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!"

Will Travel for Music: Part II: Metaltown, Gothenburg, Sweden 2013

Planning. Preparation. Supposedly, it’s all about how well you prepare for something that will make the difference in the overall outcome. There was certainly a lot of planning that went into our 2 week trip from Finland, across Scandinavia, and then on to Iceland. When I say planning, I really mean research. We researched places to go, the sights and activities, and how to travel between each destination. We did not reserve everything in advance, however. Most of the guidebooks suggest booking ahead, especially during the peak season (which in Scandinavia seems to be is either winter or summer) because everything hotel room will be sold and every museum and bus tour will be filled to overflowing with like-minded tourists, happily plodding along the same path that you’ll be traveling (in part, I imagine, because they are reading the same guidebooks).

Planning is not the same as having a plan. It’s very good to have a plan and I even recommend having more than one plan. Initially, we wanted to see as much of each country as possible, mostly by train. I wanted to make a stop north of the arctic circle. And yes, I know that’s a touristy goal, but it was still something that I wanted to do. After our first train ride from Helsinki to Savonlinna (that I wrote about in Part I) the thought of spending the next two full days of our trip traveling by train made us cringe. So we made a new plan. In the end we decided travel to Sweden via an overnight ferry from Helsinki to Stockholm. Not only did we save a full day of traveling, it meant that we would arrive in Gothenburg just in time for the 10th anniversary of the Metaltown festival.

Katatonia

Metaltown was somewhat of a coincidence because it was only after we decided that our trip would kick of at Tuska in Helsinki did we learn about the Metaltown festival. I think we knew that a stop in Gothenburg would mean trying to find some kind of show to see and the opportunity to see a metal show in the metal town was too much to pass up.

Marduk

Ghost

We made it for the Friday night show which hosted a lineup that included Carcass, Sabaton, Ghost, and Slipknot on the main stages. We also opted spend a lot time in the Close-up stage to see Katatonia and Marduk for a more intimate ear shredding. Standing in a field, somewhere outside of Gothenburg, the sounds of screaming guitars and thundering bass mixed with mooing cows and shrieking crows. The sun began its slow march toward twilight as the wind kicked up, blowing dust, cigarette smoke, and grilled food smells in the air. The evening chilled to the symphony of metal blasting through the countryside. I love festivals. Everyone is in good spirits. The music is loud. You can watch as a small group of fans hear the first notes of their favorite band and dash off toward the stage so as not to miss a beat. It’s an opportunity to see bands in a completely different environment. It’s an opportunity to see bands that you might not have otherwise, or a perhaps getting to see a band for the first time. For me, Metaltown was the first taste of Ghost and an introduction to Marduk's brand of Swedish black metal. The Katatonia was excellent and though I don't listen to Slipknot much anymore, they stage a live show like few other bands. Festival sets are always too short but always energetically executed.

And so once again the best advice I can give is to follow the music. Forget the guidebooks that put you in line with everyone else. No one wants to spend their vacation standing in line, waiting for a bus, or disappointed because a famed restaurant is full. Instead, arm yourself with more information than reservations and chart your own path.

Gothenburg, Sweden

Best of 2012 (3 of 3)

Final installment of my favorite music from 2012...

Chrome Waves
Chrome Waves' 6 song EP packs a hell of a punch. The Chicago based trio (who hail from previous bands such as The Atlas Moth, Nachtmystium, and others) prove that American death metal is alive and well. Chrome Waves builds emotion and dynamics throughout, accompanied by vocalist Stavros Giannopooulos' uncompromising howl. This short but sweet record provides as much metal as many bands cram into a full disc. 

Motionless in White
Young upstarts hailing from Scranton, PA, Motionless in White's second album proclaims that they'll be here to stay. With their brand of dark metalcore, Motionless in White charges with hooks, breakdowns, and ferocious vocals. Song with guest vocals by Soilwork's Speed is a highlight for me. They may not have invented 'spookycore' but they wear it well - and here's to hoping they continue to punish the genre.

