Wednesday, October 31, 2012
For those wondering...
This is the YouTube video that got me into DragonForce, power metal, and metal a little over five years ago. Amazing that it's still available.
Wednesday, October 10, 2012
Ashes Against the Grain
Agalloch is one of the bands that helped get me into black metal. Their craft is a blend of black metal, folk, ambient, and post rock that is as beautiful as Explosions in the Sky and as intricate and ingenious as Opeth or Krallice. This is my current favorite album of theirs, Ashes Against the Grain.
Even just looking at the track list, it's evident this album isn't "normal" in any sense of the word. It consists of four ten-minute epics, one three-part suite, one short interlude, and a twenty-minute bonus track. And, indeed, this is no ordinary composition. This is an album you can lose yourself in, that challenges you to follow its every gnarled twist and turn rather than analyzing it from a safe distance. It has few displays of technical prowess, raw power, or blinding speed, but what it does have is some of the best-composed songs and deepest lyrics of any album I've heard in a long time.
The first track, "Limbs", starts off with a quiet, high-pitched guitar whine before a slow, heavy-hitting guitar and drum rhythm come in. This metal is not fast or intense; it is solid and deep like the earth under your feet. Like the other three epics, "Limbs" has little in the way of conventional song structure; it's main distinguishing feature is its interplay between quiet acoustic passage and plodding metallic heaviness. Unlike traditional black metal, it is bleakly beautiful in the same way a pristine winter landscape is beautiful. The lyrics, which don't begin until halfway through the song, contrast images of human suffering with surreal natural imagery. Lines like The texture of the soul is a liquid that casts a vermillion flood/From a wound carved as an oath; it fills the river bank a sanguine fog. There is also some juxtaposition of human limbs and tree limbs, hence the name.
"Falling Snow" is the song that first got me interested in Agalloch, and its appeal is more immediate. It opens up with some amazingly beautiful guitar melodies over a relatively upbeat, simple drum beat, like the driving of steady snowfall. Unlike "Limbs", which was very on-and-off in its dynamics, "Falling Snow" stays fairly steady throughout its length, though with plenty of variation over the same general mood and tempo. Again its song structure is highly unconventional, but the repetition of some memorable melodies (with different words) plays with the standard verse-chorus form in a musical sense. This song is all about the guitar melodies and all the wonderful interactions between them. The two counterpointing cleanly sung lines are very memorable and exemplify the parallels this song evokes between falling snow and falling blood. (Red birds escape from my wounds and return as falling snow). Lyrically, it could almost fit into Wintersun. After that, "This White Mountain on Which You Will Die" (a reference to a line in "Falling Snow") is a short, instrumental ambient track consisting mainly of a high-pitched wind or choir-like howl over distant rumbling and guitar static. It's surreally stark and beautiful, like looking out over a bottomless abyss with the wind and snow blowing silently around you.
"Fire Above, Ice Below", the third epic, is much slower, like a march, with even more sparse vocals (a total of seven lines) in a mixture of clean and harsh. Both are quite good; John Haughm's harsh vocals are a sort of rasp that is dark but quite intelligible; his clean vocals are indescribably hauntingly beautiful. This song is quieter, more in the vein of post rock than black metal, but after around 6:30 it starts to build and gets pretty intense by the end with a memorable and climactic repeating "ascending" riff in the last two minutes.
"Not Unlike the Waves" plays a bit with doom metal, beginning and ending with a heavy, rolling guitar riff with faint, high-pitched guitar jangling over the top. The colossal-sounding, but fluid pattern gives the overall impression of a colossal ship making its way across turbulent seas. This song is a bit more repetitive (or deliberately monotonous, like waves) because of its frequent use of this riff and others with the same rhythm.
And then the three-part epic, "Our Fortress is Burning...". The first part starts as some low-key, slow piano chords over a distant wind before another, shorter post rock-style piece similar to "Fire Above, Ice Below". The slow-tempo groove is accentuated by a distinctive nine-count series of drum hits before spacing out again with more cool guitar drones over drumrolls. The second part, "Bloodbirds", the only segment with lyrics (six lines), starts off similar to the first with the bass interestingly carrying the melody but builds to the crashing climax of the album within the last few minutes after the vocals drop the title of the album in the last line. The third part, "The Grain", is more of an epilogue, consisting entirely of a slow drone of some kind. It's not beautiful, but it sounds stark and otherworldly, as if after the end of the second part things can never be the same. The lyrics in part II reinforce the themes of the futility of human efforts (The god of man is a failure) in the face of the grandiosity of nature.
The bonus track, "Scars of the Shattered Sky (Our Fortress Has Burned to the Ground)" is like a second, much more satisfying epilogue, encompassing the entire rest of the album and more in nearly twenty of the most epic minutes you will ever experience. This song is a perfect epic because each of its parts truly feels different than the others in a cohesive way, as if you are going on a vast journey. It starts off with more nonmusical ambient music, some sparse clicks and sound effects over a drone like the engine room of the Enterprise. Finally a single string is plucked and a bare, lament-like acoustic melody begins. After a few minutes, the keyboard takes over, playing a truly beautiful and emotional piece that climbs higher and higher before the whole band, rocking their hearts out, slowly fades in. The music they play is upbeat, faster even than "Falling Snow", as if it's been lifted out of the doom and gloom preceding it. Finally it explodes like a firework into a series of phased/modulated drones that slow down before fading into more ambience to end the album. It's not much like the rest of the album, but truly an amazing song on its own and tremendously cathartic.
