violently delivered riffs and drums, quickly sung vocals over the top, solid hooks during the chorus, and more melodic guitar solos. A few of the transitions are a little awkward, but it's a pretty powerful start.
9 out of 10
Advent of Insanity: Suddenly, we go into the most melodic track on the album. This two minute tune features a more melodic vocal delivery, haunting use of accoustic guitar melodies, nautical sound effects in the background, and some neat cello in the background. While I wish it was a little longer, this may be my favorite track on the album and provides a nice foreshadowing of the sound that Walkyier would later pursue with Skyclad.
9 out of 10
Do Dark Horses Dream Of Nightmares?: Back to the thrashing style we go as this track comes crashing in. The track features some erratic vocal lines and drum fills during the opening verse, the following verses continue at a more direct style similar to those of the opener, the pre-chorus brings more sinister vocal/guitar trade-offs, the chorus provides some particularly catchy vocal lines, and the build-up to the solo section features a few accoustic flourishes before going into some intense shredding. Another great track that manages to stay memorable in its complexity.
9 out of 10
The Best Of Enemies: Another brief spoken bit opens this track before going into a bass heavy groove, the opening verse throws in more quickly sung vocals into the mix, the following verses with at an energetic pace with more melodic guitar/vocal trade-offs, the pre-chorus throws in some dark whispers among the carnage, the chorus provides a nice breakdown, the bridge continues with unusual melodic/heavy contrasts going before into another intense solo section. Not as strong as the tracks before it, but still a great track.
8 out of 10
How Have The Mighty Fallen?: Buzzing of flies open this song before giving way to the melodic guitars and energetic vocals of the opening verses, the following verses return to the familiar style, the pre-chorus features even more intense guitar/vocal melodies, the chorus features more melodic guitars and vocals that remind me of a heavier "Advent of Insanity", and the bridge leads to the ripping solo section at a solid mid-tempo pace. Another pretty cool track.
8 out of 10
Wildfire: More erratic guitar/vocal trade-offs start this song's opening verses off nicely, the following verses and pre-chorus continue with tense vocals and melodic guitars below, the chorus features some echoing vocal trade-offs, and the fast paced bridge leads into an equally fast paced solo section. The chorus may be a little oddly sequenced, but it's another cool track.
8 out of 10
Mythistory: Menacing guitar/bass trade-offs and sweet guitar solos open this song's introduction smoothly, the verses continue with more fast paced riffs and vocals, the pre-choruses and choruses bring in a solid mid-tempo pace, the solo section continues with soaring guitar trade-offs before coming back to a faster style, and the closing segment brings the introduction's melody back in with some sinister female vocals joining in. Another good song, though it may be my least favorite on the album.
8 out of 10
Happily Never After: Closing the album out is a minute long instrumental that features more pleasant accoustic guitar melodies that bring to mind Metallica's "To Live Is To Die" before fading away in a ghostly fashion. A pretty nice closer.
8 out of 10
Overall, this album gets 67 out of 80, 84%, and 4 stars. Note to self: If I'm ever lucky enough to have Andy Sneap to produce an album that I'm on, make sure he plays at least one guitar solo on it...
This album may be a little tough to get into for some listeners and a little wordy at times, but it offers some excellently complex tunes and some of the amazing lyrics that you may ever listen to. I imagine its rating will only get higher once I've truly gotten used to it.
The Beginning of the End/The Clerical Conspiracy: Spooky sound effects and a brief spoken segment dominate "The Beginning of the End" and open the album in a sinister fashion. "The Clerical Conspiracy" then continues with violently delivered riffs and drums, quickly sung vocals over the top, solid hooks during the chorus, and more melodic guitar solos. A few of the transitions are a little awkward, but it's a pretty powerful start.
9 out of 10
Advent of Insanity: Suddenly, we go into the most melodic track on the album. This two minute tune features a more melodic vocal delivery, haunting use of accoustic guitar melodies, nautical sound effects in the background, and some neat cello in the background. While I wish it was a little longer, this may be my favorite track on the album and provides a nice foreshadowing of the sound that Walkyier would later pursue with Skyclad.
9 out of 10
Do Dark Horses Dream Of Nightmares?: Back to the thrashing style we go as this track comes crashing in. The track features some erratic vocal lines and drum fills during the opening verse, the following verses continue at a more direct style similar to those of the opener, the pre-chorus brings more sinister vocal/guitar trade-offs, the chorus provides some particularly catchy vocal lines, and the build-up to the solo section features a few accoustic flourishes before going into some intense shredding. Another great track that manages to stay memorable in its complexity.
