Twisted Tower Dire - Crest of the Martyrs (2003)

Funny story time... For T, I was debating whether to listen to this album or To-Mera's "Transcendental" and thus I pulled both off the shelf to give 'em a spin and see what I felt like listening to. To-mera was very dusty, and the sticky label on the slipcase particularly resilient to removal, and when I slipped out the plastic box and opened it. It was empty. No cd. Surely I've listened to this at least once, I pondered, and opened every cd drive in the house, including that of my old computer, of which the HD and box sits beside my desk. All empty. So, either I've managed to misplace the disc or I have never, ever opened this cd box and never received it. On the plus side - my brother may have a copy or I could buy it on itunes for $14.32.  Just debating whether it's worth it. The music store I bought it from - Real Groovy, have all closed their doors now, but I emailed the guy's new store, on the off-chance that the disc is lying around in the "lost boxes" pile somewhere. Not gonna hold my breath though!

Thus Twisted Tower Dire "win" this round!

TTD are an American power metal band from Virginia. They formed in 1995 and don't appear to have much else of note about them - or a wikipedia page (and wikimetal is broken).

It is a highly attractive album. Another digipack. The cover shows a graveyard on fire - the orange and the indigo a pleasant contrast. The flames form a hoard of tiny figures, carrying amongst them crucifixes from which their victims hang. The Grim Reaper rises in the darkling sky whilst lightning crackles around him. The gravestone contains the legend "The Disciple's Hate is darker than the martyrs". This cover is replicated inside on the booklet. The cd is also highly attractive, ringed in runic symbols and branded on the flipside with a ring announcing the band's name and their album title.

The album blasts into "At Night" with its old school metal rhythms and structures - reminiscent of Dio and with a hint of Warlord, even sounding slightly sludgy with that garage sound.

Somewhat more slamming, it's time for "Some Other Time, Some Other Place." Vocals are middling low, lower than most melodic metallers, but higher than baritone. Catchy chorus, over the bam-bam-bam of the drums and the shrill flurry of guitars.

We gallop into "Axes and Honour", another solid rockin' number. The theme is very mediaeval, somewhat Arthurian:

"Come, join our crusade. With axes and honour, our way of life's saved."

 It feels a little like they're trying to capture the mood of Manowar, but their music lacks somewhat in the creative, quirky charm. It's powerful and competent, but perhaps a little too polished, despite the slightly tinny edge to the mix. It feels to me rather like this is actually a record, not a cd.

"To be a Champion" feels like an American Hammerfall. The vocals aren't as pure and high, but the rhythms and structures are strong. The choruses are valiant and the sort you can chant (or scream) along with. Some nicely harmonic chanting too.

Another strong, solid number is "Infinitum". Vocals feel a little closer to shouter than singing, although he does get a bit melodious at times.

Similar structures in "Fight to Be Free". Faster pace. Violent lyrics:

"I'll kill who I can, spill blood upon the sand..."

By "Transfixed" we are definitely fitting into a musical pattern. Every song moves at a decent pace - not too fast but certainly not slow, the vocals vary from shout-singing to the occasional more melodious, same pitch, soaring chorus, and every so often there's a chorus of voices.

Picking up the pass and sliding in the sludginess for "Guardian Bloodline". I must confess, I've kinda tuned out now. The songs are rather lacking in diversity and although by themselves they're decent enough to listen to, in totality, the album is a bit on the drab side.

Gentle guitar, like sunbeams shimmering through leaves. Vocals soft and gentle, like a leaf dancing on the breeze. "The Reflecting Pool" is the most original and interesting track on this album, creating a feeling of golden sunlight shimmering across the azure waters. Of course, then it ruins it by charging back into the same rhythms we've already listened to on the previous 9 tracks. Really rather intense guitar duelling. Rapid drumming. Quite dramatic.

Finally we conclude with "False Orion", another slower number, with some interesting, poetic wordplay:

"As the smoke clears all the children's tears turn to dust in the wind..."

Moody and maudlin, with nice choruses and a good eerie feel. Then we rock on into that style we're becoming rather used to.

If Scanner were a European band that sounded semi-American, TTD are an American band that sound borderline European. The rhythms and structures are good and strong, very competent medieaval/fantasy metal. Not enough variety to totally stimulate my senses, however. The vocals are also a tad tending towards mild irritation.

Rating = 6/10

Unisonic (2012)

Michael Kiske reunited with Kai Hansen to produce an ENTIRE ROCK CD. How could I resist? How could I refuse? Two of my favourite metal idols back together. Sure, this isn't power metal, this isn't even completely metal, but that doesn't mean it won't be an excellent album, does it just?

First, let's look it over. I purchased the digipak because it had a bonus cd (containing a whole 3 tracks, but never mind). I don't know why, but I like digipaks. Sure, they're a bitch to store (since they won't fit in CD racks) and they collect dust (ok, so all my cds collect dust, cos I rip 'em and shelf 'em). It is attractively coloured in shades of blue, with a distinctly futuristic look, rather than the fantasy-esque of old. In the band photo, they all look very serious, except for goateed Kai Hansen, who is giving a little smirk.

"Unisonic" opens with a dramatic flourish, vocals racing up into a smooth and soaring chorus. Slammin' rockin' guitars and lots of energy. The lyrics are simple and repetitive - a great opening piece for both album and live performances with a rather complex and fast paced gutiar solo. Cleaner, polished and more mature than Helloween. Kiske's voice is clea, sweet and powerful.

A slower, but still dramatic opening to "Souls Alive" with twiddly guitar bits. Vocals are also slower, and rick with a good blend of guitars and vocals. This is pure rock with a touch of metal. It drops to a slower pace where Kiske's voice drops into his rich, lower notes, ending with a scream that proves he can still hold those notes!

