Thursday, February 28, 2013

Fish - Vigil in a Wilderness of Mirrors (1990)

Fish is a somewhat eccentric Scotsman, who started singing in Marillion before leaving them to undertake a solo project. His influences lie in the 80s and there is a sound of Genesis, Pink Floyd and other rock bands of that era in his music, along with a small smattering of the Celtic. This is his first solo album.

It has an interesting, rather 80s rock cover - depicting a man and a woman wrapped in rather strange attire and standing atop a tower of televisions, on each screen is a face - possibly his. In the centre of the booklet, you get to see the entire painting - and it is surreal - a city in the background, a hill covered in crucifixes, nuclear waste, soldiers, men in biohazard suits. It's totally crazy, like a demented collage. The sky above is a black and blue streaked twilight affair, in which at one point sun rays split the clouds and a satelite appears against the black.

We start with the haunting melancholia of "Vigil". Fish's voice actually reminds me a little of Phil Collins, but his songs are more emotive.

The next track - "Big Wedge" - is a rockier number, catchy rhythms and an even catchier chorus. You know, I always thought he was saying "big wave". This is a song with a social message - an anti-America message from the sounds of things. It's all about consumerism.

A pop-py opening to "State of Mind" in which we hear more of Fish's political views:
"I don't trust the government, I don't trust alternatives. It's not that i'm paranoid, it's just that's the way it is..."
Again we've got the Phil Collins-slow rock vibe going on here. The music plays a twiddly and playful counterpoint to Fish's voice.

With a slightly folk-esque vibe, "The Company" is one of my favourite tracks. The music is gentle, an accompaniment to Fish's voice rather than telling a story of its own. It has a dreamy, moody feel with a somewhat Irish feeling chorus.

Gentle piano, and soft strings usher us into the finest song on the album - the haunting and beautiful "Gentleman's Excuse Me". The melodies and lyrics are sublime.
"Do you still keep flowers in the bottom drawer, with your Belgian lace, taking them out every year to watch the colours fade away..."
To me, this is a song of innocence and fragility, and its fleeting nature.

"The Voyeur" is another rockier number, with a vaguely amusing, vaguely sinister air to it.
"I like to watch..."
It seems to be about the voyeur inside us all when it comes to television - how we like to watch video nasties, natural disasters and all manner of terrible and dramatic things happening to other people. So much truer today than it was in the 80s, too.

Back into rather serious issues - "Family Business" is a moody song, with an element of the spirited and angry - the main theme being domestic abuse hidden behind the house doors.

Another moody and melancholic start, "A View from the Hill" quickly takes a turn for the rockier, as the guitars come crashing in for the chorus, then fade out again for the verses.

"Cliche" is another hurt and bittersweet piece. The guitars seem laden with confused misery, the vocals filled with inner fragility. It's almost as though he wants to write a love song, but cannot find the words because "...the best way, is with an old cliche..." And this turmoil, this inability to express how he feels, is driving him into sorrow. But finally, he comes up with the simplest, and the best.

Whilst there are some rockier numbers here, the general mood of this album seems to be melancholic (I know I've used that word a lot, but I'm really feeling it in the music) and moody. It is haunting, and beautiful, the songs centred around Fish's powerful and somewhat distinctive voice (which makes sense, since the album is named for him, after all). The lyrics are interesting, sometimes insightful and overall I rank this album a 7.5/10.


Wednesday, February 27, 2013

Elvenking - Wyrd (2003)

I was initially planning on listening to Elis ("Gods silence, devil's temptation") this time through, but I am afriad that their music did not really inspire me. I felt like something a wee bit different.

And thus Elvenking it is.

Who are Elvenking? Well, they're a folk/power metal band from Italy. They were formed in 1997 by a couple of friends with a love of metal and folklore. Since then they have gone on to acquire a few other members, and release seven studio albums (I own three) and have become one of the most well-renowned Italian metal bands. They draw influence from Skyclad, but they have slightly less puns (although they do have a song called "Miss Conception" on another album).

This is their second album, and is gorgeous. The cover is beautiful with a lovely Celtic border, in the centre of which a tree person heaves himself from the earth. The art is  heavily inked and coloured making it appear straight from a storybook. On the back, a lion-headed trunk sprouts from the ground, whilst around it drift autumnal leaves and an eagle soars. Inside the lyrics are white on black overprinted above the cover images, the shadowing effect designed to make them easier to read.

Mine is the Limited Edition version with two bonus tracks, screensaver and wallpapers. I tried, and failed, to install the screensaver. Oh well. This is one of the many albums that I purchased, added to my collection, listened to once (did not even rip onto my computer playlist) and promptly shelved and forgot about it. I'm not even sure where I got it from, but it's probably another Real Groovy acquisition.

The vocalist for this one is a different one from "Heathenreel", his name is Kleid, and I believe this may well be the only album he makes with the band, before the former vocalist returns to reclaim his post. His vocal style is fairly similar, but a little more diverse. I probably should have reviewed "Heathenreel" first, but I felt this one deserved to be listened to. None of the band use their full names on the album cover.

The enchanting "Loser's Ball" opens the album - with acoustic instruments and clapping hands. A female vocalist adds her melodious voice to Kleid's lower tones.

It is followed up by the rather racier "Pathfinders", with fast paced instruments fading into more folk-orientated rhythms. This is a far more power metal number - excepting for the folk touches.

"Jigsaw Puzzle" is an energetic number. Every so often, Kleid's voice will soar off into melodic swoops and dives, before gliding back down and into the faster paced verses, then shouting as we get into the chorus.

Starting with vioin and electric guitar, "The Silk Dilemma" gives us a nifty folk/power fusion. It is quite reminscent of Skyclad. I've been listening to a fair amount of Skyclad recently (in my car, on cassette tape, therefore not yet for this blog) and I can certainly hear similarities between the two bands. Possibly its because there are very few folk/metal fusion bands. It ends with a bang and a clang.

The next track, "Disappearing Sands" is one of the two limited edition tracks. Unlike most bands, Elvenking have buried their bonus tracks in the album instead of sticking them at the end. A rather upbeat start sends us spinning in to this somewhat more metal number. There are touches of Helloween and Edguy here, culminating in chorused voices. Some of the vocals are quite aggresive and snarled.
"The tears in my eyes were like rain come from the gloomiest cloud."

"Moonchariot" gets off to rather a wild and chaotic start, with energetic acoustic guitar giving way to rather heavier guitar and bass, complete with a low and guttural growl and thrashing death drums. Then, as suddenly as it began, it switches into more wild acoustic guitar intermingled with rather gentle vocals. This dives into heavier again, before soaring forth as very melodic and magnificant chorus. The lyrics are quite spellbinding:
"I built a cradle for the Moon and from her chariot she grants my boon - I'll keep my promises, I'm sure she won't betray me."
Another fast paced, folk number is "The Perpetual Knot". Good rhythms, litling reels. Some nice melodies.

This sound continues into "Another Haven", along with what sounds a little like wind chimes. The combination of metal and traditional is deftly woven and beautifully constructed, the violin and other instruments adding an otherworldly, forgotten era edge.

"A Fiery Stride", one of the bonus tracks, starts with ethereal acoustic plucking, whilst over it the violins add their sorrowful voice. With a bang, the (not so acoustic) guitars come crashing in. It has all the melody and power typically found in the power metal genre, with its sing-along choruses and powerful vocals. The solo is solid and tightly structured.

A rather heavier number, "Midnight Circus" comes crashing in with fast guitars and slammin' drums. This is pure power, the folk dismissed in favour of more European traditional metal with solid guitar and the occasional lapse into pure melody. There's a bit of piano added into the mix too. Feels a bit like Edguy-meets-Iron Maiden, with a touch of Helloween.

The final track, "A Poem for the Firmament" is the compulsory epic piece, clocking in at over ten minutes long and divided into sections - Dawn, Day, Twilight, Deep Night. It starts with Dawn, the riping sky heralded by gentle acoustic guitar and strings as the sun's pale fingers split the dark asunder and cast their glow upon the land. The vocals are exquisite and accompanied by flurried guitar. Day breaks with dramatic guitars, before rising into a noon of melody and beauty. There are some moments of trilling speed metal.. As night falls, and twilight darkens the land, the female vocalist returns, her voice litling and melancholic. There are actually three different females singing on this album. The keyboards and guitars race in as darkness seizes the land. After a dramatic few minutes of the churning, wild Deep Night, dawn arrives again, bringing us to a soft and gentle end.
What a song! It is impossible not to feel the energy and vibrancy of this band, combined with the sheer diversity and melody. If you want one song to show how changes in pace, volume, intensity and instrument can effect the structure of the song, this would definitely be a high contender. It is the highlight of the album, and certainly deserves several listenings.

I enjoyed this album - and although some of the songs seemed a little similar to one another, I imagine with repeated listenings they shall develop their own personalities. Elvenking are definitely skilled at what they do and, more to the point - enjoy doing it. You can hear their energy and their enthusiasm in their rhythms. The recording is crystal clear and well mastered. It is not as heavy as the previous album ("Heathenreel").

I shall give it an 8/10.

My other albums are: Heathenreel and Two Tragedy Poets.

Monday, February 25, 2013

Dream Theather - Images and Words (1992)

Whilst talking to my brother the other day, we were discussing the difference between American and European metal, and I realised there were very few USA metal bands that I really, really liked. At that point, the only one I could think of were Queensryche and White Lion/Freak of Nature but now after some more thought, I would like to add Dream Theater and Savatage to that list. I was first introduced to Dream Theater in the early 90s, when we stayed in someone's house in Nelson. There had been a Japanese student boarding there, and he had left some of his albums. Most were Japanese pop/rock (which was rather pleasant, even with the lyrics all being foreign) and this album. Well, not this actual cd, as I did not steal it! After hearing them, I was hooked and one day came upon the record (vinyl) in our local store-of-goodness, Echo. As this predated eftpos cards, I had to run to the bank to withdrawal the cash. I returned just in time to see someone else buying it. Yes, I know, I should have asked the shop assistant to hold it under the counter for me. Anyhow, I eventually purchased it on cd from Borders, from the look of things, some many years later! And since I cannot currently play my vinyl collection, I suppose it is better that way.

