Enuff Z'Nuff - AniMaLs WitH HUmAn InTElLiGeNcE (1993)

I first discovered Enuff Z'Nuff through mailorder catalogues through some music company (EMI?) through which I acquired "Strength". Alas, on cassette tape. This album I picked up much later for the kingly fee of $5 from Echo records.

Enuff Z'Nuff formed in 1984 and, amazingly, are still active today. They hail from Illinois and have released 12 studio albums, of which I am only familiar with the second and third. During that time their line-up has changed somewhat, with two memebrs dying - one of a drug overdose and the other of cancer. They began with a glam rock sound, which they mellowed into more of a rock style after the glam rock genre faded into obscurity.

This album was less succesful than its predecessor, and has one of the members - Vikki Fox, airbrushed out of the cover art, despite the fact he appears in every track, because he quit after it was produced. The cover features the three remaining members, all looking very curly haired and moody in blue tones. The back of the booklet shows an old style poster advertisement, featuring two horses - one firing a canon and the other posing beneath the stars and stripes. There are cute little banner cartoons above the lyrics for every song.

The album rocks in to "Superstitious". Good beats, vocals a low, smooth going into the occasional higher range. Nicely paced and catchy.

"Aieee-aieee-aieeee" the "Black Rain" begins. Beats like solid raindrops. Vocals undulate nicely with the rhythms.

"Pret-ty lit-tle sing-ing boy, just be-came a brand new toy..."

Taking on a more mournful, rock ballad feel, "Right By Your Side". Nicely emotive melodies. Vocalist Donnie Vie has a nice touch of angst in his voice, although it does tend somewhat towards the whiny.

"These Daze" starts with dogs barking, but is a cruisier number. Vie's vocals are lilting and raw, with a  touch of whine,  undulating with the rhythms, almost like the purr of a really large cat. This is a rock song about celebrating the wild years, but (presumably) setting them behind you.

A roucher, rawer, wilder number is the "Master of Pain". Heavier rifts. Harder sound. Solid beat. Catchy chorus.

"Innocence" is a sweet and soft song about growing up. It is about the loss of innocence, but

"who's to say it's right or wrong?"

And has good melodies and some nicely emotive guitar play. The lyrics are sensitive and almost reassuring. The lyrics indicate that it is about the loss of sexual innocence, to someone that "you" care for. More romantic than say, Helloween's "First Time". The piano adds nicely to the atmosphere.

Another ballad, "One Step Closer to You" is one of those unrequited love songs. Not creepy, just suggesting that the love interest is currently, technically, unobtainable. It has a faster rhythm, suggesting that this pursuit is not hopeless and that "I" am the better option:

"Every little move I make is getting you away from that loser..."

 There's a slight country-rock edge to "Bring it on Home". Vocals are low, smooth and relatively gentle. Bit rawer on the bridge to the chorus. Really rockin' chorus. Repetitive but catchy.

Another cruisy number - "Taking a Ride" is smooth and sunny. The music has a laid-back, restful vibe. The vocals getly rising and falling with the melody.

 With a  whistle and a chug, it's into the rock and roll of "The Love Train". Catchy and a good pace.

A heavier piece with a goodly touch of angst, "Mary Anne Lost Her Baby" is about abortion and regret:

"...Questions in your head: now the forties pass you by and there's still noone in bed, just a big fat lonely why. Spending life alone when you could have had the joys that make you carry on..."

Lastly, we conclude with a goodly rock number: "Rock N World".

Overall, this is a solid rock album - perhaps lacking some of the more interesting combinations and melodies of "Strength". It's an interesting listen and Vie's voice is strong, with a reasonable touch of angst and not too much whine. Not particularly remarkable and not earth-shatteringly original, however.

Rating = 6.5/10.

Deliverance - Camelot-in-Smithereens (1995)

Deliverance formed in the 80s as a thrash band and gradually morphed their way into a more progressive, melodic sound, akin to Queensryche. Taking a decidedly Christian approach, they were generally overlooked in the metal circles, since most non-Christian metallers don't appreciate being preached to. And their lyrics are quite preachy, but they make up for it by being a jolly decent band. This was their poorest selling record at the time of release (or soon thereafter, obviously).

My exposure to Christian Metal was through a local radio station in Golden Bay. I later found one on another station in Christchurch, one week before it disbanded forever. This introduced me to bands like Sacred Warrior, Crystavox, Virgin Black, Seventh Angel* and possibly some others. I swear I've heard Vengence Rising too, but they obviously didn't leave a lasting impression because I cannot remember their song!

 This is one of two Deliverance albums I own. It is their seventh full length album. I should have listened to the other one first (it's an earlier release) but this one hasn't had so much "ear play".

As packaging goes, it's pretty dull. Designed to look Arthurian I think, in that it's all sepia tones and parchment patterned, with the writing and cross/circle designed to look like embossing on leather.  Lyrics inside and no band photo, although the back cover features a photograph of one of those narrow castle windows.

The album opens with the appropriately entitled "Somber Theme (where are you)". Vocalist Jimmy P Brown has a low voice, a high baritone (at my guess) with good strength to it. He sounds rather like Geoff Tate doing the low notes, but does not do the operatic tenor of Tate. Somewhat repetitive but with a strong somber and sonerous sound.

Second track "Lindsay" begins with heavy rifts and eerie distortion, like the climactic build up during a horror movie. Then the drums and bass guitar kicks in.The vocals are low and smooth, edged with honey. I think this may be a song about unwanted pregnancy - at least a spoken bit (half drowned by bass) indicates this. Apparently those between the ages of 15 and 21 make up 42% of unwanetd pregnancies.

"Not Too Good For Me" has a distinctly Queensryche vibe - albeit from their less interesting days. Brown's voice has a good strong vibe to it, and I want to say "cadence" but I'm not 100% sure if I'd be using the term accurately. Wikipedia isn't too helpful on describing how things sound. Much like this blog really. The beginning is slightly echoey and eerie, before a more typical rock vibe steps in.

The moody "Anymore" beings with slow, entwiningly melancholic guitar. The vocals are, once again, mid-low and smooth and rich, like milk chocolate. Funnily enough, I was just discussing the use of the word "anymore" in writing and whether or not it was appropriate to use it. In this case, definitely. The low sound creates a wall of emotional pain and loss, the strumming bass accentuating this, punctuated by sharp percusson.

Picking up the pace, but not the mood we shift into "Book Ends". The vocals are pitched higher, proving that Brown can manage a passable tenor (albeit not for long) - and does sound quite surprisingly like Geoff Tate (in more recent days when his vocal range has shifted down an octave). Songs filled with reading puns are all good by me!

"...I'm on the shelf..."

Even if it is a "finding God" song and the lyrics print the word "two" as the number "2" which I  do not like. But it is better than in the previous track, where they substituted the word "for" for "4". Ick *shudders*.

The tempo picks up and into the rockin' "Beauty and the Beast". Good rhythms and catchy rhymes. Sound kinda familiar? It's a Bowie song. Brown's voice is not entirely disimilar to Bowie, although not quite as low and sehxy. My favourite so far.

"Make my Bed in Hell" begins with low, distorted vocals, moving faster until the words trip over themselves.

By "The Red Roof" I'm starting to zone out a bit. The songs are good - pleasant to listen to and the vocals are appealing. But they're not particularly inspiring and are beginning to blur together. Perhaps this is why it has taken me almost a week to get around to reviewing this album (I keep starting it then getting distracted from dissecting and having to backtrack a track). It ends with evil and meancing distortion, like mists raising from the gates of Hell.

We then move into another low and moody song - "In-U". Again with the horrible text speak. This was published in 1995. Was text speak even really used then? Anyhow, this is the song that kept playing on my ishuffle when I had this album loaded onto it. It's good, strong, with some very powerful and quite stirring moments. Good bit of emotional overload in the chorus. He seems very passionate in his faith:

"Just when I thought my life was through, it was then that I found my faith in the fact that I believe... in U."

How does this album rate? Well, individually the tracks are pleasing to listen to. The vocals are low and smooth, occasionally low enough to be considered properly sexy, but generally a sort of halfway between tenor and baritone that is not variable enough to sustain the interest for an entire album. The pacing of the songs seems to be consistently slow and a little depressive. Lyrics don't seem to be too much preaching or God bothering. Not as dull as the more recent Queensryche, but not nearly as interesting as the older.

I'd give it 7/10 but the use of single letters or numbers instead of words bugs me too much. So I'll dock them half a point  and rate it 6.5/10.

* Although I believe that was actually through Speed Kills 6 and "Falling away from reality" a song about suicide, actually, the whole album ("Lament for the Weary") is about abuse leading to suicidal thoughts and presumerably eventually the finding of God. Pretty depressing for a concept album.

Cop Shoot Cop - Ask Questions Later (1993)

Hailing from New York City, Cop Shoot Cop formed in 1987 and parted ways in 1996. They never achieved commercial success, but did make a few videos and receive at least a little MTV airplay - which was how I discovered them - hearing the awesome "Room 429" on MTV. It was one of those songs that haunted me, I recorded it when it was on, and played it over and over. From then on I would keep an eye out for CSC cds in record stores, without success. Until, finally, I discovered this one in the sale bins in Real Groovy. Sadly, most of the other tracks proved to be a disappointment on first listen - so I listened to it once then filed it away into my collection, to be pulled out and reviewed today.

Unlike most of the bands I listen to, CSC are not guitar heavy. They do not even have a lead guitarist and use a mix of sludgy, grungy sounding instruments, sampling, drums and bass.

It is a cardboard digipack, which means that the labels applied by RG have damaged the cover, tearing off the top layer. It was probably only $5 anyway. Inside it does have a plastic case and the booklet is slotted into the side in the manner that is difficult to remove. The cover features a boy with a gun (I think) printed in red, over what looks like printed duct tape. This duct tape print continues on the inside of the cover and also over the cd booklet which contains the lyrics.

The album opens with the uninspiring "Surprise, Surprise". Industrial noise. Heavy bass. Slow, driving like a sledgehammer. Vocals bold and a little echoey. Shouted, not sung. Aggressive, raw and pretty blah.

