Review: Baroness – Purple

Does a trip into Floydian atmospheres save Baroness on their fouth LP release, Purple?  Not by much.

I’ll be the first to admit that I haven’t really gotten into Baroness. I know that they have some freaking awesome album covers, all thanks to frontman, John Baizley, and their sound is placed deep in the stoner metal/sludge metal corner of metaldom.  Let’s say, Mastodon with a decent vocalist — well, maybe I’m getting a little ahead of myself.  Baroness is a gateway band, a collection of everything that makes sludge/stoner music the delightfully muddy noise that it is.  However, Baroness enjoys throwing in a little atmosphere, here and there, and their latest album, Purple, brings this experiment to the forefront.

The latest primary color record is exactly what it sets out to be:  a combination of Blue[‘s] experimentation and Red[‘s] crunch.  It is clear, straight off, that the band decided to take a mainstream approach to songwriting, in that the structures are simple and melodic, but thick with metal textures.  Now, for the love ov God, don’t let that dreaded word, melodic, soil your skirt.  For the most part, this shit is lyrically and musically heavy. By throwing down hard rockers, such as, “Try to Disappear,” and adding beautiful, production-heavy flavors in the likes of, “Chlorine and Wine,” Baroness found their formula, not quite progressing or adding anything new, but merging the pieces found across their four LP discography into a sound summary.

Album singles, “Shock Me,” and “Chlorine and Wine,” have enough melody and technicality to keep the listener interested and show the bands’ musical maturity.  However, outside the more melodic, mass appealing tracks, we are served a helping of generic stoner rock/metal musings.  Take album opener, “Morningstar,” for example.  The track throws down some nice, sludgy riffs, but a lackluster, attempt for melody in the chorus throws the fan, and casual listener, off immediately.  Not a good way to start the album.

The entire album, unfortunately, suffers in this lack of engagement.  It’s nice.  It’s heavy.  It sounds pretty. But, have I wanted to go back for repeated listens? Not so much.  And, in the world of music reviews, this is the final nail in the coffin. Maybe my vision is obscured by Neurosis, Kyuss, Mastodon, and Melvins.  Maybe I’m turning into that typical, pretentious asshole again; who knows? Purple does little to add to the territory paved by their forebears, and that seems to be the overlying issue with the stoner subgenre.  It’s becoming too laid back.  See what I did there?

That said, the album’s production and technical value is top notch.  It’s clear to the listener that Baizley and co. understand the sound board and they create beautiful, atmospheric layers that touch a variety of emotions.  Again, I go to “Chlorine and Wine.”  By production alone, the track transcends beyond mere sludge and brings out the collective talent of the band members.   Just listen to the gorgeous intro and Devin Townsend-esque wall of sound in the track’s conclusion and you’ll see what I mean. The album’s mix also deserves attention.  Each instrument is crystal clear, the guitars and drums placed at the forefront to continue that in-your-face technique.

Baroness’ fourth LP is a trip into bittersweet sludge.  I want to like it, I really do, but the band deserves something more than a squeaky, polished edition of past explorations.  Oh, and please feel free to check out Baizley’s artwork.  It will really tie your room together.

RATING:  3/5

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Review: Ghost – Meliora

Tobias Forge — ahem, Papa Emeritus III — and his band of ghouls continue their metal deception and push humanity further and further into darkness with their third LP, Meliora.

Let’s take a step back for a moment and appreciate that album art…

Done? Okay, let’s go!

Ghost’s evolution is one of the more interesting stories in the music scene.  These guys hit the market hard, pumping out “Satanic” heavy rock with a little gimmick attached.  Whether the band’s anonymity or music has more weight in their popularity is up to the listener.  Either way, the showmanship would ultimately falter at some point, but Ghost keeps coming back with hard hitting, catchy, fun material.  I will even go as far to say they will be the next big thing in rock, even with the whole Satan nonsense.

