Maybeshewill: Not for Want of Trying

Maybeshewill: Not for Want of Trying

Year: 2007

Click here for the artist's site

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Maybeshewill is a band that I was introduced to only a few weeks ago, through a recommendation of my last.fm software. The thirty-second clip it gave me was very reminiscent of the impeccable post-industrial band 65daysofstatic (even the name - words run together - seemed to suggest serious ties). So after a bit of searching, I was able to get my hands on a copy of their debut LP, Not for Want of Trying.

Now, before I go any further (and in case my words of praise in the first paragraph weren't enough), I should admit that I quite enjoy 65dos' music - I find it dense, layered, complex, inventive, and original. Consequently, I figured that a group with a similar style would be worth my time.

The problem lies, however, in the fact that Maybeshewill doesn't sound similar to 65daysofstatic. The newer band sounds derivative.

The difference between the two is huge.

It's one thing to be influenced by and incorporate elements from an artist or group that you admire, taking their ideas and adding them to your own, making something new. It's another thing entirely to completely rip off the sound of a well-established and respected post-music outfit.

Regrettably, that's all Not for Want of Trying is - a poorly done rehash of 65dos' style, sound, and vibe. Everything is a copy - from the overly-used piano sounds on the keyboard to the gaudy attempt at inventive drum programming to the bad male/female duet. It's all been done before and done amazingly better by the older band.

It doesn't even sound as though Maybeshewill is trying to bring anything new to the table. For example, their programming drumkit noises are the exact same sounds that 65dos uses. It's as though Maybeshewill carefully read the liner notes for the other group's last release and bought all of the same equipment and software, trying to recreate the successful sound - but without any of the heart, passion, or complexity.

It all feels forced; it all feels like a path that's been tread on my far better musicians. Yet at the same time, it feels simplified, watered-down and soulless. It's like the difference between playing 'The Entertainer' my Scott Joplin and the primer arrangement of the song for a second-year piano student. It's like hearing Beethoven's Fifth turned into a monochromatic ringtone for a 5-year-old mobile phone.

The whole thing disappoints me greatly. I was hoping for something that would set my teeth on edge and take my breath away like 65daysofstatic can; instead, all it earns is a resounding 'harrumph.'

Tracks to catch: 'Seraphim and Cherubim' is the closest this album comes to original, and is probably the best song on the record. 'Heartflusters', with its laughably ugly duet, is worth listening to if only to giggle. 'He Films the Clouds' tries - and turns out marginally okay.

Rating: 2/5

It would be unfairly harsh for me to give Not for Want of Trying 1/5, even though a part of me really wants to. If you like post-rock or post-industrial, and aren't familiar with the work of 65daysofstatic, go ahead and listen to these guys first. That way you won't hate it as much as I did. And then go pick up some of the masters of post-industrial and find out what you're missing.

An open message to Maybeshewill: next time, try writing your own music, instead of putting someone else's superior product through the crap filter and calling it yours. I'm sorry. I really wanted you to be good, but you're not.

Made Out of Babies: The Ruiner

Made Out of Babies, The Ruiner

Year: 2008

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When I first got my hands on Made Out of Babies' sophomore effort, Coward, I couldn't say enough good about it. I loved (and continue to love) that album. I still think it's one of the most frightening records I've ever heard. It's brutal, it's ugly, it's engaging, and it's scary. I can remember thinking to myself, There's no way they'll be able to top this with their next release.

I am pleased to announce that I was full of it.

MOoB's newest disc is an even more focused, driven aural assault than their last two albums were. It's got every bit of the hideous power that characterized their first two releases, while having a more streamlined approach, a better handle on what exactly they want to do with this disc. However, don't think this doesn't sound every bit as much like Made Out of Babies as their other two releases do - all of their signature sounds are there, from the growly detuned guitars to the aggressive drumming to the loud, prominent bass to the inimitable creepiness that is vocalist Julie Christmas' voice. If anything, the interplay between bandmembers seems more fluid, more natural; you can tell this is a group that has been playing together for a few years now, and it reflects in the way they play off one another.