This is followed by "Room 429" which is ominous and, although still having the echo qualities, Tod A can in fact sing. He has a low, raw voice which sounds like he's being gargling firewater and chewing sandpaper. I suppose the term gravely would apply, although he manages an almost melodic stretch.

"Nowhere" has a sludgy garage sound. Heavy, clangy drums. Industrial noise. Vocals rising and falling. Low and deep. Like heavy barrels being rolled around a junkyard. Raw and raucous.

The short instrumental "Migration" featured in a Nike advertisement. It has an interesting almost "Ride of the Valkyries" feel, except played through distorted machinery.

With an odd vibrating sound, "Cut to the Chase" contains a mix of classical structures, most of which are played using distortion and bass (low and high) with the addition of violins. It is haunting, looming. The violin is being played in quick little flickering motions, rapid and fluttering like the wings of moths.

Whistling and banging shepherd us in to "$10 Bill". It has a steady tempo, like stomping boots of a marching army, shouted vocals with the hint of a tune. There's trumpets too.

"Seattle" has a grungy, distorted feel to it. All samples and noise gates.  I know what Gates are now thanks to Lions Share.

That steady beating-barrels beat ushers us into the "Furnace". Vocals high, echoe-y and distorted.  I swear someone is shaking a sawblade. Maybe that's what "metal" means under the instrument list.

There's a whiny, exotic quality to "Israeli Dig". Also an instrumental.

Rockier rhythms for "Cause and Effect". More low and high end bass. This is a very bassy album, a sharp contrast to the trebly Polish Thrash bands I was listening to this morning.

Ha-urm, ha-urm. Vocals dominate "Got No Soul" along with an industrial clunking. Kinda reminds me of Nick Cave, accompanied by a machine and strange vibrating, shrill insects. Also maracas, trombones, sax and trumpet.

"Late for work again today. Somebody's lying down on the job again. Will you people please stop jumping under my train?"

Oh my goodness, Tod A can actually sing! "Everybody Loves you (when you're dead)" has an upbeat tempo, despite the negativity of the lyrics. There's even piano in this one, admittedly mostly down the low end. And a lot of random clanging noises. Bit of shouting.

"All the Clocks are Broken" has an industrial goth feel to it. Everything is toned down very low, very bassy. Eerie background noises. Shrill. Ominous. Vocals droning but powerful. Like a voice of nature.

"A broken smile never lies. A busted mirror cannot see you cry."

This album has really grown on me. The arrangements seem to be pretty good and the use of mechanical noise, noise gates and distortion gives it a gritty edge. I'd almost say steampunk, but it's a bit too modern and gritty for that. Initially (when I started listening to it) I was going to give it 5/10. then 6/10 and finally I'm going to settle on 7/10. Repeated listenings work for this one!

Brunettes - Mars Loves Venus (2004)

Time for something a bit mellower, melodic and sweetly romantic, I think. Time for some more from that kiwi duo*, the Brunettes.

This is their second album, and it was released in 2004. It is fairly plain in the packaging department - the white cover features Jonathan and Heather, one at each side and a love heart and arrow in the center. Inside are the lyrics and a notice informing us that copying this disc is illegal. There is also Copy Control Technology on this disc, and when I put it in my drive it informs me there is an .exe program too. Now, my feelings on pirating music are mixed. I don't believe it's fair to the artists to have their songs stolen and distributed willy-nilly, but as a girl growing up in a small town in a small country in the days before the internet, a large proportion of my music was discovered through cassette mix tapes sent to me by my friends overseas. Since then, I have gone on to buy 100s of cds quite a few of which are from bands I would never have known about if I had not had these mix tapes. Also, the CCT means that if you own the cd but wish to add it to your computer (smartphone, ipod, ipad whatever) playlist then you can't. Except that I'm fairly certain with this one I just ripped it to my hard drive like I have (almost) every other CD I own. One of my other CDs pretended I had ripped it, then insisted I reinsert the disc into my computer if I wish to listen to it (one of my Epica ones, IIRC). For a band like the Brunettes that are not particularly well known, they are limiting themselves from being shared and heard.

Anyhow, semi-rant over. Let's get the Twee Pop a-spinning!

Album opens with "Mars Loves Venus" a redone version of one of their very first tracks. It's poppy and playful - with tambourines. To sweet and innocent, like cotton candy.

"Walk? We should run! Such is life under this burning sun..."

 Twangy guitars give us "Loopy Loopy Love". Another playful and delightful piece, with a slightly bitter edge to it:

"Gonna kill me a cupid cos a cupid causes love...."

 "Polyester Meets Acetate" is slower and kinda cruisey, with  Jonathan doing most of the singing.

Stirring organ leads us into "Too Big for Gidget", a duet in which both partners ponder falling in love with someone that they don't match up to. Height wise. Short and sweet.

"Whale in the Sand" starts with singing (squawking?) gulls/monkeys. Good rhythms. Repetitive lyrics. Kinda makes me feel summery and sunny, even if they're singing about a big dead whale (or maybe the elephant in the room is a similar concept).

Beautiful, gentle musically, "You Beautiful Militant" has rather harsher lyrics. Good beats, with a slightly discordant keyboard (or some sort of keyed instrument) edge to them.

"You pick up your gun and shoot everyone. You know what to do, to someone who don't like you."

 Jonathan takes charge of the vocals in "The Record Store". Lots of La-la-la-ing.

"These Things Take Time", like learning the clarinet. Which is how the song begins - clarinet, piano. Some nice do-doodo-dah piano playing. Maracas. Hand claps. All very school group 70s stuff. Possibly reminscent of Abba. Loads of percussion, including those little circles that clacker together. Castanets?

Bit more of an epic start to "Bestfriend Envy". Some melancholic guitar. Bouncy, but whiny lyrics - ah, jealousy raises its ugly head.

More melancholy, but "No Regrets". Beautiful, bittersweet; delicate piano accompaniment.

"Leonard Says" starts with Heather's tender, hurt vocals; then Jonathan interjects with the next line. You can actually hear Heather's kiwi accent in one of her lines. This is a conversation to musical accompaniment.

We end with the gloriously bittersweet "Your Heart Dies" in which Jonathan and Heather sing mournfully but tenderly to one another, switching out line-for-a-line. Contains what might be possibly one of the finest lines in a song:

"I could be as faithful as a seahorse and if you were a marine biologist you'd know how tender that line was."

 Mostly a vocal piece, the gentle, accompaniment of a banjo and light drums help create the maudlin mood. There's a little pause in the center, a couple of heart rending spoken lines and then more exquisitely moody instrumentation.

Another beautifully sweet, sensitive and somewhat sorrow-filled album. I love the playful innocence to the music, and the slightly darker side to some of the lyrics.

Let's go for an 8/10.

* and friends

Acid Drinkers - Strip Tease (1992)

Keeping with the Polish bands, we now have Acid Drinkers. AD are the only band with a similar sound to Wolfspider - they even share a lead guitarist - Popcorn (Dariusz Popowicz?). They are like the mischevious younger brother, full of untamed energy and rebellion, and with  a somewhat crude sense of humour.

The cover is... well I can imagine Americans might find it rather offensive. You see, it depicts the statue of liberty, with helicopters lifting the skirt to reveal rather muscular legs and rather detailed stone phallus. There's a dented coke can in the foreground and three balls in the lamp. 

"Strip Tease" is crazy, chaotic and frantic with the guitarists charging together for the finish line, occasionalyl jumping over one another in their quest for audio dominance. The lyrics are equally frenzied, it's a wonder vocalist Titus doesn't trip over his tongue. You can't understand what he's saying -  the "delightful"* broken English is only apparent when you read the lyric sheet, ie:

"Dear blockhead, dear lovely muthaf**ker, I present you a panorama of my crotch.Are you indignant?"

And I've discovered a new word too - psychical! It means: Of, relating to, affecting, or influenced by the human mind or psyche; mental.

And here I thought they were making it up.

Laughing rhythms and a cough herald "King King Bless You!" Vocals are slower, funkier, and have a kind of cartoon feel. Admittedly that cartoon would have to be South Park. Actually, this really does sound like South Park. If South Park performed Thrash Metal. Titus even sounds a little like Cartman, with the squawk to his voice.

Surprisingly good guitars, and what is this? A Metallic cover! An ACOUSTIC Metallica cover by one of the craziest thrash metal bands ever to come out of Eastern Europe. It's "Seek and Destroy" and has an almost eastern vibe going for it. It's actually really very good. I believe there's a guest vocalist on here, adding a shrill, thin, feminine voice to the chorus. This is the kind of cover song I like - sounding little like the original.

I'm not sure how to describe the intro to "Rock N Roll Beast". It sounds a little like a grown-up pretending to be a toddler that's possessed by a demon. The music is chaotic and frantic, the rhythms a swift and tangled complication. The chorus is fast and funky.

"Rats/Feeling Nasty" has Titus switching from his squawk and into a lower register (at least at first). The guitarist/s seem to be sliding up their guitar. Then it switches to classical, and falls into something akin to funk metal. It's all over the place, but crazy fun.

However, "Poplin Twist" is surprisingly sophisticated. It's slower, with steadier rhythms, some very trebbly percussion lines and vocals of a lower and less cartoon-chicken-like. Some nice harmonising on the choruses. Lyrics are rather nonsensical, but oddly amusing:

"I leave the shadow of my shapely ass for those sick prophets, leave them alone."

 "Masterhoods of Hearts Devouring" starts with a roaring, raucous, rampage; before suddenly switching to piano and melodious guitar rhythms. Just ever so slightly off key, and with the drummer being slightly off time. Then BAM the vocals storm the song, so fast and reckless that it's completely indecipherable.

"You Are Lost My Dear" has stronger metal and funk fusion rhythms.

Back into something weird, "Menel Song" is acoustic and mostly vocal, with only light drums and guitar for accompaniment, along with weird blasting noises. Titus still sounds like a dangerous cartoon bird. Combined, interwoven with the verses is a chorus of  "Always Look on the Bright Side of Life".Which says a lot about where their humour is coming from.