Ashes Against the Grain is a truly unique composition: an album that feels both organic and cold; desolate and simultaneously lush and beautiful. It is the culmination of Agalloch's eclectic style, transcending the metal/non-metal background, and a feat not soon to be forgotten. This album gets my highest approval.
Even just looking at the track list, it's evident this album isn't "normal" in any sense of the word. It consists of four ten-minute epics, one three-part suite, one short interlude, and a twenty-minute bonus track. And, indeed, this is no ordinary composition. This is an album you can lose yourself in, that challenges you to follow its every gnarled twist and turn rather than analyzing it from a safe distance. It has few displays of technical prowess, raw power, or blinding speed, but what it does have is some of the best-composed songs and deepest lyrics of any album I've heard in a long time.
The first track, "Limbs", starts off with a quiet, high-pitched guitar whine before a slow, heavy-hitting guitar and drum rhythm come in. This metal is not fast or intense; it is solid and deep like the earth under your feet. Like the other three epics, "Limbs" has little in the way of conventional song structure; it's main distinguishing feature is its interplay between quiet acoustic passage and plodding metallic heaviness. Unlike traditional black metal, it is bleakly beautiful in the same way a pristine winter landscape is beautiful. The lyrics, which don't begin until halfway through the song, contrast images of human suffering with surreal natural imagery. Lines like The texture of the soul is a liquid that casts a vermillion flood/From a wound carved as an oath; it fills the river bank a sanguine fog. There is also some juxtaposition of human limbs and tree limbs, hence the name.
"Falling Snow" is the song that first got me interested in Agalloch, and its appeal is more immediate. It opens up with some amazingly beautiful guitar melodies over a relatively upbeat, simple drum beat, like the driving of steady snowfall. Unlike "Limbs", which was very on-and-off in its dynamics, "Falling Snow" stays fairly steady throughout its length, though with plenty of variation over the same general mood and tempo. Again its song structure is highly unconventional, but the repetition of some memorable melodies (with different words) plays with the standard verse-chorus form in a musical sense. This song is all about the guitar melodies and all the wonderful interactions between them. The two counterpointing cleanly sung lines are very memorable and exemplify the parallels this song evokes between falling snow and falling blood. (Red birds escape from my wounds and return as falling snow). Lyrically, it could almost fit into Wintersun. After that, "This White Mountain on Which You Will Die" (a reference to a line in "Falling Snow") is a short, instrumental ambient track consisting mainly of a high-pitched wind or choir-like howl over distant rumbling and guitar static. It's surreally stark and beautiful, like looking out over a bottomless abyss with the wind and snow blowing silently around you.
"Fire Above, Ice Below", the third epic, is much slower, like a march, with even more sparse vocals (a total of seven lines) in a mixture of clean and harsh. Both are quite good; John Haughm's harsh vocals are a sort of rasp that is dark but quite intelligible; his clean vocals are indescribably hauntingly beautiful. This song is quieter, more in the vein of post rock than black metal, but after around 6:30 it starts to build and gets pretty intense by the end with a memorable and climactic repeating "ascending" riff in the last two minutes.
"Not Unlike the Waves" plays a bit with doom metal, beginning and ending with a heavy, rolling guitar riff with faint, high-pitched guitar jangling over the top. The colossal-sounding, but fluid pattern gives the overall impression of a colossal ship making its way across turbulent seas. This song is a bit more repetitive (or deliberately monotonous, like waves) because of its frequent use of this riff and others with the same rhythm.
And then the three-part epic, "Our Fortress is Burning...". The first part starts as some low-key, slow piano chords over a distant wind before another, shorter post rock-style piece similar to "Fire Above, Ice Below". The slow-tempo groove is accentuated by a distinctive nine-count series of drum hits before spacing out again with more cool guitar drones over drumrolls. The second part, "Bloodbirds", the only segment with lyrics (six lines), starts off similar to the first with the bass interestingly carrying the melody but builds to the crashing climax of the album within the last few minutes after the vocals drop the title of the album in the last line. The third part, "The Grain", is more of an epilogue, consisting entirely of a slow drone of some kind. It's not beautiful, but it sounds stark and otherworldly, as if after the end of the second part things can never be the same. The lyrics in part II reinforce the themes of the futility of human efforts (The god of man is a failure) in the face of the grandiosity of nature.
The bonus track, "Scars of the Shattered Sky (Our Fortress Has Burned to the Ground)" is like a second, much more satisfying epilogue, encompassing the entire rest of the album and more in nearly twenty of the most epic minutes you will ever experience. This song is a perfect epic because each of its parts truly feels different than the others in a cohesive way, as if you are going on a vast journey. It starts off with more nonmusical ambient music, some sparse clicks and sound effects over a drone like the engine room of the Enterprise. Finally a single string is plucked and a bare, lament-like acoustic melody begins. After a few minutes, the keyboard takes over, playing a truly beautiful and emotional piece that climbs higher and higher before the whole band, rocking their hearts out, slowly fades in. The music they play is upbeat, faster even than "Falling Snow", as if it's been lifted out of the doom and gloom preceding it. Finally it explodes like a firework into a series of phased/modulated drones that slow down before fading into more ambience to end the album. It's not much like the rest of the album, but truly an amazing song on its own and tremendously cathartic.
Ashes Against the Grain is a truly unique composition: an album that feels both organic and cold; desolate and simultaneously lush and beautiful. It is the culmination of Agalloch's eclectic style, transcending the metal/non-metal background, and a feat not soon to be forgotten. This album gets my highest approval.
