LORD CHIMP'S REVENGE

MUSIC REVIEW: Symphony X - Iconoclast

2013-05-01T22:58:00.002-07:00

"Infernal machines arise -- flesh and steel collide!"

Sometimes bands just seem to do everything right. Symphony X is basically a band like that. Iconoclast is a brilliant prog-metal album. First of all, the band sounds tighter than ever and the production is really heavy. Really METAL. It's sonically very similar to the previous release, Paradise Lost, which was so good it was hard to imagine Iconoclast equaling its quality, much less exceeding it. Yet that's what happened.

You know when bands suddenly gets 'heavier' on an album or two, and the heavier albums are the best albums? Yeah, this is like that. Iconoclast maintains the pumped-up heaviness of the previous release, which is good if you crave the true power of metal. I do not believe its coincidental that the last two albums have been crushingly heavy and at the upper level of Symphony X quality. However, the band retains its knack for amazing vocals, melodic hooks, and songwriting that closes on your skull like a bear trap snapping shut, so the heaviness does not suppress any other important features. Not to mention there are some downright rippin' prog-metal breakdowns, face-melting solos, and a big, epic, "Rise of the Machines" kind of theme. It's almost like "Church of the Machine" being extended to a full concept! There's an absolutely brilliant 'power ballad', "When All Is Lost", which is probably their best. And that's saying a lot when you think of crazy songs that might be in that category, such as "Candlelight Fantasia," "Lady of the Snow", "Awakenings", "Paradise Lost", even "Edge of Forever" maybe... anyway.

You know, a lot of the album sounds kinda 'the same' at first, and it's long which doesn't help that initial impression (two-disc version is mandatory, if you get the one-disc set you are stupid). But that is only at first, because give it some attention and the music reveals all the brilliant layers that make awesome prog-metal so tasty (especially with this emphasis on METAL and great hooks). I've listened to this to death since it was released and it fills me with joy. This is probably Symphony X's most perfect album so everything else they release after this is just gravy. Well maybe the last song could have been a wee bit more epic and huge but it's still excellent, so oh well. And one final comments, even after all these years there are still reviews that say Symphony X has "stupid" or "bad" lyrics, but come on, what do you expect, Edgar Allan Poe? It's a metal band, writing about (in this case) evil machine empires (or something). The lyrics are actually AWESOME for what they are meant to accomplish.

MUSIC REVIEW: Pain of Salvation - Road Salt One

2013-04-26T11:56:00.001-07:00

Utter Garbage

Only the most diehard crazy Pain of Salvation fan can defend this album. It is terrible.

The problem with this album is not that it is "different", or that there is "no metal" in it, or anything like that. (In many ways, it's not really that different.) The problem is simply that it is unbelievably boring.

Some have said that many of the best PoS songs are simple, as if to vindicate the first Road Salt. That is a true statement, sure. But an important point is lost if one fails to realize that most simple PoS songs are actually good. They are not boring. Road Salt features songs that are simple and boring. Or complex and boring. They are all boring.

Others have said, "Well, people aren't giving it a fair chance because it's called Pain of Salvation. BUT, if it had a different name, people would judge it on its own merits and like it."

Um... No. If any band released this album it would be garbage.

A boring album is the last thing you'd expect from PoS, because they are genuinely NOT a boring band. They are usually exciting, full of surprises, and good, interesting writing.

"No Way" is the most dull Pain of Salvation opener in the universe. Why anyone thought it was appropriate to open an album with this tranquillizer song I will never understand. The middle section when Gildenlow is singing in a weird time signature sounds so bad. Really though you'll be lucky to fall asleep before this overlong, overwrought grandpa rock gets to the next song because it gets worse. "She Likes to Hide" is slow sleazy song of bluesy boredom, it would be "super boring" rather than "boring" but fortunately it is over in less than 3 minutes. "Sisters" is some kind of weird ballad and it's very long and boring. "Of Dust" will put you to sleep if you are still awake by this point, although you will experience a moment of uncomfortable laughter when the spoken word part kicks in, because you will think, "LOL this is so stupid, what was D/Gildenlow thinking???" "Tell Me You Don't Know" will be skipped every time because you are so embarrassed on Gildenlow's behalf. "Sleeping under the Stars" sounds a Tom Waits song with all the Awesome(TM) removed. "Darkness of Mine" is hilariously over-the-top and laughable. "Linoleum" sounds like extremely drunk Foo Fighters. I'm not even going to finish talking about these songs. This album sucks. The last four songs are all bad. Actually, I will mention "Innocence", the finale, because at times it ALMOST seems like it COULD HAVE BEEN good.

Disclosure: Entropia is my favorite. The first four PoS albums are brilliant. BE was mostly great with some terrible moments. I loved Scarsick, and completely fail to understand why it is so disliked.

SWANS - The Seer

2013-04-26T11:46:00.001-07:00

SWANS - The Seer
This has to be one of the greatest things ever.

Accept and Striborg

2012-06-27T18:53:00.003-07:00

Okay I listened to Striborg and Accept today.

HOLY FUCK did you say you have never listened to Striborg? That album sounds like ASS. In a good way, because it is necro as hell. Pretty awesome overall, actually. Uses the shitty sound as an important quality rather than a gimmick. Or maybe it is a gimmick and I just can't tell. Anyway. this is dirty shit that crawls around in the mud and is not epic at all.

Also listened to the Accept album, forget the name. It was great. I don't have much to say, just pretty standard thrash sound but done very well with some awesome guitars and very above-adequate thrash vocals.

MUSIC REVIEW: Yes - Yessongs

2012-02-03T12:01:00.000-08:00

"Live majesty."

