Sunday, August 21, 2011

Nevermore - The Obsidian Conspiracy [2010]

Nevermore has never been a consistent band, but their career highlights are extraordinary. With puzzling releases such as The Politics of Ecstasy and Enemies of Reality coming after better outings like the self-titled album and Dead Heart in a Dead World respectively, it should have been expected that Nevermore would follow their best album (the astounding This Godless Endeavor) with their worst; and yet I remained in denial through the five year break, through the solo excursions, through the shaky interviews, and through initial listens to some of the album's tracks. Yep, it shouldn't have been a surprise that The Obsidian Conspiracy sucked, but it was, and it was a bitter one at that.

The songs here are shorter, more simplistic, and more accessible than ever before. That might not be a problem if most of them were actually good. Gone are the lethal thrash riffs, the raw production, the cynical yet evocative vocal performance, and the crushing energy. They've all been replaced by a soft, apathetic feeling fraught with extremely modern trappings and incompatible song parts. Seriously, the verses and choruses don't even fit together half the time (see "The Declaration Proclamation"), passing off mechanical structures with hollow spirits as album centerpieces. Others are unacceptably repetitive and annoying ("Your Poison Throne"), while a couple show promise but botch it with bad decision making at some point within ("Without Morals" and "She Comes in Colors"). Few tracks are flat out offensive (I'd have to site the empty title track in particular), but most are forgettable and mediocre enough to kill any enjoyment I could possibly get out of them.

The performances of the two head honchos here are sub-par at best. It's obvious that a mutiny was imminent from the sheer lack of care on display throughout each and every track. Jeff Lommis's excellent soloing is mysteriously absent, instead dwelling on braindead, whiny leads. It's frustrating to hear talent restrained, and I'm sure he was frustrated as well. At the forefront of this issue is Warrel Dane, who evidently doesn't care, selling out his signature emotive snarls for an uninspired clean approach. Even the lyrics, which were one of the band's best aspects, are watered down and awful, coming across not as the political hate machine Warrel once was, but as an old man struggling with dementia. It's like he's trying to continue his style from his (admittedly satisfying) solo album on a Nevermore record. I shouldn't have to tell you that it doesn't work.

I can only guess that the entire purpose of The Obsidian Conspiracy was to make Nevermore marketable to the masses, a move that resulted in an album that only vaguely resembled the band in the first place. No wonder Jeff Loomis left; what we have here is basically Soilwork, Warrel Dane's solo material, and a pinch of old Nevermore put together in one questionable concoction. The Obsidian Conspiracy is an entre that tastes decent at first, but assaults your digestive system and pains you on its way out. Finally, it ends up in the toilet where it belongs. Now we can only hope that it stays there.

   Overall: 4.25/10 (Poor - This is why I hate you)

Wednesday, August 17, 2011

Anubis Gate - The Detached [2009]

There are few better things in this world to experience than The Detached. It's an album so flaw-free and beyond belief that I actually find difficulty describing it, a reality not helped by it sounding like nothing else on this earth. For sixty-five minutes, there is only music; sublime music that will outlive this life and all others, creating a gateway to another time and space only accessible through its cosmic flow, breathtaking story, and sweeping melodies. In all the genre's years of existence, prog of any kind has never surpassed it, and it will be difficult for anyone beyond the band itself to expand upon this lucid euphoria. Anubis Gate alone wears the crown, and this is the jewel on it that shines the brightest.

The music here is so far out of this world, it makes ours seem brutish and dated in comparison. The atmosphere is everything, and Anubis Gate has shifted from apocalyptic themes to that of space. The production engrosses the listener with all the jet stream leads, dark rhythms, and high-register vocal shooting stars one would expect from the prestigious Anubis Gate, launching them beyond all known life into the crystal clear sky. Which is to say, it sounds really freaking good. Every corner, every instrument, and every electronic effect used to enhance the sound comes off in a vibrant, crystal clear manner. Such a digital recording often conveys a false sense of plasticity, but that couldn't be further from the truth; this sounds huge, brilliant, and futuristic.

The Detached is conceptual genius, but the full glory of the tale cannot be felt without the physical copy's booklet, something I discovered long after listening to it. The lyrics, although bright and often wonderful, cannot express all the details of this film-worthy story, one that I wouldn't want to spoil for you. Where the album's mark is most felt, of course, is in the songwriting, which is absolutely unparalleled. The verse to chorus relationship always feels just right, and the placement of samples and effects could not be better to produce its spacy environment. There are concise tracks and there are lengthy epics, and both manage to hold your mesmerised attention for their respective durations. Instrumental sections from the band's previous albums have been fine-tuned and made even longer than before. Let's just say I'm not complaining. This is a group of virtuosos unequaled in their skill to write simple but compelling music, never showing overwhelming technical prowess, but also never needing to, either.

