OSI: Free

Free Artist: OSI Year: 2006 The year 2003 saw the release of what has become one of InsideOut Music's top selling albums. What was it that made Office of Strategic Influence such a success? Of course, it is impossible to tell, but it is likely a multi-factorial effect. Dream Theater fans, who are often rabid and follow the members from side project to side project, picked it up to hear Mike Portnoy smack the skins. They also likely picked it up to hear more from ex-DT keyboardist Kevin Moore. And Fates Warning fans snagged it to get a fill of more of Jim Matheos' vicious chops. Add in bassist Sean Malone, and you have the formula for a veritable prog super group. So just what happens when you combine the rocking song writing of Jim Matheos with the ambient, spacey writing that Kevin Moore has been writing with Chroma Key for a few years now? You get a thing of beauty. You get OSI. And their most recent release, Free, is no different. Noticeable immediately from the start is that Free is a more relaxed and laid back record than its predecessor. Also apparent is the fact that only one song even cracks the 6 minute mark (as compared to the 10+ minute masterpiece "shutDOWN" from the first album, and 17+ minute "The Thing That Never Was", if you got the bonus disc). But don't let that fool you. This is very much a progressive record. Free focuses a lot on the keyboards and programming of Kevin Moore, but Jim Matheos is ever present. His heavy guitar riffs, while not as frequent on this disc, have an even harder edge. They have an energy, and urgency, and serious metal crunch to them that will make any rocker sit up and pay attention. Likewise, Matheos does his fair share of programming. As evidenced on Fates Warning's most recent release FWX, Jim Matheos has learned much from his collaborations with Kevin Moore. That history of collaborating also helps to make Free such a strong record. It is a magnificent symbiosis of metal and experimental electronica. Very few of the songs can be taken at face value, and multiple listens are required to really get a hold of each song. Even after so many listens, songs still pack surprise punches. The performances from each band member are fantastic. As mentioned, Matheos' guitar work is always excellent. Kevin Moore is ever present, and his vocal work, an almost painfully restrained monotone, is often in such stark contrast to the music that it serves to heighten the tension of the songs. Mike Portnoy continues to amaze with his adaptability, playing perfectly with just about whatever style of music. Finally, Joey Vera's presence on the heavier tunes adds extra strength and depth to the rhythm section. Tracks to catch: "Sure You Will" is a high octane electro-metal rocker that will get you our of your seat every time. "Free" is one of the few obvious heavy tunes on the album, but the multi-layered instrumentation sets this track apart. "Home Was Good" is a haunting, minimalistic tune. "Kicking" has a great groove. "Our Town" strips back all the electronics and leaves the listener with Moore's minimalistic vocals and Matheos' acoustic guitar. It is a beautiful way to end the album. Rating: 4/5 Free is a deceptive album. On the surface, it appears to be a rather accessible bit of music. However, it is just the opposite. A dense, meaty album with tons of substance, there is something to keep the listener coming back for more, time and again. Free is a masterful evolution of the sound of two fabulous musicians. It isn't an album for everyone, but those who delve its progressive depths are sure to find it a rewarding experience.

