Monday, September 12, 2011

Dream Theater - A Dramatic Turn of Events [2011]

After the departure of Mike Portnoy, even the most obsequious Dream Theater fans had doubts concerning the band’s future. Although I couldn’t have cared less after snoozefest records like Systematic Chaos and Black Clouds and Silver Linings, many thought they simply couldn’t go on without their fellated drummer. Personally, however, I thought any change might aid this ailing group treading on way past their prime. With the reveal of the new album’s cheap, thoughtless cover and its ridiculously immature title, Dream Theater came back with new material faster than many expected. Unfortunately, while people were concerned with new drummer Mike Mangini, they should have been worried about the value of the songs themselves.

A Dramatic Turn of Events doesn’t divert from the typical Dream Theater formula in the slightest. They still have stupidly overlong songs, reaching the 10-12 minute range often (yet with no contents ingenious enough to justify any tracks over six). They still have their down-tuned, mysteriously familiar “progressive” riffing. James Labrie still holds his nasally, overtly powerless voice, which many imitators have far surpassed years ago. The direction here is like a hybrid of Dream Theater’s early 90’s records and Octavarium, though the results live up to neither camps. Besides the abominable Falling into Infinity and the aforementioned (and sadly underrated) Octavarium, A Dramatic Turn… is their lightest and most commercial recording yet. Even in their daunting length, the tracks carry a rather conventional verse-chorus structure for the most part, with big, radio-friendly choruses everywhere you look. John Petrucci manages some competent solos, but my eyes were glazing over all the while.

At the end of the day, A Dramatic Turn of Events falls safely into the inoffensive median of all Dream Theater albums. There are a few things to like; the organic production and the classic sound of Rodess’s keys are pretty nice, and tracks like opener “On the Backs of Angels” and short ballad “Far from Heaven” recall the band’s finer moments, but they aren’t quite enough to save the album from DT’s typical penchant for boredom-inducing longevity. In conclusion, while Dream Theater’s latest may please some longtime fans willing to hear the same-old song and dance again, it simply won’t reconvert those of us who just don’t care anymore.

   Overall: 5.75/10 (Mediocre)

Anubis Gate - Anubis Gate [2011]

There is no better band than Anubis Gate. Hell, I’d be tempted to say there has never been a better band than Anubis Gate. Album after album and year after year, this Danish progressive power metal act has surpassed all, utterly destroying more well-renowned groups like Dream Theater or Symphony X while never becoming too showy or self-indulgent in the process. Albums such as Andromeda Unchained and especially The Detached have come full circle, creating worlds within their extra terrestrial soundscapes with impeccable originality and an out of this world sound; however, even I, possibly the biggest Anubis Gate fan ever (to which I will admit proudly), had some panicked doubts when the enormously talented Jacob Hansen stepped down as the vocalist. Wasting no time, the band still delivered this new record right on schedule. Does it live up its name?

Well, as you’ve probably already guessed, it does just that and then some. The simply self-titled Anubis Gate grabs your attention with its mesmerizing album artwork and keeps it with the astounding hour of music beyond. The title seems to fit the motif here, this being the band’s first without a concept since A Perfect Forever. It could also serve as a convincing resume to Anubis Gate’s entire body of work, containing elements from each of the group’s eras. Some of the tracks call to the powerful riffing of Purification while others assume the spacey finesse of their more recent works. There’s something here for fans of each style, and truly, fans of any kind of non-extreme metal music will be left in wonder by this display of sheer perfection. When considering the amount of disparate ideas expressed by Anubis Gate’s fifth masterpiece, the shining musical victory here becomes that much more dumbfounding.

The performances are top notch as always, perhaps standing out even more now than ever. The department people will be concerned about the most is the vocals. Rest assured, they’re in safe hands; bassist and long time lyric writer Henrik Fevre flawlessly assumes the position, delivering an emotive performance well beyond that which I could have ever imagined. He has that distinctive Danish sound, finding the middle ground between previous singers Askholm and Hansen, higher pitched than the technically far superior to the former, but not far removed from the latter. Everything else about this album is a logical progression, and the vocals are no exception. They’re affluent with youth and vitality, lacking not in grandeur or intricate harmonies (though that tactic has been slightly toned down when compared to The Detached).