I didn't think that Yes' supra-complex, textured studio recordings preceding this live set would be translated effectively to the live setting. It's not perfect, but the inadequacies created by the limitations of playing live are part of Yessongs' charm. And while the songs are occasionally missing small ingredients that flesh them out so well on the studio versions, the band's heaving energy more than makes up for it. You can especially hear it in Jon Anderson's singing. His voice is often delicate on studio albums, but here he's surprisingly powerful, singing full-force over his equally lively buddies, who jam with fervor exploding from their instruments. And man, there are lots of jams! Songs are often extended by five minutes or so for soloing, and although many would find it tiring, I think the intensity makes it totally exciting.

The songs cover three of the band's best albums: The Yes Album, Fragile, and the progressive monster Close to the Edge. This is the best lineup the band had (Anderson, Howe, Wakeman, Squire, Bruford/White), all of whom clearly feel the deeply spiritual, stirring nature of their music. Their most recent studio album, Close to the Edge, is especially well-represented, which is a marvel given the complexity of the music. The 19-minute title track is as beautiful and moving as the studio rendition. "Siberian Khatru" has tenfold the zeal. Disappointingly, "And You and I" is notably weaker than the studio version because Howe uses an electric guitar throughout, not the acoustic, which sucks away some of the original's subtle textures and simple charm.

Perhaps the most exciting songs come from The Yes Album. "Perpetual Change" blasts off after a lengthy jam interlude in the middle, returning to the exciting verses and impelling on Squire's rumbling bass lines. Wakeman's solo on "Starship Trooper" is killer, and when Howe came in with his lead, the crowd must have been slain. Fragile too gets covered well. After a stunning excerpt from Wakeman's "The Wives of Henry VIII," the band moves into a high-energy version of their biggest hit to that point, "Roundabout." "Heart of the Sunrise," with exciting drum & bass interplay and emotional vocals, makes for one of the best moments on the album.

Certainly the best live album from this era of progressive rock.

MUSIC REVIEW: Rush - Roll the Bones

2012-02-03T11:53:00.000-08:00

"Get busy with the facts."

Although the overall quality of songcraft is a notch or two below Presto, Roll the Bones is similar in style -- very melodic rock, although this one has a tendency to rock a little harder. I suppose this might be attributable to producer Rupert Hine's influence (he worked on Presto, too). If you liked Presto, you should like Roll the Bones, although if Presto wasn't your cup of tea Roll the Bones may still be likable given the harder edge.

In terms of melody, the band still shines. The title track is a positively groovy number with a killer vocal hook in the chorus. There's also...ready for this?...a rap section in this song! It's weird, but it's pretty funny and has its own element of charm, and heck, it fits perfectly. While that melodic sensibility is still here, the more hard-hitting production charges inspiring songs like "Dreamline" and "Face Up" with an absolutely infectious quality. One also has to appreciate the band's first instrumental in 10 years with "Where's My Thing?" It's not the same virtuoso material as "La Villa Strangiato" or "YYZ," but the arrangements are stellar and the solid melodies are present. "Bravado" is one of the few Rush songs with vocal melodies I'd call beautiful, and "The Big Wheel" has an ultra-catchy chorus and fun verses. And, it's been awhile, but Lifeson's guitar solos are suddenly energized like they haven't been in a long time. There's a lot of power in the solos here, especially on the first two songs.

I don't think there's any filler here...the songs are either great or good. No, it's not Hemispheres or Moving Pictures...it's Roll the Bones, and it's different...but still awesome.

MUSIC REVIEW: Rush - A Show of Hands

2012-02-03T11:49:00.000-08:00

"Slick songs with an edge."

It bewilders me that people say the songs here sound identical to their studio versions. I couldn't disagree more. In most cases, I think the performances on A Show of Hands catch fire, injecting considerably more energy than was present on the studio renditions. Though not quite the unadulterated intensity of All the World's a Stage, due to some glossing with overdubs and some added maturity, A Show of Hands is still exciting and emotionally charged. Take, for instance, "Subdivisions," a song whose energy breaches the ceiling with a crunchier presence of Lifeson's guitars, fiery drumming, and Geddy's passionate delivery. Actually, on each song here Lifeson's guitars have a bigger presence than the studio versions. That alone boosts the intensity level. Yes, the incidence of overdubs detracts strongly from the imperative, genuine live feel, but I'd still say there's more than enough energy to compensate. "Marathon," one of my favorite Rush songs, never gave me more goose bumps (that final chorus just soars!). "Closer to the Heart," a requisite concert staple, gets a new jam tagged onto the end, and it's a strong conclusion to a strong live album. Sprinkled throughout are songs that showcase the lighter, melodic side of the band. "Time Stands Still" and "Mystic Rhythms" sound infinitely better here than on the studio versions, thanks to a powerful, emotional performance. Peart's drum solo "The Rhythm Method" is sure to have a few jaws hitting the floor. The man is the master! If you didn't like Rush's "synthesizer era," don't buy this unless you're a completist. But if you do like those albums, definitely get this one.

MUSIC REVIEW: Symphony X - The Damnation Game

2012-02-03T11:39:00.000-08:00

"Wimpy production blights intense, powerful music."

With a more powerful production, you know, a bit more "OOMPH", The Damnation Game could have been so much better than it is. It's sad that guitars buzz instead of crunch, drums click instead of slam, and the overall power just isn't there.

The Damnation Game, SyX's second album, brings god-like metal vocalist Russell Allen into the ranks. Although his ability never really shines through in this production, one can immediately see the promise in this man's pipes. Sounding like a younger, more vicious Ronnie James Dio, Allen fits SyX's aggressive music direction much better than the hopelessly bad Rod Tyler (from the debut).