Some rather technical structures, guitars that sound faintly sci-fi, and chug-chug-chug rhythms display that fact that these are competent musicians (despite some evidence to the contrary). "Blood is Boiling" feels more like a traditional thrash song.

"My Caddish Promise" starts with slamming, thrashing instruments and zappy laser noises. Most bands do love songs, AD do a hate song. With really weird lyrics.

"I require it, my sweet sexual straggeler cremate yourself for me."

It's hard to describe the vocals, some words seem to have bits clipped off them, adding an odd accentuation to the lyrics. I think there are two vocalists doing this track, because Titus's squawk is also in there.

"I will hate you tomorrow, just like I hate you today. It is my caddish promise."

Another competent and technical opening to "Mentally Deficient". Vocals hurried and raucous. Slowing, speeding. Twangy guitar rhythms. Slamming drums. Guitar races.


"Hell it is a Place on Earth" is another fast, thrashy, number with an element of melody buried somewhere in there.

Creeping, creeping, we have "Ronnie and the Brother Spider". Seems to be about how Ronnie has died, at the edge of town. Vocals are somewhat funky. Full of explectives.

"I'm a Rocker" is another chaotic and crazy piece, with little to recommend it.


Acid Drinkers are crazy. Quirky. Fun. Titus's voice gets on your nerve after a while: he sounds a little like a caricature. The rhythms are all over the place, racing each other, slowing, jerking back and forth and sometimes out of time (but it seems to be on purpose). The humour is somewhat offensive, and the entire album is peppered with swear words, but it has a playful appeal - for those who like that sort of thing. For those that don't, this album would suck. It's very trebly, with some complex musical arrangements and the guitarists show technical prowess, even if they're indecisive about where to go. They're either insane or geniuses, but they're definitely different.

Rating = 6.5/10

* Where's your punctuation for sarcasm when you need it?

Wolfspider - Kingdom of Paranoia (1990)

My first introduction to Wolfspider, and Polish metal in general, was the Speed Kills 5 album which contained no less than four Polish bands: Turbo, Dragon, Acid Drinkers and Wolfspider. Oddly enough, in the wikipedia page both Dragon and Wolfspider appear to have been forgotten about. Admittedly, Dragon are more death metal (and thus might not appear on a thrash band lsit), but Wolfspider are definitely thrash. Anyhow, I heard the song "Black n Whites", really liked it, found this on cassette tape and bought it. Found another copy or two a while later in the bargain bins for $2, so I bought them too as ways of introducing my overseas friends to them. Then I finally acquired it on cd when it was re-issued and - after years of trying - also managed to get their follow up album "Drifting on a Sullen Sea". So yeh, I like Wolfspider and Acid Drinkers are quite amusing, but the rest of the Polish Thrash scene I can take or leave* - and would prefer to leave, dziękuję.

The cover is moody and strange. The ocean, reflecting the full moon above as a quater moon. A man in (ugly checkered) suit and tie atop a throne from which unrolls a crimson carpet, towards a cage in which three soldiers protest their capture. Between them, a dog with the head of a man grovels at the suited man's feet, his head turned to glare at the soldiers. One cannot help but feel there is some sort of political message here and the lyrics also reflect similar themes of social issuses and political complications, all written in halting broken English. Inside the band all look so young and curly haired.

The album opens with the classically inspired intro to "Manifestants" which is rich and evocative, gutiars interweaving into a fine tapestry that then blasts into rapid drumming and stampeding guitars. Vocalist Jacky shouts for the most part, but he has a silvery iron edge to his voice and falls into erratic, almost funk, rhythms for some of the verses. It's erratic, jerky and surprisingly effective. This is a song of revolution:

"Revolution - we want freedom, we want rights
Revolution - no one will rule us again
People want to rule."

Time for a brief history lesson - Poland were shaking the shackles of Communism 1989-1991 - when this album was written and made.

My favourite Wolfspider song "Pain" is a broken and grieving song, still containing the raw and brutal energy of thrash but containing a deeply emotional, raw side. It is a song of death and loss - a drunk driver steals the life of child and wife, and the husband mourns his loss whilst also raging his anger.  The tempo switches from anger to grief within a few erratic bars making it jarring and real and very affective.

The thrashing "Black n Whites" was the first ever Wolfspider song I ever heard.The vocals are a high and semi-tortured whine. There seems to be a bit of a religious feel to the lyrics, which for the most part do not make a lot of sense:

"Father from the stars, your servants serve you so poor
there are many traitors greedy for dough
father from stars, they don't treat you with respect
it isn't good to follow your footsteps anymore."

The last is sun in an almost melodious manner. His accent shines through in everything he says, and pronounces some words almost phoentically.

"Foxes" is a song about deception. It starts fast and jerky, before smoothing up for a few bars then going chaotic again. Another jerky, erratically tempoed piece.

"Waiting For Sense" has a slight funk rhythm to the vocals, although the instruments are still fast and hard and all over the place. Chorus is, again, surprisingly melodic, as is the rather more traditionally paced guitar solo. At least for the first few bars.

It's time to get funky as we enter the "Desert". The rhythms are mainstreamed now into more traditional funk metal, with the guitars zig-zagging across them and then the drums going wild.

"Sickened Nation" is a crazy and restless song. Jerky, erratic, and with surprisingly polished guitar solo.

The opening guitar chords of "Nasty-ment" are very technical and soon fall into a race with the drums. This is an instrumental, and it is a frantic flurry of instrumentation.

The pace drops back into steadier rhythms for "Survive". Vocals are the high, slightly off-tune whine. The chorus has appeal:

"Look! A bird's flying in the sky so free and so proud
try to bear it like it does, to pass over that."

 Final track, "Weakness" is a bonus not included on my cassette versions. It was a bit of a surprise when I finally heard it (the lyrics were printed on the cassette sleeve, even though the song wasn't on it, so I knew it existed) because it's completely different in tempo and melody, being more reminscient of an old love song, maybe from back in the 60s or something. The lyrics are rather amusing, and seem to be about how girls are his weakness (either that or alcohol). After the opening verse it rapidly declines into the rather frantic, chaotic rhythms we've grown used to, but it slows down for the vocals. It's crazy, fun and quirky. Complete with drunken singing. Just ignore the sexploitative nature to the lyrics.

In small doses, Wolfspider are very cool: with their erratic, jerky rhythms; melodic almost metallic** vocals; crazy lyrics and competent instrumentation. Too much of them, and it starts to wear on you, making you feel sort of edgy and restless. It is hard to relax or concentrate on anything else. Probably due to the pace and chaoticness of the rhythms.

Rating = 6.5/10

* For fun here's some more Polish metal (and it's all pretty thrash and aggressive and not aurally pleasant to me):
Dragon "I Spit in Your Face"
Turbo "Barbaric Justice"

And here's Vader "Never Say My Name" (this is the first time I have heard them)

** I can't think of a better way to describe it - it's a sharp knife-like whine with a softer edge.

Van Halen - Diver Down (1982)

Time for some classic rock now - Van Halen! This is one of their older albums, and not one of their most well known - but for some reason it is the only one I own on cd: $10 from Echo records, second hand. It contains absolutely none of their notable tracks and is their 5th album.

Van Halen formed in California in 1972, fronted by the charismatic showman, David Lee Roth. The Van Halen brothers - Alex and Eddie were two of the other members, and Eddie is generally considered one of the finest guitar players in the world. Alex was the drummer and Michael Anthony completed the quartet with his bass guitar. They soared to rock n roll fame - with such hits as "Jump" and "Running with the Devil" which are awesome songs and not on this cd, of course. In 1985, Roth departed the band - due to personal conflict with Eddie, and was replaced with Sammy Hagar. Himself a fine vocalist. Roth returned again for a reunion concert in the mid 90s, before rejoining the band permanently in 2006. He is still a member there today.

Whilst this album seems to have faded into the depths of obscurity, it did earn them a ranking in the Guinness book of records for "highest paid single appearance of a band": $1.5 million for a 90 minute set.

Cover is... boring. Definitely ranks in my top #10 of "least interesting album covers" (Along with Warlord's "Best of", Helloween's "Chameleon" and Wrath's "Nothing to Fear". The cover is red, with a diagonal white stripe running from top left to bottom right. Band name at top right, title at bottom left. Not exactly inspiring. Inside it's no better - a band photo in which Lee Roth looks young, blond and pretty compared to the rest of the band who are all dark. The song titles, and some helpful instructions on how to keep your cds in good condition and clean them (straight line, center to edge, with a clean, lint-free, soft, dry cloth). Guess this WAS one of the earliest cds.*

So, slot it in and give it a spin!

"Where Have All the Good Times Gone!" (sic) the first track proclaims and it has a kind of downbeat feel to it. Roth doesn't have his usual "happy voice" going and sounds almost a little lost. Bit repetitive too, not my first pick for an opening track.

With a somewhat more energetic pace "Hang 'em High" rocks on in with very competent guitar flurries accentuating Roth's vocals. Again, it has a more melancholic feel, with Roth's voice being rather more melodious and smooth.

Some interesting instrumention on "Cathedral". Is that clarinet? It soudns almost like synth, but there's none listed, so must be Jan Van Halen adding their touch.

Another slower rock number, "Secrets" has more of a traditional soft rock feel such as is found in bands like Fish.

"Intruder" is a haunting drum and guitar instrumental, with some whining reminscient of industrial machinery towards the end it slips into the distinctive opening chords of "Pretty Woman" which sounds a little odd from Roth's vocal chords. He's a little rougher than Orbison. He does manage a rather throaty purr/growl at one point. Even this track sounds a bit maudlin.

Picking up the pace with some electronica guitar swirls as quirky twiddly squeaky flurries as it's time for "Dancing in the Street". Orginally performed by Marvin Gaye. Could increase the tempo a bit. Make this a livelier number. But no, still seems a bit foot-draggy. I'm not feeling like dancing guys!

