Wednesday, November 30, 2005
New staff at Progged
Saturday, November 26, 2005
An Evening with Trans-Siberian Orchestra
Grow my hair out (it would be very straight and blonde) give me a black, sleeve less shirt and toss a denim jacket on the top and I could head bang with the best metal-heads. And I have a soft spot for some of the more talented metal acts to make it through the dark and dreary guitar solo-less wilderness of the 90's. One of those bands I still enjoy is Savatage. From a pretty run of the mill metal band in the 80's, to evolve and become a rather progressive metal act in the 90's and beyond, Savatage kept my interest. Great guitar solos, layered, majestic vocals, and a penchant for the melodramatic, it seems logical that Paul O'Neil and Jon Oliva would create something like Trans-Siberian Orchestra. For the unfamiliar, Trans-Siberian Orchestra is an act that, on paper at least, probably shouldn't work. Take some of metal's most enduring instrumentalists, toss in a bunch of guest vocalists and choirs, then back them up with real orchestral instruments (woodwinds and strings most prominently), and have them play Christmas music and over-the-top rock opera stuff. Even I admit, it could be a hard sell.
Yet because of, and in spite of, all that, work it does. Melodramatic to the point of cheesy, with wild stylistic swings throughout, and no excuses offered at any point, Trans-Siberian Orchestra brought their annual show to the RBC Center in Raleigh, North Carolina Monday night, the 21st of November. By no means unfamiliar to their music, my wife and I were virgins of their live act. But we try to hit different types of Christmas concerts each year. Mannheim Steamroller was the big show back in 2003, last year we went for the more long-haired approach and made the main concert a fabulous concert of The Messiah to a packed house in the Duke Chapel. So this year we figured we needed something different. TSO fit that bill for sure. A nearly full house, the first thing we noticed were the obvious, enormous speaker towers hanging from the rafters. No question about it, this would be a loud show. The second thing we noticed was the crowd. The diversity was almost humorous. There are not too many shows where you will find sexagenarians sitting next to guys in Slayer shirts. But there was no shortage of such dichotomies at this show.
And what a show it was. Introduced by the local rock radio gang, the show started off nice an mellow. Gotta keep those old folks from arresting, right? A narrator, with a rich, deep bass voice started the story of TSO's first album, "Christmas Eve and Other Stories". The music kicked in, and with a punch. Chris Caffery and Alex Skolnick on guitars traded crunching, metal riffs and soaring, blistering fast solos throughout the show. Yet they did a marvelous job balancing the heavier, more metal music with the more traditional tunes. But make no mistake, most of the music was driven by thundering bass and powerful electric guitars. Many different vocalists left their mark, each with their own distinctive style, and each brought a different personality to their songs. However, the instrumental stuff was what really got me going. Chris, Alex and Dave Z on bass jumped around the stage, banging their heads, swinging their hair, and playing off each other's energy. And there was no shortage of energy, both from the performers and from the light show. Upon completion of the basically their entire first album, an intermission of sorts introduced the audience to all the members of the band, and gave some very entertaining and human interplay between Chris Caffery and the audience. I almost thought for a moment the show was over. But not ones to disappoint, the band then jumped into a second half that was more loud, more energetic, and more fun than the first.
Every member seemed to enjoy themselves thoroughly, which energy and enthusiasm spilled over to at least some in the crowd. Even the local folks in the string section were really getting into the music. The light show and pyrotechnics were stunning, with lasers, snow, and 25 foot colored flames adding to the whole experience. From start to finish, it was one of the most enjoyable and entertaining experiences of my life. However, to be honest, I must lodge one complaint. But not against the band. It is against the fans. Far too many in attendance seemed to forget that, first and foremost, this was a rock concert we were at. At the end of every rocking riff and blazing solo I lost count of the looks tossed my way as I screamed myself horse and jumped up, hands in the air. Others sat serenely, no excitement apparent as they watched two incredible guitarists trade off solos and monster riffs. I was truly embarrassed by the lack of crowd participation that is so common and integral to all rock concerts I have been to in the past. Nevertheless, there were enough of us who banged our heads and screamed our voices away to let the band know we appreciated them. And I am sure they are used to that mixed reaction, part and parcel of playing such varied music.
All in all, it was a magical, musical night. We left, more than slightly deaf and hoarse, our spirits lifted, renewed enthusiasm and excitement for Christmas filling us nicely. The performers gave their best effort, and you couldn't help but tell they were having a good time. There is no doubt, we will be looking forward to next year's tour. Anyone even remotely familiar with TSO or their music will be blown away by this show. As much as I enjoy listening to the CD's, the live show blows it out of the water. On a final note, I also appreciate that it is Christmas music they play. Not holiday music, but Christmas music, full of inspiring stories and no shortage of references to Christ and God. Some may balk at that, but I appreciate the refusal to succumb to the notion of 'pleasing everyone'.
