Greetings, and welcome to the third issue of Ascendant Strains. This episode finds me having passed the Arizona Bar Exam, so for good or ill I am officially a lawyer now. But on to happier news...The winner of the last lyric quiz was Aric Villareal, of Hawaii, who correctly identified 4 of the 10 songs. He'll be receiving a free CD, and I urge anyone else who's inclined to drop me a line with your answers.
Ascendant Strains #3 is available electronically free, just drop your E-mail address to me at cwisnom@aol.com, and I'll add you to my mailing list. If you receive this electronically, I encourage any remailing, forwarding, posting, etc., to anyone who you think might enjoy it. A printed copy is available for $1 to cover postage and printing, or $5 will set you up for a year of paper AS.
Thanks for reading, enjoy the music....
DREAM THEATER-A Change of Seasons
(Atlantic)
The current American progressive metal lords return with an "EP" that indicates the band has trouble grasping that concept, as this work still checks in at over 58 minutes. The album opens with the grand, sweeping 23 minute title track that fulfills the longings of all DT fans...It's hard for me to tell whether or not this will compare in my heart to their most stunning epics, like Metropolis I (This song was actually originally conceived as Metropolis II), but it's an incredible song, drawing together rich, emotional lyrical themes with the bands undeniable talent and expected uplifting style. It's amazing how quickly such a long song works its way into my heart. The rest of the album descends somewhat more into the realm of EP material, with a collection of live cover songs and medleys of artists like Elton John, Led Zeppelin, Queen, and Kansas. The best cover track, in my opinion, is a faithful cover and unusual choice of Deep Purple's mystical "Perfect Strangers". While not as satisfying as the band's original material, it's fun to hear these live tracks, but the title track and low price of this disc pretty much make it an imperative for Dream Theater fans, regardless of whether there was even anything else on the album.
ELEGY-Lost
(Import)
Actually, the third album by this band doesn't live up to the title, as the band's vision and songwriting is apparently very focused. Unfortunately, it's not the direction I would have hoped for, but it's very effective nonetheless in what they're trying to do. Elegy features a rather unusual blend of aggressive power metal, intricate keyboard progressive music, and a rather accessible, quasi-hard rock song writing style. My favorite song off the last album, Supremacy, was "Windows of the World", which featured the most of the first element, a spectacular blend of all out speed and fury melded into captivating melodies and soulful vocals. This is what made the band great to me, and there's even less of this style of music on this album than their was on the last disc. The opening title track, and the closing number "Spanish Inquisition", are the only tracks that come close to some puissant power metal, mixing a frenetic pace of classical and progressive leads with a rather Dream Theaterish tone. The rest of the album becomes much more accessible, and I must say, this band is very talented at coming up with tremendously catchy, radio friendly songs with dreamily romantic lyrics. Tunes like "Always With You" and "Under God's Naked Eye" just overflow with sweet, infectious melodies. The vocalist remains piercingly high, akin to Tony Harnell of TNT, and able to really punch through with these powerful themes and harmonies. But to be honest, the excessive octavity of his voice starts to wear even on me a bit, especially singing the quasi-pop tunes, where the vox somehow seem less comfortable than in the power metal songs. Except for the first and last songs, the lyrics mostly tread the line of romantic relationships, in varying tones between poetic, more conventional, and even the voyeuristic sexuality of "Spirits." Altogether, if you want something dripping in strong melodies and songwriting, and enough talent, complexity and occasional speed to move it away from standard hard rock, this could be an interesting pick up. But especially at its import price, if you want a bit more power and consistency to an album, like I do, this disc isn't worth it.
