Alice Cooper - Welcome to my Nightmare (1975)

Alice Cooper was born Vincent Damon Furnier, but changed his name to Alice Cooper in the 1970s for legal reasons. His wikipedia page is filled with all sorts of fascinating facts. Here are a few random ones:

• Alice Cooper enjoys golf and plays almost every day, with a handicap of two.
• He hosts a radio show in Vegas, "Nights with Alice Cooper" (we were listening to it, whilst in the 'States and it was like "Wow, celebrities have day jobs too!").
• After recovering from alcoholism, Cooper went on to support other musicians suffering from addiction, including Dave Mustaine of Megadeth.
• His oldest daughter, Calico, appears in his stage show (I've seen it, it's pretty brutal)
• He pays an annual royalty to the original band members for using the name "Alice Cooper" commercially.

I saw Alice Cooper in concert at the epic, 2008 Rock to Wellington. In-a never-to-be-repeated-because-it-cost-more-than-they-made occasion I saw Ozzy, Cooper, Lordi, Poison, Whitesnake and Kiss all take the stage. Cooper was by far the highlight.

Anyhow, now let us go back in time to when I first heard Alice Cooper. It was "Hey Stoopid" and it was on television and I was blown away. From there I tracked down my "friends" with albums, and got my hands on several bootleg versions. This was one of them. Now, I am pleased to say, I legally own my cd copy!

Released in 1975, this was Cooper's first "solo" album. It got mixed reviews, but with its cabaret style structures, dark lyrics and an eclectic cornucopia of compisitions, which will make it all the more fun to dissect. It is a concept album, featuring the nightmares of a young boy called Steven and, I would suspect, his descent into madness. It is theatrical and entertaining.

The cover is indicative of this, with its soft, slate blue background bespectled with pastiline insects, and from a triangular cut-out in the centre rises Alice Cooper himself, resplendent with top hat and suit. It's pretty awesome, and strikes me as being more than a little tongue-in-cheek.

The album opens with "Welcome to my Nightmare"which starts with heavy, almost bluesy guitar chords, dripping with ominous brooding. The vocals are soft, yet eerie in their gentility, growing stronger and increasing in menace. The horns add an almost cabaret-vibe.

Gluggy, rolling rhythms reel us into "Devil's Food" with its echoing vocals. It quickly fades into the awesome Vincent Price and an arachnology lesson extoling the vicious virtues of the Black Widow with deliberate glee.

The creepy, meancing "Black Widow" brings more slow and heavy rhythms in an ode to this, the most venomous of spiders who will rise and dominate the human race. Piano adds to the theatrical style.

More piano, finger-clicking and very much a cabaret sing-along style to "Some Folks".

This leads into the controversial, beautiful and rather melancholic "Only Women Bleed". The gentle, twiddly guitars and Cooper's sorrow-laden vocals add to the atmosphere. This is not a song about menstruation, as was incorrectly assumed by several radio stations (who refused to play it) but rather about domestic violence. An uncomfortable topic, as relvant back in the 70s as it is still today.

We pick up the pace and liveliness for the anthemic "Department of Youth", with shadow of "School's Out" follows.

Then time for everyone's favourite song about necrophilia - "Cold Ethyl" is somewhat macabre yet funny and oh-so-wrong:

"One thing, no lie, Ethyl's frigid as Eskimo Pie..."

Discordant, jerking rhythms as we reach into the madness that is Steven's mind."Years Ago" is haunting and erratic, like the soundtrack to slowly crumbling sanity. Like a broken carnival.

Emotions afflict "Steven" with an overload in the similarly discordant, disconnected and broken track that bears his name.

"The Awakening" is a very creepy piece, short and sinister.

We conclude with "Escape" which seems more like an end-of-the-work-week celebration than anything dark and dire related to the previous tracks.