There are too many brilliant songs to recount here, and their placement is divine. "Yiri" certainly stands as one of the best, with a wonder-provoking verse leading to its heavenly chorus. "Pyramids" transmits images of its title straight into your mind with its rolling Egyptian rhythms. "Dodecahedron" succeeds in spades, casting poetic imagery through the stratosphere, complete with a crafty intro. "Out of Time" is an elegant ballad that boasts some of the most emotional lyrics on the record. At the end, all instruments fade away, leaving an A Capella chorus that's nothing short of mindblowing. The little interlude "Ammonia Snow" must also get a mention, crafting a nice atmospheric piece that reprises some parts of the jubilant "Find a Way (Or Make One)" from earlier on the album. The Detached concludes with its best track, however. "A Lifetime to Share" bears an unbelievable chorus that must be heard to be believed, seemingly wrapping up the story... and yet that necessary feeling of wonder lingers still.

Anubis Gate cannot be confined with lines. They don't perfectly fit into any genre or description, instead bearing an otherworldly vibe dissimilar to any other band even colloquially within the progressive metal district. The Detached is perfection that could not have been created in our world, truly one of the best albums of all time. Own it or be worthless; your choice.

   Overall: 10/10 (Beyond Absolute)

Tuesday, August 16, 2011

Anubis Gate - Andromeda Unchained [2007]

One of the (many) things about Anubis Gate that always continues to impress me is how each of their albums changes so much from the one before it, yet every last one of them ends up better than its predecessor (a trend I'm almost certain will come to an end this year). They don't play it safe. This is a band that has continually ascended the sky, broken the barriers, and taken bits and pieces from past momentous occasions and implemented them straight into future endeavors. It's downright dumbfounding what this group has done in less than a decade since their conception. Andromeda Unchained is just another chapter in a saga without missteps of any kind, an unlikely success considering the change of vocalist and style, and an essential listen for anyone who values melodic music.

With Askholm's departure from the band, the vocal duties here are taken by the magnificent Jacob Hansen, who you might remember as the vocalist/guitarist from cult thrash band Invocator, or know of as the best producer in the industry. Yes, I said it. No one else makes music sound as clear or lively, while adding his own little touches to the material in the process. He pretty much always associates himself with amazing acts, as well (see Mercenary or Eumeria). He also did both the Anubis Gate albums before this one, making the ultimate secret weapon, and they utilized him at just the right time. Luckily, his vocal performance is just as good as the mixing job. His high-register vocals have been overly described as "angelic," but there really isn't a more appropriate word to convey his joyously vibrant voice. His parts are often multi-layered, making even simple choruses sound godly.

There always seems to be a theme to Anubis Gate's sound, and though it's a bit more ambiguous in Andromeda Unchained, there's definitely a foreboding sense beneath all the crystal clear melodies. Apocalypse hangs in every note, a sense of profound urgency rarely seen in the prog/power genre. That would make sense considering that this a concept album concerning the very subject. No, it's not the conceptual masterpiece that is The Detached, but the lyrics are interesting (and enigmatic) enough to keep your mind reeling. Musically, this album is a big departure from Purification and A Perfect Forever. The songs are generally shorter (though not always) and faster than anything on those records, abandoning the slightly doom-tinged guitar riffs of its predecessors. This was probably a change made to go with Hansen's voice, and it helps all elements of the record in copious volumes. That doesn't mean, however, that Anubis Gate has regressed to simple-minded music; there's still an underlying prog mentality that shows through abundantly at just the right times.

This album thrives in catchy songcraft. The newfound energetic power of the band is shown right off the bat in "Snowbound," a piece that grazes you at first with a speedy rhythm, but eventually opens up into a progressive showcase of all encompassing passages. "Waking Hour" is a more of a straightshooter, with one of those classic, highly melodic Anubis Gate choruses. The title track slows things down and comes up with a heavy, attention-capturing verse, which leads to yet another inspiring refrain. In a world where albums are frontloaded to contain the bulk of quality in their first halves, Andromeda Unchained only gets better as it goes. Arguably the strongest segment of this masterpiece begins here. "Beyond Redemption" is unbelievably inspiring all the way through, optimism living through its upbeat choruses and wonderful instrumental passages. "Resurrection Time" follows suit with a bouncy verse, but explodes into a cascading chorus hinting at more than just a little sadness.

Next comes the cerebral "This White Storm Through My Mind," which is much more complex than it at first appears. This song contains the most enveloping instrumental parts on the record, filling up an entire five minutes without vocals and managing to keep you attention while doing it. It's a storm of climactic intensity. "The Final Overture" is deceptively lighter, but with a chorus that really evokes the inevitable end to come. "Take Me Home" is a poignant piece that doesn't fall into a typical power ballad's folly, using Henrik Fevre's guest vocals to portray emotional despair. Without skipping a beat, Anubis Gate head right back into power territory with the fun "Point of No Concern." Finally, ten minute conclusion "The End of Millennium Road" is appropriately epic and wraps the whole hour+ affair up nicely. The song really shows how much the band had grown since A Perfect Forever, crafting a much better lengthy track than that album had.