In the song department, the band has their frantic songwriting more under control, with tighter arrangements and more intensity. The neoclassical element is still strongly evident, although the band is now exploring more interesting avenues. "The Edge of Forever" is a beautiful song with fast and slow passages, lamenting poetry, and inventive melodic progressions. It really sets the tone for the band's later brand of progressive/neoclassical metal found on Twilight In Olympus and V. Michael Romeo, one of the reigning champs of metal soloing, has his neoclassical leads coming fast and furious, with technique that might cause our good friend Yngwie to take notice. Romeo's partner in devastating soloing is the lightning-fast Michael Pinnella, whose blistering keyboard leads smoke through the song and arrest one's attention as much as any guitar solo. Songs feature trademark SyX features... majestic harmonies, symphonic textures, and killer leads, but the band has yet to explode. On the next several albums, they certainly erupt with all the ambition and quality hinted at here.

You've probably discovered SyX with either The Divine Wings of Tragedy or V. [Ed.: Or maybe one of their newest albums. This review was originally published a long time ago.] If that's the case, be sure to add The Damnation Game to your collection. It is flawed, but it's great moments give it the "must-have" status. And if you're new to Symphony X, start with one of the aforementioned albums.

MUSIC REVIEW: Rush - Exit...Stage Left

2012-02-03T11:33:00.000-08:00

"Killer songs and performances."

Suitably enough, Rush recorded a live album to top off the most successful period in their careers. Permanent Waves and especially Moving Pictures had secured reams of popularity for the power-prog trio, so a high-energy live compilation was the perfect coda to this hallowed chapter in the band's history.

The tracks here cover a fairly broad range of Rush's catalogue up to this point, but skip over the debut and Caress of Steel. Although this collection largely covers the band's shorter, more commercial songs, they never forget the progressive rock wings on which they once soared. I'd say the song selection is perfect. Alongside hits like "Freewill," "Tom Sawyer," and "The Spirit of Radio" are progressive epics like "Xanadu" and "Jacob's Ladder." One of my favorite moments on the album comes with "La Villa Strangiato," an astounding instrumental tour-de-force that concretizes the band's standing as musicians' musicians. Live, this song SMOKES. Lifeson's first solo in this song is infused with tenfold the passion of the original, and I can't help but get chills up and down my spine listening to it. Still, while the energy is there and the songs are great, there is major overdubbing that renders the album a wee bit too polished, and the band's blazing live ebullience is diluted somewhat.

Still, this album many wonderful moments. The precise, stunning drum solo during "YYZ," "Closer to the Heart" with the entire crowd joining in with Geddy on vocals, the ultra-high energy performance of "Red Barchetta," the serene melodies of "Broon's Bane" as a seque into the hard-rocking "The Trees"...the list is endless.

I was kind of disappointed by the album's dubious representation of the concert experience. At the end of most tracks, the sound fades out and then comes back in for the next song. It's like it's taking snippets from several concerts instead of capturing the seamless performance. Most live albums cut superfluous crowd noise and chitchat, but blend crowd noise together so that it flows smoothly from song to song anyway. This works better in preserving the feel of the actual show. Annoyingly, here you'll often hear silence between the tracks and it creates a frustrating disjointed "concert" experience.

But it's not so bad. As a high-energy live "greatest hits" type package, Exit Stage Left can't be beat. Rush rules the world, and this captures them at their best.

(Oh, and make sure you get the Remastered edition, which has "A Passage to Bangkok," a rockin' song that was not included on some of the earlier pressings.)

MUSIC REVIEW: Ozric Tentacles - Jurassic Shift

2012-01-30T16:01:00.000-08:00

"Space rock... and DINOSAURS!"

Ah, yet another trippy excursion into the Ozrics' twisted world of swirling synthesizers, quirky guitar intonations, ethnic influences, and one of the tightest rhythm sections around. This album captures all of the best Ozric qualities, making it one of their best. The title track totally rules, being an imaginative piece that sets a busy climb of slow, ambient soundscapes sprinkles with jagged guitar quotes, giant bass lines, and strokes of wacky synths that culminates in an explosive climax. "Feng Shui" is much the same, but concurrently very different. It spends a good eight minutes building to its exhilarating finale, which is perhaps the closest this band gets to a heavy metal riff. "Vita Voom's" middle section is one of the band's most beautiful moments, despite the heavy, thumping bass and drums at the beginning. Colorful washes of synthesizers and acoustic guitar create a sublime musical canvas. What more can be said? Ozrics rock, and this is one of their best. Apparently this music is wild on acid or whatever, though I've never tried that. I can say it's pretty killer with your senses intact, though.

MUSIC REVIEW: Loreena McKennitt - The Book of Secrets

2012-01-30T15:51:00.001-08:00

"An evocative musical quest."

Ah, what a wonderful album. Loreena McKennitt's voice is a marvel, synthesizing the superhuman accuracy and strength of operatic soprano with the rich narrative quality of folk singers. Her skill as a composer is likewise impressive, as she stacks ethnic influences on a foundation of tried-and-true Celtic resources that makes for beautiful and compelling songcraft. The pristine recording quality heightens the album's mystique, making every instrument perfectly clear in even the broadest arrangement. And isn't that voice beautiful?

Each song tells its own story, but the beautiful, exotic soundscapes lend themselves very much to the listener's imagination. "Marco Polo" might evoke images of Oriental landscapes, while "Skellig" generates lamenting -- and somewhat romantic -- imagery. If the gorgeous and elegiac "Dante's Prayer" doesn't give you goosebumps, you must be a zombie. Especially noteworthy is the tragic ballad "The Highwayman" set to music. This ten-minute piece seems a bit repetitive for the first few listens, although you'll later find that the immaculately crafted composition subtly builds in intensity, adding the presence of stronger percussion and a more desperate, emotional flavor. I can't explain it, but "Night Ride Across the Caucasus" means a lot to me deep down. It must be something in the heavenly poetry, the exquisite melodies, or the stunning vocals. The chorus really is the best thing ever...well, almost!

And she sings like an angel, doesn't she?