DAMIEN LEE THORR-Sonic Brutality
(American Sound Works/P.O. Box 23216/Fort Lauderdale, FL 33307)
Out of the land of seminal death metal emerges this raw but brilliant independent CD that champions traditional metal guitar histrionics. Damien Lee shows his passion for his art, playing all the guitars, singing, and doing the drum machines for this album, which he in fact basically recorded in his bedroom. (No, he's not selling popcorn at half-time. He is, however, publishing a collection of short stories soon though...) The sound quality is thus obviously not stellar...and by that very fact shows how unimportant production truly is, since this work is far more memorable then hordes of more expensively produced music. The guitar work is wonderful...not self-indulgent flights, but catchy, brilliant, infectious leads and riffs reminiscent of Iron Maiden and Judas Priest that create driving and compelling songs. Truly robust refreshment from the plodding, bland, and often boring riffs we are inundated with these days. The work is overall on the very aggressive side, but the music never loses grip of sweet metal melodies and harmonies that make these tremendous songs. The vocals also are on the harsh side, but once again, infinitely more human than those which stock redundant death metal bands all across the land. Damien may want to consider a more polished vocalist, because the combination of that with his guitar work and songwriting could be a truly astounding combination. But his vocals do show promise, obscured as they are by the distorted production, with some powerful piercers, and more often a rawer, simple feel reminiscent of early Exciter that combines with the music to drive this disc through your mind with nostalgic metal abandon. I truly wish more bands that released music showed the talent, passion, and musical gifts evidenced on this album, and I am truly excited about what his next album will sound like.
MASQUERADE-Surface of Pain
(Metal Blade)
This is the best new band I've heard on Metal Blade in a while...though that isn't saying much, since it appears the most worthy acts in MB's stable are veterans in one way or another. Masquerade plays a very polished, mid-tempo mix of progressive metal and bluesier hard rock. Shades of Queensryche at their slowest and most brooding, but the strongest comparison I could make would be to Lillian Axe's latest disc, with abundant melodies and lush vocal harmonies. The production is clean, the vocals are good, without any really fast music or soul searching notes. At its best, the album combines strongly written melodies with an uplifting tone, wrapped in crystal clear production. At its worst, the music lapses into redundant and repetitive riffs ala Warrior Soul on tunes like "Say Your Prayers", and a lesser vision of commercial accessibility. It's nice to see Metal Blade sign a band that's not quite so in line with the oppressive American trends, but there were so many worthier bands out there...Overall, a pleasant and enjoyable album, without anything really special or mandatory...
CONCEPTION-In Your Multitude
(Noise Import-Available through U.S. Mailorder)
Conception continues to walk their unique path of progressive/power metal on their third album. Moving yet farther away from the more classical style of their first two albums, In Your Multitude weaves their subtle blend of lush, powerful melodies with the expected crunch and complexity of progressive metal. The album overall is impressive and accomplished in what it is trying to do, the choruses are hypnotic and luxuriating, singer Ray Khan's voice is rich with emotion, and the lyrics are very poetic and well done for a European band. I prefer their previous disc, Parallel Minds, which seemed to offer a better balance between this style and some more up tempo classical melodies, and the guitar work is probably my least favorite part of this album, concentrating much more on mid-range rhythmic riffs than effervescent leads. These heavy, crunchy sounding riffs seemed innovative when Dream Theater added them to their progressive stylings in "Pull Me Under" but now these heavier style riffs permeate the American metal market in all its variations, and thus now they sound rather generic. Khan's vocals are starting to sound quite similar to a more polished Tony Martin, though they don't quite display the amazingly delicate grace/power dichotomy he demonstrated on the previous album. Overall, however, this band has an amazingly deft touch for touching your soul with stirring songs and structure, brimming in delicacy. If your tastes are to the mellower sides of metal, where the music is rich with subtle emotion, this disc is definitely worth adding, especially since Noise now offers it at domestic prices. For those who are hungering for more aggression in their power metal, this may disappoint.
