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

Acoustic Opeth - Record Store Day 2013

A few days before Opeth and Katatonia’s show at the 15th annual New England Metal and Hardcore Festival, my wife informed me that we were going to check out Opeth’s acoustic set in honor of Record Store Day. The Newbury Comics store was packed with Opeth fans, clutching copies of Heritage and holding up phones, making videos destined for YouTube. It was truly awesome to see and hear them play through handful of classic songs, including a haunting version of “Demon of the Fall,” which they re-worked for this recent tour. The band stayed long enough for everyone to stop by for an autograph and handshake. 

Later that day, Opeth took the stage as the headliner at day 2 of the New England Metal and Hardcore Festival. One of the things I love about seeing Opeth is that you never really know what they are going to play. The first Heritage tour was a cool mix of new stuff and acoustic songs, and the sets have become progressively more blended as Opeth perfects the art of weaving together songs from their deep catalogue.

With its distinctive opening riff and spacey prog feel, “The Devil's Orchard” is a great starting point. The audience still has no idea what to expect from these masters of genre bending. The pit at the Palladium came to life with “Ghost of Perdition” and “White Cluster,” both exemplifying Opeth's technical wizardry. Singer/guitarist, Mikael Akerfeldt’s growl is as devilish as ever, making the moments of clarity in clean vocal shine through. Pulling back on the sonic reigns, Opeth explored their more delicate sounds with Hope leaves and Atonement, before treating the fans to “Deliverance,” “Hessian Peel,” and “Haxprocess.”

There comes a point in every Opeth, as they break for lengthy guitar tuning breaks, when fans shout the names of songs they want to hear. The venerable favorite is a cry for one Opeth’s heaviest, “Demon of the Fall.” At this show, Opeth would give the fans what they demanded, but on their own terms. With haunting harmonies and adept interplay between each of the instrumental voices, the band brought their acoustic rendition of this song to the fans. Similar to the set performed earlier that day, but with richer tones, new life was given to this crowd favorite. With notes and vocals exposed in the acoustic setting, Opeth brilliantly executes one of their best live tracks.

“Demon of the Fall” would set up a spectacular one-two punch as Opeth closed out their career-spanning set (eight out of ten albums represented) with “Reverie/Harlequin Forest” and “Blackwater Park.” And while even Akerfeldt questioned the choice of Opeth to headline the Metal and Hardcore Festival, the Swedish quintet proved that they can perform delicate melodies alongside face-melting death metal (often in the same song) with unrivaled skill and intensity.

Video: Demon of the Fall (Acoustic)


Setlist (from setlist.fm)

Acoustic Set at Newbury Comics, Leominster, MA
1.    Credence
2.    Hope Leaves
3.    Atonement
4.    Häxprocess
5.    Demon of the Fall

New England Metal and Hardcore Festival, Worcester, MA
1.    The Devil's Orchard
2.    Ghost of Perdition
3.    White Cluster
4.    Hope Leaves
5.    Atonement
6.    Deliverance
7.    Hessian Peel
8.    Häxprocess
9.    Demon of the Fall
11. Reverie/Harlequin Forest
10. Blackwater Park

Listen To This... April 23, 2013

I've been working on a series of posts for a friend of mine. In doing so, I've started a collection of short, creative responses to songs that I've randomly selected - you know, like when a song pops up on your iPod and you're suddenly transported to another place, forgetting about whatever you were doing before. So have a listen to what's been on my mind...

Mastodon

“Curl Of The Burl”

Mastodon has been doing their brand of heavy, prog metal for some time now. Given the other metal I listen to, Mastodon should be an have been easy addition to my regular music rotation. For reasons still unknown, I just couldn’t get into them. The latest album, The Hunter, came with a lot of hype and stellar reviews, but I still couldn’t commit. Seeing them live changed all of that. My friends and I actually arrived late and got inside during the opening part of Mastodon’s set. Watching the quartet weave through years of music, pummeling the audience with new tracks and fan-favorites, was inspiring. Previous albums followed complex story lines and long track times. In contrast, the Hunter is a straight-ahead, seemingly uncomplicated, and even ‘catchy’ metal album, spearheaded by  “Curl Of The Burl,” an infectious romp with tight verses, sing-along chorus, and even a retro breakdown. Under the hue of blue and green stage lights, Mastodon showcased the beauty and complexity in every note they played. On that night, they easily won a fan in me.

