End of Year 2014: Favorite Albums

Time again for the obligatory 'end of year' list. By no means is this a best of 2014 list. I certainly do not have neither the time, funds, or critical ear to provide an unbiased comparisons of one record to another. As in previous years, this a list of my personal favorite albums - the ones that left an impression and remain in heavy rotation. 

Interestingly, none of the albums on my list are from American bands. Evidently, none of the US releases left a last mark this year. To be fair, however, I didn't have a chance to give a list to bands like Tombs or Yob, which seemed to garner a lot of favorable reviews. Maybe I'll pick them up in an after-Christmas sale or something...

Anyway, here they are (in ascending order):

In Flames: Siren Charms
This is the beginning of my top/favorite albums of 2014 list. Sweden was well represented this year - Opeth, Scar Symmetry, At The Gates - but I'm starting off with In Flames. Siren Charms is simply In Flames doing what they do best: the collision of chunky riffs, melodic choruses, and vocalist, Anders Frieden's multifaceted delivery. The album, similar in style to their previous, ebbs and flows between stomping melodic metal and tender-sounding moments that pull you close to the speaker. It's catchy enough to get stuck in your head, though you may not always be sure which song you're singing. It’s also worth mentioning that, having recently seen In Flames live, the new material sounds great. Anders and company never fail to deliver whether their showcasing new songs or playing fan favorites from their deep catalog.

In Flames! #metal #concert #worcester #inflameswetrust

A photo posted by GreenChamber (@greenchamber) on Dec 12, 2014 at 12:55pm PST

Opeth: Pale Communion

Next on my list is Opeth's Pale Communion. As a follow-up to 2011’s Heritage, the new record finds the Swedish metal crew basking in the grooved glory of proggy nostalgia. The songs are tight, technical, and exquisitely layered. Many people might be tempted to bemoan the lack of 'death' in this death metal band, but listen closely and you'll instinctively understand that this is wholly and truly an Opeth record. Without doubt, it’s probably their most accessible album, full of lush vocals and complex arrangements which push the boundaries into a rounded hard rock sound. The keyboards are pushed forward in the mix and one could spend weeks trapped in Martin Axenrot’s beautiful percussion work. If you’re not up on the latest in metal, but you've got a soft spot for old school prog rock, then there's a lot here for you, too (the instrumental "Goblin," for example... I wonder where they got that idea from  ). Overall, Pale Communion is another excellent outing and one that will surely shine played live, alongside the rest of their deep catalog.

Katatonia: Kocytean

While the digital age has made buying a song or album effortless, there's been push to get people back into record stores to buy physical CDs and, increasingly, vinyl. The metal music scene has responded and you'll find that on a lot of new releases come with a vinyl version. Record labels are also reissuing back catalogs of albums on those giant plastic circles. This year, Swedish goth metal band, Katatonia released a collection of B-side material from past recording sessions exclusively on vinyl (bright orange vinyl - which, by the way, looks pretty cool spinning around on a record player). The six tracks span to back to 2006 and gently walk the tender trails of Katatonia's more melodic side. It's a peaceful listening experience, good for a cold raining day. At the same time, it serves as a reminder that music can (and should) aspire to be more than just a collection of bytes on your phone, jostling for a moment of your precious time. It's good to slow down and watch the music spin.

Katatonia's Kocytean! #metal #vinyl #katatonia #kocytean #rsd

A photo posted by GreenChamber (@greenchamber) on Apr 4, 2014 at 4:42pm PDT

At The Gates: At War with Reality

So far, most of my list has contained bands with 20+ years of bringing metal to the masses. My next choice is another act (from Sweden, again!) that has been around, too. At The Gates, known for death metal perfection in the early-to-mid 90’s, released a high anticipated (and hyped) album, At War with Reality, their first record since 1996. The new album is bristling with a ferocity - thick in its sound and intense in its execution. Absence makes the heart grow fonder - an 18 year hiatus makes fans rabid. I say a record this good was worth the wait. At The Gates delivers the metal world an album that will spin forever, renewing the faith of old fans and earning a new legion of loyal fans.