Among the tracks are a couple of rather pointless interludes, but much like the ones in Kamelot, they're brief enough not to maim the album of any of its worth. Andromeda Unchained is a truly complete album in every respect. I've been listening to it consistently for almost two years, and my opinion of it only grows over time. It has that staying power so few other albums have these days. How good it is almost makes it unfathomable that it isn't their best. I don't want to get into a whole underrated/overrated spiel here, but seriously; a dime a dozen prog bands do the same thing time after time to great accolades, while Anubis Gate perfects and transcends the genre to almost no avail or notice. I don't just give away my highest marks and recommendations, you know; this is the most consistent band I've ever heard and my favorite group playing music today. And you can quote me on that.

   Overall: 9.75/10 (Incredible - time has come to enter)

Anubis Gate - A Perfect Forever [2005]

With Purification, Anubis Gate was born, but with A Perfect Forever we see the band utilize more ideas and aim a little higher, resulting in a crucial evolutionary stage in the band's history. This is still not the crystalline power prog behemoth they would become, but the spectacular display of delights brought to the table in this far-reaching release remains staggering. The result is a record that, while not being a significant departure, still feels as if it were crafted by the same band that would make The Detached four years later; and I couldn't say that for Purification.

The guitar tone on A Perfect Forever is their thickest ever, which helps when they create pulse-pounding rhythms. Of course, Anubis Gate has never really been about the sheer riff content. Their sublime quality lies within the atmosphere, an integral aspect of each of the band's albums. The same is true of this one. Things are a bit "brighter" here than on the brooding and decidedly doomy Purification, but the emotional depth and volume of the piece has not suffered. If anything, A Perfect Forever is aided by it. This feeling is probably created by the subtle use of synths and electronic elements, an aspect of the group that would become the basis for their later masterworks. They find a compellingly organic middle ground between heaviness and airy melody, between straightforward songwriting and technicality, and between the dark and the light.

The songs are (predictably) spot on, condensing an eternal spring of artistic brilliance into 5-7 minute intervals. This album may contain the band's strongest one-two punch ever with "Sanctified" and "Kingdom Come." Within thirty seconds of the album's beginning, the listener is greeted with one of the most beauteous riffs the world has ever known, a melodic spiral replete with optimism and energy. At this point in "Sanctified" it should be clear that something special is in store for us. "Kingdom Come" is the most accessible piece here, and the shortest of the actual songs. That excellent (and almost AOR-carved) chorus is reminiscent of Pagan's Mind's recent effort, Heavenly Ecstasy; even Askholm almost sounds like a lower-pitched Nils K. Rue here. It's a simple track that excels on its few fronts. Some more notable moments on the record's first half include the strong Egyptian influence of "Future Without Past" and Henrik Fevre's higher-register vocals on the verses of "Curfew."

My favorite song from the latter half of A Perfect Forever is "Epitome of Delusion," a lighter track that builds into one of the catchiest damn choruses I've ever heard. Add that to the fact that the song contains what is probably Askholm's best performance, and this becomes another huge winner. The album concludes with the title track, a 12 minute escapade that's no where near as challenging as you'd think. The structure is basically one composition surgically inserted into another; the first part does its thing, then the second, and after a long instrumental break, the refrain from the first part is played again to remind you that it's really just one song. It doesn't feel quite like an epic should, and the first part is surprisingly weak, but the refrain of the second phase of the piece is so good that it makes the song worth sitting through. The lyrics evoke true importance through each and every word.

"In the safety of our homes
A perfect forever
In the closeness of dear ones
A perfect forever
Somewhere in the future
A perfect forever
Our proudest structures fall
Nothing stands forever
But I’d like to be proven wrong"

In case you still haven't gotten the memo, Anubis Gate is here to stay, crafting visions you could otherwise only experience in your wildest dreams. It could be argued exactly what style of music the band has played during its two eras, but the only important and ever-apparent detail is that it has always been intelligent and moving. Their entire discography is one you can't afford to miss, and last time I checked, A Perfect Forever is a part of their discography, so what are you waiting for?

   Overall: 9/10 (Outstanding)

Saturday, August 13, 2011

Anubis Gate - Purification [2004]

Purification is where my favorite band began, so therefore it must take some sentimentality in my heart. For the unfortunate souls who don't know, Anubis Gate is yet another visionary outfit to come from the glorious musical country of Denmark. First of all, Mercyful Fate and King Diamond redefined traditional heavy metal with their flawless masterpieces of the eighties; then Artillery perfected thrash metal with By Inheritance; and lastly, Anubis Gate arrived on scene ready to show the world how progressive/power metal should be done. The band has yet to release an album of below extraordinary quality, and their debut shows that they were born to be a metal force.

The band's output can be divided into two distinct eras: the first two albums (Purification and A Perfect Forever), fronted by distinctive Torben Askholm, which held a slightly doomy flavor in their slower, epic pieces; and every release since then, which held a decidedly more progressive, upbeat power metal vibe featuring high range vocals. While I'll always prefer the band's later releases, the first two outings stand on their own as a duo of brilliant releases. So if you stumbled upon Anubis Gate's newer material and didn't appreciate it for whatever inconceivable reason, don't shy away from trying Purification or A Perfect Forever. On the other hand, those who enjoyed Andromeda Unchained or The Detached shouldn't hesitate to give this a chance, either. I was in the same boat a short time ago. Then I listened to the music and... just wow.