Wednesday, October 26, 2005
Dredg: El Cielo
Some albums are positively disturbing. Perhaps it is the thematic content, perhaps it is the music itself. Or, in the case of 'El Cielo' by Dredg, some albums are disturbing because they are just too impossibly good. What may be even more disturbing is that this is only the band's second full-length album. I have my brother to thank for introducing me to Dredg. I had never heard of him until we were discussing some bands we really loved that the other may have not heard of. In the mood for something new to listen to, I saw their first album, 'Leitmotif' in the store and picked it up. I was instantly hooked. Then I picked up 'El Cielo'.
Taking after it's name, the Spanish word for 'the sky', this album exudes atmosphere from the first second to the last. Layers of ambient sounds both complement and collide with one another. Songs carefully flow into each other, often blurring to a degree where one ends and the next begins, though not nearly to the extent as on 'Leitmotif'. A concept album of sorts, the album's liner notes are filled with letters describing sleep-paralysis, a condition in which people awaken to find they cannot move, often accompanied with various and sundry hallucinations. The songs loosely address this subject as well as they meander from one to the next. And while I admit this is a very odd concept to base an album on, the songs pull it off, creating a mix of sleepy and urgent all at the same time.
Musically, Dredg has given up some of their edge found on 'Leitmotif'. However, on this album it simply works. Creating a smooth, atmospheric, almost floating feeling, the instruments all combine to carry the listener away. Balancing acoustic and electric guitars, with the occasional cello and Middle Eastern chanting, Dredg create an amazingly diverse and beautiful tapestry. The playing is nearly flawless. Not over bearing in a technical sense, yet certainly complex and fascinating to listen to, each member of the band carries their weight, without one ever becoming over the top. And Gavin's voice is best described as simply a pleasure to listen to.
Tracks to catch: The entire album really needs to be listened to in order to truly appreciate it. Yet there are some stand out tracks. "Convalescent" is both poppy, catchy yet cynical all at the same time. "Scissor Lock" is so beautiful it almost brings a tear to my eye. "Eighteen People Living in Harmony" is a brilliant song that combines just about everything that is good about Dredg into one four and a half minute work. Finally, the album climaxes with "The Canyon Behind Her", quite possibly the greatest song I have ever heard. Yes, it is simply that good.
Thursday, May 05, 2005
Fates Warning: FWX
For many years, Fates Warning was an enigma to me. I was sufficiently prog savvy to know the name, and had heard one rather pedestrian live track. But that really was the extent of it. Then, in 2002, things changed. I listened to 'Disconnected'. I was astounded. I was blown away. I needed more. And so I began to explore the back catalog of this amazing band. Then I explored some of the side projects. And I just listened to the music. And listened. 'Disconnected' became easily one of my most played albums. But something was missing. In the interim there was no news of a new Fates album. And I craved that excitement that comes from anticipating a new album from a favorite band.
Once the announcement was made that Fates Warning was in fact back in the studio and working on their 10th album the celebration could begin. The release of the first single "Simple Human" on their web page fueled that already bristling excitement and energy. It was a polarizing track though. Many fans found it too simple, to much like Ray's side project Engine. Others found it aggressive, gritty, and powerful. I fell into the latter category, and that low quality download was played time and time again. Upon release my hands literally trembled as I opened the CD and put it into the stereo. And I was greeted by a choir of crickets. Then entrance of the entrancing acoustic guitar was all it took. I was hooked. This was new Fates Warning.
'X' is a carefully measured album, both heavier than and not as heavy as its predecessor. Jim Matheos, the true mind behind Fates, proves that he is capable of writing music that both embraces and defies current trends in rock and metal. Some of the songs could very easily fit into the playlist of any modern metal radio station, while others would never make it. The album is very deceptive. On the surface it seems rather simple and accessible, but the rich depths of music that are present are only discovered after repeated and careful examination. The guitar is aggressive when it needs to be, careful at other times. A nice balance of electric and acoustic guitars complement many songs on 'X'. Joey Vera is solid on the bass, as he always is. And Mark Zonder turns in another subtly brilliant drum performance. But I cannot talk about Fates Warning without praising Ray Alder's talent. His voice on this album is excellent. Age has made his voice more rich and full, and that is apparent on this album. Easily one of my favorite vocalists, Ray's voice, coupled with Jim's powerful guitars really drive this album forward.
Tracks to catch: "Left Here" is heady, complex progressive metal tune that is sure to confuse some folks. But those with a penchant for something more than your standard song will find this a moving, powerful gem. "Simple Human" is a driving, gritty, aggressive song that begs for some head banging. "Crawl" is a deliciously cynical tune, one that I can't help but scream along with. "River Wide, Ocean Deep" utilizes Middle Eastern overtones to enhance an already potent song. "Heal Me" is quite possibly the most powerful song I have heard in years. Absolutely stunning.
Friday, April 29, 2005
Rush: Vapor Trails
After the 1996 release of 'Test for Echo' tragedy struck. Painful, personal losses in the life of drummer Neil Peart left the future of Rush uncertain. Alex Lifeson kept himself busy with some producing and his restaurant The Orbit Room. Geddy Lee released a solo album that helped to tide some of us over. And Neil rode his bike, trying to find some healing on the road. Faithful fans waited patiently for some bit of news, but for many years nothing was forthcoming.