Ghost Brigade: One with the Storm

I’ll make a geographic move on this next one... All the way to Finland. Ghost Brigade returns with their mixture of hauntingly heavy melodic metal. This year’s One with the Storm came together quietly - at least from the outside. While a lot of bands use social media to bait fans during the course of completing a new record, Ghost Brigade went to the studio with barely a word posted to Facebook or Twitter. The fourth album from the Finnish sextet finds them digging in similar soil, traversing the same graveyards as in previous releases, but more focused and deliberate in their execution. The back-and-forth of harsh growl and melodic vocal is neither cliche nor schizophrenic. The impact is brilliant - at times chilling and peaceful, and at others their sound is thunderous and crushing.

Myrkur: Mykur EP

Combining the starkness of black metal with ethereal, often beautiful vocals, Myrkur, the self titled EP by Dannish musician Amalie Bruun, pushes the genre-bending envelope. Drawing on a myriad of musical influences, Myrkur paints the stark Scandinavian landscape with a warmth that keeps you enraptured. The US take on black metal is often gritty, full of fuzz and dirt. From across the Atlantic, Myrkur reminds us of the genre's arctic roots while broadening the depth of its reach.

Solstafir: Otta

With their latest album, Icelandic band Sólstafir creates a sonic universe as textured and riveting as the land from which it's born. Soft and sweet, heavy and hypnotic, Otta elegantly mirrors the ebb and flow of the tide on a volcanic beach. Within these enchanting rhythms, you can feel the sting of arctic wind and the beauty of a midnight sun.

Behemoth: The Satanist

In the years since Behemoth's last album, frontman Nergal has battled free speech and leukemia. Released in February, The Satanist is still in heavy rotation on my listening schedule. It's been a long year with a lot of bands putting out stellar records, but for me, The Satanist stands alone. Nergal and company find the groove within the blast beat of heavy metal. Each song blisters with tight, technical rhythm and voracious vocals. Start to finish, you'll sway, headbang, and roar alongside this massive force. The Satanist is a record that doesn't need to be topped - a rare gift from the metal gods that exceeds expectations at all levels. In fact, it might be perfect.

#Behemoth closing out their set with 'O father...' #metal #nemhcf

A photo posted by GreenChamber (@greenchamber) on Apr 4, 2014 at 4:26pm PDT

GreenChamber's Favorites of 2013

I know, I know, when the temperature drops and the Christmas decorations go up, every writes up a list of the “best” music from past 12 months. But hey, it’s fun to look back on the year (or the parts you remember) and reflect on the joyous tunes that got you through the dark winter, sweltering summer, and holidays with your family. This year, as I read through the multitude of other lists posted out there, I also notice how much music I’ve missed. Evidently, my theme for 2013 was to latch onto just handful of albums. I admit that I still have plenty of music from last year in heavy rotation. Even so, I decided throw together a little list of my own for your enjoyment while you’re finishing last-minute Christmas shopping (I wear a medium t-shirt, anything black). So here goes: a random list of five albums that I picked up this year and haven’t put down yet.

Katatonia - Dethroned and Uncrowned. Brooding with the dark elegance that Katatonia is renowned for, Dethroned embarks on a journey to reimagine the entire Dead End Kings album, stripping each track its gothic bones and building layers back up, gently guided by Jonas Renske sweet croon. The softer and more delicate that Katatonia’s sounds become the heavier they feel. Here’s hoping they bring their Dethroned tour to the US in 2014.

Soilwork - The Living Infinite. It’s hard to deny the ambition of Soilwork’s latest - a 20-song effort that showcases their driving, hard Swedish metal sound, tinged with subtle nods to some of the black and doom sounds that surely have served to influence them over the years. No, they didn’t need to put out such a lengthy record and certainly took a risk by doing so. Over the span of 20 songs, you could forgive (and probably expect) things to go soft somewhere around the middle. Hell, plenty of bands do it over of the course of 12 songs. Fortunately, Soilwork churn through each and every song with intent and passion, ensuring enough hooks and aggression to keep you battered track after track.