It hits hard from the beginning, with syncopated guitar noises and Christmas' trademark disgusting growl, erupting into a brutal, devastating attack on everything you expect from a rock and roll band. This is an album that refuses to conform, even to the standards they created for their first two discs. It's got a more melodic focus, while still being every bit as unfriendly as before.

As per usual with a MOoB release, it's Christmas who reigns supreme in center stage for the bulk of The Ruiner. Her multiple vocal personalities all return to the mix, with even more interaction between her eerie singing voice and harsh, guttural grunts. She purposely veers off tune in parts, making it that much more disconcerting. She can still sing in that sweet, little girl voice, which disappears in the face of the tempest of her growl. She screams and she cries and she bellows and she absolutely captivates me while simultaneously scaring the crap out of me.

But the rest of the band is better than ever as well. They're pushing to more progressive territories, playing with complex time signatures and song structures, while still being more brutal than most supposed metal bands could ever dream of. And the production is much tighter this time around, making the album a more harrowing experience. It doesn't feel as muffled and sanitized; this is raw, this is unfriendly, this is not the sort of thing you play when your mother is in the car with you.

But I can't stress enough just how good this album is. And I really don't think it's because I set my hopes high and I'm simply justifying my love for this disc. I expected it to be less than its predecessor, not the terrifying progression into desolate, musical hells that we are treated to through this entire record.

Lyrically, it's much more focused and guided than their last two efforts. Most of the lyrics on Coward seemed almost like a tribute to Dadaism, with no sense to be had in any way, shape, or form. On the other hand, The Ruiner has a sense of direction, has a voice to be heard and a story to be told - adding to enhance the record as a whole.

Tracks to catch: Album-opener 'Cooker' is a blisteringly progressive and ugly starting note, setting the tone for the rest of the disc. 'Invisible Ink' sees Christmas singing some of her most melodic music to date, which serves to augment the creepiness that pervades the song. 'Bunny Boots' has some of the most scathing, hideous screams committed to CD, and the lyric 'Each time you say it louder and more boring' is only half right - it's plenty loud, but miles from boring. 'Peew' captures the essence of Coward's crown jewel, 'Gunt', and will haunt you long after the disc stops spinning.

Rating: 4/5

As scathing, as biting, as acerbic and fugly as this album is, I can't in good nature give it a perfect score, because it will scare most listeners away - but that's true of everything Made Out of Babies does. (Their name alone serves to scare away the majority of people, I imagine.) The best way I can describe MOoB's music is how singer Julie Christmas' mother described it - 'I really like it, but it makes me want to punch things'. Made Out of Babies is musical violence, flayed and put on display, gory and oozing. And did I mention The Ruiner is absolutely brilliant?

Sigur Rós: Með Suð í Eyrum Við Spilum Endalaust

Sigur Rós: Með Suð í Eyrum Við Spilum Endalaust

Year: 2008

Click here for the artist's site

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Sigur Rós is, to me at least, inexplicably popular. I don't really understand how a band that sings in either Icelandic or a made-up language and that composes as down-tempo and chill music as they do gets as large of a following as they do.

I've been a fan of theirs on and off since the first time I heard 2005's Takk, but it's only been in the past few months that I've really listened to them in earnest. They've got an undeniable style, but they can be very hit-and-miss with me. Some of their stuff I love with a passion, and I listen to over and over, whereas some of it only results in an echoing 'meh'.

That's certainly true of their newest album. (For sake of my typing sanity I'll refer to it through the rest of the review as 'Endalaust', because it's a word I can type with a normal English keyboard, unlike most of the words in the title.) It starts with a bang, offering what may be the most energetic, moving, and engaging song Sigur Rós has ever released; from its acoustic guitar to abnormal rhythm structure to its chorus of happy singers to its fast, unusual (for this band) beat, it's almost a perfect song. It makes the entire album start with a roar.

