tag:blogger.com,1999:blog-118010532024-03-07T11:46:33.180-05:00Eschewing the plainReviews, discussion and commentary on music in general, with a focus on that which defies the mainstream.Peterhttp://www.blogger.com/profile/15196824127699828353noreply@blogger.comBlogger115125tag:blogger.com,1999:blog-11801053.post-16746201303082788132011-10-19T20:46:00.000-04:002011-10-19T20:46:05.210-04:00Album Review: Arch/Matheos - Sympathetic Resonance<div class="separator" style="clear: both; text-align: center;">
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<b>Artist: Arch/Matheos</b></div>
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<b>Album: Sympathetic Resonance</b></div>
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<b>Year: 2011</b></div>
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<a href="http://www.archmatheos.com/">Click here for the artist's site</a></div>
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I make no apologies for my long time love of Fates Warning. I think Jim Matheos is one of the best song writers in the progressive rock/metal arena, a fabulous guitar player, and a groundbreaking artist. Likewise, John Arch is one of my favorite vocalists, both for his clear, powerful voice and his truly unique vocal melodies. Their collaboration produced some of the truly influential albums back in the 80s. I believe that the entire genre of progressive metal owes Fates Warning a huge debt.<br />
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However, real life gets in the way, music may not always pay the bills, and John Arch split with band after their classic record <i>Awaken the Guardian</i>. Fates continued, evolved and Jim Matheos' writing continued to mature. John and Jim collaborated back in 2003 for the EP <i>A Twist of Fate</i>, which was excellently received and really had fans begging for more, particularly for John's unique vocal work. More years passed, though, with nothing new. Fates released their last studio recording in 2004, though Jim kept himself busy with OSI amongst other things. But nothing new from the pair.<br />
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Why mention all this history? What bearing could it possibly have on the album in question here? Expectations. It is all about expectations. When I heard that Jim had some songs for a new Fates Warning record, my excitement started to build. When I then heard that Ray Alder (vox for Fates) was too busy and that Jim had contacted John and they decided to move ahead with their own record, my excitement hit 11 and stayed there until the album dropped. I had incredibly high expectation. Foolishly high. High to the point that it would have taken an almost superhuman feat to meet them, let alone exceed them.<br />
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It would appear that this was a superhuman collaboration then. Expectations: exceeded.<br />
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Sympathetic resonance is a harmonic phenomenon in which a passive vibratory body responds to external vibrations to which it has harmonic likeness. Incredibly appropriate. Bringing these musicians together again seems to have lead to a synergistic response, in which each responded to the other, augmenting their individual skills and contributions. I suppose what I am trying to say is this: this is some incredibly great music.<br />
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The group is rounded out with Frank Aresti on guitars as well (former guitarist for Fates Warning), Joey Vera on bass (current Fates bassist) and Bobby Jarzombek (current drummer for Fates, amongst other gigs). Each person contributes magnificently, and despite the band bearing the names of John and Jim, this really does feel like a group effort. And it is that collaboration that makes this come together so well.<br />
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The guitars are excellent. Crisp, clear, yet with a rich, heavy bite to them. This is the heaviest Jim Matheos' guitars have sounded since <i>No Exit</i>. No question about the "metal" side to this record. Frank Aresti's solos further add to that, with some soaring, blazing solos peppered throughout the album. The rhythm section adds to this strength. Joey Vera is as solid and reliable as ever, with a rich, low driving bass that fills out the album. I was saddened when Mark Zonder left Fates after <i>X</i>, as he is an incredible drummer. All doubts have been erased after hearing Bobby Jarzombek on <i>Sympathetic Resonance</i>. His playing is masterful. He has all the technical chops necessary to play the intricate, progressive music that Jim writes. On top of that, he brings a power, precision and inventive style that adds to the energy and urgency of these songs. I have a new person to add to my list of favorite drummers (in good company with the likes of Neil Peart and Gavin Harrison).<br />
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But what about the vocals? After so many years, was there any possible way John could still hit those high notes? And would he still write the most unique and unconventional vocal melodies in rock/metal? The answer to all of those questions is a resounding "Yes". He sounds as good as ever, in fact possibly better than ever. His voice is crystal clear, and carries with it power and emotion that are unequaled. The melodies are fascinating, going places that only John Arch would take them. Lyrically, he continues to eschew the banality of contemporary rock music and draw from the wells of poetry, mysticism and life experience. A word of warning though, the vocals are not what people are generally used to. It took some time for me to really appreciate John's vocals. Now, with this release, I would say he is at the top of my list of vocalists. There just is no one like him, and he shines on this album. And if you have something bad to say about John Arch's vocals, well, it might be best if we just didn't talk.<br />
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<i>Sympathetic Resonance</i> is a fantastic record. It is powerful, vivid, provocative and reaffirms my love of this style of music. Every track is stellar, with "Neurotically Wired" and "Under Stained Glass Sky" epitomizing everything that makes progressive metal appealing and challenging. This is not an easy album. It is challenging. However, it never becomes actively antagonistic, a trap that progressive music can fall in to. It is a richly rewarding record, with accessibility to hook you, and depth to keep you coming back. After dozens of listens (yes, plural), I still find myself drawn inexorably back to this album. I haven't grown tired of it in the least, and other releases have suffered by being compared to this or coming out after it. <br />
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<b>Final verdict: Adore it</b><br />
If you couldn't guess that from the text of the review, one of us is in trouble. <i>Sympathetic Resonance</i> sets a new high water mark for what modern progressive metal can be, and what I feel it should all aspire to be. Powerful, technical, emotional, evocative are just a few of the words that come to mind to describe this stellar release. I'll add one more term: Album of the Year. I'm calling it now. If something comes out in the next two months that tops this, my gast will be officially flabbered. </div>
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<br /></div>Peterhttp://www.blogger.com/profile/15196824127699828353noreply@blogger.com0tag:blogger.com,1999:blog-11801053.post-90922120328191645222011-06-30T21:02:00.000-04:002011-06-30T21:02:09.416-04:00Album Review: Wolverine - Communication Lost<iframe align="left" frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm.amazon.com/e/cm?t=progged-20&o=1&p=8&l=bpl&asins=B0055ATO4I&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr" style="align: left; height: 245px; padding-right: 10px; padding-top: 5px; width: 131px;"></iframe><b>Wolverine - <i>Communication Lost</i></b><br />
Year: 2011<br />
<a href="http://www.wolverine-overdose.com/">Click here for the artist's site</a><br />
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A few years back I stumbled across a Swedish band called Wolverine. A track titled "His Cold Touch" was my first introduction. I was impressed and quickly sought out their other albums. <br />
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What I discovered was a really unique band that seemed to defy description. They called to mind a number of bands I really loved (Fates Warning, Riverside, Opeth, Pain of Salvation, Katatonia) yet still managed to have their own sound. <br />
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With their most recent release, that trademark sound has been honed to a razor sharp edge, polished to perfection. Let's just cut to the chase right here: <i>Communication Lost</i> is a fantastic album.<br />
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<a name='more'></a>Having progressed beyond their melodic death metal roots, Wolverine has become an incredibly mature and thoughtful progressive rock/metal band. That is apparent in every track on <i>Communication Lost</i>. From the instrumental tracks that bookend the album, to every moment in between, the listener is awash in a sea of emotional music and lyrics the likes of which I have rarely encountered.<br />
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That <i>Communication Lost</i> can have such a profound impact with apparent accessibility is just another testament to how mature these Swedes have become as artists. The music is beautiful, with more acoustic and calm passages than on any prior album of theirs. Yet the guitars are never absent and come to the forefront in a manner that is so powerful that every note feels important. There simply isn't a single wasted moment.<br />
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I have to give special mention to Stefan Zell's vocals. He is a joy to listen to, and is able to communicate so much emotion and feeling through his singing that it is breathtaking at times. And breathtaking is really what this album becomes. I still contend that <i>Cold Light of Monday</i> is the single most cathartic listening experience of my life, but this comes close. By the end of the album, you have taken a journey with the band, have sampled moments of their lives, and have renewed your understanding that music, even rock/metal music, truly can be art of the finest type.<br />
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<b>Final Verdict: Adore it</b><br />
<i>Communication Lost </i>is an incredible experience, one that I believe anyone owes it to themselves to experience. There is so much heart and soul in this album. And while the music appears deceptively accessible, there are so many layers, so much nuance to explore, even the harshest music critic and most pompous "prog snob" will find joy in exploring this wonderful album. If this is not at the top of my album of the year list I will be shocked. It is just that good.Peterhttp://www.blogger.com/profile/15196824127699828353noreply@blogger.com0tag:blogger.com,1999:blog-11801053.post-71237250116506272752011-06-15T22:47:00.004-04:002011-06-15T22:54:55.334-04:00Liveblogging the Devin Townsend Project.I've loved Devin Townsend for years. I remember the first time I heard Accelerated Evolution, the frenetic sense of motion, the layers upon layers of sound - the absolute beauty of it all. I remember when I heard Alien for the first time, and the disorientation and comforting discomfort that it brought. (Yeah, it's that kind of album.) I remember laughing at the conceit of a concept album about a puppet that demands all the world's coffee.<br />
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I also remember it's been two years since I've heard a peep from the man. That, for him, is an inordinately long time. For years, he'd put out at least one album of amazing music a year, and often more. In 2009, we were treated to the first two albums of the four Devin Townsend Project discs, and I was left waiting for more.<br />
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And waiting.<br />
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And waiting.<br />