Evergrey: Monday Morning Apocalypse

Monday Morning Apocalypse Artist: Evergrey Year: 2006 Sweden's Evergrey has carved out quite a niche for themselves. I can think of no other band that really comes close to their brand of somewhat progressive, dark, and melancholic power metal. And with their previous five albums, they have built quite an expectation for their fans. Dark and brooding lyrics, excellent musicianship, powerful guitars, and distinctive, gravelly vocals have helped to make each album worth checking out. With a number of well-thought out and orchestrated concept albums now under their belts, what does the band have in store on their latest offering Monday Morning Apocalypse? Both less and more. Monday Morning Apocalypse sees Evergrey honing their trademark sound to a fine edge. Always impeccable musicians, their latest release focuses on a more intense, focused approach to the music. Some have already decried Monday Morning Apocalypse as a sell-out album, Evergrey's attempt to break into the mainstream. But rather than sell-out, this sort of talk sells the album short. Stripped from much of the pretension that is present on previous albums, this is a more open, more accessible, and more sincere Evergrey. But don't let that fool you. The thunderous guitars that make Evergrey so fun to listen to are all over the album. Pummeling riffs on such tracks as "The Curtain Fall" and "At Loss for Words" are carefully balanced with the balladry of tracks like "I Should" and "In Rememberance." Gone is the pomp of the concept album trying to tell a large, overarching story. Rather, we get an album of more self-contained songs. The lyrical work is undeniably dark and brooding, but that is what Evergrey does best. Likewise, lead singer Tom S. Englund's vocals continue to impress through understatement. He isn't going to hit any amazing, clarion clear high notes like John Arch, blow you away with his demonic growls like Mikael Akerfeldt, or wrap you in the warmth of his voice like Eric Clayton, but his gravelly baritone fits the mood of the music perfectly. In fact, that is what makes Monday Morning Apocalypse such a strong album: everything just fits together. The lyrics, the instrument work, the writing, all come together to create Evergrey's most focused effort to date. Tracks to Catch: "The Curtain Fall" has a some really killer, fast-paced guitar work. "At Loss for Words" balances the band's frantic aggression with its slower-paced style. "Monday Morning Apocalypse" is a powerful, in-your-face rocker that kicks the album off in a great way. "Till Dagmar" is a beautiful piano interlude. "Closure" is simply Tom Englund and a piano - an amazingly moving, open and vulnerable way to end the album. Rating: 4/5 Monday Morning Apocalypse is more than the sum of its parts. Less progressive than past releases in terms of concept and orchestration, yet more progressive if we really think about what that word means. This is Evergrey taking their sound and nudging it in a different direction. This is an album made by a band that is confident of its identity and is comfortable trying something that breaks its own mold, if even just a bit. Monday Morning Apocalypse gives us a peek at Evergrey at their most sincere, their most earnest, and their most focused.

Astral Doors: Astralism

Astralism Artist: Astral Doors Year: 2006 Although they have only been around since 2002, Astral Doors has a sound that belies their recent creation and hearkens back to the real roots of metal. Members of various bands at various times, a passion for solid, unpretentious heavy metal brought the band together and 2006 sees them releasing their third album: Astralism. From the very first bombastic chords, it is evident that Astralism is ready to rock. Driving, distorted guitars, pummeling drums, a Hammond organ, and a vocalist who sounds so similar to Dio (especially from his Sabbath and Rainbow days) it is almost eerie at times, all kick the album into high gear. And from there it doesn't look back. Astralism is an album for heavy metal purists. Dark, brooding lyrics dealing with the physical as well as the metaphysical fill the album. But rather than just revel in the darkness, the songs do have a lighter side, a sense of striving for a better world buried in the lyrics. This is very refreshing to hear, as it serves as an excellent balance. Every song is a balls-to-the-wall metal tune. There may be an occasional acoustic guitar here and there, but 99% is just begging for some head-banging. The music is hard and heavy, but with an emphasis on melody. The presence of the Hammond is especially effective in uniting the melodic elements throughout each song. Likewise, vocalist Patrick Johansson walks the fine line between wailing and singing, his gravelly voice giving a sense of urgency to the music. Tracks to catch: "Apocalypse Revealed" is the closest the album gets to a real epic track, and this one is a winner. Clocking in at near 8 minutes, it is an excellent closer to the album. "Israel" effectively adds a multitude of voices, adding an emotional quality to the slower, dirge-like track. "Tears From a Titan" slowly warms you up with a Hammond intro before the songs really kicks in. "EVP" is a fast paced, driving track that starts the whole show off nicely. Rating: 3/5 Astralism is a very strong release, and will surely appeal greatly to those who are fans of solid, powerful, classic heavy metal. The music is uncompromising, but nicely balances grit with melody. The Hammond is very prominent in most of the tracks, perhaps too prominent at times. Scaling the organ back and bringing the bass into the mix more would give the music just that much more power. Fans of heavy metal owe it to themselves to check out Astral Doors and their brand of classic/modern metal.