Saturday, September 29, 2012
Sagas
Sagas by Equilibrium takes just about every metal trope I like--a heavy, reverberant guitar sound, lots of orchestral and symphonic instrumentation, and copious double-bass drumming, to name a few--and turns it up to 11. I would almost feel manipulated it it weren't so perfect.
Equilibrium is a German "epic folk metal" band that has put out three albums so far. Each blends the sounds of symphonic, folk, and black metal with enough cinematic bombast and drama to rival Nightwish or Rhapsody of Fire. Unlike these bands, they contrast the oft-heroic sound of their music, which vacillates between many different genres of metal, with some evil (but cool)-sounding black metal-style vocals. (Nevermind the lyrics or song titles, which are all in German) This is undoubtedly one of the most epic albums in my entire collection; if pretty much anything I've reviewed on this blog resonates with you, definitely give it a look.
The intro/first song "Prolog auf Erden", like all good prologues, is a great introduction to what the album is about. A loud, dark, and mostly symphonic opening is overrun by a torrent of screams and frantic blast beats with the (synthesized) orchestra taking the background. A subsequent section features more folk instrumentation, including a fairly prominent jaw harp (the stereotypical "boing-boing" sound effect). It has a fairly unconventional structure; despite being only three and a half minutes long, like a Mastodon song it feels much longer, as most of the contents of Sagas do (and it's already as long as a Dream Theater album). This is due to the band's relative lack (or perhaps expert use) of repetition in their song structure in interesting ways that buck the standard verse-chorus-solo model.
Anyway, on to "Wurzelbert", my favorite track on the album and one that forms part of my gold standard for "epic" music. For all its orchestral swagger, Sagas is very riff-oriented at heart, and this song has two of the best which are different takes on the same chord progression: a tremolo-picked, stairlike ascending guitar pattern and "galloping" triplets with the full force of the drums and orchestra behind them. It's the epitome of the album's "big" sound, seeming like part of the soundtrack to a movie far too awesome (and high-budget) to ever exist. The verses, for a bit of counterpoint, have more audible folk instrumentation including some kind of accordion. The lyrics, falling just a bit short of the bar set by the music, are apparently about a "root-guy" who lives in the woods and kills animals and thrills audiences by playing his fiddle. (Luckily they're all in unintelligible German so you won't notice)
"Blut im Auge" has the same kind of epic, valorous appeal as "Wurzelbert", but hardly sounds repetitive because of the band's knack for writing heavy, yet catchy and memorable riffs. The highly major-key chorus, punctuated by more galloping triplets, is one of the most beautiful parts of the album. "Unbesiegt" begins with a keyboard/synthesized windpipes riff which is soon joined by more complicated, almost progressive riffs over copious blast beats. After the solo the keyboard riff comes back for a bit, accompanied by jungle(?) sound effects; I'm not sure why, but it sounds nice. It shows that Equilibrium is not just mindlessly heavy or "epic"; they put effort into writing songs that are surprisingly deep even as they are intensely enjoyable on the surface.
The next two songs diverge a bit from the themes introduces in the first four. "Verrat" is more dissonant-sounding, with a distinctively grinding riff that plays with a more traditional black metal sound, though the drumming seems to alternate between black metal and power metal. Overall it's one of the faster, darker songs, with a few gear changes to keep you on your toes as usual. "Snüffel" sounds more like power metal or even classic metal, particularly in the instrumental breakdown with a highly effective synchronized guitar riff which seems to be channeling '70s hard rock (or '00s retro rock like Wolfmother).
The album does slow down a bit after the first six songs, remaining exciting but losing their insane energy and distinctiveness (until the last song). "Heiderauche" is a quiet instrumental interlude consisting largely of a wind flute solo which sounds amazing. "Die Weide und der Fluß" and "Des Sängers Fluch" toy with more progressive metal at over 7 and 8 minutes in length, respectively; the latter channels a bit of Finntroll in a highly catchy melodic riff that comes in around the 5:30 mark, introduced on the pipes and accordion before being taken up by the guitarists to furious double-bass drumming.
But save your opinions for the last song, "Mana", a 16-minute epic of epics that musically surpasses everything else of the album in its size, scope, and intricacy. It feels almost like a bonus track in how over-the-top it is compared to the other songs, and the fact that the album would still clock in at over an hour without it. It's even an instrumental, so if the harsh vocals turned you off the rest of the album, listen away!
It's easy to find lots to praise Sagas about, and accordingly difficult to find fault with it. It would, of course, be even better if they could have employed a real orchestra rather than synthesizing the instruments, but not every band is Nightwish. Equilibrium's formula works best when the guitars are carrying the melody alongside the keyboards/folk instruments, as in "Wurzelbert", "Blut im Auge", or "Snüffel", rather than providing Nightwish-esque "heavy" texturing underneath them, which is part of why the second half of the album feels bogged-down. Nonetheless, Sagas is a metal masterpiece, one of the most epic albums in my collection, about as thrilling as a summer blockbuster, and definitely worth many repeat listens.
Equilibrium is a German "epic folk metal" band that has put out three albums so far. Each blends the sounds of symphonic, folk, and black metal with enough cinematic bombast and drama to rival Nightwish or Rhapsody of Fire. Unlike these bands, they contrast the oft-heroic sound of their music, which vacillates between many different genres of metal, with some evil (but cool)-sounding black metal-style vocals. (Nevermind the lyrics or song titles, which are all in German) This is undoubtedly one of the most epic albums in my entire collection; if pretty much anything I've reviewed on this blog resonates with you, definitely give it a look.