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Finally, the wait is over. The two concluding parts of the Devin Townsend Project are being released, and I'm thrilled to hear what the madman of metal has for us this time around. I'm going to write quick reactions to my first listen-through of the project as a whole, from the beginning two discs to the two new ones. Think of it like liveblogging an event - one that's way better than the Oscars or Grammys could ever hope to be.<br />
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<b><i><a href="http://www.amazon.com/Ki-Devin-Townsend/dp/B0025T65GC?ie=UTF8&tag=progged-20&link_code=bil&camp=213689&creative=392969" imageanchor="1" target="_blank"><img alt="Ki" src="http://ws.amazon.com/widgets/q?MarketPlace=US&ServiceVersion=20070822&ID=AsinImage&WS=1&Format=_SL160_&ASIN=B0025T65GC&tag=progged-20" /></a><img alt="" border="0" height="1" src="http://www.assoc-amazon.com/e/ir?t=progged-20&l=bil&camp=213689&creative=392969&o=1&a=B0025T65GC" style="border: none !important; margin: 0px !important; padding: 0px !important;" width="1" /> Ki</i></b><br />
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This album is heavier than I remember it being. When I was describing the DTP to my wife, I told her the first part was very low-key and soft. It is in parts, but "Coast wastes no time getting a bit heavy. And "Gato"? Listen to that lovely crunch.<br />
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There is a certain feel of raw sound that <i>Ki </i>has that no other Devin album has had. It's not that it sounds like a demo, but it has that type of urgency and simplicity. This is pared down to a degree Devin rarely is - often just one guitar track, one vocal, a bass and a drum. It's lucid.<br />
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I love the female vocals on this CD. They're so different from Anneke (who we'll hear so much from on <i>Addicted</i>) that they make a great contrast.<br />
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Tense. That's the best way to describe <i>Ki</i>. It's a record that seethes.<br />
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"Heaven Send" is Devin's songwriting at its most powerful. And its most terrifying. And "Trainfire" is a weird, Elvis-y feeling thing that doesn't feel like it really belongs here. And then, it does, as the Elvis fades and the sense of calm comes back.<br />
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The piano is a nice touch on "Lady Helen". It's really a great song. And so too is "Ki", easily the centerpoint of the album. It's a wonderful little song, with a lilting melody, stoic guitar work, and just the right groove - which picks up pace and verve near the end, feeling frenetic and terse. It's got all the technicality of a Strapping Young Lad song without any of the violence. Beautiful.<br />
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And we close out the album with "Demon League", quiet and simple. It ends on a promise of more - on a promise of loudness to come...<br />
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<b><i><a href="http://www.amazon.com/Addicted-digital-booklet/dp/B002U9NK1U?ie=UTF8&tag=progged-20&link_code=bil&camp=213689&creative=392969" imageanchor="1" target="_blank"><img alt="Addicted [+digital booklet]" src="http://ws.amazon.com/widgets/q?MarketPlace=US&ServiceVersion=20070822&ID=AsinImage&WS=1&Format=_SL160_&ASIN=B002U9NK1U&tag=progged-20" /></a> <img alt="" border="0" height="1" src="http://www.assoc-amazon.com/e/ir?t=progged-20&l=bil&camp=213689&creative=392969&o=1&a=B002U9NK1U" style="border: none !important; margin: 0px !important; padding: 0px !important;" width="1" />Addicted</i></b><br />
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And boy, does it get loud. "Addicted!" starts with a crunch, and it's a whole new ballgame. Heavy, layered, multiple vocals punch in, and the whole things starts feeling blessedly chaotic. Between Devin's clean and harsh vocals and the addition of Anneke, it's busy and full. Just like any Devin Townsend record should be.<br />
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I love the spacey synth sounds that permeate <i>Addicted</i>. It's just crazy sauce.<br />
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On the matter of production: in terms of the solidity of the whole thing, it's the closest (in Devin's back catalog) to <i>Physicist</i>, which has some blistering metal on it, but remains sounding controlled and centered. So too here - this is very heavy metal, but it's produced like a pop record. This is not a slight against it, by any means - it just has a beautiful identity crisis, like it's a pop metal album trying to decide what it's going to be.<br />
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Here we are: "Bend it Like Bender!", where Anneke takes the reins of the vocals and dominates the song (and much of the rest of the album). She has such an inimitable, memorable voice, Devin was beyond wise in enlisting her help. And when the two sing together? Gold.<br />
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And let's be honest. On <i>Ziltoid</i>, "Hyperdrive" was a great tune. A soaring anthem. Reproduced here, with Anneke singing the vocals, it's (arguably) even better. It punches just right, and her dulcet voice peaks beautifully.<br />
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"In-Ah!" has a gorgeous melody. It's the calmest point on this record, probably - and it's just stunning. Even pop records need their ballads, and this metalpop album has a doozy of one here.<br />
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And we approach "Awake!", the sprawling album-closer that features more melodic ideas than all six of Nickelback's albums combined. It's big and splashy, and then fades out into quiet introspection. It really sums up what the new, cleaned-up Devin Townsend is all about better than anything I write can. And so we're on to the brand-new stuff...<br />
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<b><i><a href="http://www.amazon.com/Deconstruction-Devin-Townsend/dp/B004ZLBUPE?ie=UTF8&tag=progged-20&link_code=bil&camp=213689&creative=392969" imageanchor="1" target="_blank"><img alt="Deconstruction" src="http://ws.amazon.com/widgets/q?MarketPlace=US&ServiceVersion=20070822&ID=AsinImage&WS=1&Format=_SL160_&ASIN=B004ZLBUPE&tag=progged-20" /></a><img alt="" border="0" height="1" src="http://www.assoc-amazon.com/e/ir?t=progged-20&l=bil&camp=213689&creative=392969&o=1&a=B004ZLBUPE" style="border: none !important; margin: 0px !important; padding: 0px !important;" width="1" /> Deconstruction</i></b><br />
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It starts . . . not where I expected it to start. Lots of synth, weird drumming, and almost no guitar at all. I'm curious to see where Dev is going to take this sound - this is supposed to be his weirdest, most blistering album yet. And it's starting like . . . a Depeche Mode album or something. (Don't get me wrong - it sounds great.) But what is this? Who are you, Devin Townsend? And from whence do you come?<br />
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And there it is. Utter confusion and chaos. No time wasted. Less than four minutes in, and now I know this is a Devin Townsend album. Lyrically, this is dark stuff - lots of violence and drug use. This is Dev battling his inner demons. And then it fades out. This is going to be a roller-coaster of contradictions, methinks.<br />
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Oh! Oh my! Is that Mikael Ackerfeldt's harsh vocals I hear in there?!? IT IS OH DEVIN WHAT HAVE YOU DONE. "Stand" blisters, peels, and cracks, just to blister all over again. And when it calms down, it's just a ruse, waiting to assault you as soon as you let your guard down.<br />
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"Juular" sounds like a demented carnival ride. Another polka for the centuries, just like "Vampolka" and "Vampira" on <i>Synchestra</i>. It's madness.<br />
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The madness continues. There's so much going on in this album, a one-time listen through will never suffice to describe it. It has definite touches of everything Devin has done before this, but it's a creature all on its own. It's an ugly thing, but I think I love it.<br />
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"The Mighty Masturbator" is one of the strangest songs Dev has ever given us. I don't even know where to begin to dissect it. It's so massive and layered. I expect nothing less than surprises from Devin, every album - this one doesn't disappoint. And once again, I feel like I'm trapped in a terrifying carnival of sound.<br />
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"Cheeseburger . . . cheeseburger . . . cheeseburger." "Shut up, Rick!"<br />
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And "Poltergeist" wraps it up - loud, violent, and abrasive. <i>Deconstruction</i> is every bit of those, all eighty minutes of it.<br />
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<i><b><a href="http://www.amazon.com/Ghost-Devin-Townsend/dp/B004ZLBUI6?ie=UTF8&tag=progged-20&link_code=bil&camp=213689&creative=392969" imageanchor="1" target="_blank"><img alt="Ghost" src="http://ws.amazon.com/widgets/q?MarketPlace=US&ServiceVersion=20070822&ID=AsinImage&WS=1&Format=_SL160_&ASIN=B004ZLBUI6&tag=progged-20" /></a><img alt="" border="0" height="1" src="http://www.assoc-amazon.com/e/ir?t=progged-20&l=bil&camp=213689&creative=392969&o=1&a=B004ZLBUI6" style="border: none !important; margin: 0px !important; padding: 0px !important;" width="1" /> Ghost</b></i><br />
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Did this album really just start with flute?<br />
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Yes. Yes it did. And it's a perfect way to begin it. This is the most low-key (while still interesting - yes, I'm looking at you, <i>The Hummer</i>) that Devin has ever done. This is music I would put in the car if I knew I was driving my mom somewhere. It's just that pretty.<br />
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"Feather" sprawls, but stays just so airy. It's like new age music that doesn't suck or something.<br />
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The title track, "Ghost", has a great sway to it, and bubbles with effervescence. The vocal layers add so much, as each is so light and (dare I say it) friendly. This is Devin's friendly album. What? Devin Townsend made a friendly album? Yeah, I'm thinking it too - while I'm tapping my toe to it.<br />
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The use of lots of synthesizers really fills out the sound of the whole album - it's really solid.<br />
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And so I reach the last track, "As You Were", which closes us out with calm, seagulls and oceans and breeze and all that. This has been quite the journey to bring us to this ending, but I've enjoyed every minute of it.<br />
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REACTIONS: Devin Townsend is a musical genius. Few (if any) can write as varied and as enjoyable a catalog of music as he has, and these four albums truly showcase every bit of his impressive talent. I can't wait to listen again.Braedenhttp://www.blogger.com/profile/09609491237010044870noreply@blogger.com0tag:blogger.com,1999:blog-11801053.post-39801660927328505092011-06-11T21:23:00.001-04:002011-06-11T21:32:37.254-04:00Single Review: Symphony X - The End Of Innocence<iframe align="left" frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm.amazon.com/e/cm?t=progged-20&o=1&p=8&l=bpl&asins=B004VMT0LI&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr" style="align: left; height: 245px; padding-right: 10px; padding-top: 5px; width: 131px;"></iframe><b>Symphony X: <i>The End of Innocence</i></b><br />
Year: 2011<br />
<a href="http://www.symphonyx.com/">Click here for the artist's site</a><br />