The key to this success is their listener friendly approach to metal.  I say “listener friendly” because melody, harmony, and 70’s style vocals are not exactly by-the-books metal fashion.  Their debut, Opus Eponymous, boasted the band’s heavier side, while still holding onto Blue Oyster Cult-isms like “Ritual” and “Elizabeth.”  Then, their sophomore performance, Infestissumam, added symphonic, poppy elements for wider appeal.  It worked.  And, their fan base grew.  You and I both know metal bands who broaden their sound are not exactly “praised” in the metal community.  Yet, as I said, it worked. Ghost’s 2015 release, Meliora, combines these styles into their strongest effort yet, a complete, fun, consistent compilation of Satanic pop metal.  If that’s not an oxymoron, I don’t know what is.

We open with Spirit,” an anthem that does well to introduce the style and overarching concept of the band.  I’ve noticed, throughout Ghost’s discography, a Nietzschen concept of Godlessness, not purely Satanic as critics are so quick to point out.  Of course, their message and lyrical landscapes are overwhelmingly Satanic, but within all the showy, creepiness lies a conceptual progression.  Ghost’s overarching message lays a path, progressing past Opus[‘] prophetic doom and Infestissuman[‘s] anti-Christ possession. “Spirit,” describes the world without God, utilizing choirs and symphonic elements to really drive that point home.  You won’t find any hope in this record, but by God — pun intended — will you feel pleasurably overwhelmed.

Although mostly guitar driven — check out “From the Pinnacle to the Pit” for riffage gold — the instrumentals take an early step back in favor of melodious, almost poppy verses and choruses.  Album single, “Cirice,” which is (not surprising) the album highlight, has goose bumps written all over it.  Stylistically complex, the track moves from a Sabbath-esque riff to a gorgeous chorus reflecting on the inner passion of humanity.  As usual, Papa’s vocals are hopeful, yet sinister and contribute to the unpredictable instrumentation:

Now there is nothing between us
From now our merge is eternal
Can’t you see that you’re lost?
Can’t you see that you’re lost without me?

-Ghost, Meliora, “Cirice”

The record then reaches poppy heights in the Abba ode, “He Is.”  Yes, you read that right.  Abba ode. This is probably the only love song to Satan in existence. If not for the lyrics, this track could very well stand in the U.S. charts as an allusion to the ol’ 70’s Swedish pop movement.  It’s hard not to appreciate the risk the band took with this track.  I mean, let’s face it, metalheads aren’t exactly known for accepting pop anthems from their idols.

Don’t confuse ambition with dumbed down songwriting, however, because Meliora does not lack for heaviness.  “Majesty,” “Absolution,” and “From the Pinnacle to the Pit,” each feature enough driving riffs and general badassery to make even the most skeptical headbanger nod their head.  What separates Meliora’s songwriting from the band’s preceding performances is consistent variety.  Each track can stand on its own, but meld together to give the album a distinct identity.

Meliora is the product of an experienced outfit.  From the mature experimentation to the surprisingly catchy songwriting, Ghost continues their dominance over the metal industry.  I think it’s safe to say this is an Album of the Year contender.

RATING:  4.75/5

Disclaimer:  All rights, properties, and content of the header image belongs to its owner.  Image found at http://fotonin.com/data_images/out/10/833027-immortal-wallpaper.jpg.  I have, in no way, used said image for profit.

Top Ten: Autumn/Winter Albums

As I’m all hopped up on caffeine and waiting for the time change — yes, adulthood makes you excited for an extra hour of sleep — I was hoping I could get in a list of albums to listen to over Halloween.  Or, this could be thought of as a list of Autumn/Winter albums if Halloween stops on, well, Halloween.  So, if you can’t get enough of the chills and general creepiness, look no further.  Sit back, rub on some corpse paint, grab your skull goblet, pour yourself a nice helping of wine, and enjoy.  Oh, and please do not debate the rankings, as this list reflects no order.  Let’s go!

10.  Ulver (Shadows of the Sun)

Kicking off, we have one of the more interesting bands to grace the music industry.  These guys debuted as a blackmetal/folk band, evolved into an industrial/electronic outfit, then peaked as an ambient/experimental group.  Shit, have you ever tried finding so many different forms of the word, “band?”  Back to the subject, Ulver’s 2007 LP Shadows of the Sun serves as a great transition album from summer to autumn, hinting at rainy days and darker nights, but still possessing a sense of hope.  This hope climaxes during the vocal crescendo in “Vigil,” a truly breathtaking moment. I apologize for the early pretentiousness.  Don’t worry, cussing and jokes are not far behind.

