Stratovarius – Intermission Review

220px-Intermission_(Stratovarius_album)_coverIntermission is a mish-mash compilation album by the Finnish Power Metal band Stratovarius from 2001. It was released as a stopgap between their commercially successful Infinite album from 2000 and their ambitious and slightly Prog Metal double album series Elements Parts 1 & 2 from 2003.

Its got linear notes from the band about the release and a very well designed cover art referencing previous albums (kind of like Pink Floyd’s Echos compilation does).

The album opens up with four brand new songs, first of which is the slightly power ballad style ‘Will My Soul Ever Rest In Peace?’ Its nice solid melodic Hard Rock stuff. Next comes ‘Falling Into Fantasy’ which starts off with a shimmering Empire-era Queensryche style vibe. Think ‘Della Brown.’ It sounds like the sort of stuff the band were doing on the popular Destiny album. Speaking of Queensryche the chorus is quite reminiscent of ‘Jet City Woman’ too actually. The song livens up further with a nice energetic guitar solo and a fun drum pattern underneath with a very nice tom fill at the end of the solo. At the start you thought it was just another ballad (Statovarius do a lot of ’em) but really it turned out to be one of the best songs they do in this particular direction, if a little derivative of Degarmo and company (for me that’s a good thing really).

That’s followed up by the traditionally power metal track ‘The Curtains Are Falling,’ a speedy double-kicks-a-flailin’ headbanger with a catchy chorus and memorable neoclassical keyboards. Its got a lot of energy and probably would have been the smarter choice to open the album with, I think. Probably would’ve worked better going from most to least energetic, but hey, its sequenced how its sequenced folks, I don’t make the rules.

Finally there’s a track called ‘Requiem’ which is essentially just a typical instrumental intro or outro. The sort thing most people will skip after the first few listens. A slow, keyboard driven atmospheric build up with no Heavy Metal payoff.

That’s it for the brand new specially written for this songs. The rest are gathered from mixed sources during their classic period. There’s two demos ‘Neon Light Child’ and ‘Freedom’ both of which are OK but forgettable (just the same as the final versions but with less polished production really). Then two live tracks, ‘Hunting High & Low’ (their very fun hit single) and ‘I Surrender’ (which is actually a Rainbow cover, and very fun, if a bit out of place), which are nice but kind of pointless on a compilation as opposed to a proper full-length live album. There’s two studio cover songs; ‘Bloodstone’ originally by Judas Priest (which they nail) and ‘Kill The King’ originally by Rainbow again (which has been done better by other bands, but its decent if you aren’t over-familiar with it).

The majority of the rest is all the bonus tracks from deluxe editions of the last few albums etc. ‘Keep The Flame’ is a very somber and emotional piano ballad. ‘Dream With Me’ is a power ballad that gets very jaunty towards the end when the solo kicks in. Then there’s another power ballad called ‘What Can I Say?’ which is slightly similar to track one, but with a bit more bite to it. OK yes, sensing a theme here? There are a lot of ballads on here. Its not all ballads though…

‘Its A Mystery’ is a very strong more commercial Power Metal tune in the vein of ‘Hunting High & Low’ which sounds like it would’ve fit perfectly on Infinite and probably would’ve made a great single if they’d released it that way. Its one of the best songs on this compilation. ‘Why Are We Here?’ the bonus track from Infinite is similarly just another really strong track from them in their commercial direction, and also baffling that it wasn’t a big single either. ‘Cold Winter Nights’ is typical perfect up-tempo Stratovarius, with that sort of Judas Priest’s Electric Eye vibe only with more keyboards and melody. Its also one of the best songs here and a nice surprise if it wasn’t on your version of Destiny already. ‘When The Night Turns To Day’ is a stomping mid pace track with a whiff of Queensryche’s Empire about it, just like the new track mentioned above. It would also have fit best on Destiny (even though it was initially from as far back as Episode, if you can believe that).

As you can imagine, Intermission is just a jumble of odds and ends with no particular theme or flow or consistency. Its not a must-have release or anything. Hey, if you like ’em doing ballads and covers you’re quids-in. If you want ’em doing more of a Speed Metal thing there’s not so much of that on here though, so maybe don’t start here if you are new, pick up one of the records in their glory run from Episode to Elements Part 2 instead.

If you like the band already though, and just want a cheap, easy and quick way to get the bonus tracks and b-sides in one place then this is great for that purpose, and hey there’s four solid new songs too to flesh it out. Nothing life changing, but worth a look if you’ve ran out of other Stratovarius products to check out from this era.

Stratovarius – Episode Review

Episode_(album)_coverThis is where things just start to go right for Finnish Power Metal legends Stratovarius. Some bands just take a while to really get it right. They formed all the way back in 1984 and gradually mutated with experience and line-up changes from being a solid but forgettable underground Heavy Metal band that didn’t even tour to one of the world’s premier Power Metal bands. Their first three albums were respectable efforts with main guitarist Timo Tolkki on vocals and stylistically lacking much of the melodic Euro flavour or symphonic pomp of their more famous material. Their fourth album saw them add a new lead vocalist in the iconic Timo Kotipelto and start gearing up to become the band they always had the potential to be.

In 1996 the band exploded in terms of quality, memorability, confidence and power. They released the Episode album, their fifth studio long-player, and the first to feature the ‘classic line up’ with the aforementioned Kotipelto and Tolkki (and not forgetting bassist Jari Kainulainen) now joined by the new additions of German Jörg Michael (of Rage fame!) on drums and Swedish Jens Johannson (of Yngwie Malmsteen fame!) on keyboards. This line-up just all compliment each other’s styles really well and bring the best out of each other.

The thundering double kicks of Jörg perfectly suit Tolkki’s Priest-meets-Scorpions-meets-early-Queensryche style riffs. The guitar and keyboard trade-off solos between Tolkki and Johannson are some of the best in the genre and take what Blackmore and Lord were doing in the ’70s and both modernize and metalize it. Kotipelto’s soaring vocals are finely accentuated by background keys from Johannson and are given the room to breathe by the long ringing chords that Tolkki drops over that perfectly-synced rhythm section. This is perfect musical harmony exemplified.

The album contains some of the band’s absolute finest work, such as ‘Father Time,’ ‘Tommorow,’ ‘Will The Sun Rise?’ ‘Speed Of Light’ and the furious instrumental ‘Stratosphere.’ How many bands has this stuff influenced over the years?! You can hear it absolutely dripping down through history to bands like Sonata Arctica and Dragonforce and so, so many others. Hell, even the ballad is great. Sometime I get a bit sick of Power Metal bands doing ballads but ‘Forever’ on this album is absolutely beautiful, so simple and sweetly and perfect.

There’s a bit of variety too, on the slow and pounding numbers like the ominous and threatening sounding ‘Uncertainty’ which sounds like if someone took Metallica’s ‘Wherever I May Roam’ and Queensryche’s ‘Roads To Madness’ and mixed them together. There’s the eastern tinged ‘Babylon’ and the almost eight minute long multi-part, multi-tempo, mutli-mood ‘Night Time Eclipse’ which would foreshadow the band’s slow transition into progressive territories. ‘Season Of Change’ sees the band work with a full orchestra and gives them a symphonic feel similar to Italy’s Rhapsody.

Overall this album was a real triumph for the band, it is a diverse and entertaining journey of an album full of depth and character and indeed some absolutely off the chain virtuosic (yet perfectly balanced) musicianship. It was the beginning of a solid run of really great records with the so called classic line-up and a record that no fan of either the band nor the genre should overlook. Visions might be the first Stratovarius album new fans should check out, but Episode should swiftly follow!

Edguy – Vainglory Opera Review

Vain_glory_operaWow, what a change! For German Power Metal luminaries Edguy, the third time was a charm and every other cliché you can throw. The band started off at a really young age, their previous two albums were Maiden, Priest and Helloween worship with very demo-esque production jobs and not so confident performances. You could tell it was good but it didn’t grab your shoulders and shake you.

The third album they unleashed (y’know if you count 1995 version of Savage Poetry) changed that in a big way. Vainglory Opera, from 1998 is a whole other level of professional and inspired. Maybe its partially due to the much greater production job making things sound much more mature and slick, maybe its partially due to the songs themselves being a bit more stripped down, or maybe its just a sheer undeniable spike in confidence and talent…but this album just has that ‘x factor’ that elevates it high. The vocals, man, the vocals! Tobias Samet has such a majestic and gigantic voice. The guitar solos! They siiiiing. Its not even that flashy but its so sweet-spot memorable, y’know?

