Headphones, Part II

In my sophomore year of college, my close-knit floor came up with what I would describe as an iconography for visually representing each other in Telephone Pictionary. I'm having trouble remembering how they all went, but I was always depicted wearing a big set of headphones. I had become the "headphone man".

This was probably a consequence of my exponentially expanding musical interests and the fact that I lived in a cramped dorm, as well as my desire to get audiophile-grade sound reproduction as cheaply as possible. Some days I probably spend the majority of my waking hours with headphones on (though not always listening to anything); if my hair is getting longer, this leads to distinctive indentations in it around my ears and on top of my head. As I write this, I am wearing one pair of headphones with eight more within arm's reach. You get the idea.

So, of course, this article on the origin and significance of headphones was pretty interesting to me. I am definitely in the crowd that wears headphones while working and, like apparently everyone else, I think it helps my productivity. Their ability to create a sense of separation--separation to my task--is perfect for an introvert like me and, like the article says, I think their effect on my morale more than offsets their immediate distractiveness. It would be interesting to actually test this somehow. (How do you measure coding productivity, anyway? Arguably not with lines of code)

Anyway, as I've listened over the years, I've developed a sense of my headphones' sonic personality. Maybe this is pretty weird, but I've gotten to know them almost like people--their likes and dislikes (genre-wise) and the situations they're best for. These are the five I use on at least a semi-regular basis.

Sennheiser HD-555

There is so much I could say about my faithful HD-555s. When I first put them on in my freshman-year dorm room, my life changed and the world of hi-fi opened up to me. Three-plus years later, I've probably logged over a thousand hours of listening on them and, though their sound doesn't wow me like it used to, they have proved to be a fantastic set of headphones for general-purpose listening. They're open-back headphones, which means they don't try to keep sound in or out, which minimizes unintended reverberations for the best possible sound but also means they're best for listening at home. They mostly live on my desk, or on my head. The HD-555s are fantastic for rock, metal, acoustic music, and just about anything else I care to put through them, and their cushioned earpads allow for lengthy listening sessions with no discomfort. (Though the pressure they exert around my ears is largely responsible for my cases of "headphone hair") They have apparently been discontinued by Sennheiser in favor of their updated version, the HD-558, and if you're interested in pursuing audiophile sound, I recommend these as a starting point. Just don't be like the people I see wearing them around campus/the city.

Audio Technica ATH-AD700

These Japanese-made headphones are the HD-555s' closest rival, with a similar price point and intended purpose. Like the 555s, they are open-backed and made for listening to music, TV, or movies at home, though I have found a few excuses to wear them when out and about. These are the biggest headphones I have ever seen (I can see them in my peripheral vision while wearing them), but they are pretty light and the double-band design makes them float on your head like a cloud. It's surprisingly easy to forget you're wearing them. They are noticeably "brighter" (more focus on higher sounds) than the Sennheisers, which makes them a good fit for jazz,  classical, acoustic, and other bass-light genres of music. I now use them as "special occasion" headphones such as for listening to favorite or brand-new albums.

Sennheiser HD-438

I got these to replace my older HD-201s as my "walking around campus" headphones, and they have redefined my perspective on closed-back headphones. They sound amazingly similar to similarly-priced open headphones, with enough clarity and sound imaging to blow away listeners accustomed to cheap earbuds. Their build is pretty light and feels a bit "cheap", but also makes them very comfortable. Another nice touch is the removable cable which lets you swap between 4' and 10' cables; plus, when my first cable was running out, I could simply replace it for about $7. Last summer I used the longer cable to listen on them at work, which they did just as well. I get a kick out of their uniqueness; I have never seen anyone else wearing a pair of 438s. Despite their only being a few years old, the HD-438s have already been updated into the HD-439s, which are a great choice if you want one set of headphones that does it all.