9.  Opeth (Blackwater Park)

Let’s pick up the volume a little bit.  I’m thinking a demonic roar in the vein of Mikael Akerfeldt within Opeth’s signature record, Blackwater Park.  Spin this LP during those rainy, miserable days, the moments requiring “Bleak[‘s]” crushing riffs and the subsequent track, “Harvest[‘s]” acoustic beauty.  Then, when the storms come, blare the title track and piss the fuck out of your neighbors.  That’s okay though.  They’ll be headbanging after the acoustic interlude.  You metal heads know what the hell I’m talking about.

8.  Simon And Garfunkel (Parsley, Sage, Rosemary and Thyme)

Yep, that’s right; Simon and Garfunkel, the pop-folk artists of the 70’s.  These goofy lookin’ fellas are directly below two extreme metal juggernauts.  Reviews From the Other Side don’t care about genres.  Anyways, this is one of the more overlooked S&G LP’s, and evokes a beautiful autumn sensibility, especially in album opener/cover, Scarborough Fair. If Transylvanian Hunger is great for a nighttime stroll, then this is perfect for a morning hike through the woods. Beautiful harmonies, folky acoustics, and Paul Simon songwriting make this the fall record.

7.  Summoning (Dol Guldur)

Possibly the only good result of combining Cassio Keyboards and programmed drums, Summoning’s Dol Guldur brought Tolkien’s epic musings to black metal.  This is a mysterious set of tracks chock full of black metal tremolo picking, but delving more into atmosphere than sheer coldness, as evident in the slow tempos and echoing drums. As the weather cools and the fires start burning, the reverb-heavy atmospherics of this Swedish duo makes for a rewarding listen, preferably in a mountainous setting.

6.  Nas (Illmatic (What else?))

Generally, Nas’ monumental debut LP is praised for its storytelling ability. Yet, few have discussed the MC’s knack for writing and performing dark lyrics. DJ Premiere cannot be overlooked, as his highly layered beats and apocalyptic soundscapes make “N.Y. State of Mind,” and “Memory Lane” truly haunting.  You don’t have to live in New York to feel the hardship Nas experienced, nor the dying feeling evoked by the record.  Illmatic is best listened to during the transition from fall to winter.

5.  Darkthrone (Transylvanian Hunger)

Transylvanian Hunger is an album that’s so cold, it made Burzum’s Hvis lyset Tar Oss look like a carnival tune.  I’m assuming whomever is reading this knows the black metal scene, at least somewhat, to know the impact of this record.  Part of Darkthrone’s Unholy Trinity, Transylvanian Hunger is great for cold walks in the woods, wandering aimlessly while moonlight peeks through the trees.  That is, if you don’t mind a little Lo-Fi production, shrieked vocals, and repetitive riffs.  A great start to the fall season.

4.  Agalloch (Ashes Against The Grain)

Boy, was this a challenge.  I was torn between The Mantle and Ashes Against The Grain because, let’s face it, the soundscapes in both albums make Everest look like a dream vacation.  I know, that’s pushing it slightly.  However, my decision came down to one track:  “Falling Snow.”  For some reason, this song only affects the listener when its snowing, transforming with every crescendo, every chord, every raspy lyric, but only with the falling snow; otherwise, it just sounds like any other Post-Rock piece. That’s being harsh, but you get the point.  To truly feel the effect of winter, Agalloch is your best bet, an experimental, American black metal band unafraid to explore regions of metaldom too taboo for the average kvlt fanatic.  Mayhem fans, steer clear.

3.  Immortal (At the Heart of Winter)

What do you get when you mix thrash and good ol’ fashioned black metal? Immortal, of course.  These guys have a knack for writing freezing, complex riffs and do so with actual, top notch production value!  Blustery winter days demand the playback of At the Heart of Winter, preferably a full front-to-back with plenty of crab walking/headbangingas is common amongst black metal thrashers.  Well, maybe Abbott, anyways.  For maximum scale, crank the amps to eleven during “Solarfall.”  When that second riff hits, you’ll feel like you’ve been struck by a blizzard with gale force winds.