Then there’s the songs. Ok, there’s two ballads (an orchestral one and a powerballad), there’s a cover song (an almost unrecognizable reworking of an old Ultravox tune jammed through a sort of Stratovarius filter) and there’s an obligatory intro. There’s the title-track which serves as the album’s high point and is a semi-epic that most bands would use as an album closer. To me, it sounds like ‘Bring Your Daughter To The Slaughter’ and ‘Mother Russia’ by Iron Maiden had a baby that then got stuck in the machine from the movie The Fly with Yngwie J. Malmsteen’s ‘Trilogy’ and the background music from a documentary on the Christian Church’s history. Its spiced up even further by the guest appearance from Hansi Kürsch of Blind Guardian.

The main bulk of the rest of the material is a mix of two themes; songs with fast double-kick drums that sound like what Helloween would’ve come up with if they had tried to replicate the style of Metallica’s The Black Album in their own unique way, and slower stomping songs reminiscent of Hammerfall when they go mid-paced, but with huge religious-sounding choruses (something they’d explore even more on their next record). The best two for my money being ‘Until We Rise Again’ and ‘No More Foolin.’ Also worth mentioning is ‘Out Of Control’ which features guest guitar work from Stratovarius virtuoso Timo Tolkki.

Its certainly a unique album. Within the genre and within the band’s discography. There aren’t a million other Vainglory Operas out there. Nobody else sounds like this. I don’t think anybody else would either be able to pull it off or be fool enough to try. In the first half of the band’s career when they were still unashamedly Power Metal without the hard rock tinges and before they started adding in all the humour, Vainglory Opera is the band’s attempt at doing the classy grown up mature album. Its real nice to hear the band exploring this ground.

On their next album, the fan favourite classic, Theater Of Salvation, the band would unleash their golden album of absolute pure Power Metal perfection. This album was a perfect stepping stone from their humble youthful beginnings to their zenith, along a not repeated path, but man, while they were here, they nailed it!

Stratovarius – Twilight Time Review

Back in 1992, Timo Tolkki was in the process of transforming the underground Heavy Metal band Stratovarius into the world renowned Melodic Power Metal band known and loved today. This was before virtuoso singer Timo Kotipelto, drummer Jörg Michael and former Yngwie Malmsteen keyboard hero Jens Johansson joined the band.

Their second album called Twilight Time (or II) is one of those albums that there’s nothing wrong with, but you don’t feel excited about either. I can’t think of a single negative thing to say about any track individually, but as an album its never going to be my favourite. Maybe it’s all a bit too midpaced, maybe the production is too reverby, or maybe I just miss Kotipelto, I don’t know, but this record just doesn’t get my excitement up all that much.

There are some interesting standout moments, such as the strong opener ‘Break The Ice’ which has a sort of ‘Mountain King era Savatage feel, and the rhythmic instrumental ‘Metal Frenzy’ (interestingly less frenzied than some of their later instrumentals, more controlled and mechanical if I’m being pedantic).

If you’re a Stratovarius fan then of course check it out, give it a chance, and give it enough listens to sink in, but in my opinion this is the definition of for-completests-only. I wouldn’t recommend anybody pick this up as an introduction to the band (who would go on to such greater things) and I don’t even think there is a hipster like-the-old-stuff contingent out there who’d like it just because it had a different line-up and didn’t receive much promotion.

Overall, its ok. As I’ve said, there’s nothing wrong with any track, there’s no poor tracks and nothing I’d call filler, its just… ok.

Stratovarius – Elements Part 2 Review

Stratovarius – Elements Part 2

2003’s Elements Pt. 2 record is the Finnish Melodic Power Metal band Stratovarius’ tenth full-length studio album. As the name suggests it is the second part of the Elements series and was preceded by Elements Pt.1 earlier the same year. Both the Elements records saw the band, who had taken a long break prior to their recording, rethinking the formula that they’d been mining for the last few records slightly, and head in an even more Progressive direction than before.

While Pt.1 balanced typical Stratovarius singles and instrumentals with lengthy, epic-in-scope material, Pt.2 balances the usual Stratovarius ballads with mostly slower mid-paced tracks. It feels something like the band’s equivalent to the Black Album in as much as the halving of speed and the focus on more groovy, restrained styles. Opener ‘Alpha & Omega’ says it all really, it’s a big, mean sounding groover.

Luckily while it is somewhat of a departure, it gives the band a chance to try things they haven’t done so much before… there’s a lot more toms than on other records, there’s more low-register vocals, they aren’t just repeating old glories. Also; While on the Destiny album you could pick up slight hints of Queensryche if you listened carefully, this one has a few Dream Theater whiffs that make you think you haven’t heard this stuff from Stratovarius before. Its up to you whether you enjoy the change in style of course, but for me it works well and sits happily beside other records in their discography in terms of quality. ‘Awaken The Giant’ is something I’m glad I have in my collection.

If you are skeptical of too much change however, there’s still a few big sing-along moments that would be a joy in any concert, such as the Alcoholics Anonymous themed ‘Know The Difference,’ the speedier ‘I’m Still Alive’ and the Electric-Eye-reminiscent hit single ‘I Walk To My Own Song.’ These should keep fans of the ‘90s material happy.

Of the two Elements albums, I feel this one is the stronger. There are less cheesy moments, for me it feels more like an album and flows better. There’s nothing I feel the overwhelming need to skip or fast-forward through. Overall; It isn’t typical Stratovarius fare, and I wouldn’t make it my first purchase as a newcomer, but I don’t think it should be ignored either – there’s plenty to enjoy and the slower moodier stuff is a welcome string to their bow.

Stratovarius – Destiny Review

Stratovarius – Destiny

The Finnish Power Metal legends Stratovarius released their seventh full-length album, Destiny, on Noise Records in 1998. It was produced by the band’s own mastermind guitarist Timo Tolkki. The album feels a little overlooked within the band’s discography, wedged as it is comfortably between the much more famous Visions and Infinite albums from ’97 and 2000.

This album, stylistically is more or less exactly what you’d expect for an album wedged between those albums. You have things on here that bring to mind your ‘Black Diamond’s and things that bring to mind your ‘Hunting High And Low’s. If you can imagine a halfway point between those two albums this one is a pretty close resemblance to that halfway point. There is also quite a notable Queensryche influence on this one (on a few tracks), which isn’t there so much on other Stratovarius records, making Destiny stand out a bit.

If I was to describe the album, the immediate words that come to mind are ‘Toe-Tapping’ which might not exactly sound like what you want from a Heavy Metal album but I mean it in the most complimentary way possible (maybe the toe tapping is just air-drumming the kick pedals?) as the songs are so pleasant, catchy and enjoyable. They are the definition of smooth, easily digestible Melodic European Power Metal, delightfully topped with Jens Johansson’s distinctive keyboard skills. There are some progressive moments and inventive structures on there sure, but a large majority of the record is just that simple, clean, melodic and driving style of the best Stratovarius singles. It’s a remarkably consistent and high quality affair where no song is too obnoxious, there are no moments that feel too cheesy and nothing that feels like a ‘skip-button-magnet.’ (On other Stratovarius records, some rare things give me very itchy fingers, like the intro to ‘Pappillion’ for example).

Highlights here include the ten-minute Title Track, the catchy single ‘S.O.S’ and the very catchy bonus track ‘Dream With Me’ if you have it on your edition. If you want to have an idea of the album’s overall sound try those on for size before buying. Another very noteworthy track is the more sombre ‘4,000 Rainy Nights’ in which Timo Kotipelto does his best Empire-era Geoff Tate impression.

Overall; Stratovarius have more famous albums, they have albums with bigger highlights and from which more of the concert setlists are generated, but Destiny is one of their most solid, consistent and tasteful albums. It’s a great example of the band’s style and its full to the brim with catchy choruses, entertaining and flashy musicianship. If you like the band, don’t miss out on this excellent record.

