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.
Not today though.
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.
It never came. Looks like this was probably it though.
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.
I will look forward to what Jeff and Van do in the future, as they are both immensely talented musicians.
Showing posts with label metal. Show all posts
Showing posts with label metal. Show all posts
Thursday, April 21, 2011
Wednesday, June 23, 2010
Essential Album Review: Neurosis - Through Silver in Blood
Neurosis: Through Silver in Blood
Year: 1996
Click here for the artist's site
*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.
Every once in a while, music comes along that leaves one completely gobsmacked. Such an one is Through Silver in Blood.
Not Neurosis' first album. Nor their first groundbreaking album either (I give that nod to Souls at Zero). However, it is their very finest album and in my opinion the most important metal release that you've never heard.
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, Through Silver in Blood, 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.
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.
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.
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.
Through Silver in Blood 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 Through Silver in Blood 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.
Final verdict: Adore it
Through Silver in Blood 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.
Year: 1996
Click here for the artist's site
*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.
Every once in a while, music comes along that leaves one completely gobsmacked. Such an one is Through Silver in Blood.
Not Neurosis' first album. Nor their first groundbreaking album either (I give that nod to Souls at Zero). However, it is their very finest album and in my opinion the most important metal release that you've never heard.
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, Through Silver in Blood, 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.
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.
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.
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.
Through Silver in Blood 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 Through Silver in Blood 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.
Final verdict: Adore it
Through Silver in Blood 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.
Thursday, May 20, 2010
Point-Counterpoint: Novembre - The Blue
Peter
Novembre is another band I discovered through the wonders of the internet and Pandora.com. They showed up on my Katatonia station as another example of the melancholic, haunting music those Swedes are so adept at. And with good reason.
The Blue is their most recent effort. Novembre is an interesting band. They started out as an Italian death metal band. However, over the years they have evolved into something much more interesting, and nowhere is that more evident than on The Blue. Yes, there are harsh, death metal style vocals. Yes, there is thunderous double bass drumming. Yes, there is no shortage of crushing metal guitars.
However, there is also an almost ethereal quality to the music, a sense of artistry that takes these heavy element and crafts them into something exquisite, with an almost porcelain beauty. There are moments when it is easy to forget just how heavy this album can be because of the delicate aspects of so many of the songs.
Novembre expertly balances all their influences on The Blue. From distorted to clean acoustic guitars, from light, airy vocals to harsh growls, the album keeps you always guessing as to what will come next. This is only heightened by the unorthodox song structure. Gone is the ABABCBB song structure that is so common to modern music. Novembre will take you from A to F, but how it gets there is a real mystery and treat. Some tracks will have repeated motifs, but most move gently from one passage to the next with little to no repetition. It is a breath of fresh air.
Final Verdict: Adore it (and don't let the harsh vocals get you, there is real brilliance here)
Braeden
The real beauty of this disc is hidden in the carefully crafted, subtle guitar melodies that weave through each song. They're flying by so fast and are mixed really low in the mastering, so you don't even notice they're there half the time - and more's the pity.
In fact, that's my only genuine complaint about the album - I would have made the melodic guitar parts more prominent and mixed the rhythm section a little lower. But if that's my BIGGEST complaint, that's proof positive how great this album is.
It seethes with honesty and beauty. It feels like the kind of thing that took years to create, but seems simultaneously effortless and smooth.
Final verdict: Adore it (and let the melodies take you away on wonderful journeys)
Novembre is another band I discovered through the wonders of the internet and Pandora.com. They showed up on my Katatonia station as another example of the melancholic, haunting music those Swedes are so adept at. And with good reason.
The Blue is their most recent effort. Novembre is an interesting band. They started out as an Italian death metal band. However, over the years they have evolved into something much more interesting, and nowhere is that more evident than on The Blue. Yes, there are harsh, death metal style vocals. Yes, there is thunderous double bass drumming. Yes, there is no shortage of crushing metal guitars.
However, there is also an almost ethereal quality to the music, a sense of artistry that takes these heavy element and crafts them into something exquisite, with an almost porcelain beauty. There are moments when it is easy to forget just how heavy this album can be because of the delicate aspects of so many of the songs.
Novembre expertly balances all their influences on The Blue. From distorted to clean acoustic guitars, from light, airy vocals to harsh growls, the album keeps you always guessing as to what will come next. This is only heightened by the unorthodox song structure. Gone is the ABABCBB song structure that is so common to modern music. Novembre will take you from A to F, but how it gets there is a real mystery and treat. Some tracks will have repeated motifs, but most move gently from one passage to the next with little to no repetition. It is a breath of fresh air.