2.  Burzum (Filosofem)

Despise the guy, love his music. That’s all I gotta say about Burzum.  How does Filosofem sound so terrible, yet so brilliant at the same time.  This album is the definition of hopeless, a purely atmospheric effort scattered with catchy melodies and haunting, distorted vocals and guitars.  Think of it as more of a meditative, ambient listen for those long winter nights, you know, the nights that seem to go on forever, with only a wall between you and the bitter cold.  “Beholding the Daughters of the Firmament” — English translation of the title —  personifies snowy, windswept plains, while “Dunkelheit,” brings forth feelings of longing and sadness. Break this out mid-winter, but do your best to listen to something a little more upbeat later.

1.  Emperor (In The Nightside Eclipse)

Two steps and that’s all you’ll need for this one:

1.  Stare at the album art.

2.  If your iPod/music player can handle it, play “I Am the Black Wizards” when the temperature drops below zero.  You’ll thank me later.

Disclaimer:  All rights, content, and properties of the header image belong to its owner. Image found at http://fotonin.com/data_images/out/10/833027-immortal-wallpaper.jpg.  I have, in no way, used said image for profit.

Live Review: Ghost – Black to the Future Tour 2015

Smoke, costumes, and Satan. What else can you ask from Swedish phenom, Ghost?

Okay, picture this:  you get tickets for this little band called Ghost or Ghost B.C., whatever the hell the United States music industry uses to sabotage the band’s namesake.  You don’t exactly know much about them besides the fact they make kickass shirts and walk around in costumes.  After wading through an explosive, psychedelic attack from English mind burners, Pursun, you think, “Hey, this might be an interesting show, an acid rock meets Halloween-type stunt with theatrics.”  Yet, then you notice that, for the first time in a long time, the concert venue is freezing cold.  Incense burns at the stage corners, gregorian chants echo from the speakers, and soon, the Nameless Ghouls start ripping at their instruments.  The crowd swells as Papa Emeritus — the anti-pope — cues set opener, Spirit, with Satanic madness.  This is a metal show, through and through.

I was converted.

It was obvious, as soon as the doors opened, that this was going to be an interesting spectacle.  Cosplayers — yes, you read that right — were scattered throughout the venue, inside and out.  Shit, I don’t even know why I’m writing like that’s a bad thing.  I even took some photos with a Nameless Ghoul before his inspiration started their set.  Near the end of the performance, Papa himself acknowledged a well done imitation, so every other viewpoint is void.  If Papa Emeritus says it is good. It is so.  And so it is.

“And don’t you forget it.”

But, that’s besides the point.  The crowd, for a medium sized venue, was passionate and loud, contributing to the experience with chants and sing-alongs.  For instance, with little guidance, every voice echoed from the rafters during, “Per Aspera Ad Inferi,” and it was obvious the band fed from the atmosphere, especially the guitarists, who, despite being masked, produced an electrifying, but dark stage presence. It was obvious these were no ordinary, rookie musicians trying to make it big.  They knew what the fuck they’re doing. Yet, we’ll probably never know their identity.  Once the haze surrounding Ghost’s lore disappears, and the world decides to pick on Slipknot again, we’ll ultimately learn that Jackson Browne and Dave Grohl decided to pursue that metal career they always wanted.  Don’t believe me?  The latter is actually probable.

So, enough about stage presence.  Who wants to read about atmosphere in a live review anyways?  Let’s talk about the goddamn music! I like to think of Ghost’s sound as if 70’s pop/hard rock took a stage dive into hell.  It’s odd. It’s enchanting.  It’s evil as hell. The setlist moved between the band’s three LP’s, providing a nice balance between heavy, balls to the wall metal anthems, courtesy of their debut record, to mid-tempo, atmospheric movements, and Abba-esque balladry. Oh, them Swedes…You Ghost fans know what track I’m talking about. Don’t get me wrong, “He Is,” is a damn great pop song, complete with moving melodies and beautiful harmonies.  Yet, it’s absolutely hilarious to see five musicians perform such an uplifting song about Satan.