Grado SR-60

Grado is one of the best American headphone companies out there; unlike Sennheiser and Audio Technica they focus almost exclusively on headphones and their craftsmanship speaks for itself. The SR-60s are their entry-level cans, cheaper than the previous three, but still sounding fantastic. Their punchy sound is great for rock and metal listening. As open headphones, they bleed sound all over the place, so again they're great for taking home listening to a new level. And, of course, the distinctively retro design will make you look like a World War II radio operator. My only gripe with them is that since they sit directly on rather than around the ears and the band isn't very padded, I can only keep them on for about one album before they get too uncomfortable.

Maximo iMetal iM590

I had been rather disdainful of in-ear headphones ever since upgrading away from my cheap white iPod earbuds years ago. These things showed me that it is possible to get great sound out of tiny packages. The quality, especially the low end, is absolutely amazing both for in-ear phones and for only $50. When they're properly sealed in my ears, they're probably my "bassiest" headphones. Because of their form factor, keeping them securely in your ears is a bit of a hassle (they have a shirt clip to help with this), and when walking you can hear a lot of noise transmitted through the rather thin cable. They also come with their own carrying case, which lets me store them in my briefcase at all times.

On a related note, if you ever want to borrow some headphones (even any of these) to try or use, just ask.

Stones Grow Her Name

I first discovered Sonata Arctica during my epic first real foray into power metal in my first semester of college, but i didn't really get into them until I fell in love with The Days of Grays later. Its combination of melancholy, poetic lyrics; lush symphonic melodies; and interesting guitar wankery made it one of my favorite symphonic metal albums, though lots of fans missed its earlier days of playing more standard power metal. So, in light of these expectations, how does their new album, Stones Grow Her Name, stand?

Overall, Stones Grow Her Name definitely seems to continue The Days of Grays' drift into keyboard-driven metal/hard rock territory. They follow an approach similar to Nightwish's, with the keyboards carrying most of the melodies and the guitars adding "sonic texturing" and the occasional melody. It's kind of an instrumental take on the common "beauty and the beast" sound, drawing on the contrast and tension between almost poppy, symphonic melodies and crunching, distorted guitar sounds. Songs like "I Have a Right" and "The Day" exemplify this approach, with the keyboards providing a strong sense of atmosphere throughout. "Alone in Heaven" starts with acoustic guitars, and later the keyboards provide a harp sound. "Shitload of Money" (best title ever) has a bass beat reminiscent of dance pop and an almost eerie atmosphere generated by the keyboards; in general it's so bad it's hilarious and pretty enjoyable.

On the other hand, "Somewhere Close to You" and "Losing My Insanity" are much more guitar riff-driven, somewhat inverting the guitar-keyboard relationship of the aforementioned songs. "Losing My Insanity" also manages to be one of the catchiest songs of the album. "Only the Broken Hearts (Make You Beautiful)" strikes the best balance between the elements of SA's style, and though the overall guitar/drumming style is a callback to The Days of Grays, it also seems like a bit of a nod to fans who miss their earlier albums. Also, in response to the complaints of The Days of Grays' lack of guitar solos, several songs on Stones Grow Her Name have them--"Only the Broken Hearts", "Shitload of Money", "Losing My Insanity", and "Alone in Heaven" among others.

While the first seven songs largely sound like a reestablishment of SA's previous material, the last four venture into bold new territory. "Cinderblox" starts with, of all things, a banjo, soon to be joined by a fiddle that along with the frantically upbeat drumming risk establishing a whole new genre of "bluegrass metal" (in Finland, of all places!). The chorus is phenomenally catchy and the balance between the bluegrass instruments and guitars is pretty good. (The keyboards take a definite back seat on this song) And, again, it has excellent and highly technical guitar solo. "Don't Be Mean" is a slower, quiet ballad similar to "Breathing" with a violin solo that is a very nice touch.

And then the last two songs are the second and third parts of "Wildfire" from Reckoning Night, which was apparently the start of a trilogy, each of them nearly eight minutes long. Right away in part II the banjo and fiddle come back, playing what could almost be a tribute to American folk music over a soundscape of a gathering storm. These fade out to be replaced by a section where the guitar and drums almost seem to be dueling. The resulting song is a fantastic symphonic/progressive epic and a standout of the album. Part III is more intense, with lots of rapid double-bass drumming and heavy riffing sure to please fans who miss SA's early days as well as pretty much anyone who enjoys metal.