Amorphis - Circle. Departing from the epic Finnish folklore that served at the basis for past album, Amorphis choose to create their story with this year’s Circle. Blast beats, folk-tinged flourishes, and Tomi’s brutal growl make this a complete Amorphis album. The Finnish group continues to demonstrate the prowess and energy that years of crafting death metal can produce. The album is dense and rich, as the guitars are pushed forward, leaving the vocal to tear through the curtains - which Tomi achieves through guttural growls and distinctive harmonies.

DevilDriver - Winter Kills. I will be forever drawn to DevilDriver’s music. There’s something about the swagger and blistering rage that erupts throughout each song. Every album offers hints of different influences or directions that they could take, while swerving down the line of pummeling American death metal. Their relentless touring schedule means there’s always an opportunity to see how they do it all live and how songs, both new and old, consistently swirl into an inevitable circle pit.

Windhand - Soma. I read the reviews when this album was released and was intrigued enough to pick it up for myself. Soma is dark, dirty, and immensely isolating. The sound is gritty and scratches deeper with each passage. The repeated riff structures batter against you like a relentless wave, picking up the debris and sand from the ocean floor and showering it against your cold, bare skin. And while there is little daylight in this place, there is beauty buried beneath the noise. Just let it wash over you, to cleanse the ache away and start over again.

Listen to This... September 2014

Time moves quickly and so does music. Judging by the gaps in my blog posts, I'm obviously having a hard time keeping up. Truth is, life is more important than tossing together some words and my writing is forced to yield to events beyond the keyboard. But that's a good thing. Without experiences, I'd having nothing to write about - and this year has been a good one, so far. Now, with the fall season creeping in, I might find a little more keyboard time, in between sips of pumpkin lattes and hot chocolate, of course.

Periodically, over the last year or so, a friend of mine has allowed to me crash in on his blog "Saturday Morning Playlist." Please check out his website and other work: Stacking Stones. Jason is a writing and educator, and, like me, has always held a deep passion for music and it's ability to transcend meaning beyond just notes and words.

Here are a couple of my metal-flavored posts from the past months:

DevilDriver

“Sail” AWOLNation cover

DevilDriver is a punishing metal band hailing from California (and damn proud of it, too). Frontman, Dez Farfara (who led the 90’s metal band Coal Chamber and gained fame touring with Ozzy Osbourne in the heyday of the Ozzfest music festival) leads a power groove metal machine that has churned out six records and a relentless touring schedule over the last decade. Their shows are driven by pounding drums, wailing guitars, and palpable energy from their electrifying vocalist. Circle pits are synonymous with DevilDriver and their live shows, whether out in a dusty field or in a cramped club.

The music is loud, the vocals are ferocious, and the lyrics are empowering. Themes of doing what it takes to survive, living life to the fullest, and knowing how to pick your battles are common themes among Dez’s lyrics. Though he’s a self-described introvert, Dez actively engages with his fans at shows and via social media, he is proud of life, his family, and his music.

DevilDriver has a habit of throwing cover songs into their studio albums, including a faithful version of Iron Maiden’s “Wasted Years.” On their latest album, they turned to the airwaves of pop rock for a cover of AWOLNation's “Sail.” I admit I had no prior knowledge of this song or the band, but like any good listener, I was eager to expand my horizons. With delicate strings balanced by gritty electronica and distorted vocals the darkly tragic original version highlights the internal struggle of human nature. DevilDriver’s metal groove machine provides a brutal contrast while preserving, and even heightening, the desperation driven by Dez’s frantic growl. The songs swings and stomps, it rattles the cage, grabs you by the collar and forces you listen to the desparate cries. Living with ADD since childhood, you get the sense that Dez connects with the lyrics and is eager to connect with you. There is power in the lyrics that is showcased equally by each band, demonstrating the universality of the messages that music can convey, regardless of genre.

"This is how an angel dies, I blame it on my own sick pride, blame it on the the ADD, baby"

In general, metalheads are resigned to the fact that the music on their iPods isn't likely to make waves in popular music in America. However, without a lick of ‘clean’ vocals, DevilDriver’s newest, Winter Kills, debuted at #32 on the Billboard Top 40, a position for the week that had them sitting between Pink and Daft Punk. And so the California groove machine rolls on.

