Extol - Extol (2013)

Music is always evolving.  Music is ever changing.  Music doesn't sit still and rest on its laurels, because music is a constantly moving target, with a new generation of musicians coming up and making waves, writing music and distilling their influences in new and interesting ways.  Not everyone understands this, however, and some people decry a musician (or collective thereof) for changing styles, sounds, aesthetic or production values, or even minor elements that aren't to the liking of said fan or critic.  Music is, however, art, and whether or not the changes that take place are ultimately positive should not be gauged by how much fans buy a new record, but whether an artist or band sees the shift as artistically successful.

Extol is a band that has seen its fair share of complaining fans due to a shift in style or approach.  Some fans didn't like the slight shift from "Burial" to "Undeceived" from a somewhat melodic black metal focus to a more progressive death metal one, even though the stylistic differences between the albums are relatively few.  A bigger shift occurred from that record to "Synergy", a conscious move toward a highly technical thrash metal style with harsh vocals that mirrored the band Believer, one that Extol had long been known to be fans of.  Even greater change came when guitarist Ole Børud left the band in 2004 and the sound changed again to a post-hardcore influenced alternative metal sort of vibe that, though still dark and brooding, was too much a change in sound for many fans to swallow.  Less than 2 years after the album's failure to catch fire and the fan backlash surrounding the change in styles, the group went on indefinite hiatus, and the possibility of Extol regrouping became more slight with each passing year.

A glimmer of hope was offered when a teaser for a documentary about Extol (subtitled "of light and shade") appeared online, and fans began to speculate whether this was a hint that Extol was reuniting or that it was indeed just a documentary.  The latter turned out to be the case, but little did most fans know that the band had actually reformed (sans a couple members) and had begun writing new music.  Vocalist Peter Espevol, Drummer David Husvik and Guitarist Ole Børud were writing music together once again, and once word got out that a new album was in the works, Extol fans wondered if the album would be a continuation of the dark & broody post-hardcore rock/metal of "The Blueprint Dives", a return to the earlier technical melodic death metal of early albums, or perhaps somewhere in the middle, like what Ole and others did with the Mantric project.  Thankfully, the answer is none of those, and instead, we get the eponymous "Extol" album to answer the question definitely on its own merits.

I would say that, musically, this is still Melodic Death Metal in form and scope, though it sort of rides the line between what I would call melodic death metal and what I would instead constitute as either extreme progressive metal, or some hybrid of progressive and death metal styles.  There are fast double-bass sections, heavy and driving guitars, death growl vocals, and plenty of up-tempo rhythms to bang your head to, but there are more layers to this new album that make it difficult to pin down by simply calling it "melodic death metal", because that tag doesn't do the sound of this album justice.  The heaviness factor is there, but the sound is so melodic, and at times so "clean" sounding that it's almost a misnomer to call it death metal at all.  It reminds me of Monolith's 2 albums (especially "Voyager") or the lone In Grief album "Deserted Soul" because it successfully marries a very modern, heavy death metal sound with progressive structures and other elements in such a way that it's hardly death metal at all, yet there's no denying how heavy the record is.  The interplay between heavier elements and sparser bits is part of what makes the album so exciting.

In terms of instrumentation, there's no mistaking the guitar presence of Ole Børud at the helm again, and this is a good thing.  His highly melodic playing is very recognizable, and with his departure after "Synergy", it was obvious on "The Blueprint Dives" that he was absent, both due to the tone of the material, as well as the guitar sound.  While the guitars on "Extol" may not be quite as brutal as the 1st 2 albums, they come pretty close, having that sound that blends the thick and meaty tone with the clarity and precision that Extol's sound had become known for.  Ole's solos are also here in some quantity, and they're as melodic and tuneful as ever.  Bass guitar is also present in the mix and audible as much as it can be alongside the guitar, though it's pretty deep and "boomy", in that it is less recognizable as an individual element as it is backdrop.  Since Ole plays both, it makes sense that he'd want the guitar at the forefront and bass in behind a bit, and it works well here.  There are times when the bass guitar does have a bit more tuneful presentation, like in some of the more nimble passages where there are more notes being played, but often during faster sections, the bass is relegated to the back.  Drumming by David Husvik is excellent as always, incorporating necessary dynamics, and keeping the tempo where it needs to be to propel the music forward.  The drum sound here is especially good, with very clear, yet powerful drum hits and a reasonably strong snare drum sound that isn't too high pitched but remains "punchy".

Vocally, the album has 3 different styles.  Primarily, you have Peter Espevoll's mid-range growl which occasionally creeps up toward the higher pitched shriek he employed early on, and sometimes it will dip a bit lower into a more low end growl, but never so high or low that it sounds like someone else.  Ole Børud continues to provide the clean vocals as he did on the band's 1st 2 albums, and here it's a bit different approach.  He layers the vocals here multiple times, and there's a bit of a "sheen" over top of them that gives them a very modern, processed feel.  Not so much where they sound auto-tuned, but just more produced than before.  This has been a complaint from some fans about the new album, but honestly, I think it sounds great, and I'm just glad to have Ole back in fine form.  The 3rd, less often used vocal is more of a Kurt Bachman-esque throaty yell (ala Believer), which shows up in a couple tracks and is used to great effect.  Overall, the vocals on the album are well done and definitely sound like the Extol most fans are familiar with.

The thing that makes this record so listenable is just how it's all so pristine and produced.  For those that like their death metal "dirty" and "filthy" sounding, they'll need to look elsewhere, because this is nothing of the sort.  Instead, like a lot of modern death metal, this has a nice polish and shine to it, to the point where the heaviness is slightly diminished, but not so much as to make the album sound "wimpy".  Rather, it allows the full spectrum of elements to be heard clearly, so between the heavy guitar, thumping bass, crisp drums, layered vocals, and keyboards sprinkled about, everything is clear and present.  Nothing hides in the mix, which makes the whole thing sound really big and full.  The melodies are also very memorable in comparison to a lot of other bands that play a melodic death metal style.  If you're going to sacrifice grit, grime, and overall heaviness for the polished sound, make sure it's memorable, and these guys do just that.  Apart from the overly simplified melody of the instrumental track "Dawn of Redemption", this album has no shortage of sharp melodicism.

I don't really have any complaints of the album, other than I understand why some don't care for Ole's "super clean" processed vocal approach, and it would have been nice if the sound of the album could have been just a teensy bit heavier to match the heaviness factor of the 1st 2 records.  Save for those minor wish list items, this is quite possibly Extol's finest hour.  I've spun this album countless times over the last several weeks, and if I had a CD player in my car at this point, it'd still be in heavy rotation there as well.  This is one of those albums that will continue to play in my head for days after I've listened to it, and that's a sign of a well written album and batch of songs.  So while it may not be as heavy or blistering as either "Burial" or "Undeceived", I find myself going back to this album even more often than the previous works, and that's coming from a guy that has purchased much of their material as new releases.  This is a triumphant return for Extol, and I look forward to hearing what they do next, assuming this regrouping is more than just a one-off album.  Let's hope so, because this is far too good not to expound upon with future material.  Highly recommended.