Grave Digger: 25 to Live

25 to Live Artist: Grave Digger Year: 2006 Heavy metal is not pretty. Anyone who tries to tell you otherwise is trying to sell you something - but it sure does rock. After 25 years of rocking, Grave Digger has finally released a live compilation worth celebrating, and they are dishing it up both on CD and DVD for us to enjoy. Formed in 1980, Grave Digger has been one of Germany's brightest stars in the metal arena for years now. Over the past few years, their releases have consistently garnered high praise, and 25 to Live is no different. Recorded in 2005 in Sao Paulo, Brazil, 25 to Live offers an excellent chronicle of the band's career, spanning their numerous albums. The show was a relatively simple one, allowing the audience to really focus on what they came for: kick-ass heavy metal, with no pretension. There are no elaborate light shows (though of course some changing colors and flashing now and then), no elaborate stage set-up: just five guys giving it their all to rock the crowd. And the crowd responded appreciatively. There is a reason that so many rock bands record live albums in Brazil: on every live release I have ever heard recorded in Brazil, the crowd is simply insane. The crowd coming to see Grave Digger that night was no different. They sang along to every word, and often even to the music when there were no words! They consistently chanted between just about every song. They went nuts every time lead singer Chris Boltendahl screamed "Obrigado!" The energy infused in the show is infectious, and I found myself pumping my fist in the air right along with them. The band is great as well. Monster guitar riffs, machine-gun staccato, lightning fast solos, thundering bass, and pummeling drum work prove that after 25 years, Grave Digger has plenty of life in them. They really seem to be enjoying themselves, evident in the interaction with each other and the crowd. The music is very tight, the playing excellent, and the energy from the band is absolutely great. The DVD manages to capture the band from many angles, with some shots right up on stage and others from farther away. There are a few cheesy "special effects" here and there, some added light halos and some slow motion, but they hardly distract from the music, and actually fit right in with the necessary willingness to suspend reality to enjoy this type of music. The extras are sparse, chronicling the band's journey and preparation from the concert. But, with such a fantastic, 27-song show, the concert is the real centerpiece of the package. Rating: 4/5 25 to Live is an excellent example of a great heavy metal release. The music is energetic, the crowds enthusiasm infectious, and the song selection is a very nice sample of the band's long career. 25 to Live is sure to please long time Grave Digger fans, and will also certainly earn the band some new fans who decide to check it out. This is true heavy metal, killer riffs and wailing vocals at their very best. It ain't pretty, but it sure does rock.

Deadsoul Tribe: The Dead Word

The Dead Word

By: Deadsoul Tribe

Year: 2005

Click here for the artists site

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The Deadsoul Tribe is another band that I would know nothing about if not for the impeccable album “The Human Equation” my Ayreon. Devon Graves (or Buddy Lackey, if you prefer) sang the part of Agony, his soothing voice belying the power therein.
But upon hearing his work with his current band, I was blown away by the (in many cases) simplicity of his music, but the raw power it held. These are albums full of crunchy guitar riffs, soothingly sung yet biting lyrics, effective use of soaring, gorgeous flute (in progressive metal, even!) and the omnipresent bass lines that would make my car shake.
Make no mistake about it: this is some powerful stuff. Graves is extremely talented, doing absolutely everything (including all guitar parts, keyboards, singing, bass, and yes, that flute) except for the drums, which are handily presented by Adel Mustafa. The whole album has an amazing sense of loss and retribution, with powerful ballads and roaring solos all over the top of Graves' soothing, ethereal, creepy voice. This is good stuff – I think “The Dead Word” is Deadsoul Tribe's best album, blending all the wonderful elements of their music into one great album.
Tracks to catch: A Flight On an Angel's Wing: The first song on the album (following the atmospheric prelude), we finally see Graves' angry chops – he sings hard and rough near the end of this track, putting aside his usually calm voice in lieu of something with a bit more force. Don't You Ever Hurt: Great solo at the beginning, starting off a rocking tune in a seven-beat meter – and that's not kid's stuff. Waiting In Line: This track is a powerhouse, one of my favorites, blending flute with scratchy guitars in a great duet. A Fistful of Bended Nails: Thumpy bass abounds in this piece, shaking my little Accent as I cruise down the road, and I do so love that feeling.