Opeth

“The Lotus Eater”

For Opeth, the Swedish metal band (who once stated their desire to be the most evil band ever created), “The Lotus Eater” is a song that encompasses all of the sounds, influences, and aspirations of their 20-plus year career. Death growls, blast beats, clean vocals, swirling guitars, pummeling drums, and a few surprises, await you on an almost 9-minute journey through creative prowess of singer/guitarist Mikael Akerfedt and his band of technical masterminds. I was at the show where the YouTube clip of this song was recorded. It was the first time that I saw Opeth live. It was a hot, dusty day in July and the sun was just starting its afternoon descent toward sunset. Packed in with a sea of like-minded metalheads vanquished any discomfort as Opeth charged into a short, but fully loaded 45-minute set. It’s one thing to hear a track digitally recorded, but another thing entirely to hear how bands are able to tackle every nuance in bringing their songs to life with a live audience. In “The Lotus Eater” Opeth showcases their command of sonic force, elegant phrasing, melody, and dissonance. And the blistering organ solo is one my favorite moments from their 20-year catalog. Embrace the journey and let it take you as far as possible.

Isis

“20 Minutes/40 Years”

On this track, a firm bass growl carries you through the gradual layering of sound and texture that Isis became so well-known for crafting. Soon a raspy vocal growl barks from just above the growing din and quickly melts into a melodic tone, perfectly in concert with the building distortion. The words are nearly incoherent, yet you’re compelled to strain your ears against the sound, like listening for voices through a gale-force wind. Finally, sonic resolution brings anticipated release from swallowing sounds. It lasts only for a moment before the waves of guitar swell and consume you again.

As in many of their songs, the vocal never stands forward in the mix in “20 Minutes/40 Years.” Isis uses the voice as another instrument for the sounds and effect it brings to each musical thought. Just as guitars glide from muddled distortion to ethereal picking, singer/guitarist Aaron Turner’s voice changes to fit the mood; a brief solo before stepping aside for the next passage. We tend to get absorbed by the vocalist, caught up in the showcasing of talent and control over the audience. Its presence and power are taken for granted. But here we find a completely different purpose, as the vocals are integrated into the overall sound. This approach, whether intentional or just a consequence of their style, is both unique and beautiful.

Yes, the songs are long and require dedicated listening to absorb all the nuances, but patience is rewarded. This track is off Isis' final studio album, Wavering Radiant. I highly recommend their other albums, too, including Oceanic and (my personal favorite) Panopticon.

Best of 2012 (2 of 3)

Continuing to look back at 2012 in music, here are some more of my favorites:

Ahab
German doom metal group, Ahab's first release was an epic concept album based (not surprisingly) on Moby Dick. On their second album, they've returned to nautical imagery with The Giant. Even without another literary work to draw from, Ahab draws in the listener with long, intense passages punctuated by desparate vocals. You feel swallowed by the sound and drug to the ocean floor, the weight of the world bearing down. As beautiful as it is heavy, The Giant is enormous.

Between The Buried And Me
Firmly entrenched in the progressive death metal genre, Between The Buried And Me continue to push the envelope. Their follow-up to the 4 track EP, Parallax II is a galloping 10 song journey with their trademark twists and turns - pummeling blast beats give way to Spanish guitar and orchestra flourishes, while vocalist coos and bellows. The depth of the instrumentation is staggering. Having seen their wizardry live before, this album will be an epic adventure on stage.

Storm Corrosion
The long-anticipated collaboration between prog rock masters Mikael Akerfeldt (Opeth) and Steven Wilson (Porcupine Tree) provides a lush soundscape for listeners to lose themselves. The vocals are serene and supported by a delicate balance of sparse instrumentation and ambient sounds. Intricately composed, the album cannot be digested in one sitting, but sampled again and again.

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! 