"Never Too Late" starts with a bit of a quirk to it and good rock rhythms. Soaring into a great chorus. There is something so splendid about Kiske's voice, it fills me with joy and positivity, thrilling me to the core even to this day!


A modern, mainstream rock sound characterises "I've Tried".  The vocals are on a slightly lower register, rising up into a catchy chorus:

"I've never said I'm sorry, but god only knows I've tried..."

Ominous beats bring us into "Star Rider" with the litling vocals soaring up and down the octaves. Kiske still does a fine falsetto!

"Never Change Me" gives us a bouncy rock n roll rhythm with catchy beats.

There's a hint of glam in "Renegade" With its rich, thick vocals and higher pitched chorus. Nice flourishes of the guitars and a good solid guitar solo.

Another solid rock number, "My Sanctuary" has fast-paced vocals with sturdy guitar accompaniment. Soaring chorus and a nicely chanted conclusion.

There's a bit of an 80's rock vibe to the opening bars of "King for a Day". As powerful as ever, Kiske's voice soars and rises gloriously into an anthemic chorus, in which Hansen's distinctive vocals shadow his.

And for those that love the smooth, anthemic, feel-good pieces, "We Rise" certainly fits the bill. Kiske's voice is like a purr - smooth and sleek and the accompanying guitar rhythms reach deep down into the soul and fill the listener with, well, positivity.

We conclude with a haunting ballad, "No One Ever Sees Me", reminscent of some from Kiske's solo days: the sweet melodies, the bittersweet lyrics, the melancholic vocals. Accompanied by acoustic gutiars and somewhat soul-wrenching. Beautiful.

Now, for the three bonus tracks:

"Over the Rainbow" is another ballad; haunting and melancholic. The guitars a gentle accompaniment to the heart-breaking vocals.

Followed by "Souls Alive". I'm not sure how this differs from the previous version, except that it is two seconds shorter.

"The Morning After" is another haunting piece, the opening somewhat reminding me of Sting's ballads, for some reason. Maybe it's the guitar. It quickly surges into a rather rockier chorus, before slowing down  again.

This is not Helloween, this is not Gamma Ray. It is heavier than Kiske's solo work, although probably closer to that than any of the former. And you know what? If you want to hear Kiske doing power/symphonic metal, you just need to pick up an Avantasia album or any of his other side projects. This is more polished than the 80s stuff, with a clarity of sound and complexity of rhythm that is pure rock (with a touch of metal).

It's good stuff - 9/10.

Type O Negative - October Rust (1996)

After all that tenor and falsetto, I feel like something a bit lower, a bit slower, a bit moodier. Therefore, it is time to slip on one of my Type O cds.

There is something about Peter Steele's voice - so low, so somber, so emotional and powerful. Alas, on April 14th, 2010, aged only 48, he died of heart failure. It was a bitter day for the goth metal world. Standing 6'8" and with a history of cocaine and alcohol abuse, I guess his body was overworked. The negative edge to the lyrics, the self deprecation and general angst were also a sign of his mental health, as he suffered also from depression.

The legacy he left behind was seven albums and nine music videos. I'll try to find some that fit in with this review.

Like most (or perhaps all) Type O albums, "October Rust" is green and black, only the title and the band being written in the actual colours of october rust. Four vertical stems, thorny rose stalks, bissect the cover if the booklet, and on the back the band stare out. Monochromatic, scowling, their long black hair resembling hoods. Steele himself looks rather like a vampire. On it are the words:

"Functionless art is simply tolerated vandalism.
We are the vandals."

Inside, the lyrics share page space with autumnal scenes creating a melancholic, somewhat oppressive atmosphere.

The album opens with "Bad Ground" - 37 seconds of long, drawn out static, followed by an introduction by the band - complete with chicken noises.

First actual track, "Love you to Death" starts low and smooth - Steele's voice a rich caress to the aural senses. His low, bass-baritone vocals stir something deep in the soul, although mostly he sings at a slightly higher pitch. The keyboards and solemn melodies entwine into something that is somehow both romantic and melancholic at the same time. It ends with the heartfelt plea:

"Am I good enough for you? Am I? Am I?"

"Be my Druidess" has an electronic edge to the music and a faster paced, slightly more upbeat mood. This seems to be about pagan rituals involving sex, something which can easily be concluded by the closing lines*. Darkly romantic.

Still slow, "Green Man" is rich with verdant goodness, the music feeling organic and alive.

Heart-breaking "Red Water (Christmas Mourning)" is possibly the saddest Christmas song ever. Slow, poignant and melancholic. The lyrics say it all:

"My table's been set for but seven, just last year I dined with eleven..."

Steele's deep voice, with its slightly liliting, accented edge to it, combined with the slow rhythms and dejected Christmas bells are enough to bring a tear to the eye.

 In a completely different vein, we have "My Girlfriend's Girlfriend" with its more upbeat rhythms, catchy chorus and rather silly and colourful video clip.

"Die with Me" starts with almost whispy vocals, gentle and mournful, accompanied by acoustic guitars.

This is followed by the rather repetitive "Burnt Flowers Fallen".

The cruisy, almost soothing "In Praise of Bacchus" is another richly organic piece. Vocals are slightly distorted and fuzzy. The fade-out is haunting and lingers, like smoke after a flame is extinquished, flaring again to complete the track.

Now for a cover song - Neil Young's "Cinnamon Girl" is treated to Steele's deep and magnificant vocals.

"The Glorious Liberation of the People's Technocratic Republic of Vinnland by the Combined Forces of the United Territories of Europa" is a weird instrumental that is over before I finished typing the title. I had to listen to it twice. It's slightly ominous, with chanting and cheering. I'm sure there's something deeply meaninful about it, but I don't get it.