Overall, I like this cd, it is theatrical and interesting, filled with a variety of songs with varying rhythms - some that send a shiver down my spine and others to which I can sing along. It has menace mixed with playful fun.

I rate it 7/10.

Black Sabbath - Vol 4 (1972)

I'm feeling a little nostalgic now, so it is time to listen through some old favourites, some classic rock, some classic metal, and a few albums that will take me back to my teenage years.

And what better than Black Sabbath? Okay, so this album was released before I was born, remastered and re-released in 1996. You cannot really get any more classic than the Sabbath. One of the most influencial bands of all time, their tuned down guitars, heavy bass-lines, slow and ponderous rhythms, Ozzy's nasal high-sometimes-whine-something-wail of a voice... They inspired so many, and still tour to this day. Formed in 1968, with various line-up changes and several different vocalists, the iconic Black Sabbath is that of Ozzy Osbourne, Geezer Butler and Tony Iommi. They have sold over 70 million albums, worldwide.

And this is one of them. I am sorry I have not contributed more to their sales pool.

The cover is fairly stylistic of the era - black with white writing, Ozzy in golden-yellow silhouette, arms raised so that his fringed sleeves hang down. Not sure of his fashion sense, but who cares? He's Ozzy, he can wear what the f**k he likes! And it was the 70s, after all.

For some "fun" information about this album, there's lots of info on wikipedia:
http://en.wikipedia.org/wiki/Black_Sabbath,_Vol_4

The blues-fueled "Wheels of Confusion/The Straightener" opens the album, guitars churning into the distinctive steady and heavy Sabbath beating. Ozzy's melodious rasp is fresh and young.  The tempo is catchy, down-tuned, earthy in nature and there's something very primeaval and visceral about it.

"Long ago I wandered through my mind
In the land of fairy tales and stories
Lost in happiness I had no fears
Innocence and love was all I knew
Was it illusion? "

More sludge-laden, but suprisingly well produced (this being the re-release) opening chords of "Tomorrow's Dream". A song I've heard on the radio many times, but never really knew the name of. The slow, heavy rifts, the wailing vocals... Very Sabbath.

Now this is the track for which I bought this album. It begins with piano and Ozzy's voice plaintive, mourning the loss of not only his love - but the best friend that he ever had. "Changes" - one of the most sublime and beautiful, haunting pieces that I ever have heard. Strings complement the vocals and add an extra level of sorrow and loss. The lyrics are romantic and bittersweet:

"...but soon the world had its evil way, My heart was blinded, love went astray..."

This track makes use of the mellotron - the 70s equivalent of a synthesizer.

Eerie, echoey "FX" is instrumentation lost in a void, jumping from speaker to speaker, forlorn and abandoned. According to wikipedia (see link above), this track is essentially a joke.

Then we chug on in to "Supernaut". Heavy on the instrumentation, and the drummer (Bill Ward) gets full reign, switching out with the guitarists.

Now, the song "Snowblind" says a lot about what the band were going through at this time: rather large amounts of cocaine. This possibly explains why the album, whilst heavy, doesn't have any really complex and complicated guitars and is, for the most part, moderately straightforward. This song has some nice slower vocals crooning through the chorus.

"Cornucopia" sludges on through, with faster pacing to the verses and a smooth chorus. Competent instrumentation.

Bringing in a slower, golden-tinted edge reminiscent of the rise of the sun over still, calm oceanic water; "Laguna Sunrise" is a most pleasing instrumental, strings intersecting with the mix of lead and bass guitar. An orchestra was actually involved in the making of this piece.

"St Vitus Dance" has slow, jerky rhythms, bringing to mind a puppet tugged about on a string (or yes, the disorder). Ozzy's voice rises high and slightly echooey.

And here we witness the birth of doom metal, in "Under the Sun/Every Day Comes and Goes" with the slow, blues-heavy, almost dirge like, low and deep opening rhythms, which pick up the pace as the vocals jump in.