9 out of 10
The Best Of Enemies: Another brief spoken bit opens this track before going into a bass heavy groove, the opening verse throws in more quickly sung vocals into the mix, the following verses with at an energetic pace with more melodic guitar/vocal trade-offs, the pre-chorus throws in some dark whispers among the carnage, the chorus provides a nice breakdown, the bridge continues with unusual melodic/heavy contrasts going before into another intense solo section. Not as strong as the tracks before it, but still a great track.
8 out of 10
How Have The Mighty Fallen?: Buzzing of flies open this song before giving way to the melodic guitars and energetic vocals of the opening verses, the following verses return to the familiar style, the pre-chorus features even more intense guitar/vocal melodies, the chorus features more melodic guitars and vocals that remind me of a heavier "Advent of Insanity", and the bridge leads to the ripping solo section at a solid mid-tempo pace. Another pretty cool track.
8 out of 10
Wildfire: More erratic guitar/vocal trade-offs start this song's opening verses off nicely, the following verses and pre-chorus continue with tense vocals and melodic guitars below, the chorus features some echoing vocal trade-offs, and the fast paced bridge leads into an equally fast paced solo section. The chorus may be a little oddly sequenced, but it's another cool track.
8 out of 10
Mythistory: Menacing guitar/bass trade-offs and sweet guitar solos open this song's introduction smoothly, the verses continue with more fast paced riffs and vocals, the pre-choruses and choruses bring in a solid mid-tempo pace, the solo section continues with soaring guitar trade-offs before coming back to a faster style, and the closing segment brings the introduction's melody back in with some sinister female vocals joining in. Another good song, though it may be my least favorite on the album.
8 out of 10
Happily Never After: Closing the album out is a minute long instrumental that features more pleasant accoustic guitar melodies that bring to mind Metallica's "To Live Is To Die" before fading away in a ghostly fashion. A pretty nice closer.
8 out of 10
Overall, this album gets 67 out of 80, 84%, and 4 stars. Note to self: If I'm ever lucky enough to have Andy Sneap to produce an album that I'm on, make sure he plays at least one guitar solo on it...
This album may be a little tough to get into for some listeners and a little wordy at times, but it offers some excellently complex tunes and some of the amazing lyrics that you may ever listen to. I imagine its rating will only get higher once I've truly gotten used to it.
Tuesday, November 4, 2008
Amped (Seven Witches)
Better known for their love of "taking back the metal", Seven Witches underwent a great number of changes for their sixth album. Guitarist/bandleader Jack Frost remains, but the exiting members have since been replaced by Non-Fiction bassist Kevin Bolembach, Winters Bane drummer Jeff Curenton, and Satan/Watchtower vocalist Alan Tecchio, resulting in a much different sound. Musically, the album completely sheds the melodic sound of the band's past and completely embraces what were once mere modern hintings. Even the lyrics have changed, with the cheesy metal themes being abandoned in favor of even cheesier tales of real life and fantasy topics. Unfortunately, not all of the experiments are successful. . .
West Nile: Energetic mid-tempo riffs and solid wails open the opening track's introduction, the verses continue with soaring vocals interacting with harsher guitar chugs, the chorus brings the wails back in, the bridge offers a more melodic breakdown, and the lyrics deal with the virus of the same name. A solid opener, though the song itself is somewhat awkwardly sequenced.
7 out of 10
Sunnydale High: Lyrically inspired by the popular Buffy the Vampire Slayer series, this song is one of the album's more accessible tracks. It comes in with interesting percussion and a dark mid-tempo chug during the introduction, the verses continue with some solid vocal lines thrown in, and the bridge offers a fairly decent refrain. It may be closer to the band's older style than some of the other songs on here, but it ultimately lacks a truly strong hook and fails to truly make an impact.
6 out of 10
Dishonor Killings: Dark bass playing opens this song in a sinister fashion with another gritty guitar chug soon joining in, the verses continue with awkwardly sequenced vocal lines and the chug retained beneath it all, the chorus offers a more uplifting refrain, and the solo section brings in some interesting effects. It had potential but it ultimately falters due to its awkward structure and even worse lyrics ("I believe that it's each to their own/Except when honor killings are the norm/Can't convince me/That offing your sister ain't wrong/Or your wife, or your mom/That's the point of this song/Inhumane tribal custom/I bid you so long"). I do believe that the topic at hand is quite a severe one, but the wording could've been a lot more poetic. Not to mention there should be some kind of law against breaking the musical fourth wall. . .