"Little Guitars" starts with a very twiddly and complicated flamenco style intro before taking on bouncier rhythms. This one has a more quirky and upbeat nature to it. The chorus is perky and chipper and this is probably the most upbeat song on the album and, so far, my favourite.
Although I would swear he's singing "etch a sketch, etch a sketch"**

And now we're taking a trip back to the 20s with clarinet and "Big Bad Bill (is Sweet William now)". This is a song popular with barbershop quartets, but Van Halen have added in some extra instrumentation. It still sounds weird and a bit out of place on a rock album.

Now, time for some actual rock, "The Full Bug" has faster rhythms and a solid almost glam-rock beat. Very skilful guitar solo as Eddie makes his axe sing.

And possibly the craziest cover song on the album, "Happy Trails" is performed acapella and is short, slightly out of tune and kinda amusing. In fact, it kinda ruined the album for me. It's amusing, but not a strong way to end a weak album.

This is a very different album for Van Halen. It's less energetic, more soothing and has a shadowy sadness to it. The instrumentation is competent, although there are no full on rock-out guitar solos and there's a kind of lacklustre feel to it. Good background music (I might take this to work, actually). But, it's not Van Halen as I know and love 'em and even their choice of cover songs can't make up for the lack.

The only stand-out track is "Little Guitars" 8/10 for that (it's no "running with the devil") and 4/10 for the rest of the album.My recommendation - if you want a Van Halen cd, DON'T buy this one!

Rating = 5/10

* To wikipedia! The first cds were made in the mid-to-late 70s and became commercially available in 1982. The year this was released. 

** It's actually "catch as catch" but still!

Twisted Tower Dire - Crest of the Martyrs (2003)

Funny story time... For T, I was debating whether to listen to this album or To-Mera's "Transcendental" and thus I pulled both off the shelf to give 'em a spin and see what I felt like listening to. To-mera was very dusty, and the sticky label on the slipcase particularly resilient to removal, and when I slipped out the plastic box and opened it. It was empty. No cd. Surely I've listened to this at least once, I pondered, and opened every cd drive in the house, including that of my old computer, of which the HD and box sits beside my desk. All empty. So, either I've managed to misplace the disc or I have never, ever opened this cd box and never received it. On the plus side - my brother may have a copy or I could buy it on itunes for $14.32.  Just debating whether it's worth it. The music store I bought it from - Real Groovy, have all closed their doors now, but I emailed the guy's new store, on the off-chance that the disc is lying around in the "lost boxes" pile somewhere. Not gonna hold my breath though!

Thus Twisted Tower Dire "win" this round!

TTD are an American power metal band from Virginia. They formed in 1995 and don't appear to have much else of note about them - or a wikipedia page (and wikimetal is broken).

It is a highly attractive album. Another digipack. The cover shows a graveyard on fire - the orange and the indigo a pleasant contrast. The flames form a hoard of tiny figures, carrying amongst them crucifixes from which their victims hang. The Grim Reaper rises in the darkling sky whilst lightning crackles around him. The gravestone contains the legend "The Disciple's Hate is darker than the martyrs". This cover is replicated inside on the booklet. The cd is also highly attractive, ringed in runic symbols and branded on the flipside with a ring announcing the band's name and their album title.

The album blasts into "At Night" with its old school metal rhythms and structures - reminiscent of Dio and with a hint of Warlord, even sounding slightly sludgy with that garage sound.

Somewhat more slamming, it's time for "Some Other Time, Some Other Place." Vocals are middling low, lower than most melodic metallers, but higher than baritone. Catchy chorus, over the bam-bam-bam of the drums and the shrill flurry of guitars.

We gallop into "Axes and Honour", another solid rockin' number. The theme is very mediaeval, somewhat Arthurian:

"Come, join our crusade. With axes and honour, our way of life's saved."

 It feels a little like they're trying to capture the mood of Manowar, but their music lacks somewhat in the creative, quirky charm. It's powerful and competent, but perhaps a little too polished, despite the slightly tinny edge to the mix. It feels to me rather like this is actually a record, not a cd.

"To be a Champion" feels like an American Hammerfall. The vocals aren't as pure and high, but the rhythms and structures are strong. The choruses are valiant and the sort you can chant (or scream) along with. Some nicely harmonic chanting too.

Another strong, solid number is "Infinitum". Vocals feel a little closer to shouter than singing, although he does get a bit melodious at times.

Similar structures in "Fight to Be Free". Faster pace. Violent lyrics:

"I'll kill who I can, spill blood upon the sand..."

By "Transfixed" we are definitely fitting into a musical pattern. Every song moves at a decent pace - not too fast but certainly not slow, the vocals vary from shout-singing to the occasional more melodious, same pitch, soaring chorus, and every so often there's a chorus of voices.

Picking up the pass and sliding in the sludginess for "Guardian Bloodline". I must confess, I've kinda tuned out now. The songs are rather lacking in diversity and although by themselves they're decent enough to listen to, in totality, the album is a bit on the drab side.

Gentle guitar, like sunbeams shimmering through leaves. Vocals soft and gentle, like a leaf dancing on the breeze. "The Reflecting Pool" is the most original and interesting track on this album, creating a feeling of golden sunlight shimmering across the azure waters. Of course, then it ruins it by charging back into the same rhythms we've already listened to on the previous 9 tracks. Really rather intense guitar duelling. Rapid drumming. Quite dramatic.

Finally we conclude with "False Orion", another slower number, with some interesting, poetic wordplay:

"As the smoke clears all the children's tears turn to dust in the wind..."

Moody and maudlin, with nice choruses and a good eerie feel. Then we rock on into that style we're becoming rather used to.

If Scanner were a European band that sounded semi-American, TTD are an American band that sound borderline European. The rhythms and structures are good and strong, very competent medieaval/fantasy metal. Not enough variety to totally stimulate my senses, however. The vocals are also a tad tending towards mild irritation.

Rating = 6/10

Scanner - Mental Reservation (1995)

"New Album! Melodic Power Metal. The come-back of '95!" proclaims a sticker on the cover of this highly attractive album. Was it a comeback? Well, it certainly is a good album, and one I was most pleased to add to my collection. I came upon it in a small local music store, Galaxy, one that specialized in techno and NZ music. It was not a store I visited regularly, its neighbor Echo records had a bigger range of my kinda music, and I was rather surprised to find not one but two copies of this in the bargain section. Turns out, that Scanner were also a techno band - not this Scanner, obviously, and they had ordered them by mistake. Thus they were sitting there, unloved and alone. I bought both, one for myself and one for one of my penfriends.

 A bit of history now - Scanner were a melodic metal band from Germany. My first introduction to their music was through the video Buy or Die, as featured on one of the Doomsday News compilations. They have released five albums - of which this one sits smack-bang in the middle at #3. I also own their first, but for nostalgia's sake, thought I'd spin this baby first.

It is a highly attractive package - the cover is moody and brooding - a city stands like it has been fossilized on the shores of an ocean. A young man, wrapped in a ragged cloak, stands on a cliff, staring out to sea. And above all, in the looming, sanguine clouds, an enormous eye sheds an almighty tear of sorrow. Inside the little booklet, the band have given themselves all starring roles - Axel is the Strongtormenter (guitarist), Haridon Lee the Naked Duke, John ABC Smith is Mr Bassic Instinct (bass) and DD Bucco is Lord of the Drums (guess). This is a concept album - but instead of it being all dragons and wizards and fantasy - it's a dystopic future:

"The past is deleted. What' left are my memories. They threaten to vanish more and more before being told the first time. So I will try to escape out of my MENTAL RESERVATION to record what happend. We lived in peace 'till the day the earth burst open and a dark appearing craeture gave a crystal - key to a little boy called Boris Jay. Boris was taught by the creature how to use the key and to .... .... BREAK THE SEAL."

It opens by the sea with the sussurration of waves and the mournful cries of gulls circling above. It crashes and whips into the frantic and fevered "Break the Seal". The bass line is high, tuned to a pitch that is almost irritating. Vocals are shrill, yet melodic, with an appealing edge to it. The rhythms are complex, the guitar solos raging.

Equipped with powers of destruction and far more confidence and knowledge than someone his age should handle, Boris returns to his home to achieve political ascendency. He succeeds and leads his people into worship of an "Upright Liar". It starts with a dire warning, before the vocals come rampaging on, in full shrill glory. Again, more melodic choruses. I'm getting used to the bass now.

Slower now, as Boris's homeland is at war with  seven nations as he expands through diabolical and nuclear means. "After the Storm" is like a storm itself - roiling clouds swell over the post-nuclear wasteland, whilst the survivors struggle trying to last another day.

"After the storm, we'd watch the new sunrise. But the sun is obscured in sight doesn't heave."

Slower, tortured, bitter. The PoV is now through the eyes of one of the survivors, he and his sister struggled through the wasteland, seeking sanctuary. She is sent to support a medical convoy and is eventually brought back, dying. Our protagonist mourns her, and "Her Infallible Smile" in this melodic and surprisingly beautiful ballad. The vocals are softer, gentler, with only the slightest edge of the shrill. They are filled instead with sorrow, regret and bittersweet memories.

Another faster, more technical piece. After the eventual execution of the evil tyrant, the few survivors have found partial sanctuary in the subway tunnels. But most suffer from mental disorders caused by war. Thus a Mental Healer appears on the scene with his "Conception of a Cure".

Resisting  his offers, our protagonist departs, heading to a place called STONEDHENGE. He returns to St. Clinton island some two years later and "reveals" in his life, taking a look "Into a Brave Man's Mind". This is another slower piece, combined with elements of anger and containing choirs, chanting in Latin. The vocals have an echoing, otherworldly edge to them now.

Alone in a population of 200, on Clinton Island, our protagonist mourns his solitude and wishes to share it with someone. He wants to come "Out of Nowhere" in another melancholic piece fueled with desperation. Despite the somewhat broken English, there are some nifty lines in here:

"I remember... once I believed in God but he left me in the lurch..."

"There's no sun in the shadow of unrequited love"

Peace finally comes to Clinton Island and the children who are born have never seen the war and dictatorship that destroyed their heritage. The people are self sufficient, they're happy. Until the "Nightmare" begins and the children are spirited away one day. The sky hung with volcanic clouds and it might have been a sign of Satanic mights. At night, during the rainy season, strange creatures come out from the volcano and the people follow them back into the volcano, hoping to find the missing children. Another tortured piece with shrill, hopeless vocals and further desperation and loss.