90/100

Voivod - Target Earth (2013)

Bands don't often get a second chance at glory.  In fact, most bands don't even get a first shot.  They record material, get signed by a label, get a few accolades (if the music is solid), then fade into relative obscurity.  Very few bands rise above their peers to make their mark.  Voivod did just that in the late 1980's with 3 progressively (pardon the pun) more exciting albums in a row.  First was "Killing Technology", which kept the thrash aesthetic of the previous releases but added more technical, angular riffing.  Next came "Dimension Hatross", which tightened the new approach and expanded upon its predecessor.  Finally, there was "Nothingface", which took the ideas of "Dimension Hatross" and created an atmosphere all its own, combined with an excellent melodic approach that birthed what is arguably the band's best album.  So when original vocalist Denis "Snake" Belanger" left the band after 1993's "The Outer Limits" release, some thought that would be the end of Voivod.  But they emerged as a 3-piece with new bassist/vocalist Eric Forest and re-visited the more aggressive thrash days of yore, while keeping much of the sci-fi element and not forsaking the progressive elements that brought them to the front of the scene.  When "Snake" came back to the band and they put out their eponymous 2003 album 10 years after his departure, it seemed as though they were moving in the right direction.  Tragedy struck the band, however, when original guitarist Denis "Piggy" D'Amour was diagnosed (a 2nd time) with cancer, and after battling with it a few years, finally gave up the ghost in 2005.  He left his band-mates enough guitar tracks and song ideas for 2 albums worth of material, but fans once again feared the reinvigorated band would die.

Enter guitarist Dan "Chewy" Mongrain in 2008 to help the band along during a number of live shows in support of the "Katorz" and up-coming "Infini" album material to pay tribute to the band's fallen comrade.  Something happened during his time with the band, however, and he gelled with them more than I suspect any of them would have guessed.  Dan's style was modeled after Piggy's playing, and his playing fit the band like a glove.  A live album in 2009 solidified Chewy's playing as a component of a once again revitalized Voivod, and now 4 years later we have what should permanently cement Chewy as a full-fledged member of the Voivod family in the album "Target Earth", the band's first release of truly new, collaborative material since 2003's self-titled release.

There was a bit of buzz leading up the album's release, hailing it as a triumphant return to form, a return to the "classic" Voivod sound, and the best thing they'd done in years, etc.  That kind of talk gets thrown around a lot when an old band makes a new album, and it's usually just shop talk.  When the rubber meets the road, however, the old dogs don't often deliver on the promise of "returning to their roots".  Voivod, however, has recorded one of the most fulfilling and listenable albums of their career without sounding as though they're repeating themselves too much.  It's a sort of return to the "golden era" of the band's sound and style, without sounding like a rehash, also without forsaking the other material they've released.  So what you get is a decidedly heavy Voivod album that sounds a whole lot like the triumvirate of "Killing Technology" through "Nothingface" with doses of the thrash from the first 2 albums and later Eric Forest material, as well as some of the more groove-oriented stuff present from "Voivod" forward.  It's an excellent summation of the total Voivod sound.  Need more to whet your appetite?  Read on.

For me personally, as a long-time Voivod fan and proponent that "Nothingface" is the band's strongest work, what had been missing for a long time was the angular, jazz-inspired riffing that used interesting time signatures and unique (for metal, anyway) chording.  That was part of what separated Voivod from the rest of the pack, and helped put them in a league all their own.  After E-Force's tenure with Voivod ended and Snake returned to the fold, I never quite felt that they recaptured that approach.  That doesn't mean they didn't have some good riffs, because they did.  "Voivod" was a strong record, and "Katorz" had some interesting ideas, but the overall feel of Piggy's riffs didn't match the strange sci-fi atmosphere the band had created years before.  And though Jason Newstead provided solid bass work during his time with the group, it didn't match the more nimble and interesting playing of original bassist Jean-Yves "Blacky" Theriault.  So with the band back together in its original form, save for Chewy in place of Piggy, the sound has come much more full circle and recalls a more atmospheric and "spacey" feel that the band had lost somewhat in the last 15+ years.

Unlike the occasionally sparse atmosphere of "Nothingface", "Target Earth", by contrast, is far more dense and immediate.  This record is never suffocating, but the almost constantly pulsing bass and propulsive drumming of Michael "Away" Langevin provide a slightly more evenly paced affair than "Nothingface".  The guitar sound has been brought into modern times as well, recalling and touching on the sound of previous albums, but having a nice weighty tone to it.  Chewy's riffing sounds like a late 1980's Piggy with modern production, which I'm sure is what he was aiming for, and the whole band sounds hungry, as if they know they're not going to be around forever and the amount of time they have left to bring the metal is limited.  In short, Voivod sounds as if they know this is the best set of songs they've recorded in years, and they're strutting their stuff because they know they have a winner on their hands.

As I hinted at in the last paragraph, instrumentation sounds great here.  Chewy's guitar sounds a lot like Piggy did on "Nothingface" but with a bit more beef to it, and Blacky's bass has that nice rumble we've come to expect from him, just with a bit more presence due to the production.  Away sounds as good as ever behind the drums (how is he so nimble at his age?), with lots of powerful double bass drumming, snappy snare hits and fills, and crashing cymbals when need be, but his usual dynamics present when the song needs something a bit more subtle.  And Snake is in near top form here, with a good combination of his more gritty approach utilized on recent records and on the band's early material, and the more melodic singing/droning he developed in the mid-late 80's and beyond.  The production itself is spot-on as well, with good separation of instruments and giving everything just enough room to breathe without sacrificing that dense atmosphere I mentioned earlier.

With everything that they've done right, what's not to like here?  My concerns are mostly minor, honestly, so mileage may vary with others.  The final track, "Defiance" feels like a bit of a throwaway, because it's basically a 1-minute instrumental intro, followed by the start of something that fades out shortly after, resulting in a minute-and-a-half track that closes out the album fairly clumsily.  My only suspicion is that Voivod is "pulling a Marvel", essentially giving us a hint of how the next album is going to start by giving us a taste at the end of the current release.  Be that as it may, it's still a bit distracting after an album of such great material.  The cover art has also been a source of frustration for many fans.  Away has done all the Voivod art over the years, and while it hasn't always been top-shelf ("Phobos" or "Kronik" come to mind), this feels quite amateurish.  My final gripe is far more personal, in that, I wish Snake utilized a bit more of the melodic approach to his vocals than the grittier voice, but the heavier nature of the material on the record suited the grittier approach throughout much of the album, so that's simply a preferential thing for me as a fan of his voice.