Additionally, this CD features a great set of liner notes that sports little bits from McKennitt's journals, highlighting some of the influences for these songs, which I found very interesting. Some of those ethnic touches are hard to put your finger on, so having it pointed out helps. Great cover art too...really sets the tone for the album, I think.

And DAMN her voice sure is gorgeous, isn't it?

MUSIC REVIEW: Metallica - Master of Puppets

2012-01-30T15:44:00.000-08:00

"Proto-prog-metal milestone."

Master of Puppets illustrates why Metallica was one of the most important metal bands ever.

After giving birth to real thrash with Kill 'Em All, Metallica began refining their innovations with Ride the Lightning, which added a bit more maturity and compositional quality. Master of Puppets is a much larger step in the same direction, and had the band incorporating more progressive elements into their music. It'd be hard to count the metal bands doing half the pioneering things Metallica was doing.

The acoustic, quiet introduction to "Battery" explodes under an aggressive onslaught of hyperkinetic, muscular riffs and thick, heavy arrangements that characterize the entire album. That's not to say it's redundant, though. All eight songs are excellent, featuring enough variation of tempo and texture to ensure that they never get boring, which is crucial when some songs extend for eight minutes ("Master of Puppets," "Disposable Heroes," "Orion"). The result is like a thrash symphony of proto-prog-metal. Cripes, you could dissect the riffery of the title track and probably create half a dozen normal metal songs. That's part of Metallica's appeal: they cram a ton of ideas into their music, but all songs are perfectly crafted without the slightest sense of disjointed songwriting.

Speaking of the title track, it in particular sports a dynamic composition, where its middle section diminishes into a quieter, evocative guitar solo (one of the few played by Hetfield) before taking off all over again. "Welcome Home (Sanitarium)" mirrors "Fade to Black" in its progression of intensity. It starts with haunting melodies, turning up the crunch for the chorus, then kicks into high gear with a weighty, fast riff and a glistening lead that carries the song to its vengeful apogee. Hetfield isn't quite a master lyricist, but for the first time in Metallica's career, the lyrics were insightful with effective diction. Note the telling and vitriolic "Disposable Heroes" or "Leper Messiah." Hetfield was never a great singer, but he was a good metal vocalist. Although his ferocity was tempered by youthful pipes, he still managed to convey the viciousness required of music so heavy, so furious.

And even when the band eschewed words and singing, they could impress. "Orion" is a marvel of metal songwriting, being an eight minute instrumental with precise, articulate solos (including a short-but-sweet one from the late bassist Cliff Burton) and big, chugging riffs. Most metal bands wrote instrumentals that were three or four minutes long...never eight. But Metallica did it, and they did it well enough to make songs like "Orion" and "To Live Is To Die" (from ...And Justice) among my favorite metal instrumentals.

Add my voice to the many, many fans who have rated this album five stars. If Master of Puppets isn't the best metal album ever, it's very very close.

MUSIC REVIEW: Nevermore - Dreaming Neon Black

2012-01-30T15:18:00.000-08:00

"Bleak, fierce metal."

Nevermore clearly stands in an echelon above its peers in the metal wasteland. This is fierce, heavy stuff, but the band members also possess an important degree of genuine musicianship that other bands are sorely lacking. There is also a passionate vision looped around vocalist Warrel Dane's lyrical and musical ideas. The album's concept affirms this: it seems to be the story of a man losing his love to a cult of goofy mystics. Dane -- sounding like a blend of Matt Barlow (Iced Earth) and Geoff Tate (Queensryche), though not as good as either -- infuses the music with sincere feeling that comes through well, despite some overly emotive singing and some unsubtly pushy lyrics. Still, it's to Nevermore's credit that they capture any element of emotion with music so heavy. And it IS heavy, although songs like the title track and "Deconstruction" mix in softer acoustic moments for mood. The production raw and powerful, although it feels oppressively thick at times, which is unfortunate because it compromises some great vocal melodies from Dane. Songs like "Beyond Within" and "Poison Godmachine" are positively bloodthirsty, with devastating riffs and exciting leads. I liked the addition of female vocals on the title track. It wasn't her voice I liked, but the way she harmonized with Dane to heighten the atmosphere. Very nice. By all means check this out. Listen to some samples, and if you think you might like it, you probably will.

MUSIC REVIEW: Rush - Presto

2012-01-30T12:57:00.000-08:00

"Up there with the best the band has to offer."

As the self-designated music snob and uncompromising progressive rock fan, you might have expected me to hate Rush's mega-synthesizer laden phase that began with Signals and ended with Hold Your Fire. Well, not quite. I love all those albums, and Hold Your Fire especially sits comfortably with Rush's other greats. The 80s was a time when Rush drifted farther away from their progressive roots, and began writing more melodic, groovier songs. Although Presto is very different from the four preceding records, I believe it captures that melodic quality best. It goes a bit more towards the "rock" than the "synth-fest". It is one of my favorite Rush albums.

Lifeson and Lee, who write the music, clearly have an incredible ear for melody. This album is just bursting with hooks...every song features an infectious chorus, an ear-catching guitar lick, or a tuneful arrangement...though, often, it's all of the above. Here, they've toned down on the use of synthesizers, although they are still present, but now they add a subtle texture to the music. Instead of driving the song, they supplement it, like on "Superconductor" where the keyboard helps elevate the song's intensity as they build under the song's catchy refrain. Lifeson's guitar is back in the forefront on many most, although his riffs seem more designed for tight, hooky rhythms and not technical flash or big crunch. Here, it's all about fantastic melodies. There are also a lot of simple piano chords that set a nice melodic foundation on songs like "Available Light." And lyrically, Peart would be hard-pressed to match the quality here. "The Pass" is some of his most touching writing. Also, his call for environmental awareness on "Red Tide" isn't cheesy like it is with other lyricists who tackle the issue. The song rocks too. I've also noticed "Chain Lightning" doesn't get a lot of praise, but I think it's a great song with an unforgettable melody.