Final verdict: Adore it

This album is extremely well-made. As I stated earlier, I think it's Deadsoul Tribe's best work. Were we to reformulate the top ten of 2005, this would have been in the list. Production is great, the balance is perfect, and the tribal edge to the drums really add to the effectiveness of the album as a whole. This is quality metal. Nothing too new here, but plenty to give a Deadsoul fan a smile.

Lacuna Coil - Karmacode

Karmacode Artist: Lacuna Coil Year: 2006 Click here for the artist's site Before Evanescence made it cool to be a rock band with a female lead singer, Lacuna Coil had already polished the sound with five solid releases. Too few people knew of the band, but that would soon change. With intelligent and aggressive touring, a strong work ethic, and stellar musicianship and song-writing, 2004 saw them joining the big leagues of metal. The band was invited to join Ozzfest, and won over the concert goers with their own brand of haunting, ethereal music. Karmacode is the band's latest offering, and what an offering it is. From the very beginning, the album catches the listener. Thunderous bass, middle eastern melodies on the guitars and Cristina Scabbia's supernal voice set the stage for the experience. Certainly not a reinvention, Karmacode serves as a subtle evolution of the sound the band has been perfecting over the course of their career. The trademark dual voice work of Scabbia and Andrea Ferro really shines on the album. With interesting harmonies, multi-layered vocals, and well-done duet passages, there is an increased use of the vocals as additional instruments, and to great effect. The vocal lines are infectious and memorable, but also have significant depth to them, allowing the listener to easily hum along while still appreciating the subtle nuances found if you make the effort to listen. Instrumentally, the album rocks. Period. The bass is very prominent (perhaps a tad too prominent), and will shake your windows if you give the album the chance. The guitars are both fierce and tranquil, at all the right moments. The music is often brooding, fitting with the "gothic" label given the band. However, a closer listen reveals hidden moments of hope and levity that keep the album from ever feeling ponderous. And it is the subtle stylistic approach that keeps the album from ever feeling old. The band doesn't tread too much ground in terms of musical style, but what they do, they do very well. The more ballad-esque songs don't work quite as well as the rockers, as they feel a bit too restrained, but they are in the minority. Tracks to catch: "Fragile" is a monster of an opener, and kicks the record off right. This is one of my favorite tracks. "Our Truth", the first single, is also an imminently listenable tune that is sure to be a hit. "Without Fear" serves as an excellent, cathartic closer to the album (as it is the last song written by the band on the disc). Finally, "Enjoy the Silence" is a cover of a Depeche Mode song that sounds great with Cristina's vocals and the punch that Lacuna Coil brings to the track. Rating: 3/5 Karmacode doesn't break new ground, but it does take a few steps down the logical path the band has been blazing for years now. Lacuna Coil is a band that deserves more attention, and I am pleased to see them getting it (touring again with Ozzfest this year). Karmacode is a solid release, with fine musicianship, great song-writing, and subtle nuances that keep the album interesting from start to finish. If you are looking for a challenging listening experience, this isn't the album for you. However, if you want great, listenable and brooding metal, you can't go wrong with this latest offering from Lacuna Coil.