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It has been a few years since Symphony X released their last effort, <i>Paradise Lost</i>. They have been busy, of course, with multiple other side projects. But fortunately, they buckled down and have finished up a new album. <i>The End of Innocence</i> is the first single to be released from the upcoming album <i>Iconoclast</i>.<br />
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Right from the start, the Michaels are in your face, with crushing guitars from Michael Romeo and fabulous keyboard acrobatics from Michael Pinnella. The beginning really has a great feel to it. In fact, this same synergy really carries through the entire song with some stellar work from each of the members. Lest I shun the rhythm section, Michael Lepond and Jason Rullo propel the music forward in usual, excellent fashion.<br />
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As always, Russell Allen does a fabulous job, with both some rough, gritty vocals as well as a fantastic use of his rich, impressive clean vocals. There is no doubt that Allen is one of the most versatile and talented singers in rock/metal these days, and he puts that versatility to good use in this track.<br />
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<i>The End of Innocence</i> certainly has a bit of a heavier and darker feel than tracks on <i>Paradise Lost</i>, which serves the material well. Yet never is lost the versatility, theatricality and pure sense of music the band is so well known and regarded for. While I have enjoyed all the recent albums from this band, as a lead single, <i>The End of Innocence</i> has me more excited for this album than I have been in a long time.<br />
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<b>Final Verdict:</b> <b>Adore It</b><br />
There are few bands out there with the pure ability that Symphony X possesses. This looks to be another excellent addition to their catalog, and potentially some of their strongest music yet.Peterhttp://www.blogger.com/profile/15196824127699828353noreply@blogger.com0tag:blogger.com,1999:blog-11801053.post-53881018301648305922011-04-22T10:50:00.001-04:002011-04-25T00:09:34.295-04:00Kamelot announcement: They're dropping like flies<a href="http://www.kamelot.com/site/news/kamelot-statement/">Are you kidding me?</a><br />
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First, Jeff Loomis and Van Williams leave Nevermore yesterday. Now Roy Khan is leaving Kamelot. This is really sad news. Kamelot is a talented band, and their playing and songwriting is great. However, Roy's voice is really what pushed them over the top for me.<br />
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While I have been disappointed by their past two releases, Roy's vocals have never been the reason for that. I suppose the writing was on the wall when it was announced that he wouldn't be doing vocals on the tour for them. But it is sad to hear he is leaving.<br />
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I hope they can find an equally capable vocalist. Their style really has relied on the strength of his vocals.Peterhttp://www.blogger.com/profile/15196824127699828353noreply@blogger.com0tag:blogger.com,1999:blog-11801053.post-28007789657636703122011-04-21T15:07:00.000-04:002011-04-21T15:07:25.490-04:00Quoth the raven, "Nevermore"I previously posted on Mike Portnoy's departure from Dream Theater. That was disappointing, mostly because he was such a stalwart of the band. For me though, Dream Theater hasn't really interested me for years, so I couldn't really get too worked up. <br />
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Not today though.<br />
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Jeff Loomis and Van Williams, lead guitar and drummer for Nevermore, announced today their decision to split from the band. Something was fishy when the band announced a week or so ago that they were cancelling the rest of their shows this year and that a statement would be forthcoming.<br />
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It never came. Looks like this was probably it though. <br />
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This is certainly disappointing. Nevermore has but out some of the very best American prog/power/speed/thrash/technical metal for the past decade and a half. And I really, really like Warrel Dane's voice. There is no question in my mind though that Jeff Loomis' playing and writing has been the real heart of the band. You need to look no further than his excellent solo album "Zero Order Phase" to hear just how crucial he is to the band. Whether or not they continue with new people, as far as I am concerned, Nevermore is done.<br />
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I will look forward to what Jeff and Van do in the future, as they are both immensely talented musicians.Peterhttp://www.blogger.com/profile/15196824127699828353noreply@blogger.com0tag:blogger.com,1999:blog-11801053.post-82499093561031094092011-04-13T20:18:00.001-04:002011-04-13T20:21:15.772-04:00The year in rearview: 2010 editionGood grief. I am slow. I am lame.<br />
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I have though many times about writing this post, about what I would say, what music I would discuss. But I never let myself get around to it. Well here it is. Only 4 months late. Sweet. Also, I'm not doing the top ten thing here. These are just some albums that, in one way or the other, I thought worth mentioning.<br />
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<b>The Disappointing</b><br />
Okay, let's start with the few things that let me down. There really isn't going to be much here, as I just didn't spend time with music that didn't wow me. I mean, I do this as a hobby. I'm not getting paid, so I won't subject myself to unnecessary pain.<br />
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Joe Satriani - <i>Black Swans and Wormhole Wizards</i><br />
Oh Joe, what happened to you? I mean, I sill have an undying love for his older music, pretty much up until <i>Engines of Creation</i>. There are still some really great songs on <i>Strange Beautiful Music</i> and <i>Is There Love in Space?</i> But since then, I'll just pass. Three albums in a row that aren't even worth listening to, let alone buy. Not a positive trend for who was, for many years, my absolute favorite guitarist.<br />
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Kamelot - <i>Poetry for the Poisoned</i><br />
I really fell in love with Kamelot with the release of <i>The Black Halo</i>. But I don't know if it is me or the band, but nothing since that albums has really grabbed me. Their latest was no different. There were some great parts, but not enough to make me want to come back regularly.<i> </i><br />
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<i></i>Deftones - <i>Diamond Eyes</i><br />
This album started out so strong, but then just quickly lost me. For whatever reason, I just don't like these guys that much anymore. I was really left kind of feeling meh after this one.<br />
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</b><br />
<b>The Good</b><br />
There is a fair bit here, for good reason. I'll just give you a quick run down.<br />
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Fear Factory - <i>Mechanize</i><br />
Fear Factory has been releasing albums for years since their groundbreaking second full length release, <i>Demanufacture</i>. And I think it is pretty universally held that they hadn't met up to the high bar that release set. That is until 2011. I personally think that with <i>Mechanize</i> they not only reached that bar, but set it even higher. There is a full review <a href="http://progged.blogspot.com/2010/04/fear-factory-mechanize.html">here</a><i> </i>for my thoughts. It is sufficient to say that I still think it is a brilliant album, and their very best.<br />
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Nevermore - <i>The Obsidian Conspiracy</i><br />
Here is the thing, Jeff Loomis is THE MAN. He has an absolutely uncanny ability to play heavy, fast, techincal and yet astonishingly beautiful music. He can take a ridiculous riff, play it so fast that your head is spinning, but still make it lovely and musical. That skill was evident all over his solo album, and is firmly entrenched on Nevermore's latest. These guys are one of the greatest American metal bands. This is another fantastic release from them.<br />
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The Ocean - <i>Heliocentric/Anthropocentric</i><br />
We have reviews <a href="http://progged.blogspot.com/2010/07/album-review-ocean-heliocentric.html">here</a><i> </i>and <a href="http://progged.blogspot.com/2010/12/album-review-ocean-anthropocentric.html">here</a><i> </i>for these albums. They are awesome, and taken together are very powerful. They are inventive, evocative and fascinating musical experiments.<br />
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Coheed and Cambria - <i>Year of the Black Rainbow</i><br />
The story for which this album is a prequel is too silly, too overwrought in the worst way of comic stories could possibly be. But the music on this album is consistently great, and consistent is the one thing that Coheed and Cambria have not been up to this point. They have been moving that direction with each album, but didn't realize that until this one. My favorite of theirs, it is a great place to start exploring these guys.<br />
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Soilwok - <i>The Panic Broadcast</i><br />
These Swedes know what they want to do, and they do it very well. Adding a bit of a groove feel to the "Gothenburg metal" sound, they manage to not sound too samey to their compatriots. <i>The Panic Broadcast</i> is probably the best example of this in many years. They riffs are massive, manic<i> </i>and melodic in that particularly Swedish way, but with a healthy dose of Pantera mixed in. <br />
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<i></i>Alter Bridge - <i>ABIII</i><br />
I have a confession to make. I really, I mean really liked Creed back in the day. Okay, now that I got that off my chest, I feel better. Even though I really can't listen to them anymore (Scott Stapp rubs me so wrong), I still really like the sound of Mark Tremonti's guitar. So I have been a big fan of Alter Bridge since their debut album. Now on their third, it is probably their best yet. This is also their darkest album to date. Even the songs that start off sounding like butterflies and rainbows (I'm exaggerating a bit here) turn dark at some point. It is an interesting, if minor, evolution of the sound of this band.<i> </i> <i> </i><br />
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<i></i>Star One - <i>Victims of the Modern Age</i><br />
Again, no surprise this is on the list if anyone read my <a href="http://progged.blogspot.com/2010/11/album-review-star-one-victims-of-modern.html">review</a><i>. </i>This is just another shinning example that Arjen Lucassen is brilliant. Seriously. Go, find something this man has done and listen. Now. Really.<br />
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Hans Zimmer - <i>Inception OST</i><br />
I'm a sucker for Hans Zimmer. His overwrought, distinct style just gets me every time. It didn't hurt that this soundtrack was for such a great movie. But the music helps the movie be even better. Taken alone, I find the soundtrack a compelling listening experience. If you like the movie, it is even better.<br />
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Enslaved - <i>Axioma Ethica Odini</i><br />
Yes, I <a href="http://progged.blogspot.com/2010/10/album-review-enslaved-axioma-ethica.html">love this album</a>. If you had told me in January that my favorite album of the year would come from these Norwegian Viking/Black/Progressive metallers, I would have balked. I would have believed it would have been in my top ten. However, I was absolutely not prepared for just powerful, dynamic, and impressive this album would be.<br />
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Daft Punk - <i>Tron: Legacy OST</i><br />
