Thursday, January 31, 2013

Voivod - Angel Rat (1991)

French-Canadian band, Voivod, have been around for a while. This CD is probably one of their most mellow, their typical sound being a sort of technical thrash metal. Their music is complex and progressive, with dissonant chords and unexpected time signatures*, the vocals - on this album at least, are quite smooth.

I love the CD sleeve for this album - it's very old school, like those posters from the earlier years of the previous century - all ink and limited colour washes, with a swirling font reminiscent of old movie posters or carnival signs. It folds out into a semi-poster, with a photograph of the band. They're so young! Also there is  a very cool stylised crow in a tophat. The colour palette is limited to blue, purple and red, giving it a saturated and melancholic feel.

The CD opens with the staticky and disjointed "Shortwave Intro" which is reminscent of how we used to tune our radios, with little snippets of the ghosts along the airwaves. Then it rips into "Panorama". The song is erratic, with a cruisy chorus and rather strange lyrics:
"Somber drama, rolling down hill. Panorama, all is still. Anyway, anyhow; anyway, anyhow."
"Clouds in the House" is a somewhat more rhythmic number. Similarly jerky verses, smooth chorus and surreal, but poetic, lyrics.

The ocean beckons us into "The Prow" which is a pirate-esque style. From the cover, you're expecting it.

"Best Regards" is slightly rockier, but follows the same structure. It seems to be about waiting on the mail, for a letter to arrive. Ah, nostalgia. This reminds me of the days when I would wait on the mail. However, in this case it seems to concern a correspondent of a more personal nature.

Now we're into carnival theme - with "Twin Dummy" and reading the lyric sheet I now realise I've been hearing the words wrong all this time.
"The Circus left without me, and I'm alone with you now..."
I always thought it was "I'm in love with you now..." Hmmmm.

A somewhat cruisier number, "Angel Rat" is a haunting song which allows Snake better range with his vocals. He really has rather a nice voice - not very deep, but smooth and a little nutty. For some reason, the line: "Rat or Angel, does one really know?" really tickles my fancy, for some reason.

"Golem" is a slightly creepy little number - if you listen to the lyrics. It's another haunting and weird little song, with repeating vocals, erratic pacing and dissonant guitar chords.

We have a little harmonica in "The Outcast".

I like the chorus in "Nuage Fractal" which seems to have a slightly sci-fi-ish feel. I get the feeling that Voivod write their lyrics via stream of consciousness, because although they flow well and sound neat, they do not make a great deal of sense. I suppose that is poetry for you.

Starting off as more standard rock music, "Freedom". I suppose this is a ballad. It is very mellow and the music is melancholic and straightforward, instead of erratic and dissonant, although it does turn more typical-Voivod towards the end.

"None of the Above" concludes the album.

In summary - this is a somewhat more mainstream feel for Voivod - more rock than the thrash of their previous albums. It is somewhat soothing, despite the dissonant nature of the music. I enjoyed it as a whole, but I think the tracks are more effective individually, as they almost all feature a similar structure. It is quirky, and different, and I am pleased to see that the band are still releasing albums. I wonder what they sound like now?

My Rating = 7/10.

* From their wikipedia page. I don't actually know what a "time signature" is - but the music has a slightly jerky, discordant feel that is jarring yet not.

Wednesday, January 30, 2013

Unwoman - Knowledge Scars (2001)

Keeping it Californian, we now have Unwoman - the solo project of Erica Mulkey, who is vocalist and celloist, with electronic influences.

She has been branded as "steampunk" which is a strange genre designation by any means and I have no idea what it refers to. Her music is a strange infusion of electronic noise, vocals - sometimes distorted, cello and overall weirdness. I'm not sure quite what to make of it.

I did not buy this CD, it may have just appeared in my collection, but more likely my brother - he of the most eclectic and avantgarde tastes, passed it onto me. I'm not quite sure if it was because he thought I would like it or because he had two copies of it. I have to confess, I am not overly fond of it, although she does have a very lovely voice, the discordant, disjoined background noise (hard to call it music) does not spark anything in me except for plucking a little at my nerves.

Still, maybe it shall improve with a dissection. In practice, with CDs that I have listened to maybe once previously (like this one), I listen through them entirely before I begin on a track-by-track breakdown.

She really does have a lovely voice. Why oh why can't the music gain some sort of consistency?

Started again from the beginning and it's actually starting to grow on me.

Cover is not astonishing, but has a sort of melancholic air to the portrait. Maybe it's all the purple. Not sure about the steampunk definition - looks more cyberpunk to me - from the font to the format. The music adds an almost sci-fi edge to it.

The band name is taken from "A Handmaid's Tale" the Margaret Atwood dystopia novel (which I have not read) and which I think also reflects the lyrics and general theme.

"In Gilead" begins with something that I cannot quite understand - "the mind has forgot what a woman is meant to be?" It then moves into dreamy cello and drum machine, with crackling sounds like an old record, scratching its way into oblivion. Over this, wails Erica's fragile voice. She has some nice trills to it. Overall, it is dreamy and somewhat surreal. The lyrics are quite dark - defining a woman by her bits - debating
"you have reduced us to our fertility... A womb, a c**t, a dried-out shell..."
More drum machine and samples beckon us into "The Futurist's Nightmare". This does have something of a clockwork feel - a wind-up doll trapped in eternal motion. No lyrics printed, just short, sung lines. Her voice really is like glass, or maybe crystal, stabbing through the distorting electronic noises. The noise is not too loud, but very discordent, twisting and writhing like a cobweb of wires. 

I believe the next song, "Deeper Understanding" seems to be a cover of a Kate Bush song. As such, there are more lyrics, and we get to hear a little more of Erica's vocal talents. She really does have a nice voice, although it does seem kind of thin, and I cannot help but imagine her as this slender waif of a thing, entangled in a cradle ot cables. The music is pure electronic noise, somewhat subdued.


A short way into "Who Programmed My Desire?" I am beginning to wonder - is my CD skipping? Don't think so... Fairly repetitive rhythm. Vocals, but no definable lyrics (none printed either).

We have bongo-style drums and electric cello to begin "Knowledge Scars". It has an almost tribal feel - albeit a weird and futuristic tribal feel. Erica's voice seems to be gaining strength too, as she is given full rein over her own lyrics. So far, this is definitely my favourite song on this album. It seems to have a better definied structure. It even has a discernable chorus and concludes with a rather nice cello solo.

Strident string instruments and distortion mark the beginning to "Freedom from Religion?" Along with sampling. Erica's voice is gaining in strength with every song, as here the hint of venom tempers it. This is a not unpleasant anti-religion song:
"You can't legislate reverence. Our cultures are our own. There is no god for us. We can't believe what we know is false."
 Although the music is still discordant and flavoured with samples and synths and drum machine rhythms, interspersed with wailing vocals.

The beginning of "Sentiment (White Feathers)" is almost painful, and sounds like my speakers are about to explode. Then the drums come in and prove that the noise is intentional, and not a mechanical breakdown. The rhythm of this song is actually pretty good. It is another cover song. I think it may have once been a folk song. Nope, it's a social political song about how meat animals (pigs, cows) are treated. Rather a haunting one actually. Here's the original by Crass. This version is also haunting - but more in a "ghost in the machine" kind of way. I kinda like it. I think I might play it loudly. The rhythm is exceedingly catchy, and a little faster in this version.
The lyrics might make you want to turn vegetarian.

The electronic vibes do funny things to my head, kinda reverberating in my skull. I remember when everyone (except me) was in love with techno, and used to play it far too loudly in the Seventh Form Common Room at school. My locker was just outside the room, and it used to make me feel physically ill. This doesn't make me feel ill, but it does feel kinda weird.

We seem to have some sort of organ-kinda-noise in "Dispossessed".

"Lament for Peter Pan" is rather haunting, the music wailing like a lost spirit over the equally lonely vocals.

Discordance and skipping samples, echo the voices of souls lost in the electronic hell. "Subsistence" is oh-so very weird. I cannot explain it. It's almost like a machine calling for help. Is my CD skipping? If I turn it up louder, will my speakers explode? Are the spirits of cyberspace preparing to unleash themselves upon an unsuspecting world? According to the sleeve, the source material is from "Paresthesia" which  is the sensation of pins and needles. That is EXACTLY what this music replicates. Little prickling needles, electric sensation; prod-prod-prodding at your ears. Growing in volume, breaking, splintering.
It's actually pretty damned freaky.
And it's been going for over four minutes now.

Ringing synth vibrates and echoes into the eerie "You". Erica sounds lost, fractured from reality.

There are samples from "Labyrinth" in "When I Touch Myself".  It is a song about how love can make you weak and tear you away from yourself. It's almost poetry, and written by Dolores Haze - whomever she is.
"What I realised today was that in loving you I forgot to love myself. Then I was nothing and you lost interest. More importantly, I lost interest in myself."
True words, Ms Haze. True words.

"The Drowning Man" drowns you in its churning rhythms and engulfs you in its haunting vocals. The distorted samples are like great droplets, pounding the ears. The echoing, spectral music with its twisting, writhing rhythms and edge of desperation, push you down, suffocating. drowning you.
I think The Cure do it better, though.

More stuttering samples and discordances bring us into "Vacant Skies Revisited". The lyrics are pure morbid poetry, a song of fractured skies and tattered clouds.

This is a weird album, and one I would likely not have bought myself. It is something of an oddity in my collection. The discordancies, the strange samples, the electronic noise twist and writhe into my ears in a manner that is not exactly pain, but not pelasure either. It is tangled, and twisted and surreal and strange. Possibly if I listen to it more often, it might grow on me, or if I turn it up louder it might spark something in my synapses, and make me either ill or put me on an auditory high.

