Virgin Black - Requiem mezzo forte (2007)

Formed in 1993, in Adelaide, Australia, I was first introduced to Virgin Black in the late-90s, when I stumbled upon a Christian metal show on a local radio station - a show which played its last track only a few weeks later.  That song was "Mother of Cripples", an early doom/death number - and quite possibly their demo. For a band played on a Christian Metal show, VB do not come across as typical of that genre.

The name, which sounds almost bordering on black metal, is said to represent "the juxtaposition of purity and humanity's darkness"*

In 2006, they undertook a project to release a trinity of albums, all named for their sound using the classical terms. I (thanks to my beloved brother) own two of them. I do not own the third one, the most beautiful and classical sounding of the three ("Pianissimo"), because the band took an "extended break" and have still not released it.

"Mezzo Forte" means "moderately loud". This album features the band performing with the Adelaide Symphonic Orchestra.

The cover features a portrait on parchment, one of those old style sepia artworks. The head is aflame, the vivide orange dancing across in stunning contrast to the shades of brown and tan. It is a booklet, and inside the lyrics read as typical goth-doom - poetic, majestic, dark and sorrow-filled.

"Requiem, Kyrie" begins with low, haunting melodies, deep and visceral, the sort that sends a chill down your spine. Chanting, spectral and eerie. Slowly the other instruments creep in, an orcheastra laden with gloom and tragedy. Rising over them, flitting like a gentle breeze bringing with it maudlin hope, the vocals rise and swoop and soar. Heavy with melancholy, desolation and loss, this truly is a requiem.

Heavier, but slow, dirge like, "In Death" has male vocals - merging the low, deep and haunted with the guttural snarls and grunts, punctuated by the rise and fall of the orchestra, the tension of drums and a spectral female choir. A gloriously dark, haunting and spooky symphony.

Harmonious, dark shadows of twilight stretching out across the fields as "Midnight's Hymn" comes upon us. The piano touch of frost. The churning of a double bass, and from the shadows a spectral voice rises, a strange and msyetious figure, as though created by moonlight. A man joins her, his voice low, echoeing, powerful.

"...And I am suffering...." is slow and laden with grief, loss and a hint of longing. The harmony between orchestral instruments and the soaring operatic vocals is truly a majestic combination, an aural delight. There is nothing more sublime, more beautiful than classical and metal joined in glorious harmony. So laden with emotion, power, drama. To anyone who claims that heavy metal is "just noise" - I would challenge them to listen to this album - it is impossible to do so without being moved:

"...when will my sorrow begin to pale?"

The bittersweet harmony of strings opens "Domine", in which the guitars and drums come crashing down, slow and strong. This is a much heavier number, the vocals slipping from guttural growls to higher, tenor-esque despair. There is an edge of menace.

Heart-aching, heart breaking, we step into the dirge that is "Lacrimosa (I am blind with weeping)". Lacrimosa is a beautiful word, would make a lovely Goth name. The harmonies of voice and string replicate the grief that falls upon one's heart, making it leaden with misery. Choirs rise in an anthem to despair.

Finally, it is time to "Rest Eternal" with a song reminscient of the earlier one - slow, heart-wrenching, lade with bittersweet melancholia. Atmospheric, emotive. Haunting.

Beautiful.

This is an album laden with layers and beauty. Unrepentingly sorrow-filled, but never gloomy or depressing, just a symphony of sadness, a requiem. The combination of orchestra and choral vocals, interspersed with the occasional more traditional heavy metal instruments and death metal vocals all combine to create an anthemic, sublime and magnificantly dark and haunting album.

I shall rate it 9/10.

I wish I could get my mitts on ""Pianissimo"... Why not release it already!

* From the source of all knowlege - wikipedia

To-Mera - Transcendental (2006)

There is a funny story relating to this album, which I have already told in this blog - essentially I purchased it in some time between 2007-2011 and clearly never took it out of the case, because when I went to listen to it, for what was obviously the first time, I found the box empty. Anyhow, you will be happy to know that not only have I now acquired a copy of the entire album, I did so both legally and without it costing me any further money. All it took was Freegal and three weeks.

Freegal, for those of you who have not heard of it, is a Sony-backed musical provider that acts through local libraries allowing the patrons to download up to three tracks a week forever. Through it I have tracked down songs by Dragonforce, Slough Feg, Judas Priest and Helloween. And, of course, To-Mera.

