Well, musically, 2012 had some good stuff (an attempt to make up for the rest of the year, perhaps). Here's hoping for a better 2013 and some good music, too:
DevilDriver
DevilDriver #6 is currently underway. The follow-up to Beast promises to be as punishing as ever. It's amazing these guys have time for new material given their relentless touring. I'm not complaining, having seen them a handful of time over the last couple if years. If the past is any indication, the next record will be blistering on CD and on stage - make way for the groove machine.
Black Sabbath
The first new Black Sabbath songs in years?! This is something every metal head has been waiting for. The grandfathers of doom, death, and progressive metal are set to return with a new album in 2013. All hail the kings!
Filter
Richard Patrick, founder and driving force behind Filter, as been doing things his way since the band's early days. Filter's last album was a return to form with the catchy riffs, soaring choruses, and dark lyrics that make this an enduring band. This new record, the follow-up to The Trouble With Angels, reminds the front man of Title of a Record and that is a very good thing.
Soilwork
Soilwork has been working on new material for their next album. With a recently released track, it's clear that the trademark guitar attack and vocalist Speed's gruff howl and melodic croon are in full effect. I've got a few of Soilwork's previous records, each with outstanding tracks, so the new record has a lot to prove and there is no doubt that they are up to the task.
Behemoth
Behemoth promises to return in 2013 with the best material and stage show yet - and that is saying something given their awesome tour this year. Lead singer Adam Darski released his autobiography this year and there's rumor of an English version in the near future.
Tool
Pioneers of American progressive metal in the 90s and early 00s Tool is roumored to be working on their 5th major release, the follow-up to 10,000 Days. It will interesting to hear what they have to offer the prog metal/rock genre and their die-hard fans.
Showing posts with label progressive rock. Show all posts
Showing posts with label progressive rock. Show all posts
Tuesday, January 1, 2013
Sunday, June 12, 2011
Amorphis - The Beginning Of Times
This past week, Finnish metal icons, Amorhpis released their 10th studio album, The Beginning Of Times. This new record follows success of 2009’s Skyforger and marks more than 20 years of their brand of progressive heavy metal. Following the tradition of storytelling in their previous releases, this album takes the listener on the journey of Väinämöinen, an important and powerful God in Finnish mythology. It’s believed that Väinämöinen was a shaman and creator of the world.
“Battle For Light” opens the albums with a graceful piano and orchestra background, soon followed by singer Tomi Joutsen’s grand vocal style. The theatrical styling continues, punctuated with heavy riffs and intense growls. This song sets the stage for the entire record, showing that Amorphis is comfortable drawing from all the musical styles that they’ve amassed over the years. Lending backing vocals on several songs, is Netta Dahlberg, who elegantly accompanies Joutsen’s clean and growling styles. You can hear her on “Mermaid,” a song that tears along, bristling with energy supplied by tight riffs and plenty of synth runs. This song reminds me of “The Sky Is Mine,” from Skyforger.
The first single and video was “You I Need.” Released just prior to the rest of the album, this track gave us all a taste of what to expect from Amorphis. Heavily rooted in their Joutsen-era material and set in apocalyptic scenery, this demonstrates Amorphis pushing forward while delivering the epic prog-tinged metal that we’ve come to enjoy over the years.
The middle of the album continues through incredible storytelling. This is also the kind of record that requires the listener to sit down with the lyrics to absorb the story. Songs like “Three Words” and “Soothsayer” are standout tracks. The latter tune also features vocalist Netta Dahlberg more prominently. The duet with Joutsen is perfect as the song ends.
The Beginning Of Times finishes as strong as it started. The complex and varied “Crack In A Stone” is one of my favorites on the album. It begins subtly enough, blooming into a dense, powerful song until charging full bore in sheer chaos. “The Beginning Of Time” and “Heart’s Song” (bonus track) build on the musical themes established throughout. The use of flutes and keyboards alongside double-bass and death growls keeps each song interesting. There’s something new to find with every listen. This is clearly a band at the top of their game. Amorphis continues to write elaborately heavy and technical metal and The Beginning Of Times stand outs as another amazing chapter.
Have you heard the new Amorphis? Let me know what you think. Check out my last post about Amorhphis: http://greenchamberstudio.blogspot.com/2011/04/amorphis-forging-land.html
Saturday, June 11, 2011
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 5th 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
Check out this video - another amazing song:
Tune in next time for Week 3. Also coming soon - reviews of Amorphis and Wolfbane!
Sunday, May 1, 2011
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!
Subscribe to:
Posts (Atom)