The intro/first song "Prolog auf Erden", like all good prologues, is a great introduction to what the album is about. A loud, dark, and mostly symphonic opening is overrun by a torrent of screams and frantic blast beats with the (synthesized) orchestra taking the background. A subsequent section features more folk instrumentation, including a fairly prominent jaw harp (the stereotypical "boing-boing" sound effect). It has a fairly unconventional structure; despite being only three and a half minutes long, like a Mastodon song it feels much longer, as most of the contents of Sagas do (and it's already as long as a Dream Theater album). This is due to the band's relative lack (or perhaps expert use) of repetition in their song structure in interesting ways that buck the standard verse-chorus-solo model.
Anyway, on to "Wurzelbert", my favorite track on the album and one that forms part of my gold standard for "epic" music. For all its orchestral swagger, Sagas is very riff-oriented at heart, and this song has two of the best which are different takes on the same chord progression: a tremolo-picked, stairlike ascending guitar pattern and "galloping" triplets with the full force of the drums and orchestra behind them. It's the epitome of the album's "big" sound, seeming like part of the soundtrack to a movie far too awesome (and high-budget) to ever exist. The verses, for a bit of counterpoint, have more audible folk instrumentation including some kind of accordion. The lyrics, falling just a bit short of the bar set by the music, are apparently about a "root-guy" who lives in the woods and kills animals and thrills audiences by playing his fiddle. (Luckily they're all in unintelligible German so you won't notice)
"Blut im Auge" has the same kind of epic, valorous appeal as "Wurzelbert", but hardly sounds repetitive because of the band's knack for writing heavy, yet catchy and memorable riffs. The highly major-key chorus, punctuated by more galloping triplets, is one of the most beautiful parts of the album. "Unbesiegt" begins with a keyboard/synthesized windpipes riff which is soon joined by more complicated, almost progressive riffs over copious blast beats. After the solo the keyboard riff comes back for a bit, accompanied by jungle(?) sound effects; I'm not sure why, but it sounds nice. It shows that Equilibrium is not just mindlessly heavy or "epic"; they put effort into writing songs that are surprisingly deep even as they are intensely enjoyable on the surface.
The next two songs diverge a bit from the themes introduces in the first four. "Verrat" is more dissonant-sounding, with a distinctively grinding riff that plays with a more traditional black metal sound, though the drumming seems to alternate between black metal and power metal. Overall it's one of the faster, darker songs, with a few gear changes to keep you on your toes as usual. "Snüffel" sounds more like power metal or even classic metal, particularly in the instrumental breakdown with a highly effective synchronized guitar riff which seems to be channeling '70s hard rock (or '00s retro rock like Wolfmother).
The album does slow down a bit after the first six songs, remaining exciting but losing their insane energy and distinctiveness (until the last song). "Heiderauche" is a quiet instrumental interlude consisting largely of a wind flute solo which sounds amazing. "Die Weide und der Fluß" and "Des Sängers Fluch" toy with more progressive metal at over 7 and 8 minutes in length, respectively; the latter channels a bit of Finntroll in a highly catchy melodic riff that comes in around the 5:30 mark, introduced on the pipes and accordion before being taken up by the guitarists to furious double-bass drumming.
But save your opinions for the last song, "Mana", a 16-minute epic of epics that musically surpasses everything else of the album in its size, scope, and intricacy. It feels almost like a bonus track in how over-the-top it is compared to the other songs, and the fact that the album would still clock in at over an hour without it. It's even an instrumental, so if the harsh vocals turned you off the rest of the album, listen away!
It's easy to find lots to praise Sagas about, and accordingly difficult to find fault with it. It would, of course, be even better if they could have employed a real orchestra rather than synthesizing the instruments, but not every band is Nightwish. Equilibrium's formula works best when the guitars are carrying the melody alongside the keyboards/folk instruments, as in "Wurzelbert", "Blut im Auge", or "Snüffel", rather than providing Nightwish-esque "heavy" texturing underneath them, which is part of why the second half of the album feels bogged-down. Nonetheless, Sagas is a metal masterpiece, one of the most epic albums in my collection, about as thrilling as a summer blockbuster, and definitely worth many repeat listens.
Monday, September 10, 2012
My old headphone amp broke last week...
...and I got some new toys today.
Reviews to come when the headphone amp, DAC, and connecting cables arrive. My laptop's built-in sound system drives them surprisingly well, but I'm nowhere close to their full potential yet.
Wednesday, August 29, 2012
The Detached
One unfortunate stereotype of metal is that it's mindless, loud music enjoyed by rednecks and macho men who bang their thick heads to it while drinking beer and punching each other in the face, or maybe by D&D nerds who call each other by their characters' names in real life. (Maybe that's a bit of an exaggeration, but you get the idea) Fortunately, there are bands like Anubis Gate around for me to point to to dispel this illusion.
This album is true progressive power metal at its finest. The Detached aims equally for the head and the heart and succeeds on both counts. Their sound is spacey, heavy, ultra-melodic, and undeniably catchy; their lyrics are equal parts sci-fi, mysticism, and introspection. It's one of those albums with a lot going on behind the lyrics; you need to get the CD to fully appreciate just how much thought went into writing this intricate and brilliant composition. I often associate different bands' sounds with places; Anubis Gate puts you in the tall tower of a remote research base on an alien world, lost in contemplation. (Or, now that I've read the album notes, at one of the corners of the closed, dodecahedron-shaped universe looking out at all things) The songs are generally built on a framework of guitars playing intricate riffs over haunting keyboard melodies and galloping drumbeats, but they prove there is plenty of room for invention on top of this foundation.