Kim Olesen delivers a typically wonderful showcase through two mediums, that of lead guitar and keyboards. The synthesizers and those little electronic effects are what really make the Anubis Gate sound what it is, and they’re here in the greatest abundance yet. Each nook and cranny is filled with these graceful, atmospheric keys, managing to add an essential component to the band’s otherworldly feel while not coming off as forced in doing so. Look to the intro of “World in a Dome” for a pyrotechnic example. Morten Sorensen’s drum playing is pristine also, putting on a jaw-dropping show particularly on “Telltale Eyes.” Of course, individual performances mean nothing if the songs themselves don’t measure up. Luckily, exceptional songwriting is the facet that takes Anubis Gate from great to brilliant. It should be noted that all primary members contribute material, saving this from the power-hungry monopoly seen all too often in other groups. This fact shows through in colorful shades of diversity.

“Hold Back Tomorrow” is the perfect opener, a well-structured piece that builds progressively through stages to its vocal sweetness. Mid-paced “The Re-formation Show” might be my favorite on the entire album just because its sprawling chorus is so damn catchy, surprising when you consider how abnormal and off-time that riff just beneath it is. Sometimes I find myself singing “it’s been a long, long time” out of nowhere because of this song. “Facing Dawn” is a kinetic maelstrom of melodic fireworks from start to finish. “World in a Dome” is the slowest to develop of all the tracks, but when all’s said and done, it’s still a nice eight minute stomper. This is where the album really takes off into the skies. “Desiderio Omnibus” arrives with unmistakable power and a chorus for the ages, creating the fastest and most energetic song on the release. This tune gives off a strong US power metal vibe, not to mention some similarities to Kamelot.

The biggest surprise comes in the form of “Oh My Precious Life,” a resounding, distorted frenzy complete with a hard rock riff gone progressive. The results stun. Another one for the highlight reel, “Golden Days” displays commercial effectiveness yet doesn’t lose an ounce of its genuine emotion. The synths and lyrics here are simply majestic. “Telltale Eyes” crushes with supreme heaviness at first, but unveils a sweeping synth web that catches the listener during its elegant and unforgettable chorus. “River” is a mostly instrumental number that serves simultaneously as a nice poem and intro for “Circumstanced,” the epic nine minute conclusion. The music and lyrics portray the subject matter, a past love not wanted, with poignant reality. All in all, it’s a very appropriate closer.

Now it’s official; in less than a decade, the Anubis Gate catalogue has officially become a dynasty. This band is on a death-defying streak of records that seriously challenges legends like Queen and Rush during their prime periods. I can only hope they last just as long and get a similarly heated following. It's admittedly not as reality-defying as its predecessors The Detached and Andromeda Unchained, the former of which I would view as an example of veritable perfection, but it still stands tall among the myriad genre pieces released today.  No other band in prog creates such well-crafted songs of sublime composition with a sound as unique and atmospheric as this. Sadly, this will be another occasion when the deserving are cast aside for the popular fading idols of yesteryear. I can only invite the enlightened to partake in this excellence.

   Overall: 9.25/10 (Outstanding - you're just a phantom in my soul)

Sunday, September 11, 2011

Ghost Brigade - Until Fear No Longer Defines Us [2011]

Ghost Brigade, if three albums can accurately indicate anything, never changes. They represent two opposing angles that I both love and hate about bands or albums. On one hand, you can almost always count on the band to deliver consistently with memorable, well-executed songs, but on the other, they might be too consistent in their use of similar tactics. This displays the same formula used in Guided by Fire and Isolation Songs: doomy, Katatonia-like songs with a never subtle dose of sludge, all well-forged in a smooth, clean sound replete with melody. If you haven't had enough of this formula, Until Fear No Longer Defines Us is well worth a listen.

The album coasts along with Ikonen's soothing mix of solemn cleans and melodic growls, though the pace can get pretty slow. "In the Woods" is surprisingly light for an opener, almost coming off as an intro with it's subtle, snowbound chords. "Clawmaster" is certainly a highlight, building up slowly to its orgasmic chorus. There are also some surprisingly catchy numbers like "Traces of Liberty" and "Divine Act of Lunacy," overcoming the band's explicit gloom with traces of hope. "Grain" is emotional through and through, with evocative lyrics to boot. My ultimate favorite, however, is "Cult of Decay" with that beautiful rhythm that haunts for all the duration. When the refrain comes, fewer things could feel much better.

Though Until Fear No Longer Defines Us never quite lives up to the beauty of its title or serene cover art, its highs are still exquisite. Some of longer tracks (like "Breakwater" or "Soulcarvers") feel a bit stretched, and Ghost Brigade never really aspires to innovation, but for fans of atmospheric sludge/doom, this still manages to be a worthy trek through the tried and true.

   Overall: 7.25/10 (Good)