Purification is much more focused on deep-carved riffing than any of its distant successors, lacking the spacey environment of the band's latest works. Fear not, however; this has its own thing going, with not only the expected traces of Egyptian influence, but also some epic, dark emotional flares. These are mostly created through the band's haunting instrumental passages, but I have to praise Askholm for his charismatic vocal display. Sometimes his accented, mid-range voice is just hard to listen to simply because of the pathos he evokes. Sometimes the phrasing or the way he ends his notes sounds a little off, but I honestly think that adds to the authenticity of the performance. I don't believe he matches the crystalline bliss of later vocalists Jacob Hansen (the producer on this release - you'll be hearing a lot about him soon) or Henrik Fevre (the bassist here), but the man gives it his all and you can't help but be taken in.

The album features mostly standard song structures, but there are enough subtle intricacies here and twists and turns to keep the mind perplexed enough to beg more listens. They never fail to be memorable, either. There are only seven fully developed tracks here with vocals, with three being somewhat brief instrumentals. That does not, however, mean that those three segments become wasted space. "Hall of Two Truths" is a nice buildup that readies you for the intensity to come. "Before Anubis" mesmerises, breathing desolation in every note and fascinating for the stunning (and all too short) three minutes. "Kingdom of Duat" becomes a nice little sendoff, even if it does seem the least necessary piece on the album.

Highlights among the full-fledged songs can be found nearly everywhere, but if I had to choose only the very best, I'd have to go with the otherworldly title track and "The Shadow." The former is one of the most successful platforms for escapism I've ever encountered. It's the kind of environment you'd love to lose yourself in, isolated among its optimistic momentum and the astoundingly brilliant chorus. It's really one of my favorite tracks, not just by this band, but by any ever created. The latter doesn't fail to move me, as well; it's the lightest piece on Purification, yet its power is unmistakable. Just listen to the last somber two minutes or so, when Askholm passionately lets loose his tortured lines: "your darkness in me, my shadow in you." It's that kind of special euphony that always startles me. If I've ever had a pang of longing to feel that sensation, it lies right here.

In 2004, when their life as a band had just begun, Anubis Gate had already made their way into the special elite core who could craft powerful, yet still thought-provoking music. If you have any weakness for any of the doom, power, or progressive metal genres, then Purification should be among your collection right along with the band's other opuses. If there are any weaknesses to this album, they are only created by the unfair truth that its later successors are so gorgeous, they make Purification seem faintly inadequate in comparison. Those who miss this because of that unfortunate distinction would still be making a sad mistake; and considering that this is the easiest (and most cost effective) of Anubis Gate's albums to get, there's practically no risk. Have fun.
  
   Overall: 8.75/10 (Great - my shadow in you)

Wednesday, August 10, 2011

Omnium Gatherum - New World Shadows [2011]

New World Shadows is one of the most popular metal albums this year, which is somewhat strange considering that the band has back catalogue of similar albums and this isn't exactly doing anything to invigorate the genre of melodic death metal. However, I can really see why people are taking to it so much, as Omnium Gatherum mostly delivers top notch material with this release. It's a super polished experience, but its scope is wide and it has the all-encompassing nature to surpass the "keyboredom" that the genre too often succumbs to. There are lots of keyboards and commercial-sounding melodies, but these usually serve to make the songs a bit more memorable. Nothing on New World Shadows is extraordinary, but with how well-executed the album is, it may be worth seeking out.

That being said, opener "Everfields" is rather brilliant. One of the two nine-minute pieces here, the song thrives mostly on a consuming atmosphere rather than the music itself, though that manages to be catchy as well. The followup "Ego" is more of a "radio" tune though; the chorus degenerates into silly, Bodomish fare. The title track is notable for the chanting clean vocal part at the end and cool keyboard usage. "Soul Journeys" has an entertaining main riff and some interesting mellow parts. "Nova Flame" seems to be a favorite among many, but I'm not sure about this one; it just lays low and never really grabs your attention. "An Infinite Mind" is spectacular on the other hand, with the most memorable chorus on the album, not to mention some of the best riffs. "Watcher of the Skies" is a great instrumental and "The Distance" is a decent track, but "Deep Cold" is an uneventful and anticlimatic closer.

Unfortunately, New World Shadows bears a thrill that wears off all too quickly. After three or four listens, the album becomes difficult to listen to entirely. The music itself is occasionally great, but lacks the staying power of the best releases in the genre. It isn't very original, but for fans of melodeath, it's worth a spin or two.

   Overall: 7/10 (Good)

Tuesday, August 9, 2011

Sabbat - Sabbatrinity [2011]

When I think Sabbat, I think about the excellent United Kingdom band that released two masterful thrash albums in the late 80's. However, it turns out that this Sabbat from Japan has been around even longer and has released a mountain of cult but well-received records in the last twenty years. I'm a little late to the party, I know, but not too late to enjoy this nice little gem. Sabbatrinity contains nine down and dirty, old-school (and I mean old-school) blackened thrash metal songs and one instrumental outro. No ballads, no screwing around, no progressive elements, not even a slightly modern production; just straightforward, archaic killing sprees in worship of the occult. It isn't the heaviest or catchiest genre offering I've ever heard, but Sabbat's latest effort presses all the right nostalgic buttons to put smiles on jaded thrash fans' faces everywhere.