The intro track, "On the Detached", is one of the best songs under a minute I've heard, with vocalist Jacob Hansen singing a hauntingly beautiful prelude to the mysteries of the rest of the album over a pseudo-symphonic keyboard background. Hansen absolutely nails it on this album; his distinctively passionate and dramatic voice stays clear and strong over a considerable range, getting deep and mournful before soaring to almost Halford-esque heights with plenty of power in it over his whole range.
Then "Find a Way (or Make One)" explodes out from behind the keyboards, shattering the peace and introducing the intellectual bombast that characterizes much of the album. The combination of melody with surging, on-again off-again intensity and Hansen's vocals is somehow soothing and intense at the same time. At around 2:30, we get a piano solo that gives way to a lengthy and extremely fun guitar solo/instrumental break. The solos on this album, which account for most of the songs' generous length (except for interlude tracks, all are at least five and a half minutes), aren't focused on pure shredding as much as musical exploration in the vein of Dream Theater (minus some of the looniness).
Seven-and-a-half-minute "Yiri" is somewhat more complex and multisegmented; much of it features the distinctive, "galloping" drumming style heard a lot on this album, never excessively fast but always seemingly perfect. Largely in lieu of a guitar solo it has an extended choral interlude (credited as an honest-to-goodness vocal solo by Jacob) which really just has to be heard.
"Lost in Myself" is one of the simpler songs of the album (except the usual extended instrumental section), but that much catchier for it. Hansen's aforementioned range comes into play here, lower and quiet during the verses but soaring in the incredibly addictive chorus, which gets shifted up even more at the end. The plodding drumbeat underscoring a heavily reverb-y guitar riff proves that power metal doesn't have to be fast to be great.
On the rest of the album, "Dodecahedron" uses lots of electronic-type effects to make a song that is as subtle as it is loud; I think it's the best example here of Anubis Gate's highly polished antithesis to the mindless stereotypes of metal. And the chorus is highly addictive to boot. "Bloodoath" is the most intense track on the album, with rapid, frantic, phased guitar chugging over double-bass drumming and another soaring, climactic vocal line in the chorus. At six and a half minutes, it has time for a wondrous solo. Again, the solos on this album are far from simple displays of musicianship; each feels like a journey to the stars and back filled with discovery.
The finale, "A Lifetime to Share", is another stellar example of the band's talent for mixing intellection and aggression; after an brief ambient/sampled intro, it breaks out one of the heaviest riffs on the album which soon breaks to more of Hansen's impassioned vocals. The chorus is masterful, truly epic, and ties the album up very nicely.
There are also, of course, two epics (even relative to "Yiri" and "Bloodoath"). The first, "Pyramids", has a recurring melody that almost sounds like a sitar, with other exotic melodies built around it; overall, it's a bit less heavy than the rest of the album. The three-and-a-half minute instrumental break is pure bliss. And "Options - Going Nowhere" effectively provides the climax of the entire album. After a minute-and-a-half prelude that has nothing to do with the rest of the song, it goes into a more traditional verse-chorus section with a percussion-heavy melody, liberally seasoned with guitarwork. Its calmer and more intense passages flow one right into the other and you can't help but get carried along for the ride.
The Detached is a very strong progressive power metal album with numerous facets to it that bear many repeat listens. As a testament to this, I have been listening to it nearly every day for the past month or so. As with anything on this blog, it's certainly worth expanding your musical horizons over.
Tuesday, August 28, 2012
Update
I just realized how long it's been since I posted to this blog with all that's going on with my other one. No review right now, but here is a smattering of what I've been enjoying lately.
Straight-up power metal about the art of war. This whole album is great when peace is no longer an option and I'm crushing my enemies in Civ V (preferably as the ever-bloodthirsty Gandhi).
I may review Dark Moor's penultimate album soon; it's definitely more on the symphonic side of symphonic power metal, with plenty of operatic bombast and flourish. The lyrics of this song are from Odysseus' perspective, about Penelope.
I am almost certainly going to review this album when I get a chance. Anubis Gate is some of the best progressive power metal I've heard.
Straight-up power metal about the art of war. This whole album is great when peace is no longer an option and I'm crushing my enemies in Civ V (preferably as the ever-bloodthirsty Gandhi).
I may review Dark Moor's penultimate album soon; it's definitely more on the symphonic side of symphonic power metal, with plenty of operatic bombast and flourish. The lyrics of this song are from Odysseus' perspective, about Penelope.
I am almost certainly going to review this album when I get a chance. Anubis Gate is some of the best progressive power metal I've heard.
Friday, August 3, 2012
Kamelot: Epica and the Black Halo
I tend to be very album-oriented in my music listening; currently the software I use to sync music to my Walkman only lets me listen to albums, not playlists (because I don't feel like changing it) so albums are how I listen at work, and hence in most of my life. This is, of course, contrary to the increasingly single-oriented music culture that online MP3 stores have made possible (to drive the point home, I prefer CDs). All this is to say that I probably enjoy concept albums more than most people. Whether they're about nuclear weapons and modern social issues, Swedish military history, or extradimensional reptilian demigods taking over the world through deceit and conspiracy, a storyline or unifying theme helps tie an album together and make it more than the sum of its parts. And yet, I have thus far ignored my favorite concept album(s) of all. (Better than The Scarecrow)
Epica and The Black Halo (by Kamelot) are two parts of one story about a man on a search for truth, the meaning of life, and heaven; the love story he leaves unwritten; and his fateful deal with a fallen angel that changes everything. Both musically and lyrically, these albums are of the finest craftsmanship, arguably the high point of Kamelot's career and their turning point from straight power metal to an increasingly subtle and progressive style as lately seen on Poetry for the Poisoned. Though the ultimate moral of the story is rather unsatisfyingly humanistic, it's still a good one, masterfully told through Khan's (and others') voice, Thomas Youngblood's guitarmanship, and both of their songwriting.