WP_20151006_005

There was plenty of chaos to go around, from the explosive rendition of the band’s breakout track, “Ritual,” to their closing anthem, “The Monstrance Clock.”  Yes, at times the band sounded almost too good, all thanks to the playback guy doing what playback guys do.  Or, is it the sound guy? There’s so many “guys” in a production.  However, playback was expected.  The band utilizes multiple vocal layers in tracks like, “The Monstrance Clock,” and, “Deus Culpa,” not to mention bombastic, wall of sound production in tracks like “Infestissumam.”  God, I wished they performed that song. “Per Aspera Ad Infeni” didn’t feel the same without its over-the-top introduction.  Anyways, you guys get the point.  Ghost can’t be at fault for adding layers to the live production.

Overall, Ghost showed St. Louis why they are one of the leading modern metal/hard rock acts.  They brought theatrics in a hyperbolic sense, never quite taking themselves too seriously, but pushing boundaries enough to hike up the creepy factor.  It was all in good fun, a night punctuated by a classic hard rock sound, which, along with Pursun’s psychedelic introduction, provided audience members a nostalgic experience.  These guys can fucking play.  Go see them and bow for Lucifer’s Son!

RATING:  5/5

Disclaimer:  All rights, content, and properties of the header image belong to its owner.  Image found at http://i.ytimg.com/vi/CnJ0i2AipXY/maxresdefault.jpg.  All rights, content, and properties off body image 1 belong to its owner.  Image found at https://pbs.twimg.com/profile_images/501584135958171648/T0qqgVxF.jpeg.  I have, in no way, used said images for profit.

Review: Iron Maiden – The Book Of Souls

If Eternity Should Fail, at least we were able to hear The Book of Souls.  Is it safe to say Iron Maiden made a second comeback with their 16th LP?

Again, I apologize for the long lapse in reviews.  I had some personal issues, a move, and general writers block to attend to.  However, this is a metal review, damnit! Ain’t nobody got time for excuses.  So, let’s go!

Here we are, the peak of 2015’s metaldom. On one end, you have good Queensryche (and…well, Geoff Tate’s solo project) pumping out a new record, then you have Nile, Slayer, Motorhead, Soilwork, Ghost, even Coheed and Cambria — we can count them as metal, right? — upping the ante.  Shit, even Disturbed decided they weren’t going to sit quietly while the cool kids got to play. The list goes on and on. So, what better way to kick off the fall season other than Iron Maiden’s double album machine, The Book Of Souls?

My expectations were strangely low for this record. Perhaps a result of Maiden’s irrelevant, lack of inspiration in their predecessor, The Final Frontier.  Perhaps I was just pissed that Derek Riggs checked out of another Eddie opportunity.  Whatever, it doesn’t matter.  The first notes of, “If Eternity Should Fail,” grabbed that cynicism and castrated it.

Attribution: mirror.uk

Credit: mirror.uk

Yep, sit on that metaphor for a minute.  Oh, right, this isn’t a death metal review; my fault.

Initially, the band’s creativity returns with trademark energy and galloping riffs, all the while holding onto the darker, fuller sound of their post-Blaze era songwriting.  There are even hints of Seventh Son keyboards, serving the sound tastefully without delving into cheese territory.  You’d expect Steve Harris’ songwriting ability to falter, especially after the Maiden sound collage in The Final Frontier, but here, the structures, melodies, even the instrumentals, feel fresh and purposeful. I mean, each member — sans Niko McBrain — has multiple songwriting credits throughout the LP’s 11 monstrous tracks.

Maiden CD

Credit: Cover Dude

There’s no clever reason for this picture.  Eddie is just fucking awesome.

To put this in perspective, Steve Harris rarely attributed more than a few tracks to other members throughout Maiden’s tenure.  Such a melting pot of ideas breeds countless opportunities for failure.  I’ll admit the variety of credits turned me off at first, especially the Janick Gers note attached to “Book of Souls.”  Boy, was I wrong.  The album flows with the gallop of Harris, punctuated by Dickinson’s typical lyrical expeditions.  I say expeditions because, let’s face it, the guy cannot develop a typical verse/chorus/verse about cliche metal nonsense.  He’s the fucking Air Siren! If he wants to talk about triplanes in “Death or Glory,” then he damn well please!