Like I said, the sound quality is bad. Seriously bad, but in that charming classic way. If anything, that's the biggest problem with modern thrash: everything's so polished and clean now. I'd honestly rather listen to something that sounds like a demo from 1984. The music itself is what's important, of course, and it's exciting in great measure. The vocalist reminds me of a wilder, Japanese version of Ron Royce (of Coroner fame), except that sometimes he lets loose these high-pitched shriek growl things; you just have to get used to it. That's where the Coroner similarities end. There's no technicality in the Sabbat gameplan. They don't actually play too fast, either, which allows for more melodic parts to keep things memorable. Superb songs like "Witchflight" and "Karmagmassacre" never leave your memory, but my personal vote goes to "Root of Ultimate Evil" for having a chorus that I, for the life of me, cannot get out of my freaking head.

"Northern Satanism" doesn't really do anything for me, but the rest of the songs scorch for the modest running time (another great feature). My biggest problem with Sabbatrinity is that the guitar tone could be a bit grittier in the sound; otherwise, I love this old-sounding mixing. This is undoubtedly the best thrash album released so far this year. It has the sound (and the songwriting that fits so well with it) that bands like Havok and Artillery lack nowadays. Mix that with awesome cover art and an even cooler logo, and you have an icon-worthy group that's hovering far below the scene's radar. I'd say that they should be more popular, but I imagine that even Sabbat wouldn't want it that way. Well, enjoy 'em if you're lucky enough to know about 'em!

   Overall: 8.25/10 (Great - the curse is on)

Fleshgod Apocalypse - Agony [2011]

As many have noted, symphonic death metal is a serious thing now. Yeah, that happened. Septicflesh completely annihilated with The Great Mass this year, as you should already know, but that's not the only band radically orchestrating their music. Fleshgod Apocalypse have translated their technical brutal death metal into a full symphonic opera of rather epic proportions. Just about every second here is accompanied by orchestration of some kind, so if you're averse to that kind of stuff in your music, you might as well stop reading and forget about this one. I think the main thing people were wondering about Agony was whether it would suffer riff-wise because of all the extra keyboard baggage. I'm only slightly familiar with Fleshgod's past work, and the answer isn't so simple, though I can definitely tell you they've simplified (and muted) the guitar parts considerably.

The success of Agony varies somewhat track for track, but if asked me if it was a good album, I'd concede that yes, it generally is. The songs that work the best and are most memorable usually play out in about the same fashion (see "The Hypocrisy," "The Deceit," "The Violation," and "The Oppression"): first you have an extremely fast verse with simple riffs, and then the song slows down a little for the chorus when some of the most painfully sung, strained yet high-pitched vocals you've ever heard come in. They're a huge acquired taste, but those cleans are certainly my favorite thing about this release. Now, the songs that divert from this predictable but still entertaining route can be hit or miss. "The Imposition" and "The Betrayal" pass by with little notice, two songs that never distinguish themselves from the rest of the surgical onslaught.

When the band actually slows down long enough to show you they can write a great death metal song, however, they really stun. "The Forsaking" is a well spun tale of surprisingly delayed gratification, and features some of the best orchestral use on the album. "The Egoist" is my hands down favorite, a mystical ride of wonder with some memorable keys to spare. Of the super speedy ones, I favor "The Violation," which was the video song for a reason, really being the only track to actually add catchiness with the symphony. The closing title-track outro ain't too shabby either. Many fans will miss the jaw-dropping technicality of Oracles and loathe the full orchestra assault of Agony, but little of Fleshgod Apocalypse's methods or set-to-kill mentality has changed. Sometimes I find myself drifting away during the fast, over the top parts waiting for the relief of melody to finally come, but for what this band does, Agony is a minor success.

   Overall: 7/10 (Good)

Chthonic - Takasago Army [2011]

Chthonic's Mirror of Retribution was a highly praised release that I missed, so I was curious to hear this new album, Takasago Army. For those unfamiliar with the band, they play a style of melodic death/black metal somewhat comparable to old Dissection, but with added folk and oriental influences (and one huge difference to be described later). Sometimes the oriental parts work, sometimes they don't. When they don't, it's usually when they're clearly used as a gimmick to make the band seem different. However, I must give credit where credit is due, as they do sometimes add interesting parts to an otherwise samey experience. Opening instrumental "The Island" is admittedly beautiful, as is the interlude near the end; I just wish we had some better songs to go along with them.