And that roar continues rather well through the first five tracks of the album, which are impeccably good. Still signature Sigur Rós style stuff, but with an energy and a vibrancy that they've never displayed. It seems the diametric opposite of my favorite disc of theirs, the oddly titled (). While the 2002's parenthetical release was dark, heavy, and slow, the first half of Endalaust is almost poppy and brings an immediate smile to my face.

Regrettably, they can't seem to sustain that new, vibrant sound through an entire album.

The second half of the record, from about the sixth track on, feels like an empty rehashing of earlier releases of theirs; it's devoid of anything new or groundbreaking, and is completely disappointing after the first half. It's as though they had enough music for an amazing EP that would take the band in an entirely new direction, but got scared of losing fans or something and crapped out some boring follow-up to make it an LP.

And that bothers me. By the time I reach the last track, almost all of the goodwill this album built up through the first few tracks is lost on maudlin repeats of their old sound. Thankfully, I can either just push play again and enjoy the first few songs, or I can just open up my music player and give the dark, moody () a listen again.

So that's what it comes to. I only really ever want to listen to the first half of this album. It starts so very, very strong, but loses steam far too quickly.

Tracks to catch: Pretty much the first five tracks. The opener, 'Gobbledigook', is by far the best song Sigur Rós has ever put out up to this point, and I can't help but grin when I hear it. 'Inní mér syngur vitleysingur' uses a lot of lound, brassy horns to make its presence known, and is a warm, fast song, full of life and energy. 'Festival' starts out slow in usual Sigur Rós style, but builds to an amazing close.

Rating: 3/5

I'd love to give this album more, and the first half would easily earn a 4 out of 5, but the second half almost bores me to tears by the time it's over, bringing the overall rating much lower than it would have been. If you're a fan of Sigur Rós, check this album out, and pay special attention to where I think the band might be going in those first couple of songs - it's exciting new territory. If you're not familiar with the band, go listen to () and cry for awhile, because it's that emotive. All in all, it's a pretty okay record from a pretty okay band. While I wish there were more meat to it, it's still a decent outing.

The Mars Volta: The Bedlam in Goliath

The Mars Volta: The Bedlam in Goliath
Year: 2008 Click here for the artist's site

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The Mars Volta seems like a band that you either get or you don't. There's not a lot of middle ground with a band as marginalized (and marginalizing), eclectic, and strange as they are.

That's not to say there's not a lot to like about them - there most certainly is. Their debut LP, De-Loused in the Comatorium, is one of my "Ten Best Albums of All Time" without a doubt. It's a frenetically paced record, full of jazzy riffs, soaring, high vocals, and aimlessly wonderful guitar solos. It was such a strikingly original album that it's hard not to fall in love with it. But with each subsequent release, they've become even more eclectic and hard to define, from the heavy Latin-music influences of Frances the Mute to the directionless mess of Amputechture.

Never ones to be content to tread worn ground, the newest record by The Mars Volta is their hardest to get into - but consequently, very rewarding. It combines the styles that have defined TMV up to this point - heavy progressive/drug rock, jazz stylings, Latin beats, and adds new influences, from the decidedly Eastern qualities of the new melodies to the inconsistent half-rhythms of Arabic music. Almost every moment of the disc is filled past capacity with notes, a pulsating romp through new musical territories that most artists only dream of achieving.

But at times it feels a little too overwhelming. It's definitely a step up from Amputechture (which, while still good, just disappointed me), but it's not quite up to Frances stature, much less touching the heights of their first album. Part of it may be the truncated songs - while I wouldn't call the long-winded musical wankery of TMV epic, it's thick and engaging when their tracks go for ten to fifteen minutes (never mind the forty minutes of "Cassandra Gemini"). The Bedlam in Goliath lacks any of those stand-out tracks, ones that demand your attention and respect. It's a solid, dense disc, but it's not got those shining moments.