Some may call The Book of Souls a pointless cash grab, but there is no way, no way epics, “The Red and the Black,” and the double LP’s title track reflect an uninspired effort. Sure, it’s hard to believe, other than contractual reasons, that Iron Maiden needs a third guitarist — no disrespect to shredder, Janick Gers — but solos are half the makeup of Maiden’s general sound.  So, to that, Reviews From the Other Side says, “The more, the merrier!”

Although the band’s songwriting takes a fresh breath in Book of Souls, there are moments of career-repetition scattered throughout the record, from copycat riffs to all-to-familiar song structures.  Luckily, we don’t get another, “Blood Brothers,” clone.  I’m looking at you, “No More Lies.” However, instead listeners suffer through a “Wasted Years” ripoff introduction riff in “Shadow of the Valley.”  This is more of an annoyance than a crutch. What else can you expect from a band whose discography stretches over fifteen LP’s, not including EP’s or live recordings/bootlegs?

Also, as is the bane of most double albums — unless we’re talking The Wall or any given Who rock opera — The Book of Souls suffers from the scope of its vision.  There are times, as in, “The Red and the Black,” where the need for epicness outweighs the will of short sighted listeners like myself.  I’m all for an epic sound, but when every track goes for that giant sound, the overall feel of the album starts to feel overblown. Iron Maiden successfully blended epic structures in the past, but practiced restraint, confining those over-the-top tracks into a section of the album.  Here, the band pushes extended running time over the cliff.

That said, each member contributes their talents with technical, musical prowess.  What else could you expect from these guys?  They’ve experienced the ups and downs of metaldom.  Shit, the band went through a mid-career lapse in musical inspiration, thanks in part to the Air Siren and Adrian Smith’s departure.  Yet, they bounced back, not once, but twice.  The Book of Souls places the spotlight on each member’s contribution, serving as more of a historical insight to Maiden’s discography than as a progression.  To that, I’ll say it again.  Lean in close so you can see the screen.

16 albums!

RATING:  4.5/5

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Review: Symphony X – Underworld

With their latest LP, Underworld, Symphony X taps into their neoclassical roots to create one of the more entertaining listens of 2015.

Yep, I’m doing a 180 here. When a band does what they do best, it’s hard not to appreciate their effort.  Because, let’s face it, Symphony X lays it all down on their latest studio album, combining past and present influence into one of their more consistent records.

Now, before you get all “Make up your damn mind!” on me, know that this is a record burdened by familiarity, pushing more of an Iconoclast sound over, say, their coined The Divine Wings of Tragedy’s Gregorian, neoclassical epic approach. However, where Iconoclast felt pointlessly heavy, Underworld amplifies that heaviness, all the while grounding listeners with the complex, beautiful, and might I say “cleaner” songwriting of their past.  There’s reason to Romeo, Allen, Pinnella, and Rullo’s style again. This is a testament to Romeo’s obsession with Christian mythology.  Look at it this way, when a prog metal album’s concept is loosely based on Dante’s Inferno, how can you not make the material heavy as shit?

“Underworld,” with its punchy, galloping chorus, accented by Russel Allen’s binary vocal style, complements this sound realization, reminiscent to Paradise Lost’s symphonic numbers.   Now, with that in mind, you won’t get anything new on this album.  That’s where this album suffers most.  Underworld feels more like a continuation of Symphony X’s newfound appreciation for metaldom, rather than a musical progression.  At this point, you must ask:  What else do these guys have to prove?  They rode Dream Theater’s wake, producing an organic combination of power, prog, and neoclassical metal, then darkened the progressive genre further, incorporating harsher vocals, blast beats, and heavier riffs.   And, hell, the blast beats in “Underworld” will most definitely take the casual prog listener out of the equation. But, to say Underworld is uninspired is an insult to the band’s legacy and meticulous effort to separate itself from dreaded Dream Theater imitation.

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Credit: Blabbermouth

Does the album feel Nuclear Blast-esque?  Metal heads will understand that statement.  The LP, as feared, suffers from the band’s overwhelming metal obsession,  “Without You,” condemned as more of a sellout, derivative “Paradise Lost” clone, contains some of Russell Allen’s most passionate vocals.  So, power prog Symphony X fans listen up.  The clean voice has returned! That’s enough to give Underworld a star in itself.