Dream Theater began in 1985 under the name Majesty and hail from Massacusetts, America. They are still active today and have 11 albums under their belt - plus numerous bootlegs. They are one of the early progressive metal bands, similar in some stylings to Rush, but rather heavier. Their sound is rich and dramatic, soaring and proud, filled with complex stylings, keyboards and elaborate structures. The vocals are of the higher register, but vocalist James LeBrie has a crystaline and glorious voice, never shrieking, never screeching.

The album cover is beautiful - a small girl with thick curly hair and a white nightdress standing in an elaborate bedroom - with four post bed, vase of flowers and, slightly offcentre, a floating heart wrapped about with barbed wire. Above, the ceiling changes from the decorative trim of the bedroom to a cloud-swept sky, as though the bed will snatch her away into another world of wonders. It folds out instead of being a booklet, and there is a panoramic photo of the band, standing before some sort of arch, all very purple. On the other side can be found the lyrics.

"Pull me Under" begins with the gentle guitar chords, giving way as the keyboards roll over them in glorious synthesized sound, rising in power. It is almost two minutes in before LeBrie's voice rises like a sunlit storm. A little repetitive, it draws to a very abrupt ending, cutting off mid word.

A slower and more melodic number, "Another Day" stirs the spirit and ignites within a small spark of bittersweet hope. The saxophone adds its melancholic voice to the melody.

The intro to "Take the Time" is rather more dramatic, as the keyboardist is given rein and the bass churns in. The vocal style is different: faster, lower whilst around it the keyboard swoops and soars, then the voice too soars reaching to the skies. The sheer diverseness of the music, the complex arrangements between keyboard and guitar, vocals and drums make you realise how truly difficult it must be to compose music and brings the piece into glorious life*.

Piano and keyboards dance together and we're "Surrounded" by their delicate sound. LeBrie's vocals are a gentle caress, building into something a little more lively and brimming with goodwill and positivity. This song, in particular, reminds me of Marillion. The rising keyboards, the celebratory rhythms.

"Metropolis pt 1: The Miracle and the Sleeper" is a spirited and energetic song, with complicated keyboard structures, creating an evocative and imaginative symphony. The lyrics are poetic and beautiful.
"Love is the Dance of Eternity"
Heavy bass brings us into "Under a Glass Moon", another complex and deftly weaven symphony of keyboards and guitar.

Another slower moment, "Wait for Sleep" is exquisite and gentle. The keyboards are vibrant and alive, their sound etheral.This continues on into "Learning to Live". It is quite a mellow, peaceful song, but an inner current of inspiration and the dramatic flairs through it.

In conclusion; a lovely, dynamic elaborate and beautifully woven album, definitely deserving of 7/10.

* If there is one thing I am learning from this listen-to-all-my-CDs project, it is how the combination of various instrumental "voices" and arrangements can truly create a mood - from the slightly discordant and unsettling (Confessor), to the tense and frustrated (Tad Morose), and also to the positive and uplifting (most of my other stuff). There is a lot more to music than I have really appreciated previously. It used to be that I concentrated mostly on the vocals, but there is so much more to music than the voice.



Saturday, February 23, 2013

Confessor - Condemned (1991)

Confessor are one of the most depressing bands I know and this was one of the first CDs I owned - picking it up second hand and presumerably pretty cheap. This is the music I would listen to, loudly, when I was feeling at the most miserable low point of my teen angst cycle. I remember, screaming and sobbing along with the lyrics to "The Stain" and also carving the word SUFFER into my upper arm. The scar still remains there 'til this day. So, I am not sure whether listening to this CD will be like a nostalgic trip down memory lane, or perhaps more like a ripping out and crushing of my inner soul. The old me, the teenage me, is long gone and my hopeless thoughts and assorted depression has been replaced by a more optomistic, hopeful me. But... I wonder - is that inner, tortured teenager still there, trapped deep inside of me, waiting for the right cue to release her?

And if not, will I be able to listen to an entire Confessor CD from beginning to end.

Unlike many of my listenings, this will not be a repeat performance - some I have listened through twice before reviewing, this one I think will be a struggle for once. It's not that Confessor are bad, just that they are so melancholic, so bleak and brooding and filled with utter hopelessness, each song dripping with despair. And the vocals are kinda a bit painful too.

Let's see how it goes...

To date they have released only two cds - this one in 1991 (they broke up soon after, then reformed in 2002) and Unravelled (2005), along with several EPs and self produced "garage" albums. According to Wikipedia, they are also considered progressive metal, and of course are doom and gloom. 

The cover suits the music, by being disturbing and bleak - a man, muscular torso bared, blindfolded, gagged and tied. Around him, a jagged mass of lines and what appears to be a bloodstain behind his head. Inside, the lyrics in a strange and spiky font, the band looking long-haired and slightly menacing - the sort that if you met in the woods you would be wary of.

The lyrics? Well, I'll deal with them as I listen to each songs.

The CD opens with the grinding "Alone". The drums and bass are a chugging wall of agonised steel and wire the vocals the shrill screech of a lost soul. And my CD... it skips! The rugged zit-zit-zit of the CD struggling to play through the multitude of scratches (it's second hand, remember) somehow seems to add to the doom and gloom. Or maybe it's actually supposed to sound like that. It seems to be struggling through, regardless.
"Dying for help, I hear their scream to end their frantic dream..."
Now it is time to "Prepare Yourself" to die. The drummer seems to have a mind of his own, and it sounds like he's playing on a hand drum and the agonised tortured instruments can only be matched by the vocals - as sharp and shrill as a razor. I didn't think he could get any higher, and then he did. I believe this is an anti-religion song.

Indeed, the drums are almost tribal - sounding like raw skin pulled taut over the drum. Not sure where the "prog metal" tag comes from - maybe their later stuff. "Collapse into Despair" - the title says it all. The guitars chug along in a weird and slightly demented little off-cord rhythm of their own. Musically, it's very evocative.
"Darkness confronting all my dreams, wasting away towards tomorrow's pain."
Then he starts singing lyrics that aren't even printed on the sheet. Hrm... hoping there's nothing subliminal in here!

What is this? A title with a positive spin? "Defining Happiness" - no wait...
"The pain of rejection dwells in the present. Never to forget yesterday, always wonder about tomorrow) what's the deciding factor? What determines happiness?
The vocals aren't too bad, if you consider it like a razor slicing through the chugging rhythms. There's even a vague attempt at a nice swooping  verse or two, but the instruments are just ever so slightly discordent which feeds the uncomfortable, tense atmosphere.

"Uncontrolled" suits its title. The music is jerky and disconcerting, perhaps the tiniest pitch off key. The drums sound like they've been recorded in a basement the chug-chug-chug of the bass pounds into your psyche and the vocals jerk and shriek like a tortured mannikin. The lyrics seem more philosophical than hopeless:
"Born to live in your state of confusion. Life's only illusion visionary dreams of logic penetrate the unconscious. Unproductiveness, worthlessness."

The skin drums have been replaced by something somewhat more organic sounding, as it throbs in with the bass of "Condemned". The vocals are really distorted and twisted here, stretched and pushed and jerked about like that crazy tortured pupped on the strings. It's all intentional of course, to create a discordant, not-quite-unpleasant but certainly disconcerting rhythm of jerky, broken craziness - like dreams splintering into a thousand broken pieces. The song stops and starts with seeming abandon. Stuttering and chuggering along. I'm starting to wonder now if it was even skipping in the beginning or if that was entirely intentional.
"Difference of opinion my way is not like yours. Difference of opinion that doesn't mean I'm wrong."
 "Eve of Salvation" has some coherancy to its melodies. Not much, for sure, but it begins with some and then degnerates into another jerky, disconnected, tortured melody.

The next track is my favourite - if you can consider anything "favourite" on this tortured, painful, hopeless and brutally razor-edged album. I remember sobbing into my pillow, screaming along with the equally miserable lines of this broken, disturbingly beautiful song - "The Stain".
"Today I lost my will to live, it simply spilled out on the floor. Next to a pile of broken dreams. I didn't realise until I saw the stain."
It's like poetry macabre. It has a long and suprisingly smooth intro, the vocals rising, tortured misery. Even they seem stronger here, slightly lower pitched, and the chorus is .. kinda stirring, in a depressive way:

"Pain has been my dearest friend - it was always there for me when my dreams crumbled"
It's beautifully bleak. I actually really do still like it:
"Without hope there is no need for pain, so now I have nothing. nothing!"
Quite frankly, you could pretty much throw away the rest of the album and just keep this brutal, tortured masterpiece.

 Yeh, and then with "Suffer" we're back to the discordant, twisted, jerky and irritatingly high vocals. I do love the fact that there is the line: "Judgement of the marionettes" because I kinda feel like that is what this music is - a marionette, broken with tangled strings and disjointed limbs.

In a way it's beautiful, but the vocals do get on your nerves after a while, and despite the extremely good, poetic and disturbingly bleak "The Stain" the rest of the album is pretty much forgettable.Thus, I'm going to give 'The Stain" a 9/10 and the rest of the album 4/10.
Which would technically give it an average of 7/10. But let's ignore that and just listen to "The Stain" again.

Well, I survived, and with no physical - although maybe the slightest bit of aural, damage.