I could discuss every song individually, but I don't see the need. Each track is a perfectly crafted song, concise, musically arresting, with superb vocal melodies with an emotional redolence that sometimes evades Rush's music. I must say one thing though. I resent Peart for telling me "The mirror always lies" (from "War Paint") when basically every other "mirror" song I've heard says the mirror _never_ lies. This makes me screw up the line when I try and sing along. Shucks... But ah well. It's a stupid, dumb complaint, and it doesn't change the fact that this is one of my favorite albums from one of my favorite bands.

MUSIC REVIEW: Marillion - Radiati0n

2012-01-30T12:45:00.000-08:00

"I was horribly surprised."

Almost invariably, I tend to really enjoy the Marillion albums everyone else seems to rag on. Holidays In Eden, This Strange Engine, and even Marillion.com are all good or great albums to my ears. (Of course, they don't hold a candle to Afraid of Sunlight or Brave.) So when the chorus of derision descended on Radiation, I was comfortable in thinking it would be at least pretty good despite the criticism.

Unfortunately, that is not the case. While there is some good songwriting present, it is low in volume, with a more limpid production than any other Marillion album. In fact, the production is one of the big detriments to the CD. The individual notes of Rothery's guitar gets buried under the thick, messy sound quality; Kelly's keyboards barely have any presence in the mix; and Hogarth's great voice is suffocated by murky textures. But even if this album had a crystalline and visceral production, it wouldn't help much since the songwriting lacks the magic of their better work. Songs like "Under the Sun" and "These Chains" exhibit catchy songcraft, but the lyrical matter is frequently uninspired (especially "Under the Sun"). "The Answering Machine" is the worst song they've ever done, with a cluttered arrangement and lyrics so bad I am embarrassed on the band's behalf. It's affixed to an ugly riff that seems to characterize most of the songs, and all throughout Rothery's soloing -- one of the best elements of Marillion's music -- is emotionally tepid, inciting no more reaction than Hogarth, whose voice the production can't seem to get up into the forefront.

I love Marillion. They are one of my favorite bands, and many of their albums are all-time favorites of mine. It's very disappointing to me that I can't "connect" with any of the songs here. "Now She'll Never Know" is nice to listen to...it's quiet and soothing...but while it's easy on the ears, I can't say I actually like it. The ten minute piece "A Few Words for the Dead" is interesting and eclectic musically, with some Arabic drumming, ethereal synthesizers and good vocal melodies, and I like listening to it, but I don't feel that "pull" I feel with the band's better writing. "Under the Sun" is swell...I like the whistling synth, the chorus is simple, but catchy and fun to sing with, but it doesn't have that same endearing quality of similar songs that they've done, largely due to the production, but also because there's undertones of weak writing. I don't want to say "passionless," because that word is too strong, but it does creep into my mind as I write this.

It's strange though...for an album that I don't find terribly good, I've listened to it quite a bit. Go figure. I guess I was just optimistically thinking the album was good and I couldn't recognize it as such. Unfortunately, the album just isn't all that good at all. Disappointing Marillion release overall.

MUSIC REVIEW: Joe Satriani - Live in San Francisco

2012-01-30T12:40:00.001-08:00

"Awesome songs get intense live treatment."

Where did this come from? I consider myself a big Satriani fan, although I didn't even know this was coming out, and there's a DVD for the same concert! I guess I wasn't paying attention, but what counts is that this album caught my eye when I slid into the record store to shuffle through the bargain bin (which sometimes holds inconspicuous treasures). Naturally, I made the purchase, and was later blown away by the great performance captured on these two discs.

The power of Satch's infectious, virtuoso music is caught so effectively here, thanks in part to Eric Caudieux contributing the rhythm guitar section, which was often a neglected factor of Satch's live shows. The techno element of the Engines of Creation songs is buried under a raw, robust performance, so if you didn't like the last album for being "too techno", you'll probably love the iterations of its songs compiled here (which consumes a chunk of Disc 1.) Stu Hamm's compelling bass occupies a big space in the mix, which is cool because although Joe's arresting virtuosity is the highlight, his songs are often anchored to cool bass lines. An enjoyable solo spot also underscores Hamm's tasteful ability, where he integrates a quote from Beethoven's "Moonlight Sonata" and really gets the crowd going with some galloping grooves.

"Time" can be forgiven as a somewhat tepid opener (great song, though), for it segues into the aggressive attack of "Devil's Slide," which blisters with intensity and sounds more visceral with real drums and a speedier take on the song's big crunchy riff. From there, the song selection is great, covering almost 150 minutes of Satch songs, from concert staples "Satch Boogie," "Summer Song," and "Surfing with the Alien" to newer tunes like the beautiful "Until We Say Goodbye," the quirky, sparkling "Borg Sex," and the dynamic, sizzling "Crystal Planet" (with a cool piano intro). Joe's hairpin soloing is often embellished live, so keep an ear open for elaboration, and he has fun with the crowd too. All the songs are treated with a favorable production that effectively balances clarity with rawness, and each song is performed awesomely. I would have liked to hear "Up in the Sky," because it's probably a smokin' live song (it'd be a good opener), and I wish he'd perform "Motorcycle Driver," because it's one of my favorites, but those are wishes, not detriments. Buy this...it just might become the most listened to Satriani album in your collection.

MUSIC REVIEW: Explorers Club - Age of Impact

2012-01-30T10:00:00.001-08:00

"Largely bloviate ostentation with a few great moments."