That's Chthonic's most substantial difference from Dissected right there: songs that are actually memorable. Sure, you can throw as many chanting folk parts and great, heavy riffs as you want on a song, but they won't mean a damn thing if there's nothing to tie them all together. "Kaoru" is a perfect example; it starts off promisingly enough, but just drones on, forgetting where it began and losing all my interest in the process. "Takao," "Broken Jade," and "Mahakala" all disappoint in a similar way. I'd say there are only three songs actually worth hearing on this album. True opener "Legend of the Seediq" has an attention grabbing chorus, as does "Southern Cross," but "Oceanquake" is the clear winner with its atmospheric mastery. If the whole project had been like this song, it might have been a masterpiece.

The other tracks aren't necessarily bad, just entirely unremarkable. What's even worse is that all the best tracks come in the first half of the album, making it that much harder to listen to the whole album. This causes a painless 40 minute run time to drag for what feels like a lifetime. It's just another ailing factor to add onto all the other ones for this dull experience. I'm not sure if Chthonic has drastically changed since their last album, or if all the hype over Mirror of Retribution was merely false (as it often is). To be honest, however, nothing I heard from Takasago Army caused any eagerness in me to find out. I guess I just have to accept that this is yet another band which floats many people's boats while keeping mine safely motionless at port.

   Overall: 5.5/10 (Mediocre)

Monday, August 8, 2011

Lethal - Poison Seed [1996]

If there was one band that I surely thought would never turn into a groove abomination, it would have been progressive US power metal band Lethal. Programmed wasn't a first class album of the genre, but it was an enjoyable experience and a worthwhile addition nonetheless. I can only guess as to what happened between 1990 and 1996, but let me take a shot: the US power metal genre was pretty much dead, so no record company probably wanted to take chances there. The band must have then briefly turned to thrash, only to realize that genre was waning, too. The only logical move left to make was turning into another groove outfit typical in this time of musical downturn. In other words, by 1996, Lethal barely resembled the band playing six years before. All that would have been okay if Poison Seed was good. It's not.

If one thing has stayed just about same compared to Programmed, it's Tom Mallicoat's vocal performance, though even it has suffered in some ways. What once used to be a top notch Geoff Tate clone (which, yes, is a compliment) has turned to a rather weak, lower-pitched approah. It's not really that bad; I mean, at least he's not doing Anselmo impressions. Where the album really fails is in its putrid songwriting. I'm honestly not sure whether the groove oriented or the actual "progressive" tracks are worse, thanks to the band apparently forgetting how to write anything even somewhat memorable. Yes, there are songs that contain few to no groove influences, but they're no better than the songs that do. The most appalling of these is definitely the title track, a bewildering understated track with nothing melodic about it. Then you have the directionless "Walking Wounded" and "Bitter Taste," a painful song that delivers upon its title.

The guitar tone is pretty heavy, but in that tired 90's way that doesn't really benefit the music. It also doesn't help that there are zero decent riffs on this thing. A lot of the tracks are either quiet and weird or groovy and annoying; there's pretty much no in between, though I at least detect some catchiness in opener "Down" even though it's obtained through impure means. Otherwise, this is simply 48 minutes of poisonous pain. Seekers of some musical salvation from 1990's, I must advise you stay away. You're not going to find the end of your journey here.

   Overall: 3/10 (Bad - no direction)

Eumeria - Rebel Mind [2011]

Outworld was an impressive band/album that left its fans disappointed when the group announced its breakup. I could never quite get into the release as much as others did, but it showed some talent and musicianship virtually unrivaled in all of progressive or power metal. Luckily enough, it seems that two of the guys from Outworld have changed just about everything I found slightly off putting about that group and have released one of the finest debut albums in years. Eumeria relies less on the 100% kill mode mentality of Outworld, instead opting for a crystal-clear, atmospheric modern sound. No, there aren't eight minute songs, two minute solos, or dog whistle vocals at every turn, but Rebel Mind turns out all the better for it. I've never heard a band so down to Earth and marooned in mystic space at the same time. There's no particularly overwhelming technical proficiency here, but the overall feel is so captivating it really doesn't matter; this is simply nine songs and 45 minutes of polished musical bliss.

First of all, Jacob Hansen's production job here is magnificent. As a fan of just about everything he touches, this shouldn't come as a surprise. The man understands the necessity of space in music. Not every second has to be filled with a barrage of distorted riffs, vocals, or the like; sometimes the sound of a light, drifting rhythm with a dash of atmospheric keyboards is enough. And it sounds wonderful in the process. This has to contain some of the best separation between instruments/vocals I've ever heard. With a crystalline sound that has to be heard to be believed, Hansen rivals even his Anubis Gate production jobs (which is saying a lot).

The somewhat typical cover image reminded me of Fates Warning, a feeling not completely discarded by the music itself. However, what I found is that Eumeria aspires less to the US power metal giants of old (i.e. FW, Crimson Glory, Queensryche, etc.), instead coming off in a more modern progressive metal, Dream Theater approach. Normally this would not be a good thing. This band distinguishes itself in that it writes great songs. Yes, songwriting, that long unused tactic abandoned by most progressive outfits when they started incoherently stringing together 12+ minute "epics" connected merely by a track title. Rebel Mind instead consists of conservative song lengths and well-placed repeating parts. It shouldn't be a stunning revelation that the album is remarkably memorable.