I've found it quite difficult to do a track-by-track dissection on this album, probably because the Sabbath sound is so instrinsically a core element of metal: the sludgy down-tuning; the high, slightly raw edged vocals; the slow, almost dirge-like drumming. If you're reading this blog, you've probably heard every track of this album.

It's worth a good, solid 7/10

Atrox - Orgasm (2003)

Now we are back to the beginning of the alphabet and it is time to unveil another cd that was gifted me by my brother. This is, quite possibly, the first time I have ever listened, really listened, to this album - which I have owned for quite some time!

Norwegian band Atrox are classified as "Avante-garde". This is defined as "innovative and experiemental" - in other words, a wee bit weird. They formed in 1988, using the name Suffocation, but changed that when they realised there were other bands with the same name.  In the beginning they were death metal, but by this album (their 4th) they had inserted enough other interesting elements to give them the above classification.

Now, how to describe the album? Well, it is a cardboard digipack, with booklet inserted into a pocket. The cover is a darkly surreal piece of art painted by the vocalist herself, Monika Edvardsen. Somewhat Bosch-esque, it depicts numerous deformed and distorted characters assembled in rows and staring at the viewer - some are cute, others downright creepy - a round-headed, three-eyed pyjama clad child clutches a red toy rabbit; teo horse-headed men bear a pole, from which hangs two pairs of legs, connected at the waist; little imps and goblins cavort in surreal and grotesque glory. It is all rather beautiful. On the back of the case are depicted various caricatures of the band - Afrox, Hatrox, Ratrox, Flatrox, Batrox, Fatrox, whilst a little lizard in spectacles points out his favourite. Crazy, crazy stuff! Inside the booklet, the lyrics are printed in a scrawled font only slightly darker than the background, making them downright undecipherable.

We rage into the steam-rolling, heavy dealing that is "Methods of Survival" with its loud, determined bass and husky, knife-edged vocals, which soar into a softer swoop for the chorus.  Their sound has been described as similar to Meshuggah, a band that I am not familar with. About halfway through it shifts from the immense thunderous wall of power into something distinctly progressive in sound, with screeching vocals and a rhythm that reminds me rather of Ritual, but with a distinctly heavier backing.

"Flesh City" starts similarly heavy, with repetitive thrash and female and male vocals twisting and twining around each other. The rhythms jerk and tug, the drum and bass fading so the guitar can take over, then charging back in. Faster, faster. Then suddenly, almost a jazz-vibe as Monika's husky vocals come in. Chugging, charging rhythms, distortion. The illustration accompanying the lyrics to this piece are frankly somewhat disturbing - although I do like the witch-pig-on-a-broomstick (wearing a gas mask).

Twiddly rhythms, over hand-clap drumming and Monika's low vocals usher on a "Heartquake" which contains lyrics about "little death". I'm not really much good at any genre excepting metal, but I suspect this may have some lounge/jazz sound to it. Or potentially cabaret. I can almost imagine her lying on a piano, kicking her feet in the air and tracing shapes in the air with a feather or some other sort of long and slender device.

"How long to experience a heartquake, but oh so afraid it will end with a heartbreak..."

We are whipped and whirled into the maelstrom of "Burning Bridges", the lyrics of which (for some reason) feature first in the booklet. Raw-edged, filled with tension and drama. Slower, gentler moments interplay with the aggressive; tidy guitar rhythms intercepting the raucous. Then into tiddly, organic rhythms of creeping deceit and lurking imps in the shadows, laughing. Theatrical. A swarm of hornets.

Dramatic, slow; "This Vigil" brings with it an air of the uncanny. Chugging rhythms, interspersed with the croon of the synthesizers (or the moog?) which add an otherworldly, demented air to the wailing vocals. Dirge like bass-line, banshee howls.

Sampling and a springy rhythm usher us into "Tentacles". Organic-sounding guitars, dropping into heavier depths and soaring with the spectral voice of the synthesizer. Tangled and demented. Grabbing, twisting turmoil. Disconcerting, disjointed, sampling and a faintly eerie sense.