So here was the biggest surprise. Obviously, I am a bit of a hard rock/metal head. Out of nowhere, Daft Punk came and smacked me upside the head with a fantastic melding of electronica and orchestral soundtrack goodness. I seriously obsessed over this album and still love nearly every minute of it.Peterhttp://www.blogger.com/profile/15196824127699828353noreply@blogger.com1tag:blogger.com,1999:blog-11801053.post-55740344445632708852010-12-10T12:18:00.001-05:002010-12-10T12:27:10.708-05:00Album review: The Ocean - Anthropocentric<iframe align="left" frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm.amazon.com/e/cm?t=progged-20&o=1&p=8&l=bpl&asins=B00447G2YS&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr" style="height: 245px; padding-right: 10px; padding-top: 5px; width: 131px;"></iframe>The Ocean: <i>Anthropocentric</i><br />
Year: 2010<br />
<a href="http://www.theoceancollective.com/heliocentric/">Click here for the artist's site</a><br />
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I was blown away by The Ocean's earlier release this year, Heliocentric. (<a href="http://progged.blogspot.com/2010/07/album-review-ocean-heliocentric.html">So was Peter</a>.) But deep down, I knew it wasn't quite complete - and here is presented its complement.<br />
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With the exception of their first album, The Ocean have always dealt with duality in their releases. Fluxion and Aeolian were designed to be listened to together, and were initially planned as a single release, but were kept separate by the record company. <br />
2007's Precambrian was a sprawling, double disc epic with one part wonderfully orchestrated heavy metal and the other part a blistering, deafening metal powerhouse.<br />
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The same has occurred here with Anthropocentric. A continuation on many of the themes presented in Heliocentric, this is its heavier big brother. Rather than starting with ambient noises and instrumentals like the previous record, Anthropocentric starts with the agonized screams of vocalist Loïc Rossetti thundering forth before the tremendous guitars even begin. And with that, the stage is set for the heavy that is to follow.<br />
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That's not to say that Anthropocentric doesn't have touches of grace and moments of calm. There is real beauty here in a few spots, but they're fewer and further between than on Heliocentric. This is a consolidation of the sounds they've played with in their previous albums, creating something better than the sum of its parts.<br />
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Ultimately, Heliocentric may be a slightly superior album. However, in my head, they'll always be one album - two halves of the same coin. As such, they may be the best metal to come out in 2010.<br />
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<b>Final verdict: Adore it</b><br />
It starts heavy and ends softer, the opposite of its other half, but in between, there's another shockingly powerful metal release. The Ocean continue to impress and I can't wait to see where else they will go in the years and albums to come. This is perfectly balanced and precisely crafted metal of the highest order.Braedenhttp://www.blogger.com/profile/09609491237010044870noreply@blogger.com0tag:blogger.com,1999:blog-11801053.post-47844599303909310092010-11-18T15:35:00.000-05:002010-11-18T15:35:37.321-05:00Album Review: Star One - Victims of the Modern Age<iframe align="left" frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm.amazon.com/e/cm?t=progged-20&o=1&p=8&l=bpl&asins=B0047K2OGC&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr" style="height: 245px; padding-right: 10px; padding-top: 5px; width: 131px;"></iframe><b>Star One: <i>Victims of the Modern Age</i></b><br />
Year: 2010<br />
<a href="http://www.arjenlucassen.com/starone/so_index.html">Click here for the artist's site</a><br />
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Well, it's 2010, so that must mean time for another Arjen Lucassen release, right? I mean, this guy has been cranking out the music lately. With that, there has to be a bit of burn out and fatigue, right?<br />
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I wouldn't be so sure about that. <br />
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Don't get me wrong, Arjen's take on prog isn't for everyone. You have to accept a certain amount of cheese and camp. His latest release with side project Star One, <i>Victims of the Modern Age</i> is no different. But it is the willful embracing of camp, coupled with Arjen's unmistakable sound and songwriting prowess that makes it such a delicious trip to take.<br />
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<a name='more'></a>Star One doesn't break new ground on the latest release. But there is a logical progression from Arjen's past work. Similar to <i>Space Metal</i>, <i>Victims of the Modern Age</i> is over-the-top, sci-fi space metal. It knows that up front, and embraces it. Again, each track on the album is based on a science fiction movie, with options ranging from "Escape from New York", to "Firefly/Serenity", and even "A Clockwork Orange" and "The Matrix". Knowing which movie goes with which song certainly makes the lyrics more enjoyable.<br />
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The usual cast of supporting characters is again in top form. Vocals are handled by top notch singers. Damian Wilson (!), Floor Jansen (!!), and Russell Allen (!!!) all return, and are joined by Dan Swano. Their performances are magnificent. These are some of the most talented vocalists out there.<br />
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Musically, the album is perfect for the subject matter. Arjen's rich guitar sound builds over the unmistakable Ed Warby's drums. These two work so well together. Joost van den Broek brings his skill and style with the keys, and Gary Wehrkamp's signature tone make appearances in some excellent solos. Overall, I would say the music is darker and slightly heavier than on the previous Star One release. There is certainly some evolution of Arjen's style on this album.<br />
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<b>Final Verdict: Adore It</b><br />
This album isn't for everyone. Some will be put off by the science fiction movie pastiche. However, as a self-proclaimed geek/nerd/dork (whatever you want to call me), I embrace it. The music is excellent, up to Arjen's incredibly high standards as always. However, some of the darker overtones found on other projects such as <i>On This Perfect Day</i> and <i>01011001</i> are readily apparent. <i>Victims of the Modern Age</i> isn't revolutionary, but it is a delightful evolution of the Star One formula.<b> </b>Peterhttp://www.blogger.com/profile/15196824127699828353noreply@blogger.com1tag:blogger.com,1999:blog-11801053.post-52521411977956093392010-10-08T10:36:00.000-04:002010-10-08T10:36:04.120-04:00Album Review: Enslaved - Axioma Ethica Odini<iframe align="left" frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm.amazon.com/e/cm?t=progged-20&o=1&p=8&l=bpl&asins=B0043360QS&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr" style="align: left; height: 245px; padding-right: 10px; padding-top: 5px; width: 131px;"></iframe><b>Enslaved - <i>Axioma Ethica Odini</i></b><br />
Year: 2010<br />
<a href="http://www.myspace.com/enslaved">Click here for the artist's site</a><br />
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There are some truly ground-breaking albums that have been released in recent years. Take, for example, Opeth's monumental <i>Blackwater Park</i>. It was a masterful blending of death metal stylings with folk and prog. It introduced a whole new group of people to the band. <br />
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<i>Axioma Ethica Odini</i> should be right there next to it. While it may have yet to truly stand the test of time, I honestly believe that this, too, will be remembered as a ground-breaking album, a masterful melding of black metal with progressive rock/metal, that should introduce a whole new generation to this increasingly fascinating and brilliant band.<br />
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Picking right up where <i>Vertebrae</i> left off, <i>Axioma Ethica Odini</i> is replete with progressive rock/metal influences. In fact, I would say this is more of a progressive metal record with black metal influences, rather than the other way around. However, whereas the first thing from <i>Vertebrae</i> that struck me was how mellow the guitars were at times, <i>AEO</i> kicks it off from the very start with a full, powerful and distinctly metal sound to the guitars.<br />
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The opening track, "Ethica Odini" is a monster. It finely balances all of Enslaved's best characteristics. The careful, near equal balance of their harsh vocals with the fine clean singing is readily apparent. The guitar riffs are massive, juxtaposed to some calm, melodic moments. And it is suffused with a sense of the epic. From there on it never lets up. In fact, album closer, "Lightening" is one of the most epic tracks I have heard in a long time. <br />
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One of the most notable differences on <i>AEO</i> from their past two albums, <i>Ruun </i>and <i>Vertebrae</i>, is the sound of the guitars. They are up front, aggressive, powerful and full of kick. However, they are also very well used, never seeming brutal. Everything on this album speaks of the skill, artistry and love for their craft of the members of the band. The drumming is impeccable, the bass full and rich. Again, the clean singing is perhaps even more dominant here than on <i>Vertebrae</i>. <br />
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<b>Final verdict: Adore it</b><br />
Here it is folks. So far, <i>Axioma Ethica Odini</i> is the front runner from album of the year status. It will take a truly epic, monstrous and ground-breaking release in the next couple of months to topple this from the top spot. This album is just that good. It has just about everything I could ask for: a great, heavy sound, progressive song writing without pretension, flawless production, and a real sense of a love for the music. Don't let the harsh vocals turn you off, this album is fantastic. Time will tell if it ranks up there with the likes of <i>Blackwater Park</i>, but my gut says it will.Peterhttp://www.blogger.com/profile/15196824127699828353noreply@blogger.com3tag:blogger.com,1999:blog-11801053.post-71993379031996514862010-10-05T15:23:00.000-04:002010-10-05T15:23:29.364-04:00Album Review: Kamelot - Poetry for the Poisoned<iframe align="left" frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm.amazon.com/e/cm?t=progged-20&o=1&p=8&l=bpl&asins=B0041A6J3W&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr" style="align: left; height: 245px; padding-right: 10px; padding-top: 5px; width: 131px;"></iframe><b>Kamelot: <i>Poetry for the Poisoned</i></b><br />
Year: 2010<br />
<a href="http://www.kamelot.com/">Click here for the artist's site</a><br />
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Kamelot blew me away with their 2005 release, <i>The Black Halo</i>. It was a fascinating mix of power metal, some progressive elements, and a dark edge to the entire experience. However, their follow up release, <i>Ghost Opera</i>, didn't quite live up for me. While I appreciated its continued emphasis on their more progressive tendencies, it just didn't click with me on the same level.<br />
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So just where does their latest release, <i>Poetry for the Poisoned</i> fit in? Well, that is a tough question to answer.<br />
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There is no question that Kamelot has pushed even further into the progressive metal arena, taking cues from numerous sources. Whether intended or not, the influence I see the most on this release is Ayreon. Perhaps it is emphasis on guest vocals that calls to mind this particular comparison. <br />
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That is one area in which this release really shines. Björn Strid lends his harsh vocals to the background of opener "The Great Pandemonium", Jon Oliva's gravelly growl graces "The Zodiac", and Simone Simons is very effectively used on three different tracks. This certainly adds to the album, bringing some variety to the experience. <br />