All in all, this is a very strong record, and indeed, statement from Voivod that they're not going to just go away now that Piggy is no more.  Piggy's memory lives on in the minds of fans like myself, and Voivod has done him proud by making a record worthy of his legacy.  Chewy should be awful proud of himself for striking that balance between aping Piggy and providing his own take on the Voivod sound.  "Target Earth" is a clear victory for the band, and it's my hope that enough fans took notice of this album that the members of Voivod are invigorated and energized so they can go back and write more material for us.  If "Target Earth" is any indication of the caliber of material we can expect from them in the future, we're in for a treat.  If it wasn't already evident, let me be perfectly clear.  Voivod is back, and are here to stay.

92/100

Deserted Island 500 - "Screams and Whispers" by Anacrusis

For the inaugural post in my "Deserted Island 500" series, I'll pick an album that has been unfairly marginalized by the metal faithful.  My favorite style of metal (by a small margin) is thrash metal, and my tastes often draw the ire of fellow thrashers because I tend to lean toward the more technical and progressive side of thrash versus the more straight-ahead aggressive thrash of Slayer and the Germanic bands (Destruction, Kreator, Sodom, etc).  I also quite like the Bay Area sound, as evidenced by my love for early Metallica, Megadeth, Testament, etc.  But in general, my favorite thrash bands take the basic constructs of the style (speed, aggression, razor-sharp riffs, energy) and inject them with a healthy dose of robust musicianship and musical adeptness.  I like it when thrash metal is more than just loads of energy and great guitar playing, and when they take it to the next level and make it into something even more.

Anacrusis, who hailed from St. Louis, Missouri, was a band that made a successful transition from the aggressive, no-holds-barred thrash of their early days to a much more technical, progressive, and intricate sound at the end of their short lifespan as a band.  Their debut, "Suffering Hour" was an intense affair, treading the same sonic waters as other thrash bands of the day, putting as much aggression and energy into the mix as possible, still retaining the melody and catchiness of the NWOBHM movement thrash was heavily influenced by.  While thrash purists often cite it or its follow-up "Reason" as the band's better output, some laud the more progressive 3rd album "Manic Impressions" as the peak.  While I like "Manic Impressions" a fair bit, I tend to think their final opus to be their best work.  This is due to the variety present and stylistic exploration while still keeping that razor-like guitar tone and the essential components of thrash metal as part of the overall construct.  Kenn Nardi's vocals have improved, his singing ability having been honed over 5 years of touring and recording, as well as his trademark screeching having become quite precise and piercing to nicely compliment his improved singing ability.

Part of what I love so much about this album is the guitar tone.  It retains that "icy" tone and texture of "Manic Impressions", but is crunchier in some ways, and has a more piercing quality to it that really compliments the songs well.  In addition, the clean guitar passages are just as haunting as the heavy passages because of the rhythms and riffs used, and the stark production fits this to a tee.  Drum work by Paul Miles is a high point, as I feel like his playing is spot-on for the material, and he never overdoes it, but always adds the right extra textures when needed.  I like the songwriting here best, because I think it represents Kenn's writing abilities so well, and offers what is probably the most memorable set of material he ever wrote under the Anacrusis banner.  Each song has at least one major hook, and these tracks and riffs get stuck in my head long after the music stops playing.  I can't say that about the band's other 3 albums, but this one release certainly stays with me far more than most any other under the "progressive thrash metal" label.  Lyrically, Kenn strikes a chord as well with his anthems of discontentment and disillusionment - we've all felt disconnected from society, loved ones, and life in general once in a while, right?  Those elements, coupled with the pristine production that compliments the songs and the recording just makes for what I consider to be a near-perfect package.

While there's no such thing as a 'perfect' album or release, this comes fairly close to what I would consider perfection based on the style, context, production, songwriting, and overall construction of the material.  I don't spin this constantly, in part because the material is best when it's had time to "breathe" a bit between listens, but every time I do spin this one, it is always affecting and jarring in its delivery.  That's one of the highest compliments I can pay to an album, really.  There are other albums I listen to very frequently because I really enjoy listening to them, or some due to long-time love of the release, but when I can come back to an album months after the last time I listened to it and it sounds fresh and vital each time, that's a special work of art.  This is an essential piece of thrash and progressive metal art, and if you're a fan of either and it's not in your collection, shame on you.

Album of the Moment - Voivod's self-titled release

When key members of a band leave the fold, it often throws off the group dynamic.  Some bands pick right up and continue on as if nothing had happened.  Others take their art in a new direction or explorer other avenues.  If that key member returns, it's often easy for the band to fall right back into things the way they were prior to that member leaving, in part because there is an established base to cull from.  Voivod suffered a loss when original bassist Jean-Yves "Blacky" Thériault left, but it was the departure of original vocalist Denis "Snake" Belanger that changed things for them, seemingly forever.  They recruited bassist/vocalist Eric Forest and backtracked to a progressive and aggressive thrash sound, much like what they had pioneered on their 1st 3 releases.  After 2 albums and a couple compilations and live releases with Eric, the band regrouped with "Snake" and began writing new material again.  On bass came none other than former Metallica bassist Jason "Jasonic" Newstead.  With this eponymous release, the band reverts to their previously explored spacey prog-metal sound they were using prior to Belanger's original departure.

Musically and sonically, this has a lot in common with the last 3 Belanger titles: the incomparable "Nothingface" (arguably the band's high water mark, and my personal favorite), "Angel Rat" (a somewhat blatant attempt at mainstream acceptance, though on the band's own terms), and the highly sci-fi themed "The Outer Limits".  This release has a bit of the "earthy" production feel of "Angel Rat", but the sci-fi themes are reminiscent of "The Outer Limits" quite a bit, and songs like "The Multiverse" and "Divine Sun" reflect some of the more obtuse science fiction of "Nothingface" from a lyrical and musical perspective.  None of the material here is as immediately memorable or accessible as the 3 records it is seemingly inspired by, though repeated listens reveal a strong comeback effort on the part of the band.  All band members are in fine form here, though guitarist Denis "Piggy" D'Amour (RIP) relies a bit less on the jazz-inspired chords and winding riffs as he used to, making the record a bit more palatable to those less inclined to spin "Nothingface" or "Dimension Hatross" on a regular basis.  Drummer Michael "Away" Langevin" echoes his work on "Nothingface" quite a bit here with similar patterns and rolls, though not in an overtly self-plagiaristic way.  "Jasonic" is solid on bass, though he does nothing too complex, but then Piggy's riffs don't give him a whole lot to work with in terms of harmonic interplay.  "Snake" sounds great after his 10-year hiatus with the band, though I think a bit more melody in his vocal lines would have been welcome with this material.  When he was more a-melodic on earlier material, there was more fire and it was more interesting.  Anyone who listened to his last 3 albums with the band knows he has a good singing voice, especially evident on "The Outer Limits", so hearing him go back a bit is a minor disappointment.  Otherwise, he is solid here, if perhaps a bit to forward in the mix.