To-Mera hail from the United Kingdom and wikipedia describes them as:

The band plays a technical style of metal characterized by long songs, multiple time changes and jazz interludes.

We have Julie Kiss on vocals, which will, of course, mean that I will likely be drawing comparisons to other female-lead bands of the era. Julie Kiss is of Hungarian origin, and sometimes you can hear the slight hint of an accent to her vocals.

This edition is a slipcase, unfortunately now with a damaged sleeve, thanks to the blasted stickers applied by the music store I purchased it through (now defunct). Inside, a CD case slides out, with the cover being a rather artistic, somewhat gloomy, multi-shaded panel of a lone orange flower in a feathery plain, with pyrmaidic mountains and a denuded tree in the background, all in various shades of orange/red/brown. The same cover is repeated in a booklet format inside the plastic case. On the pages within are the lyrics and the band photo, all printed over more of these moody, forboding, lonesome images. It looks almost post-apocalyptic, like a land lost to the reds and browns of true and overwhelming gloom.

The album opens with "Traces" begins with a haunting, tribal feel - chanting voices, fluttering guitar - then in crashes the bass like a great, slow dirge of ominous loominosity and haunting melancholia. Like the soundtrack to a feeling of loss and abandonment, with a touch of piano.

With fuzzy, indistinctiveness, it is "Blood". Solid bassline, piano and surging, soaring vocals with crystalline clarity. The chorus is rolling and powerful, rolling into the dramatic. The heavy backing music, with its slow, low and heavy qualities is more reminiscent of modern metal, interspersed with the twiddly keyboards of progressive metallic electronica. All interweaves into a powerful force of nature. Once again, we fade out with piano.

Heavy, surging rhythms and whispered vocals herald the immensity of  "Dreadful Angel". The pacing is erratic - at times slow and dreamy, others rapid and rabid. Julie's voice switches effortlessly from desperate cries to determination and then dropping down into sorrowful melancholia. The music, too, switches with the narrative - heavy and aggressive, slow and haunting. Surging in with the drama. Looming with thread and flurrying into a hectic, frantic maelstrom of drums, keyboards and warring guitars before being jaggedly ripped away and thrust into what could possibly be the afore-mentioned jazz interludes. There is even a touch of grindcore.

This dramatic, eclectic, erratic switches to pacing and pitch reminds me somewhat of the Diablo Swing Orchestra. Except that To-Mera aren't quite as awesome.

After that, we start into the looming darkness of "Phantoms". There is a hint of desolation, loss and confusion here, whilst the backing music looms with symphonic shadows and rips us away with jagged rifts. One cannot help but think about nightmares coming to life, and creatures stalking through dark corridors with blades for hands and a taste for blood:

"A thousand dreams march through the night, a thousand dreams destroy my life..."

Another slow, jazz-inclined interlude offers respite from the frantic fury. Julie's voice swoons sweet and laden with innocence. Before it is overwhelmed, steam-rollered by a mighty, spiky wheel of heavy bass, pounding drums and then its back to the jazz, intermingled with a cornucopia of keyboards.

After that furious conclusion, it is time for another gentle respite - but for how long? "Born of Ashes" starts with Julie and a guitar, soft and lilting, with a hint of folk. Beautifully emotional, haunting and golden. Dramatic and symphonic, the spirits rise in operatic, cinematic glory.

A piano flurry leads us into the haunting, ghostly shadows of "Parfum", a song that begins as sweet as its name.Quickly though, the steamroller of power rumbles in and the drums decimate all with their almighty wall of sound, backed by the raging guitars. Then fade out, and the keyboards come a-twiddling in. It ends with another rampaging rift.

Fading beauty, flitting like butterflies drifting in the starlight, "Obscure Oblivion" is as beautiful and evanescent as its name. Piano and vocals dance together in a melody of sunlight before the drama swells. Then falls back into those jazzy rhythms. Very nifty stylisation with a hint of Dream Theater.

We conclude with the longest track on the album, the haunting "Realm of Dreams" which, once again, starts gentle then is engulfed by power.The lyrics are dreamy and beautiful, the vocals spectral, delicate, with a hint of carnival music.

"The night sky descends onto the mind, leaving the capricious dusk behind..."

More erratic pacing: dramatic shifts and long, slow, soft passages. A hint of folk. Then more drama and, finally, static surges in, demolishing all in its path. Either that or I've just blown my speakers.