The beautiful and haunting "Wolf Moon (Including Zoanthropic Paranoia)" opens with piano and violins (or bass). If you don't know what this song is about, read the lyrics carefully. If you still don't know, then it's probably better that way. It is another slightly murky sounding piece, over which Steele's voice rings out loud and low and clear and true.

The spectral and epic "Haunting" concludes the album. It starts slow and dramatic, looming beats and achingly wrenching vocals.

There's a final message from Peter too.

Although generally I prefer the higher, more operatic male vocals, I would have to say that the lower ones - like Steele and Brennare, definitely seem to stir something visceral within me.

Haunting, melancholic, beautiful, romantic - these are all words that can be used to describe this album. It's a fine offering from a fine band. We will remember you Peter, your legacy lives on in your music.

Rating = 8/10.

*Which are far prefereable to Quorthon's statements in his horribly grunge-esque solo track: "No More and Never Again"

Eluveitie - Evocation 1 - The Arcane Dominion (2009)

Remember how I said early on that this blog was to encourage me to listen to my actual CD collection instead of buying more? Well, in that it has failed - for I have bought more CDs in the last two weeks than I did in the entirity of 2012. Admittedly, that is a total of two CDs, but still!* I used some of the money accruing in my Paypal thanks to tarot deck sales on the Game Crafter, for one of them, however, so that hardly counts. Right?

Now, onto Eluveitie, who are a Swiss folk/death metal  fusion - with heart aching violins and other classically inspired  instruments interwoven with heart wrenching female vocals and snarling, furious male vocals. The lyrics are generally in the language of Gaulish, which is an "extinct" language.

The cover is moody and evocative in monochromatic shades of green - a bare-chested man stands, hands raised. In one, he grips a necklace; in the other, a flame flickers and burns. His expression is one of intense concentration, or perhaps constipation.

The album begins with "Sacrapos",  a whispered passage in English. Although the lyrics are printed, they are all but impossible to read due to the rather jagged font that seems to be fading. This gives it an excellent ancient look, but renders it almost illegible.

This first song, "Brictom" opens with rather upbeat violining. The female vocalist, Anna Murphy, has a sweet and delicate voice; the language must be Gaulish. It has a good rhythm and suits the music perfectly. The male vocalist, Chrigel, comes in occasionally, adding his guttural growls to the blend.

"A Girl's Oath" is taken in Gaulish - which has some quite harsh sounding syllables but flows like delicate water. We then whistle our way into "The Arcane Dominion". The folk sound is sublime and rolls over you, taking you away to those deep green forests, with ancient trees and trailing moss, where small creatures skitter in the undergrowth and great beasts prowl and growl in the shadows. The female vocals are divine, interspersed with masculine howls and the solemn voice of the violins/fiddles.

"Within the Grove" brings us a nymph, sitting on a moss-covered stump, her hair threaded with flowers and leaves as she plays her flute, pausing every now and then to take a quick breath.

"The Cauldron of Renascence" is an urgent, hurried song with growling vocals which, combined with odd scratching sounds, makes it sound as though some sort of beast is about to rage upon the scene. It is over in the flicker of a memory as forlorn bagpipes banish it and "Nata" begins. The male vocals are deep, forboding and forlorn; heavy with longing and loss. I suspect this is a song of mourning. Or perhaps a declaration of war. Maybe both.

Sampling and multilayered vocals add power to "Omnos". Not very folkesque, but it does make for a surging sound. The drum sounds oddly modern too. The song is, however, beautiful and catchy so I shall forgive them their anachronisms. Some parts of this remind me of Nightwish, except in a language I cannot understand. It certainly feels more contemporary than anything else so far.

"Carnutian Forest" starts with a swelling and a thrumming, with flute and whispered voices - something ominous is stirring. Perhaps some sort of Pagan ritual beneath the trees? The sound is one of emptiness and loss (is that the hurdy-gurdy?). Then the violins break through, lightening the oppression, like the clouds are breaking and showering us with summer rain. A crazed dance begins, beneath the trees.

Harsh, sibilant whispers herald that something sinister is afoot in "Dessumiis Luge". This fades into rather catchy, but slightly vicious female vocals. It sounds almost like a challenge, spitting words at one another, circling each other. It ends with a scream.

More gentle fluting and acoustic guitar marks "Gobanno". It is a song of sunlight, filtering through the rich green canopy, casting striations of light upon the forest floor, upon which strange ethereal beings dance.

"Vovesi in Mori" is a haunting number, whispers, mournful female vocals, weeping violin.

The forlorn wail of bagpipes brings us into "Memento". Is it coincidence that Memento and Mori are so close together? I believe this is a song of rememberance, and mourning.

"Ne Revg Na" is characterised by strong female vocals, although the language is quite a guttural one with many harsh syllables. This is counterpointed by the haunting voice of the flute.

Spectral string instruments mourn in "Sacrapos - the disparaging last gaze". Their sounds are eerie, otherworldly, ethereal. Like spirits dancing in the dying rays of the sun.

Now we are into the bonus tracks, including the very lively "Slana" which is a folk medley and a delightful reel to get your feet moving - or in my case, tripping over each other.

Finally, we conclude with a somewhat simpler version of the previous "Omnos". The vocals are a mix of the melodic and the snarled, with whispered passages. I love the rhythm of this song. Less of the extravagant additional instruments.