6 out of 10
GP Fix: Sounds of a revving motorcycle open this song in a slightly cliche fashion before going into a mid-tempo chug similar to that of "West Nile", the verses continue with more awkward sequencing with a solid mid-tempo chug beneath it all, the pre-chorus throws in some decent layering, the chorus is more uplifting but not as powerful as it could be, and the bridge offers a decent breakdown. Another track that could've been better if it had been structured better. And there needs to be another rule stating that songs about motorcycles HAVE to be set at a fast pace (Manowar's "Warlord" for instance. . .).
5 out of 10
Be: Now we come to the album's ballad. The introduction comes in with some sweet piano playing and echoing guitars in the background, the vocals continue with nicely building vocals and a steady guitar chug that manages to work with the song's atmosphere, the chorus is another uplifting, and the solo section is simple but effective. It may not be as strong as a few of the band's past ballads, but it is one of the better tracks on the album.
7 out of 10
Fame Gets You Off: Another menacing set of guitar squeals open this song in a dark fashion, the opening verse throws in some interestingly echoing vocals, the following verses go at a more energetic pace with more aggressive vocal lines, the chorus provides an interesting breakdown and soaring vocal trade-offs, and the song closes out on a fairly memorable breakdown. It's a little similar to "Dishonor Killings", but it features a good number of musical improvements. Unfortunately, the lyrics weren't so lucky ("I'm not impressed by anyone/No not anymore/When Mr.Orange Juice can rush one/Last yard out the door/Jacko jackin' children off is just beyond belief/Acquit him just like Mr.Blake/Set filth loose on the streets"). . .
6 out of 10
Flesh For Fantasy: Finally, we get back to an old Seven Witches tradition; the cover song that appears on almost every album. I can't compare this version to the one made famous by Billy Idol, but the track does feature some neat guitar/bass trade-offs during the introduction, strong croons during the introduction, gritty vocal trade-offs during the chorus, spooky effects throughout that add to the atmosphere, and a somewhat silly chant at the end. A good song but it is a little sad when a cover song may one of the best tracks on the album. What stopped Tecchio from singing like this on the originals?
7 out of 10
Red: A particularly erratic guitar groove opens this song's introduction with a more energetic drum beat behind it, the verses suddenly go at a bass heavy mid-tempo pace with soaring vocals thrown in, and the chorus is another melodic segment that unfortunately doesn't quite deliver. Another song that sounds like it could've had potential. . .
6 out of 10
Widows and Orphans: Closing the album out is a song with a bit of an epic flavor. The introduction comes in with a mix of crashing chords and melodic piano playing with solid accompanying wails, the verses continue with a Maiden-esque gallop and more soaring vocals thrown in, the chorus is another uplifting segment, and the solo section is similar to the introduction in style. A pretty smooth closer that makes me wish more of the album could've been like this. . .
7 out of 10
Overall, this album gets 57 out of 90, 64%, and 3 stars. A few of the modern aesthetics may attract to listeners that were previously turned off by the band's classic metal past, but the reverse may be also applied and divide the fanbase that the band originally had. Personally, I think it has potential but ultimately doesn't match up and may not be worth the risk for a newcomer. Get something from the James Rivera era or "Xiled to Infinity and One" first. . .
West Nile: Energetic mid-tempo riffs and solid wails open the opening track's introduction, the verses continue with soaring vocals interacting with harsher guitar chugs, the chorus brings the wails back in, the bridge offers a more melodic breakdown, and the lyrics deal with the virus of the same name. A solid opener, though the song itself is somewhat awkwardly sequenced.
7 out of 10
Sunnydale High: Lyrically inspired by the popular Buffy the Vampire Slayer series, this song is one of the album's more accessible tracks. It comes in with interesting percussion and a dark mid-tempo chug during the introduction, the verses continue with some solid vocal lines thrown in, and the bridge offers a fairly decent refrain. It may be closer to the band's older style than some of the other songs on here, but it ultimately lacks a truly strong hook and fails to truly make an impact.
6 out of 10
Dishonor Killings: Dark bass playing opens this song in a sinister fashion with another gritty guitar chug soon joining in, the verses continue with awkwardly sequenced vocal lines and the chug retained beneath it all, the chorus offers a more uplifting refrain, and the solo section brings in some interesting effects. It had potential but it ultimately falters due to its awkward structure and even worse lyrics ("I believe that it's each to their own/Except when honor killings are the norm/Can't convince me/That offing your sister ain't wrong/Or your wife, or your mom/That's the point of this song/Inhumane tribal custom/I bid you so long"). I do believe that the topic at hand is quite a severe one, but the wording could've been a lot more poetic. Not to mention there should be some kind of law against breaking the musical fourth wall. . .