In Stones Grow Her Name Sonata Arctica seems to be trying to continue the musical trends started by The Days of Grays while simultaneously pleasing their older fans who didn't like it. The result doesn't really work as well as their simply picking one style and pursuing it did. In a similar vein, they seem to take a few steps backwards on the progressive side, undoing much of the progress of Unia and The Days of Grays. The bluegrass angle of "Cinderblox" and "Wildfire, Part II" is bizarre and works surprisingly well, but other than that there isn't too much to ponder about this album. Probably not SA's finest hour, but "Only the Broken Hearts (Make You Beautiful)", "Losing My Insanity", "Cinderblox", and both parts of "Wildfire" are still strong tracks on their own.

Return to the Unseen Empire

As I was listening to one of my favorite melodic death metal albums, The Unseen Empire by Scar Symmetry during lunch today, I realized that my previous review of it failed to do it justice. So, since I love it so much, I'm going to review it again!

As I said last time, The Unseen Empire is a concept album about the domination and enslavement of humanity by extradimensional reptilian overlords. The unfolding of this dark tale is rife with conspiracies, secrets, and melodic death metal goodness. This is Scar Symmetry's second album with two vocalists and it sees them working together better than ever, while the rest of the band is at the top of their game as well.

The Anomaly
I come with both truth and lie/Is there darkness without light/Break of day without an imminent night?
This song is a foretelling of the album's concept: the approach of some kind of metaphysico-logical enigma that defies comprehension but demands loyalty. How easy it is to sign yourself away without understanding what you're doing. Musically, it's a pretty basic demonstration of the band's brand of borderline-power-melodic-death-metal; Roberth (the resident death growler) does the verses and Lars sings the choruses. I've realized that Scar Symmetry isn't so much progressive as they are intensely technical and musically brilliant. Most of their songs follow a fairly standard structure with extra guitar solos sprinkled in, but musically they still manage to be quite complex, packing many riffs and time signature changes in where other bands might squeak by with a few chords and a basic drum beat.

Illuminoid Dream Sequence
Gods without eyes drinking from your feeble mind, a thirst divine/Drain mankind and we will be born, replacing all human life...
I gave this song a bit too much attention last time--or, at least, I focused on it to the detriment of the rest of the album. Still, it is quite brilliant, featuring a crazy-awesome chorus riff that jumps frantically all over the fretboard over a plodding double-bass drum beat. And, of course, the even more-insane bridge apocalyptic-sounding guitar shredding and incredibly fast 6-time bass drumming; see my above comment on how SS never misses an opportunity to spiced up their music. Vocally, this song is an inversion of "The Anomaly" with clean verses and a growled chorus, and lyrically it is about the alien presence's first real contact with humanity via the disembodied mind of a man lost in a dream. Very poetic. Still the strongest song on the album.

Extinction Mantra
Truth, it is buried deep in dissent/Lies came to be the means to their end/Fractures of the world open wide/The blind shall lead the blind.
This song is about the formation of a massive conspiracy to deceive and mislead mankind--happy, right? "Extinction Mantra" song begins more slowly, the synthy tune rolling like desert sand dunes, before the heavy guitar chugging gets underway. The chorus is characterized by a distinctive, pounding stop-start riff with great synchronization between the guitars and drums. The vocalists trade off a lot here, especially in the  chorus; they are definitely working together well here.

Seers of the Eschaton
The heaven seen by those who lead is hell concealed/The seers of the Eschaton.
This song expands on the conspiratorial nature of the previous song's lyrics, focusing on the elites who deceive the masses and the truth that they hide. Musically, probably the heaviest and most aggressive song of the album, with heavy, seemingly arhythmic guitars chugging over equally frantic double-bass. The verses are similarly harsh, but Lars' part of the trade-off chorus is surprisingly catchy. This song is also pretty awesome for its volume of guitar solos: two right at the beginning, three in the normal spot, and one more at the ending. Lots of guitar shredding to complement its breakneck pace.