This is another band in which the vocals are more a supplement to the music, enhancing it, than that the music is merely there to support the vocals. The music is rich and vibrant, alive with the verdant nature of the forest, like sunlight and rain and the wild. This is a plus, in my opinion, as I am not overfond of the guttural, growling male vocals and actually enjoy the evocative nature of the music more. It probably helps that the language is not one that I (nor many people) will understand, allowing full scope for the imagination and your own interpretations of what the songs are about.

Beautiful and verdant - 8/10.

* I only bought one cd last year (Nightwish's "Imagineraeum") on account of having no decent cd stores left standing in Christchurch and an inability to find any in the USA when we toured there. I do not regularly buy CDs over the interweb anymore, since there is very little I know I want that I don't have already.

Candlemass - Nightfall (1987)

Ah, the beauty and majesty of Candlemass. I know this band well, having discovered them way back when I was in my early Metal Years. This was, if I recall, my first of their albums, and I originally purchased it on cassette tape. I own the CD now, of course.

Messiah Marcolin, vocalist at this time, is a Metal God. He has the voice of an angel - albeit a somewhat large one and slightly sweaty one. That is to say - it is a lovely, beautiful voice but so much power - the sort of power that could devastate buildings or rise mountains from the sea.

He is magnificant.

This is the first of the Trinity of Divine Candlemass albums.  As I own them all, they shall all be listened to, dissected, admired and enjoyed. I am undecided as to which is my favourite, but as this is the first, it defnitely rates highly.

Okay, so you get the idea, I love these albums. I love Messiah. They are beauty and power and... let's just listen to it already, shall we? Actually, I vaguely remember analysing some of these songs for a  school project/poetry assignment. We had an awesome English teacher.

And don't worry, I'll try and find you some videos too - in case you are one of the unintiated.

Firstly - this album jacket is beautiful, taken from "The Voyage of Life: Old Age" by Thomas Cole. It depicts an aged man, in a boat afloat on a lonely ocean, dark clouds looming overhead, a ray of light splitting them asunder. Before him hovers an Angel, a vision of white and glory. In the very centre, small and unassuming but very easy to read, is the band name and the title. The sleeve itself is a simple affair - a one fold cover with all the lyrics printed in small but legible font, set against the twilight clouds.

As I noted previously, most metal albums from this era begin with a short intro piece with haunting music or - in this case - crashing lightning or perhaps a cracking "Gothic Stone".

Whatever it is, it quickly fades into the looming majesty of "The Well of Souls". Messiah's soaring and powerful voice rises above the doom-laden chords, filled with his passion and dedication to protecting the world from:

"...hatred and scorn..."

Perhaps because Messiah's customary attire is a robe, crucifix and he pretty much looks like an epic avenging monk, it is very, very easy to envisage him as the "old man" whose life is dedicated to protecting the world from the looming threat of Satan.

Lyrics indicate that he is unsuccessful in this endeavour, yet like in the earlier track "The Sorcerer's Pledge", the battle is a non-climactic one. In this case, daylight destroys the darkness. Let us just be thankful that they write lyrics, not novels.

"Codex Gigas" is another pounding instrumental, with ominous, slow beats and brooding atmosphere. I am imagining someone carrying a heavy load, ponderously through the dark.

Ah, the opening chords of "At the Gallows End" bring a shiver to my spine and a tear to my eye. Partly it is nostalgia - but also it is a beauty lead-in - slow and haunting, with Messiah's wonderful voice dripping with raw emotion and loss. I am standing with him, waiting for my death. What a swan song.

"Only the vultures will come to see me hang..."

Pounding bass, dramatic and chilling. 

And oh, now we have the most beautiful "Samarithan". Every song a memory. Slower rhythms, slightly lower vocal register; sorrow and compassion weigh down the words. A homeless man, offered sanctuary - a simple act of kindness that brings with it much reward. This song is a thing of beauty.

I am never quite sure if Candlemass are technically a Christian band - their lyrics are filled with Christian imagery, but they seem to regard it with more honour and respect than the bands that preach about hellfire and damnation. It feels biblical in the oldest sense of the word, and noble.

The ponderous and dramatic "Marche Funeral"  bridges us between this song and "Dark are the Veils of Death". This is a faster paced, and somewhat more dramatic slightly hectic song, almost desperate at times. Messiah's vocals are no less than stupendous.

"Enter the great adventure, just wait and see..."

I think Candlemass helped me to "survive" my teen years. Whilst they are, technically, a doom band, their lyrics are not filled with as much death and despair as other bands of that ilk* - they have hope - of the afterlife, of redemption, of the triumph of good against evil.

The devastatingly beautiful "Mourner's Lament" follows. A song laden so much with mourning, loss and anguish. A father mourns his deceased son. A song that sends shivers down my spine and a thrill in my heart. The power... the raw emotion... The whispered "Rest in peace" brings a tear to my eye.

Why, you could almost say that I'm "Bewitched" - which is coincidentally, the next (and almost final) track on this album. It is a song with decidedly pagan elements, putting it at odds of every other track on this album:

"Bewitched by delight, you'll reach the night dancing and singing to my fiddle. So take my hand, and understand, that no-one will see you again." 

It is a splendid song, and somewhat more upbeat than the rest of the album. Of course, the video is something of a letdown, thanks to be exceedingly cheap and cheesy and rather silly. I suspect that the band are not quite as serious as they pretend to be. Still, noone is immune to a little fun.

Candlemass are an amazing band, and this is an awesome album. Along with the other two Messiah-vocaled Candlemass albums, they are some of the finest doom and gloom albums ever made. Even the nostalgia aspect notwithstanding, it would be a crime against metal to give this album anything less than 10/10.


* Stay tuned for Confessor (music to kill yourself to). But they'll probably have to wait until I've looped through all my Candlemass. Ironically, Confessor helped me in those angst-ridden years too.