6 out of 10
GP Fix: Sounds of a revving motorcycle open this song in a slightly cliche fashion before going into a mid-tempo chug similar to that of "West Nile", the verses continue with more awkward sequencing with a solid mid-tempo chug beneath it all, the pre-chorus throws in some decent layering, the chorus is more uplifting but not as powerful as it could be, and the bridge offers a decent breakdown. Another track that could've been better if it had been structured better. And there needs to be another rule stating that songs about motorcycles HAVE to be set at a fast pace (Manowar's "Warlord" for instance. . .).
5 out of 10
Be: Now we come to the album's ballad. The introduction comes in with some sweet piano playing and echoing guitars in the background, the vocals continue with nicely building vocals and a steady guitar chug that manages to work with the song's atmosphere, the chorus is another uplifting, and the solo section is simple but effective. It may not be as strong as a few of the band's past ballads, but it is one of the better tracks on the album.
7 out of 10
Fame Gets You Off: Another menacing set of guitar squeals open this song in a dark fashion, the opening verse throws in some interestingly echoing vocals, the following verses go at a more energetic pace with more aggressive vocal lines, the chorus provides an interesting breakdown and soaring vocal trade-offs, and the song closes out on a fairly memorable breakdown. It's a little similar to "Dishonor Killings", but it features a good number of musical improvements. Unfortunately, the lyrics weren't so lucky ("I'm not impressed by anyone/No not anymore/When Mr.Orange Juice can rush one/Last yard out the door/Jacko jackin' children off is just beyond belief/Acquit him just like Mr.Blake/Set filth loose on the streets"). . .
6 out of 10
Flesh For Fantasy: Finally, we get back to an old Seven Witches tradition; the cover song that appears on almost every album. I can't compare this version to the one made famous by Billy Idol, but the track does feature some neat guitar/bass trade-offs during the introduction, strong croons during the introduction, gritty vocal trade-offs during the chorus, spooky effects throughout that add to the atmosphere, and a somewhat silly chant at the end. A good song but it is a little sad when a cover song may one of the best tracks on the album. What stopped Tecchio from singing like this on the originals?
7 out of 10
Red: A particularly erratic guitar groove opens this song's introduction with a more energetic drum beat behind it, the verses suddenly go at a bass heavy mid-tempo pace with soaring vocals thrown in, and the chorus is another melodic segment that unfortunately doesn't quite deliver. Another song that sounds like it could've had potential. . .
6 out of 10
Widows and Orphans: Closing the album out is a song with a bit of an epic flavor. The introduction comes in with a mix of crashing chords and melodic piano playing with solid accompanying wails, the verses continue with a Maiden-esque gallop and more soaring vocals thrown in, the chorus is another uplifting segment, and the solo section is similar to the introduction in style. A pretty smooth closer that makes me wish more of the album could've been like this. . .
7 out of 10
Overall, this album gets 57 out of 90, 64%, and 3 stars. A few of the modern aesthetics may attract to listeners that were previously turned off by the band's classic metal past, but the reverse may be also applied and divide the fanbase that the band originally had. Personally, I think it has potential but ultimately doesn't match up and may not be worth the risk for a newcomer. Get something from the James Rivera era or "Xiled to Infinity and One" first. . .
Monday, November 3, 2008
Black Ice (AC/DC)
Nearly eight years have passed since the release of AC/DC's last album, 2000's "Stiff Upper Lip", but you wouldn't guess that it was that long when you listen to their 15th effort. In terms of the album's style, the band continues to showcase the more mellow blend of hard rock and blues that has dominated the last few albums before it. However, a number of changes have been made in comparison to the band's past, including a new producer in Soundgarden/Stone Temple Pilots producer Brendan O'Brien and more soulful singing courtesy of vocalist Brian Johnson.
Rock 'n' Roll Train: Starting the album off is its first big single. The song sets the tone for the album and features laid back guitar/vocal trade-offs during the verses and pre-choruses, catchy gang vocals thrown in during the chorus, and a driving drum beat through it all.
9 out of 10
Skies On Fire: Now we go to an even more laid back number. It features a solid bass heavy main riff, sly vocals thrown in during the verses, and a simple but fairly catchy chorus. Not as strong as the opener, but another solid track.