Listen To This - May 22, 2011

The weather here in the Northeast has been horrible. I haven’t seen the sun in weeks. With the fog rolling in off the ocean each night, I feel like I’m in a ‘Pirates of the Caribbean’ movie; just without the excitement… or the rum. So, this week I needed some music that could keep me going through the dark and dreary days of this endless monsoon.

Black Label Society – Order Of The Black

You may know Black Label Society from the radio single Stillborn, which featured Ozzy and is also found on Guitar Hero. In fact, you can battle against BLS leader, Zakk Wylde in the game as well. I saw Zakk Wylde on Ozzfest years back when he was playing two sets each night – one set fronting BLS and the other playing with Ozzy. His relentless attitude comes through in Black Label Society’s 2010 release, Order Of The Black. The album is chockfull of the head-banging, fist pumping, whiskey-fueled metal mayhem that we’ve come to expect from BLS. Songs like the opener, “Crazy Horse” and “Parade Of The Dead,” feature heavy drums, tight guitar, and Zakk Wylde’s signature wail. Just as with albums like Mafia, the rampage slows down every couple of tracks with a sweeping ballad, such as “Darkest Days” and “Time Waits For No One.” My favorite track is “Godspeed Hellbound,” which hooks you in and drives with ferocity reminiscent of “Stillborn” or “Suicide Messiah.” The album closes with a third ballad, lulling you into submission before the brutality starts all over again.

Opeth – Lamentations (DVD)

Thanks to Netflix, I never need to leave the house, even for music. I sat down this week to watch Opeth’s live concert DVD, Lamentation (2003). In the concert, Opeth plays two sets. The first set draws on their softer songs, taken mostly from the Damnation album. If you want to experience a badass death metal band opening itself up to elegant vocals, sweeping dynamics, and intricate passages, you must watch this show. You also get a sense of the band’s humble personality. Front man, Mikael Akerfeldt interacts with the crowd, remarking that there are a lot more people watching than he’d expected. You almost get a sense that he, and the rest of the band, are just average guys, playing music, and hoping that others enjoy it. Keep in mind that by this time, Opeth had been around for 13 years! The second set picks up with their heavier, prog-laden death metal (mostly from Deliverance). Both Akerfeldt's growls and clean vocals meld perfectly with blast beats, synth keyboards, and frantic riffing. I seriously recommend watching, especially on a rainy day. Start from the beginning and see where the journey leads

Opeth - Morningrise

“When we both walk the shadows/ It will set ablaze and vanish/ Black rose immortal” Opeth, Black Rose Immortal.

With engaging hooks, a myriad of textures, and plenty of brutal passages, Morningrise, the second album by Sweden metal gods, Opeth stands as monument to progressive metal. Released around 1996-97, this is the middle album of the so-called Candlelight Years. While you will find heavier songs on Blackwater Park and more accessible songs on Damnation and Watershed, Morningrise stands out as a complete work; one which dives deep into the catalogs of progressive metal. None of the songs are under 10 minutes, taking the listener on a 66-minute odyssey. With a foundation in death metal forged on their debut, Orchid, Opeth expands into prog territory as they mix acoustic guitar passages and elements of jazz with heavy guitars and singer Mikael Akerfeldt’s signature growl.

The album begins with “Advent”, which is also performed on 2010’s In Live Concert at the Royal Albert Hall. The track gets off to a galloping start before settling into a heavy groove, highlighted by guitar harmonics and punchy bass lines. Weaving back and forth from driving guitars to ethereal acoustic passages, “Advent” eventually returns to earlier death metal themes.  

“The Night And The Silent Water” begins with doom-style distortion guitars, laced with acoustic flourishes. Akerfeldt’s pained voice strains against scratchy guitars before collapsing against delicate acoustic harmonics. The band explores the subtly soft textures and sounds and then disappears completely. From the ashes of this momentary pause, Opeth awakens; tension builds and explodes into a wall of sound, stabbing time changes, and deathly vocals before transitioning into the hypnotic “Nectar.”

Just as on “The Night…” the guitars sound dirty and rough on the 10-minute “Nectar.” Their abrasiveness gives way to polished acoustic guitars, much in the same way as Akerfeldt’s throaty bellow contrasts with his cleaner side. As these competing styles wrestle, they take pieces of each other until the lines between sections blur into obscurity. Opeth successfully manages to build layers sound and texture without overburdening the listener.