MOONSPELL-Wolfheart
(Century Media)
This album greatly surprised me, exciting and fulfilling me in a genre that too often has bored and frustrated me. Moonspell is a band that fits in in the atmospheric, avant-doom realm, with high theatrics, mystical sounds, classical and multi-cultural influences, and the ubiquitous backing female vocals. But Moonspell's new disc triumphs where so many bands fail, in my opinion, by using all these influences to meld together a tremendously strong album, full of vigorous, memorable, and potent songs. The opening track, "Wolfshade", truly succeeds in capturing a mystical, ominous, and melodic reverberation, that really grows in your mind and your heart as you listen to it. The lyrics also seem to succeed in the same realm where so many bands drop off into mediocrity. The lyrics evoke werewolves and vampires wrapped in dark and seductive romance, cloaked in nocturnal visions. "Love Crimes" continues the strong composition skills of the band, weaving melodies together, not in the standard desultory fashion, but to great effect. "Alma Mater", the closing track, is the most magnificent on the album, a song that absolutely captivates and mesmerizes me, despite having the harshest vocals on the album, which generally I'm not fond of. But the riff to this song is so driving, so compelling, it will not be ignored. Once again, the metal guitar work on this album is simply very good, it hasn't become indifferent playing beneath the experimental influences. The vocals on this album are far from stellar, but they work well enough, ranging from low and melodic, to mysterious whispers, to the harshness of the last track. At some points, especially "Of Dream and Drama", he sounds a bit like Pete Steele from Type O Negative. The vocals have vastly improved from the last album, not so much technically, but viscerally, in the way they manage to fit so well and compliment each section of a song. A glowing, clean, and vigorous production wraps the whole dark symphony up wonderfully.
SHADOW GALLERY-Carved in Stone
(Magna Carta)
Magna Carta is a label catering to those with a penchant for progressive music and intellectual lyrics, and while Shadow Gallery lives up to those expectations, it offers more of a familiar metallic edge to the music, along with more focused song structure. This band produces songs crossing mellow heavy metal with classical music and rich melodies, excellent songwriting and a deft emotional touch. Don't expect a blazing metal edge to Shadow Gallery's music, but the album nonetheless gets across strong emotions. The songs are carefully written, and for the most part elude the trap of self indulgent arrhythmia profligate in progressive metal. And yet, the band manages to display tremendous talent and passion for their art. The last track, the 23 minute, multi-sectioned "Ghost Ship" goes farther into that ultra-progressive territory then the rest of the songs (But even sans this epic the album is over 50 minutes long). If you enjoy Queensryche, Dream Theater, and Savatage at their mellower moments, mixed with a strong classical background, this domestic disc is quite appealing, and I've really begun to enjoy their excellent chansons...
SAXON-Dogs of War
(Mayhem)
Saxon returns in faithful heavy metal fashion on their latest disc. Though this work is not necessarily that heavy, and leans on the commercial side of their catalog, it still represents the band continuing to play the same kind of songs they've always played. The band has always put out pure heavy metal that could range from extremely accessible songs, to heavier and more serious anthems. (The band seemed to have had a rather curiously schizophrenic lyric writing approach, for they always seemed to either be writing about some obscure historical incident, or about how much they liked to rock. But it was always satisfying..) This album features a title track which I love, full melodic aggression with a great hook."Hold On", on the other hand, is much more oriented towards being ear candy, but is such a marvelous, catchy tune that I can't help but enjoy it. Three cheers for these Brits for not letting the oppressive trends on the landscape alter their style one whit, and a grateful but curious eyebrow as to how this album was actually released in the states!
MAGELLAN-Impending Ascension
(Magna Carta)
With a title like this I have to love this album! Magellan is a little more consistent with their labelmates than Shadow Gallery is, leaning more strongly to the progressive end of the spectrum. This disc, while still providing the exercise of long, instrumental rampages, still manages to focus the songs a lot better then many ultra-progressive bands, and the results can be absolutely stirring, amazing music. The music is a cross between Dream Theater's more robust presence, Marillion's complex spectral soundscapes, and a hint of Queen's brashier layered vocals mixed in. Quite entertaining, though leaning farther away from the metal perspective even then their last album, with the prominent progressions of pulsing power and major chords pressed out on the keys. Lyrically, the band maintains an intellectual edge of richly historical subjects on some songs, along with social commentary and literary allusions on others. If thoughtful, progressive music, that doesn't always need a metal edge, satisfies you, then this should fulfill thy needs.