As it currently stands, however (and I'm sorry brother*), I'm going to have to rate it a 4/10. I guess I'm just too mainstream.

* If I recall, you did say "you may not like it" when you gave it to me?





Tuesday, January 29, 2013

Tempest - Turn of the Wheel (1996)

I stumbled upon this band in the metal section of the music store one day. Being a fan of the metal/folk fusion, I pounced on it. However, it's not metal, it's more just folk with a hint of progressive rock. No matter, because it is a great album, and I feel I should delve further into the folk genre.

Tempest are a Californian Celtic band. They've had a number of line-up changes, but the vocalist throughout is Lief Sorbye (he's Norwegian), who also plays the electric mandolin. Formed in 1988, they have released a number of albums and perform both traditional folk songs and original renderings based on folk tales both real and imagined. Other instruments include octave mandolas, flute, harmonica, bodhran, keyboards, violins and a pennywhistle.

The album jacket suits the music - the cover featuring a button or similar, in which 11 frowning faces encircle a dome.  Inside, the lyrics are laid out in a text with a distinctly medieval font that is, nonetheless, easy to read and interlaid with folkish lineart. The inspiration for each track is noted at the top, giving the listener opportunity to research it further, should they so desire. The lyrics are delightfully narrative and a pleasure to listen to.

The general musical style is jaunty folk, with the traditional intruments infused with keyboards and the electric mandolin. These modern instruments are used subtly, so that it never becomes over-poweringly progrock and make a unique and memmorable blend.

The album opens with "The Barrow Man", inspired by the Norwegian myth of the ancient man in the mound.

"Dunmore Lassies" is an instrumental folk dance, combining two reels from Ireland - "the Dunmore Lassies" and "Toss the Feathers". Get up and get dancing!

"The Soul Cages" tells a haunting tale about a merrow who entrances and entraps men and cages them under the sea.

Then it is into "Bogey's Bonnie Belle" which is a traditional Scottish ballad and with a neatly lilting rhythm. It tells the tale of a young man who takes up work for a farmer, Bogey, but gets involved with a farmer's daughter, Isabelle. As their relationship grows, she winds up pregnant and no amount of secrecy can hide their relationship. Bogey, needless to say, does not take this well and sends our narrator on his way - along with the baby. We end with a couple of further folk reels.

A moodier and broodier song, "The Midnight Sun" - a ale of leaving behind your homeland and making the steps into a brave new world. It is a beautifully original ballad and possibly also autobiographical - as it speaks of fjords and the midnight sun, and Sorbye was Norwegian-born. His voice certainly portrays the emotion well.

A crooked little instrumental is "Winding Road". It is recommended that you do not dance to this one. It has a tempting rhythm but is temperamental and changeable.

Then for another version of "The Farmer and the Crow". Here it is entitled "Bonden Og Kraka", the traditional Norwegian folk song followed by several Norwegian halling tunes. These hallingdans is a solo acrobatic dance performed by a man that involves a fair amount of squat-dancing and concludes with him springing in the air and kicking a hat from a stick held high by a woman.

"For Three of Us" is a haunting travelling ballad, and the sort of song that sparks feelings of being far from home, travelling across broad, open spaces with exquisite vistas and rolling hills.  It is tinted with a hint of winter and fueled by the north wind.

Then into two more Irish reels with "Nine Points of Roguery".

Until finally concluding with the bouncy "Cat in the Corner" which tells the tale of a young man's misfortunes - a rogue wanderer with an eye for the ladies and a thirst for whiskey, he is.

If you wish for an eclectic blend of folk music - performed by a band located in sunny California, then Tempest are the band for you. Their music is polished and practised, overlaid with Sorybe's voice.

Rating - 9/10

Monday, January 28, 2013

Savatage - Streets: A Rock Opera (1991)

Savatage formed in 1978 (under a different name), by Criss and Jon Olivia in Florida, USA. In 1983 they changed the name to Savatage and became one of the forerunners of US progressive metal. In the beginning, their sound was more pure, unadultered speed metal with rip-roaring guitars and screaming vocals. As they grew older, their music matured and this album, from around the midpoint of their career, has a polished vibe, whilst still rocking pretty damned hard. Later albums included the addition of orchaestra. They eventually dropped into a hiatus in 2002.

 The cover for this album is pretty bland - the band posing in some sort of ornate mansion, looking all tough and serious, not daring to even show the slightest hint of a smile. Black clothing certainly seems to be the fashion - all jeans and shirts unbuttoned to varying distances down the chest. Long haired pretty boys (some with perms), or at least, they think they are. But hey, this was the early 90s and glam was just giving way to grunge.

"Streets" is a concept album, and follows the career of D.T. Jesus - a burned out rockstar who falls off the rails, and then endeavours to pull his life together. The story is explained in detail at the beginning of the CD booklet.
"I used to come down here and look at all the characters, never thought I'd be one of them..."

Like all good musicals, it begins with an introductory song "Streets" begins with a children's choir and certainly sets the mood of the dark and grimy streets, where lights flicker and promise hope and salvation and opportunity.

"Jesus Saves" introduces us to D.T Jesus - starting with a vocal intro and breaking into a story about his fall from grace. It is a strong rock number.

As the drugs take hold of D.T's life and his world starts to crumble inside, we fall into "Tonight He Grins Again". A slower number, dripping with melancholy and longing.

"Strange Reality" sees him tumble further and further on the downward spiral. D.T. becomes aware of his plight. It is a fevered song, edged with desperation.
"Am I losing my way? This strange insanity. An illusion away. Is this reality?"
Having had this revelation, D.T sends out a call for help in the beautiful and pleading "A Little Too Far" with its gentle piano and desperate lyrics.

After that mellow moment, we rock into "You're Alive" and D.T.s triumphant return, with the help of his previous manager, Tex. But his triumph is short lived, as a dark shadow - Sammy - returns from his past and confronts him. In a tumultouos, fast and vicious fight, Manager Tex intervenes and there is a battle between "Sammy and Tex".
 "Seemed things were going right, till Sammy pulled a knife..."
Tex is slain, and seeing the rage in D.T.'s eyes, Sammy  flees  into the night.

Bereft, alone, D.T. roams the streets a haze of melancholic morbidity, finally finding his way to the doors of "St Patrick's" cathedral. Here he falls into desperate, pleading prayers.

But God does not listen, or at least, he makes no response. Lost, confused; his mind filled with dark desperate thoughts and seeking escape, D.T. pleads "Can you Hear Me Now?"

But all around him are the bitter and dark streets of New York. "New York City Don't Mean Nothing" is another song of despair and loss. It starts with raw, tortured vocals, filled with pain at this great city, where you are noone and nothing. The rhythm starts, fueding it with rage.

Everywhere he goes, he sees, haunted and broken people - a "Ghost in the Ruin". Anger, despair, deperation feed the song into a turmoil.

Perhaps it would be better "If I Go Away", D.T. ponders. If I give up on this life, just fade away. More desperation, but now fueling melancholy and sorrow, the desire only to be taken away from this life.

In the frenizied "Agony and Ectasy", D.T. prepared to give up on his despair, and his new life and reteat back into the comforting shell of drugs and the oblivion they bring. But it all changes as he comes upon a derelict man, dying in the gutter. So wretched is he, that noone dare approach him, except D.T., who holds his hand and comforts him as he dies.  Or at least this is how the narrative is explained in the beginning of the CD, however, it is not so clear from the lyrics. The song "Heal My Soul" is a beautiful piano/vocals piece haunting and strong contrast to the preceeding track.

A sense of triumph continues in "Somewhere in Time" and finally concludes in "Believe", a song of hope and faith as D.T. watches the spectral figure of a small child steps from the corpse of the dead man and up into the stars. This is the spirit of the man as he was once, until he threw his life away on lost dreams and now he seeks only forgiveness. He turns to D.T. smiles, and fades into a gentle flash of light. Up above, in the summer sky, a star burns brighter.

Finally, unexpectedly, D.T. feels at peace with himself, and returns home. The slower, more positive atmosphere in the final songs reflects this.

Ultimately, a fine concept album - although the lyrics do not fit the story at the front particularly closely. It's a good storyline for a rock opera though, albeit slightly preachy. The mix of fast-paced, angry songs and slower, mellower numbers enhances the mood and aids the narrative.

I rate this album 8/10.

Friday, January 25, 2013

Rage - Perfect Man (1988)

Rage are a speed/power metal band hailing from Germany. They were one of the first of this genre, forming in 1984 as Avenger and then changing the name to Rage in 1986. They should not, on any accounts, be confused with Rage Against the Machine. RATM suck*, Rage rule!

Okay, so I got through my Formative Years listening to Rage and people always assumed I meant that band-with-the-similar name. It so pissed me off.

This is their third album, and marks the one where they broken out of the pure speed and fell into the power. It is more melodic than the earlier ones, despite the fact the line-up has not changed at all. Rage have released 21 studio albums over the past 26 or so years, one a year pretty much (except for '91, '97, '05, '0, '07 and '09) and as such their sound has become a little generic, excepting, of course, that they now perform frequently with an orchaestra.

I should warn you - I have a LOT of their albums. So many that when I find one in the music store I cannot buy it impusively since I cannot remember which ones I own. I even have one on vinyl. Alas, I cannot play it, because I do not have a record player.