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Musically, Kamelot continues to be as tight as they ever have been. Thomas Youngblood's guitar work is powerful, intricate, yet still tactfully restrained at times. Roy Khan continues his bid as my favorite vocalist of all time by turning in another fabulous performance. The rest of the band, too, performs without any notable flaw.<br />
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However, something about the album just doesn't grab me the way I expected. Perhaps it is the almost too varied nature at times. Perhaps it is too much emphasis on the keyboards. Whatever it is, <i>Poetry for the Poisoned</i> has yet to catch my attention and take hold of me the way <i>The Black Halo</i> did. It is still an admirable effort, but not one that lives up to my personal expectations.<br />
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<b>Final verdict: Explore it</b><br />
I get the sense that <i>Poetry for the Poisoned</i> will be one of those albums that grows on the listener. There is a lot going on (almost too much at times), and a fair bit to digest. However, there just isn't anything really powerful that jumps out and grabs me from the start. I am warming to the album. Time will tell if I adore it, but thus far, I just don't yet.Peterhttp://www.blogger.com/profile/15196824127699828353noreply@blogger.com1tag:blogger.com,1999:blog-11801053.post-52442145814231934222010-09-29T12:06:00.001-04:002010-09-30T15:15:31.686-04:00Album Review: Swans - My Father Will Guide Me Up a Rope to the Sky<iframe align="left" frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm.amazon.com/e/cm?t=progged-20&o=1&p=8&l=bpl&asins=B003X43GGU&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr" style="height: 245px; padding-right: 10px; padding-top: 5px; width: 131px;"></iframe>Swans - My Father Will Guide Me Up a Rope to the Sky<br />
Year: 2010<br />
<a href="http://www.myspace.com/swansaredead">Click here for the artist's site</a><br />
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Swans is one of those bands, like Neurosis, that all the kids claim are a huge influence on them, but that the general populace remains woefully ignorant of. And it's obvious why; they were never released on a major label, and they haven't put out new music since 1997, the band having gone on to do many other things in other groups (most notably Jarboe, who has worked with just about every experimental metal group at this point).<br />
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Thank heavens, however, that bandleader Michael Gira decided it was time to get the band back together - and while Jarboe doesn't return, Gira enlists former bandmate Norman Westburg with some new faces and has created one of the most electrifying albums of the year.<br />
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I can't think of another album that's started with a bigger bang than the opening track here, "No Words/No Thoughts". It's nearly ten minutes of brutality, from the cacophonous bells that ring in the song to the decay of the closing strain. This is an opening statement to defeat all others - a glorious return to form to a certain degree, but with new energy and sinister seething.<br />
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After this, it calms down considerably (and necessarily); the following tracks, while less imposing, still have an electricity that pulses underneath, until "My Birth" erupts yet again with force and violence. The most terrifyingly moving track follows, "You F*#$ing People Make Me Sick", which features a duet between indie-rock darling Devendra Banhart and Gira's three-year-old daughter - but don't think because Banhart is here that this is anything like indie music.<br />
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But it doesn't stop there. "Eden Prison" attacks the senses, an aural assault as heavy as any sludge metal group, before closing out with "Little Mouth", filled with bizarre noises and uncomfortable juxtapositions of sound, followed by a sixties-country-inspired calmness that oozes with catharsis as it ends with just Gira's unique vocals.<br />
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<b>Final verdict: Adore it</b><br />
This thing is huge, and one of the best releases of the year. It's a wonderful gateway to the world of Swans if you're not familiar with their past work, and it's a welcome return of pioneers for old fans. "No Words/No Thoughts" may be the best song of the year so far (its only real competition is "All Delighted People" by Sufjan Stevens, and you couldn't ask for a different type of tune), and the rest of the album is equally weighty.Braedenhttp://www.blogger.com/profile/09609491237010044870noreply@blogger.com0tag:blogger.com,1999:blog-11801053.post-90732577204062982682010-09-27T10:21:00.000-04:002010-09-27T10:21:26.611-04:00Five desert island songs.I've been thinking about what I would consider really seminal pieces of music, examples of cinema, works of literature, et cetera today. So I decided to craft a list of my five desert island songs and why they're worth picking as the only music I would ever listen to again - if I had to. (Thankfully, that's not going to happen.)<br />
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In no particular order.<br />
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<b>Eric Whitacre - Water Night</b><br />
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I still remember the first time I ever heard this piece of music. It was the lead-in from an intermission at a friend's choir concert. I spoke to her during the break, and she proclaimed, "I just wish I could see your face during the first song of the next set."<br />
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Perplexed, I asked her why. She responded, "You'll see."<br />
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I did see that night. I saw things I never had seen before about music; what it can do, what it can mean, how it can be made. It caused a complete paradigm shift in me - and forever altered my perception.<br />
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One listen and you can see why. There's so much going on in this for being a piece of a'cappella; there are up to fifteen parts coursing in and out of each other at one point. It's an overwhelming piece of choral music, and every time I hear it I get goosebumps.<br />
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<b>Rush - Natural Science</b><br />
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Anyone who knows my taste for tunes knows the importance of Rush in my formative years. The first album I ever owned was <i>Grace Under Pressure</i>; I can probably sing every single song of theirs off the top of my head, simply out of beautiful repetition. But after all is said and done, and heaps upon heaps of great songs, my favorite Rush track is "Natural Science". It's a wonderful amalgam of different tunes, telling a story of the microcosms we each are trapped in and how we don't understand how ephemeral and transitory everything is.<br />
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I could listen to this a million times.<br />
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<b>Samuel Barber - Adagio for strings, Op. 11</b><br />
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I heard Barber's Adagio for the first time in an uncharacteristic place - during the opening sequence to an old video game, Homeworld. (That was a great game, by the way. One of the best. And way, way too hard for its own good.)<br />
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It was the choral version rather than the strings version, and was truncated to two minutes, but I remember vividly sitting there watching the opening sequence and hearing this song and my heart pumping a million miles a minute, and sitting back and thinking, "What was that?!? That makes my person ache with loveliness." Needless to say, I did my research and hunted it down, and have been enamored by this song ever since.<br />
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<b>Art Tatum - L'Elegy</b><br />
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I don't know what else can be said about the inimitable Art Tatum. He was the best jazz pianist. Like, ever. Even in this day and age where there have been so many sages at the ivories, he remains The Man. Just listen to it. It's the greatest piano solo of all time - so far, at least. Goosepimples every time.<br />
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<b>Opeth - Blackwater Park</b><br />
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I may not listen to heavy metal very much these days, but metal is still in my core. Deep down in my bits. And Opeth will forever be the band that introduced me to brütal heavÿ mëtal. (With umlauts.)<br />
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And this is their most compelling single song. (Their last album, Watershed, is easily their best, but I digress.) It starts with such forceful energy, and then recedes to the corner, content to seethe for two minutes of distressing calm, before erupting once again. And it just gets heavier and meaner, until there is just a moment of clarity at about the nine and a half minute mark - where you're staring into the abyss at the edge of the cliff, and then you get kicked off and plummet. (Sorry this crappy video cuts the last twenty seconds off the song.) Ah, this tune. Certainly not for everyone. And certainly not what I usually listen to. But so very, very good.Braedenhttp://www.blogger.com/profile/09609491237010044870noreply@blogger.com1tag:blogger.com,1999:blog-11801053.post-31565875647350001352010-09-22T21:37:00.000-04:002010-09-22T21:37:50.942-04:00Portnoy leaves Dream TheaterI actually wanted to write about this back when the announcement came out, but just wasn't doing much writing at the time, so it passed me by. Plus, I was just not sure how much I cared.<div><br />
</div><div>On September 8th, 2010, Mike Portnoy announced he was leaving Dream Theater. Talk about shock of shocks. After all, Mike was one of the original, founding members of the band. Likewise, he has seemed to be taking a more and more active role in the band (for better or worse), writing more lyrics, contributing vocals, and just generally being the public face of the band. (To his credit, he has been, for many years, very interactive with fans on his own website).</div><div><br />
</div><div>But the reasons behind his departure are, in my mind, the most uncomfortable part of the entire drama. His press release is very clear in stating that he did not want to leave the band, rather just wanted things with Dream Theater to slow down a bit. It would seem he just wanted a break. However, the rest of the band apparently was not content with this idea, and wanted to continue on, with or without him.</div><div><br />
</div><div>It looks like it will be without him.</div><div><br />
</div><div>This really is sad news. While my interest in Dream Theater's music has waned over the past few releases, there is no doubt that albums such as <i>Images and Words</i> and <i>Awake</i> (and to a lesser degree <i>Scenes From a Memory<b>) </b></i>are seminal, essential progressive metal releases. They really are the band that introduced me to "progressive metal". And throughout it all, Portnoy's very technical, impressive (at times too impressive) drum work has been the back bone of the band.</div><div><br />
</div><div>After so many years, it just seems sort of cheap of them to ignore his wishes to take a break. If that take is the truth, it is pretty low class. I wish Mike the best in his endeavors (did anyone else realize he was now the official drummer for Avenged Sevenfold?). As for Dream Theater, I think I will pass on their next album (again). Unless Gavin Harrison or Mark Zonder is announced as the replacement. Then I won't have a choice but to listen, as I will listen to whatever either of those two do. </div>Peterhttp://www.blogger.com/profile/15196824127699828353noreply@blogger.com4tag:blogger.com,1999:blog-11801053.post-13680711137282175772010-09-14T09:43:00.001-04:002010-09-14T09:43:40.242-04:00Album Review: Sepultura - A-Lex<strong><iframe align="left" frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm.amazon.com/e/cm?t=progged-20&o=1&p=8&l=bpl&asins=B001K2KHLY&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr" style="align: left; height: 245px; padding-right: 10px; padding-top: 5px; width: 131px;"></iframe>Sepultura - <em>A-Lex</em></strong><br />