The thing that is frustrating about the album at first blush is that it starts out kind of boring - "Gasmask Revival" and "Facing Up" aren't exactly going to light the world on fire, and it's a bit of a mystery as to why they chose those to open the album, other than perhaps putting the more immediate material up-front.  "Blame Us" begins to pick up a bit more of the band's signature spacey sound, and by the time you get to "Rebel Robot" and "The Multiverse", Voivod fans should begin to feel right at home.  The album continues to progress from there and becomes more interesting with "Divine Sun" and "Reactor".  The album culminates in the final track, the album's single "We Carry On" which makes a partial return to the more muscular and straightforward sound of the first couple tracks, but retaining some of the more "Voivodian" personality of the rest of the material.  As some reviews I've read have mentioned, the album is perhaps a bit overlong.  I think if they had trimmed the 1st 2 tracks out and kept the rest it might have been a stronger album.

All things said and done, this is a solid outing from a band many had left for dead after Eric's departure, and a good return to form.  It's not their strongest release, and ultimately may not equal the quality of "Dimension Hatross" through "The Outer Limits" on every level, but there's enough to love  here that the Voivod faithful like myself should find sufficiently attractive.  I would consider this a workmanlike album from a group who payed their dues and never quite broke out the way that they were predicted to, and certainly not in the way they deserved to.  If you're a fan of Voivod's more progressive leanings, this is an album you'll want to at least hear, if not add to your collection.

Album of the Moment - Mastodon's "Crack the Skye"

I must admit I'm quite "late to the party" where Mastodon is concerned.  I grew up listening to a group called Mastedon, which is an entirely different kind of animal: a semi-progressive AOR/hard rock project helmed by one John Elefante, now more known for his pop albums than his rock material.  But in the modern age, Mastedon is mostly forgotten and Mastodon rules the minds of the modern metal masses.  I'd heard the name, seen the cool album art and heard samples, but hadn't bothered to buy any of their material yet until earlier this year when I happened upon copies of both "Blood Mountain" and "Crack the Skye" still-sealed and priced to sell at my favorite regional music store, so I thought to myself, "Perhaps it's time to find out what all the fuss is about."  So I bought the 2 CDs and took them home with me.

"Blood Mountain" is a good listen, though it gets a touch repetitive toward the end.  I probably need to give it a few more spins before I give it a final judgment.  But "Crack the Skye" resonated with me immediately.  It's a dense, brooding collection of progressive post-sludge metal that combines the thick chunky guitar riffing of their earlier material with much more atmosphere and a good melodic sense, even if the melody lines are a bit spare at times.  What struck me as well was the eerie, almost Ozzy Osbourne-esque vocals at times, and the judicious use of double-tracked vocals to include an underlying deeper-toned partner vocal which adds a nice touch.  I also appreciate the way they mix up the time signatures here and there, bust into an interesting solo once in a while, and just have loads of atmosphere in tow.  "The Czar" is a fantastic musical ride, starting out slowly and building through crescendos of riffs and swells of drums, "Oblivion" is a perfect lead-off track and single, with it's immediately engaging riff and sound, and the other songs on the album provide for plenty of listening enjoyment throughout.

I'm not ready to call myself a Mastodon "fanboy" just yet, but I'm starting to see why they have such a big fanbase.  I quite enjoy this CD, and am hoping as I collect more Mastodon material, I'll find something to love about each one.  I'm considering going all-vinyl for the rest of my Mastodon purchases, in part because I'm a collector and just love vinyl, but with music like this that has that real dense, warm feel to it, vinyl is the perfect medium, especially since they draw influences from Black Sabbath and early hard rock/metal like that as much as they're channeling Kyuss or The Melvins at times.  If you're reading this, you're probably laughing because you've heard this all before and I'm just telling you what you already know, but so be it.  I'm just glad I finally jumped on this particular bandwagon.

Theocracy - As The World Bleeds (2011)

Heavy metal fans can be a persnickety bunch, often being overly sensitive about genre boundaries or what category a particular band or album fits into.  If there's too much influence or sound borrowed from an outside style, or too many "unmetal" elements injected into the style, it often becomes the death knell for a band trying to gain crossover appeal between metal fans and rock fans in general.  Metal bands often have to walk a slippery slope between artistic integrity and pleasing their fanbase.  Steer too far away from your metal roots and you're branded a traitor.  Don't inject enough "freshness" into your sound or music and after a couple albums you run the risk of being a "stale, washed up has-been" in the metal scene.


Thankfully, Theocracy doesn't have to deal with either question.  They are a metal band through to their very core, as their 3 albums will attest to.  And each album has been a different experience from the others, offering different elements and feeling while retaining the same basic metal constructs that fans have come to expect.  With this, their 3rd album release, we get a further development of the Theocracy sound.  For the genre-specific out there, this band falls squarely in the "Progressive Power Metal" category, but to tag them merely as such does this band a grave injustice.  Theocracy have to be heard to be believed, and their music transcends the basic category it falls into because of just how well it's written, performed, and just executed overall.


In a bit of turnabout from 2008's "Mirror of Souls", "As the World Bleeds" sees the band beginning the proceedings with the longest song of the album, the epic opener "I AM".  This song perfectly encapsulates everything this band is about: it's brimming with catchy melodies, contains both quiet moments and driving metal, is passionate and anthemic, and takes the listener on a journey while listening.  As you listen through the rest of the album, you get much of the same in varying degrees - not every song is nearly as epic as the opening track, but the variety the album presents in tempo, melodic feel, heaviness, etc. is part of what keeps Theocracy albums so captivating from beginning to end.  The songwriting is also a big part of what makes this record such a winner.  In this regard, "As the World Bleeds" is quite possibly their strongest record.  "Mirror of Souls" had a lot of heavy-hitter tracks which really showed what the band could do, but a couple of the tracks were a touch less memorable after multiple listens. I have spun this CD numerous times so far and have not tired of the material at all.  While some songs tend to blend together a touch more than those on "Mirror of Souls", the overall strength of the album as a whole outweighs this minor shortcoming.


As expected, the instrumentation on this album is fantastic.  With Matt Smith moving full-on into the role of vocalist, one might expect this album to sound a lot different than previous Theocracy releases in terms of style and presentation, but it really is consistent with what has come before in terms of songwriting approach and quality.  Guitars still ring through the speakers with sufficient crunch and authority, and solo work is as good here as it has been.  In some ways, the guitar solo work is a step up from the previous album as there is more of it here and it is more varied an interesting.  Bass guitar adds nice weight underneath and while not being overly flashy, is well played and a good compliment.  Drum work is as good as ever with on-point double bass work and the right balance of speed and precision with dynamics and range when called for.  Keyboards sound great here, encompassing a number of different sounds and adding plenty of texture to the overall presentation.  Matt Smith's vocals are in fine form here, as strong as he was on "Mirror of Souls" and perhaps even a half-notch above that album in terms of his overall vocal use.  He really pushes himself here both in terms of the use of his upper range, as well as his overall versatility and dynamic range.