THE GATHERING-Mandylion
(Century Media)
This album is a great surprise, transcending the horribly limited bass-static vox that really dragged down this Dutch band's first album, Always (Mandylion is their third.) Those lower-than-a-basement death vocals are traded for a female vocalist, Anneke van Giersbergen, with a beautiful, rich, and slightly unusual tone to her voice...One that is very passionate, exquisite, and mesmerizing. Not only has the band improved greatly in the vocal department, but they've really improved their songwriting, no longer content to simply play some pretty, elegant melodies here and there in a complex song structure, now the chansons are much more deliberately focused, with obsessive choruses carefully integrated into the overall album. The overall feeling is somewhat akin to Solitude Aeternus with a female vocalist or Sacrilege with more concise and metallic songwriting. The lyrics actually have dipped a notch from their first CD, some of them dealing with grand subjects in a rather odd way ("Strange Machines"), others reflecting more personal and less expansive themes ("Eleanor"). But they still capture an elegance of emotion and fervent beauty. They are more than enough to combine with the stunning music on this disc to create a truly memorable album, and one of those unique creations with such power and originality that it seems to appeal to fans of all the genres of metal, from avant-garde doom to traditional power metal. All in all, easily one of the top ten albums of 1995.
FORBIDDEN-Distortion
(Massacre)
Bay area mainstays have finally released their third studio album in the U.S. , and it's rather what you might expect from a band like this these days. It combines their excellent, and strongly melodic thrash stylings from the past with more of a modern feeling, creating some great songs, some weak songs, and some in between. I really enjoyed the title track, bursting through with raw yet focused energy, and even though you can definitely hear the modern influences, including some industrial effects over just a couple of words in the vocals, there's still a solid, fast, and sharp enough metal edge to really get me into the music. "Hypnotized to the Rhythm" also offers a pretty strong offering of melodic-gloved aggressiveness, as do about three of the other tracks. Other songs, like "Rape" fall closer into the modern valley of anger, where rage is expressed with a lot of monosyllabic words repeated over chunky riffs, which has quickly become a presentation of emotional inanition. "Twenty-First Century Schizoid Man" is a pretty weak closing track for the album, at over ten minutes it runs through most of the less satisfying trends present in American metal, huge amounts of lyrics processed through industrial voice machines, uninteresting musical arrangements...and to be honest, that blank space before the song finally ends is just really no longer that amusing a trick. I don't mean to sound too negative about this album, overall, I did enjoy it, especially culling a couple of the weaker tracks, but I doubt those steadfastly into traditional metal and thrash will be rewarded by this album. Those who have a bit more tolerance for the modern tendencies may really enjoy this, it still has a lot of power to offer that doesn't lose sight of melody or feeling.
MENTAL HIPPIE BLOOD
(Metal Blade)
I try to sound as positive as I can about bands, as you may have noticed, and give them the benefit of the doubt, but this album just does nothing for me, not offering the slightest musical excitement or pleasure whatsoever. You can tell from the band's name they're probably not going to be writing a 21 minute epic about a fantasy battle, or seeing how fast a glorious classical lead they can play... Basically, to me this feels like a lukewarm combination of Pantera and Stone Temple Pilots/Pearl Jam. That makes for a pretty uninteresting combination. I suppose for what it is, it's not really bad, and some people into this style of music may enjoy it. But to me, it combines modern trends with a drowning ennui of flaccidity which I just can't swim out of.
CHANNEL ZERO-Unsafe
(Metal Blade)
This Belgium band isn't quite as blatant a styling of Pantera and Biohazard as the press sheet might lead you to believe...but it may as well be. The band's attempts to mix such aforementioned modern American paragons with a little more diversity doesn't help it from being another album that to me seems achingly uninteresting. Plodding riffs alternate with vocals that range from the rhythmic chanting to angry screaming. There's some decent singing in some songs, and occasionally a more interesting guitar riff or lead, but not even close enough to make me want to listen any more to a free promo...not to mention how little I'd want to spend money on this. As a disclaimer, I'm not a fan of this style of music, but if I was in the mood, I think I'd be much more content listening to Vulgar Display of Power or Urban Discipline. I can't believe Metal Blade went to Europe and came back with this band. Sigh....