Age of Impact is progressive songwriter Trent Gardner's side-project featuring some big name progressive musicians (Steve Howe, John Petrucci, Terry Bozzio, Billy Sheehan). Gardner comes from the band Magellan, who isn't my cup of tea at all, but this album's appeal came to me because of some familiar talent involved. Gardner seems to be writing an album about progressive rock, not just a progressive rock record. It's almost a form of oblation, where Gardner's songwriting tries to cover as much ground as possible and acknowledge the progressive greats of the past. In fact, it's more of a homage to prog than prog itself. There is some metal elements here, but I wouldn't call it a "prog metal" album. You can also pick up some interesting themes in the lyrics, like the challenges a contemporary progressive musician faces.

Musically, Explorers Club has a rich mine of talent. There's some stunning soloing from the eight (!) soloists involved, with John Petrucci's work being especially great. A pair of his wonderful solos illuminate the echoic "Fading Fast" with amazing emotional acuity, which help make it my favorite on this disc. Elsewhere, there's some unnecessarily flashy guitar and keyboard acrobatics undermine some interesting songwriting...I mean, there's more than 30 solos here and the album isn't even more than an hour long. An important lesson to learn is that there's more to "progress" than being a technical monster with lots of long solos.

The vocal talent, like the instrumental talent, is also here in spades, but I must say that the singers don't have much to work with. The vocal melodies are super-awkward, which is a defining characteristic of Gardner's writing. He doesn't write very interesting vocal melodies, and sometimes they are pretty rough on the ears. Like I said, "Fading Fast" is my favorite track...it's an interesting, ambient composition with a lengthy intro that uses some Arabic drumming and vibrant synths and guitars. Matt Bradley's the singer on this one, and he does a good job, sounding almost ghostly over those moody synths. On this one, the lyrics aren't too clumsy. James LaBrie is a fabulous singer, but given songs without hooks or good melodies, he's talent is squandered. (The production handicaps his voice, too.) DC Cooper has a good, rich voice, and he gives the best vocal performance on the album, I'd say, although his track ("Time Enough") is spliced uncomfortably by a discomfited solo from James Murphy that seems out of place.

While I am being critical, one must not lose sight of some great stuff here. The quiet, luminous solos (Garner, Sheehan, Bemesderfer, Howe) in the middle of "Time Enough" are sublime; some frenetic work on the final track "Last Call" is ostentatious but still captures an ingredient of amusement; and other bits scattered throughout.

Age of Impact is like a Big Mac meal. It's not great food, but it's good for a diversion once in a while, with "Fading Fast" as the burger, "Time Enough" the fries, and Petrucci's solos on "Fading Fast" as the toy. It's not a progressive masterpiece, but it's fun once in a while.

MUSIC REVIEW: Marillion - Clutching at Straws

2012-01-30T09:48:00.000-08:00

"Hardly clutching at straws."

After Misplaced Childhood, Marillion frontman Fish found success a difficult thing to cope with. You wouldn't think that he could get anymore personal than he did with the previous album, but here the lyrics are often seriously disquieting as they reflect upon drug abuse and alcoholism unraveling a man's life and corroding his self-respect. It's gritty and lucid with that special, distinctive Fish lyrical prose, which is just a part of what makes Fish-Marillion's music so special. And although few of us experience the problems the character "Torch" goes through, Fish has a good knack for making us empathetic with the songs. It's hard not to be a little stirred by the sad "Warm, Wet Circles," the directionless wandering of "White Russian," the abyssal misery and forlorn fragility of "Going Under," or the lamenting, plaintive "Sugar Mice."

Of course, the accompanying musicians aren't slouches by any means. Rothery, as always, evokes an incredible degree of emotion from the gallant chords that sing from his guitar. While I think the most individually impressive Rothery solo is that from Seasons End's "Easter," Clutching At Straws is his most emotionally powerful work to date. His guitar is Fish's second voice. Rothery's ability to isolate and preserve Fish's emotions is unmatched by anyone. It is possible only through a collegial magic and musical connection that these men share. Keyboardist Mark Kelly is equally important, not being much for pizzazz, but being remarkably effective in subtle tones of atmosphere and feeling.

Clutching at Straws was the last Marillion album with Fish before the band separated (not counting the live La Gazza Ladra). It's thankful that they didn't let themselves record an awful album during this wild and stressful time, and their schism ended on a high note, establishing a faultless legacy as a precursor to their separate ways. It's probably the tension between the musicians that helped create the thick threads of emotion in this release. Now, Fish enjoys a fine solo career, and Marillion brought in the different but still wonderful Steve Hogarth to take the reins.

MUSIC REVIEW: Marillion - This Strange Machine

2012-01-30T09:28:00.000-08:00

"Not so strange."

"Coming down" from Afraid of Sunlight, one of my favorite all-time albums, This Strange Engine is good, but leaves a bit to be desired. Songs are quieter, often less ambitious and diverse, and the album misses an element of cohesion found in Brave and Afraid of Sunlight. The epic title track is missing an integral musical theme to hold it together. This is no Afraid of Sunlight.

Given time, I realized that it didn't matter. There's some great work here, some of the band's best writing, I'd say. "Man of a Thousand Faces" is one of their best album openers ever, I think -- quite simply a GREAT song. Driven by acoustic guitar and piano flourishes, think "King of Sunset Town" with acoustic guitars and you're close. Actually, Rothery uses lots of acoustic on this album. "80 Days" and "Estonia" are wonderful songs both anchored in acoustic guitar melodies.

The title track in particular is totally beautiful. Quite simply, it is a progressive songwriting showcase of huge proportions, and certainly one of my favorites of theirs. Rothery's slow, sparkling guitar solo near the end is gorgeous, with sonic grandiosity and innovative arrangements building up to it. The song reads in at a little over 30 minutes, but in reality there is only about 16 minutes of music. This is followed by a long moment of silence before some piano chords chime in and there's some creepy laughter. Did they think it was funny tricking us like that? It was mean, very mean! That's the most progressive thing on the album, although "Estonia" is fairly reminiscent of the "classic" Marillion sound, as well.