Bathory - Blood on Ice (1996)

It seems fitting to follow Avantasia up with something equally atmospheric and epic - one of Bathory's earliest concept albums, "Blood on Ice". This tells the story of a boy, aged 10, whose village is destroyed by a terrible beast. He is the sole survivor, and makes his home in the forest, learning the language of the beasts. Until, one day, a one-eyed man comes upon him in the forest and informs him that he has been chosen as champion of the Gods and must fight their battle in the shadows beyond the world. To aid in this quest, he is given a sword (probably tyrfing) and an eight-legged steed, sleipnir and will be guided by two ravens (Huginn and Muninn). Before he can achieve this goal, he must gain some supernatural powers - which seem to be acquired by purposely maiming himself (losing his heart and his eyes). Then he is given wonderous powers, and heads to Hel to take on the two-headed beast that slaughtered his family.

This is a brilliant classic, which was recorded in 1989 but not released until 1996 because it was considered not quite appropriate for Bathory's sound. After the success of "Hammerheart", however, and pressure from the fans, it was finally remastered and released to reasonable acclaim.

The cover is stunning, and very blue - depicting many things - the eight-legged horse, a swordsman with no eyes (and oddly pointed ears) which I assume is the hero, a snake, an old wise man with a cauldron, an army riding black horses, wild Nordic scenary, a hooded figure with four wolves and in the centre - a sword, wrapped in orange flames - the only other colour on the page. Inside we have a lengthy explaination behind this album and many other things that were going on in Quorthon's life (including the release of his solo album, helpfully entitled "Album"). Then the whole thing again in a language that is possible Norwegian, but could also be German. Then, the lyrics - also in both languages.

"Intro" opens the CD with a herd of sheep and a great menace looming on the horizon, narling and the solemn beat of drums indicating impending doom and tragedy. Then, stampeding hooves, something wicked this way comes. The sheeps bleating becomes more desperate, the ominous beats continue... Shouting voices and we crash into the epic but ominous "Blood on Ice". Choirs and doom-laden drums add to the menace. For a band with so few members, Bathory certainly manage to create a solid wall of sound - it's like a great rolling avalanche moving with slow but steady desolation.

A beautiful and acoustic number, "Man of Iron" (which he prounces i-Ron) brings forth the spirit of the forest and the trees. Our hero grows older, learning the language of the animals and never giving up his desire to seek revenge for his peopl. Quorthon has a truly lovely voice when he sings.

A rather more sinister and rapid "One Eyed Old Man" enters the forest, and tracks down our hero in this tumultuous, wild and frantic piece.The rhythm is surprisingly melodious. Production seems a little "gluggy", however. It ends with a prophecy and a promise.

"The Sword" is a wild and raucous ride, more reminscent of Bathory-of-old. It seems our hero has received a particularly important weapon - one forged in fire and ice. Now is the first stage to his vengence and his future as the Chosen One.

His second "gift" is "The Stallion" and this track is heavy ubt flowing, like the immense and powerful horse, white as snow, with eight legs that can "run as if you carried wings".

His journey begins with a visit to "The Woodwoman" a strange being that:
"...she leaves no footprints in the snow..."
I love this song. It's haunting, and eerie, with beautiful vocalisations (with a touch of the raw and rough) and a good narrative. The production seems clearer here too,  a clarity lacking on some of the earlier tracks. Another almost-ballad where the guitar and the background noises speak of icy mountain peaks, and forests buried in snow. Here he exchanges his heart (has it placed in the pit of a snake) for the ability to take a mortal wound.

But the self-dismemberment does not stop here, for now he continues on to "The Lake". Another immense, heavy, multi-laden track with great heaving waves and turbulent waters. Into this lake, he throws his eyes which grants him the ability to see from within.

Now that he has no eyes and no heart, it is time to call upon the "Gods of Thunder of Wind and of Rain" to aid him in his task. This is another steamroller of sound, with epic structure and again totally makes you feel like you're out there in the glaciers,standing with your arms outspread and staring with empty eyes up at the raging, tumultuous clouds.

"The Ravens" is a slow, short number, hauntingly beautiful and oh my, Quorthon can actually sing pretty jolly well. Huginn and Muninn are his eyes in the sky, guiding him to Hel to face his destiny.

And finally he has his "Revenge of the Blood on Ice" - an immense and impressive thunderous epic that runs for almost ten minutes, and ends with the lost spirits finding their way to Valhalla.

Overall, I do not like this album as much as "Twilight of the Gods" or "Hammerheart" but it is still an epic venture. The sound is a little rough and raw, despite being remastered and re-edited and it feels somewhat to me as though he would be more befitting of being on vinyl rather than CD. It is powerful and intense and deserves a rating of 8/10.

I have just found out/been reminded that Quorthon was found dead in his apartment on June 7th (he had died 4 days previously),  2004, of suspected heart failure. He was only 38. RIP Quorthon, one of the most noteable men on the black metal scene.

Friday, February 22, 2013

Avantasia - the Metal Opera pt II (2002)

The story of Gabriel Laymann, the Druid Vandruiy and all the others continues in "part two".
The cast is also much the same, except this one also involves Bob Catley of Magnum as the "voice of the tree".

This one has a much more amusing cover - as it features the cast. Although I do rather wish that they had chosen to base the characters off their vocalists, because seeing Michael Kiske as the bearded, helmetted druid would have been hilarious. Maybe I shall have to do that myself. The figure at the back - Gabriel - could look a little like Tobias - from behind. The dwarf could be Kai I suppose. The others are all pointy-eared and therefore probably not part of the main cast (although I'm guessing the fellow at the front is Elderane).

Here's a picture someone did of Vandroiy.

"Seven Angels" opens with the haunting choirs of the Believers (not the band). The three "bad guys" are disbelieving of their failure, whilst the hero - Gabriel Laymann, is whisked away to the beautiful city of Sesidhbana. This song is epic, as we have come to know and love with Avantasia - some slow and mellow bits, monumental builds, great guitaring and sophisticated drumming.
And very long (fourteen minutes).
But you hardly notice, cos it changes styling and vocalist so many times you start wondering if its changed tracks and you've not noticed.

In "No Return" Vandroiy and Gabriel sing in harmony again, celebrating the beauty of the city in which Gabriel now finds himself. To add to the awesome male vocals, we have Matos adding his touch as well. Three of my favourite vocalists in one song... oooh, it's enough to give me chills! Anyhow, Gabriel decides he wishes to laern more about this spiritual world in which he has found himself.

Elderane is prepared to help and sends Gabriel to find the Tree of Knowledge. So, in "The Looking Glass" Gabriel makes the journey to the tree that speaks with Bob Catley's voice, and gets somewhat more confused, because the tree is rather cryptic... (and has somewhat broken grammar too)
"As long as you long for the whole, you can't get a part of at all
How proud would the buildings of Rome look without all single stones"
This is a faster paced, catchy song - rather reminscent of Edguy, actually.

Piano leads us "In Quest For". Here the Tree of Knowledge sings. He still has broken grammar "you're accused for heresy"? Hehe, you're singing a duet with a tree, Gabriel. Anyhow, he looks into the tumultuous waters of a lake and sees someone that resembles his aged mentor, Jakob. no wait, it is Jakob - but as a young man. It's a nicely mellow piece, and a good bit of a calm before the storm that is "The Final Sacrifice", in which we learn more about Jakob's past.Having heard this song an hour ago on the other album, I don't feel I need to say much mroe about it here.

Meanwhile, a bishop, a monk and a priest are lost in "Neverland".

Contains such awesome lines as:
"I know less than all but more than many who know less..."
It sounds a little like Gabriel is taunting them...

More piano leads us into the gentle "Anywhere" in which Gabriel finds himself thinking about Anna again, and also about how he wishes to free the part of Jakob's soul that was caught in the lake.Sammet is pretty good with the ballads, his voice isn't quite as sweet and pure as Kiske's, but it is definitely powerful and emotive. He doesn't share this song with anyone.

Taking his new goals to Elderane, he learns how to free Jakob's soul from being rtapped under Rome - where it is kept captive in "The Chalice of Agony" and guarded by a fearsome beast. Gabriel and Regrin set about this mission using the seals to open the gate. They release the souls and usher them in to Avantasia. The beast comes awake and ravages at them, Gabriel escapes but Regrin perishes.
(Poor Kai - why is it always the dwarf that is considered less important to the plot?).
As far as songs go, it's pretty catchy - nicely melodic and fast paced.

At this point, Gabriel is sent back to the real world. He's been away a while - I hope Vandroiy has been watching his body well. In "Memory", Vandroiy convinces Gabriel to head to safety, whilst he will rescue Anna. He hires some men and goes there to find that Jakob (soul restored) is waiting there to help him. Together they rescue Anna, but in the process Vandroiy is killed.
(And now Kiske - why are you killing your metal idols? Or their characters, anyway).
It's heavy and fast, and kinda dramatic in parts.

And Anna mourns Vandroiy in the next song - "Into the Unknown". She finally gets to sing again!
Now we get a lovely duet/ballad between Gabriel and Anna and a melodious conclusion to a magnificiant project and an epic album.

Brilliantly conceived and well organised. Sure, the plot is a bit crazy, but it's many steps better than Skylark's confusing concept album, and so masterfully cast that who cares if its a little bit cheesy.

I'm gonna give this 10/10 too, and then maybe listen to the first track again.

I think I feel some fanart coming on...

Avantasia - The Metal Opera (2001)

Tobias Sammet's Avantasia would have to be one of the most awesome projects this century. His idea - to get together a group of guest musicians - with many superstars of  the European Metal scene and produce an album. And oh, what an album it is!

I remember when I first heard about it. I don't think I have ever ordered a CD so fast, nor been so impatient waiting for it to arrive. Oh, the ripping off of the plastic, the laying it in the cd player (I'm not sure I even had a computer then), hearing it for the first time...

This album is, in one word, EPIC.