Year: 2009<br />
<a href="http://www.sepultura.com/">Click here for the artist's site</a><br />
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Stalwart. That is the best word to describe Sepultura. For years now, they have been championing their own mix of death, thrash, and groove metal. Many fans cast them by the wayside after the departure of Max Cavalera (and later his brother Igor). But now, with 5 albums with Derrick Green (just one shy of what Max contributed to), they continue to marshall onward. <br />
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In fact, their last two releases have entered some really interesting territory, with the previous album <em>Dante XXI</em> being based on <em>The Divine Comedy,</em> and their latest <em>A-Lex</em> based on the novel <em>A Clockwork Orange</em>. But with such heady (for such heavy metal) lyrical inspiration, how is the music? In one word: amazing. <br />
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<em>A-Lex</em> is an interesting collection of mini-tracks (many of the 18 songs hover right around the 2 minute mark) and proper songs. However, even the shorter tracks carry an amazing weight. Lyrically, the album tells the story of <em>A Clockwork Orange</em>, and the music fits the anti-social, brutal and somewhat bleak nature of the story. <br />
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Derrick Green continues to be an admirable replacement for Max Cavalera, with his vocals carefully balancing the brutal, harsh growls and his moments of clean singing. Yet there is little of that, as the music is heavy. Very heavy. New drummer Jean Dolabella pounds the skins with aplomb, filling the gap left my original member Igor Cavalera brilliantly. The guitars, as always, are heavy, gritty, groovy and thunderous. There is never a dull moment.<br />
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<strong>Final Verdict: Adore It</strong><br />
Fans of thoughtful, yet heavy music will find a lot to appreciate on <em>A-Lex</em>. Fans of Sepultura should put aside any negative feelings they have about the missing Cavalera brothers and should explore this for the excellent slice of metal mayhem it is. Those unfamiliar with the band could do much worse than use this album as a starting point to explore this seminal metal band. Highly recommended.Peterhttp://www.blogger.com/profile/15196824127699828353noreply@blogger.com0tag:blogger.com,1999:blog-11801053.post-63962295294156389312010-07-26T20:12:00.000-04:002010-07-26T20:12:00.352-04:00Album Review: The Ocean - Heliocentric<iframe align="left" frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm.amazon.com/e/cm?t=progged-20&o=1&p=8&l=bpl&asins=B003CEA9SE&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr" style="align: left; height: 245px; padding-right: 10px; padding-top: 5px; width: 131px;"></iframe><b>The Ocean: <i>Heliocentric</i></b><br />
Year: 2010<br />
<a href="http://www.theoceancollective.com/">Click here for the artist's site</a><br />
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Never a group to settle for the same old thing, The Ocean (often known as The Ocean Collective) have impressed me with every album. A mix of ambient sounds, progressive metal, classical music, electronica and post-hard core, they really are one of the more unique bands playing heavy music.<br />
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Their latest release, <i>Heliocentric</i>, is no different in that regards. And yet, it is undoubtedly their most mature, focused and varied work to date.<br />
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The first and most notable change in the band comes in the form of Loïc Rosetti, vocalist. In the past, vocals on The Ocean albums are almost entirely harsh in nature. However, Rosetti instead chooses to employ clean, soulful vocals on the majority of the album. This serves multiple purposes. First, it makes the album more accessible to those put off by harsh vocals. Second, it deepens the album, giving it more breadth and layers of textures.<br />
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Musically, this is also The Ocean's most diverse album. While there is certainly the expected heavy riffs The Ocean is so good at, there is also an abundance of space. Many songs have quiet, introspective moments of sparse orchestration. There are also plenty of strings and piano on the album, each used to their strengths to broaden the music and provide a spacious, at times ethereal canvas for the thematic elements.<br />
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As might be supposed from the title of the album, <i>Heliocentric</i> deals with the rise of the idea of heliocentrism. Direct quotations from The Bible, as well as from many modern scientists and philosophers, it is a fascinating journey of an idea in evolution.<br />
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Great songs abound, with the final two tracks creating a powerful climax. However, my personal favorites are actually the two ballads, "Ptolemy was wrong" and "Epiphany". They are beautiful tracks that are perfect balances to the albums heavier moments.<br />
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<b>Final Verdict: Adore it</b><br />
The Ocean has created a wonderful, epic album with <i>Heliocentric</i>. I love all of their albums, but this is their most diverse, most interesting and most fully realized work yet. I look forward to <i>Anthropocentric</i>, due for release later this year. This is a great place to begin exploring this fascinating band that defies easy categorization.Peterhttp://www.blogger.com/profile/15196824127699828353noreply@blogger.com2tag:blogger.com,1999:blog-11801053.post-65291139295373485212010-07-25T10:17:00.000-04:002010-07-25T10:17:22.924-04:00Point-Counterpoint: My Dying Bride - 34.788%...Complete<iframe align="left" frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm.amazon.com/e/cm?t=progged-20&o=1&p=8&l=bpl&asins=B000QZXQTG&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr" style="align: left; height: 245px; padding-right: 10px; padding-top: 5px; width: 131px;"></iframe><b>Peter</b><br />
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</b><br />
Make no mistake about it, My Dying Bride has become, in the past year, one of my very favorite bands. Their entire library is full of epic, amazing British doom. Yet plunked just about right in the middle of the oeuvre is the singularly unique <i>34.788%...Complete</i>.<br />
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Taken on its own, it is an interesting piece of artistic expression. A very mellow, chill, electronic inspired take on doom metal, there is, in fact, very little doom on it. A cursory listen reveals an album that sounds nothing like My Dying Bride. But don't let that fool you. Closer inspection demonstrates hidden layers of heavy, ponderous MDB riffs.<br />
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But where this album really shines is taken in the context of all their albums. Sandwiched directly between <i>Like Gods of the Sun</i>, the pinnacle of their early evolution to more melodic metal, and <i>The Light at the End of the World</i>, their darkest, most bleak and crushing album, <i>34.788%...Complete</i> truly stands out as fascinating. What has come since this album is amazing doom metal, so I can't complain. But this is one album to not be overlooked. <br />
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From the trippy, "Blade Runner" style interrogation (questions are asked by a female voice, in Japanese played backwards, then answered by lead vocalist Aaron Stainthorpe in English) in "The Whore, the Cook and the Mother", to the almost groove-metal of "Under Your Wings and Into Your Arms", the album is full of fascinating moments. "Der Uberlebende" is the closest the album comes to doom, with a slow, dirge-like pace. "Apocalypse Woman" is carried by a rapid, groove laden bass line. Finally, the first song that really caught my attention was "Heroine Chic". I find it to be the most interesting MDB song ever, with electronic percussion, spoken vocals, (almost) self-censored lyrics (listen closely with headphones to see why I say almost), a lilting female vocal over the top of it all, and moments of thunderously heavy riffs, it is just fantastic from start to finish.<br />
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<b>Final verdict: Explore it</b> (though I adore it, it is different and unique enough that I gotta say explore first, though you may come to adore it as well)<br />
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<b>Braeden</b><br />
<b><br />
</b><br />
I think it's taken me as long as it has to counterpoint this album because I still don't know what to make of it.<br />
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I'm not as familiar with My Dying Bride as Peter is, obviously. Before working on this article, the only exposure I'd had to them was their latest release, 2009's <i>For Lies I Sire</i>, which is certainly a shining example of melodic doom metal.<br />
<br />
However, for a lot of reasons, I think <i>34.778%</i> is a superior album. As has been documented previously, I have a lot of love for well-done electronica. (I can't stand most of the stuff they'd play in clubs and such; but when a group or artist is good at creating electronica - groups such as F*ck Buttons or Röyksopp or the inimitable <a href="http://youhaveto.thinkoutofthebox.fr/2010/07/23/daft-punk-new-songs-from-tron-legacy-soundtrack/">Daft Punk</a> - I can listen to it all day.) The subtle, electronic music found intermingled here with some pretty crushing metal is very good, and helps create an ambiance that most albums of this ilk only hope to duplicate.<br />
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It really is a great album, and the more times I've listened to it, the more I've felt that way about it.<br />
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<b>Final verdict: </b>this surprises the heck out of me, but <b>Adore it</b> (at night. In the darkness. Hidden under your covers.)Peterhttp://www.blogger.com/profile/15196824127699828353noreply@blogger.com2tag:blogger.com,1999:blog-11801053.post-21018040733094810502010-07-06T21:53:00.000-04:002010-07-06T21:53:46.056-04:00Point-Counterpoint: Cloud Cult - The Meaning of 8<iframe align="left" frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm.amazon.com/e/cm?t=widgetsamazon-20&o=1&p=8&l=bpl&asins=B000NQR7RK&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr" style="align: left; height: 245px; padding-right: 10px; padding-top: 5px; width: 131px;"></iframe><b>Braeden</b><br />
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I'm not exactly sure how I found out about Cloud Cult - what website or who introduced me to the wonder of my favorite band. (After Rush. Of course.) All I know is that I've loved everything they've done for half a decade now.<br />
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While my love of most indie music is something that's come about in the last year or so, even when I was in the midst of my most brütal hëavy mëtal moments of life, I've still been able to listen to Cloud Cult and find joy, honesty, and the truths of human emotions laid bare. They're not your typical indie band, not one that you'd imagine all those hipster kids from New York listening to - there's something fundamentally different about their music, from their harmonies to their deceptively simple seeming guitar work.<br />