In the heart of the volcano, lives a vicious beast-master. The children are here too - trapped in cages with their brains being fed to the monstrous "Rubberman". The villagers are captured too, and forced to aid him in his cruel rituals. One night this monster chose one of the villagers and gave them the crystal-key, controlling him as though he were now his puppet. The vocals are lower in tone, until they give way to the chorus, with its jerky rhythms and howls that replicate the jerky, mannikin dancing of Albert Truestone, the new "chosen one".

Another time jump now - as our protagonist escapes the monsters of the volcano (leaving several dead in his wake) and escapes from the island to find sanctuary in one of the few remaining cities. Here society returns to a new sort of normal, with the people from the countryside all coming into the city to live. Population is 50 million and 6 million are unemployed. (I'm wondering what they were eating, personally). The government can't do anything to help this. The lyrics are quite hard to follow, I suspect that the song writer's English is rather lacking... It's a heavy piece with some slower moments. It's a "Wrong Lane Society".

Within a year, our protagonist has found employment repairing computer chips and Albert Truestone has become governor, and thus the vicious cycle begins all over again. I am thinking this may be some sort of allegory. Whatever the way "20th Century Crusade" is a racing, speed-esque number with melodic elements.

This Scanner album is an interesting one. It combines the melodic of the European Metal scene with the darker themes (post-apocalyptic social issues) and more aggressive sound and generally more technical, mechanical feel of American Metal. And it is a very good, complex and competent album with an interesting storyline and good contrasts between the heavier and more vicious, with the melodic and melancholic. It is just a shame that it was not, in fact, the comeback album they had hoped for. Also, the plot seems to jump about quite erratically and does not really make a great deal of sense. Still, it's a metal album, not a novel - so who cares?

I'm going to give it 8/10.

LKMAB YouTube Playlist

To help people discover bands that I enjoy, I have craeted a special playlist of videos on YouTube:
LKMAB Playlist

This will include all the videos I've linked from my reviews, and more that are connected to the albums I review. So that you can try out a sampler and enjoy them too! I shall be aiming to find only official and live videos - I do not wish to include fanmade or only-audio ones.

Soon I  shall have reviews 100 cds - almost a third of my music collection.

Rage - Reflections of a Shadow (1990)

My copy of "Reflections" looks rather the worst for wear. It was a pre-loved copy, acquired because I feared my cassette version would not survive the digital age. The creases are worn, and there is a hole drilled through the plastic box, indicating that before it was being loved, it was being very unloved; lying disregarded in a CD warehouse until finally its price was reduced. And then, of course, its previous owner chose to pass it on too. This poor, slightly battered, slightly marred cd has now found itself a forever home with me.

This is Rage's fifth album, and the third that I have reviewed (I do own their second, which will be reviewed in due course). It is clean, polished, and so very metal. The cover is, well a bit drab, and fairly bleak - a skull lying on concrete, casting a black shadow beneath it. Maybe it's supposed to be a mirror, not concrete. Hmmm. I remember reading once that Peavey Wagner, the vocalist, collected skulls. Alledgely it's legal to keep human skulls in Germany. The things that stick with you. Maybe this is one of his collection. Maybe it's called Yorick. His skull collecting is confirmed by this article here which also contains a nifty description of this cover that I am resisting plagerising and a review of this album.

I'm rambling. Sorry. Shall we give it a spin? Yes, lets.

"Introduction (A Bit More of Green)" is a nicely classically inspired instrumental. It does have a vaguely organic feel to it - like a sprouting shoot rising from a concrete wilderness.

"That's Human Bondage" has slamming rhythms but a relatively sedate pace. It's not about actual bondage, but about being trapped by society. Still, it's quite a fun song to scream along with when you're listening on headphones. Catchy chorus, vocals a bit indistinct in the verses.

The "True Face in Everyone" is another slower, heavy piece with nicely sung choruses. Otherwise kind of dull.

The heartbroken, tortured emotionally "Flowers that Fade in my Hand" is one of the stand out tracks on this album. Peavey's voice seems broken with his anguish and his desperation. And the music is heavy and emotionally fueled. His falsetto shrieks are a little too high pitched, alas, making him sound a little like a cartoon character*. But he can actually hold his notes quite well.This is the compulsory song about death:

"And I know my death holds no scares. There is no mysterium for someone who dares to die..."

Is "mysterium" actually a word? Yes! It means "overwhelming mystery". Wooh, new word to my vocabulary, taught by someone who doesn't even speak English as a first language (ha, Helloween taught me "darkling").

We pick up the pace again with "Reflections of a Shadow" with its thrashing beats, and rousing chorus. Nice keyboard/organ solo towards the end.

Crazy keyboards and distorted show-tunes type music "Can't Get Out". It's like someone is trapped within a record. Then the drums crash in and the beat begins. The vocals are fast, lower, Peavey is quite close to tripping over his tongue, or possibly falling into funk metal. It's nicely erratic and discordant, portaying a feel of confusion and desperation. I like it. It's different and interesting. The fade out is slow and eerie, and we get to hear Peavey speak - sounding not unlike Dan Swano in his Nightingale album, where he too sucuumbs to insanity.

Ah, now for one of my favourites - "Waiting for the Moon" starts with energy and passion, the vocals turning into snarling melody, twisting into a scream and then soaring into the chorus. This is a nicely catchy, faster paced number with good melodies and a refreshing sense of semi-positivity.

Now, we should have a little "Faith" in Rage. Starts with a scream, and then falls into Peavey's lower range, bitter and broken, pleading. The chorus is torn, pained. Strangely beautiful in its hopelessness. Also their most anthemic song - on this album at least, and contains one of my favourite lyrical quotes:

"We are branches on the tree of life, we can only get together by touching with our leaves. But we've got the same roots close in ourselves, so let's grow up to the sky."

A faster, victorious track, it's time to leave it all behind and "Saddle the Wind".

Another death song. We have "Dust" with its haunting and beautiful verses tainted somewhat by the squealing falsetto on the choruses. Peavey should stick to baritone and low tenor. It does create a mood of passionate desperation, however. Like he is screaming out his grief to the world. A fairly competent and invovled guitar solo.

Another raucous piece, "Nobody Knows" returns to the catchy speed rhythms of the past. Screaming, singing, shouting, Peavey seems completely capable of switching between the three within a few bars.

"Wild Seed" has a good narrative - a story about a young man gone wrong from the start. Fast, aggressive, with a nice warble in the chorus.

I'm not sure why, but I always think of Rage as being the aural equivalent of author Dean Koontz. Like Rage, Koontz is prolificate, releasing at least one book a year. Also, like Rage, he has his specific style which is appealing and with enough quirks to keep you reading his books. However, his books tend to blur into one and some are downright terrible, others just plain bland, and every so often you get the one that is pure gold. For Koontz it is "Watchers" and for Rage it is... not this album. Like Koontz, their earlier stuff is better, with more originality and passion, than the later stuff where it starts to feel like they are just in it for the money and because they are good at what they do.

This is not a bad album. It has some really good tracks, particularly the slower pieces. The album as a whole has cut down the pace rather since the earlier albums. It's not speed metal anymore, but not quite power metal either. It is, like a Dean Koontz novel, worth following through to its conclusion.

Rating = 7/10

* Ever since I read that "Skulls" review I can't stop thinking "Mickey Mouse"!

Queensryche - Rage for Order (1986)

Queensryche are probably the finest band to come from Seattle, Washington. Sure, some would argue that it was Nirvana, or Pearl Jam, or maybe even Nevermore; but for technical prowess and musical competence, Queensryche have stolen my vote.

This is their second ful length studio album, and one of my favourites. It displays a creativity and intricity that was lacking somewhat from their debut album, along with an added dose of intriguing menace.

The cover is pretty plain - the band and the album names written in a ring, surrounding the tri-ryche symbol, overlaid across a fairly crude, lineary map of the world and coloured in what could well be blood red clouds. Inside the lyrics are printed in a bold, san serif font. I found the band photo particularly amusing:

Loving the widow's peak Geoff! The permed hair is particularly entertaining too.

The album starts with the catchy "Walk in the Shadows". Tate's voice is in fine fettle, high and melodic in pitch and power.

The rhythms slow, taking on a dreamlike quality, the guitars plucking gentle melodies as "I Dream in Infrared". Desperation bleeds from the vocals, surging into power and determination.

"The Whisper" is anything but. A solid beat, soaring vocals and a somewhat eerie edge to it. Great chorus, and harsh whispering voices. It has a technical aura to it, making me think of the voice in the computer, calling to the unsuspecting, controlling them.

"Please take my hand, don't be afraid. I am your master, you are my slave..."

Keeping with the creepiness, the eerie openings of "Gonna Get Close to You." The guitars create a dark and gloomy mood, shadows creeping in like fog, hiding all manner of secrets. The lyrics are pure stalkerism:

"I wait by your door til you're asleep at night and when you're alone I know when you turn out the light..."

Another with a menacing edge, "The Killing Words" bring with them a touch of frost, dancing across the drums and guitars. Chorus is filled with desperate anguish.

"Surgical Strike" hits with precision and power. Sharp, determined; Tate's voice is a spear. LYrics related to war.

Echoing, otherwordly, "Neue Regal" brings with it a hint of exotic. Vocals are high, bell-like, looming menace clustering in their shadows. Almost industrial sounds. Towers looming, darking the sky with their acrid smoke.

"Eternal Youth (We Are Rebellion)" strikes me as being a dystopian song, the sort that  makes you think of the general public rising up against the Government, waving banners, shaking fists. Combining shouting, breaking glass and general anarchy with Tate's vocals and a gallopin', rockin' chorus.

Following this is the hauntingly melancholic "London". It sounds like a love song - or to be precise, a loss song. The vocals are melodious, yet tortured, thrumming with loss and loneliness and abandonment.

"Screaming in Digital" is like a soul, trapped inside a computer, technologically imprisoned and crying for help. The vocals have a polished, technical edge to them. The instruments thrumming with pent up emotion.