FIRST IMPRESSIONS, Volume 75: Manowar – Kings Of Metal

 FIRST IMPRESSIONS Volume 75: Manowar – Kings Of Metal

FIRST IMPRESSIONS Volume 75: Manowar – Kings Of Metal

Hello, and welcome to my Blog. Why is it called KingcrimsonBlog, the official Blog of Kingcrimsonprog?. Good question; It is called that, because I am called Kingcrimsonprog (or Gentlegiantprog). Well, I’m not. I’m called Jimmy. But, I’m called either Kingcrimsonprog or Gentlegiantprog on most websites and forums. (You know, in the way you have to choose a name or “net-handle” when you register?).

Back when this Blog was first devised, it was sort of a hub “digest” of all my various internet output, under one easy “roof.” So people could then tell that my things were not stolen from elsewhere on the internet, I kept my net-handle in the title. The name of my net-handle was simply chosen because I enjoy the Prog band King Crimson (and Gentle Giant) and is not in fact my real name. Forget about the name. Imagine its called “Music Nerd Blog” instead. You’ll get the idea.

I’ve been obsessing about music since about the year 2000. Over this time I’ve bought what must now be nearly 1,000 albums, and heard hundreds more through friends, relatives, streaming services and whatever else. I’ve also watched over a decade’s worth of music videos and heard countless individual songs on the radio, free covermounted CDs, websites and whatever else. All that, as well as read years and years worth of music magazines and websites.

I’m a nerd. Basically. Only, instead of Stephen King Novels or Vintage French Cinema, its Music that I obsess about. Lots of people are nerds and don’t even realize it. Sometimes its obvious; trainspotting, stamp collecting etc. Sometimes its less obvious due to presentation. Some (make that many) football fans’ depth of knowledge about players and transfer costs and club histories would make many tram-enthusiasts seem normal by comparison. The amount of information that some people know about Reality-TV celebrities and their sex-lives would easily overpower my knowledge of bands, or the average Facebook-users’ knowledge of Farmville and Candy Crush. Everyone has a thing they get nerdy about, whether or not they realize or admit that it is similar to the more famous nerdy things like Star Wars. I don’t particularly like Football or Reality TV or Farmville. I like Heavy Metal music. That’s my one thing. That’s what this Blog is all about.

Welcome to my First Impressions series of articles too, incidentally. In this series I (or sometimes my friends, or readers) pick an album for each entry that I will listen to for the first time. I then write in depth about what I know about that album or the artist that created it and the genre and subgenre to which they belong, before describing the experience of listening to it in real time, in a sort of semi-stream-of-consciousness way intended for entertainment purposes. I also enjoy writing reviews of albums, but when I write reviews my goal is to be helpful and provide you with information with which to aide your decision about whether to try out an album or not. When I write a First Impressions article however my goal is purely to entertain the reader, explore how much I know about music and be my own psychiatrist in the process.

I may go into some very specific detail and assume you have heard everything I’ve ever heard and perceived everything in the manner I’ve perceived it, and call out very specific sections of music and draw comparisons between things that the casual listener may find completely unrelated. Don’t worry, most of these songs are on Youtube and most of the terminology is on Wikipedia and Urban Dictionary anyway, so if there’s anything that goes over your head, you can always get clarification in a second web-browser-tab (or ask about it in the comments).

According to the aim of the series, the albums are considered by the public and music critics knowledgeable about the subject to be Classic albums within Rock and Metal, or at least within their own Subgenres. Classic albums that I’ve somehow missed out on, despite my nerdly need to hear and understand almost every piece of recorded Metal music ever.

If you have an album that you’d like to read a KingcrimsonBlog First Impressions article about, please suggest it in the comments, I’m game, I’ll give anything a try.

So that’s the preamble out of the way, on to the article:

Today I’ll be listening to the album Kings Of Metal, by the US Power Metal band Manowar. It was their 6th studio album and was released in 1988 on Atlantic Records. I got it for my birthday, inside a boxset which also contained Fighting The World and Triumph Of Steel. Good gift for someone like me!

I usually talk about the subgenre before talking about the band and the album in these articles. I think I’ve bored you all enough talking about Power Metal in its early 80s American guises and its late-80s-and-beyond European guises on this blog already, so if you want to know how I feel about it in more depth look back at reviews and articles on the likes of Savatage, early Queensryche, Helloween, Gamma Ray ,Stratovarius, Hammerfall and Iced Earth.

Its mostly European Melodic Power Metal, and only a bit of the early USPM (by bands who are mostly considered Prog Metal overall or turned Prog soon afterwards), and not exactly a perfect match for Manowar, who straddle the border between just being Traditional Metal like Priest, Maiden and Accept, with being Power Metal (well, all these things can vary on a song by song basis. I mean, there’s lots of Priest that sounds like Power Metal… just like there’s a lot of Djent that sounds like Messugah. Maybe Manowar aren’t Power Metal, maybe they’re just Metal… I don’t know. Also, maybe it doesn’t matter. It doesn’t matter. Let’s just call them Power Metal for now, so I don’t have to swap all those hyperlinks, ey guys?)

So; What do I actually know about Manowar? I know the band members are muscular, wear loincloths (either all the time or at least at some stage in their career) and promote manliness and strength. I know that they have a Conan The Barbarian type mascot on their album artwork. I know they are cheesy and over-the-top lyrically, and revel in all the sword-and-sorcery aspects of Metal culture. I know they are responsible for a lot of the “true Metal” and “Death To False Metal” sentiment you read about online, although I’m pretty sure they are probably joking about it. I know they have a devoted cult-like audience similar to Rush fans who are really defensive and proud of the band and will support the band no matter what. (Its sort of a “cool” thing, to a certain subsection of Metal-society, to be a Manowar fan, I guess.)

I don’t, as yet, know exactly why that is. I don’t see the same cult-thing going on for Helloween or Blind Guardian or whatever other massive influential Power Metal band with a lot of fans and some releases with a “Metal Albums You Must Hear Before You Die” type reputation. Maybe it exists and I just didn’t notice it, or maybe its something peculiar to just Manowar. (Perhaps because they seem so convinced of it themselves? Perhaps entirely because of their own sloganeering?)

I remember my friend at College about half-a-decade-ago telling me that Manowar were officially recognized as the Loudest Band In The World, and that once their stage-show caused an electrical surge that shut off all power to the Eastern Seaboard. Dunno if its true, but if it is, it’s a neat fact to have if you are a Heavy Metal band.

The album title intrigues me; Kings Of Metal. Manowar get called “Kings Of Metal” a lot in reviews and articles and I’ve always wondered if it was self-appointed [Side note: Didn’t Pantera call themselves “Kings Of Metal” too by the way, or at least something very similar?] or if it was one of those things like Judas Priest’s “Metal Gods” situation where they had a song about robots called “Metal Gods” (not even lyrically about the band or even Heavy Metal itself…just about robots) but people decided to call the band Metal Gods as a term of endearment anyway. Or maybe its just genuinely made up and applied to them like Black Sabbath getting called Godfathers Of Heavy Metal all the time by the press.

Basically, did they write this title because they were being called Kings Of Metal, or did they get called that due to this album title?

….Well that’s the band. What about the album?

Looking now at the album’s artwork, I almost feel like I need to go to the gym. I’ve just finished an hour of weightlifting at the time of writing by the way, but suddenly I almost feel the urge to lift again. Geez, these guys’d give you a complex with album art like that!

Anyway; I was looking into the band when I was making my List of albums that help you to understand Metal. I think there is a sort of lack of consensus about which of their records are good or not. Then there’s this sort of old Manowar vs. Mid-Manowar vs. Everyone hating new Manowar debate which is kind of like Judas Priest’s fan’s reaction to their discography. Some people love the Screaming/Defenders sound but some people only want Sad Wings/Stained Class sounds. Not so many love the Ripper Owens era.

I’ve read dozens and dozens of times that Kings Of Metal is Manowar’s “best,” “most influential,” “highest selling,” “most-beloved” and that sort of thing, album. I’ve also read that those descriptions belong to Hail To England instead, and that Kings Of Metal is part of the decline from their glory days to their career nadir in the late ‘90s. I’ve even read some people call it a sell-out, but some people call Emperor sell-outs for recording a demo and therefor diluting their credibility as a garage-only band… I don’t have much time for people calling albums sell-outs unless its drastic and obvious.

I guess it might be like Kiss’ Destroyer, some people count the classic bit as the first 3 Kiss albums, some the first 6, some more than that. I guess I might like analogies a bit too much.