Epica in particular is pretty much the height of Kamelot's "classic" power metal style, while also hinting at their more progressive future. Musically it's mostly a mix of fast-paced European-style power metal and shorter interlude tracks; lyrically, it's the more literal of the two albums, introducing most of the characters and establishing the tensions that The Black Halo resolves.
After a prelude track ("Prologue"), we launch main keyboard-and-guitar riff of "Center of the Universe", which introduces us to our man Ariel and his ever-inquisitive mind, searching for answers about humanity, the nature of the divine, the purpose of life, and an elusive paradise. Convinced that these answers are not to be found here, he says goodbye to those he loves, including his dear Helena, and sets sail on a journey of discovery. ("Farewell")
As years go by ("Interlude I: Opiate Soul"), he gradually becomes discouraged on his quest, turning to narcotics for the answer in an unsuccessful attempt to eased his troubled mind. In his dreamlike state, he gets a glimpse of "demon eyes and wings unfurled". ("The Edge of Paradise") Still unsatisfied, he forlornly remembers everything he left behind, especially missing Helena. ("Wander")
In the middle of his darkest hour ("Interlude II: Omen"), the fallen angel Mephisto appears to Ariel disguised as an archangel clad in divine splendor, offering him all the desires of his heart and the answers for his questioning mind in exchange for his soul at the moment of his death. To demonstrate his power, he transports Ariel to his castle ("Interlude III: At the Banquet") for a joyous night of feasting and revelry. Dazzled and overtaken by the sights, Ariel accepts Mephisto's offer with one modification: only if he comes to a point where he wants to remain forever in his current state of mind will his soul be Mephisto's. ("A Feast for the Vain")
Following this, he unexpectedly runs into Helena again and they spend the night together. ("On the Coldest Winter Night") However, the next morning Ariel vows to leave her again the next day, choosing Mephisto and his search for truth over her love and not wanting to bring her down the dark path he's following. ("Lost and Damned") Distraught but still in love with Ariel, Helena drowns herself; her innocent soul ascends to heaven along with--it is revealed--the soul of the unborn child she and Ariel conceived. ("Helena's Theme")
The next morning, Ariel learns of the suicide and is devastated, shocked that she had also been with child. But he resolves to carry on his quest so that she didn't die for nothing. ("The Mourning After (Carry On)") Mephisto warns him that he should expect such hardships as a cost of "playing with fire" and searching for ultimate meaning. Even as Ariel is overtaken with guilt and feeling of being beyond redemption for his role in Helena's death, she encourages him from heaven and urges him to turn to the light. Mephisto reminds him of their deal and asks for his continued trust, warning him about following his destructive human passions. ("III Ways to Epica")
Musically, this album is some truly excellent European-style power metal that only looks dull next to the sequel. "Center of the Universe" and "Farewell" are both rapid-fire anthems with double-bass drumming and prominent guitar riffs supplemented by keyboards; "Center of the Universe" also has a piano bridge with a duet between Khan and Thomas Youngblood's wife (also the voice of Helena) just before one of the better guitar solos. "Edge of Paradise" has more of a plodding, raucous sound with dreamy, meandering vocals to help suggest Ariel's narcotic-influenced state.
"Wander" is a relative break, a quiet song initially centered around the piano and strings in the chorus before building into a full-fledged ballad that doesn't seem sappy at all due to its role in the story. "Descent of the Archangel" starts with a saxophone-like solo before building to a stair-like tremolo-picked riff to suggest Mephisto's radiant first appearance; the whole song sounds polished, majestic, and epic like his attempts to impress Ariel. "A Feast for the Vain" starts with a similar mood, but the chorus (suggested to be sung by everyone at the feast) perfectly captures the ecstatic but fleeting pleasure with is joyously happy major-key sound.
The end of the album gets a bit more progressive. "On the Coldest Winter Night" and "Helena's Theme" are two more quiet songs; "Lost and Damned" is much faster and more intense with one of the catchier choruses, but with verses that seem to be heavily inspired by tango music(!?). "The Mourning After" is a slow, lumbering giant of a song with generous amounts of soloing, and "III Ways to Epica" is fully progressive metal, with an excellent main riff and multiple instrumental sections that get strung together and repeated.
"Epica" meets the mark of a great concept album; that is, it's tremendously fun to listen to as a whole for both the music and the story, but it also has plenty of enjoyable standalone songs. Khan is pretty much at the top of his game on this album, Thomas Youngblood writes and plays riffs like a mad genius, and the incomparable Miro guest stars in keyboards. It's a very balanced album; in my opinion Kamelot is strongest with the faster, pure power metal songs, but they certainly don't rely on these to sell the album, throwing in plenty of variety. It has power metal's appeal to one's sense of good, valor, and beauty, some of prog metal's appeal to the head, and a good story for those who like to listen to lyrics. But despite all of this, it's only a pale shadow of its successor...
When people ask me what kind of music I listen to, my answer is usually along the lines of "European metal", but it might almost be more expedient to say "Kamelot" (despite the irony of their not being European). Pensieve, fiery, and gloriously epic, these albums are like surveys of everything I've come to love about non-extreme metal. If you want to listen to some music that makes me tick or just discover some amazing concept albums, give either of these (especially The Black Halo) a listen sometime.