"Second Hand Traumas" begins with a more mainstream approach, fast, competent guitar fingering and a mighty bass-line. Vocals with a hint of the shrill. Then more into the complicated, switching tempo and chaotica controlled.

Solid, determined, "Pre-Sense" sets Monika's voice rising into a shrill determination above a more classically metal sound. Going into twiddliness, finding a pattern, then abruptly stopping, jerking rhythms, disconcerting. She really does reach some surprising pitches. Towards the end we draw to a conclusion. Or not. Stop... start... stop... pause... start. The eerie and disjointed nature is messing with me, and I'm not sure I can listen to it through to its eventual conclusion.

Like Swedish band Ritual, there is something about the abrupt jerkiness of the rhythms and the switching tempos that makes me feel ever-so-slightly queasy, like it is messing a little with my inner ear equilibrium.

Strange and beautiful, like the art, the playful with a darker edge, demented and quirky. I can see why my brother decided to give me this. It comes to me in tones of sepia, with shadows and darting light and little creatures that lurk in the shadows and reach out to pluck at your senses with spider-like fingers.

Yes, definitely "Avantgarde" is the best definition.

Rating = 7.5/10

White Lion - The Best of (1992)

Before the rather aesthitically appealing Mike Tramp joined Freak of Nature, he was in a glam-rock band called White Lion. Like many rock bands of the 80s their lyrics focused on the good things in life - sex, parties and rock and roll, with the occasional bit of political commentary thrown in. White Lion originated in Copenhagen, Denmark, when Danish-born Mike Tramp teamed up with American-born Vito Bratta. They had reasonable success - mainly with the songs on this album which is, of course, going to showcase the best of their music. Less of the sex, more of love and rock & roll! (And, of course, the social and political commentary). They are noted for their dyed-blond poodle haircuts, pretty boy eye shadow and the delightful fashions of the 80s (leather jackets, fringed jackets, tight jeans, lether pants etc) . Watching the videos is a little like stepping back in time!

It's a best of album, so it's not the most exciting of sleeves - a lion head, inked in exquisite detail, above wings, beneath the band logo, looking rather like an elaborate door knocker. Inside there's not much of anything - just a track listing and a photograph of ephemera, which includes a rather cute white lion plush.
The album opens with "Wait". Taken from their 1987 album "Pride" (which I own on cassette tape), this track peaked at #8 on the charts in the USA. It is a sweet love song, with Tramp's melodious, but raw-edged vocals adding a hint of pleading.

It's so dated, it sparks something in me, that gentle hint of nostalgia - the memory of long car journeys plugged in to my walkman; of lying in the grass during my lunchbreaks, lost in a world of music; of day-dreaming that one day I might find a poodle-haired musician of my own to make my world a brighter place...

Then we rock on in to the cruisy "Radar Love". This is a cover song, originally performed by Dutch band, Golden Earring. It's rockin' good fun with a bitchin'ly competent guitar solo. A great driving song, play it loud in the car!

More relationship angst, it's time to mourn a "Broken Heart" - starts with heartbreaking loss, then moves into a determination to move on and find something new:

"...I know that things will get better, I know the sun will shine again..."

This would be a good song for a teenage girl suffering her first break-up. Was I such a girl? No, in my teenage/High School years I never dated.

Let's have some real glam - "Hungry" is a song about carnal desires. Filled with all the typical glam-rock metaphors such as "loaded gun". It's fun, frivolous and contains such delightful lines as:

"...baby take off your leather and show me all your lace..."

After that nod to the glam-rock conventions, it's time to show their political side, with the melodious "Little Fighter" - a tribute to the Rainbow Warrior - the Greenpeace ship destroyed by the French Intelligence Service whilst at harbour in New Zealand in 1985, with one activist casualty.*  Filled with determination and passion - this is a love song to a ship, but a ship with a purpose and a mission. This is one song that cannot fail to inspire you.