Here's the Cast:
Tobias Sammet (from Edguy) as Gabriel Laymann
"Ernie" as druid Lugaid Vandroiy*
Kai Hansen (Gamma Ray) as Regrin the Dwarf (a dwarf! Ha, go Kai!)
David DeFeis (Virgin Steele) as Jakob the Monk
Andre Matos (Angra) as Elderane the Elf (perfect, he does have the voice I would associate with the elven-kind)
Oliver Hartmann (At Vance) as Pop Clemes IIX
Sharon Del Adel (Within Temtpation) as Anna Held
Bob Rock as bishop Johann Adam von Bicken
Ralf Zdiarstek as bailiff Falk von Kronberg
Timo Tolkki (Stratovarius) as the Voice in the Tower
And playing the instruments:
Henjo Richter - rhythm and lead guitars
Markus Grosskopf (Helloween) - bass guitar
Alex Holzworth - drums
Frank Tischer - piano on one track
Norman Meiritz - acoustic guitars on one track
Tobias Sammet - piano, keyboards and orchaestration - because he's THAT awesome
Jens Ludwif - lead guitars on a couple of tracks

Wow, quite a star-studded line-up! From what I understand, Markus and Kiske got on okay, despite Kiske's earlier "divorce" from Helloween. And he and Kai still get on well, and have banded together once more.

The cover is pretty awesome. There's witches and jesters and spooky woods and a very cool emblem in the centre. Very High Fantasy. Inside are the lyrics and a rather lengthy synopsis of the album's plot, which I should really read some day. Like Right Now would be good.

Okay - before the Metal Opera begins, Gabriel is working as an inquisitor with Friar Jakob. He has been commended for getting confessions and so forth, and has been summoned to see the latest suspect - which turns out to be his stepsister, Anna, who was more like a real sister to him.

Could she really be a witch?

He seeks advice from his mentor, Jakob, and finds Jakob in the library. Jakob is acting a bit suspiciously, and has acquired a new book. A sinister book. Troubled by this, Gabriel later sneaks in and sneaks a peek at it. It is Old. And potentially Evil. And has a message at the back from a druid called Lugaid, addressed to the witch, Else, whom has recently been condemed. Also, a cryptic message about Rome that he doesn't understand. However, after reading the book, Gabriel finds his fingers permanently marked - and it turns out that the Friar had booby-trapped the book. Thus has Gabriel broken his trust and thus is to be arrested.

When they come to take him away, the old Friar says nothing just stares at the floor in silence.
And that is where the story begins:

Like all good Euro metal albums, we have an atmopsheric instrumental "Prelude" to welcome us in.

Then it rips into the inspiring "Reach Out for the Light".  Imprisoned in his dreary cell, Gabriel watches as his cell-mate paces, and together they share their stories. It turns out, his companion is one of the last Celt druids, no less than Lugaid Vandroiy. This is a duet between the two, aka Kiske and Sammet. Together their voices combined are a powerful force - especially with a chorus behind them. Noone has a voice like Kiske - it is quite unmistakable.

In the next track, "Serpents in Paradise", Gabriel begs forgiveness - from Else for her death  and worries about Anna. He pleads Vandroiy for help. This intersects with Jakob taking the stage, himself awash with  guilt over his betrayal of the novice, whom he loved like a son. This is a rather more aggressive song, filled with tortured anxieties.

In "Malleus Maleficarium" things take a turn for the sinister as Gabriel remembers Else's trial - of how she was threatened and killed. The music swells ominous and poisonous around the hiss/snarled vocals.

It splinters and unleashes "Breaking Away", which also brings Lugaid back on stage. Another epic and inspiring song. Realising that the only way to help Anna, and themselves, is to escape, Vandroiy and Gabriel stage a daring escape, the old druid knocking out the guard and the two of them fleeing the castle. However, Vandroiy urges him that they cannot rush straight to Anna's aid, and he must, for the time, bid her "Farewell" in a beautiful, and haunting, combining the three finest vocalists on the album -  Sammet's slightly raw edge lends itself well versus Den Adel's sweet tones, and Lugaid provides back-up vocals, softening Sammet's edges. Sadly, Den Adel is under-used and this is her only track on the album.

Meanwhile, in Rome.

Another heavier and nastier sounding number, "The Glory of Rome" brings the bailiff and the bishop together as they welcome the addition of Jakob and his book. Secret documents have been located - secrets revealed. By bringing seven seals together - the seals of Holy books, then ultimate wisdom, illumination and truth shall be revealed. The racing drums and snarled edge to the vocals suggest that it is not a kindly conversation.

The seals are brought together, and a new door opens, into the creepy and haunting little passage of "In Nomine Patris", over before it really begins.

For, Avantasia is, as you may have guessed, a spiritual world - not really Heaven, because it's a bit more fantasy-esque than that (although I suspect itmay be a kind of Heaven for Tobias) and it can be entered in two ways - spiriutally, by having your spirit transcend through a special place (and probably a ritual too) or physically - which is what happens should all seven seals be put together.

Therefore, many miles away from Rome, Gabriel and Vandroiy are in the forest. They have just been attacked by bandits and left for dead. The only way they can help Anna, Vandroiy declares, is if he sends Gabriel's spirit to Avantasia (a dangerous enough endeavour) and he'll stay behind and make sure nothing happens to Gabriel's body, which will be left in the forest glade.

And thus we enter into the most valiant song on the album - "Avantasia". Combining the master vocals of Kiske and Sammet once more. Yeh, I'm biased. I love Kiske. So what.

A short and haunting passage heralds Gabriel's journey into "A New Dimension".

Now that he's "Inside" we have elves. And dwarves. Regrin the dwarf finds Gabriel and takes him to visit with Elderane, prince of the elves and head of Avantasia. Matos has a beautiful clear voice, that rivals Kiske's for clarity and perfection.

Anyhow, something dark is brewing in the beautiful, once-peaceful kingdom of Aina** Avantasia - Ancient Evil forces have mobilised a large army and they are reaping Terror and Destruction. In "The Sign of the Cross", Gabriel is required to join the humans and take back the seal to prevent all the nice creatures from being forgotten and vanishing***. No word on rescuing Anna. I hope she's just been forgotten and isn't being tortured for witchery as we speak. No, wait, all the bad guys are already in Avantasia, so I guess she's safe for now. This is a song with FIVE vocalists - on one hand we have the three "good guys" - Regrin, Elderane and Gabriel, on the other side we have the bishop and the pope. It's a pretty epic song.

Meanwhile, back in the real world, Vandroiy is pondering the purpose of "The Tower". If all the seals are taken to the tower, then Avantasia will be forever locked. He also has a mental connection with Gabriel and pushes the young man to follow the path as the Avantasians suggest and not run off after Anna. Gabriel is a bit perplexed about how helping Avantasia can help Anna. So, I think the bad guys (the pope and the bishop) are trying to seal Avantasia forever and the others are fighting to keep it "open".

This is another complicated song, where a great deal is made about "the voice" in the Tower. Is it the voice of God? No, it's Timmo Tolkki but as the main guitarist of Stratvarius, maybe Sammet considers him a god. No wait, it appears the voice in the tower is "their father, they had broken with, because he had wanted to bring chaos to earth." So he's a devil?

Multiple vocalists, epic scale song, complicated structures and ever changing rhythms weave a damned fine symphonic power metal song.

Anyhow, it appears that Gabriel steals the seals off the Pope and runs away, dodging and weaving until he gets snatched up in an elven flying machine and thus Avantasia is saved.

Jakob bemoans:
"How could the stranger steal the seal away? Was it my fault? OR was it noone's fault?"****

...but Anna is still captive, so I guess we'll have to buy part two as well...
Actually, sod it, I'm not going to go straight on to B, I'm going to listen and review it now, because I want to know if they rescue Anna and I can't wait another 20 or so cds to do so. Plus I wanna do Aina next time round. Or Ayreon. Why are all the metal operas starting with "A"?

Then we have "Avantasia" again because it's so awesome that you shouldn't even need to flip tracks to hear it again. It's the edit version - so it's one minute shorter, not sure if there are any other differences. They should have got every vocalist to do a verse.

It is followed up by "The Final Sacrifice". This is an angry duet between Gabriel and Jakob. From the lyrics, it sounds like Gabriel has cast Jakob into Hell. I'm not overly fond of it.

Get ready for the Brimstone, getting blisters on the eyes.
The power of the spirit was their final sacrifice.

Anyhow - a damned fine album, very complex and masterfully composed and arranged by young Tobias. It's kind of funny to psycho-analyse this actually - he has portrayed Kiske and Defeis as sort of "father figures" to his young novice, and Kiske in particular is probably one of the most admired voices of metal - even if he wants to break the ties with metal and become a Rock God instead. So, one cannot help but think that perhaps this was why he created the character of Vandroiy. It was a grandiose project, and one that came to valiant fruition - and he has gone on to create further Avantasia metal operas - not just the sequel to this one but many others. They even toured! I would dearly, dearly love to see Avantasia live (with Kiske, please with Kiske).

I couldn't possibly give this epic masterpiece anything less than 10/10.

* For reasons of his own, Michael Kiske did not wish for his name to appear on this album. Possibly because he did not want to be considered to be getting back into metal. Not that his voice isn't instantly recognisable anywhere.

** Whoops, wrong metal opera, we'll do that one next time.

*** Directly quoted from the booklet. I wish someone could have done that on Earth so that we could still have some of our lost "nice creatures".

**** "...Stranger steal the seal..." wonder how many times he tripped over those words. And how come he didn't recognise his own novice?

Watchtower - Control and Resistance (1989)

I began today on Operation: Preserve cassette tapes. A few months ago, I purchased this awesome stereo from Dick Smith: Philips AZ1852 (which I see are currently on special for $99, almost tempted to buy a second!). Now, the funky thing about this stereo - which is really rather similar to what they used to call a "Ghetto blaster" is that not only does it play cassette tapes, but it also has a slot to stick a USB stick in and records your cassettes as MP3s. Since I have approximately 3 times as many cassettes as I do CDs (and that's a LOT), this seemed an ideal way to salvage them before the rigours of time claimed them.