Erratic, dramatic; rampaging progressive metal - To-Mera certainly score points for their sophistication and their stylisation. Listening to the album in one go proves to be somewhat exhausting, however, with the dramatic tempo shifts. Not exactly easy listening! And not good background music. However, skillful, eclectic and pretty jolly good.

I'll rate this 7.5/10

Sonata Arctica - Silence (2001)

For too long this blog has suffered in silence - and why? Because I discovered QI, the BBC show that is Quite Interesting. Thus the last two months have been spent either watching episodes of that and making art, or writing my stories.

But now I have watched almost all of it, and must savour the last few episodes, and it is back into the music blog.

This time we have the splendiforously titled "Sonata Arctica" from Finland. Formed in 1995 and still active today, this album is their second full length affair.

The cover is quite beautiful, a split shot of day and night, with a similar scene mirrored in each. A dark shadow of a figure, in one bearing a spear, the other a lantern, stands beside a lake, with pine trees about him and grassy foothills becoming snowladen mountains.

We being with the hauntingly, poetical "Silence":

 "It truly makes the most beautiful music, everything it has to give..."

Piano, an archaic, slightly decrepit voice speaking in sightly menacing, slow tones.

Then its time to take off as the disc spins into a fury and blasts into "Weballergy". Triumphant rhythms swell with glory and victory. Tony Kakko's vocals are high and almost obnoxiously cheerful and the drums move along at a trebly tempo. Plenty of keyboards layered upon drums and rhythm guitars soaring like rainbow unicorns with fairy wings.

Light and lilting, ethereal harpischord like a ladybird's wings, before we surge into the glorious, the over hyper-cheerful of "False News Travel Far". There's a nicely fluttery bit in the middle, before the heavier bass reminds me of a bygone era and is swallowed by the dragon of fast guitars and trebly-laden keyboards.

Telephones? Not vey medieaval. Suspicious caller... "you almost got away from me, didn't you...." Now we are in to one of my favoured pieces, the slow "End of the Chapter" in which we aspire to power ballad, with more modern setting, lovelorn messages and aggressive chorus. Alas, Kakko still sounds happy.
Even with lyrics like : "I have never wished you dead ... yet..."
Oooh, almost synth-pop, so many keyboards, I feel like I've been transported back to the 80s.
They should totally cover Ultravox.
He's stalking her too, sneaking into her house at night, stealing her jewellery.
Sounds less happy now, bit dangerous.

Faster, furious - "Black Sheep" is another fast and cheerful piece. I wonder if they're trying to be Stratovarius, but are a little too high on the treble side - like Skylark.
What's with all these bands starting with "S"?
Chorus is wonderfully catchy, followed by a waterfall of keyboards.

Another haunting opening, and then into the faster and more menacing "Land of the Free". Aggressive, frantic.

Then we fade back into something slower and actually romantic. "Last Drop Falls" is a song of love and longing, but mainly realising that the one he loved was rather less than ideal.

Back to the fountaining keyboards. A glorious firework display of sound. This is "Sans Sebastian". Rther lovely keyboard solo, with the guitars charging in to stage a full frontal attack.

"Sing in Silence" is another slower piece, with dewdrop sprinkling like shattered crystals, or maybe delicate keys.

"Fragile as a rose in the snow..."

It has a fragile, delicate beauty.

A snowstorm of crystal rose petals, sharp and deadly is "Revontulet".

More keyboard/piano leads us into yet another power ballad - this one is to "Tallulah". There's a hint of melancholy in Kakko's chipper tones, slower and slightly haunted. Another song of losing love.

Back into the aggressive and full frontal guitar assault (no keyboards, no wait, there they are). "Wolf and Raven" captures the racing wolf as it rampages through the snow, the raven soaring above it.

Slow again for "The Power of One" which starts with rain and music as grey and forlorn as the implied weather. This is the epic track of the album, and starts with some nicely slow and dream-like, longing vocals.

Overall, this album is something of a chore to listen to from beginning to end. It does have a nice blend of the heavier intermingled with the light, but the cheerful vocals start to grate on the eardrums after a while. There is no question that they are skilful musicians, displaying a distinct flare for the dramatic, but I think they need a little more vocal variation.