Eumeria has only one guitarist, so only rhythms are heard from this instrument. The tone is rather heavy for what it is. The rhythms are supplemented with never too prominent keyboards, adding some depth to what may sound to you like an empty release. It's not, due in no small part to the majestic vocals of Jonny Tatum, whose angelic clean chords phase effortlessly into more aggressive, higher-pitched territory. The man plays it classy in not wailing the whole time (even though he probably could), sounding similar to an accentless Fabio Lione. He gives the songs the melodic punch they need. Oh, and the songs all have merits of their own, as well. "Legion" is the ideal opener, showing some guitar crunch and vocal acrobatics right away. "Delusions" might be the catchiest and most aggressive, displaying some surprisingly pissed off lyrics in the process. The stunning title track is quite a spectacle. The smooth verses highlight the epitome of the band's understated melody, yet the more forceful chorus shows some Symphony X implications.

"Father" and "Tides" head for subtler territory, the latter building up speed after it wades through some slower textures. "The Key" is more of a power showcase until the amazing refrain dreamily reminds of all things Danish. Two and a half minute interlude "Red Light Flies" is a brief yet stunning, emotional number with some haunting vocals and lyrics. "Dreaming of Death" progresses like a dark fantasy, with an eerie effect-enhanced vocal sequence postchorus. Finale "Secret Places" feels a little out of place here (huh); the chorus, although catchy, just feels too power metal influenced compared to the rest of the album. It doesn't hurt too badly, however, with plenty of parts left to savor.

Eumeria's Rebel Mind is likely to be the best US album this year, and the strongest all-around US album I've heard since The Black Halo and This Godless Endeavor were released in 2005. The band could probably use some more creative song titles (and a more creative logo), but this is perhaps just the beginning of what I hope to be a long legacy of future greatness. It's not quite as good as either of the aforementioned releases, but for being a debut from a country that rarely succeeds at making this kind of music anymore, Rebel Mind is a near anomalous achievement, putting Eumeria on the metal map as the band to watch.

   Overall: 9/10 (Outstanding - the light won't leave me be)

Thursday, August 4, 2011

Unexpect - Fables of the Sleepless Empire [2011]

No album in the avantgarde arena is causing more excitement this year than Unexpect's Fables of the Sleepless Empire; and for avid fans of the genre, this is very understandable. It's an erratic, swerving showcase that makes you wonder what will happen next, while still keeping a bit of melody to latch on to. The leads are all over the place, as are the insane vocals, creating some of the least accessible music I've listened to in recent memory. Unfortunately, even though the technical bombast is rather mesmerizing and beauteous, it is this very element that deprives the album of much of its memorability. It passes by like a hypersonic blur, and although that mirage may have seemed attractive, it's difficult to say with certainty what you actually just saw.

The band definitely wins points on the originality front, as there's just not a lot that sounds like this. I probably couldn't name one group off the top of my head. Based on sheer technicality, stripped down to its elements it may resemble a less sane Watchtower (yes, I said less sane). The sound itself feels much more modern and streamlined, with a squeaky clean production almost entirely free from crunch. The purpose here is not heaviness, I suppose: it's more like listening to an elegant circus of misfit players. Plenty of tunes display both the band's talent (and ADD): "Orange Vigilantes" is an eyebrow raising spectacle, and "Unfed Pendulum" is one of the most progressive. The vocals are a mixed bag, however. Female vocalist Leïlindel is pretty great, but there are way too many cheesy spoken parts for my taste. I wish those guys would shut up and let her sing. The lyrics being sung are complete nonsense. Don't bother trying to decode this enigmatic poetry.

Fables of the Sleepless Empire is... well, difficult. It's one of those albums where you keep thinking, "wow, these guys have a lot of talent," but don't realize that you never stopped to really enjoy it once it's over. It definitely has some tremendous skill going for it, but it's just not savory to my perplexed palate. As it gets further along, the songs start to run together as you struggle to catch up. The somber "Words" is probably the track I enjoyed most, simply because it was the most grounded. For fans of this dizzying breed of music, Unexpect's latest is obviously a must have. For those unfamiliar with their music and skeptics of avantgarde, skipping out on hearing this wouldn't be too fatal a move to make.
  
   Overall: 6.5/10 (Fair)

Wednesday, August 3, 2011

Pagan's Mind - Heavenly Ecstasy [2011]

Pagan's Mind has been one of my personal favorites for some time now. Their albums Celestial Entrance and Enigmatic: Calling still stand the test of time, two classics of progressive power metal that any fan of the genre should partake in if they've made the mistake of not doing so already. The following release God's Equation was a dissapointment, however, seeing the band grazing in groovier pastures. It wasn't really too bad in retrospect, to be honest, but I still hoped that Pagan's Mind would return to a realm more akin to their past. Well, they have and they haven't. Heavenly Ecstasy (notably the band's first album not to be clad in a blue cover) sounds and feels vastly different from their masterpieces of yesteryear. This is more of a verse-chorus romp of 80's influenced power metal, wrapped in the flawless atmospheric sound of modern times. Some progressive flourishes from their past still surface in varying quantities, but that side of their music seems to have been vastly extinguished in favor of uber-melodic leanings; and it works. It works so well, in fact, that the album is damn near flawless.