It was too late for some - a couple had already succumed to mould, including a Black Sabbath one I was looking forward to hearing again - and others - like my Non-Fiction album, are currently MIA. Luckily I already either own all the bands from that that I liked, or ripped them in a previous project involving headphone cables and Audible. I'm still using Audible, as it is easier to record the entire side of a tape and then divide it up rather then run back and forth hitting stop and record. Especially since there seems to be a delay, and if you push stop-then-record too close together it doesn't record. Also, if you let the cassette stop naturally, it doesn't seem to store it either. Nevermind, I didn't have the whole of "Sanity Assassin" on that cassette anyway - and I DO have it elsewhere.

Today, after several cassette rips, it claimed its first casualty:  Xentrix's "Dilute to Taste". Oh, it has been years since I've heard that horrible crackling and loss of sound that fortells the chewing of a cassette tape and makes you leap to the stereo and try to salvage it. I couldn't - I almost had to cut it to free it, but the stereo seems none the worst for wear and it's not like Xentrix are any good anyhow. I was only thinking of listening to it for "X". But it's not worth the pain that I will have to go through to listen through it!

Anyhow, ramblings aside:
Today's album is another that I first acquired on cassette tape but later purchased on CD for the kingly sum of $9.95 via Echo Records (RIP). It is, alledgely, a special import from Australia. But I guess noone wanted it, which is why it was so cheap. Good for me!

Watchtower are an 80s Thrash/Progressive Metal band from Texas. Their original vocalist, Jason McMaster, went off to join Dangerous Toys (a rather more glam act, alas, not sure what happened to our DT cassette) and they then obtained Alan Tecchio from Speed band, Hades (I have a Hades CD too, you'll eventually get it reviewed here). He later left to join Non Fiction (whose cassette I appear to have misplaced), was later replaced by McMaster, and then returned in 2010 before leaving again.
The cover is kinda nicely done - it's an illustration of a tower, and some arches, with a radiation sign upon them. Most of the cover is purplish-blue and scratched up, with the title being a stark red against it. The limited palatte is quice effective. It does, however, look very 80s. There's a rather cartoony, angry dog on the back. Lyrics inside, and a band illustration in which they all look very young and pretty, with their long, permed hair and posing. They look like they must be in their early 20s at most.

The comparison between American and European metal is quite interesting. Watchtower are loud and aggressive, with jarring, bold basslines, shrill-edged guitars and rapid pace. The vocals are high, a sort of shrieking-snarl*. Ultimately, Americans seems angrier. Their lyrics are more "real" too - dealing with real world social issues rather than the sword-and-sorcery approach of their European counterparts.

The album opens with the powerfully fast, "Instruments of Random Murder". It is based on the Tylenol Terrorist - in which batches of tylenol were laced with cyanide and caused the death of 7 people. Angry, aggressive and of rapid pace:
"We must question the motive of a killer
who kills without vengence, without apparent reason
and leaves death upon the innocent"
"The Eldritch" is epic and forboding. It was the first Watchtower song I ever heard - on the video compilation "Doomsday News". Intense vocals and possibly one of my favourite lines ever:
"Imagination overpowers reason."
Another hectic, frantic, angry song thrumming with tension is "Mayday in Kiev" which is about the Chernobyl Diaster of 1986. The lyrics are very mature with lines like:
"As deadly elemental isotopes spew into the biosphere"
I believe that is the only time I have ever heard "biosphere" in a song. I could be wrong on that though!

And what should we follow that up, but with a song about war and "The Fall of Reason". A slower more ominous start with some nice twiddly complicated guitar bits, adding to the disconcerting, slightly discordant feel. The structures are complex and intriguing.

"Control and Resistance" begins with irratic guitar intermingling with screaming-shrieking vocals. The tensions are high throughout this song, and it is very complex. Watchtower have achieved highily skillful, complicated progressive metal without the addition of keyboards, and without slowing the pace. I am impressed at the way they music weaves itself. I just wish the vocals were a little more variable.

Continuing with the serious themes, "Hidden Instincts" is about brutal crime.The song is equally relentless.

With an erratic beginning, "Life Cycles" settles into a rather smoother passages. I do like some of the messages of this:
"Like the lines on a biorhythmic chart, between the lows the beauty lies. Don't take your failures to heart."
Particularly appropriate since I've just suffered a (admittedly rather minor) blow to my artistic ego and am afraid I am soon to face a worse one.

The album concludes with "Dangerous Toy" a clamorous, cacophanous speed-infused song about not so much a toy as an electric chair. The music is almost like electricity, the guitars exploding up and down in their rifts, whilst Tecchio's shrill warble shrieks over them.

To conclude - a little too much in large doses. The music is complex, riotous and filled with interesting little "twiddly" bits and melodies. The vocals get on your nerves after a time, if only Tecchio could bring it down a pitch or two, perhaps more like he does nowadays. The lyrics are damned fine and quite intelligent, earning this a 6.5/10.

* Tracked down Alan Tecchio on MySpace - now he sings at a lower pitch and sounds more like Dio - great voice!

Thursday, February 21, 2013

Viper - Coma Rage (1995)

This was kind of a bungled purchase by me. I had heard great things about Viper, whose vocalist was labelled as a "younger, more energetic Michael Kiske" and they were considered one of the early power metal bands.

So, I pounced on this album when I found it, bought it and brought it straight home and put it on.

And thought "What the?"

This is a punk album. Probably the only punk album in my collection. Certainly, the complex guitar rifts are still present but alas, Andre Matos (the vocalist) is not. He left before "Evolution"* leaving Pit Passerell to do the vocals for this one.

You might be suprised to find I kinda like this album, even if the original reaction was "this doesn't sound a thing like Helloween! Oh well, it's not half bad, actually."

For some inexplicable reason, my windows media player things it is "Angel's Fall First" by Nightwish. I have no idea why, I guess the metadata is just messed up.

Anyhow, the cover is kinda blah - a head, mostly in silhouette with a target directed at the forehead (like the ones you get with those scope rifles). It looks cheap. But the production of the album is actually pretty decent. The songs are really short too, so I'm gonna have to type real fast to summarise each one - or listen to them twice. Lyrics are kinda simple too.

We open with the rip-roaring "Coma Rage". A tumultuous and joyfully aggressive track. The drums race the guitars, whilst the Passerell bellows the lyrics:
"Coma rage gonna rise every day!"
Then it's time to chug and thrash "Straight Ahead", whilst the guitars churn their rhythms and Passerell shouts.

More churning and chugging and the shout of "GO" leads to racing drums, this time they're racing the vocals as we speed into a song about death, by drugs - "Somebody Told Me You're Dead". It seems oddly celebatory, but that might just be because it's so damned fast.

The next song is called "Makin' Love".
It starts with a spoken introduction:
"Hey Baby, wanna go out? Wanna go out Honey?"
(What's with calling the boyfriend "Daddy", that's just disturbing.)

Could it be a song about love? No wait, it's a song about STDs:
"Everybody around the world is getting sick, yeh. Makin' Love. Bad hearts bleeding!"
And another fast-paced, racin' punk song as we "BLAST!" into a riotous cacophany of tumbling instruments, with a surprising catchy chorus.

"God Machine" thrashes in at a more stolid pace. It's not nearly as frantic or riotous and is... anti-religion:
"I don't care what you believe if god machine can make me rich"
This evolution of Viper seem to be all about the negativity and the nihilism.

Another quicky, "Far and Near" has a relatively catchy, shouted chorus but doesn't really do too much for the imagination.

"The Last Song" offers something a little different. It starts slower, almost haunted, then the nihilism and anger floods in and engulfs it. The verses a slow, depressive, the choruses raucous and catchy.

Another rampant and angry, and rather masochistic song - "If I Die by Hate" proclaims:
"Will you forgive me? Bury me burn me alive. Enslave my brain. Blind my eyes, it's alright"
Another racin' punkish number with angry lyrics - "Day Before" is followed by the tribal sounding "405 South" which consists of nothing but drumming (on tribal-esque drums) with guitar whining over it.

"A Face on the Crowd" starts with slamming guitars and the bang-bang-bang of the drums. Vocals are distorted and somewhat interesting. Still angry, still violent. Nice bit of melody for one line of the bridge. Then it's thrash-bang into the shouted chorus.

Now for a song you'll all be familiar with - it's a cover of the "I Fought the Law". Which was not originally by The Clash, by the way. It's not a bad cover, and seems to have more energy and less anger than some of the other pieces.

And they saved the best til last - "Keep the Words" is an actual kinda ballad! Far more reminscent of the quality of "Evolution", although not quite on par as "Theatre of Fate." Pits actually has quite a sweet voice when he's singing, not shouting.
"I travel the world trying to get high. Now is the time to say 'Goodbye'."

Well, as far as punk/thrash metal goes, it's not bad. As far as Viper goes... it's weak compared to the power of "Theatre of Fate" and pales beside the thrash of "Evolution". This is more reminscient of the rather dull American thrash scene and lack in diversity and imagination.

So even though I said I kinda liked it - I'm still gonna only rate it 5.5/10. It's pretty average.
(I uped it by 1/2 a point for "Keep the Words")


* Hrm, I have "Evolution" on cassette, I shall have to compare it with "Theatre of Fate" (also on cassette), I haven't listened to it in a long time, and I didn't realise it didn't have Matos! I shall have to see if I can find them. I know where I used to keep them!

Wednesday, February 20, 2013

Tad Morose - Sender of Thoughts (1995)

Tad Morose are a Swedish progressive metal band that formed in the early 1990s. This is their second album. Their music blends Heavy Metal with keyboards and epic rhythms in a style reminscent of Rainbow and bearing some semblance to Power Metal - but not quite as fast paced as most of the other european stuff from this era (like Italian bands Rhapsody and Skylark). This is also one of the Black Mark cds that first started appearing in local stores and even in the libraries! So, I at first hired it from there  until I eventually picked up a copy for $14.95* - it still has the original label on it - it was from the CD Store in town - one of the many that have now been swallowed by the ravages of Itunes and earthquakes.