Another haunting, lost and bittersweet piece, "I Will Remember" is heart-felt and forlorn. Tate's voice feels as fragile as a broken heart, the music playing a slow and solemn counterpoint.

 In a time when pants were tight and hair was permed, and lyrics were all about sex and love (but not necessarily both), Queensryche stomped onto the scene - with the hair and the pants, but they brought with them dark shadows and their own special blend of menace. This would have to be one of their finest albums: 9/10.

Paradise Lost - Draconian Times (1995)

I started off P with the album "Icon", by this band, but after listening to four tracks realised I didn't feel like reviewing it just yet. So I plucked out this one instead. It's prettier, and more interesting, musically.

Paradise Lost formed in England in 1988 and started as death metal, moving slowly but steadily further into the doom metal scene, adding goth elements and eventually turning fully goth-metal. This is their fifth and most successful album. They are still active today.

 The cover is beautiful. In rich shades of reds and blues, a man, hands crossed against his chest, butterflies dancing around his face. All in eerie, surreal-ness. Inside, the colours and surreality continues, creating a dream-like, otherworldly feel of lyrics, band portraits, fossils and insects.

The album opens with the haunting piano of "Enchantment". Vocalist Nick Holmes has a low voice, not too deep but rich and gentle, with the occasional shouted line. The song moves at a slow, but steady pace, creating a stirring, not-quite-relaxing atmosphere. It is rich, evocative.

Faster guitar and solid drums urges us to seek "Hallowed Land". Vocals are rougher, rawer, but still accesible. Piano overtakes and the bridge is a haunting melody.

"The Last Time" is a rockier number, with a nicely repetitive and catchy chorus so that you can sing along - even if you cannot ever remember hearing this song before. Good beat, great vocals.

The opening vocals of the next track (following after a sample) awaken something in my subconscious. I had forgotten this song, but I used to love it, playing it regularly and loudly, and knew all the words. Yet somehow I had forgotten all about it! "Forever Failure" might sound like a depressing song, but it stirred something in past me. Although I must admit, the lyrics are quite negative:

 "High times are courageous, but in truth they serve no purpose. Induced, reduced, unable and afraid..."

It's funny that I liked this song so much, because Holmes is doing his guttural-shouting vocals, but it just works. And then as we slide into the chorus he drops into his sexy baritone and sends shivers down my spine.

Another rocking, energetic number; "Once Solemn" has more shouted vocals. Not overly inspiring.

"Shadowkings" is similarly solid and heavy, with shouted vocals. I really wish he would sing more. He has a beautiful singing voice. Ah, there we go - on the chorus.

We drop down into slower rhythms for "Elusive Cure". Mosty gloom-laden and heavy, it does have its softer moments.

With lighter guitar and drums "Yearn for Change". Then the guitar grows in complexity and the pace picks up. Vocals low, a little raw. Later though, the sexy baritone comes back ^^

"Shades of God" starts with haunting, echoing, slow guitar rhythms.Otherwise, much of the same as above.

The opening vocals of "Hands of Reason" reminds me of Ozzy, I think it might also be the slow Sabbathical rhythms.

Following on we have the similarly structured "I See Your Face".

"Jaded" is slow, moody. Gloomy:

"The feeling can't avoid you..."

And thus concludes a decent doom and gloom gothic album. It's not particularly great, certainly not compulsory or compulsive listening. A bit repetitive for my tastes, but with a few stand out numbers. Similar in style to Lake of Tears, but rather lacking in their creative, whimsical charm.

Rating = 6/10

Overkill - Horrorscope (1991)

Rising from the American Thrash metal era, Overkill hail from New Jersey. They are one of the most successful East Coast US metal bands and have released 16 studio albums, plus several live and EPs. Formed in 1980, they are still active today, although they have undertaken numerous line-up changes, their vocalist, Bobby "Blitz" has remained a constant.  
 
This is their sixth album. It is regarded as one of their defining moments and is their heaviest release, being more aggressive and darker than their earlier albums.

The cover folds out into a sort of poster, albeit one made up of printed squares. The front depicts their horned skeletal mascot - this time with hands, carressing a globe, in which screams a human face. The border is industrial, rivetted with skulls. The title, "Horrorscope" drips in bloody trails that are barely visible. One side of the fold out sheet holds the lyrics, the other band portraits and "Chaley" their winged, horned skull mascot.

It opens with the slow, technical chords of "Coma". Brooding, threatening, like stormclouds gathering on the horizon. Then they break, and we blast into the fantic, hectic strumming and Bobby "Blitz"'s distinctive half-scream, savage vocals.

"Infectious" begins with more chaotic strumming, racing, racing, galloping away headlong as Blitz's vocals snarl over it. Choruses are repetitive enough to sing (or scream) along, not that you feel particularly inclined. They're pretty much controlled, somewhat melodic, noise.

More racing guitars, and an intermitent drumming bring us our "Blood Money". Structurally similar to the preceeding tracks - fast, vocals like a vicious beast, intricate guitaring and some complex shredding in the solos as the guitarists war for dominance. Filled with pent-up aggression.
"Thanx for Nothin'" delivers more aggression; reflected in both the savage shredding and pounding drums, snarling vocals and savage lyrics:

"Thanks for nothin'. Yeah, I said nothin'. Next time better think. Think before you speak!"

 So angry... give me happy European metal any day.

Oooh, piano, a handful of notes, repetitive, like the soundtrack to a horror movie. The guitars roll over them, and still they persevere.  Giving it an eerie, otherworldlyness. Gone, the guitars have enveloped them. "Bare Bones" races at a breakneck speed, the drummer heading for wrist - or arm - injuries. Unrepentent. Furious.

Slower, more ominous, "Horrorscope" is the title track and was also the track selected for individual release. Technically competent. Intricate, jerky rhythms, the vocals are raw and ragged rasp. The chorus spat out like a threat:

"The change is here, the future clear - I can feel it com-ming!"

 Heavy rifts, pounding guitar. You know the drill. It's a "New Machine".

The instrumental "Frankenstein" is an epic powerhouse of duelling guitars, clashing with one another as they weave through the intricate chords.

"Live Young, Die Free". Fast, frantic. You get the idea. The drummer sure is getting qutie a workout!

Hardcore drumming, churning rifts. "Nice Day.... for a Funeral". Some nice slow bits, funereal, you might say.

And finally, we have a ballad - "Soulitude" brings the speed down and the vocals lower into a manner that is actually quite pleasing to the ear. Blitz can actually sing. So why doesn't he do it more often? Maybe he does on other albums. Even when it surges out of the singing and back into the screaming, it's with an emotional passion. It reminds me a little of Maiden, actually, except angrier.

Bit repetitive, bit too angry. Favourite songs are "Soulitude" and "Horrorscope", the others all tend to blur into one another and I can take 'em or leave 'em. The guitars are an almighty voice, Blitz's vicious snarling screams get a bit tedious after a time. I'd have to say, more than two tracks in a row just feels like... overkill.

I'm gonna rank it a 5/10.

Nemesis - Day of Retribution (1984/2007)

In Edling's own words (from the 2007 re-release of this cd):

Nemesis was never a great band. We were ok some days, crap others. But we rehearsed often, had so much fun, with a burning ambition to do better...

Leif Edling, guitarist and vocalist, was 21 at the time of this album's original release, and he later went on to form Candlemass, one of the most epic and inspiration doom bands ever to step out of Scandinavia. Nemesis was not his first band, but it was the first that released an actual album (an EP). There were 2000 copies pressed originally, about half of which sold and the young, naive band never signed a contract and thus got a bit royally screwed when their record label went bust. After the release of this EP and the legal issues, and the fact they couldn't get another vocalist or a reliable second guitarist, AND a company called NEMESIS were going to sue us if they didn't change the name... Well, the band split and from the ashes, Candlemass was born.

The cover is pink. Edling hates this. He thinks the warrior woman on a horse looks like the scribblings of a 5 year old. This is the second time the album has been re-released and it still features that cover! I kinda like it - the warrior on the horse is abstract, indicated more with smudges of ink than actual lineart. And the CD is inside a nice slipcase with the same image on it. Inside the sleeve is Edling's little rant. It's rather self-deprecating, and quite amusing. That's where I got most of the above information from.

Edling likes this particular re-release - even if it does come with the original pink cover! There's some old photos (so young!) and a bunch of bonus demos - so let's give it a spin, shall we?

"Black Messiah"* has achingly slow drums. Leif's voice is powerful, echoing and deep, ending in a snarl. Rather like a devil, or fallen angel. This is the only album he sings on, even the early Candlemass album has a different vocalist. Deep, slow beats, ponderous rifts. It is raw and sludgy, like something rising from the darkest pits.


Faster, filled with raw savagery, "In God We Trust" makes an effort at catchy choral melodies but does not quite suceed. Does have an interesting, slower bit, giving Edling a change to demonstrate his ability to do doom-esque vocals.

"Theme of the Guardians" is likewise slow and sludgy, ponderous and filled with haunting doom.  The vocals are almost drowned out by the thunderous stormcloud wall of the guitars. Still, it chimes through every now and then, like the tolling of a heavy bell.

We pick up the pace a teeny tiny step, for "The King is Dead". It is dramatic, Edling's voice a chameleon, turning one minute from low, deep and bordering on melodic, to a savage snarl.

The final on the EP - "Goodnight" was an Angelwitch rip-off and not supposed to be on the album at all - but it's one of my favourites. Edling's voice rises from the sludgy mix of guitars and drums, a haunting, fallen angel. It actually reminds me of early King Diamond.

Now we're into the bonus demos, from 1983 - including all of the above, except "goodnight".

The first "In God We Trust" is very raw. The drums sounding not unlike someone thumping on skins way off in the distance. The guitars are a sludgy wall, over which Edling's voice soars and swoops, sounding slightly fuzzy around the edges. It truly makes you appreciate how much mixing and polishing goes into creating the sound that gets to the pressing. It does, however, make the lyrics easier to hear.

"Theme of the Guardians" seems to have greater clarity of sound. Again, the vocals dominate the mix - a nice change from the earlier tracks in which they kept getting bogged in the sludge. Lyrics still indeciperable, except for the occasional word here and there.