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<i>The Meaning of 8</i> is no exception. Until Monday of this past week when they <a href="http://www.blogger.com/goog_1665736128">released their newest album, </a><i><a href="http://www.blogger.com/goog_1665736128">Light Chasers</a></i><a href="http://www.cloud-cult.com/store/product_info.php?products_id=68">, on their website</a>, I would've told you it was their very best album. It's full of catchy songs, lilting melodies, a message about overcoming and the everlasting nature of love, and it's just a wonder to behold. Since 2000 and the passing of lead singer / guitarist / keyboarder / songwriter Craig Minowa's son, their music had tended towards melancholy, but with this release, they strike a happy balance between the sadness that's obviously still there (especially in songs such as "Your 8th Birthday", written for the boy on what would've been that day), but there's a sense of hope and faith in the future here, too.<br />
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I love this record. It's got some of my favorite Cloud Cult tunes on it - from the unique love musings of "Chemicals Collide" to the melancholy of "Dance for the Dead" to the beautiful tragedy of "A Girl Underground" to the poignant "The Deaf Girl's Song". It's hard to even point out one thing that's out of place on this disc - it's nineteen tracks of perfection.<br />
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Every Cloud Cult album is a listening event - and this one, specifically, is a marvel.<br />
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<b>Final Verdict: Adore it</b> (and pick up everything else they've ever done, too - especially their brand new one)<br />
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<b>Peter</b><br />
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My brother is on a quest. A quest to cure me from my Philistine ways. Such it is with this latest selection. <br />
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Cloud Cult scratches the indie-but-not-dirty-hipster itch very well. The music is slick and polished, without the need to appear rough and raw (like too much indie music). This album is replete with happy moments without being saccharine. The music is a vehicle, not a weapon. A vehicle to gently propel the listener on to the end. <br />
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In these ways, the album succeeds. <br />
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However, for it to succeed for the individual, you need to have that itch that needs to be scratched. And, frankly, I don't. It would appear I have no indie itch. That doesn't surprise me. So in the end, this was a brief diversion, but that is all.<br />
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<b>Final verdict: Explore it</b> (if you find you have an indie itch, scratch with this, not some of the other absolute dreck that is out there)Braedenhttp://www.blogger.com/profile/09609491237010044870noreply@blogger.com2tag:blogger.com,1999:blog-11801053.post-32495904112497500252010-06-30T01:16:00.000-04:002010-06-30T01:16:04.851-04:00A Mini Mixtape for Melancholic Meditations<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAUfWQtus6dpvWbC2XOQgdLGxD-OKriX4BpyIIje1qksqJ06OQb7T4wpzuta_F-LCKMuZGOWosMnnpDxdgLJrJASZJwoD-0Ov_iW2HZn_R6h39hTgC3Dv9rVDK_BW9XNRucmBo/s1600/cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAUfWQtus6dpvWbC2XOQgdLGxD-OKriX4BpyIIje1qksqJ06OQb7T4wpzuta_F-LCKMuZGOWosMnnpDxdgLJrJASZJwoD-0Ov_iW2HZn_R6h39hTgC3Dv9rVDK_BW9XNRucmBo/s320/cover.jpg" /></a></div><br />
This is part of a potential series of mixtapes I'll be doing over the next few months, depending on their popularity. It's a perfect mix of downtempo, pensive songs that are ideal for chilling and hanging out to.<br />
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<b>Tracklist:</b><br />
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1. The National - Sorrow<br />
2. Regina Spektor - The Flowers<br />
3. Tegan and Sara - Nineteen<br />
4. Death Cab for Cutie - Summer Skin<br />
5. Midlake - Winter Dies<br />
6. PJ Harvey - Dear Darkness<br />
7. Sufjan Stevens - Seven Swans<br />
8. Eluvium - An Accidental Memory in the Case of Death<br />
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Yeah, I know it's indie-heavy. (This is not a mixtape for you, Peter - but more metal-centric ones are to come.) Give it a listen, enjoy, and by all means, let us know how you like it.<br />
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<b><a href="http://www.mediafire.com/?ojwwaiyngkz">Click here to enjoy this soothing, melancholic adventure.</a></b>Braedenhttp://www.blogger.com/profile/09609491237010044870noreply@blogger.com3tag:blogger.com,1999:blog-11801053.post-16153745844154287742010-06-23T11:39:00.000-04:002010-06-23T11:39:16.835-04:00Essential Album Review: Neurosis - Through Silver in Blood<iframe align="left" frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm.amazon.com/e/cm?t=progged-20&o=1&p=8&l=bpl&asins=B000XVADEY&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr" style="align: left; height: 245px; padding-right: 10px; padding-top: 5px; width: 131px;"></iframe><b>Neurosis: <i>Through Silver in Blood</i></b><br />
Year: 1996<br />
<a href="http://www.neurosis.com/">Click here for the artist's site</a><br />
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<i>*Disclaimer: I have written this review in my head at least a dozen times. However, actually putting it down has been nigh unto impossible. Such is the task that stands before me.</i><br />
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Every once in a while, music comes along that leaves one completely <a href="http://www.worldwidewords.org/qa/qa-gob1.htm">gobsmacked</a>. Such an one is <i>Through Silver in Blood</i>.<br />
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Not Neurosis' first album. Nor their first groundbreaking album either (I give that nod to <i>Souls at Zero</i>). However, it is their very finest album and in my opinion the most important metal release that you've never heard. <br />
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Beginning as a hardcore/punk band, it didn't take long for Neurosis to evolve into something much darker, much more inventive and much more influential. That evolution (which continues to this day) hit a peak with their fifth album, <i>Through Silver in Blood</i>, released in 1996. From the very first track, the titular song, Neurosis proves that they are unequaled in the metal world. Beginning slowly with ambient/industrial sounds, followed by tribal drumming, the song takes a full 2:45 to build to its first crescendo of drumming, guitar, bass, and guttural howls and tortured screams. From there it never lets up to the very end of the album.<br />
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That isn't to say that the entire album is one loud wall of cacophony. Rather, Neurosis truly perfected the ebb and flow of music. Songs rise and fall like the waves of the ocean. Moments of quiet tranquility are wiped out by torrents of noise and rage. When suddenly, you don't know if you can take anymore, the songs switch directions, offering another moment of peace. But the peace is perhaps even more sinister. It is foreboding, brooding, menacing. It gently lulls you, while hinting that something truly terrifying is coming.<br />
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Two sub 2 minute tracks of speaking and noise are the only moments of apparent respite amongst the other tracks, most of which are > 10 minutes long. Yet even these shorter tracks only serve to build on the disquiet the rest of the albums thrives on. They serve a greater purpose in constructing the album as a whole.<br />
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Every track is powerful, and the album ends on two monstrous tracks. "Aeon" builds slowly from a mournful, plaintive piano and string melody to a crushing, thundering mass of epic proportions. "Enclosure in Flame" finishes the album in a furious manner with Scott Kelly's tortured howls leaving your skin crawling as it gently fades to silence. This is an album that leaves and indelible mark on the listener.<br />
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<i>Through Silver in Blood</i> is the dropping of the atomic bomb on Hiroshima. It is Beethoven's 9th Symphony, bringing to a close the Classical period and ushering in the Romantic. It is a complete game changer. One comes out of the experience of listening to <i>Through Silver in Blood</i> a different type of music fan than one went in. Such is its import, its power, and its lasting legacy. There is no question that I listen to music differently now than before I experienced Neurosis in general, and this album in particular. It is, as I mentioned earlier in this review, the most important album you've never heard.<br />
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<b>Final verdict: Adore it</b><br />
<i>Through Silver in Blood</i> is a true essential album. It is epic in scope, with a breadth and depth that has yet to be rivaled in modern music. It is supremely influential to those who are willing to work their way through it (because it certainly takes work). I cannot recommend it highly enough, while readily recognizing that it will be a terrifying experience for many who listen to it.Peterhttp://www.blogger.com/profile/15196824127699828353noreply@blogger.com2tag:blogger.com,1999:blog-11801053.post-7903674896114666582010-06-19T19:32:00.000-04:002010-06-19T19:32:48.383-04:00Point-Counterpoint: Testament - The Gathering<iframe align="left" frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm.amazon.com/e/cm?t=progged-20&o=1&p=8&l=bpl&asins=B002PM6DJ8&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr" style="align: left; height: 245px; padding-right: 10px; padding-top: 5px; width: 131px;"></iframe><b>Peter</b><br />
<b><br />
</b><br />
Music is a fickle beast. Music fans can be even more fickle. Fads come and (thankfully) go, all in a short amount of time. Bands and artists that find success with one fad will often find they either evolve or die. And every band knows, they have just as much of a chance with every album to loose fans as they do gain new ones. <br />
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Yet amongst the fads, there are the stalwarts. Those solid, stable, reliable factors that you can count on. Likewise, certain musical styles become reliable enough to stand the test of time, supersede fad status and become bona fide genres. Such it has been with thrash metal. I won't go into too much depth regarding the genre, it is sufficient to point out that it arose as an angrier, heavier cousin of speed metal, in reaction to the gloss, pop and pomp of glam metal.<br />
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Emerging from the "Bay Area" thrash scene, Testament proved themselves to be one of the stalwarts of this new and evolving genre. Even when when grunge and subsequently nu-metal were overtaking the radio waves and record sales, Testament pressed on, sticking true to their trash roots while evolving in new directions. The pinnacle of that evolution is witnessed on <i>The Gathering</i>. Easily their heaviest album ever, and possibly one of the heaviest thrash albums ever recorded, it represents a big middle finger, straight up into the air, aimed directly at Korn and their ilk. <br />
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<i>The Gathering</i> is a magnificent example of American thrash. It is fast, technical, heavy as all get-out, and more furious than the hounds of hell. Chuck Billy brings back a bit of his singing growl that was mostly absent on <i>Demonic</i>, but he retains much of the fierce style he used on that record. Eric Peterson proves he is one of the best metal guitarists and songwriters around, completely owning the entire record. And Dave Lombardo, well, it's Dave freaking Lombardo. He owns the kit. From the beginning track, "D.N.R", through the album highlight "Ride the Snake" to the final track "Fall of Sipledome", <i>The Gathering</i> never lets up. It is a pummeling ride to the very last moment.<br />
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<b>Final Verdict: Adore it</b> (just keep the Advil handy)<br />
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<b>Braeden</b><br />
<b><br />
</b><br />
Blech. Finally, Peter has picked something that I can unequivocally say I don't like.<br />