Katatonia
Twenty year veterans, Swedish metallers Katatonia return with a lush, gothic album. Singer Jonas Renske's vocals are as tender as they are biting, backed by a chorus of crunching guitars and Katatonia's trademark brand of melodic hooks. The album plays through start to finish, each track picking where the last left off. Every time I play this record, I hear something new.

This Is Halloween

Ah yes, it’s Halloween again. The air is brisk, the nights have grown darker and longer, and it’s time to prepare for those little trick-or-treaters to come around begging for your Kit-Kat bars. Right about now you’re digging through the closet of decorations looking for that dusty old cassette tape of ‘scary’ Halloween sounds. Right, because nothing says ‘Halloween horror’ like the muted sounds of creaking doors, hissing cats, and fake footstep wafting out from behind the bushes. In my opinion, toss out that tape and put something a little more metal for your Halloween. With any luck you’ll scare away the little children, annoy your neighbors, and have all of that candy for yourself.

As always, I’m only using song that I own. And no, you won’t find “Werewolves Of London” or “Monster Mash” on this list, so don’t even ask...

1. Marylin Manson – “This Is Halloween” Marylin Manson covers the opening song of Tim Burton’s Nightmare Before Christmas, adding another layer of creepiness to Danny Elfman’s original.

2. Rob Zombie – “Dragula,” “Living Dead Girl,” “Superbeast,” the list goes on… Rob Zombie is the architect of the best scary, hypnotic metal and as the director of House Of 1000 Corpses and The Devil’s Rejects, he is the master of Halloween metal.



3. Opeth – “Demon Of The Fall” Mikeal Akerfedt and company unleash the growls and pummeling beats of Sweden’s best death metal. “Grapsing for another breath / She rose, screaming at the close doors / Seductive faint mist forging / Through the cracks in the wall”



4. DevilDriver – “Monsters Of The Deep,” “Swinging the Dead” Dez Fafara’s unearthly growls gives life and death to DevilDriver’s most monsterous tunes.

5. Ghost Brigade – “Clawmaster” Another death metal band from Sweden, Ghost Brigade lives up it’s name with eerily deep vocals, slow doom rhythm, and ferocious growls. The video for Clasmaster is perfect for your Halloween night.



6. Black Sabbath – “Children Of The Grave” No night of doom and gloom is complete without Black Sabbath. Enough said.

7. Katatonia – “Ghost Of The Sun” Katatonia’s brand of moody metal sets the stage for a night of walking through a misty graveyard.



8. Isis – “Hall Of The Dead” When the world ends, the sounds of Isis will be playing. Their brutally raw metal conjures images of the apocalypse.



9. A Storm Of Light – “Death’s Head” Another dirty, doom metal band, A Storm Of Light shares similarities with bands like Isis, Neurosis, and Ghost Brigade. Dense vocals supported by crushing guitars, these metallers will leave your trick-or-treaters quivering in their little costumes.

10. Slipknot – “Tattered And Torn” A circus can be scary, especially when the soundtrack is supplied by nine crazy dudes in jumpsuits. It sounds like a circus from hell that would be well at home in a Stephen King novel.

Opeth & Katatonia at the Palladium, Worcester, MA

Opeth kicked of a tour on the eve of the release of their 10^th studio album with long-time friends and fellow Swedes, Katatonia at the Palladium in Worcester, Massachusetts. Heritage is another chapter in Opeth's musical journey. For this 'observation' Mikael Akerfedt and company chose to dive deep into their prog rock roots. The sweet, classical-influenced opener, "Heritage" gives way to "The Devil's Orchard," which jumps out with gritty guitars and wild organs. Akerfedt's voice rings clear and desparate, backed by frenetic drums and a rollicking guitar accompaniment. Playing with familar song structure, "The Devil's Orchard" stops and starts, turns down low, and reaches out in a hundred directions before fading away. "Nepenthe" is at times soft and delicate as Akerfedt sings beautifully over jazz-tinged drums and bass. In "Haxprocess" the call and answer between Akerfedt and organ sets up an dangerously intricate play between syncopated rhythm and feverish acoustic guitar. Every song has been crafted with care. Each contains its strengths, subtlety, and technical ambition. You will love this record the moment you hear it because every moment is packed with grooves, catchy vocals, and unpredictable twists and turns. And yet, on every subsequent listen you'll discover something that wasn't there before. There's always another riff, bass lick, or organ squeal lurking just beyond your perception. Heritage is flush with intense musically, just like every Opeth album before it. It's technical and unabashedly exposed to the listener. There are no death growls or blast beats to hide under. Heritage is not prog, it's not death metal, it's simply Opeth.