The preceding 30 minutes leads up to one of my favorite of all Opeth songs. Spanning 20 minutes and every genre metal has dared touch, “Black Rose Immortal,” (which is also an awesome title on its own) is the pinnacle of Opeth’s perfection on Morningrise. True metal hooks, clear bass riffs (seriously, you can actually hear the bass, instead of it be relegated to messy depths of the mix), and intense vocals make this a standout metal song. The starts and stops at first feel like a new song until you recognize a theme from three sections ago. And while some long, twisting songs (a theme itself in prog rock) can struggle to hold your attention, Black Rose Immortal, not only keeps you listening but rewards your commitment with the final track, “To Bid You Farewell.”

Credited as the first Opeth song devoid of death metal growls, “To Bid You Farewell” is a beautiful ending to Morningrise; acting as the bookend and antithesis to the opening “Advent,” you’re greeted with acoustic melodies reminiscent of Spanish ballads. Akerfeldt’s voice is hollow and distant, contrasting with the silky (and clean) electric guitars. Snare drum clicks and delicate ride cymbals keep time, acting as your tour guide on this eclectic trip.

It’s one of those albums that you don’t want to end. And when it’s all over, if you still have the strength, you’ll turn back to track 1 and start the journey all over again. So, what are you listening to?

Where will the journey take us? Tune in next week!

Best Metal Ever

The other day I came across a list of the 50 best metal songs of all time. Naturally I had to check it out, but I knew deep down that it would probably fall short of my expectations. Metallica’s Master of Puppets was hailed as the greatest metal tune ever. That’s a respectable start, but soon things would fall apart with far too many nods to the same bands, disregard for progressive metal, and an alarming blind spot for music made in the last 20 years.

Lists like this are always troublesome because you’ll never get a bunch of metal heads to agree to anything, much less the best bands and songs. I think that speaks to the diversity of the genre. There are many sub-classifications of metal: death, black, doom, progressive, melodic, speed, thrash, and so on. Music is the sum of its parts. As different musicians take influences from their varied backgrounds, new flavors are born. I mean, what is metal? What makes something the most metal? Good grooves, ripping guitar solos, deep and powerful vocals? Any song that starts a crazy moshpit with just the opening riff is definitely metal. But ultimately the definition of metal belongs to the bands and the fans – as it should be.

Without a doubt the titans of early metal were bands like Black Sabbath, Rainbow, and Judas Priest. Then came the thrash metal icons like Metallica and Slayer. Even so, it’s hard to believe that in a list of the 50 greatest metal songs only 20 different bands would be represented. Metal runs much deeper than that. Unlike sports or politics it’s not actually dominated by a handful of successful acts. And as all music has evolved over that last several decades, metal has continued to grow and stretch beyond conventional expectations. It’s a shame that a list of metal neglects modern progressive metal or the boundary bending trailblazers that combined death growls with epic, clean vocals.

I could make my own list of the best metal songs, but as you can see it would be futile. Instead, I’m going to shed some light on the bands that most lists will overlook. Looking for some of the best metal? Here’s my top 5 in no particular order:

1. Opeth – Swedish death metal pioneering progression with heavy riffs, shifting vocals, and epic compositions. 

2. Pantera – I’m not sure how anyone could make a list of metal songs without Pantera. Vulgar Display of Power; Cowboys From Hell; Reinventing The Steel… enough said.


Check out the video for Pantera's Cemetery Gates: http://www.youtube.com/watch?v=RVMvART9kb8

3. Dark Tranquillity – DT has influenced just about every band that dares to mix death growls with clean vocals amid bludgeoning riffs.

4. Neurosis – deep, dark metal that twists and turns back on itself. Every listen turns up something new that you hadn’t heard before.

5. Anthrax – When you hear about the big four, they’re talking about Metallica, Slayer, Megadeth, and Anthrax. These Jersey boys consistently churn out the best thrash metal ever made. Get caught in a mosh! 






This is rock. This is life. What are you listening to?