“Without You,” brings back the band’s classical influence to the forefront, replacing complexity with good ol’ fashioned emotional songwriting.  Same with “To Hell and Back.” The track’s introduction adds atmosphere to the LP, then leads to guitar, vocal, and rhythm excellence, courtesy to each band member’s famous precision.  Again, “To Hell and Back,” is more of a listenable track — oh God, not melody! Melody doesn’t belong in metal! — but the band was known for melody, never brutality. “Swan Song,” continues this trek into melodic territory, alluding to “The Accolade.”  Atmospheric, complex, melodic, beautiful, heavy in an ideological sense, rather than in a “smash your face” sense. That’s something I thought I would never hear after Iconoclast.

*On a side note, has anyone ever wondered how chaotic it is when someone asks for Michael in the band?

Meanwhile, Romeo, with his blistering fretboard control, continues to wow listeners in tracks like “Nevermore” and “Charon.” Now, I’m on the fence with these two tracks.  Remember that little “Nevermore” single review that Reviews From the Other Side composed a month or so ago?  Obviously, Symphony X wanted to continue their “guitar first” philosophy, sacrificing chorus and general appeal in the process.  This leads to disenchantment from the source material.  I appreciate a kick ass guitar performance, but when everything around that guitar performance is, well, for lack of a better word, boring, then it’s easy to forget said tracks. Disenchantment and boredom is the bane to progressive metal. Even as a fan, I can admit that. Michael Romeo and Michael Pinnella tend to noodle, it’s a known fact!  “Nevermore” is a studio single, for crying out loud! For an album that promises a collage of influences, “Nevermore” fails in that the track sounds like nothing more than a Iconoclast bonus track.  That’s what is so frustrating with this album.  It tries to move past the heaviness of Paradise Lost and Iconoclast, but for every melodic, neoclassical passage, there’s ten overwhelming, “What the fuck? Should I bang my head or air guitar?” metal wanks.

It’s in these metal passages, however, that the band’s rhythm section pulls through. Michael Romeo and Russell Allen are awesome! Who in metaldom doesn’t know that? Pinnella is a little too Rudess for me, but does his part nonetheless.  Hell, the guy even has a couple credits to his name, so kudos, good key meister. In previous recordings — especially their rendition of The Odyssey — Jason Rullo’s drums came across as flat, even mediocre at times, but Underworld brings the best out of our little mountain mover.  It’s an understatement to say Rullo was made for explosive passages, complemented by Michael Lepond’s, as-always, moving rumble.

Symphony X, with their 11th studio album, Underworld, force listeners to gaze into the looking glass of their discography, exploring their descent from neoclassical, power prog to straight forward, kick ass metal. Fans, indulge. Casual listeners, think of this album as a focused, greatest hits record.

Credit:  Skullsnbones

Credit: Skullsnbones

P.S. That album art…

Ugh.

RATING:  4/5

All rights, content, and properties of header image belong to its owner.  Image found at https://fanart.tv/artist/b669c53e-5a1f-4adc-80be-755e64e8115e/symphony-x/.  All rights, content, and properties of body image one belongs to its owner. Image found at http://www.blabbermouth.net/news/symphony-xs-michael-romeo-says-underworld-album-has-a-little-bit-of-everything/.  All rights, content, and properties of body image two belongs to its owner. Image found http://skullsnbones.com/symphony-x-is-releasing-underworld-in-july/.  I have, in no way, used said images for profit.

Review: Paradise Lost – The Plague Within

After a series of more commercial airings, Paradise Lost returns to their gothic/doom roots with their 2015 LP release, The Plague.