I always find myself liking songs no one else enjoys. "Memory of Water" is a spooky, haunting arrangement where Hogarth's voice is the main instrument, supported by quiet synthed violin and what might be cello and some flute. There's also some, uh, provocative lyrics in the form of, "Your taste is blood and ecstasy | But I must drink you all alone." I have mixed feelings about some of the other work, though. "One Fine Day" has an overly pushy guitar riff for a song with those quiet vocal melodies and rosy lyrics. "The Accidental Man" is pretty good, but "Hope for the Future" is too unlike anything they've ever done for me to appreciate -- it just doesn't fit. The refrain "Carrying a message" is overused and overall the music sounds like it belongs on someone else's record.

So it's an album of peaks and valleys, but those peaks are certainly some of their best moments.

MUSIC REVIEW: Rush - All the World's a Stage

2012-01-16T14:19:00.000-08:00

"In the flesh."

Wow... I've never heard a live recording where the crowd whistles so much. Anyway, that's not so important. Rush had just released their pivotal power-prog release 2112, which featured the phenomenal side-long title track based on the writings of Ayn Rand. And the highlight of this live release is, in my opinion, an awesomely energetic performance of that epic. Some parts are cut out, reducing the song to 16 minutes, but it still rocks, man. At this stage in their career, Rush was rockin' hard, evident with crushing cuts like "Bastille Day," "Something for Nothing," and "Working Man," which has one of Lifeson's most exciting guitar solos to this day. The band also performs "By-Tor and the Snow Dog," which features some sublime instrumentation in the middle. Neil Peart's drum solo is interesting and very musical...I mean, it's more than just a guy hitting stuff. This is a great live album from the days when Rush was young and gushing energy.

MUSIC REVIEW: Rush - Power Windows

2012-01-16T14:13:00.000-08:00

"Attack of the 80s, part deux."

This is part two of what I call "The Rush 80s Trilogy," preceded by Grace Under Pressure and followed by Hold Your Fire. (Signals really felt like a transition.) With all three of these albums, Geddy's keyboards were BIG, sometimes cheesy, and sometimes more important than Lifeson's guitars as the source of power for the songs. Of the 80s Trilogy, Power Windows is the hardest rocking of the bunch, and the mix of New Wave in with their staple hard rock direction made for some good music.

What's important here is that the synths are lumped back with the feel they had in Signals -- that is, a better balance is struck between the guitar riffs and the keyboards. The bass sounds bigger on this album too, so I'm thinking that Peter Henderson (from P/G) wasn't the right producer for Rush.

To me, there are few Rush songs better than "Marathon." This song has the tremendous power to raise mood with its high spirits. This song just gushes power...anytime you're feeling down and out, just throw on "Marathon" and everything will be cool. Peart's lyrics are inspirational, and the intensity of Lifeson's solo raises the song to dizzying heights that peaks with the final chorus, incorporating vocal harmonies, choral synths, and real strings. It's just awesome.

There's a bunch of other good stuff too. On "Middletown Dreams" is a good anthemic cut with some of Lee's most interesting synthesizers. Lifeson's guitars here work in bursts that works neatly with the synthesizers. "Mystic Rhythms" is one of the band's most magical compositions, with echoic percussion and synths and ambient guitars. It's sort of ghostly but beautiful. "Manhattan Project" is gutsy and evocative with cool keyboard speckling. "Territories" uses some world influences to spice up the composition, but unfortunately the chorus lacks any punch and the lyrics are pretty ambitious. "Big Money" is the extensive opener with fiendishly catchy riffs and lyrics. "Grand Designs" and "Emotion Detector" are fine songs as well, but I'm tired and running out of things to say.

Not everyone likes this form of the former power-prog trio, but for the rest of us, it's another rockin' album from Rush. Now, what is the best album of the 80s Trilogy is up for debate, but Power Windows definitely has the best song. ("Marathon.")

MUSIC COMMENTARY: Yes lyrics

2012-01-16T13:52:00.001-08:00

I don't know what it is with people. They seem to think it establishes their "serious reviewer credentials" if they ridicule ostensible ridiculous sounding prog lyrics. Specifically, Jon Anderson's Yes lyrics. And more specifically, the lyrics from the amazing epic tune "Close to the Edge".

For example, some dinkus from Amazon:

"With Anderson the thing is to always enjoy his soaring tenor voice and forget about the inane lyrics; try explaining 'A seasoned witch could call you from the depths of your disgrace / And rearrange your liver to the solid mental grace / And achieve it all with music that came quickly from afar / Then taste the fruit of man recorded losing all against the hour.'"

Okay then, let's look at these lyrics. We will see they really aren't that retarded. They are just weird. Even though they were probably written after a few bong hits, we should be charitable and assume that Anderson did have a specific meaning in mind.

"A seasoned witch could call you from the depths of your disgrace."

Disgrace is a condition people find themselves from time to time. It is a state of ignorance, sorrow, dishonor, humiliation, or whatever. A witch...well, witches aren't necessarily evil. They are people who can draw upon powers beyond the natural world. Seasoned means to have been around for a while. So, you will be called from the depths of your disgrace, but you will not be taken from it. That's something you have to do yourself.

"And rearrange your liver to the solid mental grace."

This is the line for which Yes is most often ridiculed. But it's actually quite smart. What is the liver? Well, one of its functions is the detoxification of drugs, poisons, and endogenous toxins. However, these are physical maladies. There are greater impurities than those of the corporeal form -- like those of the mind and the spirit. Of course, the use of the word "liver" is highly metaphorical here; what's important is that we must purify our minds and spirits. Putting the first two lines together, we see that something will call us, so we can elevate to a state of mental/spiritual grace (which is the opposite of disgrace). (I think the adjective "solid" is just used to aver the strength of the mind.)