Voivod - Angel Rat (1991)

French-Canadian band, Voivod, have been around for a while. This CD is probably one of their most mellow, their typical sound being a sort of technical thrash metal. Their music is complex and progressive, with dissonant chords and unexpected time signatures*, the vocals - on this album at least, are quite smooth.

I love the CD sleeve for this album - it's very old school, like those posters from the earlier years of the previous century - all ink and limited colour washes, with a swirling font reminiscent of old movie posters or carnival signs. It folds out into a semi-poster, with a photograph of the band. They're so young! Also there is  a very cool stylised crow in a tophat. The colour palette is limited to blue, purple and red, giving it a saturated and melancholic feel.

The CD opens with the staticky and disjointed "Shortwave Intro" which is reminscent of how we used to tune our radios, with little snippets of the ghosts along the airwaves. Then it rips into "Panorama". The song is erratic, with a cruisy chorus and rather strange lyrics:

"Somber drama, rolling down hill. Panorama, all is still. Anyway, anyhow; anyway, anyhow."

"Clouds in the House" is a somewhat more rhythmic number. Similarly jerky verses, smooth chorus and surreal, but poetic, lyrics.

The ocean beckons us into "The Prow" which is a pirate-esque style. From the cover, you're expecting it.

"Best Regards" is slightly rockier, but follows the same structure. It seems to be about waiting on the mail, for a letter to arrive. Ah, nostalgia. This reminds me of the days when I would wait on the mail. However, in this case it seems to concern a correspondent of a more personal nature.

Now we're into carnival theme - with "Twin Dummy" and reading the lyric sheet I now realise I've been hearing the words wrong all this time.

"The Circus left without me, and I'm alone with you now..."

I always thought it was "I'm in love with you now..." Hmmmm.

A somewhat cruisier number, "Angel Rat" is a haunting song which allows Snake better range with his vocals. He really has rather a nice voice - not very deep, but smooth and a little nutty. For some reason, the line: "Rat or Angel, does one really know?" really tickles my fancy, for some reason.

"Golem" is a slightly creepy little number - if you listen to the lyrics. It's another haunting and weird little song, with repeating vocals, erratic pacing and dissonant guitar chords.

We have a little harmonica in "The Outcast".

I like the chorus in "Nuage Fractal" which seems to have a slightly sci-fi-ish feel. I get the feeling that Voivod write their lyrics via stream of consciousness, because although they flow well and sound neat, they do not make a great deal of sense. I suppose that is poetry for you.

Starting off as more standard rock music, "Freedom". I suppose this is a ballad. It is very mellow and the music is melancholic and straightforward, instead of erratic and dissonant, although it does turn more typical-Voivod towards the end.

"None of the Above" concludes the album.

In summary - this is a somewhat more mainstream feel for Voivod - more rock than the thrash of their previous albums. It is somewhat soothing, despite the dissonant nature of the music. I enjoyed it as a whole, but I think the tracks are more effective individually, as they almost all feature a similar structure. It is quirky, and different, and I am pleased to see that the band are still releasing albums. I wonder what they sound like now?

My Rating = 7/10.

* From their wikipedia page. I don't actually know what a "time signature" is - but the music has a slightly jerky, discordant feel that is jarring yet not.

Savatage - Streets: A Rock Opera (1991)

Savatage formed in 1978 (under a different name), by Criss and Jon Olivia in Florida, USA. In 1983 they changed the name to Savatage and became one of the forerunners of US progressive metal. In the beginning, their sound was more pure, unadultered speed metal with rip-roaring guitars and screaming vocals. As they grew older, their music matured and this album, from around the midpoint of their career, has a polished vibe, whilst still rocking pretty damned hard. Later albums included the addition of orchaestra. They eventually dropped into a hiatus in 2002.

 The cover for this album is pretty bland - the band posing in some sort of ornate mansion, looking all tough and serious, not daring to even show the slightest hint of a smile. Black clothing certainly seems to be the fashion - all jeans and shirts unbuttoned to varying distances down the chest. Long haired pretty boys (some with perms), or at least, they think they are. But hey, this was the early 90s and glam was just giving way to grunge.

"Streets" is a concept album, and follows the career of D.T. Jesus - a burned out rockstar who falls off the rails, and then endeavours to pull his life together. The story is explained in detail at the beginning of the CD booklet.

"I used to come down here and look at all the characters, never thought I'd be one of them..."

Like all good musicals, it begins with an introductory song "Streets" begins with a children's choir and certainly sets the mood of the dark and grimy streets, where lights flicker and promise hope and salvation and opportunity.

"Jesus Saves" introduces us to D.T Jesus - starting with a vocal intro and breaking into a story about his fall from grace. It is a strong rock number.

As the drugs take hold of D.T's life and his world starts to crumble inside, we fall into "Tonight He Grins Again". A slower number, dripping with melancholy and longing.

"Strange Reality" sees him tumble further and further on the downward spiral. D.T. becomes aware of his plight. It is a fevered song, edged with desperation.

"Am I losing my way? This strange insanity. An illusion away. Is this reality?"

Having had this revelation, D.T sends out a call for help in the beautiful and pleading "A Little Too Far" with its gentle piano and desperate lyrics.

After that mellow moment, we rock into "You're Alive" and D.T.s triumphant return, with the help of his previous manager, Tex. But his triumph is short lived, as a dark shadow - Sammy - returns from his past and confronts him. In a tumultouos, fast and vicious fight, Manager Tex intervenes and there is a battle between "Sammy and Tex".

 "Seemed things were going right, till Sammy pulled a knife..."

Tex is slain, and seeing the rage in D.T.'s eyes, Sammy  flees  into the night.