What more needs to be said?  This is a strong contender for me for "Metal Album Of The Year" if such an award existed in my little world.  The year isn't over yet, and there is at least one other hotly anticipated album I haven't heard yet that could rival this for sheer quality and presentation, but either way, Theocracy delivers again in spades with this release.  If you are one of the few who didn't get into "Mirror of Souls" because of the epic 22-minute suite at the end, give this album a fair shake.  I think you'll find the consistency of songwriting and quality of material to be welcome, and the immaculate performances here are some of the best you'll hear in metal music this year.  If you're in any way a fan (casual or hardcore) of progressive rock and/or metal, you won't want to miss this one.  Essential.


95/100

Album of the Moment - Voivod's "Nothingface"

This is an album I absolutely love.  I stumbled across it in the bargain bin (for shame!) at a now-defunct music store (F.Y.E. in the Westgate Mall in Lincoln, NE) in late summer 1996, just as I was entering college.  It was maybe my first or second week, and I was already discovering some great new music.  This was a band I had heard the name of, but had never heard their music.  Of course, this was in the infancy of the graphical internet, when designing web pages in HTML was still seen as "geeky" and something you could charge big bucks for.  Fast forward a few weeks and I was spinning this CD almost constantly, enthralled by the twisted melodies, the angular, jazz-inspired chords and riffing of Denis D'Amour (erm, Piggy), the demented vocals of Denis Belanger (or Snake, if you prefer), the thumping basslines of Jean-Yves Thériault (Blacky, if you prefer) and the oh-so technical yet tasteful drumming of Michael Langevin (Away, as he dubbed himself), who also provided the deliciously crazy artwork for this, and all other Voivod releases.


This album represented not only the band's commercial breakthrough (indeed, a record contract with MCA), but arguably their artistic peak, combining the aggression of their early thrash works with the technicality and panache of their mid-period and later work, to form the perfect fusion of music and madness.  No longer content to dwell solely on the storyline of the Voivod character itself, but now the band was exploring more complex themes involving self-reflection, environmental concerns (surrounded mainly around Alzheimer's and a steel plant in their local area of Canada), and of course plenty of intricately woven tales of science fiction.  One can't listen to "Missing Sequences" without being drawn into the world of insects and the band's interpretation of the "working class" in etymological terms.  I'd be remiss if I didn't highlight their cover of Pink Floyd's "Astronomy Domine" for two reasons: firstly, that it gave the band their first notable single, and secondly (more important), that it was vastly superior to the original in nearly every way.  It captured the kind of demented mindset that Syd Barrett had, but with an edge and realization that was never possible in the lo-fi late 60's.


This isn't a constant spinner - it's one of those albums I pull out every few months and pour over, then put away again to return to when I need that fix.  Sadly, the band never again reached this level of greatness.  The 2 follow-up albums "Angel Rat" and "The Outer Limits" are brilliant in their own right, each achieving their own artistic greatness in their own way, but never quite firing on all cylinders like this gem.  There's a reason why this is one of my favorite metal albums of all time, and it's simply this: sheer brilliance.

Timesword - Chains of Sin (2010)

I like being pleasantly surprised.  When I discover bands out of the blue and realize they're pretty talented and may have something to offer me as a listener, I usually sit up and pay attention.  Sometimes that gamble pays off, and sometimes it doesn't, but sometimes the process of discovery is half the fun.  Learning about new music and giving bands who are just starting out and trying to make their mark can be a rewarding experience, especially when said bands do indeed have talent and their music has a quality that makes it worth coming back to for more than just a cursory listen.  Such is the case with Timesword.


Despite the somewhat cheesy artwork of "Chains of Sin", I was intrigued by the "progressive metal" tag and checked out the sound samples.  Being duly impressed with what I heard at first blush, I ordered the album.  After receiving it I didn't listen immediately, due to having received it with about another 30 or 40 CDs (I was on a music buying binge at the time), it did make its way into my CD player within the first few discs of the order, after a handful of established artists whose new material I was itching to hear.  While my initial listen was positive and I felt like the band had talent, I didn't come back to it immediately.  After a few weeks of digesting other material, I came back to the album and spun it a few times.  And after a few months of purchasing and digesting other music, I came back to this disc again with the intent to write a review.  So I spun it constantly in my van for a couple weeks to and from work, and as I was driving.  I think I've sufficiently listened to the album far more than I would any other in the normal course of music purchases simply for this review.  Having said that, how does it stack up?


Musically, this is square in the "progressive metal" camp with the highly melodic guitar lines, interesting drum work, intricate solo interludes and occasional time signature changes and adjustments, along with the ever-present keyboards providing that extra layer.  The guitar sound on this album is good overall, though there are moments where the dynamics seem to be too far apart, in that the guitar almost gets too quiet in the mix.  It's a minor complaint, but was noticeable while listening.  Otherwise, guitar riffing is good, solos are good, playing is solid but not ultra flashy.  Overall, the guitar is competent and solid, though many of the riffs aren't quite as catchy or memorable as I would have hoped with this level of talent.  Bass work is present and in the mix, but as usual gets buried with the guitar much of the time, merely following the guitar lines quite a bit.  But bass guitar certainly doesn't get in the way of the rest of the instrumentation.  Drum work is quite good, utilizing a lot of cymbal work, interesting breaks here and there, and sometimes a small roll or transition that shows off an interesting use of the instrument.  Special mention must be made about the keyboards - there are several textures used, from traditional "keyboardy" sounds to more Hammond-style organs that sound great as a backdrop for this melodic metal sound, and sometimes provide the perfect accent to what is going on elsewhere.


Vocally, Mark Pastorino provides a great voice to this album.  While he doesn't have the perfect voice, he sings very well and gives the disc a nice vocal range.  His quieter, more plaintive moments (like in the beginning of "A New Way") are great, while his mid and high-range vocals are impressive as they soar.  His more gruff, throaty style is also great, with just the right amount of gravel in the mix without losing the melodic quality.  His Italian accent does occasionally get in the way of understanding the lyrics being sung, but no more than any other thick European accent.  He does a great job of providing the right sound to complement the band's sound.  Lyrically the album is fairly bold in its proclamation of Christianity, but that shouldn't deter those who aren't listening for that message because the whole package is well done enough to overlook that if you're not a member of the faith.


So what's not to like here?  My chief complaint with the album is the final track, "Real Mystery".  It's broken up into 5 parts, but the problem is that it doesn't flow well together.  These individual pieces of the song don't necessarily go together thematically either, so it sounds very much like a handful of songs sort of thrown together instead of a cohesive piece.  With 25+ years of progressive metal to draw upon as inspiration, it's a pretty big mistake to make, even for a band's rookie outing.  It's not that the last song is bad, by any stretch, it's just not as quite interesting as the material that precedes it and is a weak way to end an otherwise solid album.  Mark has a few spots where he sounds as though he's "under singing" notes, as well as spots where he is dissonant where it doesn't make sense or sound good with the context of the material.  In addition, the woman who sings in the last "movement" of the piece has a good voice, but doesn't entirely fit the material either, and her performance could have been a bit stronger.  When you make this your last statement before the CD is done, and this statement is 2/5 of the whole length of the album, it better be a great track.  With Theocracy's brilliant "Mirror of Souls" album, they did just that.  Sadly, that's not the case here.  It just doesn't work, and the band should have probably used the 1st 5 tracks as merely an EP.  That would have made a much stronger debut for this group, and shown off more handily both their strength as songwriters and as performers.  This misstep costs the band quite a bit of leverage and momentum at a critical juncture early in their career.