Epica and The Black Halo (by Kamelot) are two parts of one story about a man on a search for truth, the meaning of life, and heaven; the love story he leaves unwritten; and his fateful deal with a fallen angel that changes everything. Both musically and lyrically, these albums are of the finest craftsmanship, arguably the high point of Kamelot's career and their turning point from straight power metal to an increasingly subtle and progressive style as lately seen on Poetry for the Poisoned. Though the ultimate moral of the story is rather unsatisfyingly humanistic, it's still a good one, masterfully told through Khan's (and others') voice, Thomas Youngblood's guitarmanship, and both of their songwriting.
Epica in particular is pretty much the height of Kamelot's "classic" power metal style, while also hinting at their more progressive future. Musically it's mostly a mix of fast-paced European-style power metal and shorter interlude tracks; lyrically, it's the more literal of the two albums, introducing most of the characters and establishing the tensions that The Black Halo resolves.
After a prelude track ("Prologue"), we launch main keyboard-and-guitar riff of "Center of the Universe", which introduces us to our man Ariel and his ever-inquisitive mind, searching for answers about humanity, the nature of the divine, the purpose of life, and an elusive paradise. Convinced that these answers are not to be found here, he says goodbye to those he loves, including his dear Helena, and sets sail on a journey of discovery. ("Farewell")
As years go by ("Interlude I: Opiate Soul"), he gradually becomes discouraged on his quest, turning to narcotics for the answer in an unsuccessful attempt to eased his troubled mind. In his dreamlike state, he gets a glimpse of "demon eyes and wings unfurled". ("The Edge of Paradise") Still unsatisfied, he forlornly remembers everything he left behind, especially missing Helena. ("Wander")
In the middle of his darkest hour ("Interlude II: Omen"), the fallen angel Mephisto appears to Ariel disguised as an archangel clad in divine splendor, offering him all the desires of his heart and the answers for his questioning mind in exchange for his soul at the moment of his death. To demonstrate his power, he transports Ariel to his castle ("Interlude III: At the Banquet") for a joyous night of feasting and revelry. Dazzled and overtaken by the sights, Ariel accepts Mephisto's offer with one modification: only if he comes to a point where he wants to remain forever in his current state of mind will his soul be Mephisto's. ("A Feast for the Vain")
Following this, he unexpectedly runs into Helena again and they spend the night together. ("On the Coldest Winter Night") However, the next morning Ariel vows to leave her again the next day, choosing Mephisto and his search for truth over her love and not wanting to bring her down the dark path he's following. ("Lost and Damned") Distraught but still in love with Ariel, Helena drowns herself; her innocent soul ascends to heaven along with--it is revealed--the soul of the unborn child she and Ariel conceived. ("Helena's Theme")
The next morning, Ariel learns of the suicide and is devastated, shocked that she had also been with child. But he resolves to carry on his quest so that she didn't die for nothing. ("The Mourning After (Carry On)") Mephisto warns him that he should expect such hardships as a cost of "playing with fire" and searching for ultimate meaning. Even as Ariel is overtaken with guilt and feeling of being beyond redemption for his role in Helena's death, she encourages him from heaven and urges him to turn to the light. Mephisto reminds him of their deal and asks for his continued trust, warning him about following his destructive human passions. ("III Ways to Epica")
Musically, this album is some truly excellent European-style power metal that only looks dull next to the sequel. "Center of the Universe" and "Farewell" are both rapid-fire anthems with double-bass drumming and prominent guitar riffs supplemented by keyboards; "Center of the Universe" also has a piano bridge with a duet between Khan and Thomas Youngblood's wife (also the voice of Helena) just before one of the better guitar solos. "Edge of Paradise" has more of a plodding, raucous sound with dreamy, meandering vocals to help suggest Ariel's narcotic-influenced state.
"Wander" is a relative break, a quiet song initially centered around the piano and strings in the chorus before building into a full-fledged ballad that doesn't seem sappy at all due to its role in the story. "Descent of the Archangel" starts with a saxophone-like solo before building to a stair-like tremolo-picked riff to suggest Mephisto's radiant first appearance; the whole song sounds polished, majestic, and epic like his attempts to impress Ariel. "A Feast for the Vain" starts with a similar mood, but the chorus (suggested to be sung by everyone at the feast) perfectly captures the ecstatic but fleeting pleasure with is joyously happy major-key sound.
The end of the album gets a bit more progressive. "On the Coldest Winter Night" and "Helena's Theme" are two more quiet songs; "Lost and Damned" is much faster and more intense with one of the catchier choruses, but with verses that seem to be heavily inspired by tango music(!?). "The Mourning After" is a slow, lumbering giant of a song with generous amounts of soloing, and "III Ways to Epica" is fully progressive metal, with an excellent main riff and multiple instrumental sections that get strung together and repeated.
"Epica" meets the mark of a great concept album; that is, it's tremendously fun to listen to as a whole for both the music and the story, but it also has plenty of enjoyable standalone songs. Khan is pretty much at the top of his game on this album, Thomas Youngblood writes and plays riffs like a mad genius, and the incomparable Miro guest stars in keyboards. It's a very balanced album; in my opinion Kamelot is strongest with the faster, pure power metal songs, but they certainly don't rely on these to sell the album, throwing in plenty of variety. It has power metal's appeal to one's sense of good, valor, and beauty, some of prog metal's appeal to the head, and a good story for those who like to listen to lyrics. But despite all of this, it's only a pale shadow of its successor...