What else? Well; Its also one of those “end of an era” type records since it was the final album from the “classic line-up” featuring Scott Columbus and Ross “The Boss.” After this, the two would be replaced by a drummer called Rhino and a guitarist called Giraffe David Shankle. I have to be honest, right at this moment I don’t know any of those musicians and don’t have any opinion on who is better. I guess I’ll find out.

[Play]

First up, the album opens with “Wheels Of Fire” which is apparently a concert favourite. Its pretty up-tempo and thrashy, and kind of reminds me of Alice-era Annihilator a little bit. It starts off with some samples of a motorbike starting up and driving around, then wham, blistering Thrashy Metal. There’s high pitched screams and low growls, and vocals trading between speakers. Then the chorus comes in and hell-yeah we’re in Power Metal town, gloriously big and bombastic. Power Metal choruses are the definition of Bombastic. Its like a giant tom fill with squealing Queen-reminiscent guitar and a vocal perfect for singing along to.

A guitar solo follows… a pretty excellent guitar solo. Well, I guess Ross The Boss is pretty important then. Oh yes, the chorus comes back…that is a good, good, good chorus. I’m loving this mixture between furious Alice In Hell aggression and over-the-top Land Of The Free grandiosity.

The thing I notice is that singer Eric Adams sounds quite like Kiss’ Paul Stanely at times. I wonder if that is because of where they come from. Also a bit like early Anthrax’s Neil Turban. Then again, he also reminds me of Iced Earth’s Matt Barlow.

Speaking of Iced Earth, I’ve never really noticed this before, but there is a missing link between Judas Priest and Iced Earth. That Missing Link is Manowar. Maybe its Jag Panzer too, but one thing at a time people, I haven’t got all day. Its funny, but I didn’t think their singer was even called Eric Adams until today, I thought he was called Joey DiMiao. When people said or wrote “Joey DiMiao” I always assumed it was the band’s singer, not bassist… oh well, I know now, ey? – I’ve never heard of Eric Adams before… seems odd really given how important Manowar are in Europe. Well, in Metal really. I mean I heard of Geoff Tate and John Arch and Rob Halford for years and years. There’s lots and lots of singers in my mind as definitive traditional singers… strange that Adams is not one of them, especially considering how powerful and talented he is. Its not as if he is dull and un-noteworthy or something.

Next up is the album’s title track, “Kings Of Metal.” It boasts boastful lyrics about Manowar themselves and how they come to town and kill, rather than play like a normal band, and how their audience are definitely not posers. This is a completely different style of music to the previous track. Its more like a very aggressive Kiss song than any Thrash or Power Metal band. It wouldn’t be too out of place on Shout At The Devil actually, in that Kiss-but-heavier spirit.

No denying it, this is catchy. I’m loving it. Its sort of embarrassing in a way, but heck, I do believe “Manowar Kill!” and are going to kick my ass, such is the convincing power of the song due its massive, massive fun-factor.

The solo starts off with a Saved By The Bell ‘50s Rock n Roll vibe, then shreds afterwards.

“Heart Of Steel” follows that big smile-fest, and is once again a different style. Its a ballad. The vocals kind of remind me of Greg Lake on Court Of The Crimson King’s title track and “Epitaph.” Ok, its not a ballad as in love lyrics and soft brush drums. The first two minutes are basically a string section and tasteful piano with manly vocals. Then the band kick in to a very heavy drum beat and ringing big guitars. It’s a powerful power ballad. More Powerful than Helloween or Gamma Ray’s ballads. More powerful than Stratovarius’ ones too. Heavier than Hammerfall’s. Better than all of Dragonforce’s. There’s also a gorgeous yet brief guitar solo that really feels like Slash. This is a genuinely good ballad. One I’d keep on my phone even with space limitations to consider!

“Sting Of The Bumblebee” livens things up next. Its an explosive bass solo (with band backing) based on the classical piece “Flight Of The Bumblebee,” which I seem to recall having to learn about in GCSE music but have since forgotten all about, apart from recognizing that it is frantic and hurried sounding, like a Bumblebee. Its so furious and metallic and intensely performed that you don’t even really think of it as a bass solo anymore… just a neat, brief, instrumental Metal song. I wouldn’t leave this off my phone either. Its just Manowar’s equivalent of “Stratofortress.”

“The Crown And The Ring (Lament Of The Kings)” opens up like it might be another ballad. Its got choirs and organs and orchestral percussion. It sounds like a Viking ascending into heaven. Eric’s vocals are very strong. This guy seems pretty underrated. Amazing vocal talent. Maybe its just his actual voice causing people to forget to talk about him, because the talent applied to that voice is unquestionable.

This track has no drums or guitars, it feels sort of like it should either be the first or final track on an album, and not so soon after a ballad. Strange move, momentum-wise in my opinion. That said, this is very strong. This is what I think Hammerfall should write instead of the ballads that they do write. Its bigger and grander than just a ballad. I guess its what you would call “epic” before the word got diluted so much recently (although; in Metal, “epic” things usually also have to be at least 10-minutes long for most reviewers to classify them as such. I guess that’s “an epic” as opposed to a song that is epic though).

After all that questionable epicness; “Kingdom Come” starts off with a chugging riff that sounds like it might be quite commercial, but could go either way, either into a quick-paced Metal track like the first one on the album, or into an MTV ready hit like Priest’s “Living After Midnight.” Then it reveals itself. It kind of reminds me, strangely, of A Momentary Lapse Of Reason-era Pink Floyd…but in no way I can articulate. I guess maybe there’s just a touch of “Learning To Fly” to the pace and drum sound? Either way; this isn’t a thrashy blaster of a song. Its like a way-slower “Metal Gods” (Ironically, given my Metal Gods/Kings Of Metal question) drum beat, with a ballad hidden over the top, these shuffly drums transforming it out of a ballad, and an into MTV ‘80s Rock song, but the enthusiastic and ultra powerful vocals making it metallic enough to fit on the record.

“Pleasure Slave” comes next, and is in slightly the same mould as the previous track during the verses, but with heavier guitars and indeed a nice Iommi-style riff in the chorus. Its not speedy thrashy Metal. Its enthusiastic ‘80s Rock…with a nice doomy riff in the chorus. It sort of reminds me of Kiss’ “God Of Thunder” in its slow power.

Aside from the music, the most notable thing about this track is the over the top sexism… I mean it is arguably even more objectifying than what most Hair Metal bands wrote about. There’s a big difference between Poison’s lyric “I got a girl to the left of me and a girl to the right, I know damn well I slept with both last night” and Manowar’s lyric “Woman be my slave, chained onto my bed… your body belongs to me… the greatest gift I could ever give.”

I kind of wonder if they are being ironic, perhaps a touch of Steel Panther here? I mean, I always read the sentence that Manowar’s fans take them with a pinch of salt but the band themselves are serious about it. Or maybe I’m looking at it wrong and its not even sexism, but just about BDSM. Maybe they are just writing about BDSM from a reporting perspective, in the same way that Slayer wrote about Nazis without being Nazis. I’d like to hope they aren’t ridiculous sexists at any rate… in the same way I hope Carpathian Forest aren’t really as Right Wing as they say they are. Hopefully its all just good fun. (Just playing-up to expectations etc.)

“Hail And Kill” follows that, opening promisingly with a powerful ringing guitar chord and some aggressive-yet-melodic dual guitar in the spirit of Painkiller-era-Priest. Yay! The album had slowed down quite a bit…hopefully this is a fast one.

Hmm…nope, it broke down to some nice acoustic arpeggios and more of that Greg Lake-but-louder stuff vocally; and then… Yay, it explodes into lovely 80s Speed Metal sounds!

Oh, nice Maideny guitar bit. Catchy sing-along-gang chant of the song’s title. This is right up my street. Exactly what I’m in the mood for. I love this chorus!

Nice guitar solos, quite flashy. You can really feel the instrument being played, you can visualize the bends really easily. Excellent production now that I think about it. Yes. This song is the bee’s knees.

That long “Yeeeeeeah” scream where all other music cuts out… that is something I always love in music. Also, impressive! “Nice pipes” as they say in our musical world.