This version of "Black Messiah" is pretty good. Edling's voice is strong, although at times sounds a little strained and painful (for him, not me).

And in this version of "The King is Dead" I can actually decipher the lyrics:

 "And the prophet said 'The king is dead, but where did he go?
To serve in heaven? To rule in hell?'"

Ah, literary references.
The mix seems stronger, more polished here, or perhaps I'm getting used to the sludgeness. It truly makes you appreciate the clarity of sound you get in modern recording studios. Then again, the sludge can be half the charm.

And keeping in the whole medieaval theme - let's "Burn the Witch". I can almost see the circling villagers, flaming torches and pitchforks in hand, chanting along with the chorus.

"Burn the witch, burn her down; burn her down to the ground..."

How do you burn a witch to the ground?

Churning, thrashing: "The Act" is fast and frantic. I *think* it's about either attending a metal concert or performing one. Drums are a bit tinny. Actually, listening closer - I think it might be about sex.

Edling is not actually a bad vocalist, comparable with Johann Lundvist from Epicus Doomicus Metallicus. I suspect he is largely let down by the mix, which has all the sludge and garage sound typical of the early 80s.  This is a ponderous, doom-laden and, at times, quite vicious album.

My ranking is 6/10.

* This was recorded by Candlemass under the name "Incarnation of Evil" (on Ancient Dreams), if you wish to compare the two vocalists.

Mercury Rev - Secret Migration (2005)

Mercury Rev are glorious. As you may recall, it was my brother who lured me into their music, capturing me with their sound much as you would capture a mouse with peanut butter. The melodies, the liveliness, the sheer effervescence of their music... it is a delight to behold and absolute divine aural pleasure.

If you wish to know more about Mercury Rev, Pandora Radio has a nifty entry.

This album was purchased on a trip to Wellington. I had been informed of its impending release, which coincided with our vacation. Therefore I skipped out of the convention I was attending, racing down the hill in eager anticipation. I think this is the first time I've ever bought a cd on the day of its release and held it in my (slightly shaking) hands. I couldn't even listen to it - since I hadn't a portable cd player. But it was mine and it was beautiful and it was enough, for a time, to simply hold it in my hands and admire it.

The album cover is a thing of beauty. In perfect pastel lilac hues - delicate and fragile, like their sound. A moth, tawny wings spread to reveal eyes and a woman's face upon its thorax. Inside the dreamy, surreal, otherworldly feel continues with gorgeous lavendar shades: swans, clouds. It is all very dreamlike and ethereal, entrancing.

Of course, the instant I slipped it into the CD player I fell forever, unrepentedly, in love.

The dreamlike, haunting "Secret for a Song" entrances with its gentle piano, fleetingly beautiful vocals - as clear and as sweet and as innocent as a childhood kiss. Glorious enough to bring a tear to your eye and reach deep down into your soul and give it a gentle, loving, squeeze.

"I'll tell you a secret, I'll sell you a secret for a song..."

 Beautiful, melancholic, entrancing; now we delve "Into Yer Ocean". The lyrics are pure poetry, the light, lilting rhythms enhance and transform the music into thousands of delicate crystals, tinkling like stars above the gentle rise and fall of waves.

Tinkling like tiny stars, we have "Diamonds" with more evocative poetry:

"...like a bracelet hung, from a spider's web..."

Sweet, delicate, sensitive.

Piano and strings delicately dance around Jonathan's wonderful voice as he leads us through "Black Forest (Lorrelei)". Haunting, fairytale lyrics and a sense of longing and loneliness with a hint of helplessness.

"There's no way 'round the forest, the only way is through. And there's no way I'd make it without you..."

Their lyrics are so rich, so beautiful, so dream-like and whimsical that I cannot resist quoting them.

"Slow, rich, glorious velvet "Vermillion" is as smooth as a caress.

The glorious "In the Wilderness" is a love song. Vocal-centric, sweet, innocent, romantic and beautiful.

And Mercury Rev score mad bonus points for the line:

"How could I have been blind for so long
and how could the woman I love be so strong"

'Cos how many musicians would have used the rhyme "wrong" instead?
Also:

"...Take her by surprise, not by force..."

This song is like being enfolded in the arms of your beloved and lain down on the verdant grass in a glorious woodland where the trees are wearing their autumn suits.

Haunting melodies, echoing and spectral as the flutes and strings entwine "In a Funny Way". But it's not funny, it's beautiful, vibrant and playful love song. Fleeting, ethereal, ephemeral.
(The video is delightful and slightly creepy - you should totally watch it).

Hell, I need a thesaurus to write these reviews!

It's like being swept up into the clouds and sung to by angels.

Another beauty, "My Love" is the sort of melody that cannot help but stir your soul. The lyrics are filled with heartbreak and regret:

"... I never gave you enough, I could have given you my love..."

A lament of letting the one you love slide through your fingers, of not giving all that you should to someone who deserved it. Such a simple thing - love - but it means so much.

"Moving On" is short, choral and flavoured with crystal raindrops.

"The Climbing Rose" is another song of transcendent glory.The lyrics are repetitive, but poetic.

The drums erupt with vibrant energy as your spirit will "Arise" into clarity and poetry.

For a song called "First Time Mother's Joy (Flying)", this is a bittersweet symphony, the piano adding an edge of melancholy.

"...Soon the dormant patient roots will show themselves as childish shoots..."

Their lyrics are so gosh darned beautiful.

Concluding with the melancholic, the sorrowful, the heartfelt "Down Poured the Heavens" when Jonathan's voice almost cracks with the emotional overload.

Mercury Rev are, quite possibly, one of the most evocative and stunningly beautiful bands in the world. I cannot understand why they are not better appreciated, or more well known. There is noone that comes even close in terms of clarity and whimsical charm. Their songs are poetry to music, their arrangements pure magic and Jonathan's voice has an otherworld quality that makes you wonder how he can possibly be human (I think he's fae). After this album and the previous, it seems so impossible to possibly top them, that Mercury Rev released an album of entirely different stylings and sound. Still, whether they return to this sound or not, they have left us with two magnificant albums. The mood for this one is generally gentler, more melancholic, filled with longing and loss, compared with the playful innocence of (some of)"All is Dream".

And what will I rate this one? Yeh, you guessed it = 10/10.

Lions Share - Two (1997)

Swedish band, Lions Share formed in 1987, suffering through many line-up changes. This is their second full length album (as you may have guessed) and is a progressive, melodic hard rock album with metal elements. They are now classified as "Power Metal" by Encyclopdia Metallium.

Just had a listen to a couple of their more recent tracks. Not overly impressed. This one is better.

It has a sort of progressive-hard-rock look to the packaging. Cover features two molten dolphin leaping from a chessboard. Black on white inside, very straightforward and very easy to read. Lyrics one page, band member photo on the other. They all look rather serious. On the back int contains the legend "Absolutely no gates used in this cd". Not sure what that means. So I asked google:

A noise gate or gate is an electronic device or software that is used to control the volume of an audio signal.

So, you learn something new everyday. I guess that means their sound is more authentic?

A chugging with pompous organ-synth opens "Wild at Heart". Full bloated, stirring. Guitars shift in and the rhythm surges forth. Vocals enter, smooth, almost sweet of a pitch not unlike Dream Theater. Surges into more full-blown shouts and bellows, with backing vocals sweeping around it like disembodied voices. Soemwhat savage and aggressive, as befits the lyrics:

"You know I've got a mean streak and you know that nothing can stop me now!"

The keyboards go a little wild in the solo.

The "Lord of the Pain" enters with lower, smooth vocals overlaid with gutteral shouting. Loud, aggressive, with violent rifts and churning emotions.

"Transient" starts with a blast. Shouting and singing combine in this sci-fi themed song with its rock rhythms.

The super-dooper-power-ballad "Don't Come Easy" feels almost like a parody, it's so different from the others. Vocalist Andy Engberg almost seems to be crooning. His voice is filled with passion and this is just like those good old-fashioned rock ballads of the late 80s/early 90s, complete with sing-a-long chorus and backing vocalists. It's uncanny, and quite beautiful, really. Engberg should sing more often.

"Shadows" was the first song I heard by Lions Share - played on MTV and it's a pretty epic hard rock piece. It starts with an aural assault like an avalanche of sound as the guitars and drums thrash, before Engberg's voice rises with the power and clarity of a deity rising from the stone. It is an immense and mighty song.

This is followed by another semi-ballad, "Baptism of Fire" has its slower moments. It is a stirring piece, complete with choirs. And latin. It makes me wonder if Lions Share are a Christian band. There's even a touch of Enya-style warbling. For a heartbeat, no more. There are some odd and intricate little quirks weaving their way through this track, bringing it into dramatic and passionate life.

Now it's time for a New Wave cover. Secret Service's "Flash in the Night". Not sure why metal bands like to cover New Wave tracks - this is the third I've heard in the last week. Here's the original. Whilst keeping the rhythms and structures the same, it is transformed into a dark and brooding Hard Rock piece, still retaining the keyboards. Immense and solid.

Another loud and dramatic piece, "World Gone Wrong" offers more of the heavy rifts, melodic shouted vocals and loud instrumentation, including keyboards. Not a bad piece, but nothing new or dramatic.

We conclude with an instrumental "Rat Race". For an instrumental, it offers little different from the actual songs, except for a bit more keyboard and that rising of drama and tension that builds then fades within a few beats.

Overall, it's an entertaining enough album, if a little too similar to the other bands of the late 90s for my tastes. Except for when they jump back into an 80s power ballad. Bit too shouty and not enough singy.

This earns it a rating of 6/10.

Iron Maiden - Somewhere in Time (1986)

Now it is time for some classic Heavy Metal. Iron Maiden are one of the most important, definitive metal bands on the market - having the solid, melodic stylings and intricate guitar work. They were one of the most important bands to rise from the NWOBHM movement. This is one of their classic albums, being the sixth they released and one of the only ones I own on CD, not cassette. Mine is the 1998 digitally remastered version, which includes full length videos, band biographies and a photo gallery, plus "much more" alledgedly. We'll check that out after we listen to it!