I rate this 6.5/10

Rhapsody - Dawn of Victory (2000)

This is a truly handsome set, and one of the only Collector's Editions in my collection. I cannot remember how much I pauid for it, but it is only worth around $70 now anyhow, so not exactly hidden treasure. Anyhow - there's no changing the fact that it is jolly fine packaging. Alas, the sleeves for the two discs are flimsy and card, so they live in a separate place from the 65 page hardback book.

The book starts with an introduction from a wizard called Aresius of Elgard. Ancient (but not too much, eh) wizard of the enchanted lands. But before we get into the plot, we are treated to a double page spread of the band, in full Rhapsody glory, mediaeval tunics, a throne and swords. Very, very D&D.

After that, we are into the plot, which follows on from the previous album/s. This is the third chapter in the Enchanted Lands trilogy.

First chapter = hellish evil army, lead by "Black King".
Second chapter = Heroic "Warrior of Ice" finds and wields the magical "Emerald Sword".
Oooh, a map!

I smell cheese - loads and loads of juicy cheese. Let's highlight the tropes in the plot:
- Black King with evil army
- valiant hero
 - Lands of Chaos
- Ivory Gates that can only be found by three keys (of wisdom)
- Magic sword (can only be wielded by one whose heart is true.
 Also, for some reason, lots of characters starting with "A".

Now, onto the third chapter. The valiant warrior has his magic sword and an army and is about to face off against the Dark Lord Black King.
And rape.... why oh why do these things always involve rape?  Followed soon after by death. But in her case her death saved the rest of them. Let's stop reading and let the music speak for itself!

"At the Court of King Chaos only blood can write its own tragedy...." begins "Lux Triumphans", with choirs, symphonic structures and an epic build up into the "Dawn of Victory". Surging guitars, like horses thundering across the plains. Charging the enemy. Triumphant melodies. Vocals mid-tenor, soaring with passionate power. You can see the hero riding forth on his massive steed, sword raised and hair blowing in the wind, like something out of a cheesy romance novel. Heavy on the pompesity.

Lots of keyboards, maybe even a harpischord, builds an indestructible wall of epic sound. I"m going to use the word "epic" as much as possible! Vocals smoother, as the Warrior celebrates "The triumph for my Magic Steel" (I kid you not). He parades across his Enchanted Lands, his army following, the enemies heads speared on their pikes. The next target is in his eyes, and his army ride to further victory (hopefully).

Gentler now, it's time for a little romance, and a homecoming, as we find our way to the "Village of the Dwarves". Keyboards mimic bagpipe rhythms, nifty! Vocals decidedly more folksy, with penny whistle accompaniment. Lovely, lilting reel of a rhythm. A charming blend of folk whimsy and modern instrumentations.

Time for the next battle this time in "Dargar, Shadowland of the Black Mountain". It begins with a thunderous roar of instrumentations and a cry of victory? Defiance? Dargor has been twisted into a disciple if evil. Cascading chorus, like a stampede across the lands; leaping, slashing, fending off the enemy.

Starting soft and slow, "The Bloody Rage of Titans" celebrates the beauty of the Enchanted Lands - where unicorns once roamed.  After a gentle and soothing intro, it surges into a dramatic and bloody war, vocals tinged with loss and a hint of despearation.

Another dramatic and pompous flourish as we rip roar and rage like a "Holy Thunderforce". Chaotic and violent. Vocals harsh-edged, cutting vicious as a sword. This is a battle hymn anthem. Dramatic harpsichord.

"So we'll fight against the wind for the glory of the kings to defeat the evil enemies..."

Creepy children's choir lead us down into the instrumental "Trolls in the Dark". A surging maelstorm of darkness and treacherous shadows, blood running in the night. Pounding rhythms. Choirs. Guitars ripping up a tornado. Dramatic and dangerous.

Harpischords again as, triumphant now, the horse rises into the sky, flying! Not only has it developed wings, but it is also the "Last Winged Unicorn". Oooh, an alicorn. And flying unicorns breathe innocence. Dragons, eat your heart out, this unicorn will breathe innocence at you. Okay, sarcasm aside, it's a powerful song, rising in triumphance and victory with harpsichord intermingling with guitars and choirs rising and falling, the tempo filled with great flourish and an epic cascard of sound and celebration. It is easy to imagine the great and fearsom last winged unicorn rising from the holy sea of golden flames and racing across the skies.
Is it a phoenix? Mythologies all getting entwined and confused!