The other thing that hurts the band, though no fault of the CD specifically, is the loss of vocalist Mark Pastorino to go play in Secret Sphere.  While there are likely no shortage of Fabio Lione wannabes who will be ready to step into place as the next vocalist, Mark's performance here on this debut is strong overall, and really shows what a band can do when they're firing on all cylinders.  That's not to say they can't bounce back from this, but they will in some ways have to prove themselves all over again; doubly so, since the debut doesn't make quite as strong an impression as one might hope.


68/100

In Grief - Deserted Soul (2009)

Uniqueness is something that is often lost in the musical landscape. Pop acts constantly rip each other off, as well as all those that came before. Rock & roll, country, metal - it's the same in every genre. The differences are much more subtle sometimes, but bands try to put their own "stamp" on the music, even if what they're doing has been done to death already. The treat is when a band comes along and does something, that, though they bear similarities to what's come before them, they put enough of their own "stamp" on the formula or genre aesthetic to say they're doing something new or unique. Norway's In Grief may not be the most original band out there, but they are putting a semi-unique stamp on the death metal sound.

What In Grief does have that makes them stand out is a superb debut that combines all the right elements with such balance, style and panache that you wonder what woodwork they came out of. These guys are incredibly tight, have a distinctive sound that reveals more elements with repeated listens, and ultimately, comes up with a debut release that stands out from the crowd because of its sheer quality and listenability. That doesn't mean this is a "fluffy" record; far from it. It's not an immediate album, and it takes several listens to truly pay off. However, there are elements from the first listen that will reward listeners, and the rewards continue as more time is devoted to the album.

With the amount of near-hyperbole I just spouted, it must be said that intro track "Darkening Horizon" is a bit of a generic, quasi-"cinematic" intro, not unlike the atmospheric intro to any melodic death or symphonic metal album. The difference here is that it's not all that distinctive. It's just keyboard atmospherics, symphonic drum/cymbal work (complete with big cymbal crashes & timpani), and the like. It's not a throwaway track, per se, but compared to what follows it, or compared to some of the heavyweights of bombastic, symphonic album intros (Rhapsody, Bal-Sagoth), this is a bit tame. Still, I'm guessing understated is what the band was intending, so it works for what it is. The intro fades gently into "I Am", with some nice keyboard atmospherics, clean guitar, light cymbal touches, and an interesting effect that sounds like burning fire, and screaming voices in the background. Then the music picks up a bit with more drum & cymbal work, no more fire effect, and just builds from there to fade in a heavily distorted guitar sound in the mix. When the song kicks in near the 1:30 mark, you know you're in for a melodic death metal treat. The riffing isn't overly complex, but it shows the proficiency of the players, and the lightly effecte vocals work well. I like the "phased" guitar grind that presents after the primary verse section. The chorus has a nice layering of death vocals and a low-end clean vocal that sounds as though it's "off in the distance". The 2nd verse has a great layered death vocal effect that sounds like it's double-tracked, but one of the tracks is highly effected, giving it a nice sci-fi type of feel. The song circles back to the intro riff again with a nice high-pitched keyboard sound and winding riff, then down to a semi-spoken word bridge with driving riff and some nice atmospheric elements in behind. The keyboard solo that follows is great; very subtle at the start, then increasing in complexity and retaining a nice melodic quality. There is some great double-bass and cymbal work going on here, and then a great guitar solo with some wah-wah effect and a lot of melodic elements to it. We are treated to the "phased" grinding guitar sound near the close of the song as the death vocals bring us back to the sound of fire with a thunderous blast and a brief fade-out. "Invited War" starts with the sound of a car starting, some interesting atmospherics, an explosion sound, people screaming in the background, and a distorted voice singing a middle-eastern melody briefly before the guitar, drums, bass and keyboard come storming in arond the 30-second mark. The riff here is great; it's very rhythmic in nature, and the atmospheric keyboard complements it well. A bit of complexity added to the riff after the initial piece, followed by a fade-in of death vocals into the verse. The slight echo effect on the vocals is a nice touch, and the double-tracked vocals in some spots works well. The clean vocals are nicely layered w/ a subtle death vocal in the chorus, and sounds great against the backdrop of melodic crunching metal. Keyboard atmospherics continue to play a subtle part here, and become a key element of the sound. The riffing changes slightly nearing the 3-minute mark to a very melodic riff, then back into the melodic chorus. There's a nice instrumental section with a simple, yet effective riff, and some good keyboard elements being thrown in before introducing the guitar solo. The solo is great, combining the right balance of speedy picking, melodicism, and just overall technicality. The speed picks up a bit for a short spell nearing the 5-minute mark, then slows back down again to allow the solo to flash out a bit before going back to the clean-sung chorus. One final verse section to another chorus (with heavily effected vocals) and some nicely layered death vocals to bring the song to a close over the chunky intro riff again.

"Modern Truth" begins with a ticking clock sound, and radio static as the clean guitar and keyboard sounds fade in during the first 40 seconds. Then things pick up with double-bass pounding, bass guitar, and heavy riffing. Then nearing the 1-minute mark, we get some nice speedy solo picking and some "big" keyboard sounds in the background. The riffs here are very thick, and sound great against the rest of the instrumental backdrop. Suddenly the riffing stops, returns to a cleanly picked guitar and atmospheric keyboard sound again, picks up to riffing again just after the 2-minute mark with death vocals in tow. The riffing & sound here is highly melodic, but retains the heaviness and power that death metal should have. I like the layering of the crunchy riffing here with the high-pitched picking for the chorus; it gives it that touch of extra melody. Then it comes down again to the clean guitar & keyboard atmospherics for a few respite measures until fading in the snare drum to a full-blast heavy verse again. After a 2nd run through the chorus we are treated to a crunchy bridge with a "single syllable" vocal delivery where each measure may have only 2 words or syllables grunted/growled over the riffing. Then back to the melodic chorus again with added keyboard. The melodic riffing & keyboard atmospherics continues with double-bass & great cymbal work to finish out the song. The title track "Deserted Soul" has a real science fiction feel to it, beginning with some interesting atmospheric effects, then very quickly into off-kilter rhythmic guitar riffing and "80's sci-fi" keyboard atmospherics. The drum work keeps time very well here, and helps to move things along. The verse is heavy and driving, and has a nice combination of drum work, guitar riffing, keyboard effects, and vocals. The chorus has a subtly layered clean vocal that is well harmonized, and an added death growl for contrast. I like the rhythmic riffing after the chorus and the nice keyboard sound that accompanies that. The "punchy" snare sound is great here as well. After the 2nd verse and chorus there is a stunning keyboard solo that has a bit of a Dream Theater-like quality to it, but retains its own identity. Another run through the chorus, and a return to the "sci-fi" sounds and atmospherics to close out the song.