Domination Agenda
The waters deep conceal monumental depth/Yet hide the vastness from our eyes...
"Domination Agenda" is a nice break after the white-hot fury of "Seers of the Eschaton", more laid-back song with a simpler main riff that is almost entirely song by Lars with  Roberth mostly providing backing vocals. Lyrically, it's an exposition of the depth of the web of lies and secrets woven by the conspirators, comparing it with an endless dungeon to be explored in a cool extended metaphor.

Astronomicon
Know that we own minds that could devour the sun/And what we have done will remain although it's gone.
This song seems like a bit of a tangent from the main story, an exploration of the hidden depths and wonders of our minds and one of the nicer tracks overall. Musically, I have surprisingly little to say other than that it's an all-around solid song, with great vocalist teamwork and drumming--a good summary of the style of the entire album--heavy, but melodic and with exquisitely crafted lyrics.

Rise of the Reptilian Regime
There is proof of their grotesque presence on display throughout our world/In a gesture of invitation placed in art and written word...
Though beginning quietly, "Rise of the Reptilian Regime" quickly breaks into a riff that that is more about power and rhythm than melody. Because of this, it's one of the less interesting songs, with a plodding, ceremonial-sounding chorus that does little to help. Lyrically it's about the coming of the draconians to our dimension through our minds; the above line is probably my favorite from the album for the parallels I draw between it and the need for Christians to discern to whom they are paying cultural homage in their engagement with the world.

The Draconian Arrival
Something comes as the air's vibrating and candles die with a sigh/Now behold, as the light is fading, for the invoked has arrived.
This song is the real climax of the album: the culmination of the conspiracy in the unholy ritual that summons the reptilian god-men to our world. It's like something out of H.P. Lovecraft. This song has quite a few musical sections in a less standard, more progressive structure, with plenty to love throughout its five and a half minutes. Scar Symmetry is definitely good at telling a story without detracting from their music.

Alpha and Omega
We stand before apparent beginnings and ends/But nothing ever seems to change...
And then the falling action; the reign of the draconians is made manifest through shadow and deception, their victory near-complete. Like "The Draconian Arrival", this song is a multisegmented epic, and it provides nice closure and a glimmer of hope to the album: "Insight comes with a new worldview/And gateways will open anew".

Overall, this is a very solid post-Älvestaam release for Scar Symmetry, a very solid buy for lovers of melodic death metal and also a jumping-off point for less-extreme metal enthusiasts to get into the genre with all its concessions to beauty and melody in the music. The songs are very musically inventive (as i said, they pack a lot of songwriting into a normal-sized song), although it kind of feels like the band is filling in the same set of blanks in most of them (except the last two).

Lyrically, I really connected with the album this time for the parallels between the metaphysical invasion of the draconians, whose weapons are more epistomological than militaristic, with the Christian doctrine of spiritual warfare, or more simply the need to be discerning and know the truth when engaging with a fallen world. Of course there are no eternal reptilian demigods trying to break into our plane of existence, but all the lyrics about deception and conspiracy do get me thinking about the thought I put into what I believe and what is behind it--the kind of tendency to look beneath the surfaced of everything I've been learning from James Hunter. And besides any practical application, I am a bit of an escapist with my music and this is just a good, well-written story to be enjoyed with 45 minutes.

The End Is Where We Begin

Okay. The last in my sizable backlog of awesome music that's come out lately is Thousand Foot Krutch's new album, The End Is Where We Begin.

The End Is Where We Begin is notably TFK's first independently released album after nine years with Tooth and Nail records. With its influence on their music gone, this album is at once  a continuation of their sound on the last few albums and a return to their rap-metal roots.