Time for celebration, as "The Mighty Ride of the Firelord". I assume that this is the Warrior of the Ice riding on his fiery winged unicorn/phoenix. The symphony builds and builds in scale and power, surging with mighty and an epic wall of sound. Flutes flicker across, like dancing dragonflies, harpsichords shimmer and the vocals soar above it all like a wicked edged sword. Choirs rise like flickering flames. Rhapsody are a very easy band to get metaphorical about.
And it just keeps on going.
For nearly 10 minutes.

There is one word to describe Rhapsody. Epic.
And another. Pretentious.
But despite that, they do what they do with extreme skill and ability and they have totally taken the "epic symphonic power metal" genre and made it their own. So what if their lyrics reek of double cheese pizza with extra cheese on top? Isn't that true of every power metal band? Rhapsody are the Manowar of the modern metal scene - bringing a deliberate level of pompesity and a wall of dramatic and powerful sound. All the rest (Skylark, Olympos Mons, Faeryland etc) fall beneath the hooves of their mighty phoenix-alicorn and get burned to ashes in their wake.

It's strange how keyboards, entirely electronic sound, can succesfully capture a mediaeval vibe.

Rating = 9/10

PS: The rest of the book is suitably impressive. In fact, the very next pages give a breakdown of what the band are trying to achieve with the sounds - which would have been good for me to refer to whilst writing this dissection. *sighs* Then there is some interviews with the band members.
Oooh, they use "bombastic" - I forgot to use that adjective!

Also, I think I am getting violins confused with harpischords, there's apparently lots of violins on the first two full tracks, but I can't *quite* seem to hear it.

Bonus enhanced CD has video clips and variations on the songs we've heard, along with pretty graphics and a screensaver.

Queensryche - Empire (1990)

This is Seattle band Queensryche's fourth album, and this is the album that brought them to the mainstream. Mainly because of one song - you probably know it. But we'll get there in a minute. First off - the packaging.

 Here we have the tri-ryche again, this time in pixelated glory, it soars over the word "Empire" designed like a tower. In terms of graphic design, it is very basic and kinda rubbishy. They could have done better. Let's hope the music makes up for it!

The album opens with the melodic progressive chords of "Best I Can". A radio-friendly song with decent rhythm and the occasional triumphant soaring of keyboards. A little anaemic, however, sanitised and sterile.

We blast into "The Thin Line" in which Geoff Tate starts with his lower, (slightly) deeper vocals. Low tenor, perchance? Some nice guitar interludes and a gentle bridge into the rockier chorus.

A distant shadow of "Revolution: Calling" - "Jet City Woman" starts with similar chords, but fades into a somewhat bland, exsanguinated number. Entirely too accessible and rather lacking in passion.

"Della Brown" is another gentle number. The vocals are quite nice, soothing, good rhythm.

Finally, something with a bit of spirit to it. "Another Rainy Night", the second single, starts with a more dramatic flourish. The vocals have a little more emotion, touched with pain and building to a powerful chorus. Bittersweet lyrics:

"...Strange how laughing looks like crying with no sound..."

 Starting with an answerphone message, we have "Empire", one of the strongest and more energetic tracks on the album. Lyrics are political, and more in the "Operation Mindcrime" league. It builds strong, has nicely echoey chorus, and Tate has a bitter knife-edge to his vocals.

"Resistance" is also pleasingly powerful, building to a strong chorus and again installs memories of OMC. Tate sounds rather more passionate when singing politics rather than love.

The glorious lullaby, "Silent Lucidity" remains the 'ryche's most well known - and probably their best - track. Ever. The use of orchaestral elements gives it majesty and power, and Tate's lower tenor is deeply soothing, slightly sexy and laden with emotion. This track, alone, deserves 10/10. The whispered "help me" sends a shiver down my spine.

"Hand on Heart" tries to be a powerful piece, but "Silent" is a hard act to follow. Tate's voice is smooth and flowing, like a creamy hot chocolate. Some passion, still a bit commercial, however.

Another somewhat sterile, but still appealing piece "One and Only".

The mournful "Anybody Listening?" seems a desperate, anguished plea for someone, anyone, to listen, to realise. The music is strong, thick, laden with guilt and social conscience. Tate's voice tempered with dedicaation and desperation. Deliciously low, thick, melancholic. A fine conclusion.