Bereft, alone, D.T. roams the streets a haze of melancholic morbidity, finally finding his way to the doors of "St Patrick's" cathedral. Here he falls into desperate, pleading prayers.

But God does not listen, or at least, he makes no response. Lost, confused; his mind filled with dark desperate thoughts and seeking escape, D.T. pleads "Can you Hear Me Now?"

But all around him are the bitter and dark streets of New York. "New York City Don't Mean Nothing" is another song of despair and loss. It starts with raw, tortured vocals, filled with pain at this great city, where you are noone and nothing. The rhythm starts, fueding it with rage.

Everywhere he goes, he sees, haunted and broken people - a "Ghost in the Ruin". Anger, despair, deperation feed the song into a turmoil.

Perhaps it would be better "If I Go Away", D.T. ponders. If I give up on this life, just fade away. More desperation, but now fueling melancholy and sorrow, the desire only to be taken away from this life.

In the frenizied "Agony and Ectasy", D.T. prepared to give up on his despair, and his new life and reteat back into the comforting shell of drugs and the oblivion they bring. But it all changes as he comes upon a derelict man, dying in the gutter. So wretched is he, that noone dare approach him, except D.T., who holds his hand and comforts him as he dies.  Or at least this is how the narrative is explained in the beginning of the CD, however, it is not so clear from the lyrics. The song "Heal My Soul" is a beautiful piano/vocals piece haunting and strong contrast to the preceeding track.

A sense of triumph continues in "Somewhere in Time" and finally concludes in "Believe", a song of hope and faith as D.T. watches the spectral figure of a small child steps from the corpse of the dead man and up into the stars. This is the spirit of the man as he was once, until he threw his life away on lost dreams and now he seeks only forgiveness. He turns to D.T. smiles, and fades into a gentle flash of light. Up above, in the summer sky, a star burns brighter.

Finally, unexpectedly, D.T. feels at peace with himself, and returns home. The slower, more positive atmosphere in the final songs reflects this.

Ultimately, a fine concept album - although the lyrics do not fit the story at the front particularly closely. It's a good storyline for a rock opera though, albeit slightly preachy. The mix of fast-paced, angry songs and slower, mellower numbers enhances the mood and aids the narrative.

I rate this album 8/10.

Queensryche - Promised Land (1994)

Queensryche  formed in Bellevue, Seattle 1981 and released twelve studio albums before finally parting ways in 2012.They are probably my favourite band to hail from Seattle, birth of Grunge music, and are most well known for their song "Silent Lucidity." Their earlier albums were more strongly metal, with operatic vocals (vocalist Geoff Tate is opera trained) and heavy riffs. As their albums progressed, their sound became more mature, and a little darker (in the case of this album), but ultimately their more recent releases (ie: this century) lacked the originality and energy of the earlier ones.

I selected this one, "Promised Land" released in the mid-point of their career.

It is a beautiful looking album - the simple, starkness and gloomy brownish-red hues help create the mood. The cover depicts the Tri-Reich (which is based on the falcon, no wonder I like it!) carved from wood, looking rather tribal. It is in fact a totem pole, and the CD cover folds out into a poster. And there is a vaguely tribal feel to some of the songs on this album.

Overall the sound is somewhat more personal than the earlier albums, with a dose more atmosphere and a little more experimentation with instruments and darker stylings. It is not especially heavy, relying more on dark atmospheres and haunting melodies, along with the raw emotion in Geoff Tate's voice to create a moody album - the result of burnout after the commercial success of "Empire". Whilst it did eventually go platinum in the States, it never achieved major mainstream success and was somewhat superceded by the growing Grunge music of the time.

"9:28 am" starts with a death and a birth.

"I am I" is a declaration of Self.

As far as songs go, "Damage" is not particularly remarkable. It's typical rock.

"Out of Mind" opens with a slow and moving intro, merging into the haunting lyrics. Tate's low singing voice complements this perfectly, and the accompanying guitar creates a mood that sens a shiver down the spine of anyone who is also paying heed to the lyrics which describe the forgotten people - the mentally lost and confused, kept separate from society, alienated from reality.  There is an atmosphere of menace here:

"They can't leave. You've left them here ... for me."

Acoustic guitar and vocals lead us in to the equally haunting "Bridge". The chorus of this song is particularly noteworthy - as a father tries to mend the "...bridge that's been blown apart..." from his son, but "...you never built them dad." It is also very catchy.

Title track, "Promised Land" is one of the most atmospheric and experimental of the songs on this album (also one of my favourites). The music radiates with mood and weighs one day with the grief of being left behind, becoming one of the forgotten ones. The lyrics ask "... where did it all go wrong?" It is a story of abandoning one's dreams, of failing to even try and reach the "promised land" and instead dropping into the angst-fueled world of apathy and alcohol.

This leads, quite neatly, into "Dis Con Nect Ted" which continues the themes of madness and loss, of separating oneself from reality. The slightly discordent edge to the opening chords lends to the feeling of confusion and dislocation. The vocals are low and dripping with personal loathing. There is a slight echoing going on, that makes Tate sound somewhat less than himself.

There is something faintly menacing about the children chanting at play as "Lady Jane" opens. The vocals are low, creepy, the lyrics unnerving. Something is very wrong in the life of Lady Jane.

"It's quite a scary, scary ride we take, Lady Jane."

 There are violins in this song too. I'm not sure if this is a song about abuse or a haunting, or if Lady Jane is slowly but surely slipping into the clutches of insanity. Whichever it is, this is an emotional and oddly disconcerting and disturbing song. It is also one of my favourites on this album.

With its politcal lyrics, "My Global Mind" brings us back into the heavier rock, but no less melancholic.