First, much of the album will be quite familiar to those who enjoyed The Flame In all of Us and Welcome to the Masquerade. Lead single bait "We Are" is a fist-pumping anthem in the vein of "Fire It Up" with motivational lyrics like "We are the ones/We are the guns/And we will roll". The title track "The End Is Where We Begin" is more of a balance between power and melody similar to the previous two title tracks, "Welcome to the Masquerade" and "The Flame In All Of Us", with some heavy-yet-accessible guitar hooks and an exceedingly catchy chorus. "War of Change" has the same kind of explosive energy as "E for Extinction", with a legitimately epic wall-of-sound chorus.

This album continues TFK's move towards more loud and energetic songs (especially with the return of their rap metal influences, which I'll get to in a moment), but there are several quieter, more personal songs--"Be Somebody" has more thoughtful lyrics and the chorus line bursts with a sense of longing. "All I Need to Know" and "So Far Gone" are both quiet devotional-type tracks descended from "Watching Over Me", "Already Home", or "My Home". "Fly on the Wall" is one of the more interesting songs that I can't directly compare to previous albums, starting with quiet, almost-whispered vocals and a melody played by strings, but almost turns into a rock ballad in the choruses.

And secondly, this album is a big return to TFK's rap metal style that they'd all but abandoned by Welcome to the Masquerade, possibly at Tooth and Nail's request, for a more polished and commercial sound. "Light Up the Sky", "Down", and "I Get Wicked" both have entirely rapped verses, the latter with mystifying or just plain hilarious lines like "Stock to cons, 'cause the devil wears prada" or "P.S., Don't play me like a 3DS". Ditto on "War of Change" with "'Cause I got 10 in my pocket that'll bend ya' locket" and "The End is Where We Begin", whose "Hear me running" bridge is probably the lamest moment of the album.

So the title of The End Is Where We Begin ends up being a little too accurate. It continues TFK's well-practiced formula of calculated guitar crunches and ridiculously catchy chorus lines, but enjoyable as it is, it doesn't really blaze any new ground for the band. Instead it really seems like more of a step backwards to their rap metal origins. Maybe there are some hardcore fans who are delighted by this move, but I am not. Stylistically, this album would have fit in much better ten years ago (and not in the classic, timeless way of power metal).

The lyrics, while well-delivered as usual, continue and intensify the split between vaguely motivational fist-pumping with nothing behind it and confessions to God. With some of the rap songs, I don't even know. ("I Get Wicked" just seems to be about anger issues, and "War of Change"...it's cool, but I just have no idea) The main exception is again "Fly on the Wall", probably the most thoughtful and thought-provoking song of the album, with lines like "I'm on the run from a thief I let into my head" or "We were making the bullets to a broken gun".

I'm getting a bit more negative on this review than I'd expected. This is a good album, but it could have been much better. Its biggest issue is that it almost completely fails to innovate on TFK's previous sound(s) and lyrical themes. Despite/because of this, it's still quite a good time with some distinct high points and worth a look if you liked The Flame in All of Us or Welcome to the Masquerade.

True Defiance

I'm glad I already did my post on "Christian" music and culture, as it gives me a perfect segue into a review of an album I've really been enjoying lately. You may rememer Demon Hunter as one of the metal bands I recommended as successfully combining truth-filled lyrics with satisfying aesthetic merit. This is their recently released album, True Defiance.

This album gets me thinking more every time I listen to it. Like most metalcore bands, Demon Hunter is quite heavy and intense in their music; unlike most metalcore bands, Demon Hunter never seems to obsess over or revel in its heaviness, as if it's not all they are, just the means to a deeper end. The result is metal that sounds polished, but not pretentious., satisfying for its brutality as well as its truth and intellectual depth.

The opening song "Crucifix" gives you a good idea or what to expect from the album; melodeath-style guitar harmonies, rapid and super-precise drumming, and half-shouted, half-screamed vocals. It's one of the heavier songs on the album, especially on the chorus which focuses more on the rhythm than the melody. Their vocalist, Ryan Clark, is somewhat more intelligible than those of commonly cited "Christian" metalcore bands like As I Lay Dying and Underoath, which is great when you're singing cool lyrics like "We will follow vacant voices into a shallow grave/Reiterate the verses of some self-consuming slave/Now pay for the hell that you praise". Very dark song that wouldn't be considered "family-friendly" by any stretch, but it's ultimately about how amazingly good and powerful Christ's death on the cross was. There is also a spoken section which is quite well done; Clark has a surprisingly deep voice when not screaming and he uses it to great effect throughout this album.