"In the End" begins with a nice "hum" sound in the background, and nicely picked clean guitar rhythm, and a bit of a "bass hum" underneath it all. The keyboard atmospherics are very subtle, but add a nice texture. Nearing the 1-minute mark the metal kicks in w/ a nice melodic riff, cool keyboard line and a long death growl. The riffing changes slightly to a real chunky thing w/ some cool keyboard effects & some nice double-bass & cymbal work leading into the verse, which takes things back down to clean guitar, keyboard, subtle bass guitar, and some nice drum/cymbal work. The vocals are semi-spoken word, then into death vocals as the pre-chorus blows in w/ heavy riffing, double-bass and full-speed instrumentation. The chorus is melodic, and has a nice guitar sound/feel to it. The lick at the end of the chorus is very melodic, and leads back to a heavy 2nd verse. There's a bit of layered clean vocals at the end of the verse that have this "background" feel to them that is nice, and gives a bit of atmospheric touch. Once again we have a super-melodic chorus, and the melodic lick at the end, transitioning into a melodic bridge, then into a contrasting moment of quiet piano w/ sound effects of burning fire & people screaming (like in "I Am"). Great solo work right after the piano interlude as well, with very melodic lines, some great harmonized dual-guitar lead work, and just overall fitting lead playing. More great drumming & riffing going on here as well, adding the perfect backdrop for the leads as they're picked out. This transitions back into the melodic chorus riff again for a few measures, then into the actual chorus again nearing the last minute of the song. The melodic post-chorus lick returns to help close things out, with the keyboard lending a hand mimicking the guitar lick as the song winds down to the end w/ the sound of rain. The final track, "Weak" opens with a nice bass hum, interesting keyboard sounds, and a dark atmospheric sound that reminds one of the more intense parts of a Role Playing Game like Final Fantasy or something of that ilk. Then comes a deep spoken voice and some symphonic elements like cymbal crashing, timpani rolls, and keyboard sounds that mimic a choir. At about the 1-minute mark the metal comes roaring in, with a plodding double-bass rhythm quickly turning to double-time, melodic riffing that turns into fast crunchy riffing, and keyboards that go from light & airy to brooding. Things stay heavy yet melodic as the verse kicks in with layered death vocals, good drum work, and then into a highly melodic chorus with cleanly sung vocals that have a slightly "distant" feel to them, and a bit of layering for effect. The post-chorus transition is great with melodic riffing, nice keyboard sounds, and great drumming. The 2nd verse has chunky riffing, and layered extreme vocals that have a nice effect. The subtle low-end death vocal underscoring the guitar lick after the 2nd chorus is a cool effect, and sounds great in headphones. Then some great guitar & keyboard dual soloing happens, and gives way to a full-on keyboard solo, then melodic guitar solo at around 6 minutes. This fades out to a soft keyboard backdrop & back to the symphonic elements present in the intro track "Darkening Horizon" before the heaviness returns with melody in tow. This ties together well with the intro, and brings the album full circle in a sense. Near the 8-minute mark we're back to a verse, with a higher-pitched extreme vocal, reminding almost of a symphonic black metal kind of feel, which works well here. More nice soloing shows up in the last minute of the song, bringing things melodically & technically to showcase the players' abilities right up to the end, then a sudden stop.

In Grief hasn't created a unique recipe here. What they have done is taken all the right elements of progressive and melodic death metal & put just enough of their own spice & flavoring on it to make it a different dish. It doesn't have to be wholly unique because it does enough on its own to stand on its own. My only qualms are rather slight. The editing of the tracks seems a bit lazy, as there's a lot of "white space" at the end of each track, and there are a couple instances where it seems like there's "tape cut" noise after the track is done or into the next track, as if this were still a demo. The production quality elsewhere is fantastic, so this was likely an oversight. My other complaint is that in the layering of the instrumentation, there are times I feel the vocals are a tad buried in the mix. It's not a huge concern, but there are times when I wish I could hear the vocals more. Otherwise, the mix is great - not too compressed, but still with power. Also, it's heavy without being overbearing, and melodic without losing the crunch factor that death metal should have. In short, this is overall a well-produced effort. I can't say they sound like anyone else, though comparisons have been made to Opeth, Soilwork, Amon Amarth, and Katatonia. They don't really sound like any of those bands, per se, but those are touchstones. If you like progressive extreme metal, melodic death metal, or just extreme metal in general, this is a release you should not pass up. Highly recommended.

90/100

Video review:

Orphan Project - Spooning Out the Sea (2009)

Perfection is difficult to achieve. In fact, it's impossible. The only human being to ever achieve perfection was Jesus Christ, and that's only because He was also God. However, humanity has an in-born propensity to strive for said perfection. We do it in everything - our jobs, our families, our hobbies, and in our relationship with Christ. Ultimately we fail, and He is there to pick us back up again & push us forward as we continue to strive for that perfection. Though we knowingly won't achieve it, we still work toward that goal. It's a beautiful dichotomy that has to be experienced to be understood.

What does this have to do with music, and more specifically, Orphan Project? Well, perfection may not be possible in this mortal coil, but certainly striving for it sometimes breeds spectacular results. What Orphan Project has done is to take that tendency to shoot for perfection, and achieve balance. Their music is considered "progressive", but don't let that tag be deceiving. It's not the "noodling" that you hear on many a record nowadays that is labeled "progressive". What it is, however, is a balance between all the elements. The right amount of showy musicianship, pop and rock songcraft, vocal prowess and restraint, and lyrical honesty without delving into self-parody. This is the "next best thing" to perfection, and Orphan Project have it down pat.