Then comes “The Warrior’s Prayer” which in all honesty is kind of ridiculous. Its essentially a spoken word intro, which you hear on lots of Metal tracks in lots of various different styles. Sometimes they appear in the middle of tracks or have music underneath them. Yes’ “Circus Of Heaven” has one with a little kid talking about a circus with no animals etc. It is too long, and it is already in the middle of a song and has music underneath but still a lot of fans find it unbearable. This track doesn’t have much in the way of music, and lasts for an entire FOUR MINUTES. Four minutes of just talking in a slightly silly old-man-telling-a-kid-a-story voice. Not fourty seconds, which is already a bit too far. Four ENTIRE minutes! – I’m not that keen on it, can you tell? We’re talking about the guy who deleted the intro to Exodus’ “Deranged” because it wasn’t worth my time. Oh well, at least they were kind enough to have it as a separate track, so I can skip it from now on. [I’m sure as fuck leaving this one off my phone considering there’s space limitations.]

Finally we end things here with the seven-and-a-half-minute album closer “Blood Of The Kings.” This song is explosive, powerful and excited. The vocals are so over-the-top, the main riff is incredible fun and the verses are like a supercharged “Diamonds & Rust.” This song just sounds absolutely massive. Its real Thor-on-a-mountaintop stuff.

The guitar solo is pretty impressive. Accept/Deep Purple/Yngwie style neo-classical stuff in there, filled out by muscular shred. The song also continuously does the thing I love where the vocals continue when the rest of the song stops.
At the five-minute point they also go into an almost-pisstaking Prog style bit-by-bit ending. (You know, like when they tease ending over and over and over, sometimes note-by-note, slowly decreasing speed and volume in their actual playing rather than with the mixer). Then after doing that for a very long time, the main riff comes back as if the song is going to erupt again…but then that fades out with the mixer. Hmmm. Definitely feels a bit pisstaky. In a good way.

So, there we have it. My first exposure to the field of true Metal, my introduction to the kings of said True Metal, and the righting of my wrong (“if you don’t own this album, you aren’t a Metal fan” etc.) in ignoring the band for this long. I don’t know if its as instant a KCP classic as Land Of The Free or Keeper Of The Seven Keys but it was certainly far from a waste of time. I think it’s a sort of uneven album… three rock songs, two ballads (or there-abouts), three Power/Speed Metal songs, a bass solo, and a really overlong intro/skit/spoken word boredom-fest.

I wonder if it may be better without the spoken word bit (or at least at a severely, severely reduced length), with more space between the two ballads (perhaps the “epic” one as the final track and the “normal power ballad” as the exact middle of the album). Oh yeah…and don’t listen to “Pleasure Slave” when there’s any women in the room. [Fuck it; actually…do listen to it when there’s women in the room, but lie and say the song is called “50 Shades Of Grey” and then they’ll lap that track up!]

Still, even if it is oddly disjointed and has a weird momentum, and lacking that maybe-one-more-fast-song that would make it work, this is a pretty neat album and I’m sure I’ll listen to it a lot in the coming months. The highlights (the three fast songs, the fun-as-hell title track and the Viking funeral) will certainly get a real pounding and make it into my regular-listening for a long time to come.

Ok. That was my first experience with the band and the album.
Any thoughts, opinions, corrections or recommendations guys?

Stratovarius – Visions Review

Stratovarius - Visions

Stratovarius – Visions

Visions is the sixth full-length studio album by the Finish Power Metal band Stratovarius. It was released in 1997 on Noise Records and self-produced by the band’s guitarist/mastermind Timo Tolkki.

The style on music found here is speedy, soaring, upbeat Melodic Power Metal with constant double kicks, plentiful guitar solos, and a prominent keyboardist who doesn’t just take on a background role (Jens Johansson of Yngwie Malmsteen fame).

The album opens with the excellent, concert-favourite tracks “Black Diamond” and “The Kiss Of Judas.” If you wonder whether or not to try out the album, or even the band, then these are songs that you may want to preview first.

Similarly excellent, is the brilliant “Legions” which sounds at first almost identical to Queensrÿche’s “Queen Of The Reich” before veering off on a tangent into that quintessentially European “Glorious/Victorious” feeling, and becomes more of its own song. Singer Timo Kotipelto’s vocals on this track are incredible.

There’s also a fair bit of variety on the album; for example “Paradise” is fun and bouncy, “Holy Light” is a virtuosic instrumental track and there’s also the strong, tasteful power ballad “Coming Home.” The album’s other Power Ballad, “Before The Winter” shows large tendencies towards 1970s Progressive Rock and points towards the direction that the band would take on their Elements Part 1 and Part 2 albums.

The album ends with the 10-minute title track, which is a multifaceted gem with acoustic parts, choral parts, speedy sterotypically Power Metal sections and slower moody sections. It pretty much mixes everything from the album thus far into one single song.

The standard of musicianship, songwriting and production are all top notch on this record, everything is very tight and there is no filler. This is a very strong album for Stratovarius and a good choice to start your collection with.

Djent; like Skynet, has come online:

I think Djent has become an independent subgenre now.

I understand that people were arguing about whether or not it was a real subgenre when it was starting out, but I think so many bands have come out sounding like eachother, so many record labels group them together, so many Djent fan sites and concert line-ups have been made that it has come online, become self-aware and is now a real genre.

People had the same problems with Thrash Metal when it was new, with Hair Metal when it was new and with Nu Metal when it was new, but now, most fans agree that they are real subgenres.

Sure they might argue about the name “Hair” is interchangeable with “Glam/Sleeze/Teeth/Pop Metal” and “Thrash” sometimes gets intertwined with “Speed.” “Nu” sometimes gets called “Rap” or “Alternative.”

There’s disagreement over all of them “Glam is just a look” “Nu is just rapping and DJs over the top” and people say the names are stupid. Nowadays, a few people say “Djent” is a stupid name and “Djent is just a tone” but there’s more to it than that, and it has become a real genre due to the critical mass of bands making Djent music.

Sure; Uneven Structure, Tesseract and Periphery are all pretty different, but so are Kreator, Anthrax and Metallica.

So are Linkin Park, Powerman 5000 and Korn.

So are Bon Jovie, Quiet Riot and Motley Crue.

In Power Metal, there’s a vast difference between Stratovarius, Helloween and Sonata Arctica. And its named after power? All Metal is Powerful.

I agree that naming Djent after a tone is unusual, but its better than naming it after a look (Glam/Hair) or the fact that it is new (Nu) is equally silly.

Maybe they should have called Thrash “Chug.” Sure, some non-Thrash bands like Motorhead and Sabbath had chugging, but that ties into the idea of how much Djent took from Messugah. Its similar to how much Nu Metal took from Faith No More and Primus. I know that some non-Djent bands have the Djent-Tone like Architects did on Hollow Crown, but that ties in with the idea of bands like Anvil and Metal Church being heavier than most Heavy Metal bands but not quite Thrash.

Maybe the name will change, but the subgenre will stick, if history is any indicator.
Maybe some of the bands will escape the tag becuase they’re too different, eg. maybe Animals As Leaders are too different than the core Djent sound like the way Slipknot are too different than the core Nu Metal sound, but overall, Nu Metal is still considered to exist.

Just go to Got-Djent.com and have a look at all the bands who play Djent music, or music similar to Djent, and check out all the similarities and differences.

Try out one song each by the top-25 most popular bands. Try that same trick for other subgenres like Black Metal, Death Metal, Hair Metal, Nu Metal, Power Metal, Doom Metal, Thrash Metal etc.
Pay attention to all the similarities and all the differences from bands still considered to be within one subgenre. Pay attention to how there are some bands or songs that are a bit borderline and ones that are definite. I believe that same balance now exists in Djent and that Djent has become a real subgenre.

FIRST IMPRESSIONS Volume 68: Pain Of Salvation – The Perfect Element, Part 1

FIRST IMPRESSIONS Volume 68: Pain Of Salvation – The Perfect Element, Part 1

FIRST IMPRESSIONS Volume 68: Pain Of Salvation – The Perfect Element, Part 1 ”

Hello, and welcome to my Blog. Why is it called KingcrimsonBlog, the official Blog of Kingcrimsonprog?. Good question; It is called that, because I am called Kingcrimsonprog (or Gentlegiantprog) on most websites and forums. (You know, in the way you have to chose a name or “net-handle” when you register?). Back when this Blog was first devised, it was sort of a hub “digest” of all my various internet output, under one easy “roof.” So people could then tell that my things were not stolen from elsewhere on the internet, I kept my net-handle in the title. The name of my net-handle was simply chosen because I enjoy the Prog band King Crimson (and Gentle Giant) and is not in fact my real name.