"One more Time" begs for a second chance, with a hint of desperation and no small measure of despair.

Piano leads us into the last, heartbroken ballad, "Someone Else".

"I feel like I did, before the magic wore thin..."

With few instruments, except the piano, it feels like Tate is (vocally) ripping out his heart and throwing it on the floor. The raw emotion cannot help but seer the soul. It draws to a very abrupt close, leaving me feel almost like I've been severed from it.

This is a fine album - it is deeper and darker and rather more melancholic than earlier albums and clearly marks a point of tumoil in the history of the band. The lyrics are rife with messages of disconnections from reality; of sacrifices and loss of self (and no small measure of bitterness). Despite this misery, there is no laying of blame, no accusations - it is not an album about love lost, or arguements - instead it is an album about feeling as though you're fractured inside of losing your sense of identity. Of needing something more to help redeem the drudgery of your life.

It is a beautiful, haunting and utterly poignant and defintely deserves a rating of 9/10,

Nightwish - Century Child (2002)

Nightwish are a magnificent band - formed in 1996, by lead songwriter and keyboardist Tuomas Holopainen, guitarist Emppu Vuorinen, and vocalist Tarja Turunen. By the time this album was released, Marco Hietala had joined the band and took over the male vocals. Tarja's voice is elegant and other-worldly, a beautiful counterpoint to the heavy music and Marco's occasional growls.

This packaging is beautiful - a woman crouches before a waterfall, cradling a black rose. The colours - black and purple, seem to evoke the general feel of the music, which is rich and multi-layered. However, the font is pretty difficult to read with the white seeming to be shadowed against the purple. This may just be my version - which I obtained from Russia via Ebay.

 It opens with a short spoken piece and then breaks into the epic "Bless the Child". This contains the line:

"Think of me long enough to make a memory."

A line which I have always found somewhat heart-breaking.

"End of all Hope" is epic and powerful.

"Dead to the World" is an interesting one, with the male vocals seeming to dominate at least in the start - but Marco isn't growling here, he's actually singing - and not half bad at it either. Tarja's voice soars against his raw notes, in the Beauty and the Beast styling that I described earlier.

With its beautiful opening piano, "Ever Dream" is an ethereal lullaby - breaking into true Nightwish symphonic style, before the sweet-natured, silver-throated vocals return.

"Slaying the Dreamer" is a little more hardcore, at least musically, the vocals still sweet but with a harsh edge of threat. Marco's vocals are very aggressive. This is a song of betrayal and anger.

As though to alleviate the negative emotion of the preceding song, "Forever Yours" is very sweet and gentle, a whispered caress of gentle percussion and wind instruments.

Similarly gentle is "Ocean Soul". It also includes one of the most memorable choruses.

This is followed by the beautiful and romantic "Feel for You". Or to be precise, it sounds romantic - until Marco comes in and it takes a startlingly dark turn:

"...Barely cold in her grave, barely warm in my bed..."

 I hope it's more about someone else usurping another's widowed husband rather than necrophilia!

"Phantom of the Opera" is an EPIC rendition of this classic tune. Tarja's voice handles it so well and the music just sends energy and power surging through me. No matter the version, the opening chords of this song always stir something deep in my viscera.

"Beauty and the Beast" brings this CD to a powerful conclusion. Despite the epic nature of the song, it does not quite haunt me the way some of the earlier pieces do, but it is still a masterfully written and performed piece.

Overall, an amazing album from an amazing band. There's not much more to say about Nightwish - except that they certainly deserve the rep they have earned and are also awesome live - even without the magnificent vocals of Tarja.

9/10

Leaves' Eyes - Meredead (2011)

Following on in the wake of the Nightwish and Evanescence tide, a lot of female lead symphonic metal bands hit the scene - many were very good - and some, like German-Norwegian group Leaves' Eyes are excellent. Blending the heavy sounds of doom-death metal band, Atrocity, with the melodic warblings of vocalist, Liv Kristine (ex- Theatre of Tragedy). Their lyrics are based on nature (like early Within Temptation) and  mythology. There is a heavy folk vibe as well and the band make use of traditional instruments.

I have the digi-pack version, which is a nice hard-covered digipack (I am not so fond of those flimsy cardboard affairs) and additional live DVD. With the booklet being attached to the case, it's almost like a little, odd-shaped book. Very nice, even if it doesn't slot into my CD rack. The cover is beautiful and seems to show a dark-haired, elfin woman water bending.

 The CD begins with choral singing and chanting as we delve into the haunting "Spirits' Masquerade". The combination of instruments and the beat, with the flowing, water-droplet sweet voice of Kristine weaves a deeply spiritual feeling.

"Etain" is melodic and beautiful. She is from Irish mythology. It is easy to imagine a dancing blue butterfly, flitting along to this tune.

Violins and guitar herald us into "Velvet Heart", along with something that could be wind chimes. It has a stronger beat.

We then have the folk song "Krakevisa" which is the story of the Crow and the Farmer and a traditional Scandinavian folk song. I've also heard it performed by Tempest under a different name. It's very strongly folk, but also rather heavy, with much use of violins  (or do you call them fiddles?). This version is a lot slower and more melancholic than Tempest's rendition. In case you are curious, it's the story of a crow that attacks a farmer, and then gets killed and butchered, its parts put to various use. Kinda macabre.

Mike Oldfield's "To France" is next on the agenda and turned from a old-school pop-rock song into an epic anthem. Blind Guardian have given this song their own treatment too. It has a lot of power - I really should listen to the original. This one is quite melancholic and filled with longing.

"Meredead" is ghostly and sung in Olde English. I do not understand a word of it (I thought it was Norwegian) but it speaks of death in the sea. "Meredead" is a word that Liv Kristine coined herself.