The tracks on "Perfect Man" are very short, the longest clocking in at an epic 4 mins 26. The cover features a strange mechanical being bearing some resemblance to those in Alien. He is wearing headphones. Although he does appear on numerous Rage albums - much as Maiden have Eddy and Gamma Ray kept Fangface, he does not seem to get a name and a story until 2003, when they name him "Soundchaser" (maybe I should buy that album, what do you think?). The lyric booklet contains the lyrics for less than half the songs, but is graced with a two page spread advertisement for other Modern Music GMBH albums. Grr... Luckily vocalist Peavey Wagner has a strong voice, that manages to soar melodically up and down the octaves (but mostly up), with a slightly harsh edge, but almost perefctly coherant vocals. The music is hard and raw - pure, honest, old-fashioned speed/power metal intermingling political messages and songs about death with the occasional social sattire. They are both mature and intelligent with catchy choruses. Thus, very good stuff indeed.

I've listened to this album many times and it was one of the very first CDs I actually owned. I was quite late making the switch from cassettes to CDs. I know most of the lyrics to most of the songs, so this review should be one of the easiest I have done.

The CD opens with the pounding "Wasteland" singing about the destruction of the world via the human race:
"... Is there any race as destructive as we are?"
"In the Darkest Hour" reveals the dark truth of what happens to some people after dark with pounding drums, a catchy chorus and the occasional frenzied verse.

Birdsong leads us into "Animal Instinct" the natural and mellow being bulldozed by the thrashing guitars as the song begins. Contrary to this, it is not a song about animals at all, but about the darker side of human nature, following on from the same theme as before.

"Perfect Man" introduces a slightly sci-fi-ish edge as scientists work in secret labs to constrcuct a man that has:
"...Perfect mind and body..."
Given Rage's inbuilt cynicism, this will of course fail. Or possibly end up destroying the human race. The lyrics are not *entirely* clear on this score.

Back to the political, "Sinister Thinking" is about the Iran and Iraq war - about the evils of religion and how:
"They drill this evil spirit in their children's head, so there's no end in sight, no..."
 Stepping aside from the more serious, we step into "Supersonic Hydromatic" which is picking fun at how people always seem to want to have the latest gadgets and devices - even if they have silly names and everyone needs it now, despite the fact that they never had one before. I always imagine it as being a bit like a Dr Seussian vacuum cleaner.

The rip-roaring opening chords of "Don't Fear the Winter" are immense and powerful. The choruses beautifully melodic. I can completely understand why this was chosen as the single from this CD. And for once, we have almost romantic lyrics. It's also one of the faster, heavier numbers. Pure Speed.

Every Rage album has at least one song about death - "Death in the Afternoon" is the first on this CD. It's about car accidents. The lyrics are very narrative.

"A Pilgrim's Path" is another pounding speed metal anthem.

Now we have a sorta-kinda-ballad, and another song about death. "Time and Place". It appears Peavey believes in reincarnation. At least for this album! It is quite a beautiful song, with some haunting music adding to the atmosphere. Of course, like many Rage sounds, it becomes more frenzied and urgent as it nears the end.

"Round Trip" is more of a rockin' number. It is something of a roadtrip song, with a certain amount of cynical irony in the lyrics. Basic fare, but good solid guitar rifts and drums.

Another speed metal piece with barreling drumbeats is "Between the Lines". Probably one of the least memorable songs from this CD. The bridge is raw and angry, the chorus soaring.

"Symbols of our Fear" expresses the  fear of nuclear holocaust that was particularly relevant in the late 80s (following the Chernobyl disaster). More pure speed.

Taunting guitars open "Neurotic" with its rather vicious lyrics, and swear words, which I never really noticed because it's so fast that the words are almost indistringuishable. It is a mocking, taunting song, that is actually kinda nasty. With the pounding drums and raging guitars, it is pure, unadulterated speed metal.

Rage are a rockin' speed metal band. Their rifts are polished, their lyrics mature (mostly) and the vocals pretty damned sweet. They're not outstandingly original (at least, not yet, wait until I get into some of their later CDs**) but there is a clean edge to their sound that makes them a pleasure to listen to - unlike some of the raw and ragged speed metal bands from the same era.

Rage ROCK, and this CD earns an 8/10 from me.

* Okay, so RATM do have an awesome guitarist, and that one song has probably sold more and received more radio play than all of Rage's albums put together, but that don't mean nothing to me. Okay?

** Although some of those are a little bit boring too. When you're as prolific as Rage, you do get a little same-ish.

Tuesday, January 22, 2013

Queensryche - Promised Land (1994)

Queensryche  formed in Bellevue, Seattle 1981 and released twelve studio albums before finally parting ways in 2012.They are probably my favourite band to hail from Seattle, birth of Grunge music, and are most well known for their song "Silent Lucidity." Their earlier albums were more strongly metal, with operatic vocals (vocalist Geoff Tate is opera trained) and heavy riffs. As their albums progressed, their sound became more mature, and a little darker (in the case of this album), but ultimately their more recent releases (ie: this century) lacked the originality and energy of the earlier ones.

I selected this one, "Promised Land" released in the mid-point of their career.

It is a beautiful looking album - the simple, starkness and gloomy brownish-red hues help create the mood. The cover depicts the Tri-Reich (which is based on the falcon, no wonder I like it!) carved from wood, looking rather tribal. It is in fact a totem pole, and the CD cover folds out into a poster. And there is a vaguely tribal feel to some of the songs on this album.

Overall the sound is somewhat more personal than the earlier albums, with a dose more atmosphere and a little more experimentation with instruments and darker stylings. It is not especially heavy, relying more on dark atmospheres and haunting melodies, along with the raw emotion in Geoff Tate's voice to create a moody album - the result of burnout after the commercial success of "Empire". Whilst it did eventually go platinum in the States, it never achieved major mainstream success and was somewhat superceded by the growing Grunge music of the time.

"9:28 am" starts with a death and a birth.

"I am I" is a declaration of Self.

As far as songs go, "Damage" is not particularly remarkable. It's typical rock.

"Out of Mind" opens with a slow and moving intro, merging into the haunting lyrics. Tate's low singing voice complements this perfectly, and the accompanying guitar creates a mood that sens a shiver down the spine of anyone who is also paying heed to the lyrics which describe the forgotten people - the mentally lost and confused, kept separate from society, alienated from reality.  There is an atmosphere of menace here:
"They can't leave. You've left them here ... for me."
Acoustic guitar and vocals lead us in to the equally haunting "Bridge". The chorus of this song is particularly noteworthy - as a father tries to mend the "...bridge that's been blown apart..." from his son, but "...you never built them dad." It is also very catchy.

Title track, "Promised Land" is one of the most atmospheric and experimental of the songs on this album (also one of my favourites). The music radiates with mood and weighs one day with the grief of being left behind, becoming one of the forgotten ones. The lyrics ask "... where did it all go wrong?" It is a story of abandoning one's dreams, of failing to even try and reach the "promised land" and instead dropping into the angst-fueled world of apathy and alcohol.

This leads, quite neatly, into "Dis Con Nect Ted" which continues the themes of madness and loss, of separating oneself from reality. The slightly discordent edge to the opening chords lends to the feeling of confusion and dislocation. The vocals are low and dripping with personal loathing. There is a slight echoing going on, that makes Tate sound somewhat less than himself.

There is something faintly menacing about the children chanting at play as "Lady Jane" opens. The vocals are low, creepy, the lyrics unnerving. Something is very wrong in the life of Lady Jane.
"It's quite a scary, scary ride we take, Lady Jane."
 There are violins in this song too. I'm not sure if this is a song about abuse or a haunting, or if Lady Jane is slowly but surely slipping into the clutches of insanity. Whichever it is, this is an emotional and oddly disconcerting and disturbing song. It is also one of my favourites on this album.

With its politcal lyrics, "My Global Mind" brings us back into the heavier rock, but no less melancholic.

"One more Time" begs for a second chance, with a hint of desperation and no small measure of despair.

Piano leads us into the last, heartbroken ballad, "Someone Else".
"I feel like I did, before the magic wore thin..."
With few instruments, except the piano, it feels like Tate is (vocally) ripping out his heart and throwing it on the floor. The raw emotion cannot help but seer the soul. It draws to a very abrupt close, leaving me feel almost like I've been severed from it.

This is a fine album - it is deeper and darker and rather more melancholic than earlier albums and clearly marks a point of tumoil in the history of the band. The lyrics are rife with messages of disconnections from reality; of sacrifices and loss of self (and no small measure of bitterness). Despite this misery, there is no laying of blame, no accusations - it is not an album about love lost, or arguements - instead it is an album about feeling as though you're fractured inside of losing your sense of identity. Of needing something more to help redeem the drudgery of your life.

It is a beautiful, haunting and utterly poignant and defintely deserves a rating of 9/10,

Monday, January 21, 2013

Promethean - Gazing the Invisible (1997)

Poor Promethean don't seem to have made much of a mark on the Music Market - they don't even have a Wikipedia page. They do, however, have three core members (guitar, vocals, mandolin, keyboard) and an eclectic blend of "friends in need are friends indeed*" with instruments - guitar, drums, flute, violin, cello and even recorder. Taking many aspects of folk music, they have blended it with a fairly light metal sound and applied vocals that are not disimilar to those of My Dying Bride (the singing, not the growling) and Anathema.

The album cover is kinda dreary really - sepia tones, a strange image that seems to consist of a kneeling naked person with their lower body turned to stone and their hair merging into smeared, surreal braids. The band name, in a font only slightly darker than the general green-browns of the cover is quite difficult to read and the lyrics are so tiny and white on sepia that one almost needs a magnifying glass to read them, like the songs, they merge into one and are divided by paragraph breaks but not headed by titles making you wonder if you are intended to just listen to the entire album from beginning to end.

The spine reads:
"When everything is nothing and all new is but the same cover the earth with your sins and never feel any shame"
 It is all rather avantgarde (like their label) but does not make for very impressive or eye-catching packaging - which kind of makes me wonder why I picked them up. I am glad they did, however, because although their packaging may be drab and kinda cheap, I do like their music.