Final Verdict: Adore it (and don't let the harsh vocals get you, there is real brilliance here)
Braeden
The real beauty of this disc is hidden in the carefully crafted, subtle guitar melodies that weave through each song. They're flying by so fast and are mixed really low in the mastering, so you don't even notice they're there half the time - and more's the pity.
In fact, that's my only genuine complaint about the album - I would have made the melodic guitar parts more prominent and mixed the rhythm section a little lower. But if that's my BIGGEST complaint, that's proof positive how great this album is.
It seethes with honesty and beauty. It feels like the kind of thing that took years to create, but seems simultaneously effortless and smooth.
Final verdict: Adore it (and let the melodies take you away on wonderful journeys)
Sunday, May 16, 2010
The passing of a true legend: Dio will be missed
The Holy Diver has passed.After an earlier post that was later confirmed to be inaccurate, the inevitable happened. The great Dio has died after a battle with stomach cancer. Who knew, the guy was from Portsmouth, New Hampshire. Just down the road.
You don't have to be a fan of the theatrics, you may not have even liked his bands (though to dis the mighty Sabbath, along with Rainbow and Dio is musical heresy if you ask me), but you cannot deny the man's impact on metal and rock in general. He was one of the great vocalists of the past decades, and a real pioneer in the creation and identity of an entire genre.
Ozzy may be better known, but Dio was by far the better vocalist, and will definitely be missed.
Wednesday, May 05, 2010
Point-Counterpoint: Moonspell - Night Eternal
Peter
Too often in modern culture the term "gothic" brings to mind lame, pseudo-emo kids who are trying to be a bit more edgy. There is nothing gothic about wearing black and white stripped leggings. Keep trying.
Moonspell is a Portuguese band that delivers fantastic gothic metal. And that is nowhere more evident than on their latest album, Night Eternal. The album is a nonstop crushing blend of black metal sensibility with gothic metal overtones. Orchestration and hauntingly beautiful keyboard layers (including ethereal choral tracks) add depth to the pummeling double bass onslaught.
Harsh vocals are juxtaposed with clean, deep baritones passages and occasional whispered lyrics. Every track is dripping with a distinctly dark, gothic atmosphere. "Shadow Sun" is the prime example, vacillating between slow, brooding verses and frenetic driving choruses. Yet even in the frantic moments, the album retains its funereal mood. Finally, the guest vocal work of Anneke van Giersbergen on "Scorpion Flower" is worth the price of admission alone. If you aren't familiar with her uniquely angelic voice, go. Listen. Now.
Final Verdict: Adore it (but leave the black lipstick and nail polish at home, this isn't for poseurs)
Braeden
I've never been much of a fan of gothic metal, and usually when a singer has a really noticeable accent, it turns me off to the music altogether.
And yet I've spent all day wrapping my head around this CD, and I'm surprised to say that I quite enjoy it. Sure, the accent is a little distracting - especially in the spoken word opening. And yes, the cover is goofy looking. But the music is pretty awesome levels of brutal - just the right mix of heavy and calm. It oozes sensation; it seethes like a perfect storm. (And, as Peter mentioned, any reason to hear Anneke van Giersebergen is reason enough to give an album a try - her work with Devin Townsend, Arjen Lucassen and especially with her own bands The Gathering and Agua de Annique are all impeccable, and her voice sounds as splendid as ever here.)
The level of musicianship here is really quite astounding - and the production is clean, effective, and punchy. The bass is plenty thumpy, the drum work is effective, the keyboards are wispy and unobtrusive, the guitars are fun and melodic. This really is a pretty great album.
Final verdict: Explore it (while reading a moody, gothic book - but no vampires, please)
Too often in modern culture the term "gothic" brings to mind lame, pseudo-emo kids who are trying to be a bit more edgy. There is nothing gothic about wearing black and white stripped leggings. Keep trying.
Moonspell is a Portuguese band that delivers fantastic gothic metal. And that is nowhere more evident than on their latest album, Night Eternal. The album is a nonstop crushing blend of black metal sensibility with gothic metal overtones. Orchestration and hauntingly beautiful keyboard layers (including ethereal choral tracks) add depth to the pummeling double bass onslaught.