DevilDriver - “Sail”

AWOLNation - “Sail”

Katatonia

“Buildings”

Katatonia weaves haunting melodies with a sound heavily influenced by the gothic and doom metal scenes of their native Sweden. For more than twenty years, they have crafted dark, chilling work with an air of elegance and danger, with vocalist Jonas Renske’s croon serving as the hinge and counterpoint for distorted guitar riffs and double-bass percussion. In 2012, they released a new record, Dead End Kings, which again displayed their strength in songwriting and performance. Dark and broody, the entire album oozes with a power that is both haunting and beautiful. As if that wasn’t enough, the band re-record the entire album a year later. Dethroned & Uncrowned takes the same songs from Dead End Kings and strips them bare. This is not merely an acoustic album. Instead, the band has remastered each track, removing layer upon layer until they reached down to the soul and built it up again to reimagine the very essence of each song. It’s an intriguing idea and Katatonia executed it flawless, creating another compete work with appeal to both die-hard fans and newcomers alike, which stands firmly on its own.

“Buildings” is one of my favorite tracks from both albums. The Kings version is typical of Katatonia’s gothic, emotive sound, swiftly crushing you under the weight of grinding guitars which part only slightly for Renske’s tender, determined singing. It’s a song that works well to open the Kings album and plays beautifully live. The bridge, three quarters through the song, maintains a subtle sense of urgency while building to the raucous chorus.

For the Dethroned version, the heaviness is wiped away. In contrast to the original, piano and vocal harmony stand proud, yielding only slightly to intertwining guitars. The bridge section in this version is particular haunting, with the piano and vocals, returning to the forefront to continue playing a sinister game. The addition of strings and accessory percussion complete the layering of sound.

Recording an album to a high caliber like Dead End Kings is challenging enough for a band, but Katatonia expertly execute the reinvention of their vision for Dethroned & Uncrowned. Not only do I listen to both albums on their own, but also this experiment allows me to hear the ideas side-by-side, comparing the differences in approach, textures, and feelings that each style brings forward. Overall, truly a crowning achievement that is worth much time on heavy rotation - for both records.

Buildings (Dead End Kings, live)

Buildings (Dethroned & Uncrowned)

Filter

“We Hate It When You Get What You Wanted”

I’ve been keeping up with Filter for many years now, following frontman and creative captain, Richard Patrick from breakout albums Short Bus and Title of Record, to some lesser known, like Amalgamut and Soldiers Of Misfortune. Filter has had a resurgence of late. A number of 90’s rock and alternative bands have gone on tour recently. Bush, Everclear, and Stone Temple Pilots (now with Linkin Park’s Chester Bennington at the helm) have taken to the road and reminded us of 90's rock - formative listening years for me, personally.

Filter hasn’t missed a beat either and in addition to constant touring, Richard Patrick has released two albums in the last 3 years with dynamic guitarist Johnny Radke (of Kill Hannah) and powerhouse bassist Phil Buckman. Filter has never felt so alive and current, while staying true the sound that Richard Patrick created 20 years ago.

Influenced by his days playing guitar for Nine Inch Nails, Patrick has always sprinkled his records with a healthy dose of electronica, like on the popular "(Can You) Trip Like I Do," and he does so again on the stellar opening track of this year’s The Sun Comes Out Tonight. "We Hate It When You Get What You Wanted" stumps and struts behind Radke’s boomerang guitar work. Patrick’s biting lyrics are perfectly in harmony with the electronic beeps and buzzes that envelope the track.

In this day we are surrounded by whatever fantasy people post on the internet. Well, you know what? We don’t care. And this song feels like an appropriate response to all the garbage constantly bombarding our senses. We don’t care about your perfect life or whatever you’re trying to pass it off as. On this song it seems Richard Patrick is calling bullshit. You can’t possibly be everything you claim.

This is the kind of song that you listen to with a swagger in your step, pumping your fist with your middle finger in the air. Your pretty, plastic world is nothing to be proud of, so, as the songs says, just "sit yourself down!"