8 out of 10
Big Jack: Something about this song seems to have a bit of a "For Those About To Rock" vibe to it. The verses feature some great vocal/guitar trade-offs, the pre-chorus is brief but effective in its building intentions, the chorus features some particularly infectious chants, and a consistent bass line gives the song an energetic feel. One of the best tracks on the album.
9 out of 10
Anything Goes: A poppy introduction opens this song in a way that reminds me of "Sink the Pink" in a way, the verses continue at a mid-tempo pace with some interesting falsetto vocals thrown in, and the chorus is catchy though not as powerful as it could be. A decent track, though not quite a classic.
7 out of 10
War Machine: Another one of the album's singles, this is one of the more menacing tracks on the album. The introduction opens with building guitars and bass in a way similar to that of "Hail Caesar", the verses continue in a building style before gaining volume, and the chorus brings in some menacing gang vocals. A pretty neat track even if it is eerily similar in structure to "Hail Caesar" (I still think that song is really underrated. . .).
9 out of 10
Smash 'n' Grab: It's right around this time that we go into a bit of a dry spell. A nice bass heavy rhythm opens this song smoothly, the verses continue with soulful guitar/vocal trade-offs, and the chorus is a pretty mindless sing-a-long. A good song, but not a highlight.
7 out of 10
Spoilin' For A Fight: Just when you thought "Smash 'n' Grab" was a questionable title, they get even better. . .
The introduction comes in with more building guitar harmonies and a driving bass line, the verses continue with guitar/vocal trade-offs similar to those of "Big Jack", and the chorus is another one-line chanter. A decent song, but "Big Jack" did this kind of thing better. . .
7 out of 10
Wheels: This song's introduction comes in like a less dramatic "War Machine", the verses continue at a solid pace similar to those of the previous tracks with some interesting vocal lines thrown in, and the chorus is a pretty catchy one despite the somewhat grating backing vocals. Not a highlight, but it's worth debating whether this song is better than the last few or not. . .
7 out of 10
Decibel: Bluesy riffs open this song in the vein of "Cover You in Oil", the verses continue with some particularly gritty vocal lines, and the chorus is another one-liner. I must say I was expecting a much louder song when taking its title into consideration. . .
6 out of 10
Stormy May Day: I would describe the opening of this track as being some kind of somber "Riff Raff" at work, the verses continue with some strong vocals thrown in, the chorus is a catchy but grating touch like that of "Wheels", and the track is also noteworthy for its inclusion of slide guitar. A pretty soulful addition.
7 out of 10
She Likes Rock 'n' Roll: And the winner of the most Spinal Tap-esque song title is. . .
The introduction comes in with an dissonant groove, the verses continue with more decent guitar/vocal trade-offs, the chorus features a catchy though somewhat silly refrain, and the gang vocals seem to make me chuckle for the wrong reasons ("She digs rock n roll/She gives rock n roll/She gives rock n roll/I like rock n roll". Well, I'm glad you do but the statement is somewhat redundant. . .).
6 out of 10
Money Made: Given that the album has now gone platinum here in the United States, I must ask if this song was written before or after the Walmart deal was announced? The introduction comes in with this silly but infectious chorus and the verses throw in an interesting chord progression that reminds me of late period Audioslave for some reason. It certainly is better than the last few tracks before it. . .
8 out of 10
Rock 'n' Roll Dream: Here we have one of the album's more melodic tracks. It comes in with atmospheric guitar melodies, a subtle drum beat, and particularly melodic vocals during the verses; the chorus brings some louder riffs and a fairly smooth refrain; and the final verse features some interestingly echoing vocals. A pretty neat track.
8 out of 10
Rocking All The Way: Finally, an energetic track that can be compared to "Big Jack"! It opens with another building introduction, gruff vocals thrown in the opening verse, more typical vocals during the following verses, and fun layered vocals during the chorus. Kinda reminds me of a darker "Shot Of Love".
9 out of 10
Black Ice: Closing the album out is its bluesy title track. The introduction comes in with a riff similar to that of "Decibel", the verses continue with some decent guitar/vocal trade-offs, and the chorus is a little more subtle in its gritty delivery. A fairly decent closer.
7 out of 10
Overall, this album gets 114 out of 150, 76%, and 3.5 stars. I hate to be rude, but I do hope that this will be the band's last album. There are a few too many tracks included, the sound isn't as electrifying as it could be, and the band itself sounds like they're on auto-pilot and feeling somewhat desperate (Just look at the song titles!). Having said that, the 14 year old in me still manages to find a few catchy songs on here. Just don't expect "Back in Black", or even "For Those About to Rock" for that matter. . .