Harsh vocals are juxtaposed with clean, deep baritones passages and occasional whispered lyrics. Every track is dripping with a distinctly dark, gothic atmosphere. "Shadow Sun" is the prime example, vacillating between slow, brooding verses and frenetic driving choruses. Yet even in the frantic moments, the album retains its funereal mood. Finally, the guest vocal work of Anneke van Giersbergen on "Scorpion Flower" is worth the price of admission alone. If you aren't familiar with her uniquely angelic voice, go. Listen. Now.
Final Verdict: Adore it (but leave the black lipstick and nail polish at home, this isn't for poseurs)
Braeden
I've never been much of a fan of gothic metal, and usually when a singer has a really noticeable accent, it turns me off to the music altogether.
And yet I've spent all day wrapping my head around this CD, and I'm surprised to say that I quite enjoy it. Sure, the accent is a little distracting - especially in the spoken word opening. And yes, the cover is goofy looking. But the music is pretty awesome levels of brutal - just the right mix of heavy and calm. It oozes sensation; it seethes like a perfect storm. (And, as Peter mentioned, any reason to hear Anneke van Giersebergen is reason enough to give an album a try - her work with Devin Townsend, Arjen Lucassen and especially with her own bands The Gathering and Agua de Annique are all impeccable, and her voice sounds as splendid as ever here.)
The level of musicianship here is really quite astounding - and the production is clean, effective, and punchy. The bass is plenty thumpy, the drum work is effective, the keyboards are wispy and unobtrusive, the guitars are fun and melodic. This really is a pretty great album.
Final verdict: Explore it (while reading a moody, gothic book - but no vampires, please)
Saturday, May 01, 2010
Album Review: My Dying Bride - For Lies I Sire
My Dying Bride: For Lies I Sire
Year: 2009
Click here for the artist's site
Music can have a powerful effect on the mood and the psyche. There are some songs that, no matter what is happening, if I hear them my mood improves. There are other songs that evoke less positive emotions, leading to a powerful catharsis.
And then there is My Dying Bride.
For Lies I Sire carries on a long tradition of amazing albums from this seminal British doom metal band. But this is not the place to look if you want music that will pick you up. This album also carries on their tradition of lyrics that are soul-crushingly bleak.
Year: 2009
Click here for the artist's site
Music can have a powerful effect on the mood and the psyche. There are some songs that, no matter what is happening, if I hear them my mood improves. There are other songs that evoke less positive emotions, leading to a powerful catharsis.
And then there is My Dying Bride.
For Lies I Sire carries on a long tradition of amazing albums from this seminal British doom metal band. But this is not the place to look if you want music that will pick you up. This album also carries on their tradition of lyrics that are soul-crushingly bleak.
Sunday, April 04, 2010
Dream Theater: Black Clouds & Silver Linings
Dream Theater: Black Clouds & Silver Linings
Year: 2009
Click here for the artist's site
Ah Dream Theater. Where to begin with this band.
Despite being a Rush fan for years, and being somewhat acquainted with the whole genre of "prog rock", I hadn't really delved into the somewhat heavier realm of "prog metal". That was, until I heard "Pull Me Under" by Dream Theater. Released in 1992, Images and Words quite frankly blew me away. Thus began my long love of progressive metal.
Yet I cannot say that Dream Theater has been a constant throughout these past 18 years.
Year: 2009
Click here for the artist's site
Ah Dream Theater. Where to begin with this band.
Despite being a Rush fan for years, and being somewhat acquainted with the whole genre of "prog rock", I hadn't really delved into the somewhat heavier realm of "prog metal". That was, until I heard "Pull Me Under" by Dream Theater. Released in 1992, Images and Words quite frankly blew me away. Thus began my long love of progressive metal.
Yet I cannot say that Dream Theater has been a constant throughout these past 18 years.
Friday, April 02, 2010
Fear Factory: Mechanize
Fear Factory: Mechanize
Year: 2010
Click here for the artist's site
Right off, let's just ignore the entire Fear Factory argument of the past year. I has been well documented elsewhere, so there is no need to do so here. Here is a quick rundown of who is out and who is in:
Vocals: Burton Bell sill IN (despite stating he no longer wanted to make this kind of music)
Guitars: Christian Olde Wolbers OUT (initially bass player, switched to guitar when Dino left after Digimortal), Dino Cazeras back IN
Bass: Byron Stroud still IN (took over bass after Wolbers moved to guitar)
Drums: Raymond Herrara OUT, Gene Hoglan IN
The first question someone familiar with the past work will ask is: How does this compare to Demanufacture? I will answer that question, in time.