Something of a santised, polished and radio friendly album from Queensryche. It does contain the one song that made their names known - and is pretty much the only Queensryche song I've ever heard on the radio, outside of specialised "metal" shows (when I used to request a different track from them every 2-3 weeks). The album starts weak, builds to its climax, peaking at "Silent Lucidity", although the songs that follow are still more spirited than the opening. The first four almost had me giving this a lousy 5/10, but I now feel more comfortable lifting it to a 7/10.

Paradise Lost - One Second (1997)

Like Lake of Tears, Paradise Lost are a band that have evolved with the ages. They began with "Lost Paradise", "Gothic" and "Shades of God" which were pure Doom/Death, and then slowly introduced more melodic, baritone vocals (sung, instead of grunting and growling) and a decidedly more Depeche Mode/80s Gothic influence. This was even more pronounced on the follow-up to this album "Host".

I thought I might listening to one of those songs - from "Host", and I'll have to say - this album is better! (And who let the 80s encroach on the late 90s?), comparing "Permanent Solution" with the glory that is "Forever Failure" just makes me shudder at what they became. Now, however, they seem to have transformed again, this time into a more aggressive vocal style, with the doom influences returning.

Anyhow, I'm not sure if this is going to rate higher or lower than the astonishing "Draconian Times" ("Icon" I still haven't managed to listen through all of, let alone review/dissect). So, let us see how it goes.

Cover is an old, wrinkled man (?) in close up, showing the fine carvings of age upon his skin. Booklet features black and white photos, all slightly eerie in concept, with the lyrics featuring on coloured pages opposite. Vocalist Nick Holmes has cut off his golden tresses.

 Keyboard harmonies lead us into the gothic title track, "One Second". Holmes' wonderfully deep voice is as powerful as previous, but here is allowed a bit more melody.

It's been a few years since I last heard "Say Just Words" - a track we managed to smuggle onto party playlists on more than a few occasions, yet I find I can still sing every word of it. The instrumentations are pure, echoing, late 90s gothica. It has power - na da good beat to dance to.

"Lydia" gets off to a sombre, there's an electronica feel here - and in the entire album - that makes you feel the poor keyboardists should be credited as actual band members, and not just lower in the acknowledgements. Holmes lifts up an octave (or pitch, or whatever you call it) to a more melancholic edge, before dropping down for the chorus. There's some samples too. I guess they were popular at the time.

Remembering their doom roots, we slip into "Mercy", which quickly shifts into a sort of downtrodden synthpop. The keyboards, synthesizers and sounds are there, but slowed down and heavy on the gloom, reminiscent of the goth sound, but cleaner and better polished.

"it's mercy you're asking for... take my life or give me more..."

 Faster, more energetic and more 80s, "Soul Courageous" gets off to a rocking start. Complete with catchy chorus.

"Another Day" draws us away even further from the metal and into a slow, languid summer day, starting with keyboard-esque piano and slow synthpop rhythms. The opening verse is decidedly pop-rock, dropping down into more aggressive and slightly urgent vocals, albeit not picking up the pace.

Organs and synthesizers add an eerie and ominous vibe, falling into a faster, almost dance-pop rhythm, before it is steamrolled by the heavy instrumentations of "The Sufferer". Dropping again, into ominous, whispered chorus.

"A time when I'm all alone and I'm breathing afraid, cause all my pride is gone..."

 I think there might be a bit of the Nu-metal sound here too, but I kinda missed that genre out (thankfully) so cannot say for sure.

Even slower, gentler, is "This Cold Life". Vocals stand all but alone, cold and isolated, supported only by low beats, with the occasional explosion of sound. An isolated, lonely piece. And more synthpop.

"Blood of Another" is repetitive and somewhat sterile, polished. It's got a decent rhythm, and good pace, but ultimately the lyrics consist of:

"You see the blood, the blood of another, you see the blood as we roll in it together..."

There's a few verses, but ultimately this line is repeated numerous times. Sounds unhygenic.

"Disappear" is another maudlin, doom-orientated piece. The lyrics are along the lines of "forever failure" and would suit better with heavier, more aching musical backing rather than the somewhat tacky synth accompaniment and what could well be a drum machine. Nice low vocals, however.

At last, the guitarists get chosen over the keyboards, as we roll into "Sane", the initial instrumentation fades to vocals and drums and an eerie, echoey keyboards.