This music has great atmosphere - I believe it is the folk elements. It is very much "Mood" music, the sort that you could play cheerfully in the background for ages, and never grow tired of. It is pretty soothing though - no roaring guitars or raging drums - making you quite realise how extremely eclectic the "metal" genre is.

I have decided to listen to this album from beginning to end to get the feel for it, then listen to it again and begin my track dissection. Thus I shall save it for now and begin the "breakdown" of songs later today.

Let's see if a dissection can improve my understanding of this album:

The CD begins with some discordant notes before breaking in to soothing folk music of "Eternal Fall". This theme continues through much of the album. The vocalist's voice is rich, deep and mellow with good harmonics.

More mellow folk sounds lead us in to "Polygon" along with a few of the more discordant screeching beats, and a steady thrum building hte the background. Vocals are whispered, quoting lyrics that are at once poetic and also somewhat nonsensical - the ones printed on the spine, in fact. We are then treated for some very mood-infused folk music, mellow, laid back, like an evening spent lounging in the sun, perhaps strumming your mandolins or guitars as you put your feet up, lean back and close your eyes, sinking in to the music.

Birdsong and flute marks the beginning of "Gazing", a sound invoking thoughts of two lovers, gazing into each other's eyes as they lie in a field of golden corn, the wind twisting and whipping it around them.

"The" is a lovely intrumental piece.

The pace picks up a little, but only a smidgeon, for "Invisible". It has some nice trilly bits, introducing butterflies to our cornfield, but ultimately the sun is still shimmering down and the sending striations of light upon the ground, between the stalks. It is also devoid of vocals.

The vocals return in "Don't Mind the Dancer" as a child skips and spins through the cornfield, turning circles whilst butterflies flutter around their outstretched arms and the wind shimmers and shines around them. The serenity and innocence is shattered as we enter into the second half of this track, "The Dance with the Diseased" with discordant twanging music and a barely audible ranting voice.

"All Blue is Beautiful" and so is this song, with its frolicking flute and some other sort of buzzy-sounding instrument (I really wish I knew what these things were called).It inexplicably ends with the beeping of a disconnected telephone.

Haunting chords usher us in to "The Kiss of All that Remains". The vocals begin again, with almost half the lyrics on the sleeve remaining for this song and the next.

And then my Windows Media Player spontaneously forgot that I have a CD drive.

Luckily I had already stored this album on my harddrive, and thus can listen to the last track.

Not surprisingly, "Flowing Downwards" is something of a slow and romantic tune - at least for the first minute or so, then abruptly it ups the beat and breaks into something a tad more aggressive (but only a tad, this is the soothing and laidback Promethean, after all). This song is like the river, at times relaxed and slow, sluggish between the banks, other times narrow, deep and dangerous. There is a hint of the ominous on the horizon - a waterfall, perhaps?
"...I'm a god now and the slaves shall serve..."

As far as this album is concerned, the songs do sort of merge together, and although I would compare it with Amorphis's "Elegy" I think it would benefit from having a couple faster-paced numbers. As it stands, it is sort of like a gentle flow of sound, all beautifully structured and very musical but no real stand out pieces.  For the most part, pleasant and soothing.

This earns it a rating, from me, of  7/10.


* Which I presume means friends WE need as opposed to friends that need us.

For some reason, possibly due to Orphaned Land, I have remembered this band, and now just want to listen to this song several times, very loudly:
If anyone can get me the CD this is off, "Cold Heaven" I will.. do something nice for you.   I had a copy of the video, taped from MTV, but alaso, time is not kind to Video Cassettes and it was devoured by mould...

Sunday, January 20, 2013

Orphaned Land - Mabool (2004)

Orphaned Land are certainly different - in a similar vein to bands like Paradise Lost - the later Doom Metal bands, the ones that were merging closer to Death Metal but without the horrible vocals. Orphaned Land have some guttural vocals, but also a number of melodic bits too, intermingled with the use of traditional, folk instruments to give them a Middle Eastern vibe. They are from Israel, which explains why their English seems to be pretty good.

This is a concept album - the story of the Flood, from the part of three sons (one for each religion) who tried to warn human kind of the encroaching flood. The packaging looks much as you would imagine such a CD - all sepia toned surging waves, rising up to engulf the rather decorative logo. A sticker proclaiming "Exotic mysticim meets Middle Eastern Metal" just begs for this CD to be picked up and listened to.

And it is well worth it, to immerse yourself in the primordial sound.

It begans with the "Birth of Three" and opens with chanting children before the heavy riffs charge in with a jolt, engulfing them. Low vocals, with a hint of menace and a lot of gravel, mystical music dancing alongside. The lyrics introduce us to the three sons - magic (Snake), strength (Eagle) and Lion wisdom - three human souls, merged, as in heaven. Interwoven with the low graveller roars and snarls are a rather sweeter, more welcoming voice.

We are ushered into "Ocean Land" with some kind of tambourine, a traditional "guitar", and a grunt. I regret not knowing the names of the instruments they are using, but I am certain they are traditional Middle Eastern instruments. The songs hold the desert in their notes, the voices alternately low and guttural, and higher and sweet. With its constant changing rhythms, it is like the sand itself, shaped with the wind. Or perhaps it is also like the waves, but there is something very golden and dry about this music.
"Here are we servants three, flesh and blood. Poor and weak hear thou speak of the flood."
 The three, speak forth their prophecies, but it appears that the greed and sin of man has grown too strong, and their pleas go unanswered.

"The Kiss of Babylon" is a song of wrath and betrayal, twisted vocals snarling forth the approaching fate. The songs are so multi-layered and rich that it is impossible for them to exist on their own, but more as part of a continual whole. The use of Hebrew (or Arabic, they use both and I don't know enough to tell the difference) in the lyrics (plus translations) and the singing, increase the power and mystical feel, combined with the sweet, waterdrop tones of some kind of instrument, concluding with the wailing of a woman. Her rich and mournful voice carries on into "A'salk" where it blends with tribal ryhthms.

A declaration in Hebrew sends a shiver down the spine. The voice is deep and strong, reverberating deep inside. "Halo Dies" is another aggressive song as:
"Hell hath no fury as a God scorned. Unleash his wrath he will let death be adorned..."
 Snake, Eagle and Lion go forth across the land with  "A Call to Awake". They urge people that "Gods rage is true. He urges you to awake..." To surrender their pagan gods and repent and be saved from the wrath of God. This is an angry song, ending in the three sons being warned away and their words discredited. The music speaks for the people, frenzied in anger, the synth soaring out their fury and their confusion.

Disappointed, the three sons return home. God, meanwhile, directs in "Building the Ark". Far more tribal feel here, the music doing inspirational little surges and the vocals are low, rich hymn, intermingled with a chorus of females and invoking direct quotes from the Bible (Genesis) in Latin.

It is time now for a hymn, a prayer to the God that will save the faithful from the coming tide. "Norra El Norra" is entirely in Hebrew, but has a convenient translation. It is very tribal and holds with it a promise of the future, and the strength of faith and power of hope, as those that are destined to survive enter into the Ark.

A soft and gentle instrumental gives us "The Calm before the Flood". A slow and gentle reprieve before we must weather the storm. Thunder rumbles, and the downpour begins.

"The Flood" is of course another aggressive song as the violence of the skies reverberates through the music  and the world is shattered:
"Oceans rise an rage as we watch the world powers fall, redeeming their sinful ways with their souls..."
Vocals are vicious and unforgiving, snarls and growls as the punishment is bestowed by the vengeful God.

"The Storm Still Rages Inside" returns from the lost to the saved, as they float:
 "Like Jonah in the belly of the beast. Inside the ark, the sound desist."
Whilst still a furious, aggressive song, there is the promise of peace here.

With "Rainbow" we see the resurrection, the promise of hope across the horizon, the waters receeding as the birds sing in the new dawn, the new world. A gentle, soothing piece, a piece that promises a bright future for those who have survived.

It kind of makes me feel like we could use another flood, right now - a chance to have the slate wiped clean and for us to start all over again.

There are more facets to the album than can  possibly be realised on one listening. I have spent the last two days listening to this album at least three times, before I even made an attempt at writing the review. It is rich and powerful, the mix of vocals superlative*. The combination of classical instruments, synthesizers and guitars seems to enhance the music, to lift it up onto another level of transcendence. It immerses you, shifting you back into another time and place - engulfing you in its midst. This is an album to be taken slowly and savoured, the lyrics to be read and pondered, their meaning portrayed not just in the lyrics, but in the deep core of the music itself.

I'm never sure how I feel about religious songs, or albums, I do resent being preached to and if I were any religion, I am closer to Pagan than Christian. I'm not even sure if this counts as religious, or if it is just a concept album based on a popular story. Mythology, if you like.

Here's an interesting article on the political and religious influence of this band:
Israeli band Orphaned Land unifying religious groups

Overall, this is a damned fine album and a beautifully structured masterpiece. It deserves one, two... ten listens and should be appreciated by anyone who enjoys a finely crafted concept albums. And metal, of course.

What the heck, let's give it 10/10**!

* The similarity of this word to "superfluous" or "superficial" always makes me feel a little reluctant to use it. But it means really, really good things about the music, okay?

** If I'd reviewed it yesterday after the first listen, I probably would have rated it an 8, after the second a 9 - I believe this album is too immense to truly appreciate with one listen. And I'm not usually a fan of guttural vocals, either.

Saturday, January 19, 2013

Nightwish - Century Child (2002)

Nightwish are a magnificent band - formed in 1996, by lead songwriter and keyboardist Tuomas Holopainen, guitarist Emppu Vuorinen, and vocalist Tarja Turunen. By the time this album was released, Marco Hietala had joined the band and took over the male vocals. Tarja's voice is elegant and other-worldly, a beautiful counterpoint to the heavy music and Marco's occasional growls.