The vocalist for this album is Kristian "Krille" Andren. After this album he departed, doing some time with Memento Mori** (replacing god Messiah Marcolin )  and then spending some time with Wuthering Heights before joining Bloodbound.

It has an intriguing cover - almost all of it cast in shades of red - Egyptian style statues line the back, before them a levitating ornate picture frame, in which a blue face with bright red eyes gazes out. It looks as though liquid is leaking from the base of the frame, forming a droplet that has cascaded outwards, rippling to the edges of the cover.

I have no idea who designs these album covers, or where their inspiration lies, but I've seen some weird ones whilst writing this blog!

Inside, lyrics superimposed over grainy pharoah faces and other scenes taken from the cover and cast in monochrome. The band  do not look amused, as they gaze sideways out of the rear page, glaring at the fellow that dares to take their photo.

Now, onewards into the music.

Keyboard's delicate tinkling leads us into the heavy bass of "Fading Pictures". Kristian's voice soars across it, powerful and strong as it swoops into the chorus.

"Sender of Thoughts" opens with keyboards and pianos, before cascading into a sound not unlike early German speed metal (such as Paradox and Rage) and then swelling into the more progressive vibe again. After this for a short time, Kristian's voice breaks the keyboard with delicate, almost longing tones. Around the music soars and swarms.

Another epic and heavy song is "Morning Sun" with its bold guitar and sturdy rhythms, fading out into keyboards.

A somewhat mellower number (kind  of) is "Lost in Time" which starts with aching piano and then swells into melancholic guitar and bass. It is not a ballad - not even close, however, as the music continues its steady, strong progress.

Also throbbing with restless tension and hopeless emotions, is "Different Eyes". Which proclaims:
"I want to live again, trying to make things right...."
Not so much aggressive as laden with heavy frustration and thrumming with feelings of hopelessness. A desperate desire to change things, to fix the past, but a frustrating inability to achieve that goal.

"Time of Silence" is more of the familiar - heavy with restless desires and edged with tension and a little frustration. "Forever Gone" is likewise similar.

Neither "Circle of Souls" nor "Here After" offer anything new to the mix. They both begin with heavy bass (and a little keyboard), the guitars and more keyboard coming in and then, finally, the vocalist joining them.

It is "Gates of Babylon" that is probably my favourite of the album. Starting with high, echoing keyboard given it a haunting, magical feel. The guitars come chugging along in, and the vocals join them in this fine cover of a Rainbow classic. It just feels more lively, more alive, than the earlier albums. I think it is a slightly faster pace and the music less laden with tension and restlessness.

The chaotir, crashing piano of "Netherworld" is a discordantly wonderful instrumental to end the album. Very short, it is over within a heartbeat.

Tad Morose are a decent band  - their sound something like a combination between the progressive, keyboard-y power of Dream Theater and the heavier bass and solid rifts found in thrash metal, with a touch of speed. Kristian's voice is a powerful force - mostly of medium to relatively high pitch, but more operatic than a screaming howling banshee. Too slow and steady to qualify as speed, or even really power metal, and the basic structure and pace of all the songs is more-or-less the same, making this quite a repetitive album, especially when trying to break it down into tracks.

But overall, a pretty good album and definitely worth 7/10. I would like to see a bit of variety in other albums, however. I wonder how Memento Mori sounded with him***?

* This may not sound very cheap to you Americans, but in NZ most new cds are $29.99 and upwards, so it was a bit of a bargain. I consider anything under $25 to be a good deal. This has, alas, lead to most serious music buyers purchasing their discs from overseas - which is also helped by the strong NZ$, and means that the local stores lose sales, and thus have had to close down one-by-one-by-one. Now there are maybe five CD stores in the entire city - two Marbecks (used to be the CD Store) and three Pennylane Records (which sell second hand as well).

** Memento Mori and Hexenhaus are, as far as I'm concerned, the same band. They both changed the line-up so many times that the only anchoring feature was guitarist Mike Wead.

*** Damned good! They're a faster pace and his voice is a little more variable. I might have to listen to some more!

Sunday, February 17, 2013

Skylark - Gate of Hell (1999)

This is the Divine Gates, part one (yes, I have part two as well).

Skylark are an Italian Power Metal/Symphonic Metal band that formed in 1994 and are still active today.

This album is very attractive - and not just because it has a naked lady on it - walking towards the gates of Hell, a cloak draped across her arms (but not her entire back) and trailing behind her like wings. Before her, a scary face carved from wood or rock, staring at the ceiling. Inside, the lyrics, in a font that is very fancy - but difficult to read. Ther eis also a cast list, meaning this must be a concept album (makes sense, given that a, it's called "part one" and b, they ARE a power metal band). So I shall henceforth refer to the singers as "The Divine Speaker, White Warrior, Guardian Angel, Lady of the Light, Princess of the Snow, Belzebub, Satan, The Divine Spirit and The Unknown Spirit. We also have the Divine Gladiators. They seem to be a choir.

Right let us being our aural journey into the Gates of Hell!

Firstly, the Divine Speaker offers us an "Intro". His accented voice explains that the world was being torn asunder from natural forces, and one man had the power to stand against him.

Now it is time to "Welcome" the White Warrior. It begins relatively slowly, as he converses with the Divine Gladiators, before the keyboards and guitars herald us into the song, our hero is gathering his weapons, armour and resolve and striving forth. Mighty rhythms, high spirits, uplifting music.
After all, he has the Dragon's sword by his side.
Hrm, the lyrics make sense, but the English is a little broken.

The harpsichord seems to indicate that he is riding a horse of delicate stature and poise, whilst birds soar about him and he picks up the pace.

We rip into "The Triumph" (which seems a bit premature this early in the album). There is something very positive about this European Power Metal. The high vocals, the elation in the music - bot the guitars, the keyboards and the harpsichord - even as our hero is striving to fight for his various causes.
"...My mission is the Triumph, so I will cross the dasrk room until my senses will approach the Golden Gate..."
(see what I mean by the broken English?).

"Belzebu" begins with a cascard of harpsichord and galloping drums. After a lengthy and rhythmic passage, filled with small triumphs and lots of keyboards, the White Warrior finds himself  facing Bezelbu himself. Not surprising, he is not a very nice person. Or being.
"No man was born able to fight me..."
I believe the White Warrior may be about to meet his match.

Melancholic and loaded with the mournful voice of the harpsichord, the Guardian Angel steps in to ask "The Last Question". It is a haunting, melodic piece.

Disaster strikes! Bezelbu rampages upon the scene with a shout and a cacophany of drums and brings upon the world a most devasting "Earthquake!"  Along with a storm of guitars, warring as the sky and ground are torn asunder.

In the aftermath, the Guardian Angel walks through the torn and tattered, ravaged and ruinous landscape and mourns the calamity that has struck the world in "I Can't Find Love Tonight". Another track loaded with melancholy and a touch of longing.

Now is the turn for the White Warrior to fight back - but oh no, for "Satan Arise" (although he pronounces it "satin arise"). A powerful song, with raging guitars and storming drums and much turmoil, over which the keyboard soars.

Now the Guardian Angel faces the White Warrior and asks him "Why Did You Kill the Princess?" which brings to me the question - what princess?  When did he kill the princess? Both the Guardian Angel and the White Warrior have similar voices - singing in a higher register, and I find it quite difficult to differentiate between who says what. The song is classic power metal, with complex rhythms, dropping into slow melodies and then rising and soaring once again.

Now a magic lift appears, with the Princess of the Snow upon it (is she the one they were discussing the killing of? I'm so confused! This storyline makes no sense). It is time, it appears, for the White Warrior to step upon this "Lift for the Sky".

Presumerably to take him into Part 2 - the Gates of Heaven.

In "Dance of Stars" he must ride this magic lift through the stars in order to fight the beast, reach Heaven and fulfil his destiny. Whatever that is. Another epic, rousing power metal song with a hint of triumph:
"I have to leave the Earth , give me my chance to start so I will save the world, no more demons, no more war."
Okay, so the story doesn't make a lot of sense (and is rather cheesy). The vocals could do with a bit more variation, maybe some lower male voices to play some of the roles? They all sound rather alike, excepting for the sinister "Bezelbu" and "Satan" voices, but the music is triumphant and powerful, energetic and rousing. It's appealing and oddly joyous and the harpsichord adds a nice touch. Compared with fellow Italians, Rhapsody, it's fairly light weight, with not quite the overwhelming, symphonic layering, which gives it a fresh, almost innocent, playful feel. It seems like these guys are having fun. The production isn't great, and some of the percussion sounds a little tinny, so I shall rate it 7/10.

Saturday, February 16, 2013

Ritual - The Hemulic Voluntary Band (2007)

What can one say about Ritual? They are a not very well known band from Sweden who amalgamate folk and rock with a touch of progressive. They have released very few albums, and although they have a website, they do not appear to be updating it regularly.

I think if I were to give their music a sound, I would call it "Goblin rock".

What drew me first to this album was the cover - which features some rather weird little critters playing instruments. Several songs are based on the moomin series by Tove Jansson. The cover is quirky - and right up my alley given that I love things a wee bit weird and whimsical. The booklet is a delight - from the charming cover to the interior illustrations - which include the lyrics - including one in the form of a tale (based on one of Jansson's picture books) and the whole thing is designed to look like a book.

In style, their music is very quirky and kind of "organic". The sounds are slightly disharmonious, a little higher in pitch than you regularly get, with quirky little rhythms and reels. Like the dart of insects. It is very, very, easy to imagine the band to be these relatively formless, long muzzled beings.

I cannot remember when I bought this album, but I cannot help but feel that it inspired the gnome species in my novel "A Midsummer Knight's Quest". Heh, fancy that.

Instruments listed include: clavinet, harmonium, grand piano, rhodes, irish bouzoki, hammer dulcimer, recorders, whistles, nyckelharpa - I don't even know what half of these are!

The first track is the "Hermulic Voluntary Band" with its quirky, organic rhythms and a small dose of additional chaos. Erratic beats and little trills make it feel slightly discordant.