Another slower number, "Take Me Down" starts with some very gothic keyboards, rather reminiscent of the Sisters of Mercy. Vocals are ominous, low, like whispers in the darkness. Creating a spidery, shadowy atmosphere, filled with predatory menace. It's a strong way to conclude the album, despite the overload of unecessary samples. Somewhat haunting.

Overall, this isn't a bad album, just a tad sterile and dull. Synthpop has been described as anemic and soulless, and whilst this is not precisely synthpop, it does seem to rather lack in passion. The original songs are strong, but by the time you're halfway through the album, you are starting to wonder why you bothered. Also, given the high emphasis on vocals and keyboards, one rather wonders if the rest of the band are feeling a little left out. It feels a little like they're trying to go mainstream, and not quite suceeding. I do like the first two tracks and the last one, however.

Rating = 6/10

Ozzy Osbourne - Down to Earth (2001)

Everyone knows Ozzy Osbourne - or thinks they do. He is a musician that truly needs no introduction. This is his 8th solo studio album. The cover features a three faced figure (two of which are skulls), standing before a cross with arms raised. Inside there are numerous photos of Ozzy divided up into 9-square grids, dominating one half of the concertina fold cover, on the back of which are the lyrics. No wait, no lyrics, just a list of song titles and more pictures of Ozzy. I almost wonder if there's supposed to be some sort of interactive or 3d element to the images which seem to show Ozzy morphing into the 3-faced fellow, but it's all a bit deep and meaningful for my humble little brain. It IS an "enhanced" cd, which means there's an interview on it, but no actual music videos or anything really exciting and interesting.

We open with the self-exploration of "Gets Me Through" - slow piano and dancing flute before the bass and drums surge in, and Ozzy's vocals rasp out melodiously*:

"I'm not the sort of person you think I am - I'm not the anti-christ or the iron man..."

Chugging along at a regular pace, Ozzy sounds almost like he's trying to convince the listener that there ain't nothing that special about him and that he wants to be left alone.
Well, I doubt that is the truth, Mr Osbourne.

Keyboards rising, into the crash of the guitars as we chug into "Facing Hell". Again, the vocals seem a little pained, Ozzy's razor edge seems to be getting more pronounced as he's getting older.

Piano-laden melancholy, and we are into "Dreamer", in which Ozzy's vocals seem a little smoother, a little sweeter. One of the more radio-friendly tracks and undeniably beautiful.

Something a little more energetic now - "No Easy Way Out" in which Ozzy is pretty-much shouting the lyrics. The music is a raucous affair, moving into a smoother chorus, thick and slightly sludgy.

 "That I Never Had" is another perfectly acceptable, but not particularly inspiring rock song. The guitar solo is pretty good though - I believe Zakk Wyld had returned for this album.

Another Ballad in "You Know" - a very short piece indeed.

"Junkie" has a bitter edge to it, not surprisingly (also contains the "Explicit content" warned by the cover). The music is churning, angry, flavoured with tension. A personal song, revealing Ozzy's own struggles with drugs and alcohol:

"...A bird with one wing who's trying to fly..."

Another melancholically wrenching piece "Running Out of Time". I guess Ozzy is starting to understand that he isn't getting any younger.

"Just another broken hero..."

"Black Illusion" surges in with dark and sludgy force.

More melancholy in "Alive":

"What keeps me alive is dreams..."

Sounds like we're getting back into the introspection here, Ozzy. Not even sure if this counts as singing for the most part, he's almost just speaking the lines.

Dramatic start to "Can You Hear Them?" Chugging, clapping rhythms, swelling in force. Vocals the typical Ozzy, double-recorded**, giving it that slightly echoey quality.

As Ozzy gets older, his songs have become more mature, more depressing and more personal. This is darker than my previously reviewed "Ozzmosis" (which felt more introspective). The songs seem heavily laden with shadows and darkness, and even the sweeter, ballad numbers have a bittersweet edge to them. His vocals have worn a little, become harsher with age and it all rather lacks the fun energy of Black Sabbath and earlier songs like "Bark at the Moon". Not remarkedly original or different. Kinda dull, really.

Let's go for 6/10.

* an oxymoron of an adjective+adverb? Well, not if you've listened to Ozzy.
** I'm guessing, but my musical knowledge in this manner is limited. So, feel free to deny this claim if you know better ^^