"Sigrlinn" starts very folk, but is the first song on the album to have very clear "Beauty and the Beast" vocalising, with Krull growling in Norwegian - NOT his native tongue (he's German) and something he had to do phonetically. Also offering vocals in this song is Liv's sister, Carmen. This is a tale of an epic journey, and the changeable mood of the music reflects that.

Also in a foreign lingo, "Mine Jaror er ei Geimme" is a very soft, gentle song without the Atrocity acccompaniment. It is a medieaval ballad - a poem of a woman mourning her husband who has fallen in battle. Beautiful, ephemeral.

Followed up by the rather heavier "Empty Horizons" which reminds me of Atrocity's finer moments - the low - but not growling, vocals of Krull intermingled with Kristine's finer range. A haunting duet.

"Veritas" provides an intro to the traditional Norwegian stave of "Nystev".

Flutes and some form of string instrument (mandolin) lead us into the lovely "Tell Tale Eyes", in which the Beauty and the Beast singing style is exchanged for a melodic ballad, displaying the true vocal talents of Alexander Krull. The only accompaniment, the mandolin. The lyrics are slightly menacing, despite the beauty of the song.

The final, bonus track, "Sorhleod" is really lovely, even if I do not understand a word of it.

Overall, a beautiful amalgamation of folk, metal and power, establishing this group firmly amongst the best of the genre.

Rated: 9/10

Gamma Ray - Heading for Tomorrow (1990)

When Kai Hansen parted ways with Helloween in 1988, he went on to form the band Gamma Ray with his friend Ralf Scheepers (ex-Tyran Pace). This is their first studio album.

Hansen is a fine guitarist, and his majesty is writ all over this album, with its soaring guitar solos and twiddly chords. Scheepers has a decent voice, high, but with a rough edge. I have heard Tyran Pace, and their music was unextraordianry, but they were hilarious - since Scheeepers was parading around in a leopard-print leotard at the time. You've got to remember, that was 1985. Not a good year for fashion. Needless to say, Ralf Scheeper's is now burned in my brain looking like that!

We begin with a intro/instro called "Welcome", I'm not sure why most power metal bands of the late 80s/90s chose to make the first track only a minute or so long and not a real song - is it just to boost the track listing? I always feel a little cheated when of the 10 tracks on the regular release (mine has 3 bonuses), one is short - why can't they just connect it onto the first song? The two are joined anyway, one flowing into another.

"Lust for Life" carries the melody and power, along with the relatively positive message that I've come to connect with power metal. Catchy choruses, intricate guitar solos, a strong message -

"Loud and proud, we're going to say it now - live -life - easy, live - life - easy..."

 Enjoy your life, it's all you've got, after all.

This is followed up by the catchy beginning of "Heaven Can Wait" (not to be confused with the Iron Maiden song by the same name*), it has a slightly more negative bend to the lyrics and a somewhat sinister edge. The morals are good, however, and the message strong -

"The load upon my shoulder, makes me stronger, even bolder..."

This song has elements of true Metal Anthem - play it loud and proud! (As I shall when my husband leaves for work).


One cannot help but feel that the song "Space Eater" is about drugs. The semi-surreal and rather creepy video seems to match this theory too. It's a pretty cool song, regardless, with slammin' guitars (and the occasional twiddly bits) and the occasional low, slightly menacing vocals.

"Money" is a funny song, quite heavy, and exceedingly catchy. It also allows Scheepers to explore more scope with his vocals. Overall, Gamma Ray have used him with more versatility than Tyran Pace ever did. He has Kai Hansen for back-up, of course, and I'm not sure who exactly is singing which bit, as their styles are relatively similar.

Then we mellow up a bit with the stirring song, "The Silence". This is the most epic, the most powerful track on the album and less rock n' roll than the other pieces. The vocals are rousing, the music running perfect counterpoint to it.

"Hold Your Ground" gets back into the good solid rock song with pounding bassline, as does "Free Time" which is something of an anthem on its own. And one most of us cannot help but identify with:

"Free time is one of the things that I love... free time is one of the things I enjoy... "

'Tis a song about letting your hair down (easy for these guys, who all have curly 80s mops) and letting loose for the weekend. Yeah, "Free Time" is one of the things that I enjoy too.

And then we conclude with the epic title track "Heading for Tomorrow". With complex twiddly guitar bits, rousing choruses, mellower moments and a decent message.

"Look at Yourself" invites the listening to have some faith in themselves. It's a pretty basic song, basic message. Not a stand out piece by any means.

But this isn't the end, is it? No, despite the complete lack of any mention of it on the track listing, my CD has three extra songs:

"Mr Outlaw" is a rockin' number. The following "Lonesome Stranger" is most entertaining, as two men (who make me think of cowboys) argue over which metal bands they support. It has a somewhat Western vibe going for it, making me think of gun stand-offs and deserts, and an instrumental.

The final song, "Sail On" has a gentler, harmonic vibe, with repeated choruses and strongly evocative of a ship disappearing over the waves.

Gamma Ray are an awesome blend of the powerful and the fun - they hark from an era where music was about having a jolly good time (or at least, appearing to) and making the occasional point but in a manner that is neither preachy nor persistent, but more like saying "life can be great, just step out and grab it, go for it with all you've got." The vocals may not be quite as operatic and rich as some of the other bands, but the raw edge leads them a unique sound of their own, and the bridges and choruses are catchy enough to have them running through your head for hours, or for the listener to pick up on the second or third listen.

Play it loud!

A fine debut = 8/10

* or the Michael Jackson, Meat Loaf or Charlotte Gainsbury songs, a popular name, it seems.