"Fear no more the heat o' th' sun
Nor the furious winters' rages
Thou thy worldly task has done,
Home art gone, and ta'en thy wages.
Golden lads and girls all must,
As chimney-sweepers, come to dust
The sceptre, learning, physic must
All follow this and come to dust.
Fear no more the frown o'th' great;
Thou art past the tyrant's stroke.
Care no more to clothe and eat;
To thee the reed is as the oak.
The sceptre, learning, physic must
All follow this and come to dust.
All lovers young, all lovers must
Consign to thee and come to dust."
-W.Shakespeare
I have a guest reviewer this issue, please welcome Michael Francisco, dedicated metal fan extraordinarire, from Cincinnatti, Ohio, here to extrapolate on some of the heavier bands from across the Atlantic!
Greetings of Death, noble fans of Craig's Metal Board. My name is Michael Francisco, and let me tell you what an honor and privilege it is for me to contribute my character to such a profound genre. Craig has vouchsafed me to excoriate the best and current releases from the Nordic Realms of Midgard. Although, as of late, a whole host of god-awful Black Metal bands have migrated from the North, penetrating the stagnant death-metal sound, there are a few artists who actually play their music with feeling and emotion in line with some of the true power metal Heroes...
All bands are available via: Relapse Records, P.O. Box 251, Millersvile, PA 17551/1-800-303-0606. The first of these bands comes from the Netherlands. Their name is Phlebotomized--a strange name, indeed, without the Luciferic connotations. The name literally means "blood-letting"--actually it is the process a spider uses to desiccate its victim. (Funny, King Diamond makes no allusion on his current magnum opus). I find the name quite fitting, because after one heart wrenching listen to their debut album-"Immense Intense Suspense" I feel totally drained. The grind-baritone vocal chords are intense enough to drive anyone into a frenzy. Actually, I find the vocals to be the only downside to the band and its seven members. When I listen to music I like to be able to decipher the lyrics accordingly, with this band you definitely need your lyric sheet. It's quite a shame they opt for this vocal style, the lyrics are amazing and quite descriptive. Songs like "Barricade", "Subtle Disblanced Liquidity", and "Mellow are the Reverberations" cast the listener into metal suspense. The essential reason I endorse this band is because their music is spectacular. What an immense arrangement of musical paradigms. I should mention that they have a full-time violinist, flute player, and keyboardist, as well as the canon of guitar, drums & bass. Like The Gathering they truly play their hearts out. When you think the song is over--it is really only beginning. The melodies evoke such enthusiasm in me that I transcend the garrulous vocals and cast myself into pure metal bliss. Just like Dan Swano of Edge of Sanity, their vocalist can sing--evidenced by the last track "Gone" which is sung! Overall I highly recommend this band to anyone who enjoys classical overtones in their metal appetite. If you like The Gathering or Amorphis give these Dutch indies a shot. [Editor's Note:I wasn't nearly as enthusiastic about this band as Michael is...The band seems talented enough, and the classical effects are interesting, given the truly heavily metallic feel of the music...but to me the classical effects were really only that, and the songwriting structure sounded pretty desultory to me at times...rather boring slow sections, mixed with a lot of flights into senseless hyperdrive double-bass ala more standard death bands. But the biggest problem I had were the harsh, true death vocals of this band, which not only offered me none of the melody or at the very least, crisp rhythm, that I desire in my vox, but they just grated with that senseless rasp that simply isn't my cup of tea. If you're not a fan of the really harsh death vocals, like I'm not, better stay away...CRAIG]
Another band bridging the barrier between heavy metal and classical music is Storm. This is not so much a band as it is a project. Each member comes from a well-known metal act. The founding father is Satyr Wongraven from the Satyricon camp; next up there is Henke the drummer of Darkthrone; and finally the lovely and ever so attractive Kari Rueslatten from 3rd and the Mortal. [I never exactly thought of Satyricon and 3rd and the Mortal as "well-known"-CRAIG] As far as these bands go I do not really like their music or style since it so ridden with occultic imagery [I think that Mike is not including 3rd and the Mortal in this statement, since their ultra-melodic style seems inapposite with bands like Darkthrone-CRAIG], however Storm is something totally other! The whole concept is to play Norweigan Folk songs: "Norsk Nasjonalromantisk Musikk." Each song is a traditional piece played with heavy metal verve. Kari's vocals are sublime, and the chant-like overtones send chills down my spine, although, admittedly, I don't understand a single word since all songs are performed in their native tongue. This is only a project demonstrating the artists' true fondness for their homeland, so try to obtain a copy before it becomes obsolete.