I’ve been obsessing about music since about the year 2000. Over this time I’ve bought what must now be nearly 1,000 albums, and heard hundreds more through friends, relatives, streaming services and whatever else. I’ve also watched over a decade’s worth of music videos and heard countless individual songs on the radio, free covermounted CDs, websites and whatever else. All that, as well as read years and years worth of music magazines and websites.

I’m a nerd. Basically. Only, instead of Hentai or Manga, its Music that I obsess about. Lots of people are nerds and don’t even realize it. Sometimes its obvious; trainspotting, stamp collecting etc. Sometimes its less obvious due to presentation. Some (make that many) football fans’ depth of knowledge about players and transfer costs and club histories would make many tram-enthusiasts seem normal by comparison. The amount of information that some people know about Reality-TV celebrities and their sex-lives would easily overpower my knowledge of bands, or the most dedicated Gundamwing fan’s knowledge of Mechs.

But I don’t like Football or Reality TV or Trams or Warcraft. I like Heavy Metal music. That’s what this Blog is all about.

Welcome to my First Impressions series of articles too, incidentally. In this series I (or sometimes my friends, or readers) pick an album for each entry that I will listen to for the first time. I then write in depth about what I know about that album or the artist that created it and the genre and subgenre to which they belong, before describing the experience of listening to it in real time, in a sort of semi-stream-of-consciousness way intended for entertainment purposes. I also enjoy writing reviews of albums, but when I write reviews my goal is to be helpful and provide you with information with which to aide your decision about whether to try out an album or not. When I write a First Impressions article however my goal is purely to entertain the reader, explore how much I know about music and be my own psychiatrist in the process.

I may go into some very specific detail and assume you have heard everything I’ve ever heard and perceived everything in the manner I’ve perceived it, and call out very specific sections of music and draw comparisons between things that the casual listener may find completely unrelated. Don’t worry, most of these songs are on Youtube and most of the terminology is on Wikipedia and Urban Dictionary anyway, so if there’s anything that goes over your head, you can always get clarification in a second web-browser-tab (or ask about it in the comments).

According to the aim of the series, the albums are considered by the public and music critics knowledgeable about the subject to be Classic albums within Rock and Metal, or at least within their own Subgenres. Classic albums that I’ve somehow missed out on, despite my nerdly need to hear and understand almost every piece of recorded Metal music ever.

If you have an album that you’d like to read a KingcrimsonBlog First Impressions article about, please suggest it in the comments, I’m game, I’ll give anything a try.

So that’s the preamble out of the way, on to the article:

This is the sixty eighth-entry in the series. This time around I’ll be listening to the third full-length studio album, The Perfect Element Part 1, by the critically acclaimed Swedish Prog Metal band, Pain Of Salvation.

So. What’s my history with Prog-Metal then?

Well, you can pretty much piece that together by checking out my previous FI articles on the subject of Dream Theater , Queensryche , Savatage , Opeth , Anathema , Dream Theater again, and also things like my reviews of Riverside, as well as the reviews of modern Prog-slash-alternative bands (I’d like to start a new subgenre called Prolternative) such as Rishloo, Jurojin, Coheed & Cambria, Cog, Amplifier, Dead Letter Circus etc. Or the reviews of Queensryche once I’d gotten to know them.

[Side note: Looking back, I can’t believe I missed the opportunity to do a First Impressions article on Second Life Syndrome…what a waste.]

If you can’t be bothered to look through all of that stuff right now; I’ll try and condense it down a bit:

Since about 2005/2006 I’ve been a big fan of 1970s Prog (With a name like Kingcrimsonprog what do you expect?)

– For as long as that’s been going on, I’ve been told to check out Dream Theater.

– I got into a few Progressively-inclined modern bands around that same time (Mastodon, Tool and Coheed & Cambria being the main offenders, with others including The Mars Volta popping in and out of favour depending on my mood) and came to appreciate the progressive moments in the music I already liked, such as Iron Maiden and Metallica’s more inventive material.

– It started a trend in me of liking to figure out and discuss where each individual bit of a band’s sound comes from that situation endures to this day. I blog about it quite a lot.

– I tried out a band called Rishloo and became madly and fanatically in love with them. I like them almost too much.

– I tried out Dream Theater and it took a while for them to grow on me. Initially I wasn’t impressed and then slowly became won over.

– I tried out Queensryche and the same thing that happened with Rishloo, happened with them. I listen to and talk about them all the time.

– I tried out Opeth and it took a long while for them to grow on me, I still don’t own any of their music myself but am positively disposed towards them now. Not a giant fan, but nolonger in the dislike-them frame of mind.

– I tried out Porcupine Tree, Anathema and Riverside and liked them all, and am in the process of getting even more into each of them. Riverside are the favorite out of all the artists discussed so far.

– I find it interesting filing the bands in my brain differently. The ones from the 80s who started off as more traditional Heavy Metal or USPM such as Savatage and Queensryche, the ones who came out of a more Sludge basis such as Baroness and Mastodon, the Prolternative ones who don’t have a lot of Metal in their sound and share little in common with Maiden or Priest, the ones like Anathema and Porcupine Tree who take it even further in a mixture of Floydisms and Radiohead similarity that really step away from the Dream Theater template, the modern ones like Protest The Hero who are a bit of everything, and Djent bands that I haven’t listened to enough of yet. There’s also the ones who have their beginnings in Death such as Opeth and Death (and do Death “count” or are they more like Metallica, where they are Progressively-inclined but still part of their original genre?).

I love finding out how they all relate to one another. Hearing the parts on Queensryche’s album that make you understand the connection to Savatage and the other parts that make you understand the connection to Dream Theater. Hearing the bits of Dream Theater that go much closer to 70s prog like ELP and Pink Floyd and sound nothing like Savatage or Queensryche. Hearing a bit of Floyd-worship in Riverside and Porcupine Tree. Hearing Porcupine Tree’s Steve Wilson and Opeth’s Michael Akerfelt working on eachother’s records. Hearing parts of Protest The Hero that sound a bit like Coheed and other bits that sound a bit Djent. Hearing how much Tesseract’s singer reminds me of Rishloo. Hearing the similarities between Tesseract and Periphery. Hearing Dream Theater’s guitarist playing on the Periphery album.

Its interesting to compare something like Anathema’s “Wings Of God” to something like Coheed & Cambria’s “The Willing Well IV: The Final Cut.”

I then love hearing the bits in Helloween and Iced Earth that channel that early Queensryche sound with a completely different emphasis. I love hearing Stratovarius go really prog but never once sound like Queensryche for a second.

I like hearing when Queensryche went alternative-influenced, and then hearing the Prog bands who’s sound is originally based in alternative such as Tool and Cog.

I like seeing alternative bands like Soundgarden do things like difficult time-sigs, long song lengths and use additional instruments yet not be called prog. Tool are an alternative band with difficult time-sigs and long song lengths who do get called prog. Fun to ask yourself why? Are ‘Intolerance’ and ‘Rusty Cage’ really a billion, billion miles apart? Part of it is to do with marketing, part of it is to do with the band’s own perspective and what they say in interviews, and part of it is the consensus of the audience.

Is a band prog or not based on their own intentions, or on what we the listener think?

I like seeing alternative bands like Radiohead and Muse do things that are in turns subtly and obviously progressive and then seeing all the confusion and disagreement over whether or not you can call it prog and which of the different types of prog fans accept them, ignore them or outright boycott them.

I mean you look online and you can find prog fans who absolutely hate anything modern, love modern stuff but hate metal, love Prog Metal but hate anything old, and people from all of those groups that hate anything alternative.

Its just so damn interesting how it all connects and interacts and seeing where the lines are drawn and why.

– I’ve still got a lot more to learn. I’ve had a brief look at bands like Crimson Glory, Fates Warning and Blind Guardian and all are on my figurative “to-do-list.”

– Today, I’m crossing one more such band off of my to-do list, in the form of Pain Of Salvation. A highly acclaimed Swedish Prog Metal band, who always get mentioned in reviews about Riverside, and who have been described as some sort of less-cheesy Swedish Dream Theater. Seeing as I’ve been absolutely loving the Images And Words album this month and excitedly planning to get tickets to see Riverside in concert soon, they seem like a good band to investigate further. I got this album of theirs as a Christmas Present, hooray.