This packaging is beautiful - a woman crouches before a waterfall, cradling a black rose. The colours - black and purple, seem to evoke the general feel of the music, which is rich and multi-layered. However, the font is pretty difficult to read with the white seeming to be shadowed against the purple. This may just be my version - which I obtained from Russia via Ebay.

 It opens with a short spoken piece and then breaks into the epic "Bless the Child". This contains the line:
"Think of me long enough to make a memory."
A line which I have always found somewhat heart-breaking.

"End of all Hope" is epic and powerful.

"Dead to the World" is an interesting one, with the male vocals seeming to dominate at least in the start - but Marco isn't growling here, he's actually singing - and not half bad at it either. Tarja's voice soars against his raw notes, in the Beauty and the Beast styling that I described earlier.

With its beautiful opening piano, "Ever Dream" is an ethereal lullaby - breaking into true Nightwish symphonic style, before the sweet-natured, silver-throated vocals return.

"Slaying the Dreamer" is a little more hardcore, at least musically, the vocals still sweet but with a harsh edge of threat. Marco's vocals are very aggressive. This is a song of betrayal and anger.

As though to alleviate the negative emotion of the preceding song, "Forever Yours" is very sweet and gentle, a whispered caress of gentle percussion and wind instruments.

Similarly gentle is "Ocean Soul". It also includes one of the most memorable choruses.

This is followed by the beautiful and romantic "Feel for You". Or to be precise, it sounds romantic - until Marco comes in and it takes a startlingly dark turn:
"...Barely cold in her grave, barely warm in my bed..."
 I hope it's more about someone else usurping another's widowed husband rather than necrophilia!

"Phantom of the Opera" is an EPIC rendition of this classic tune. Tarja's voice handles it so well and the music just sends energy and power surging through me. No matter the version, the opening chords of this song always stir something deep in my viscera.

"Beauty and the Beast" brings this CD to a powerful conclusion. Despite the epic nature of the song, it does not quite haunt me the way some of the earlier pieces do, but it is still a masterfully written and performed piece.

Overall, an amazing album from an amazing band. There's not much more to say about Nightwish - except that they certainly deserve the rep they have earned and are also awesome live - even without the magnificent vocals of Tarja.

9/10

Mercury Rev - All is Dream (2001)

My brother introduced me to this band (well, their music, I've never met them - alas). He is responsible for some of the stranger albums in my collection (most of which I haven't got to yet) as he sees it fit to educate me on non-metal genres. And occasionally metal genres as well.

This is probably my favourite album this century (although "Secret Migration" is also magnificant). I ADORE Mercury Rev's middle albums (not so much the older or the newer ones, however). Their delicate combination of vocals and instruments, the evocative, playful nature of the music... Not to forget Jonathan's beautiful voice. There's just something so joyous, so rousing, so alive about this album.

I have no idea how to classify them. According to Wikipedia, they're "dream pop" and similar to Flaming Lips. These guys are far better, however. Not that I've really heard much Flaming Lips.

The album cover is beautiful - a psychadelic array of colour - a whimsical acrylic painting that is utterly over-complex. To complicate matters, the lyric sheet is out of order, but I'm going to conclude that mine was merely assembled incorrectly. As was my brother's. Hrmmm.

We begin with the stirring "Dark is Rising", a song that lights a chord in my heart and makes my spirit soar. With its melancholic bridges, and soaring choruses, it is haunting and magnificant and just damned beautiful.

Following it is the gentler "Tides of the Moon". A sweet and sensitive song.

"Chains" starts with piano and a bit of a rock beat. Jonathan's voice is sweet - and he would be the first non-female vocalist I would label as sounding "ethereal".

The ghostly "Lincoln's Eyes" sends shivers down my spine. With lyrics like:
"... fragile as a seahorse..."
This song actually feels quite fragile, ephermeral, like wisps floating in the air. Actually, now that I'm actually reading the lyrics - they're really very random and weird:
"... covets like a dragon, grows to a shark length contracts to amoeba lives in your soul an' loves you like I do..."
I'm not sure what it means, but I love it.

"Nite and Fog" is a simpler song, which, because this is Mercury Rev, means not very simple at all.  It has a bit more of a beat to it, a little faster pace. The instruments seem to speak.

Now, looking at the lyrics to "Little Rhymes" I wonder is that a typo? "Staighre... to nowhere climb..." I'm pretty sure it's "stairs" right? No wait, it's a type of folding attic stair - haha, I just learned a new word. That'll be useful in Quiddler. It sounds sweet, but the lyrics are tinged with a hint of the sinister and sad. Like a lonely child, huddled in the attic, making little rhymes and taking pills to try and forget the harshness of the world outside.

My favourite song is the wonderful "A Drop in Time". I love the playful nature of the music, the way it flits and flickers like a hummingbird darting on the air. It skips and dances in my ears and sets my soul to fly with the instruments. The lyrics are kind of romantic too. I could listen to this song all day. Maybe I shall (I'm already playing it for the second today). What's with
"... a fleeting thought caught inside of Leonard Cohen's mind..."?
I think my favourite bit is the twiddly bit with the birds. Especially as I've been drawing hummingbirds today.

"You're My Queen" is another sweet, sensitive number. A song with few lyrics, but a good rhythm and a great chorus - every woman should be told that she is someone's Queen.

 "Spiders and Flies" is a cute little song, with lots of piano.

We conclude with "Hercules", a strong finale that starts soft and gentle but soars and expands in power and majesty.

For its atmosphere, its poetic nature, its vibrant music and beautiful vocals, I shall rate this CD 10/10.

Leaves' Eyes - Meredead (2011)

Following on in the wake of the Nightwish and Evanescence tide, a lot of female lead symphonic metal bands hit the scene - many were very good - and some, like German-Norwegian group Leaves' Eyes are excellent. Blending the heavy sounds of doom-death metal band, Atrocity, with the melodic warblings of vocalist, Liv Kristine (ex- Theatre of Tragedy). Their lyrics are based on nature (like early Within Temptation) and  mythology. There is a heavy folk vibe as well and the band make use of traditional instruments.

I have the digi-pack version, which is a nice hard-covered digipack (I am not so fond of those flimsy cardboard affairs) and additional live DVD. With the booklet being attached to the case, it's almost like a little, odd-shaped book. Very nice, even if it doesn't slot into my CD rack. The cover is beautiful and seems to show a dark-haired, elfin woman water bending.

 The CD begins with choral singing and chanting as we delve into the haunting "Spirits' Masquerade". The combination of instruments and the beat, with the flowing, water-droplet sweet voice of Kristine weaves a deeply spiritual feeling.

"Etain" is melodic and beautiful. She is from Irish mythology. It is easy to imagine a dancing blue butterfly, flitting along to this tune.

Violins and guitar herald us into "Velvet Heart", along with something that could be wind chimes. It has a stronger beat.

We then have the folk song "Krakevisa" which is the story of the Crow and the Farmer and a traditional Scandinavian folk song. I've also heard it performed by Tempest under a different name. It's very strongly folk, but also rather heavy, with much use of violins  (or do you call them fiddles?). This version is a lot slower and more melancholic than Tempest's rendition. In case you are curious, it's the story of a crow that attacks a farmer, and then gets killed and butchered, its parts put to various use. Kinda macabre.

Mike Oldfield's "To France" is next on the agenda and turned from a old-school pop-rock song into an epic anthem. Blind Guardian have given this song their own treatment too. It has a lot of power - I really should listen to the original. This one is quite melancholic and filled with longing.

"Meredead" is ghostly and sung in Olde English. I do not understand a word of it (I thought it was Norwegian) but it speaks of death in the sea. "Meredead" is a word that Liv Kristine coined herself.

"Sigrlinn" starts very folk, but is the first song on the album to have very clear "Beauty and the Beast" vocalising, with Krull growling in Norwegian - NOT his native tongue (he's German) and something he had to do phonetically. Also offering vocals in this song is Liv's sister, Carmen. This is a tale of an epic journey, and the changeable mood of the music reflects that.

Also in a foreign lingo, "Mine Jaror er ei Geimme" is a very soft, gentle song without the Atrocity acccompaniment. It is a medieaval ballad - a poem of a woman mourning her husband who has fallen in battle. Beautiful, ephemeral.

Followed up by the rather heavier "Empty Horizons" which reminds me of Atrocity's finer moments - the low - but not growling, vocals of Krull intermingled with Kristine's finer range. A haunting duet.

"Veritas" provides an intro to the traditional Norwegian stave of "Nystev".

Flutes and some form of string instrument (mandolin) lead us into the lovely "Tell Tale Eyes", in which the Beauty and the Beast singing style is exchanged for a melodic ballad, displaying the true vocal talents of Alexander Krull. The only accompaniment, the mandolin. The lyrics are slightly menacing, despite the beauty of the song.

The final, bonus track, "Sorhleod" is really lovely, even if I do not understand a word of it.

Overall, a beautiful amalgamation of folk, metal and power, establishing this group firmly amongst the best of the genre.

Rated: 9/10




Friday, January 18, 2013

Kari Rueslatten - Spindelsinn (1997)

Okay, so listening to someone whose first name starts with K is kinda cheating, but it was her or Kiske, and I didn't feel like listening to more Michael Kiske today. Pity I didn't buy that Kamelot CD, eh?

Kari Rueslatten is a Norwegian lass who is 6 years older than me, making her 41. And, she actually looks it. Her voice, however, is like liquid silver, dipped in honey. She, along with her symphonic doom band - 3rd and the Mortal, were inspiration for such greats as Nightwish. She has performed with several groups, integrating doom-laden metal with folk vibes and her haunting, ethereal* voice.