Queensryche: Operation: Mindcrime II

Operation: Mindcrime II By: Queenryche Year: 2006 Click here for the artist's site I have to be honest right from the beginning here. Operation: Mindcrime is one of the best concept albums written. Ever. Period. The music is powerful, the lyrics both interesting and politically poignant (both 18 years ago as well as today), the story well told. But for me, the clincher that lifts Mindcrime from the level of good to astoundingly great is just how strong the songs are. One of the largest perils of creating a concept album is loss of any single great song. For example, Fates Warning's absolutely brilliant A Pleasant Shade of Gray really needs to be listened to in its entirety to be appreciated. Dream Theater's Scenes From a Memory is the same. Both are amazing albums, but lack really great singles that can stand on their own. Not so with the original Mindcrime. Songs such as "Speak", "Eyes of a Stranger", "I Don't Believe in Love", and "Breaking the Silence" are just great songs that you can listen to any time. No need to go from start to finish. That ability to tell a coherent, cohesive story while still having a whole collection of amazing singles is very uncommon. Add to that the fact that Mindcrime still sounds fresh, energetic and important, and you have one fantastic album. So it shouldn't come as a surprise that when Mindcrime II was announced I was skeptical. With recent Queensrÿche records being disappointing, I didn't have very high hopes when I gave Mindcrime II its first listen. And after the first listen, to be honest, I didn't quite know what to think. Let's get the easy parts of this review out of the way first. Yes, this is the heaviest Queensrÿche has sounded in well over a decade. It is also the most energetic their music has sounded since the original Mindcrime. However, this reviewer truly thinks that calling Queensrÿche a "Metal" band is a mistake. They are still a respectable progressive rock band, but they haven't really sounded "metal" to me in many years. Okay, those points out of the way, just how does Operation: Mindcrime II stand up to the original? Well, it isn't as good, no doubt about it. But that doesn't make it a bad album. It really did take me numerous listens to really get a feel for Mindcrime II. This is one of the aspects in which it is inferior to the original. With the possible exception of one or two tracks, there just aren't really great singles on this album. And there certainly is nothing that comes close to the powerful "Eyes of a Stranger". However, I do believe that Mindcrime II is Queensrÿche's most progressive record to date, even surpassing (and there are likely many who will disagree with this next comment) their progressive masterpiece Promised Land. There is plenty of orchestration on this album, choral arrangements, rapid and often even jarring stylistic changes, and some really interesting musical passages. The prog geek in me really appreciates those aspects of the record, while I recognize that they will likely make it difficult for some people to like the album. Lyrically, I have always thought Queensrÿche was ahead of the game. They have successfully penned lyrics that challenge political and social ideologies, and have often done it without coming off too preachy. Mindcrime II again has strong lyrics (though certainly not perfect) that deal with the political and social climate of the times, while still working to tell the story. And what of the story? It takes place 18 years after the original, with the anti-hero Nikki being released from prison, attempting to put back together the pieces of his broken life. The story doesn't flow as well as the original, but it is still interesting. Musically the album is much better than other recent efforts from the band. The dual guitars are used much more effectively, with solos from both guitarists in many of the songs. Likewise the guitars are more prominent and powerful in the mix. On a few of the tracks the guitar sound doesn't quite work for me, but on others is really great. That inconsistency definitely takes some getting used to. The rhythm section is excellent on this album, with a full, rich bass sound and thick, heavy drums. And while time has taken its toll on Geoff Tate's inimitable voice, with a noticeably decreased range, it is very distinctive, powerful and evocative. He has long been one of my favorite vocalists, and he continues to be. The guest appearances on the record are also worth mention. Pamela Moore returns to fill her part as Mary, the whore-turned-nun that Nikki has loved for all these years. She makes numerous appearances (though deceased), most likely in Nikki's mind's eye. She is the voice of Mary, and it would sound so wrong with someone else. She does a fine job. Also, filling the role of the evil Dr. X is metal legend Ronnie James Dio. "Chase", on which both Geoff Tate and Dio sing is a lot of fun, with two of rock/metal's most recognizable voices giving and taking. However, their vocal styles are not sufficiently dissimilar, and it can be a bit difficult recognizing who is whom when they sing at the same time. Tracks to catch: "Freiheit Ouverture" is an interesting, atmospheric intro that works well to start off the album. "I'm American" does a great job of capturing the current American culture of individualistic consumerism. "Signs Say Go" is probably the albums best, bona-fide rocker. "Murderer" is the most interesting and eclectic track on the album, and really appeals to my progressive tastes. "Circles" hearkens back to "Electric Requiem" from the first album. "Intentional Confrontation" is another track that almost seems confused about what it wants to sound like, but pulls the apparently disparate styles together well. Rating: 3/5 Honestly this is a difficult album for me to rate. It is not a repeat, amazing album like the first. But it is a solid, well written and composed progressive rock album that demonstrates that Queensrÿche still has energy and some interesting ideas in them. Uneven at times, I likely forgive this due to my penchant for the original. Mindcrime II is a strong album, a vast improvement over anything from the band in a decade, and just a darn good rock album. While I might wish for more metal to be found, this is a most encouraging sing of life from a band I had almost buried, and certainly worth checking out. It won't appeal to everyone, and I am sure there will be fans of the first who hate it, but warts and all, Operation: Mindcrime II is both a return to form of sorts as well as a welcome evolution of one of my long-time favorite bands.