Doom metal is one of those metal subgenres that should stand higher amongst the metal community.  Black Sabbath basically coined its inception in Master of Reality: slowed, downtuned tempo, and lyrics exploring melancholic subjects, i.e. “Into the Void.” However, the genre remains a backdrop to the waves upon waves of hardcore/metalcore/posthardcore/whatever-core outfits.  But, that’s okay.  Over here at Reviews From the Other Side, that’s just the way we like it.  At least the doom movement produced some of the heaviest sounds in existence, if not in sound, then attitude.  Even HIM — or more specifically, Ville Valo — tries, every now and then, to mention their “doomy” sound.  To which Electric Wizard comes out, and with three earth shattering notes, sends the Hot Topic fiends back to their holes.  I guess it’s an understatement to say the entire doom genre is respected, but popular? Okay, that’s enough ramblings with the word doom.  Well, maybe a couple more times.

Out of the doom movement came a trifecta of sad sacks, who aspired for melody atop the mother genre’s head lowering riffs:  Paradise Lost, Anathema, and My Dying Bride.  Coining “gothic metal,” Paradise Lost stands as one of the most inspirational doom metal outfits of the 90’s.  The band always walked the lines of gothic metal in albums Icon and, you guessed it, Gothic.  They solidified that desire with Draconian Times.  As their songwriting matured, the band then explored more commercial territories, leaving behind the slow, plodding death/doom riffs and growling vocals of their namesake.  Even vocalist, Nicholas Holmes, started to stagnate, his performances uninspired and directionless.  He’s always been too Hetfield for my taste, so it’s not like I listened to Paradise Lost for their powerful, soaring vocals.  2015, however, saw a return to form.  With The Plague Within, Paradise Lost crushed metaldom with lead single, “Beneath Broken Earth,” a straight, doom metal track serving as a memento to the despair of the 90’s death/doom movement.  The single promised slow, heavy, dark.  And, boy did they follow up.

The Plague Within is a record blessed with an ear for its fanbase.  Straight from the get go, “No Hope In Sight” alludes to Draconian Times, with poison-laced guitar melodies and an overarching doom riff.  Short, sweet, hopeless. That’s the Paradise Lost fans were screaming for.  That’s the record they got, well, with a little — and by that, I mean a lot — of exploration and experimentation.  Now, for a band as experienced as Paradise Lost, I originally expected more evolution, something fresh separating The Plague Within from its predecessors.  Sure, there’s the return of Holme’s growls, even some double bass and plodding tracks throughout, but the album doesn’t progress musically.  The band promised a return album years ago.  Perhaps, the band discovered, four albums later, they were alienating their fanbase.  Or, probably the easiest guess, perhaps the record label was tired of their shit.  Either way, all I can say is: welcome home.

By the time “Eternity of Lies” hit its climactic, catchy midsection, I remembered why I listened to Paradise Lost in the first place.  Paradise Lost embodies the romanticism of goth and buries it behind layers death.  This binary of musical emotions, complete with powerful drums and the occasional piano melody, returns in The Plague Within, ultimately sounding more Paradise Lost than, say Believe In Nothing. You get every metal influence in this album, from the brutality of “Flesh From Bone,” to, as previously stated, pure, unadulterated doom in “Beneath Broken Bone.”  “Eternity of Lies” is a future Paradise Lost classic, embodying the band’s trademark descent into beauty.  For the first time, I actually enjoyed Nick Holmes’ studio performance.  Throughout the album, the veteran vocalist tackles multiple styles, showing versatility not seen since pre-Icon. Yes, his growls have aged, but what can you expect from an aged growler.

Axemen Greg Mackintosh and Aaron Aedy are the unsung heroes of Paradise Lost.  “No Hope In Sight,” for instance, exploits the band’s mastering of the acid riff, a “less is more” approach.  They play off each other seamlessly, and when they find that “sweet” progression, they attack until the music bursts with catharsis.  Go back and listen to “Yearn For Change,” from Draconian Times — I apologize for the frequent mentions — and you’ll see exactly what I’m talking about. It’s only fitting that closer, “Return to the Sun,” pushes the album to its creative heights, highlighted by Holmes’ emotional clean/harsh vocal combo.  Oh, and I guess the choir and symphony helps.  All around, a complete, metal performance.

Overall, Paradise Lost’s The Plague Within succeeds in its nostalgic quality, a worthy return to form after a set of directionless releases.  Although the album lacks musical progression, the band continues to remind listeners of their influence on the metal community.  A solid production, through and through.

RATING:  4/5 

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