"God Forsaken" is somewhat less fast and furious, with a plodding double-bass tempo underscoring much of it. The chorus is sung cleanly, which with Clark's aforementioned deep voice sounds really cool. The solo is mostly slow and even mournful, but after the final chorus the speed ramps up for an extended outro that seems to exist for no purpose other than to extend the usual formula and sound cool. Ultimately it's one of my favorite songs of the album. "My Destiny" similarly contrasts screamed verses (with blast beats!) with sung choruses (closer to the top of Ryan Clark's register). Lyrically, it's a somewhat abridged story of salvation ("We were blinded by the sacred light/That carried us away/Like a razor through the dark-filled night/My destiny") and one of the cooler songs of the album.

Later on the album, we get another strong track, "Someone to Hate", a metallic juggernaut built around a really bleak and dissonant-sounding riff that complements the lyrics about violent war against sin. The chorus trades off a super-heavy single guitar chord with rapid double-bass drumming for a really cool, almost whiplash-inducing effect. The next song "This I Know" is more anthemic than dissonant, with lyrics on my pastor Steve's third objective of the Christian life: doing as much damage to the kingdom of darkness as possible. These songs show how violent Demon Hunter's lyrical imagery can get while remaining rooted in the truth, a great message for anyone who thinks Christians should just be quiet and peaceful all the time. The sinful nature of man and our call to be in the world, but not of the world means that Christians will need to deal with tension and take stands every day, and this is the truth that Demon Hunter's music perfectly represents.

The main criticism I can raise to most of the album is that while excellent both musically and lyrically, it's a bit homogenous. There are, however, a few softer songs mixed in to shake things up. "Tomorrow Never Comes" is a straight-up power ballad that manages to work surprisingly well due to Clark's voice and its earnestness. It's a sign of a band mature enough to take a step back from making heavy stuff and not sound whiny in the process. "Means to an End" is a quiet instrumental track, a touch that metalcore bands seem to be fond of these days. "Dead Flowers" is even more saccharine, to the point of being best enjoyed with more than a touch of irony. The last bonus track "I Am A Stone" has mournful strings as its only instrumentation, which is kind of cool; I like the thoughtful lyrics, which seem more than a bit inspired by Simon and Garfunkel's "I Am A Rock".

Overall, this is a great album for metal lovers looking for something with music and lyrics they can really sink their teeth into.  The lyrics convey truth and inspire thought without ever subordinating the instrumentation to get a point across. Now I'm really interested in going through Demon Hunter's back catalog again.

Elvenking: A Primer

The time has come for me to do one of those posts I do when I like an artist, but can't pick a specific album to talk about. So I'll talk about all of them! The subject here is the Italian Elvenking, one of my favorite folk metal bands. For Elvenking, this means that each of their albums (save Two Tragedy Poets) is a exuberant exploration of the relationship between the electric guitar and the fiddle. This, combined with their vocalist Damnagoras' (everyone in the band goes by mononyms) distinctively passionate and youthful voice, makes for some seriously beautiful and fun-to-listen music. Lyrically, they're extremely nerdy but chock-full of beautiful poetry about fantasy and nature. If you tend to think of metal as endlessly dark, nasty, or brainless, they'll probably expand your horizons.

Heathenreel (2001), 'The first one'

Elvenking is unmistakably Elvenking on their first album, but they still seem to be in the process of picking a genre, or rather blending their distinct stylistic influences. So you get schizophrenic songs like "Skywards", which is mostly a meandering acoustic-and-fiddle piece but ends with screaming. Other songs like "The Regality of Dance" or "The Dweller of Rhymes" contain similar contrasts. Damnagoras is still improving and his vocals don't quite have the punch that they pack later. In general, Heathenreel is more toward the folk side of their folk-metal continuum than later releases. For all its rough edges, it's a great first album and a treat for folk metal lovers. If you aren't convinced, check out "Pagan Purity".