Don't take that to mean that there isn't moments of absolute brilliance on this album - there are, and there are a lot of them. For once, TMV has decided to leap from the starting gates - whereas all other releases had a bit of buildup before erupting into musical chaos, Bedlam begins heavy, fast, and thick, keeping you off your toes with strange, almost impossible to follow rhythms, and guitarist Omar Rodriguez-Lopez's ever present weird melodies. Singer Cedric Bixler-Zavala seems to soar to new heights with his already disconcertingly high voice, and there's often 8 or 9 vocal tracks going in different directions all at once.

Lyrically, this album is an incomprehensible as any other Mars Volta release. It's based around the stories told by a strange ouija-type diviner board that the band owned at one time, dubbed "The Soothsayer", which supposedly haunted the band until its burial in an undisclosed location by Bixler-Zavala. It's full of strange, meaningless lyrics, permeated by a sense of chaos and misunderstanding, and supposedly haunted. You can't get much weirder than that.
Tracks to catch: "Aberinkula", the opener, has an infectious blend of melodies and rhythms that gets inside your head. It's in "Soothsayer" where the Eastern influences are the thickest and most rewarding. "Goliath" is really the strongest point on the album, a loud, bangy song, full of a classic, early TMV sound.
Rating: 3/5
The Bedlam in Goliath is a pretty great release from The Mars Volta, and well worth my time and listening. However, it's the exact last place to start listening to this band, being far too dense and esoteric to serve as a decent introduction. It's a wonderful addition and a natural (if unexpected) evolution of TMV's sound, but it's too much in a lot of places and in a lot of ways. If you want to check out The Mars Volta, start with De-Loused and, when you're feeling especially brave, give Bedlam a try.

Chevelle: Vena Sera

Chevelle: Vena Sera

Year: 2007

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Chevelle blew me away with their debut album, Point #1 back in 1999. It was urgent, raw, full of energy and passion. Over the course of the past few years, internal problems, mostly focused around youngest brother and bassist Joe Loeffler, took something of a toll on the band.

On their third release, This Type of Thinking (Could Do Us In), this internal turmoil resulted in a record that was too formulaic, lacked much real energy, and was quickly forgettable. With the addition of Dean Bernardini (brother-in-law to Sam and Pete, talk about keeping it in the family) as the official and full-time bassist, could Chevelle reinvigorate themselves?

Vena Sera, their latest release, answers that question with a positive, if not fully convincing, yeah, probably.

Vena Sera definitely rises above its predecessor, mostly on the strength of it variation. Whereas This Type of Thinking felt like the same song over and over and over again (with the exception of the final acoustic track "Bend the Bracket"), Vena Sera does seem to have a bit more going on. There are still plenty of mid-tempo, chugging rockers that Chevelle has become expert at. However, the are more acoustic guitars, a few more mellow tracks, and some up-tempo tracks.

This variation helps Vena Sera from feeling too stagnant. However, the band still hasn't captured the frantic energy that made Point #1 such a strong album. Likewise, missing is the utter confidence and polish that powered Wonder What's Next.

Musically, the mix is perfect. The bass is present, but not overpowering. The guitars have just enough edge to them to keep this from sounding anemic, without spilling over into the realm of true heavy metal. Pete Loeffler's vocals continue to walk the fine line between clear, melodic singing and guttural screams, with a bit more emphasis on the singing this record. As This Type of Thinking suffered from too much angst, the more present clean vocals strengthen the record. Lyrically, Chevelle continues to attempt to wax poetic, while generally just coming across as somewhat incomprehensible. But that is just what they do. At least it hasn't changed.

Tracks to catch: "Antisaint" has a great, angry chorus that just begs you to sing along. "Humanoid" is one of the darker songs, with some powerful guitars that help it build to a monstrous crescendo. "I Get It" is a pleasant change of pace, with its acoustic guitar based verses. "Midnight to Midnight" is a solid track as well, with an excellent bridge section.