The elements of folk are strong in this CD, her debut solo one (albeit a remastered version). Alas, the lyrics are all in Norwegian - a language I do not speak, and thus I cannot comment on her song writing abilities. However, despite the language barrier, I enjoy the way she sings, the lilt to her voice and the various levels she can attain.

Except that I have found translations! And the lyrics are as haunting and beautiful as you might imagine. I'll link them from the songs, so you can at least know what the titles and themes are. In lack of understandable lyrics, instead we are treated to an evocative combination of intruments and voice, portraying the message through sounds, not words, that are understandable in any language.

So, let us begin. And yes, I know I should be using the appropriate characters for some of these letters, but I haven't figured out how to do the special Norwegian letters. My apologies.

"I Manens Favn" ("In the Moon's Embrace") is a song about a dancer, whose magical dance lures in the women. It is most definitely folk inspired, and has a very bouncy rhythm. I could dance to this. I SHOULD dance to this.

We get slower with  the haunting "Spindelsinn" ("Mind Web"). A song that weaves an enchanting tune.

Now that I know what the "Skogens Kjole" ("The Forest's Song") is about,  I cannot help but feel the spirit of the forest in the words. It's easy to imagine snow-shrouded branches and leaves dropping in the breeze. The song is delicate and fragile.

The very sweet "Agatha" follows. It sounds like a love song. Agatha strikes me as being a wispy, spiritual being - a guide from another world.


"Trollferd" ("Troll Journey") takes you to another world, into a boreal forest, where snow sticks tot he moss laden trees and a trail of strange footsteps leads you through the snow, while above the sky is pale with the promise of frost.

"Vintersol" ("Winter Sunlight") picks up a more upbeat tone, sunbeams glinting off the snow, banishing the cold and portraying the world as pure and clean. A perfect day for a winter walk. The music has the promise of spring in its step, and the inclusion of classical instruments makes it seem divine.

A tender, beckoning song - "Jeg Kommer Inn" ("I'm coming in"), with string instruments, singing alongside Kari's beautiful voice. There's a little bit of bounce in the middle.

"Hor Min Sang" ("Hear My Song") is a very sweet and gentle piece, as soft as a caress.

"Som Av Meg" ("As of Me") is beautiful and ephemeral, a delicate whisper.

The chilling and ghostly "Nordnatt" ("Night of the North") ends the album, a haunting song of long, chilling nights and a vivid tapestry of stars. It fades slowly, the music ghosting away.

There are two more tracks - live versions of "Spindelsinn" and "I Manens Favn".

This is a beautiful album, a soundrtack to a cold winterland. The folk aspects and the classical instruments are a flawless combination with the sweet, lonely voice of Kari Rueslatten. The only downside is that the lyrics are not in English, but it loses none of its beauty because of this - and perhaps gains an extra element of mystique.

Overall rating = 9/10.

I have another CD by Kari, and it is in English.

* You will probably hear this term a lot in these reviews, this is because I like females with haunting, ethereal voices and have quite a collection of these CDs. If I can think of a different adjective, I shall make use of it. Okay?

Jacob's Dream - Drama of the Ages (2005)

Who are Jacob's Dream? I cannot remember when - or even why - I bought this album, but it has the distinction of being the only CD in my collection by an artist beginning with "J". I presume it was acquired on a "lets-browse-the-music-store-and-choose-some-bands-to-listen-to". It's also obviously a clearance line - having a hole bored through the barcode on the back cover (and a big crease through it - grrr).

And it's actually pretty good.

The vocals are strong - sort of a mix between Deliverance and Queensryche. Not a description that will help many people (since Deliverance are moderately obscure). Let's just say - higher pitch intermingled with some quite sexy lower vocals and a touch of a raw edge.

The genre is probably somewhere around power metal and progressive, the later aided by the zippy synth sound that beckons us in to the first track. Let's see what they call themselves (to wikipedia!).

Hrm, they are a Christian band - which would explain the vocals, if all Christian metal bands had to sound like Deliverance. Maybe they draw their inspiration from the same sources (well, of course they do lyrically, but I'm talking, musically).

The name should have been a tip-off - it relates to the Book of Genesis.

Well, let us not judge them by their religion, but by the quality of their music. It seems a little odd to me that Christian Metal bands kind of get pushed away to play in the corner, and don't get to hang out with the other bands, and most of them are pretty obscure - after discovering a Christian metal show on a local (community) radio station I collected a selection of songs, and then spent ages trying to work out who "Crestive Ox" were. Turned out it was "Crystavox." Also, a several years mystery over a song called "Little Secrets" that eventually turned out to be by Christian Metal band, Sacred Warrior.

Anyhow, enough exposition, let's start the dissection.

The zippy synth beckons us in to the title track "Drama of the Ages". The chorus is nice and catchy, the lyrics, whilst of course being God-orientated don't seem to be preaching to me (always a plus), indeed, their lyrics read more as fantasy than religion.

"Keeper of the Crown" follows it up. Vocalist Chaz Bond has a strong voice, powerful. I'm starting to see why I bought this album.

"Spinning Leaf" starts as a slower number, and Bond displays the true wealth of his low, rich vocals. Good sound, stirs something deep inside me. I like. A lot. Alas, it doesn't last for the whole song. Oh well, maybe I'll get to hear more of it later. Like the chorus.

"Stand or Fall" has more of the same vocals - including some moderately impressive long notes. I think this is one of the things I liked about Deliverance - the low, sexy vocals the singer occasionally exhibited. But Jacob's Dream do it better.

The pounding and slightly aggressive "Tempest" seems to follow a story of  good vs evil - I can only imagine that the low menacing voice is supposed to be the Devil:

"Where is your God? What are you thinking? Call to him louder; Perhaps he's asleep, maybe he's laughing... You're such a fool! It's been quite a  while, leave him in peace..."
Can we have a ballad please? I think one would be beautiful, thanks ^^

No? Another pounding heavy one again - "Third Way" does have a nifty chorus, vocally. Lyrics are more political than religious -
"A socialist Utopia, equality for all. The ruling elite exempt themselves from the cruel reality."
 Despite having lyrics printed, "Forever Winter" seems to be an instrumental, with the words not starting until almost 4 minutes into the song. "Always winter, never Christmas..." interesting... Isn't that a quote from Narnia or something?

"Drowning Man" finally lets us mellow down a little - at least at first, with its twangy, twiddly guitar and low, croning vocals, but the bass starts a pounding and the guitars pick up rhythm, chug-chug-chugging into full guitar mode and I am cheated of my ballad, with such a wicked little teaser.

"Deceiver of the Nations" is more of the same - variable vocals (maybe the backing vocals are playing a more important role here?), churning guitars. Melodic, yes, but somewhat same-ish after a time.

Love the last verse of "Cutting Words" - very sexy low voice, almost Sisters of Mercy terrain here, almost goth. I'd love to hear more of it.

"Victory" is another churning and heavy song.

The concluding track "At the Gates" seems to start with either a riot or a battle, I'm guessing the second. Alas, it is more of the same as the preceeding tracks and the album concludes without a ballad to speak of. There IS a very nice instrumental piece, buried several minutes after the final song, which is rather pleasing to listen to.

Overall, I highly rate the vocals, and enjoy the sound, but I wish for more of the low and sexy and less of the raw-edged and higher pitched. Lyrically, it was pretty good. Sure, there is a lot of godliness in the lyrics, but I'm okay with that - there was no telling me I'm burning in Hell for not believing, something which really does bug me in the Christian music genre.

I rate this album 7/10 and I believe it will improve on later listenings, when I get to know the songs a wee bit better.


Iron Maiden - No Prayer For The Dying (1992)

Now to continue with Epic Metal Friday.

Following up Helloween with the masters of the Metal genre, the forerunners of the Power Metal scene... Iron Maiden.

And, once again, I've (randomly selected, in this case) one of their less-than-stellar CDs. Which is a bit of a shame - because I probably won't be doing the band justice this early on in my reviews. But never fear, I have plenty of Maiden albums, so we'll be sure to get something good out of it (I also, regretfully, have their album with Blaze Bayley).

It opens with the rockin' "Tail Gunner". Dickinson's voice is in fine form, although this album also seems to lack the passion of the earlier works of 'Maiden. It's a little repetitive and maybe a tiny bit too polished.

"Holy Smoke" is nicely catchy a wee bit controversial - and rather tongue-in-cheek. Is it about burning preachers? Why yes, it does appear to be. Hah, good stuff. Nicely catchy and a wee bit raucous.

The following "No Prayer for the Dying" is a nice song, with some slow moments, but oddly unmemorable. Some nice guitar rifts though.

"Public Enema Number One" is not just a good title, it's a solid metal song, with a nice smooth chorus. Ultimately, however, the lyrics are perhaps a bit too politically hard-hitting and complicated to make this an overwhelmingly memorable track.

A slow start to "Fates Warning" makes me wonder if we're in for a ballad - but no, the guitars and drums take over and we're thrown into the rock once more. Again, a decent song but nothing that really stands out amongst the others.

Some nicely twiddly guitaring leads us into "The Assassin", a slightly threatening track. The verses are unremakarble, but I quite like the chorus.
"Better watch out, better watch out... Cos I'm the Assassin..."
 Again, "Running Silent, Running Deep" has the strong choruses and elaborate guitar solos, but still fails to inspire that spark inside of me. And nor does "Hooks in You" (is it about bondage?). So far I can take or leave this album, and I can see why it does not rank amongst the "must hear Maiden albums". Admittedly, the punnihs lines in "Hooks in You" are quite funny:
"...Hooks in you, hooks in me, hooks in the ceiling, for that well hung feeling... No big deal, no big sin, strung up on love, I got the hooks screwed in..."