"In the Wild" is a slightly more refined number. The vocals are a bit smoother and the music somewhat restrained, although still prone to darting off into unexpected little rhythms. It fades into some rather sweet piano and then the rather discordant guitarish instrument takes over like a darting, swarming, biting bee.

A somewhat melancholic and rather quirky ballad, we have "Late in November" - which has recorders. This is from Snufkin's perspective.  Snufkin strikes me as rather an introspective nomad, who cherishes walking in the late autumn.

The is a sense of the ominous in "The Groke" as she stomps on in in a rhythmic march, bringing the winter and death with her. Her presense is ominous, and the music portends to this, but there is also an edge there - perhaps she is not so much evil and nasty, as just misunderstood?

"Waiting By the Bridge" is a poppy, lively little number. It is about Moomintroll waiting for his friend to come and take him away on a grand adventure. It is filled with cheer and hope.

Now we have the final track - and it is so epic it is longer than the other songs put together, clocking in at a massive 28 minutes. "A Dangerous Journey" opens with a cheerful rhythm and begins the tale of a young girl called Susanna, who seeks adventure.
"Life was so humdrum and always the same."
That is, she sets down her glasses and has them stolen - and replaced with another pair - a pair that change the way she sees the world (and grows her cat into a monster-cat). Here the tone changes, taking on an ominous edge, as the cat races away into the forest. She follows, and finds a swamp filled with ominous creatures and then a barren sea shore. Where can cat be? Things turn strange as she comes upon a peculiar pair. Things turn more sinster as, nearby, a volcano erupts.Whilst the lyrics are quite ominous, the nature of the music still makes it all sound very upbeat and exciting. Rather a contrast.There is a brief bit of dramatic tension coming towards the end of the track as they are pursued by a monster. But luckily a balloon swoops down and snatches them away to a pleasant valley where they have a picnic.

Oh, and the cat comes back.

For originality and quirkiness of sound, Ritual would easily rate a 10/10. Alas, for all their charm and whimsy, the music is just ever so slightly discordent and can be irritating if played too loudly or too many times. So I'm going to have to give it a 7/10.


Queensryche - Operation Mindcrime (1988)

This is probably the most epic and well known of Queensryche's albums - the concept album "Operation Mindcrime". Some have suggested it was inspired by George Orwell's "1984" but the plot summary is quite different. A sequel was released in 2006, but I do not own it and have never heard it.

 The cover neatly portrays the dystopia theme - with a lot f angry looking people - fists raised, above them a woman with her mouth open in a silent scream. Across the middle, a skull superimposed over a heart graph. All in stark black, white, yellow or red, which gives it the look of an old paperback book. Inside, the lyris are all rammed together one song into another, in a nice black against white font that makes them easy to read, even though you do have to squint a little.

The album opens with "I Remember Now" in which our protagonist, whose name is Nikki, in hospital. The nurse gives him a cursory glance-over, berates him for being and declares that "perhaps you need another shot". In the background, the radio mutters something about how the police have a suspect in custody regarding something political.
"Sweet dreams, you bastard."
The nurse mutters, as she leaves him to his memories.

We then rip into the powerful "Revolution Calling".  Disappointed in the state of contemporary society, and all the corruption, riots are brewing.

In the middle of this, Nikki received a phonecall from the mysterious Doctor X:

"...the Man with the cure"
Addicted to drugs, and with nothing more to lose, Nikkie is lured in to joining "Operation: Mindcrime" as an assassin, a combination of mind control and his addiction transforming him into a puppet. This is a catchy and powerful track.

Outside, the riots continue and the people "Speak". A somewhat more progressive number, with a sinister edge.

We are introduced to Mary in "Spreading the Disease" - a prostitute who is saved from the street by a rather corrupt priest named Father William. There is an edge of anger to it.
"... take her every night... on the altar like a sacrifice.."

"The Mission" starts with Nikki seeking forgiveness for his crimes, and finding solace in friendship with Mary. With slow, haunting and maudlin desperation, then becomes fused with anger and determination. However, Dr X sees Mary as a threat to Nikki's continual obenience and thus he lays down a challenge:

"Kill her, that's all you've got to do."
"Kill Mary?"
"She's a risk. And get the priest as well."

Nikki sets out to complete his task in the haunted "Suite Sister Mary" - Beginning with ominous choirs and low, despairing vocals. Nikki does not wish to kill the only friend he has. He kills the priest easily enough, but Mary is another matter entirely. This is a song of desperate choices. It climaxes into a confrontation, a duet of two voices, entangled in a bitter, desperate debate. It is probably the most epic and complex song on the album, with choirs and drama.

Unable to kill her, the two conspire to depart the organisation.

But "The Needle Lies" and there can be no escape for Nikki. When he returns to Dr X, stating his decision, he is mocked and scorned,
"...the Needle keeps calling me back..."
In this fast paced, almost pure speed metal number. Solid riffs, straightforward structure.
Confused, conflicted and in a sense of frustrated rage (as reflected by the music), Nikki storms off to find Mary.

She is dead. He cradles her body in "Electric Requiem". Wonders - did he kill her?

His mind is a turmoil, confusion. He runs through the streets calling her name. "Breaking the Silence" with his screaming.
"...look for your face in the neon light, you never answer me...."
This song has an almost anthemic feel.

Alas, his rather public performance attracts the attention of the police, and he is caught, subdued, a gun discovered on his person. Immediately, blame for the death of Mary (and the priest) falls to him and he is thrust into jail, bemoaning "I Don't Believe in Love":
"...it's never worth the pain that you feel..."
 Another desperate, pleading song. I remember screaming along with this song in the more angst-ridden parts of my youth. The rapid tempo beat adds the frantic feel - like the soul is being ripped apart with your denial.

"Waiting for 22" is a mournful guitar instrument, a song of wanting, longing, and waiting, waiting for your fate to be decided. Waiting for all the blame to be laid upon your head. The guitar not-so-gently weeps.

And then the clock ticking marks the hours. The hours spent waiting in "My Empty Room".

Finally, dragged away and convicted of murder and political insurgence, Nikki is thrown into prison, where
 "...every night my dreams return to haunt me..."
He has lost himself - and now he only sees the "Eyes of a Stranger". A melancholic, but powerful conclusion to this album.

So, who actually did kill Mary?
Well, a search on google revealed the probable answer to me. So, if you feel the urge to find out - you can do that too.

This is probably Queensryche's finest album - it's a rock opera, and one of similar grand style and plot to Savatage's many. Indeed, it may have inspired some of Savatage's (I'm not sure at which point they began doing concept albums, I guess I'll find out with my "research" here). The storyline is interesting, the songs dramatic and varying and overall it is an outstanding album.

So I shall rate it 9/10.

Friday, February 15, 2013

Power Quest - Wings of Forever (2002)

The coolest thing (for me) about this album is that MY NAME IS IN IT. Well, not my real name - but the online monniker I've been using for the last 13, or so, years. Seriously, it is. I was having conversations via email with keyboardist Steve Williams. Nice guy. Anyhow, he put my name in his "thanks to" as joining the Quest. So I had to buy the album, didn't I?

A bit of history - Many, many years ago there was a very good New Zealand black metal band called Demoniac. Now, I don't really like black metal that much, but Demoniac were actually really good. Well, the two songs  that were played on the radio were: "Hammer of Damnation" and my favourite - the "Celtic Sword of Iron". (I have to say, my recording quality is equally crap and it was taped from the radio - I guess they were recorded in a basement). Anyhow, Demoniac moved off to England and three of their members joined up with some other blokes and became DragonHeart. Some time later, Dragonheart severed into two - merging with other musicians to become Dragonforce and Power Quest. I have albums by both*. Dragonforce sound like they're trying to break some sort of speed record. Power Quest are likewise pretty jolly fast.

Just for the record, Steve Williams is not one of the New Zealand members.

Because they are power metal, they should help improve my slightly maudlin mood (it's a damned good thing I'm not up to "C" and listening to Confessor, I have to say).

But first, let us admire the rather attractive digipack, which I shall slide from the sleeve and unfold, removing the little booklet so that I can admire my name. Because, well, it says "Lemurkat" inside it. It really does - right down there near the bottom of "Steve Williams thanks..." Found it? Okay, now we can study the cover - which appears to depict a one-winged angel in skin-tight leggings, with chest thrust forward, he is using a dead woman to shield him from a lightning bolt. He seems to be standing in the tsingy of Madagascar. It is all moody and I *think* he might actually be trying to ressurrect her - but who knows?

The lyrics are in this archaic style font that is actually really difficult to read. Looks nicely medieaval and authentical but oh, my eyes! 

The CD opens with the epic and rather stirring "Prelude to Destiny" with its rising symphonies and screaming conclusion, before it takes flight into the fast-paced "Wings of Forever". The vocals are strong, and of melodic pitch. The chorus stirs and swoops and glides whilst the drums beat a frenzied rhythm as they try to keep pace, the guitars skillfully weaving and diving around the vocals.

"Far Away" is Power Metal by the Book - polished riffs, catchy rhythms, vocals of a high(ish) melodic pitch. A general sense of swelling power and wellbeing that rises in your heart and sets your soul to soaring. There is something very inspiring and invigorating about the way the keyboards interact with the guitar and the vocals and the drums. One can almost imagine mountains rising blue-tipped to the sky, whilst dragons soar and glide on the wind currents.

 Steve's in fine form on his keyboards in the opening bars of "Glory Tonight". Another polished, powerful song with nicely triumphant lyrics:
"We'll all find some glory tonight"
Oooh, nice keyboard solo, folloewd up by a thrilling guitar solo. How many fingers does that guy have? Surely smoke must be curling up from them?

"Power Quest part 1" is another sophisticated, stylish and polished piece.

"How will I know what I'm searching for, living my life uncertain. Who will reveal what's behind the door? Or must the quest continue."