Rock 'n' Roll Train: Starting the album off is its first big single. The song sets the tone for the album and features laid back guitar/vocal trade-offs during the verses and pre-choruses, catchy gang vocals thrown in during the chorus, and a driving drum beat through it all.
9 out of 10
Skies On Fire: Now we go to an even more laid back number. It features a solid bass heavy main riff, sly vocals thrown in during the verses, and a simple but fairly catchy chorus. Not as strong as the opener, but another solid track.
8 out of 10
Big Jack: Something about this song seems to have a bit of a "For Those About To Rock" vibe to it. The verses feature some great vocal/guitar trade-offs, the pre-chorus is brief but effective in its building intentions, the chorus features some particularly infectious chants, and a consistent bass line gives the song an energetic feel. One of the best tracks on the album.
9 out of 10
Anything Goes: A poppy introduction opens this song in a way that reminds me of "Sink the Pink" in a way, the verses continue at a mid-tempo pace with some interesting falsetto vocals thrown in, and the chorus is catchy though not as powerful as it could be. A decent track, though not quite a classic.
7 out of 10
War Machine: Another one of the album's singles, this is one of the more menacing tracks on the album. The introduction opens with building guitars and bass in a way similar to that of "Hail Caesar", the verses continue in a building style before gaining volume, and the chorus brings in some menacing gang vocals. A pretty neat track even if it is eerily similar in structure to "Hail Caesar" (I still think that song is really underrated. . .).
9 out of 10
Smash 'n' Grab: It's right around this time that we go into a bit of a dry spell. A nice bass heavy rhythm opens this song smoothly, the verses continue with soulful guitar/vocal trade-offs, and the chorus is a pretty mindless sing-a-long. A good song, but not a highlight.
7 out of 10
Spoilin' For A Fight: Just when you thought "Smash 'n' Grab" was a questionable title, they get even better. . .
The introduction comes in with more building guitar harmonies and a driving bass line, the verses continue with guitar/vocal trade-offs similar to those of "Big Jack", and the chorus is another one-line chanter. A decent song, but "Big Jack" did this kind of thing better. . .
7 out of 10
Wheels: This song's introduction comes in like a less dramatic "War Machine", the verses continue at a solid pace similar to those of the previous tracks with some interesting vocal lines thrown in, and the chorus is a pretty catchy one despite the somewhat grating backing vocals. Not a highlight, but it's worth debating whether this song is better than the last few or not. . .
7 out of 10
Decibel: Bluesy riffs open this song in the vein of "Cover You in Oil", the verses continue with some particularly gritty vocal lines, and the chorus is another one-liner. I must say I was expecting a much louder song when taking its title into consideration. . .
6 out of 10
Stormy May Day: I would describe the opening of this track as being some kind of somber "Riff Raff" at work, the verses continue with some strong vocals thrown in, the chorus is a catchy but grating touch like that of "Wheels", and the track is also noteworthy for its inclusion of slide guitar. A pretty soulful addition.
7 out of 10
She Likes Rock 'n' Roll: And the winner of the most Spinal Tap-esque song title is. . .
The introduction comes in with an dissonant groove, the verses continue with more decent guitar/vocal trade-offs, the chorus features a catchy though somewhat silly refrain, and the gang vocals seem to make me chuckle for the wrong reasons ("She digs rock n roll/She gives rock n roll/She gives rock n roll/I like rock n roll". Well, I'm glad you do but the statement is somewhat redundant. . .).
6 out of 10
Money Made: Given that the album has now gone platinum here in the United States, I must ask if this song was written before or after the Walmart deal was announced? The introduction comes in with this silly but infectious chorus and the verses throw in an interesting chord progression that reminds me of late period Audioslave for some reason. It certainly is better than the last few tracks before it. . .
8 out of 10
Rock 'n' Roll Dream: Here we have one of the album's more melodic tracks. It comes in with atmospheric guitar melodies, a subtle drum beat, and particularly melodic vocals during the verses; the chorus brings some louder riffs and a fairly smooth refrain; and the final verse features some interestingly echoing vocals. A pretty neat track.
8 out of 10
Rocking All The Way: Finally, an energetic track that can be compared to "Big Jack"! It opens with another building introduction, gruff vocals thrown in the opening verse, more typical vocals during the following verses, and fun layered vocals during the chorus. Kinda reminds me of a darker "Shot Of Love".
9 out of 10
Black Ice: Closing the album out is its bluesy title track. The introduction comes in with a riff similar to that of "Decibel", the verses continue with some decent guitar/vocal trade-offs, and the chorus is a little more subtle in its gritty delivery. A fairly decent closer.