Apparently it’s a concept album (always a plus in my book. Even non-Prog bands can benefit from a concept album, such as the absolutely excellent Deep Blue by Parkway Drive) about two broken and dysfunctional individuals with a history of abuse and tragedy. Sounds interesting.

[Play]

The album opens up straight into some dramatic B-Movie sounding keyboards and rolling drums. It reminds me a lot of Mushroomhead. Wow. Wasn’t expecting that.

It then goes into a slow, dark, funk part that is incredibly similar to Faith No More. There’s a scream that reminds me of Roddy from Protest The Hero and then when the vocals kick in properly its slow creepy rapping again in the style of Mushroomhead, or Faith No More at their darkest. This wasn’t what I thought this band would sound like.

Then there’s a cool little staccato part where they repeat the phrase “Getting used to pain” over and over, with a cool syncopated double-kick and chug part that reminds me of this one part on Images And Words that I called out in that FI.

Then, after a very short run-through of that, this huge, hooky clean vocal interrupts and drags the song from the darkness into this shiny sort of Panic At The Disco/Fall Out Boy/Head Automatica sort of affair, with much more shimmery keys and I’m equally confused.

The dark funk comes back. The little squeaks that signal the end of each bar remind me of Mate Feed Kill Repeat, Korn’s debut and Angel Dust era Faith No More. Little guitar squeaks are an oft-overlooked calling card of Nu Metal. There were plenty on The Burning Red too. I wonder if there are lots on Roots? I haven’t listened to Roots in ages so I can’t remember.

Then they start mixing the chug stuff with the dark funk. Ok. I’m on board. Then “Getting Used To Pain” is re-delivered with a more pounding beat. Then that chorus comes back. Then as a post-chorus, the cool rolling part that was also the intro. Nice to have you back, sir.

Then out of nowhere. A glorious Riverside-sounding prog bit, with a very Camel-influenced guitar solo. Opeth fans would like this bit. Then it gets a bit more lift and a few Dream Theater style rays of sunshine get in there now and again. Oddly, some Geoff Tate influenced vocals come in over the top. Its like its trying to impress me. The Geoff vocals get left to hang at one point and turn into Mike Patton. The, the band introduce the “getting used to pain” line once more but in the form of backing vocals, lower in the mix and low pitched, but over the top of this glorious, soaring Riverside-style music and high pitched Patton-esque singing that’s getting really impressive at this point. It works really well. It transitions back to that opening Mushroomhead part with the rolling toms. Nice structuring. Do I detect a quick DJ-scratch?

Then some beautiful, clean, happy Keys that reminds me of Marillion’s “Kayleigh” come in as it starts to transition between this song and the next. You can’t sound like Marillion too, guys – that’s just cheating… leave some awesome for the other bands, you’re hogging it all.

“Used” turns into “In The Flesh” which is not, as you may expect on a prog album, a Pink Floyd cover, its actually an original. It starts off calmly; The drummer lets off a few little twiddles on the ride, building up slowly as a little guitar arpeggio keeps going off. Its very Marillion sounding. It then has this gorgeous little guitar part that sounds like its plucked with the thumb go off over the top of that and change the mood, that bit really reminds me of Camel or Yes. The bass follows the pattern. It sounds incredible.

When the vocals come in they really remind me of Marillion or Genesis. It starts building up tension. The way the building of tension works really reminds me of Second Life Syndrome by Riverside. There’s also something of Pink Floyd’s “Goodbye Blue Sky” to the tension-disrputing ‘So Fly Away Bit’ vocal line (but, then again, that also reminds me of Queensryche’s ‘Spool’ and ‘Chasing Blue Sky’ as well as Pearl Jam’s ‘Given To Fly’). This song sounds very different to the last one, except for the backing vocals, which remind me of Mike Patton and thus fit in with the previous track.

When it kicks off at last, its into this bouncy, piano driven part that really sounds like the halfway point between Camel and Riverside. That cool thumb thing plays in the background. The sweetness and colour in the keys reminds me of Distorted Harmony a lot.

Then it turns into this really, really gorgeous part. It is difficult to describe. It keeps accentuating particular bits with these brilliant notes and the whole shape of the section just makes my brain sing. It’s the bit where the lyrics are:

‘Sometimes the hands that feed
Must feed a mind with a sick need
And the hands that clutch can be
The same hands that touch too much
Eyes that hungrily stare
Read in an access that’s not there
While eyes close to hide tears
Or look away in fear
Run away!’

That whole bit is just magical. It then goes into that RiverCamel bit with more energy and extra guitar parts. The next time the lyrics come in, there’s this really cool key part underneath worth mentioning, and then it goes heavier, starting to really sound like Distorted Harmony and oddly I get a tiny hint of David Draimen in the vocals alongside the Patton sound.

Then it starts building up an atmosphere, with an increasingly tense part. The guitars are panned interestingly. The lead guy goes from Pantera style bends to Black Label Society style pinches to Dream Theater style running and then the music cuts off and this really emotional solo-vocal that reminds me of Marillion rings out. Dude’s got an incredible voice. Then a keyboard line in the shape of that bit I highlighted earlier, but with a gorgeous clean acoustic guitar lead over the top so the mood is completely different. The keys fade out and end.

Then to segue between that track and the next, there is a cool deep bassy part that sounds like a mixture of that bit of Marillion’s Misplaced Childhood where he sings about a spider and an obscure Scottish poet, with Mars Volta’s ‘Son Et Lumier’ intro.

‘Ashes’ starts. Its got a creepy baby’s mobile sound, (or the sound of a kid’s music-box), mimicked by the actual music, and then some Geoff Tate low vocals come in, with Camel-reminiscant bassy drones underneath. It reminds me a bit of both ‘Lady Fantasy’ and ‘Mystic Queen’ being mashed up with ‘The Lady Wore Black’ and then some electro drums come in and I’d also throw in some Mushroomhead in that mix too. There’s also something of a Pete Steel about it, in a way. When he starts a vocal accompaniment of husky whispers you think of Mike Patton too. Then it kicks off into its true form, and it has a fat wavy alternative rock guitar part. It reminds me of Porcupine Tree when that happens. When the song goes between the two a few time and ends, the guitar continues on in a broken little solo, that shambles along jazzily in a way that really reminds me of The Mars Volta. Rishloo also do it infrequently; most noticeably on ‘Downhill.’

Singer Daniel Gildenlow is something of a vocal chameleon. He has so many different styles. The band are similarly eclectic. Quiet an interesting band, really. I wasn’t expecting the Faith No More similarities. When people say to me ‘Check out “The Swedish Dream Theater” because they influenced Riverside so much,’ no part of that suggest to me that it will sound like Faith No More or Mushroomhead. Not that that’s a bad thing. Not a bad thing at all. Just a surprise.

‘Morning On Earth’ comes next. It opens up with that shape (or rhythm as its actually known) that I called out for attention from ‘In The Flesh’ delivered in that Marillion-esque way from the outro/seque into the next track. Cool. I like concept albums that actually have recurring themes and cleverly rework or reintroduce parts for artistic effect. “Theme And Variation” I believe its called.

I also caught the faintest hint of the opening guitar part from Roger Water’s ‘5.02am: The Pros and Cons Of Hitch-hiking’ hidden in there. Teased at. You guys know I love that part. Come on now guys, seriously.

Then it kicks off into this hazy, dreamy clean section that sounds like film score, mixed with ‘Fat Old Sun.’ The bit where he says ‘I’m Just A Child’ is really evocative.

Then he starts talk-singing and it really reminds me of Queensryche’s ‘Roads To Madness’ mixed with Misplaced Childhood era Marillion. The music underneath reminds me of Judgement era Anathema. Then that dreamy wafty part comes in, the strings that augment this bit remind me of floating on clouds. It’s a bit of a juxtaposition with the dark opener to have this really saccharine part here. It’s a cool song. There’s backing vocals that remind me of ‘Silent Lucidity.’ There’s lead guitar lines that remind me of ‘The Hound Of Blood And Rank.’ Good mix of things I like.

‘Idioglossia’ follows it up. It really makes me smile. Its got a squirming, shifty, part that reminds me of ADHD era Riverside with the bouncy, heavy, bombastic nature and impressive energetic drumming. This is what I thought they might sound like. I love it.