At least "Bring your Daughter to the Slaughter" is one I'm quite familiar with. It's catchy, albeit rather more-than-a-little vicious and somewhat misogynistic, but the repetitive nature of the chorus rather insists that it sticks in your head for some time afterwards.


We conclude with "Mother Russia". With its intricate and senstive opening bars, it has promise, but this falls down with two short verses, then a lengthy guitar etc solo, before we fade into what is the closest we get to a chorus and is actually pretty good, but disappointingly brief.

Ultimately, this is a decent metal album - it's got solid rifts, intricate lyrics, powerful vocals, but there is something about it that is sadly lacking. Maybe it's just that the lyrics are too intricate, the chrosuses not quite catchy enough. Very few of the songs of this album became Maiden classics - I think the only one I was particularly familar with was "Bring Your Daughter to the Slaughter" and I wouldn't even say I particularly liked that one. Maybe if I listened to it multiple times I would grow more familair with the tracks, and perhaps more fond of it - but for now I shall rate it a rather disappointed 5/10.

Helloween - Pink Bubbles Go Ape (1991)

This may seem like a strange Helloween CD to begin my Musical Appreciation Blog with - I DO have almost all their albums, and this is generally rated amongst their worst.. However, this was the very first Helloween album I ever acquired. On cassette tape, no less.

Firstly, time for a brief history of my Musical Life. Back in my pre-teen years, I never much listened to music and when asked in school what music I liked, I replied "classical" because it was what my parents played. Along with Dire Straits and some other rockier numbers, and probably also Cat Stevens. However, as I grew into my teenage years, I began to crave friends, and the "cool" girls were listening to music, so like the sheep that I was, I followed them. Thus my first favourite bands were the boy band of the time - New Kids on the Block, and the abyssmal Vanilla Ice. Somehow, I ended up being lured into Poison (which the rebellious kids were listening to) and from there I took the rather sizeable leap into Heavy Metal. One of the first albums I ever bought was one of the "Speed Kills" series. Probably 5 or 6, IIRC. Then I acquired a collection entitled "Thrash the Wall". Released in 1990, it was an eclectic Roadrunner compilation, introducing me to the majesty of power metal in the form of Helloween's "Future World", Running Wild's "Raging Fire" and Rage's epic "Invisible Horizons". Also some pretty awesome tracks by Rochus, Paradox and King Diamond.

I was smitten. Something about the powerful chords spurred something in me, an energy that inspired me and well, it made me feel good. Like a drug, I suppose.

Anyhow, shortly afterwards I stumbled upon this cassette in a Nelson music store. Probably Everymans, although it may have been another one. The cover was weird - a woman dangling a fish over her open mouth and that may have drawn me in, along with the obscure title. I listened to it. Well, when I say "I listened to it", that was in fact a lie. I *thought* I was listening to it, but all I actually heard was REM who for some reason were being siphoned over the headphones, drowning out the very strange little opening ditty "Pink Bubbles Go Ape."

I bought it, popped it into my walkman, actually *heard* that strange little opening ditty and thought "what the heck have I just bought?" then "Kids of the Century" began and I was instantly hooked. It was like a drug, a drug that fed me happy emotions and made me feel glad to be alive.

So, that is why I have chosen to start my Hs with one of Helloween's least popular albums.
Because it may not be popular, but it's AWESOME, and it helped make me into the person I am today. Well, that might be stretching it a bit, I probably would have ended up okay either way, but I do think music helped shaped me, and by breaking out of the sheeplike following of pop music, I started to develop faith in myself as an individual.

This was Helloween's first album signed to a major, mainstream corporation - EMI (having broken their contract with Noise - and the repucussions of that - then they were were later dumped by EMI due to poor sales), it also lacked the guitar mastery of Kai Hansen, having instead the skillful fingerings of Roland Grapow. More commerically aimed, it lacks the intense vibes of the "Keeper" albums, but it is still a damned good album*.


Also, I had a major crush on Michael Kiske, the vocalist. He's going on mid-40s now, and not nearly as sweet-faced and innocent (looking), but ever since I've had a thing for cleft chins. Heh.

I also purchased the CD version - which, sadly, does not include the lyrics. Of course, I know this album very well indeed, but it would still be nice to have them clarified for me.

"Pink Bubbles Go Ape" is a weird little acoustic ditty, replacing the "traditional" one (or so) minute rousing intro track common in power metal albums. It's funny, and a little nonsensical - is he singing about champagne? But quickly merges in to the rather more rousing and powerful opening chords of "Kids of the Century". The video for this is worth watching, as it makes no sense, it's so delightfully random - forks? Flamingos? Fried eggs? Also, Kiske is quirky and cute and the guitarists are pretty funny too. The song itself is rockin' with quite depressing and almost sarcastic lyrics. Of course, they're the kids of the last century.

"Back on the Streets" is also pretty jolly heavy, with Kiske's golden voice ringing out loud and clear like a proud, operatic bell. I have never found a vocalist that can quite compare and I'm not sure if that's because he's just really good or due to the influence Helloween had on my formative years.

We then take a bit of a rest with the inspirational "Number One", the opening chords of which still cause my heart to soar and me to crank up the volume. Even my mother liked this song (she also liked "Mama I'm Coming Home by Ozzy Osbourne, so she has reasonable taste, but only for ballads). The motto is a good one, if a little in your face:
"Now it's time for happiness, stay hard and trust your fate. Don't forget you're something else, you'll never be too late."
A good positive impression to make on the negatively-inclined, hopeless teenager that I once was.

"Heavy Metal Hamsters" is just plain silly. I find it highly amusing, but I'm not sure all of the band agree. It was written by Weikath, and is related to their dealings with Noise records, intended as a B side and not supposed to make the final cut on this CD. Oops. I kinda like it, but some of the fans treated it with outrage, as it was a little too quirky and fluffy (literally, I mean rodents?) for the hard-arsed metal fan.

As you will have realised by now, I am not a hard-arsed metal fan, and like a little quirk in my music.

"Goin' Home" is a good solid song, with roaring guitars, strong riffs and golden vocals. It's about being on the road, touring (with the band), and finally being able to go home. I suspect a lot of people consider the rock n' roll lifestyle to be amazing, but from all reports that I gather, it's damned hard work. It's a business, and it's exhausting, and you've got to keep those vocal chords polished, and your guitar fingers flexed and then, finally, you might get to go home.

"Someone's Crying" is another heavier number, getting off to a rather loud start with pounding drums and racing guitars.

I love "Mankind" with its bold beginning. Helloween have always been fond of epic songs, and this would be this albums equivalent, unlike earlier (and later) albums however, this one is a more real-world lyrically than the fantastical bombastic-ness of the majestic "Keeper of the Seven Keys" - which is one of my all time favourite Helloween songs. The chorus is symphonic and glorious.

"I'm Doin' Fine, Crazy Man," with its random, nonsensical lyrics is fun to sing along with, but not a great song by Helloween standards. It makes no real sense and seems to lack something.

The following song, "The Chance", despite being the only song on this album that the band actually  seems to likes and still performs, is pretty standard fare. The chorus is catchy enough, the guitars energetic, but it doesn't seem to quite inspire much in me.

I much prefer the much loathed ballad "Your Turn", in which Kiske's voice totally dominates with its energy and vibrancy, with a hint of longing. Sure, he makes mention of Mickey Mouse. Sure, that's not very metal. Who f**king cares? It's a beautiful song and it deserves better credit.

I think this is where I differ from the majority of Helloween's rabid fans - the let's-pretend-it-doesn't-exist follow-up CD to this one, "Chameleon" is one of my favourites. And the only one of their most recent (as in, this century) albums I actually like is the rather criticised "Unarmed" which in my opinion was pure GENIUS.

People say this album is not that great, that the creative genius left with Kai Hansen, but having listened to this album and Gamma Ray's first back-to-back, I would have to say - this one strikes me as being the closer to speed metal. Not that I really consider Helloween even marginly close to the raucous controlled chaos of speed metal. Also, they don't sound very power metal anymore - not when you consider now the multi-layered orchaestras and symphonies that make up modern day power metal. The evolution of metal makes for an interesting study indeed.

I would say that the only flaw with this album - aside from its quirkiness that turns the true-blue metallers away, is that it lacks the vibrancy and energy of the "Keeper" albums. It feels more polished, and possibly a wee bit sterile. It just lacks the dynamite - and I think that is partly because it came in after some massive upheaval amongst the band - the Noise legal issues, the inability to release a CD in the USA for two years, personality clashes between Kiske and Weiki (the follow-up "Chameleon" very much feels like a Kiske drive album) and essentially they've switched the innocent playfulness of the "Keeper" days for a more mature, more commercial endeavour. An endeavour, which possibly for the best, failed to make them big in the mainstream. So saying, it's still HEAVY and catchy and, well, I love it and I'm going to give it a jolly solid 9/10.


* Better than the bollocks they've come up with recently, in absence of both Kiske and Hansen.

Gamma Ray - Heading for Tomorrow (1990)

When Kai Hansen parted ways with Helloween in 1988, he went on to form the band Gamma Ray with his friend Ralf Scheepers (ex-Tyran Pace). This is their first studio album.

Hansen is a fine guitarist, and his majesty is writ all over this album, with its soaring guitar solos and twiddly chords. Scheepers has a decent voice, high, but with a rough edge. I have heard Tyran Pace, and their music was unextraordianry, but they were hilarious - since Scheeepers was parading around in a leopard-print leotard at the time. You've got to remember, that was 1985. Not a good year for fashion. Needless to say, Ralf Scheeper's is now burned in my brain looking like that!