Wyrd (2004), 'The one with the different vocalist'
Okay, let's just get this out of the way. Kleid is not Damnas, but he does a pretty good job filling his no-doubt-pointy shoes. Musically, this album is a strong continuation of the sound of Heathenreel, but strikes more of an even balance between the folk and metal sides (beginning a trend towards heaviness that the next two albums continue). It's a bit more homogenous because there is less light, fluffy acoustic stuff (the chorus on "Moonchariot" is a notable exception), but a solid album by any standard. and "Pathfinders" and 12-minute "Poem for the Firmament" are pretty epic.

The Winter Wake (2006), 'The classic one'
I would consider The Winter Wake to be the best representative of the "classic" Elvenking sound; either this or Red Silent Tides is the best album to initiate yourself to the band. Damnagoras is gloriously back on The Winter Wake and the whole band seems to have hit their stride. Lots of heavy guitar riffing combined with playful fiddling, along with plenty of choral vocals (not an electronic effect, see "Trows Kind"), are terrifically fun to listen to. Acoustic songs like "On the Morning Dew" and "Disillusion's Reel" recall the lighter side of the first two albums. Some of the best songs are "Swallowtail", "The Winter Wake", "The Wanderer", and "Devil's Carriage", but really there's not a weak song to be found on this album.

The Scythe (2007), 'The awful one'
As far as slip-up albums go, The Scythe is somewhere between Helloween's Chameleon and Lulu in overall let-down factor. By far their heaviest album, it sees Elvenking dilute their distinctively wonderful style with liberal amounts of screaming (quite a bit more than on The Winter Wake) and mindless heaviosity. It's some kind of ungodly blend of screamo and folk metal. The songs also almost all begin and end with utterly bland, monotone, and fairly emo poetry. ("Death is a savior/Life is a whore") I want to like The Scythe for its metallicity, I really do, but I just can't. It's a huge departure from their earlier work. Stay away from this album unless you have all the others and really, really like the band. Or maybe if you are coming to Elvenking from extreme metal territory.

Two Tragedy Poets (2008), 'The unplugged one'
My favorite of their albums; I've already reviewed this one in depth. In an apparent and welcome reaction to The Scythe, this album almost completely subtracts the electric guitars and is mostly acoustic folk rock. It's simply glorious; simultaneously more personal and beautiful than their metal albums while retaining all of the band's mood and energy. Lots of fiddle-and-pipe action to supplement the acoustic guitars; highlights are "From Blood to Stone", "Another Awful Hobs Tale", and "Ask a Silly Question", and "My Own Spider's Web". Also two great acoustic versions of songs from The Winter Wake. This is by far their most accessible album due to not being metal; it's a bad introduction to Elvenking since it's nothing like any of the others. (In a good way)

Red Silent Tides (2010), 'The epic one'
Their latest album goes in a heavier/power-metallic and simultaneously more epic, melodic direction, bringing in lots of double-bass drumming (see "Dawnmelting", whose spoken-word and blast beat intro almost make you worry you're back in The Scythe, "The Runereader", which turns the epic factor up to 11 in the climactic solo/instrumental section, or "Your Heroes Are Dead") and instrumentation leaning more towards symphonic than folk metal ("Silence de Mort" or, again, "The Runereader"). Obviously this means I love it! Some tracks recapture some of the lightness and beauty of Two Tragedy Poets ("Possession", "Those Days", and "What's Left of Me"), while at the same time Elvenking shows themselves quite willing to rock at almost Scythe-like levels. ("Your Heroes Are Dead", "Dawnmelting", and "The Runereader"). In Red Silent Tides Elvenking has a very solid album that incorporates the strong points of their previous work and takes promising steps in new directions.