"Reach" begins with some nice atmospherics, slowly layering in keyboard, piano, drums, bass, and guitar. The intro may seem long to some, but I think it gives enough time to build with that "slow burn" effect, and works quite well. Once the riff kicks in, you're treated to a nice combo of keyboard & guitar with thumping bass and drums. Shane Lankford is in fine form here vocally, and the whole band sounds very tight. I like the wah-wah pedal soaked tremolo picking during the chorus, and the layering of piano and keyboard sounds works well. I also like the "quiet" verse sections with the funky keyboard sounds & heavy bass background, it gives it a nice vibe. Some of the most tasteful solo work can be heard in the song - showy without being a showoff, and melodic but still with a level of technicality. One thing that is apparent in the progression from the band's debut to this album is how overtly catchy their melodies have become. The double-tracked vocals are also nicely harmonized. Great piano outro too, really caps the song off well. "Angel's Desire" appeared on the band's previous EP, and appears to be the same version here. Great intro riff that draws you in, and some nice double-bass drumming helps to set the pace. The start-stop riff dynamic works well in the verse sections, and another harmonized vocal gives the last line of each verse a nice depth. I like the double-tracked harmony vocals in the pre-chorus, and in the chorus as well - very nicely done. Once again, very catchy! The 2nd verse begins with a nice quiet vibe, then builds with some cool keyboard sounds and bass/drums back to the bridge where they bring the heavy again. Awesome solo work around the 3-minute mark helps to keep the pace up, and as before, it shows the talent without being too showy or over the top. "Fallen" has a much different vibe in the opening with it's more modern hard rock type of riff, and rolling keyboard effects. I like the drum groove in the opening as well. Then the song transitions into a more somber, piano-driven rocker with some nice keyboard work & atmospheric elements. The chorus brings the heavy again, and is very anthemic and catchy, and also includes some nice subtle piano work. The bridge is highly melodic, and transitions between choruses seamlessly. "To Me" is a barn-burning rocker with a cool Hammond organ type of underlying vibe, which sounds cool in contrast. Good solo work during the chorus, which is cool to hear, since not a lot of bands employ that kind of solo sections. The organ gives it a Boston-vibe, but the modern hard rock/metal sounds from the guitar, bass, and drums make an interesting combo with that keyboard sound. Loads of great solo work throughout this song, and as with the rest of the material, is very catchy.

"One Dark Moment (Providence)" is a change of pace with a plaintive piano intro, and some tender vocals by Shane. I like the combination of acoustic strumming, and electric picking that presents between verses, and the violin during the 2nd verse is a nice touch. The transition to heavier material is cool, with a ever-so-slightly jarring effect. The chorus has a nice minor chord feeling to it, and a slightly unconventional melody gives it a bit more variety. Realizing Shane is more a barritone than a tenor, he sounds good in the upper barritone, lower tenor range here. Excellent guitar solo that again, is both tastefully showy and melodically interesting. Nice piano outro to the song as well, takes it back down to the somber intro and reprises that briefly. "My Goodness" fades in with a nice keyboard line, subtle guitar and cymbal work, then blows right into a driving riff to lead into the verse. The quite-loud dynamic works well in the verse, even if it's more subtle than some uses. Vocal double-tracking is used in some places and sounds great. I like the tom work during the chorus as opposed to just a bass-snare rhythm; it adds a nice contrast, and variety as well. The faux-violin keyboard sound during the solo adds a nice layer here, and the bridge has more of those nice harmonized double-tracked vocals. Great lyrics in this song as well, talking about the fact that our righteousness is but "filthy rags" to the Lord and that His righteousness is ultimately what we must lean on. Nice slightly symphonic outro as well. "Head On Your Platter" was the song that got me into the album, having heard it first and having spun the track for my radio show a handful of times prior to the album's release. I like the intro with the moody keyboard, clean guitar, and rolling drum line. Then the riff blows in and just takes the song into high gear. Shane's vocals here are a bit more urgent, and really help you to feel the lyrics. I like the background vocals in the chorus, they add a nice touch & give it a bit of the "call and response" feeling. The slightly effected vocal work blends in well with the music, and with the subtle synthesizer work as well. The keyboards in the bridge have a cool vibe to them, and it's interesting to hear in lieu of a guitar solo for this track. This is a very no-nonsense track that really shows the band at their most lean, sparing nary a note or moment. They're making their point quickly, and you better listen! I quite like the frantic keyboard leading up to the end, as well as the ending with the a capella vocal and final guitar crunch.

"Empty Me" has a nice intro with some keyboard effects, rolling piano line, and moody guitar solo. This continues during the verse, which just swells with atmosphere and emotion. Great piano transition between verse and chorus, which really signals the change. I like the riff and drum interplay during the chorus - it's simple, but very effective and catchy. It is soaked in the modern heavy rock tradition but still sounds cool. Bassist Bill Yost provides some nice background vocals in the 2nd verse, and just propels the song along with additional keyboards & more emotion. The subtle guitar lines during the bridge blend well, though still showcasing the talent. The song quiets down for a portion of the chorus repeat, which is a tried and true songwriting convention, and nearly always works well as it does here. Great solo work leading the song to it's outro, with a lot of speedy picking, but making sense all the way through and not being overly showy. The abrupt change to a piano and keyboard outro works nicely, and fades out to silence. "The Battle Rages On" comes next, with a short intro with the "epic" keyboard sound and pounding of drums, keyboard, and guitar that lets you know you're in for an anthem. The riff comes in & provides a bit of a different guitar sound & vibe than has been present so far, and makes for a nice change. The driving riff in the verse sounds great, and the rolling piano line that accompanies the continued riff during the chorus is a nice touch. The subtle keyboard during the verse sections is a nice layer, and the solid drumming propels the song and keeps things moving nicely. The "military" drumming and kids' chorus of "Onward Christian Soldiers" is a cool idea, and works well. I've always wondered what a rousing metal version of that old hymn would sound like, and though we don't quite get that here, it gives a nice picture of what could be. Layering in Shane's lower-register vocals the 2nd time through is a cool effect. Another run through the chorus & an alternate chorus after that helps to round out the song well, and a cool harmonized vocal by Shane takes it nearly to the end. The albums title track, and real centerpiece "Spooning Out the Sea" closes things out. I like the slightly Pink Floyd-esque guitar line in the intro ("Division Bell"-era Floyd, anyway). Shane's vocal has an interesting "tunnel" effect in the first verse portion, and more background vocals from Bill. The chorus has interesting phrasing that doesn't seem to make much sense the first time you hear it, but after a few spins you'll find yourself ostensibly singing along to it. This track has a great sense of dynamics as well, with great drumming that keeps things light when need be, and with more "oomph" when need be as well. Excellent solo work that really makes sense with the music in the background, and doesn't take center-stage too long. Then comes in a heavier chorus section with a keyboard sound I can only describe as "awesome". It sounds VERY much like the keyboard sound Yanni had on his "Optimystique" release from 1984, and having been a long-time fan of that particular album (having spun it many times since my youth), that's a nice personal connection for me. This great keyboard line helps take the song to fade-out, ending the album on a lighter note, but with no less impact.

What can be said? This is one of those releases that strikes that wonderful balance (there's that word again!) between showcasing musicianship and songcraft, so much so, that you nearly forget you're listening to a band that is classified as "progressive". That's a big plus in my book. I'm all for showy musicianship and flashy guitar & keyboard solos (I AM a Dream Theater devotee, after all), but you can't listen to that all the time. It's like having a sundae - sometimes you want to pile on toppings and whipped cream until you can barely stand it. Other times, a simple scoop of ice cream lightly garnished with the essentials, and a few favorite toppings does the trick. That's what we have here - all the hallmarks of great progressive and hard rock, without overcooking the recipe. Hats off to Shane and the gang for coming up with what will likely be the prog album of the year for many, including myself. Essential.

90/100