Then we fly fast "Beyond the Stars" which declares that "Forever the Quest must go on". Slamming drums, roaring guitars, soaring to the skies. It almost feels like the drummer favours that one drum. I'm not sure what it's called, but it's of a higher pitch than the others and bam-bam-bam. Very nice keyboard solo there, Steve.

Now, about time for a power ballad as we fall into the sweet tempered piano of "Immortal Plains". Good rousing choruses. Not quite "Glory to the Brave" but still, a heart-stirring piece.

And if you're feelin g a wee bit melancholic, then "Follow Your Heart" will draw you out of it, urging you to do just that - and your dreams will come true. It's an inspiring, hopeful song. The sort of song that makes you feel capable of achieving almost anything.

WIth a slightly sinister edge, "Freedom of Thought" reminds me of another song, the drum rhythms being ever-so-slightly familiar. I can't quite put my finger on it however...

We fade out and conclude this album with the aching guitar chords of "Distant Lands". One cannot help but feel the sun set, the life and light draining from the land and shadows rising to cast it all into gloom.

Smooth polished, epic power metal.This album is pretty much flawless in its representation of the genre. It is an album that stimulates the soul and invigorates the imagination. The vocals are high, but pleasing to listen to and the only thing I found a bit distracting was the pounding percussion line, which is so very rapid and reptitive, of much the same pitch, through many of the songs.

I'll give it 8/10.

Thanks Steve!



* but not by Demoniac, because I never realised they had released one. And now that I have, it is likely impossible to obtain (like any Lung**, Nine Livez or Push Push cd).
** Hey, I found Lung on YouTube too! No video but at least I can hear the sludgy, gluggy old NZ sound - now NZ music is all clean and polished and no longer sounds like it's recorded in a basement. I have no idea whose dog that is.

Wednesday, February 13, 2013

Ozzy Osbourne - Ozzmosis (1995)

Well, Ozzy Osbourne needs no introduction, but I shall give one anyway.

Born in 1948 as John Michael Osbourne (perhaps his parents were 'Peter Pan' fans?), Ozzy became famous in the 70s as the vocalist of heavy metal forerunners, Black Sabbath - and renowed for living the ideal rock n roll lifestyle of sex, drugs and heavy metal. In more recent years he has become a reality tv star famous for his litany of curse words; shambling, mumbled speech and rebellious teenagers. Of course, the whole family have amtured somewhat now, and probably about half of what we saw on screen was pure Hollywood. I never watched the show - finding it almost an embarrassment, but my brother has read Ozzy's biography and reports him as being an intelligent fellow.

His solo career took a less heavy flavour than Sabbath, more melodic and radio-friendly hard rock. He released a number of solo albums and I own several of them.

In High School (in the early 90s) we had to do a project on a famous person and I chose Ozzy. This was a lot harder in those days - before the tv show, the biography or even the internet, and my research consisted of old fashioned media such as books, my copious collection of metal magazines and a couple of video interviews. At that stage Ozzy was more famous of bring the somewhat creepy guy who bit the head off a  pigeon in a meeting with his recording studio. He also bit the head off a bat in another incident - but he thought it was fake (someone threw it on stage, the sick b**tard). He had to get a rabies jab for that one! It was an effort to find the names of his children, let alone any information abotu them (unlike now, when one only has to pick up the weekly mags).

I saw Ozzy live in Wellington a few years ago. It was pretty exciting, but Ozzy seemed to consider himself a little too "high and mighty" compared to early acts in the evening, like Poison and lacked the stage presence. Also, he kept shouting "I can't hear you" to the crowd - which admittedly was not as big as the promoters would have liked, but possibly it was because he is going deaf - the curse of all musicians that do not take proper precautions when being around very loud music. And the bane of music fans that attend too many live concerts too! (That's why I limit myself to a couple a year).

Anyhow, on to this album. The cover is a monochromatic affair, featuring the silhouette of a naked man, with teeth and eyes superimposed across his body. Inside the cover folds out, revealing the lyrics on one side, and various moody photos of Ozzy and assorted oddments on the other.

The album begins with a track about detective "Perry Mason". It starts with a melancholic orchaestral arrangement (sounds like strings, but could be a keyboard) before cracking into this well-paced rock song. Ozzy has a very powerful voice - soaring and melodic, but with a razor edge to it.

 Again the melancholic orcheastral arrangements, slower this time, as we move into the moody "I Just Want You". It has a powerful feel, but the lyrics seem a little lacklustre:
"...I'm sick and tired of being sick and tired, I used to go to bed so high and wired..."
Still, it is not like Ozzy is a young man anymore and this album perhaps reflects a more mature, subdued attitude.

Delicate guitar ushers us into the power ballad "Ghost Behind My Eyes". The music is very polished and quite atmopsheric, but it is quite a lightweight song, very radio friendly. One cannot help but feel that Ozzy was going through something of a nostalgic, wistful time when he wrote this one.

The base thrumms us into the industrial sounding* "Thunder Underground", the music as apt as the name, for it almost resembles a great train booming along the tracks.

 Another mellow number, "See You On The Other Side" is another melodic song loaded with melancholy and a little longing.

A slightly eerie opening welcomes us into the echoing first verse of "Tomorrow". A slightly heavier track but still somewhat edged with darkness and longing.

This feeling continues onwards too, in "Denial". There is a slight urgency to the vocals, the music a somewhat uneasy churning rhythm. One cannot help but feel the words they're hearing.

I have always suspected  "My Little Man" is about Ozzy's son Jack - who would have been about ten when this album was released. Somewhat repetitive lyrics, and a little sickeningly sentimental.

"My Jeckyll Doesn't Hide" picks up the pass a little, with the vocals moving more into urgency and getting closer to the Ozzy we know and love.

Another ballad - this time with piano, is "Old LA Tonight". It's a lovely power ballad, but seems decidedly un-Ozzy.

In conclusion, this is quite a gloomy album. Most of the songs are slow, melancholic and steeped in a sort of wistful longing, tinged with nostalgia, as though Ozzy were being brought, rather reluctantly, to face reality and grow up. The song arrangements are nicely done, and quite emotional, but it lacks the energy and passion of earlier albums. All in all, it feels a bit lacklustre. Also, I am in a bit of a gloomy mood at any case, and I think it is feeding that glumness. I should really be listening to something a bit more upbeat.

Even though I really do like the tunes, I'm going to give it 6.5/10.


* No, it's not the genre known as "industrial" - just industrial sounding - like a train. Okay? And not a train tooting, but a train chugging.

Sunday, February 10, 2013

Nightingale - Breathing Shadow (1995)

Another in my Black Mark collection.

Nightingale is Dan Swano of Edge of Sanity with his guitars, a keyboard and a drum machine.  I believe in later hours he acquired an actual backing band, but this entire album was recorded over 7 days in January. Essentially Swano had a fascination with goth rock (esp the Sisters of Mercy), and thus decided to spend a week or so recording an album. This is the result.

And you might be surprised to find, it is actually pretty good.

Packaging wise, it looks as cheap as you would expect a CD made in a week would look - red skulls gape out from the otherwise black cover, whilst the name "nightingale" sits above them in one of those ugly shadow fonts. Inside, a simple fold with over saturated colour and red font on black that renders it kind of difficult to read. Actually, it looks like the only working colours in the printer were black, red and blue. Hrm...

First track, "Nightfall Overture" opens with a swelling of keyboards and, combined with, the preprogramed beat of a drum machine a fairly artifical sound. Swano's voice, however, is lush and low, although also to reach slightly higher pitches. The music is variable and interesting and does not sound entirely programed.

The drum machine kicks us into "Sleep..." with its regular beats - beats that could be straight from the Sisters. It is repetitive, and somehow also hypnotic.

Picking up the pace slightly, is "The Dream Reader" which has a rather nice swooping bridge and quite a lot of keyboards. Like "Sleep" it is quite a hypnotic sound, very pleasant to listen to. The keyboards bring it to life.

"Higher than the Sky" has a slightly heavier beat, and a very nice keyboard melody. Makes one think a little of gliding through the sky, soaring around clouds and rising on thermals. Peaceful, almost serene.

Finally, some guitar - acoustic guitar I believe, adding a far more authentic touch to "Recovery Opus." It's something of a ballad - and seems to be about how the narrator has recovered from insanity. Or have they?
 "It's a mess here in my head... so I'll do what the voices say..."
I guess not...

 "The Return to Dreamland" is an actual instrumental - or possibly Swano didn't feel like singing along while playing his guitar. And there seem to be actual drums - unless a drum machine has a "drum roll" function? It's a slow paced, dreamy number with a few faster moments.

Probably the finest track on this album is "Gypsy Eyes" which is one of the few that I have actually danced to (in fact, we've played it at a few parties). The drum machine is back in force, but the pace is good, the lyrics interesting. Very 80s and very synth-goth. Maybe that's why it seems to be quite popular.

The vocals are very low and deep in "Alone?" Heavy with melancholy, and the light de-de-de of the accomapnying music accentuates the gloomy air. It sounds to me like Swano has accidentally "killed" his imaginery friend/voices in his head and this becomes more frantic, desperate and tinged with madness as it reaches the ending:
"...but it's not my shadow... it's not my shadow..."
The drum machine is back in "Lesson in Evil". There seems to be a theme of insanity and mental illness in these lyrics. Makes you wonder? They're somewhat sinister.

The album closes with "Eye for an Eye" which has the same smooth vocals, pleasant sound and somewhat macabre lyrics. The shadow is back, making me wonder if there is an ongoing theme running through this album - almost like a concept album.

For a one-man-one-week project created in his home studio, this is a pretty decent album. It's definitely different from Edge of Sanity (although the lyrics indicate that the narrator is approaching that edge) and proves that Swano can sing - and sing very well indeed. However, it could be improved manifold if Swano also happened to play the drums. Which he does, on later albums. Cos the slightly tinny, very electronic repetitive beat of the drum machine is no substitution for the real thing.

Let's go with a rating of 6.5/10.