That part gets interrupted by a crazy bass line, which evolves into a fun gallop, a nice memorable double-kick part. Then this really interesting, driving and exciting part, that is like what would happen if you mixed Mushroomhead with Dimmu Borgir’s ‘Progenies Of The Great Apocalypse.’ When that bit ends, it turns into a Protest The Hero style ‘here’s a big bunch of notes’ bridge. This is a very good song.

Then its into a piano driven part with The Mars Volta’s shuffly drums and Anathema’s Cure-influenced attitude. Then Faith No More show up to the party. Then that dark gallop with the cool bass comes back. Then that driving bit. I love this song. Aaaah. That bit where he sings ‘Aaaanyone’ sounds so much like David Draimen its scary.

Then that shuffle-meets-Cure part comes back for longer, with a Camel influenced bass lead and a sweet whispy guitar solo. The vocals are incredible. It starts building tension along Riverside mechanics. Then a bouncy System Of A Down style drumbeat speeds it up, but the heavy thick keys stop it sounding out of place. Then thundering double-kicks and a guitar solo come in, speeding the whole thing up and driving out the bloody window. This is fucking incredible!

How better to end that, than by randomly jumping back to the two other two best bits from the song; that ADHD intro and the driving-bit only with extra fun drums and more intensity in the performance. They then manage to meld that bit together with the drums from the cool bass beat, it all starts layering over and over eachother, there’s different types of vocals panned all throughout your head, keys in every different part of your brain. It builds and builds until you barely know whats going on. It ends, just before your head explodes.

Damn! What a song!

‘Her Voices’ comes in next. The intro sounds like a mixture of 90s Anathema with ’99 Red Balloons Go By.’ Then it shifts into a sweeter part that reminds me of the more ballady tracks on the first two Genesis albums once Collins took over, like ‘Madman Moon,’ ‘Ripples’ or ‘Blood On The Rooftops.’ Its very emotional sounding. Their bassist is a damn genius. There are certain touches on the drums and keys that remind me of the better Dream Theater ballads.

Then these giant stabs come in, followed by cool slow drum fills.

Then back to the sweet part, only with bouncier drums. Ok. So we’re playing this game are we? The little guitar leads are incredible. So are the little key lines. There’s so much to listen to its hard to keep track. It’s the audio equivalent of watching Slipknot on stage. You don’t know where to look.

Then the big stabs. But transformed by slow doomy drums. And the inclusion of vocals. Then it kicks off into this cool build up with eastern influences and very skillful drumming. It reminds me a bit of early Soulfly because of that drum sound, but the music isn’t similar. It then goes through all sorts of cool ideas. Mars Volta and Riverside are the two bands it reminds me most of. Also King Crimson. Then a Flute comes in for the craic over the top and makes the Tull receptors in my brain light up. There are also guitar parts that really work along Melechesh lines. Then there’s like, a violin solo, with backing vocals that sound like Dave Gilmour.

This whole thing is just a massive tour of everything I like. Its hard to even point out all the things I like because the band seem to just tear through so many of them, and on each instrument, and its all panned around your brain so you’re getting different things pumped into your head at all angles, and you find yourself struggling to really absorb it all or even keep up, your mind being constantly delighted with new awesome parts, each of which are that both cool in-and-of themselves and that also reminds you of bands you already like. It delights the awesome-receptors and the recognition-receptors.

It ends by going back to the start, but playing it in this sad, acoustic style that sounds like dying cowboys. It has morphed into the next song, ‘Dedication’ which mixes that ‘Madman Moon’ stuff up, keeping the spirit the same, but delivering it in different ways. The vocals go through so many different styles. I absolutely love their drummer. The person who mixed the album deserves a lot of credit too, it dances around your skull magically. Definitely a “headphone” album.

You get these really beautiful little key parts that remind me of Camel and also the King Crimson ‘Peace’ trio, beside vocals that sound like the times where Matt Barlow of Iced Earth channels Geoff Tate, with drums that remind me of Anathema when they get lively, and then the themes from previous tracks coming in and out. Its masterful, masterful stuff. Actually captivating.

‘King Of Loss’ comes in next. Its getting difficult to come up with new ways of saying, the keys, guitars, bass, drums and vocals are all superb individually and each and every part they play is brilliant, reminds me of something cool and is cool anyway, sounds great when you concentrate on it, and works as part of a dense whole when you just concentrate on the song overall.

This album is a straight-up fucking masterpiece. No messing about, this thing is incredible. Every member is talented, tasteful and interesting. The band mix up so much of my favourite music and present it in combinations I haven’t heard it before.

This may seem contradictory, considering all the comparisons to other bands I’ve made so far, but these guys are really unique.

King Of Loss is a pretty incredible track. The guitar solos are absolutely incredible. The structure is great. The switching between light and shade is well done. The introduction of new parts, and then the return to the two main themes are really great. It’s a real “journey.” I can’t believe where it is on the record either come to think of it. On any normal record this would be the album closer.

‘Reconciliation’ blasts off. Its one of the best parts from one of the songs that have already played. But then it breaks down into this sort of mixture of ‘Jet City Woman’ and ‘Walk In The Shadows’ for quiet parts. It then throws in some Matt-Barlow-does-Tate vocals and even a hint of Draimen in a deep thwompy part. Then it does the softer Camel version of that awesome part. Then this powerful, exciting build-up part with this really great lead guitar. Then it kicks off again with loads of energy, great drumming and some cool emotional screaming and fades out as the drummer really starts laying into it.

If you want to know whether or not you’d like the album, listen to this song.

‘Song For The Innocent’ starts off like a pretty cheesy, saccharine ballad. It sort of reminds me of the cringy bit in Yes’ ‘Circus Of Heaven’ where the children starts talking, only good. Then it bursts into a cool, Comfortably Numb’s solo style bit with lots of passion and totally saves itself. Their guitarist really does his best to make me burst with happiness at this solo. I could see people saying it’s a bit too similar to Comfortably Numb’s if they were being dicks, but that’s a pretty awesome thing to be similar too.

The brief ‘Falling’ is next. Its also very Pink Floyd sounding. The song is more or less just a guitar solo with a lot of emotion over a key part that sounds like death and heaven in films.

The album closer, and title-track, the ten-minute ‘The Perfect Album’ crashes in next. It sounds absolutely huge already, I feel almost blown away. I’m sat on the edge of my seat, utterly taken in by this band.

It starts reworking parts you’ve heard before into it, into cool build-ups. All the different vocal styles from the whole album come back. There are great big, chuggy heavy grooves, there’s some very Tate vocals, there’s a Camel sounding lead. It all builds and builds, then at the three minute mark, it kicks into a fat alternative groove that reminds me of Tool, only with so much Neoprog synth and keys on the top that you wouldn’t recognize it as such, then that’s followed by a part that reminds me of Queensryche’s ‘The Hostage’ yet again touring everything I love. They drop that Tool groove in, but throw a guitar line over the top of it that reminds me of Floyd’s ‘Run Like Hell’ then an interesting acoustic guitar part runs off with your attention and the song morphs into this violin driven, emotional ‘Roads To Madness’ at-a-wedding affair. The vocals are beyond superb.

Then they start throwing in these big stabs with cheeky prog key runs as tails. That morphs into a few forms including one with fucking huuuuge chugs. Then things go bright and shimmeriy, you start to get an enormous feeling of well-being as this triumphant music builds-up all around you, swirling around your head in circles, it sounds like you are floating up out of your chair as the song carrys you away. When the tom based “dumdumdum pehhhsh, dumdumdum pehhhsh,” thing comes in I have a gigantic smile on my face.

Then they start channeling Mushroomhead again, but with the build-up still going, then all the extra drumming. Its like the non-death version of Opeth’s ‘Deliverance’ as the china cymbal keeps going off, then all the music but the massive reverby drums cuts right out, and those big drumbeats all circle around you, sounding like a tribal ceremony or world-cup theme tune. You want to scream at the top of your lungs but suddenly the drums are gone and then some pulsing industrial noises that must’ve been underneath it quickly fade out. Its over.

Fuuuuuuuck me. That was incredible.

So ummm,….yeah. If you like Riverside or Dream Theater or Opeth, Run out right now and get this album.

If you like Camel or Pink Floyd, or Marillion, run out and get this album.

If you’ve already got this album, go and listen to it again.

I’ve said it already; Straight-up, no messing-about MASTERPIECE.

Ok. I’ve got to go and calm down. I’ve got the shakes from listening to that. G’bye for now folks!