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Thrash has never really been my thing - I love <i>Persistence of Time</i> because it's a classic, and <i>...And Justice For All</i> doubly so. I can stand Megadeth, and that's really about the extent of my relationship with thrash.<br />
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As far as this CD goes I can concede to almost everything my compatriot said regarding its musicality (and especially the talent of Mr. Lombardo in the kit), but it just doesn't appeal to me. It's ugly and abrasive, and not in the ways I like. My metal-listening time is metered; I don't feel like wasting any more of it on this album.<br />
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<b>Final Verdict: Ignore it</b> (and listen to better metal instead)Peterhttp://www.blogger.com/profile/15196824127699828353noreply@blogger.com1tag:blogger.com,1999:blog-11801053.post-52283890617747457572010-06-15T20:33:00.000-04:002010-06-15T20:33:47.663-04:00Point-Counterpoint: Yes - Close to the Edge<b><iframe align="left" frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm.amazon.com/e/cm?t=progged-20&o=1&p=8&l=bpl&asins=B00007LTI9&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr" style="align: left; height: 245px; padding-right: 10px; padding-top: 5px; width: 131px;"></iframe>Braeden</b><br />
<b><br />
</b><br />
Even though Yes is one of the original progenitors of the progressive rock genre, it's taken me years to be willing and able to truly process their music. I can't really describe why that was; but be that as it may, two years ago I finally decided I needed to see what all the fuss was about.<br />
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Because Yes has been around so long, like any older group they have some albums that are stellar and some that are just "meh". Thankfully, <i>Close to the Edge</i> is the former. With only three tracks and clocking in at barely under forty minutes, it's a behemoth to try and digest, but doing so is more than worth the while.<br />
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The first song (in fact, in the original vinyl, the whole first side - not unlike Rush's "2112" or "Hemispheres") is the title track, one that starts with ambient sounds before erupting in a funkadelic beat. The bass, guitars, and keyboards are all going in different directions, soaring and weaving into one another, until vocal harmonies break through, silence everything, and it all coalesces into a wonderful whole, until the motif for the song is presented. The vocals are nearly always in harmony, and it flies quickly from quiet to loud with abandon, and the lyrics are mystical and spiritual. The real shining instrument here is Rick Wakeman's keyboard - he stands out among other very talented musicians, especially during that vibrant, effulgent organ section. It's one of the best examples of early progressive rock you'll ever hear.<br />
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This continues throughout the next two tracks as well, "And You and I" as well as "Siberian Khatru". The former continues an eastern, mystical motif musically and lyrically; it is about renewal and rebirth, whereas the latter seethes with energy and has a great beat and catchy syncopated guitar work. Both also exemplify what early progressive rock was, and it's obvious why this is regarded as many to be Yes' best album.<br />
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<b>Final verdict: Adore it</b> (with a mind for expansion)<br />
<br />
<b>Peter</b><br />
<b><br />
</b><br />
Ah Yes. One of the quintessential progressive rock bands, even though they probably need it, they should require no introduction. Certainly groundbreaking, often innovative, Yes has long been a rotating cast of very skilled musicians. <br />
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Oh, and they are boring. <br />
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Yeah, I said it. Boooooooooring. Like insomniac curing boring. In fact, there is really only one song of theirs I can even stand. "Roundabout" is a decent track that wears out its welcome if you aren't hearing the radio edit.<br />
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So what can I say about <i>Close to the Edge</i>? It is an epic, sprawling work that is full of pseudo-mystical lyrics, impressive yet incredibly subdued music (even when "energetic"), piercingly high vocals and ZZZZZZZZZZZZZZZZZZZZZZZZZZZ. . .<br />
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<b>Final verdict: Ignore it</b> (unless you need some help with your insomnia)Braedenhttp://www.blogger.com/profile/09609491237010044870noreply@blogger.com2tag:blogger.com,1999:blog-11801053.post-54550868410483045772010-06-11T16:55:00.001-04:002010-06-13T00:48:04.736-04:00Random thoughts on music news.1. First off, Thom Yorke of Radiohead has <a href="http://www.nme.com/news/thom-yorke/51422">decided that the music business is folding</a> - and fast. Radiohead had a very successful release of their last album, <i>In Rainbows</i>, digitally - and at whatever price you felt like paying for the album. (I paid a sufficient sum for the record - and it is one of their finest.) Because of that, he's now <span class="Apple-style-span" style="font-family: inherit;">claiming that the whole business is going to go under within a few months:</span><br />
<blockquote>"[It'll be] only a matter of time,"Yorke says. "Months rather than years before the music business establishment completely folds." </blockquote><span class="Apple-style-span" style="font-size: 16px; line-height: 20px;"></span><br />
<span class="Apple-style-span" style="font-size: 16px; line-height: 20px;"></span><br />
<span class="Apple-style-span" style="font-size: 16px; line-height: 20px;"><blockquote>Advising aspiring musicians not to tie themselves to such a "sinking ship", Yorke adds that the fall of the music business will be "no great loss to the world".</blockquote></span><span class="Apple-style-span" style="font-size: 16px; line-height: 20px;"> That's fine and dandy for him to say, but the fact of the matter is that Radiohead succeeded in digital self-release because they are a well-known act with multiple platinum releases to their name. I don't think upstarts are quite ready for that - nor do I think that the music industry gigantor, for all its hideousness, is that ready to die.<br />
<br />
No matter how bad it is.<br />
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</span><br />
<span class="Apple-style-span" style="font-size: 16px; line-height: 20px;">2. If music IS dying (and sales point to yes, at least as far as physical media goes), there is at least one shade of silver to that cloud -<a href="http://news.yahoo.com/s/nm/20100610/music_nm/us_melvins"> the Melvins broke the top 200</a> for the first time in their storied career. It wasn't a huge sell for them, and not even their best first week - but hey, this is The Melvins. They should've broken it every time they've sold a thing, so just smile and be happy for them.</span><br />
<span class="Apple-style-span" style="font-size: 16px; line-height: 20px;"><br />
</span><br />
<span class="Apple-style-span" style="font-size: 16px; line-height: 20px;">3. More evidence to the continuing of awesome music - <a href="http://www.exclaim.ca/articles/generalarticlesynopsfullart.aspx?csid1=144&csid2=844&fid1=47195">Sufjan Stevens is FINALLY following up 2005's amazing, mind-blowing <i>Illinois</i>.</a> And he's not doing it alone - apparently he's been hard at work with The National. Word is, it sounds like nothing Sufjan's ever done before - but if my favorite indie artist is working with one of my favorite indie bands, this can only end in piles of awesome. [/hipster]</span>Braedenhttp://www.blogger.com/profile/09609491237010044870noreply@blogger.com1tag:blogger.com,1999:blog-11801053.post-45956256758344025072010-06-08T23:25:00.000-04:002010-06-08T23:25:43.979-04:00Point-Counterpoint: Heaven & Hell - The Devil You Know<iframe align="left" frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm.amazon.com/e/cm?t=progged-20&o=1&p=8&l=bpl&asins=B0026S98TS&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr" style="align: left; height: 245px; padding-right: 10px; padding-top: 5px; width: 131px;"></iframe><b>Peter</b><br />
<b><br />
</b><br />
Black Sabbath needs no introduction. They are the de facto fathers (grandfathers?) of heavy metal. Even if you aren't that familiar with all their work, you are undoubtedly familiar with the band. But what many people might not realize is that Black Sabbath has been a revolving cast over the years, with 22 musicians having been in the band at some point. Too often, people think of Ozzy when they think of Sabbath. The real person to think of is Tony Iommi. Over the past 42 years, he has been the single constant in the band.<br />
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I mention this for those unfamiliar with Heaven & Hell. Named after the 1980 album from Black Sabbath (the first with Ronnie James Dio as vocalist) of the same name, the band is, for all intents and purposes, Black Sabbath. Comprised of Dio, Iommi, Geezer Butler and Vinny Apice, this is the group from the early 80s (and again in the early 90s). What resulted was <i>The Devil You Know</i>.<br />
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As such, I was anticipating some straight up heavy metal. You know, down-tuned guitars, plodding, ethereal tempos, and somewhat theatrical vocals (thanks to the inimitable Dio). However, what I did not anticipate was just how much this album would rock. Right from the start, the guitars and deep, throaty and thundering. This is trademark Sabbath. <br />
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Some of the tracks are a touch faster (the energetic "Eating the Cannibals" for one), and others are funereal in the pace (the standouts "Bible Black" and "Breaking into Heaven"). In between you have the expected mid-tempo tracks. They never veer too far from the template, but hey, this is a template these guys freaking created, so they can stick with it. Especially when done so well.<br />
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As mentioned, the guitars have a fantastic heavy metal sound. The drums and bass fill out the rhythm perfectly. And Dio's voice sounds as good as it ever has. Powerful, rich, somewhat operatic in nature, it is everything that made Dio such a respected vocalist. It is a shame to have lost him, but what an album to go out on.<br />
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<b>Final Verdict: Adore it</b> (and relish in the celebration of heavy freaking metal)<br />
<br />
<b>Braeden</b><br />
<b><br />
</b><br />
Honestly, there isn't much to say that my counterpart here hasn't said. Sabbath is wonderful; Dio era Sabbath all the more so. Ronnie James just had a voice that was perfect for heavy metal - it soars, it's emotive, and it rocks.<br />
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I mean, this is essentially the guy who introduced the devil's horns symbol to heavy metal. He is metal incarnate - and this album showcases it more than almost any other I can think of.<br />
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Whew. It's big, ugly, and wonderful.<br />
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<b>Final Verdict: Adore it</b> (I'm pouring drops of (root) beer out for you, Dio. You will be missed)Peterhttp://www.blogger.com/profile/15196824127699828353noreply@blogger.com0tag:blogger.com,1999:blog-11801053.post-58092132205019708072010-06-07T20:44:00.000-04:002010-06-07T20:44:38.523-04:00This drummer is mad.As in MAD CRAZY AWESOME.<br />
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I'm just going to leave this here for you all. It's music related. And it must be lauded.<br />
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<br />
<object height="385" width="480"><param name="movie" value="http://www.youtube.com/v/ItZyaOlrb7E&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/ItZyaOlrb7E&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object>Braedenhttp://www.blogger.com/profile/09609491237010044870noreply@blogger.com2