On another note, it's worth getting the bonus tracks "Pyre" and "Face In The Snow."

Katatonia took the stage for an 11-song opening set. This is another band that I stumbled onto for no particular reason but was immediately drawn their dark, brooding style. Jonas Renske's haunting vocals are racked full of emotion, passion, and sorrow. Their set took songs from their most recent albums, Night Is The New Day and The Great Cold Distance. They also played songs from deeper in their catalog, stretching as far back as 1999's Tonight's Decision. It was a killer set and these 20-year veterans of heavy metal put on an excellent show. There was no fanfare or rockstar stage antics. Instead Katatonia let the music speak for itself. Hearing some personal favorites like July, My Twin, and Forsaker live (and in the front row) was utterly awesome.

Set List:
1. Forsaker
2. Liberation
3. Soil Song
4. Nephilim
5. My Twin
6. The Longest Year
7. Evidence
8. Chrome
9. For My Demons
10. July
11. Leaders

So, as if the Katatonia set wasn't enough fun, Opeth came out on stage and played a brilliant, inspired, and musically exhausting 2-hour set. They played songs from several many different releases including their latest, Heritage. This was a much different set than their typical festival shows. Keeping with the theme from Heritage, Opeth played an incredibly technical and challenging list of songs. They opened with "The Devil's Orchard" and "I Feel The Dark" (from Heritage), followed by "Face Of Melinda" and "Porcelain Heart." They demonstrated their musical prowess as they seemlessly blended new material with old. Face Of Melinda, a staple of Opeth concerts, is from 1999's Still Life. It sounds at home with "Porcelain Heart" (from Watershed) and the vibe from Heritage. 

The middle part of the show was performed acoustically by both Mikael Akerfedt and guitarist Fredrik Akesson. I've seen plenty of bands slow things down with an acoustic song here and there, but this performance was different. Opeth played through a handful of songs, with dual acoustic guitars playing in perfect harmony, backed by subtle organs and solid rhythm. They dove back to into their catalog, to play "Credence," from 1998's My Arms Your Hearse. They even played some very rare songs, including "The Throat of Winter" and "Patterns In The Ivy II."

With barely a breather between songs, the 2-hour show closed with songs both new and old. Opeth sounded amazing from every vantage point in the venue. From the front of stage to the risers in the back of the small theater. It is truly rare to witness such musicianship, especially in the increasingly dilute metal genre. Instead of delivering technically intense music, many bands do all they can throw up a wall of sound, masking imperfections and insecurity. Fortunately, bands like Opeth, show us that metal can still play.

I know what you're thinking... Opeth didn't play their heavy stuff? No death metal vocals? If you've got a complaint then you've missed the point. And that's a topic for another blog. Mikael Akerfedt declared, at the beginning of the show, "We're going to play some new stuff tonight. I hate it when my favorite bands play new stuff, I just want to hear to the old stuff." Thank you, Opeth, for playing one of the best shows I have ever seen.

Opeth - Devil's Orchard

Set List:
1. The Devil's Orchard
2. I Feel The Dark
3. Face Of Melinda
4. Porcelain Heart
5. Nepenthe
6. Throat Of Winter
7. Credence
8. Patterns In The Ivy II
9. Slither
10. A Fair Judgement
11. Hex Omega
12. Folklore

30 Days Song Challenge: Week 2

I’m back for week 2 of the 30 Days Song Challenge. Again, I’m only using songs from my personal iTunes library. Enjoy!

day 08 - a song that you know all the words to

“Inside Out” – Eve6. Not only do I know all the words, but I’m happy to sing along at the top of my lungs!

day 09 - a song that you can dance to

“Tell Her Tonight” - Franz Ferdinand. Let’s be clear – I can’t dance, but this song has been known to cause me to break out into fits of dancing (often while driving and sometimes mistaken for a seizure).