7 out of 10
Overall, this album gets 114 out of 150, 76%, and 3.5 stars. I hate to be rude, but I do hope that this will be the band's last album. There are a few too many tracks included, the sound isn't as electrifying as it could be, and the band itself sounds like they're on auto-pilot and feeling somewhat desperate (Just look at the song titles!). Having said that, the 14 year old in me still manages to find a few catchy songs on here. Just don't expect "Back in Black", or even "For Those About to Rock" for that matter. . .
Sunday, November 2, 2008
Warriors of the World (Manowar)
I find Manowar's ninth album to be similar in style to 1988's "Kings of Metal". Like its more famous ancestor, this album features a pretty strange mix of heavy metal scorchers, dramatic power ballads, and a few more experimental tracks thrown in for good measure. It is also noteworthy for being the only one of their albums to feature cover songs. A result of writer's block, perhaps?
Call to Arms: Fortunately, the album starts off with one of its heaviest tracks. It comes in with dramatically plodding riffs and matching choirs in the background, the verses continue at a solid mid-tempo pace with foreboding vocals thrown in, and the solo section brings in some uplifting
solos. It lacks a powerful chorus, but it's a cool opener that reminds me of a heavier "Kingdom Come".
8 out of 10
Fight For Freedom: The first of the album's ballad comes in with gentle piano during the introduction, melodic croons during the verses, the chorus brings in heavier riffs and more uplifting vocals, and the bridge leads into the solo section leads into the solo section with heavier guitar chugs. A cliched structure but a pretty decent Manowar ballad.
7 out of 10
Nessun Dorma: The album's first cover song is an Italian opera song composed by Giacomo Puccini. It's not metal, but it does feature skillfully executed vocals and nice backing orchestrations. I suppose it's one of those things that my inner choir nerd has to appreciate. . .
8 out of 10
Valhalla/Swords in the Wind: "Valhalla" is a brief interlude that emphasizes some dramatic orchestral elements. "Swords In The Wind" is another power ballad that features somber accoustic guitars and lower vocals during the verses, epic choirs and heavier guitar undertones thrown in during the pre-choruses, another dramatic refrain during the chorus, and guitars completely taking over during the solo section. Another by-the-numbers bit, but still a neat track.
7 out of 10
An American Trilogy: Originally made famous by Elvis Presley, this is another bizarre choice for a cover song. (I hate to sound closed minded, but why didn't the Kings of Metal cover any actual METAL songs?!) It opens with mellow guitars and bass that evoke a country feeling, the verses continue with some over the top crooning thrown in, and the chorus takes the song into a heavier direction. Definitely an interesting addition. About time they acknowledged their patria after all the European fan service ("Hail To England", anyone?). . .
7 out of 10
The March: Now we come to another instrumental piece. It shows off some building strings and dramatic choirs before bringing in louder orchestral bits and a strong bass line. Another slight filler, but I imagine it sounds quite cool when you're marching into battle somewhere. (Do they still do that?)
7 out of 10
Warriors of the World: As if rewarding for all the ballads that we went through, we finally return to a heavier style. This track is a mid-tempo anthem in the vein of Judas Priest's "United" and "Take On The World". It features a similarly moronic drum line, gritty bass and guitar riffs that have an almost modern feeling, a few epic overtones typical of the era, menacing vocals, a fist raising chorus, and a melodic bridge. Not quite a classic, but a solid highlight.
8 out of 10
Hands of Doom: Now here's where we really get rewarded! The introduction comes in at a fast pace with shredding leads and choirs thrown over the top, the verses keep the speed flowing with even more menacing vocals thrown in, the chorus is the catchiest on the album, more shredding guitars appear during the solo section, and the bridge brings in an aggressive breakdown. Perhaps the album's best track and more evidence that Manowar needs to write more fast tracks. . .
9 out of 10
House of Death: More shredding opens this song in an interesting fashion with some nice backing chords and drum fills, the verses continue at a faster pace with aggressive vocals thrown in, the chorus brings in some interesting backing vocals, the bridge brings in melodic guitars and demonically distorted vocals. Another solid speed metal track, though not as cool as the tune before it.
8 out of 10
Fight Until We Die: Closing the album out is a final speed metal bit. The introduction comes in with fast riffs and strong drums, the verses continue with powerful vocal trade-offs and strong backing bass, and the solos pack in some more shredding. A solid closer, even if it lacks that definitive chorus. I suppose it's kinda like a faster "Call To Arms" . . .