The Black Halo resolves the story of Epica and is in general much more abstract in its lyrics than its predecessor, focusing mostly on Ariel's thoughts as he moves to confront his one-time benefactor Mephisto and attains the object of his searching. Musically, it's noticeably more dark and progressive, beginning the band's current musical trajectory. Except for the short transition tracks, it feels much less like a concept album than its predecessor, with each song easily standing on its own but contributing to the conclusion of the tale.
Following the death of Helena, a grieving Ariel's dependence on Mephisto has never been stronger. The demon reminds Ariel of this fact and pretends to comfort him while urging him onward. ("March of Mephisto") He crosses Ariel's path with that of Marguerite, a woman who looks and sounds very similar to Helena. Unable or unwilling to tell the difference in the darkness, Ariel sleeps with her. ("When the Lights are Down") Upon realizing Mephisto's deception, Ariel tries to explain himself to Marguerite before they part ways; he resolves to be reunited with Helena somehow even though it seems impossible. ("The Haunting (Somewhere in Time")
Ariel reflects on the fate awaiting him, the question of his guilt for his morally ambiguous role in the death of Helena, and his continued yearning for a higher place. ("Soul Society") He feels regret for all the trouble his search for truth has caused and cries out to God, yearning for Helena and the simpler life he had with her. ("Abandoned") He crosses the river and sets out toward Mephisto's palace to confront the demon. He thinks about Helena and Marguerite, the two women he loved but abandoned, reasoning that this is the cause of his pain. ("This Pain") He feels he is beyond repenting for all that he has done, and this feeling of having nothing to lose strengthens his resolve to see Mephisto. ("Moonlight")
He reaches Mephisto's castle, denounces the demon for his betrayal and shows no fear for what will happen to him, faithful that he will be vindicated. ("The Black Halo") Even at the climax, he still has time to reflect on the fact that everyone is on the same existential search for life and truth that he is, and feels united with the rest of humanity by this. He realizes that love is the truth he has been searching for all along ("Nothing Ever Dies"), and that he created this truth himself by his love for Helena. As all his questions fall into place, his search for truth comes to end and he is perfectly at peace, triggering the condition of his deal with Mephisto. However, because of his faith and love he ascends to heaven as he dies while Mephisto is cast into hell. ("Memento Mori") After this, we learn the whole story has been a play put on at a New Year's festival before an epilogue track about life and death, joy and tragedy. ("Serenade")
Okay, Kamelot is really at the top of their game on this album. Khan is really at his best here, Thomas is endlessly technical and musically flexible, and the production values are truly excellent; songs like "The Black Halo" and "Memento Mori" have some of my favorite guitar sounds ever. Miro returns on keyboards and brings with him Sascha Paeth for additional guitars. And besides them, Mephisto is now voiced by Shagrath of Dimmu Borgir, who not only doesn't sound like Khan but does an amazing job doing death grunts in Latin. Marguerite is voiced by Simone Simons of Epica, which named itself after Kamelot's previous album. But all that talent aside, this album has some seriously great songwriting going. The songs are more abstract, which means they stand better on their own but also makes it a bit harder to follow the continuing narrative. Aside from the transition tracks, there isn't a single remotely weak song on the album.
Those who prefer Epica to The Black Halo will find plenty of amazing power metal goodness on this album, albeit influenced by Kamelot's rapidly darkening sound. "When the Lights Are Down" is one of thee most epic and intense songs in their catalog, with the kind of synchronized strumming and double-bass drumming the gets me every time. "Soul Society" is another strong track in the vein of "Center of the Universe" and "Farewell". "Nothing Ever Dies" sounds like Thomas demonstrating how good he is at strumming complicated riffs in rapid 3-time, and "The Black Halo" (again, with amazing, booming guitars that would make Dream Evil jealous) tweaks the formula with a riff and drumbeat that rarely stay constant but come in bursts. "Serenade" is a much lighter song with a rapid 3-time riff in the chorus that still thrills me to listen to after years.
And those are the more normal songs. "March of Mephisto", as its name might suggest, has a strong, steady, martial rhythm with lower-register vocals (again, darker sound). "The Haunting" again has a slower tempo, but is light and airy where "March" is dark and earthy, with Khan exhibiting much more of his upper range. "Abandoned" is the towering monolith of ballad-y goodness that casts the shadow of "Wander". Khan goes from quiet musings to heartbroken cries with the music similarly building under him.
And then, there is the inimitable epic finale "Memento Mori", easily the most impressive piece Kamelot has ever made. Starting off simply as Khan singing over a keyboard, the rest of the band comes in at around 1:30 with the jaw-droppingly huge main riff beginning at 2:15 and continuing wordlessly for half a minute because why not. With its enormous-sounding guitar chugging, airy keyboard accents, and rolling tom drumming, I would be okay if the whole song were just nine minutes of it. Mephisto's ultimate defeat is preceded by a point-counterpoint (in Latin) between him and Helena and signified by a long, wailing death grunt/scream just before the song launches into the solo on top of the main riff. Finally, it fades back into the same piano riff as the intro, with a lovely oboe solo to send us off. Words cannot do this song justice.
When people ask me what kind of music I listen to, my answer is usually along the lines of "European metal", but it might almost be more expedient to say "Kamelot" (despite the irony of their not being European). Pensieve, fiery, and gloriously epic, these albums are like surveys of everything I've come to love about non-extreme metal. If you want to listen to some music that makes me tick or just discover some amazing concept albums, give either of these (especially The Black Halo) a listen sometime.
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