Rating: 3/5

Vena Sera will be immediately familiar to fans of the band's previous work. The album immediately feels comfortable. This also hinders the record, as there is little new here to look forward to. The subtle variability certainly makes Vena Sera more interesting than the bands previous release. However, if you aren't already a fan, Vena Sera isn't going to do much to win you over.

Ayreon: 01011001

Ayreon: 01011001
Year: 2008
Click here for the artist's site

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Arjen Lucassen set the bar high back in 2004. No, not just high. He set the bar incredibly, astronomically high. The Human Equation is, in my opinion, the single finest rock opera and progressive rock/metal epic ever written. That powerful. Yes, I think it is better than The Wall, Tommy, Dark Side of the Moon or just about anything else you could bring up.

How in the world do you follow that up? Simple, you leave the world behind.

01011001 is the continuation of the massive sci-fi epic that Arjen has been crafting since the release of The Final Experiment back in 1995. The scope of the story is well beyond this article. It is sufficient to say that every Ayreon album has been a cog in the greater wheel of this masterful rock opera.

And as far as epic goes, there are none more epic than 01011001.

Again spanning two discs, weighing in at very nearly 2 hours, 01011001 tells the story of Forever and their attempts to rediscover emotions. One of Arjen's greatest strengths is his ability to synthesize disparate styles of music in his story telling. There are plenty of heavy, crashing, thunderous moments of metal guitar. These are carefully juxtaposed to quite moments of acoustic reflection and introspection. Progressive rock, electronic music, and pop sensibilities are all brilliantly melded together to create the most musically diverse album in the past years.

Arjen heads up the instrumentalists, providing the majority of the guitars, bass and keyboards. However help abounds, with keyboard solos from the likes of Joost van den Broek (After Forever), Tomas Bodin (The Flower Kings), and Derek Sherinian (Planet X, Platypus, Dream Theater). Lori Linstruth (Stream of Passion) and Michael Romeo (Symphony X) lend their talents on some fabulous guitar solos. Ed Warby continues to impress as one of the most powerful and versatile drummers in music today. Cello, violin, flutes and recorders round out the instrumentalists.

The other highlight of any Ayreon album is the guest vocalists. Arjen pulls out all the stops on 01011001. There are 17 vocalists, many of them huge names in the world of rock and metal. The list is extensive, but includes such luminaries as Tom Englund (Evergrey), Daniel Gildenlow (Pain of Salvation), Jonas Renske (Katatonia), Hansi Kursch (Blind Guardian, Demons and Wizards), Floor Jansen (After Forever), Ty Tabor (King's X), and Jorne Lande to name just a few. Each vocal performance is powerful, and for the first time in years we hear Jonas Renske's growl.

Tracks to catch: "Comatose" is a haunting, chilling minimalist tune that highlights the emotional loss of Forever. "Connect the Dots" is a biting satire of our reliance on technology. "The Fifth Extinction" is an explosive start to the second disc. "Liquid Eternity" explores the blessing and damnation Forever have discovered in their mechanical form. "The Sixth Extinction" finishes the second disc off and is one of the most powerful, progressive epics I have ever heard.

Rating: 4/5

I would love to give 01011001 5/5. However, as I strive to reserve that rating for albums that truly are essentials, I can't give 01011001 the full score. The only reason, though, is because the previous album, The Human Equation, is so brilliant and demands a perfect score. Don't let that detract from the power and brilliance of 01011001, though. This is a magnificent album, and sure to be one of the best albums of the year. Arjen again proves that he has the Midas touch. Fans of metal, folk, acoustic, pop, prog and even electronica can all find something to enjoy on this album. Lyrically, the story is coherent, cohesive, and powerful. Again, Arjen demonstrates that he is perhaps one of the most brilliant minds in progressive music. I recommend 01011001 without reservation to music fans everywhere.