"And achieve it all with music that came quickly from afar."

What is this "music"? I think Anderson is only using this word in a metaphorical sense. It could be God (afar=not of this world; quickly=through prayer), or it could be some other form of spiritual revelation. Now I'm not sure on Jon Anderson's religious background, but he seemed like a pretty new-age-y spiritual fellow, so I think this makes sense. In any case, this line tells us that spiritual revelation, divine or otherwise, is the way to rise above the depths of disgrace. Another interesting point is music "came," not music "comes." This implies that this spiritual strength has been here all along for those who wish to seek it.

"Then taste the fruit of man recorded losing all against the hour."

Fruit...that's something we produce; it's the results of our efforts. Depending on where you see the song going from here, you might think that this fruit of man is virtues like love, benevolence, compassion...you know, all that good stuff. Unfortunately, many people have lost touch with virtues. There are many morally gray people in today's world. But rising up from the depths of our disgrace, we can again taste the righteousness of man's life. So without some kind of spiritual epiphany, we cannot get back on the right path.

That's my take on those four lines. There's so much more depth to the lyrics of this song, and I'd like to share it, but I don't have the time nor the space with the 1,000 word limitation. But hopefully this little review has given some of you something to think about -- hopefully you're reconsidering the idea that Yes' trippy lyrics have no value beyond their sound.

"Close to the Edge"'s music is brilliant; it's absolutely brimming with tasteful complexity. Yet the composition works harmoniously to express the song's deeper meaning. Note how the song is cyclical (which corresponds with the "Seasons Of Man" theme), and the music moves from the oh-so-chaotic opening to a more melodious arrangement. The concord between music and lyrics is part of what scores the album five stars. Were it to only consist of the title track, it's still enough to qualify for the highest rating possible here at Amazon. "Close to the Edge"'s lyrics may be "inane," but they are still better than your average crap rock lyrics.

Queensryche humor.

2012-01-16T13:49:00.000-08:00

See here for hilarious ridicule of Geoff Tate's current "i m so aewsmoe and sexxy" attitude and his contamination of the hardcore Queensryche attitude!

MUSIC REVIEW: Rush - Grace Under Pressure

2012-01-16T13:38:00.001-08:00

"Rush rocks the 80s!"

Grace Under Pressure is not an exact copy of its predecessor Signals, but it seems to have been painted with the same broad strokes. It's synth-heavy, with a liberal nod to the 80s rock scene, and a compliant attitude to pop/rock. Although the songwriting is mostly strong, my biggest problem with the album is the way it was produced. Terry Brown out, Peter Henderson in. Lifeson's guitars seem suffocated by the production, whereas on Signals the synths and guitars worked well together. I don't know if this was deliberate or inadvertent, but I don't like it. The songs don't seem to rock as hard as they should. The overall sound is a little more tepid as a result.

Despite that, this is a great album from a characteristically great band. You can really here the 80s influence in this one, which isn't that bad because Rush handles it well. Each song sounds good to these ears, and there's a good deal of diversity, although a threatening and gloomy feel permeates the lyrics and the soundscapes. With the synths more important than before, it's good that Geddy's keyboards are a little more interesting than they were in Signals (although Signals may be the better album).

I have no direct complaints, because there is no song that I dislike. The catchy and rockin' "Kid Gloves" is the only song where Lifeson's guitars really take the musical vanguard, and it's a great song. I love the lush rhythms and emotion of "Afterimage," the big sound of mammoth organ synths in "Distant Early Warning," the acutely atmospheric "Red Sector A," and dynamic synths and melodies of "Between the Wheels," which I think is one of the band's most underrated songs. The chorus is especially great. Also worth mentioning is "The Enemy Within," the end...err, beginning of Peart's FEAR trilogy. Geddy's main bass lick gallops along with a frenetic tempo, backed by forceful guitars and precise drumming. Even the weird "Red Lenses" and lyrically silly "The Body Electric" are good songs, thanks to interestingly quirky music on the former and slick vocal hooks on the latter.

Like I said, no direct complaints, but I can fault Grace Under Pressure habit for some directionless ideas. For instance, "Afterimage," which is one of my favorite songs here, starts with a shadowy riff and a moody synth, but out of nowhere come these weird, staccato synth chords that sound out of place. It kind of throws the song off a bit. There are moments like this all throughout the album. Still, it is a great disc that I'm more than happy to own.

MUSIC REVIEW: Rush - Signals

2012-01-16T12:43:00.000-08:00

"Rush hits the synths hard!"

There is a chorus of voices that aver Rush went downhill after Moving Pictures. I like all of Rush's work, so I would instead say that they changed without depreciating in quality. Deftly merging with the 80s' music climate, Rush's synthesizers -- which, up to this point, had always added texture and ambience -- now became one of the band's main thrusts, working alongside Lifeson's groovier, lighter rhythms. Lee was singing at much lower ranges, and many were finding that he had a very pleasant voice when he wasn't shrieking. Hey, I love his old voice, but it was a bit much for some people.

The fantastic MTV hit "Subdivisions" opens the album with an urgency propelled by lush synthesizers and big hooks, which sets the tone for the rest of the disc. Alongside this commercial triumph is the other radio hit, "New World Man," which is a catchy blend of rock and reggae. "Chemistry" is similar in style to this one, but the lack of a vocal or lyrical hook kills the song. Other highlights include the sad "Losing It," which includes delightful electric violin and some of Peart's most touching lyrics; "Digital Man," which is up-tempo yet mellow and catchy; and the superb "Analog Kid," which rocks hard with the verses but slows to a placid exquisiteness with the unforgettable chorus.

The overall feel had altered, but Rush retained their passion and songcraft that allowed them to survive -- and prevail -- with the change in bearing. That's why this is a great album.