This next band which I chose to review has called it a day, but you can still get this album on House of Kicks. The band is called Merciless from Sweden-the album is Unbound. These guys don't keep up with their death metal contenders, rather they opt for a reversion to the German style thrash which influenced their quick-paced sound. If you pine for the sounds of Kreator's Pleasure to Kill, Sodom's Persecution Mania, or Protector's Gollum, then Merciless is the band for you. Their first outing-Awakenings (out of print) was mere re-hashed Kreator with no feeling and rather pejorative lyrics. The next attempt, Treasure Within, was better, but it still lacked any real passion. This 'new' album far surpasses any endeavor--it reigns true thrash, power and aggression with well written lyrics. The title track "Unbound" says it all, but the chorus in "Land I used to Walk" states what's on most metal hearts. "All I hear is useless talk...where is the Land I used to walk?" In this song Rogge is referring to the passe sound of Metal at present. He, like me, truly yearns for the Metal of the Past! Just when my neck begins to feel the first signs of fatigue from raging to the pounding rhythm the band slows things down with a song which evokes all the memories of a medieval maritime tradition. The track "Back to North" sends me to the realms of my ancestors. The viking pillaging with wrath and rancor, while invoking the Gods of Eisengard. This eight minute opus has so much power and awe with an interlude that reminds me of the sea faring sounds of Running Wild. Overall, Unbound is a true-passion play. The CD also has a very colorful lyric book laced with mind blowing artwork by Krisian Wahlin. The only setback, aside from the muddy production, is the last track "Forbidden Pleasures" with its blatant sexual overtones. Personally, I dislike sexual themes in metal--it detracts any wisdom or intellect from the genre, replacing it with sybaritic nonsense. Unfortunately, some of the best bands ever employ this gimmick. [Editor's Note: Again, I wasn't nearly as taken with this as Michael was...Fairly decent music in the more aggressive range, but the vocals are the utterly harsh death variety...if that burdens your musical pleasure as thoroughly as it does mine, perchance not the band for you.-CRAIG]
My final choice for critical censure is the band Unanimated-also from Sweden--actually a remnant of Merciless. St. Jarvind the drummer plays in both bands. Their latest effort Ancient God of Evil trounces Forest of the Dreaming Dead (Pavement in U.S.) with its lame production and oft times black imagery and lengthy "wind blowing sound effects" to fill space. Has not Bathory done this ad nauseam? Yet here we are with a brand new album and a much improved sound. This album, also on House of Kicks, with its full color lyric booklet and 'shocking' album cover is incredible. The music is more in line with such Scandinavian icons as Dark Tranquility, In Flames, Dan, and Ceremonial Oath (new). There are no black metal overtones here, just pure poetic lyrics and a rather macabre fascination with death like E.A. Poe="Life Demise", "Dead Calm", "Dying Emotions Domain", "Die Alone"--you get the idea. The music is so serene and there are not any keyboards, even. I love the vocals--like Mille of Kreator, and the sweet leads echo with harmony. Incidentally, they thank many early metal bands for inspiration, including Accept, as well as a whole series of decent other acts of today. [Editor's Note:Ahem, well, yet again, a band I'm not nearly as enthralled with. Powerful, aggressive music, with a tight, controlled edge, somewhat along the lines of Desultory's Into Eternity. The vocals have the full-out death rasp of that Desultory disc, and Paradise Lost's Gothic, no real melody to restrain the unbridled brutality. Not for detractor's of death vocals...-CRAIG]
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