day 10 - a song that makes you fall asleep

“The Longest Year” – Katatonia. The dark, rhythmic metal of Katatonia is one of favorites to put on and just chill out to. Out the deck, with the headphones on, I can just let this song, and the rest  of Night Is The New Day, take me away.

day 11 - a song from your favorite band

“Black Water Park” – Opeth. The title track closes out Opeth’s groundbreaking 5^th album. This album went a long way to making Opeth known outside of Sweden. It’s the perfect culmination of prog and death metal. The song itself is a 12-minute epic which incorporates heavy riffing, deafening drums, and subtle breakdowns. As the final blast beats grind conclusion, Mikael Akerfeldt roars “…the sun sets forever, over blackwater park” and you believe that it will.

day 12 - a song from a band you hate

“When I’m Gone” - 3 Doors Down. First, let me say that ‘hate’ is strong word. I don’t really have anything that I hate, but I as much as I try, I never been able to feel anything for 3 Doors Down. Maybe it was the incessant play on the radio or just the predictable song structure (verse/chorus/v/c/solo/c….etc), but I just can't like this band.

day 13 - a song that is a guilty pleasure

“Sunrise” – Norah Jones.  Just a catchy little song from 2004’s Feels Like Home. I have a weakness for mellow piano and female vocals, what can I say?

day 14 - a song that no one would expect you to love

“Blue - Al Di Meola” - Demir Demirkan. This is opening track to Painted On Water by Turkish musicians Demir Demirkan and Sertab Erener. Demirkan is a rock guitarist who brings out some jazz and blues sounds to accompany pop singer Sertab Erener. “Blue” is a short, but sweet instrumental that sets the stage for rest of the album. And in this case, the seemingly unlikely pairing of these two stars makes for an excellent listening experimence.

Check out this video - another amazing song:


Tune in next time for Week 3. Also coming soon - reviews of Amorphis and Wolfbane! 

Katatonia's Great Distance

Soil’s Song (live) from The Great Cold Distance

In the shifting sands of popular music, many bands struggle to stay true to their original visions. It’s not enough just to hang on and keep playing the same songs year after year. I have mixed feelings about bands that fall back on an album or two in their history. Sure, it may be their best (or even one of their all-time best), but progression is what drives to us new places. I think that extending beyond what’s been tried leads to the longevity of a band and affirms the relevance of a musical genre.

This year the Swedish group Katatonia is celebrating their 20^th year of dark, intense metal music. They belong to a long line of metal kings from northern Europe that has persisted throughout the varied rock and metal trends of the past 10-20 years. Pushing the boundaries of sound, vocals, and technical prowess, bands like Opeth, In Flames, Amorphis, Soilwork, and Katatonia consistently deliver killer metal. And they say relationships never last.

Katatonia’s brand of death metal doesn’t always jump up and kick your face in. Instead, their dark, brooding sound slithers up beside you and drags you deep into the darkness. Jonas Renkse’s clean vocals float on an undulating sea of driving guitars and crushing drumbeats. Their sound bristles with passion and a palpable tension.

All the vocals are clean and that is a bit of a departure from the traditional death metal growl. But that shouldn’t be a surprise in a genre which is actually very difficult to classify. I suppose you could label Katatonia as death metal or doom metal or maybe post-alternative-melodic-death metalcore -- I’d rather not. Personally, I don’t care about defining their sound. Instead I’m drawn in by the thick guitars and Renkse’s emotional vocal delivery. I own their two most recent albums: The Great Cold Distance (which I mentioned in an earlier blog post [Winter’s Chill]) and Night Is The New Day. Both CDs deliver on Katatonia’s dark and heavy style. There are some nice surprises, like the laid-back groove of Idle Blood or thunderous stroll of Leaders. I picked out a couple other stand-out songs for the videos this week, too. The first is a live version Soil’s Song, showing how well they can achieve their studio sound out on the road. The second, the moody and dramatic July, is also from The Great Cold Distance.

July from The Great Cold Distance

Happy birthday, Katatonia! This is rock. This is life. What are you listening to?