8 out of 10
Overall, this album gets 77 out of 100, 77%, and 3.5 stars. Like "Kings Of Metal" before it, this album definitely has a few flaws. The song order is somewhat awkward with a few too many ballads clogging up the album's first half and there are a few songs that seem out of place. However, the heavier tunes should make it something worthwhile for die-hard fans. No need to purchase it though; just about all of these songs can be found on Youtube set to some 300/Lord Of The Rings montage. . .
Call to Arms: Fortunately, the album starts off with one of its heaviest tracks. It comes in with dramatically plodding riffs and matching choirs in the background, the verses continue at a solid mid-tempo pace with foreboding vocals thrown in, and the solo section brings in some uplifting
solos. It lacks a powerful chorus, but it's a cool opener that reminds me of a heavier "Kingdom Come".
8 out of 10
Fight For Freedom: The first of the album's ballad comes in with gentle piano during the introduction, melodic croons during the verses, the chorus brings in heavier riffs and more uplifting vocals, and the bridge leads into the solo section leads into the solo section with heavier guitar chugs. A cliched structure but a pretty decent Manowar ballad.
7 out of 10
Nessun Dorma: The album's first cover song is an Italian opera song composed by Giacomo Puccini. It's not metal, but it does feature skillfully executed vocals and nice backing orchestrations. I suppose it's one of those things that my inner choir nerd has to appreciate. . .
8 out of 10
Valhalla/Swords in the Wind: "Valhalla" is a brief interlude that emphasizes some dramatic orchestral elements. "Swords In The Wind" is another power ballad that features somber accoustic guitars and lower vocals during the verses, epic choirs and heavier guitar undertones thrown in during the pre-choruses, another dramatic refrain during the chorus, and guitars completely taking over during the solo section. Another by-the-numbers bit, but still a neat track.
7 out of 10
An American Trilogy: Originally made famous by Elvis Presley, this is another bizarre choice for a cover song. (I hate to sound closed minded, but why didn't the Kings of Metal cover any actual METAL songs?!) It opens with mellow guitars and bass that evoke a country feeling, the verses continue with some over the top crooning thrown in, and the chorus takes the song into a heavier direction. Definitely an interesting addition. About time they acknowledged their patria after all the European fan service ("Hail To England", anyone?). . .
7 out of 10
The March: Now we come to another instrumental piece. It shows off some building strings and dramatic choirs before bringing in louder orchestral bits and a strong bass line. Another slight filler, but I imagine it sounds quite cool when you're marching into battle somewhere. (Do they still do that?)
7 out of 10
Warriors of the World: As if rewarding for all the ballads that we went through, we finally return to a heavier style. This track is a mid-tempo anthem in the vein of Judas Priest's "United" and "Take On The World". It features a similarly moronic drum line, gritty bass and guitar riffs that have an almost modern feeling, a few epic overtones typical of the era, menacing vocals, a fist raising chorus, and a melodic bridge. Not quite a classic, but a solid highlight.
8 out of 10
Hands of Doom: Now here's where we really get rewarded! The introduction comes in at a fast pace with shredding leads and choirs thrown over the top, the verses keep the speed flowing with even more menacing vocals thrown in, the chorus is the catchiest on the album, more shredding guitars appear during the solo section, and the bridge brings in an aggressive breakdown. Perhaps the album's best track and more evidence that Manowar needs to write more fast tracks. . .
9 out of 10
House of Death: More shredding opens this song in an interesting fashion with some nice backing chords and drum fills, the verses continue at a faster pace with aggressive vocals thrown in, the chorus brings in some interesting backing vocals, the bridge brings in melodic guitars and demonically distorted vocals. Another solid speed metal track, though not as cool as the tune before it.
8 out of 10
Fight Until We Die: Closing the album out is a final speed metal bit. The introduction comes in with fast riffs and strong drums, the verses continue with powerful vocal trade-offs and strong backing bass, and the solos pack in some more shredding. A solid closer, even if it lacks that definitive chorus. I suppose it's kinda like a faster "Call To Arms" . . .
8 out of 10
Overall, this album gets 77 out of 100, 77%, and 3.5 stars. Like "Kings Of Metal" before it, this album definitely has a few flaws. The song order is somewhat awkward with a few too many ballads clogging up the album's first half and there are a few songs that seem out of place. However, the heavier tunes should make it something worthwhile for die-hard fans. No need to purchase it though; just about all of these songs can be found on Youtube set to some 300/Lord Of The Rings montage. . .
Subscribe to:
Posts (Atom)