"... rise again little fighter and let the world know the reason why..."

And now we have a rather impressive array of power and guitars merging into a symphonic intro into the glory and might of "Lights and Thunder". Heavier on the drums, sophisticated structures. Cruising vocals, a gentle and immense purr - like a lion would purr**.

This is followed up with the anthemic*** "All you Need is Rock and Roll". A competent, but repetitive number with skillful guitar solo and a twiddly bass line. Surprisingly long considering there's only about 5 lines to the entire song. But what a guitar fade-out! Very dramatic. Ah, we are back to the days of the long-haired guitar heroes. Not that Vito Bratta ever really made the "guitar hero" list.

Probably the track that made White Lion at least marginally famous, "When the Children Cry" is a gentle, bittersweet ballad beginning with gentle plucking and the taste of tears. Tramp's voice is at its most beautifully broken. It was true in the 80s - and it's even truer now:

"... all that we have broken, you must build again..."

This song never fails to choke me up a little inside.

Another lovesong laden with loss and longing - "Love Don't Come Easy" - nice rhythm, easy to sing along with, nothing special but very likeable. As a follow-up to "Children Cry" it's a bit anticlimactic however. Somewhat repetitive and rather along the line of 'state the obvious'.

Drum and baseline usher us into the cruising, maudlin chords of "Cry for Freedom", another politically slanted piece about the futility of war and the loss of life. Heart-renching with a superbly anthemic chorus. Here again, Tramp's choked, raw voice really adds to the mood. A glorious track.

Another live track, "Lady of the Valley" rips on into the rock and roll with a gloriously enthusiastic guitar riffs, before fading down into a slower beginner and then rising again in passion to crash into a mellow chorus. This is a song of mourning and loss. The lyrics give it a slightly fantastical, maybe almost primeval/pagan air, which makes you wonder who the lady of the valley actually is:

"I have brought my fallen brother and I've laid him, yes I've laid him at your feet..."

"Tell Me" is another song of love lost - teenage love that has turned to ashes. A bittersweet ballad of farewell.

And then the final song of farewell - "Farewell to You" which is a pleasingly mellow, catchy song that works well for any occasion - the last song for a party; a goodbye to your reckless, rock and roll years and also a pleasing way to conclude an album. White Lion, you will always have a place in my heart - rock may come and rock may go.

"It was easier to say hello, than to say goodbye..."

This is probably one of the best choices of White Lion albums for those that are not huge fans - the songs are light on the sexual connotations and lyrics have more substance, with a sense of hope and purity that is somewhat lost in the more cynically-fueled Freak of Nature. Here is a band that is young, and feeling optomistic about the future, despite the pain and suffering caused in the presence. Alas, by the time they had evolved and grown into FoN the pure naivety had been lost in favour of a darker slant and realisation that things were not going to get better, that hope would not necessarily lead to triumph.

This is an album that proves that despite the poodle-hair, the eyeliner, the tight pants, White Lion were (are?) a band with sustance, and beliefs that went far beyond sex, drugs and rock n roll.

Some of these songs bring a tear to my eye, others are mere frivolities. I feel an 8/10 is a fair assessment.

Some of my favourite White Lion songs that don't (for some reason) qualify as "Best of" are "Broken Home" and "'Til Death Do Us Part". I suggest you look them up. The first is heart-breaking, the second beautifully romantic.

* I was only 8 at the time and have vague memories of the event but I guess it wasn't of too much interest  to an 8 year old girl into My Little Pony, Sylvanian Families and collecting erasers, stamps and dinosaurs.

 ** if they could, but lions can't purr.

*** that is to say - stadium rock anthemic - the sort that gets everyone jumping up and down and shouting along. Like Kiss' "God gave rock and roll to you" but not as good.

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