Year: 2010
Click here for the artist's site
Right off, let's just ignore the entire Fear Factory argument of the past year. I has been well documented elsewhere, so there is no need to do so here. Here is a quick rundown of who is out and who is in:
Vocals: Burton Bell sill IN (despite stating he no longer wanted to make this kind of music)
Guitars: Christian Olde Wolbers OUT (initially bass player, switched to guitar when Dino left after Digimortal), Dino Cazeras back IN
Bass: Byron Stroud still IN (took over bass after Wolbers moved to guitar)
Drums: Raymond Herrara OUT, Gene Hoglan IN
The first question someone familiar with the past work will ask is: How does this compare to Demanufacture? I will answer that question, in time.
Wednesday, March 24, 2010
Guilt Machine: On This Perfect Day
Guilt Machine: On This Perfect DayYear 2009
Arjen Lucassen doesn't even know what "rest on your laurels" means. Always the innovator, Arjen has done it again with Guilt Machine.
Taking a break from his Ayreon project (hopefully not permanently) and having left Stream of Passion, Arjen embarked on a new pursuit this year. Setting aside the science fiction storyline of Ayreon, Guilt Machine is a project that allows Arjen to look within, exploring the themes of guilt, regret and their potentially destructive power.
Guilt Machine differs from Ayreon on other levels as well. Rather than assembling a large cast of vocalists and musicians, Arjen gathered just three other people: Jasper Steverlinck on vocals, Lori Linstruth on lead guitar, and Chris Maitland on drums. With such a change from the formula that has worked so well for many years, this begs the question: How are the results?
Magnificent.
On This Perfect Day is wonderful. The music is, overall, much more relaxed. Many of the songs take 3-4 minutes or more until they really climax. Yet when they do it is an experience. Retaining his powerful, driving guitar sound, Arjen does a perfect job propelling the songs forward at just the perfect moments, as well as giving them space to explore. Chris Maitland carries the music on his powerful rhythm work. Lori's guitar work retains its unique, lyrical quality, making it a pleasure to listen to. Finally, new-comer (to me) Jasper's voice has just the right mix of melancholy, plaintive pleading, brightness, and subtle power.
While this album initially didn't jump out and grab me, after repeat listens I found myself drawn back to listen, again, and again, and again. The lyrics are unapologetically bleak, but presented in such a way that you have to pay close attention to realize just how depressing this album it. This adds a wonderful depth to the record. This is one of those records I can say, without hesitation, I really love.
Verdict: 4.5/5
Yes, I am cheating with the half point. I don't know if I could call it an absolute essential, but it is just such a joy to listen to that a 4 just doesn't cut it.
Taking a break from his Ayreon project (hopefully not permanently) and having left Stream of Passion, Arjen embarked on a new pursuit this year. Setting aside the science fiction storyline of Ayreon, Guilt Machine is a project that allows Arjen to look within, exploring the themes of guilt, regret and their potentially destructive power.
Guilt Machine differs from Ayreon on other levels as well. Rather than assembling a large cast of vocalists and musicians, Arjen gathered just three other people: Jasper Steverlinck on vocals, Lori Linstruth on lead guitar, and Chris Maitland on drums. With such a change from the formula that has worked so well for many years, this begs the question: How are the results?
Magnificent.
On This Perfect Day is wonderful. The music is, overall, much more relaxed. Many of the songs take 3-4 minutes or more until they really climax. Yet when they do it is an experience. Retaining his powerful, driving guitar sound, Arjen does a perfect job propelling the songs forward at just the perfect moments, as well as giving them space to explore. Chris Maitland carries the music on his powerful rhythm work. Lori's guitar work retains its unique, lyrical quality, making it a pleasure to listen to. Finally, new-comer (to me) Jasper's voice has just the right mix of melancholy, plaintive pleading, brightness, and subtle power.
While this album initially didn't jump out and grab me, after repeat listens I found myself drawn back to listen, again, and again, and again. The lyrics are unapologetically bleak, but presented in such a way that you have to pay close attention to realize just how depressing this album it. This adds a wonderful depth to the record. This is one of those records I can say, without hesitation, I really love.
Verdict: 4.5/5
Yes, I am cheating with the half point. I don't know if I could call it an absolute essential, but it is just such a joy to listen to that a 4 just doesn't cut it.
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