Then the news hit and hit with an amazing power. Early 2001 and the band was back together and in the studio. The tension began to build. And it had plenty of time to build. It had 17 months to build in fact. And shortly before the release in May of 2002 the first single hit, and it was a sucker punch to the gut of anyone who brushed Rush off as no longer being relevant. "One Little Victory", with its thunderous double bass drumming, gritty, in-your-face riffs, and driving, dynamic bass kicks the album off and silences all doubters. Rush is back, and they aren't playing around.
From the frenetic energy of the first track to the thriving energy of the last, 'Vapor Trails' is quite possibly Rush's most energetic work to date. And with such an impressive catalog (now 18 studio albums, 5 live discs [the last two containing 3 discs each], and multiple compilations), that is really saying something. Recorded entirely without keyboards, the feel of this album is much grittier, much more aggressive, and much more organic. Rush has been criticized in the past of making music that is too cold, too calculated. And while 'Vapor Trails' has many of the Rush trademarks, such as odd time signatures, unexpected musical direction, and instrumental acrobatics sufficient to spin your head, they are toned down somewhat from past albums. But that doesn't take away from the power of the album at all. Musically 'Vapor Trails' is unrelenting. It is powerful, it is beautiful, it is haunting and it is heavy, all at the right time. Lyrically it is poetic and introspective. Hopeful, yet often cautiously so, Neil Peart deftly works much of his own journey into the words, and his healing is evident. 'Vapor Trails' admirably answers the call of its predecessor 'Test for Echo', and shows that there is plenty still ahead for Rush.
Tracks to catch: "One Little Victory" is just a great song. Heavy and melodic in equal parts, this one really gets the blood pumping. "Peaceable Kingdom" was originally to be an instrumental, but became the band's reaction to the events of 9/11. Some of Alex's best, most aggressive guitar work is found here. "Ghost Rider" is the autobiographical song of Neil's journey to healing on the road. "Secret Touch" is just about the most energetic, greatest 'jam' song these guys have ever written. "Earthshine" has a great groove, with a meaty guitar intro that is unforgettable. There really are no stinkers on this album.
Thursday, April 21, 2005
Ayreon: The Human Equation
Arjen Lucassen has built quite a reputation for himself in the realm of progressive rock/metal. Frequently called a genius by fans, the buildup on the net for the latest Ayreon release was nothing short of monumental. The release of names of some of the guest vocalists was stirring up quite a buzz, long before the album ever reached stores. And with good cause. As background for the unfamiliar, Ayreon is one of many musical projects headed by musical mastermind Arjen Anthony Lucassen. The music of Ayreon can often be categorized as rock opera, with many vocalists playing varied parts in the work. "The Human Equation" is no different, and in fact represents the most ambitious use of guest vocalists to date on any Ayreon project.
As with all Ayreon albums, truly appreciating the work includes comprehension of the story. Arjen carefully crafts an interesting, powerful story that is often poetic without becoming incomprehensible. Too often lyricists dress their stories up in confusing metaphors, but not here. This doesn't mean the story is simple though. Quite the opposite is true. "The Human Equation" takes place over two discs, nearly two hours of music, and 20 tracks, each representing a day. The album tells the story of a man in a coma and his struggle back to life. Told from two perspectives, cleverly woven lyrics and music take us from his bedside where his wife and best friend stand vigil, to the inside of his mind where his demons are haunting him. He must confront his emotions: Rage, Pride, Fear, Reason, Love, Passion, and Agony, all brilliantly sung by some of the most talented vocalists in the industry, in order to fight his way back to life. As he confronts these inner demons we discover what led to the coma in the first place, and some of the fears and trials that await him outside his own mind.
Musically, "The Human Equation" truly runs the gamut of styles. Everything from acoustic folk, hints of orchestral arrangements, spacey psychedelic prog, and powerful metal finds the appropriate place on the album to move the story forward. Most of the instruments are played by Arjen himself, but he wisely pulls in some truly talented musicians to flesh out the sound. As we have come to expect, Ed Warby does a masterful job on the drums, and guest instrumentalists bring their talent to the table on the keyboards, cello, violin and flutes. There really is something for just about everyone on this fine album. And while often clumped into the category of progressive rock/metal, Arjen tastefully refrains from the blatant displays of technical virtuosity that is often associated with the genre, while still displaying excellent musical ability.
Tracks to catch: 'Day Two: Isolation is our first real glimpse into where the album is going, and it displays not only the musical diversity of the album, but also showcases the voices of James LaBrie, Eric Clayton, Magnus Ekwall, and Irene Janssen in particular. 'Day Eight: School' explores some of the past trauma of the protagonist and is brilliant. 'Day Eleven: Love' is particularly moving and powerful. 'Day Twelve: Trauma' is a dark, disturbing journey that unleashes the full fury of Mikael Akerfeldt's brutal growl. 'Day Sixteen: Loser' confronts us with the psychotic figure of Father, sung by Mike Baker, as the final barrier to fully coming back to life. Finally, 'Day Twenty: Confrontation' powerfully resolves the epic album.