We begin with a intro/instro called "Welcome", I'm not sure why most power metal bands of the late 80s/90s chose to make the first track only a minute or so long and not a real song - is it just to boost the track listing? I always feel a little cheated when of the 10 tracks on the regular release (mine has 3 bonuses), one is short - why can't they just connect it onto the first song? The two are joined anyway, one flowing into another.

"Lust for Life" carries the melody and power, along with the relatively positive message that I've come to connect with power metal. Catchy choruses, intricate guitar solos, a strong message -
"Loud and proud, we're going to say it now - live -life - easy, live - life - easy..."
 Enjoy your life, it's all you've got, after all.

This is followed up by the catchy beginning of "Heaven Can Wait" (not to be confused with the Iron Maiden song by the same name*), it has a slightly more negative bend to the lyrics and a somewhat sinister edge. The morals are good, however, and the message strong -
"The load upon my shoulder, makes me stronger, even bolder..."
This song has elements of true Metal Anthem - play it loud and proud! (As I shall when my husband leaves for work).


One cannot help but feel that the song "Space Eater" is about drugs. The semi-surreal and rather creepy video seems to match this theory too. It's a pretty cool song, regardless, with slammin' guitars (and the occasional twiddly bits) and the occasional low, slightly menacing vocals.

"Money" is a funny song, quite heavy, and exceedingly catchy. It also allows Scheepers to explore more scope with his vocals. Overall, Gamma Ray have used him with more versatility than Tyran Pace ever did. He has Kai Hansen for back-up, of course, and I'm not sure who exactly is singing which bit, as their styles are relatively similar.

Then we mellow up a bit with the stirring song, "The Silence". This is the most epic, the most powerful track on the album and less rock n' roll than the other pieces. The vocals are rousing, the music running perfect counterpoint to it.

"Hold Your Ground" gets back into the good solid rock song with pounding bassline, as does "Free Time" which is something of an anthem on its own. And one most of us cannot help but identify with:
"Free time is one of the things that I love... free time is one of the things I enjoy... "
'Tis a song about letting your hair down (easy for these guys, who all have curly 80s mops) and letting loose for the weekend. Yeah, "Free Time" is one of the things that I enjoy too.

And then we conclude with the epic title track "Heading for Tomorrow". With complex twiddly guitar bits, rousing choruses, mellower moments and a decent message.

"Look at Yourself" invites the listening to have some faith in themselves. It's a pretty basic song, basic message. Not a stand out piece by any means.

But this isn't the end, is it? No, despite the complete lack of any mention of it on the track listing, my CD has three extra songs:

"Mr Outlaw" is a rockin' number. The following "Lonesome Stranger" is most entertaining, as two men (who make me think of cowboys) argue over which metal bands they support. It has a somewhat Western vibe going for it, making me think of gun stand-offs and deserts, and an instrumental.

The final song, "Sail On" has a gentler, harmonic vibe, with repeated choruses and strongly evocative of a ship disappearing over the waves.

Gamma Ray are an awesome blend of the powerful and the fun - they hark from an era where music was about having a jolly good time (or at least, appearing to) and making the occasional point but in a manner that is neither preachy nor persistent, but more like saying "life can be great, just step out and grab it, go for it with all you've got." The vocals may not be quite as operatic and rich as some of the other bands, but the raw edge leads them a unique sound of their own, and the bridges and choruses are catchy enough to have them running through your head for hours, or for the listener to pick up on the second or third listen.

Play it loud!

A fine debut = 8/10

* or the Michael Jackson, Meat Loaf or Charlotte Gainsbury songs, a popular name, it seems.

Thursday, January 17, 2013

Freak of Nature - Freak of Nature (1993)

I am a big fan of White Lion, who regretfully broke up in 1992, shortly before I "discovered" them. Luckily, Mike Tramp, their golden-tonsiled vocalist, moved on to form this harder and somewhat darker band. Their lyrics are certainly more serious and meaningful - less of the Glam inspiration (ie: songs about sex and girls) here, and more of the darker side of relationships, more hurt and possibly more political stuff, although not so much in this CD. Essentially, a grown up version of White Lion.

Mike Tramp was born in Denmark (in 1961), and moved to America in 1982, before then living in Australia - giving him a rather strange blend of accents. His singing voice is strong, with an edge to it that works really well with the more melancholic songs - it is a voice that shows emotion. Interestingly enough, I had a bit of a crush on Tramp when I was younger, even though he is 16 years my senior, but even now pushing 52, he's still rather easy on the eyes. He has the most adorable cheekbones. Maybe I should take to drawing portraits of my favourite musicians.


This CD opens with the rockin' "Turn the Other Way", with its harmonic chorus.

"What Am I?" asks the ultimate question and answers with "... I"m just a freak of nature..." It has a solid rock beat and a catchy chorus, and a simple structure.

"Rescue Me" has a slightly aggressive start, pounding away before Tramp's voice soars over it, turning it into almost desperation, as he cries that he wants yo to "rescue me, oh rescue me". I would, Mike!

"'92" is a song that spoke to me a lot in my youth. I got this album in the early-mid 90s, when I was a teenager, afflicted with all the blights that teenagers suffer - low self-esteem, a general sense of awkwardness, a lack of close friends... Well, I DID have one close friend, but one day he up and dismissed me, and we barely spoke again. Hence the beginning lyrics: "What is it that I have done? To deserve a bullet from your gun. I always thought you were my friend, but I guess that I was wrong..." and of course, other lines like "I always knew the day would come, but never did believe..." is an apt one - albeit in a different situation.

"People" is a fairly basic song, with straightforward lyrics discussing the basic nature of humans and how some are negative and dishonest, and dismissing those - "They are people I don't like, they are shadows in my life. They are people I don't need, they will bite the hand that feeds..." Pretty good rules to live by, I suppose, if not exactly the most eloquent lyrics.

"World Doesn't Mind" speaks of how it doesn't matter if you're a little bit weird - you just gotta believe in yourself. Except in far more simplistic terms. It's a good song actually - straightforward lyrics, basic rhythm, catchy and a little bit sinister.

We get even more sinister in "Possessed". With its slightly manic rhythm and frantic lyrics, and just a hint of desperation.  It is probably has the most meaningful and impactful (is that a word?) lyrics of any of these songs, as it speaks of a murderer, damned forevermore.

We have a more melancholic number in "Where Can I Go?" which is essentially one of those "relationship angst" songs, about how hard it is to get by with this absense in your life. This is the sort of song that Tramp's voice is made for, with its edge of desperation and sorrow.

"If I Leave Today" delves more into ballad terrain. Here he is no longer mourning the loss of "you" but pondering instead whether letting "you" go is the right thing to do. Perhaps you would regain the opportunity to fly? It is a song of sacrifice, in its own way.

And the natural conclusion of the death of this relationship is revealed in "Love Was Here", easily the most melancholic and poignant song on the album, heavy with sorrow and loss.

Freak of Nature are an uncomplicated rock band, resplendent with the basic  instruments - Vocals, Bass, two Lead Guitarists (althouth their guitar solos are not especially complicated or extravagant). They have shaken off the Glam shackles of White Lion, and come across as more mature and serious. Their main charm is due to Mike Tramp's emotive vocals.

I give this album a decent 7/10*.

* Obviously most of my reviews will be 6 or higher - these ARE CDs I have forked out money to buy, after all - although yes indeed, I have made a few "mistakes" and they shall become apparent with time - probably when I run out of the "good stuff" for some of the letters of the alphabet.

Edenbridge - Shine (2004)

Once upon a time, there used to be a most awesome music store in town, known as "Real Groovy". Every once in a while, I would make my way along their aisles, flicking through the "Metal" section and select 2-3 CDs that for some reason or another caught my eye. Unlike JB Hi-Fi, in Real Groovy, you could listen to your chosen CDs and thus make a spur-of-the-moment decision to try a new band.

That was how I discovered Edenbridge.

It was in the time when Evanescence* were big, and I had discovered wonderful female lead acts such as Within Temptation and Nightwish, but always on the look-out for more. And I fell in love with Edenbridge.

One reason, I think, is because they just sound more cheerful than Nightwish and Elis* and Epica* and most of the other female-lead symphonic metal bands.

The vocalist, her name is Sabine Edelsbacher, is sylph-like and her voice is ethereal and operatic. There is an edge to it (and to the music that accentuates it) that makes my heart soar with energy and light and love.

The album opens with the inspirational "Shine". The music complements Sabine's rich voice, and is laden with positive emotion.

We move into "Move Along Home" with its opening Oriental sounding instruments, inspiring thoughts of Arabain Nights

"Centennial Legend" is beautiful and haunting, with an ephermeral quality.

 "Wild Chase" starts with traditional instruments, giving it a tribal, Indian, feel, before soaring into something that would best be described as folk-inspired metal.

"And the Road Goes on" opens with Sabine's sweet warbling. The lass has beautiful vocal range.

"What You Leave Behind" is followed by the slower "Elsewhere", with its piano accompaniment.

"October Sky" is a rather more powerful and heavier number.

The ethereal "Canterville Prophecy" leads into the epic "Canterville Ghost".

We conclude with the bonus track "On Sacred Ground" which is both haunting and ghostly, the sort of song that lingers in your mind after the last chord has faded.

Edenbridge  are a damned fine band, one of my favourite of the "female lead symphonic metal" genre - rich with emotion and a full array of more classical instruments, blending together to unleash a sound that is at once melodic and beautiful, haunting and ephermeral. I will give this album my first 10/10.


* Why, do you think, so many of these bands start with "E"? Is it to make my decision on which E CD to listen to first more difficult?