First on the agenda is the man behind most of this band's success: Nils K. Rue. Apart from Jacob Hansen and (the formerly brilliant) Roy Khan, no active vocalist in this expansive sector of music is even close to touching his pristine voice, which creates this sort of sinergized flow when complemented by the band's clean-cut leads. His high notes belt out pure power, but he also has the ability to subtly let himself take flight over the ethereal music below. He seems to have a natural ear for melody, smoothly and effortlessly singing his cheesy space lyrics. I mean that in an endearing way. Some of the effects-ridden screaming and growling from God's Equation still invade the otherwise shiny soundscapes, but when used in moderation as they are here, they're much more acceptable. Rue's overall performance is mesmerizing; absolutely top-shelf.

The music built around his voice ain't too shabby, either, which means to say that it's awesome. The sound has clearly been retooled to make it more accessible, which sounds like a bad move until you actually hear it. It seems that Pagan's Mind have taken an even greater amount of inspiration from their Norweigan neighbors, the almighty TNT, than ever before. The traditional structures and occasionally classic rockin' feel certainly contribute to this vibe, as does the very familiar opening riff to "Intermission." This is not to say that this is an entirely heaviness-free affair. "Into the Aftermath," "The Master's Voice," and the epic "Revelation to an End" all provide unmistakable power in great measure. Personally, though, I take the most solace in the wonderful dreamier tracks. "Never Walk Alone" is the most similar to Pagan's Mind's past on here, and a further testament to the band's ability to create elegant sound waves that resonate endlessly in our minds. These songs portray happiness itself, and not in the derogatory way often used to describe power metal, but in a pure emotional form. "Follow Your Way" is the absolute highlight for me, a keyboard-drenched wonder that never loses sight of the human element, with interesting twists and turns and a chorus for the ages only adding to its dreamwoven perfection.

If I have anything negative to say about Heavenly Ecstasy, it's that it may be too melodic, too accessible; but that really isn't that much of a problem in the grand scheme of things. This is a release that has met and exceeded my expectations. If you're a fan of this band that was lost due to God's Equation, then I highly recommend that you at least give this one a try. I still can't guaruntee that it will suit everyone's taste, given its simplified nature. As far as I'm concerned, it's among the best releases of the year, a release that truly lives up to its title. Now that they're on a fairly mainstream label, maybe they can gain a bigger following while keeping up their outstanding quality. Heres hoping.

  Overall: 8.5/10 (Great)

Portrait - Crimen Laesae Majestatis Divinae [2011]

Portrait is the latest retro craze in ballsy, old school metal, and their new (ridiculously titled) album Crimen Laesae Majestatis Divinae is a great showing as to why. What one realizes is that even the name is part of Portrait's retro persona; this is 80's power metal in its truest and most pretentious form (okay, so it falls short of Manowar in that regard). What I did not expect, however, is that the album doesn't flat out sound like a straight Mercyful Fate/King Diamond impersonation. Sure, the vocalist often sounds like a King dead ringer, and the band is quite liberal with using the Fate's distinctive riffs and leads, but there are enough little elements of classic US power metal, traditional (ala Iron Maiden or Jag Panzer), and progressive music to have the release feeling both fresh and nostalgic at the same time.

Since the band lost its first vocalist after the debut, they've found a suitably similar replacement in Per Karlsson. If any were worried that a change in pipes would be indicative of a decrease in quality, they really shouldn't; to my ears, at least, he's the superior singer. Not every falsetto and evil spoken part is perfectly on, but the guy gives it his all, and the outstanding choruses show it. The guitarists find a comfort zone using a somewhat involved string of rhythms and leads. I wouldn't call it a wall of sound per se, but there isn't a whole lot of space in there, either; but that's okay: the result is a near perfect emulation of 80's metal production. When you see the somewhat long song lengths, the first question you probably have is, are the songs memorable? The answer is a rousing "hell yes." It's almost surprising how swift the tracks seem to end considering this factor. An eight minute thumper like "Darkness Forever" will come and go without losing your interest. The refrains are apt to be trapped in your mind; just listen to mega-catchy numbers like "Beast of Fire" and "Bloodbath."

Of all the tracks here (just eight in 54 minutes), only "Infinite Descension," "The Nightcomers" and the atmospheric instrumental "The Wilderness Beyond" (see "To One Far Away") seem to be torn directly from the Mercyful Fate playbook. The rest aren't breaking new ground or presenting new ideas, but what Portrait does works. No need to be too critical about originality when that isn't the point of the band in the first place. Crimen Laesae Majestatis Divinae is never quite as glorious as Ghost's Opus Eponymous, but that's a different beast entirely. If you like the edgier side of retro Swedish things, such as In Solitude, then you shouldn't hesitate to check this album out.
  
   Overall: 8.25/10 (Great)