Rush: Snakes and Arrows

Rush: Snakes and Arrows

Year: 2007

Click here for the artist's site

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Five years have passed since the last real studio album from Rush. 2004's Feedback was an entertaining foray into the realm of cover songs, but it never got a lot of play for me. After all, these weren't Rush songs. They were fun, but didn't feel right. The boys from the Great White North appeased fans in the meantime with first Rush in Rio on both CD and DVD (yes, I have both). This release really set a high water mark that all concert DVDs should aspire to. Next came R30, a DVD worth it alone if for nothing other than seeing Jerry Stiller headbanging whenever you want. Finally, they released Replay x3, a reissue of three older Rush concert shows on DVD.

But none of these really sated our hunger for some new Rush songs.

When they announced last year that they were entering the studio, well, the excitement began to build. Finally, after many months and loads of teases from the band, on May 1st, Snakes and Arrows was released.

And what we have is, quite honestly, a joy to experience.

Eschewing the trends set by some of their peers, Rush has once again set the bar incredibly high for rock music. Snakes and Arrows is a complex album, full of shifting musical direction, changing time signatures, and musical dichotomies. But more importantly, it is a thoughtful, introspective, emotional and stirring album.

The album kicks off with "Far Cry", a rousing track that starts things off in fantastic fashion. Electric and acoustic guitars in a stuttering start/stop fashion that sounds distinctly Rush ramp the energy up. It is a great opening track, and one of Rush's best singles in years. From there, the album never looks back.

Musically, Snakes and Arrows is one of Rush's most diverse albums ever. Written almost entirely on acoustic guitars, their presence permeates the songs, adding a sense of depth to the tracks. This also provides for some truly beautiful melodies and acoustic passages. However, don't let that fool you to thinking this is Rush growing old. Snakes counters this with some of the heaviest passages in years as well. This is a more polished heaviness than 2002's Vapor Trails, though. Whereas VT was much more pure energy and aggression, S&A is a more balanced, metered style.

On the surface, the lyrics on Snakes and Arrows appear to be some of the more dark, depressing lyrics Neil has penned in years, easily since Grace Under Pressure. What elevates each song is a hint of hope. A careful review demonstrates a constant theme of endurance despite all challenges. In "Far Cry" Neil pens "One day I feel I’m on top of the world/And the next it’s falling in on me/I can get back on/I can get back on". "We Hold On" finishes the album with the anthemic chorus "Keep going on until dawn/How many times must another line be drawn/We could be down and gone/But we hold on". Distinctly political and social on context, but still remaining deeply personal, Neil has penned perhaps his most poignant lyrics of his career.

Finally, I must mention the three, yes three, instrumentals on the album. Rush has long been known for their instrumentals, from such classics as "La Villa Strangiato" and "YYZ" to more recent offerings such as "Limbo". Never before, though, have they packed three on one album. The first, "The Main Monkey Business" is a romping, energetic tune that is classic Rush. Sudden interplay between acoustic and electric guitars, varying styles and time signatures, this is an instant classic, and their strongest instrumental since "YYZ". Next is "Hope", a 2 minute breath of fresh air on Alex Lifeson's 12 string acoustic guitar. It is a beautiful piece, with just a hint of come Celtic and even Middle Eastern melodies thrown in. Finally, the most spontaneous of the three, "Malignant Narcissism" is a rollicking romp, full of jazz inspired beats and rhythms, rapid fire solos from drums and bass and just an overwhelming sound of three long time friends who happen to be extremely talented musicians just having a good time.

Rating: 5/5

Snakes and Arrows is a marvelous album. It has a wonderful depth to it, that begs repeat listens. It tackles real, difficult political and social issues with grace, never coming across as preaching or pedantic, rather reflective and introspective. It has every element that makes a Rush album such a pleasure, great lyrics, stunning music, and a subtle sense of humor that is so refreshing. The production, handled by Nick Raskulinecz, is flawless. Every instrument has its place and is crystal clear. The artwork, once again handled by Hugh Syme, is beautiful. This is, without doubt, Rush's strongest album since Moving Pictures, and album I often refer to as a perfect album. In some ways, Snakes and Arrows even gives Moving Pictures a run for its money. Without reservation I give Snakes and Arrows a perfect score.