 The packaging has an 80s sci-fi feel to it - with Eddie as a cyborg, roaming a city, gun in hand. He's all sinew and metal. The font is that classic digital one that mimics an LCD screen. On the back of the booklet, the band parade across and you can see that the city seems changed from what it once was and something floats in the air - a satellite, perhaps? Whilst behind a pyramid crackles with lightning. The wee cartoon band are very cute. And the names of the places pertain to tracks on the album and other Iron Maiden songs/influences - including "Bradbury Towers", "Aces High Bar", "Herbert Ails", "Ancient Mariner Seafood Restaurant" (and the TARDIS!). Inside the booklet there are loads of pictures - of the band, of Eddie and the lyrics, each on a star spangled background with a band member posing beside them. They look so young!

Iron Maiden are awesome and immortal. Let our aural dissection begin!

The immense, slow chords open "Somewhere in Time" galloping into the traditional Maiden rhythms - catchy, solid.

The awesome strumming and early rifts of "Wasted Year" are unmistakable. A good, solid metal piece, with a soaring chorus and inspirational edge to the rhythms. This is despite the negative connotations to the lyrics - which are about the exhaustion of touring, homesickness and alienation. The anthemic chorus suggests that you should move on, see a way further to a brighter future.

The next track, "Sea of Madness" is a surging maelstrom of drama. The guitars chug along like the relentless waves, pounding the shores. The vocals are like an albatross riding the waves.

"... like the eagle and the dove, fly so high on wings above..."

"Heaven Can Wait" is another catchy piece with plentiful synthesizers and great melodies. Repetitive chorus, but decent message. It falls into a galloping, sing-a-long rhythm where you can just image Bruce strutting across the stage, coaxing the audience to join him in the chanting. Then another musical shift into a faster, slightly desperate pace before we fall back into the anthemic chorus.
This song is completely different from Gamma Ray's track with the same name, apart from the line:

"... Heaven can wait til another day..."

A solid, racing song "The Loneliness of a Long distance Runner" has the sort of beat that you could use to pace yourself - if you wanted to run both fast and long too. Pounding drums, galloping guitars. Soaring solos. This is a song of energy and endurance, with a touch of solitude.

"Stranger in a Strange Land" has a heavier, more ominous sound. It seems to be about a young man, alone and lost, who died in the snow and had his body preserved for the future to find. The guitar solo is melancholic, moody, evoking vistas of endless skies and glaciers - a land unrelenting in its isolation and inhospitably.

Achingly slow chords open the next track, haunting, before we are bowled down by a charge of drums and guitars. Have we been here before? Not quite, but this is still "De Ja Vu". Dickinson's voice has dropped to a snarl before rising into his more typical not-quite-screams. Short, fast.

Slower, building into an epic we have the saga of "Alexander the Great". With typical slow baseline, the echoing intro rhythms and the light strumming of guitars as they build and build in complexity. Surging in comes the heavier guitar, an increase in pace and bass.

Iron Maiden are one of the most accessible metal bands I've found, with their catchy, repetitive choruses and solid rhythms, they are destined for stadium immortality and noone who has seen them live can resist their charms. They are professionals, polished and have a sound that is distinctly their own. For this album I shall give a rating of 8/10.

Helloween - Chameleon (1993)

Released in 1993, this is generally considered to be the low point in Helloween's career. It envelops a difficult part of their life - burned out after the Noise fiasco, with member cohesion and friendships crumbling, and the loss of Kai Hansen's genius. Like the lizard that gives it its name, it is an eclectic album, experimenting with a range of styles and rhythms. For all that the metal fans dislike it, it did receive rave reviews in NZ mag Rip It Up and it also finds favour with me. My musical tastes are nothing if not a little avant-garde, and my habits are nothing if not contrary. Whilst I would not consider it a necessity in every metal maniacs collection (mainly cos it ain't metal),  it holds a certain nostalgic appeal, combined with a level of insanity and genius. Helloween more recently did something equally experiemental, with the excellent "Unarmed" album, which is probably my top pick of their Deris days. But that is in the future, and this is the present, so let us now begin.

The cover sucks.
It's possibly the Worst Album Cover Ever. It's like they're not even trying. Four stripes - yellow, red, blue and green smeared across an otherwise white page. Pathetic. At least the little pumpkin cartoons that add a whimsical charm are still present, decorating every song. Although I have to confess, they look better in the smaller size of the cassette cover than enlarged for the cd.

At the back it says "Through hard times you find out who your real friends are."
I'm not sure if this is a barbed comment or not, given the turmoil in the band at the time, I'm thinking it may be so.  It was the last album with Kiske and Ingo.

This eclectic masterpiece is in fact the works of three of the band members, each of them creating music and lyrics for the rest to play. This is possibly what gives it its versatile, chameleonic, feel.

For the record:
Michael Weikath wrote: The First Time, Giants, Windmill, Revolution Now
Michael Kiske wrote: When the Sinner, In the Night, I Believe, Longing.
Roland Grapow wrote: I Don't Wanna Cry No More, Crazy Cat, Music, Step Out of Hell.

The album opens with a song about sex. This is "The First Time" that Helloween have a song with sexual connotations and innuendo. It begins with a squeal of feedback before the rock n roll rhythms take over. The chorus is nice and catchy. Drumroll to end it all, complete with distorted guitars and chimpanzees getting lively.

Then we sink into the opening beats of "When the Sinner". No idea how you'd categorise this song. Rock? It has quite dancey beats, kick horns. Kiske's vocals are damned fine, soaring up and down with youthful enthusiasm. The whole song contains the sort of vibrant energy that should have drawn in a wider audience. Jolly good guitar solo and a touch of piano.

Now into a powerful ballad, with enthusiastic acoustic guitar. "I Don't Wanna Cry No More" is Roland's song to his brother Rainer (presumerably deceased). Kiske's voice portrays the emotion well, combined with the light instrumentation. This is a song that is somehow both sad and celebratory at the same time.

And another switch, as we get jazzy with "Crazy Cat". The beginning sounds disturbingly like a dot matrix printer, before the kick horns rip in. The rock n roll rhythms transport you back to another era, maybe there are elements of Elvis here? Kiske is a big fan (but this is Roland's song). Lyrics are quirky and weird:

"Addicted to chicks! He's got a rental tree near the nudist beach, yeah!"

 It's energetic and crazy and probably about Fritz the Cat.

Now, for something a bit more emotional and powerful and downright METAL. "Giants" is possibly the only genuine metal track on this album, and what the others lack in majesty and power, it more than makes up for. From the soaring guitars, and dramatic music build slide guitar and then Kiske's voice, soaring high on currents of emotion and passion. This song is pretty damned epic.

A whistle-bang-whistle-bang follows on as the last chords fade and the "Windmill" begins turning. Piano, tinkling across the keys, Kiske's voice a gentle sussuration. Folk ballad? Vocals with acoustic guitar, a song that evokes memories, nostalgia, a feeling of peace and serenity.

"Don't feel alone and depressed, someone willl come at last. To soothe your stumbling mind to keep it away from the evil storm."

I always loved the lyrics of this song. I was 15 when it was released, and it gave me hope for my future. There's some pretty instense acoustic guitar strumming too. It's a very nostalgic and moving piece for me. Making me think of golden fields, and blue skies.

Now it's time to step back to the 70s, and time to put some flowers in your hair - because it's time for a "Revolution Now". The last of Weikath's contributions and with aspects of Sabbath and Trouble - that somewhat slow, slightly trippy, somewhat sludgy, psychadelic-doom sound (stoner metal?). The chorus is epic. The guitar solos are jolly fine. Fade out includes record scratching noises and grunting pigs. I am not sure why.

The acoustic-but-energetic "In the Night" really does do justice to Kiske's vocals and contains some very nice lyrics:

"When I wake up early in the morning, I catch a book and jump inside...."

And Kiske does his "Elvis voice". I love it when his vocals drop down an octave. Gives me shivers. The guitars are animated and filled with a playful joy.

Now, time for some "Music". Well, more music. This is a very powerful piece, building from a soft, almost haunting vocal line and with elements of classic rock. The stirring nature of the music and the power of the vocals, as they rise, soar, in celebratory harmony. It's slow and dramatic. The additon of the orchestra really helps improve the power.

"Step Out of Hell" is a song about drugs to what would be best described as dance-rock. Some reviews speculate that it's about Ingo and the lyrics centre on trying to help someone with a drug problem. The guitars are a little more energetic on this one, and Kiske's voice is as powerful as ever, but the cheesy keyboards feel awkward and a bit out of place. It is probably my least favourite song on the album.
Sadly, it's also prophetical:

"... go on like this you're gonna be dead..."

RIP Ingo.

Following on is the epic and beautiful "I Believe". Written by Kiske, this is him coming out of the Christianity closet in glory and triumph. It is a powerful and stirring song, even for a non-believer like myself. The rising melodies, the share jubilation and celebration in his voice and the full-on orcheastrations make me wish Kiske could perform with an orchestra all the time. And then he does his low-sexy-voice, except faster, and somewhat sinister. This is almost a song to inspire me to believe. But it's not preachy. Not really. Sure, he's singing about how important God is, but it's about his personal choice - not trying to inflict it upon the listener. Pure epic majesty.

Gentle strumming, provides acoustic support to Kiske's "Longing", it starts slow, but then the strings come in and then it becomes a thing of beauty. A song of loss, of love. Of longing. That final triumphant, symphonic blast...

"Here is love and there is pain; it's all around it's all the same".

You know what? This is a damned fine album! In fact, it's probably the most accessible Helloween album to the not-metal-fans and the structures and blend is an eclectic masterpiece. If I ignore the terrible cover and the internal band dramas and just concentrate instead on the extremely polished and brilliantly eclectic blend of music, that really deserves better recognition*.

I'd have to give this album 9.5/10.
Do you know what I want to see? Michael Kiske performing with an orchaestra. That would be amazingly awesome.

* Even the band pretend it does not exist - to the best of my knowledge, they no longer play ANY of these songs in any of their sets.