Many years from now when nerds everywhere look back at the year 2012, they will fondly remember it for many things. Will it be remembered as the year for geek movies like The Avengers, Prometheus, and The Dark Knight Risescame out. IPhone 5 perhaps? Or maybe when Diablo 3 was released? The Facebook IPO? Nah. It will go down at the year MIKAEL ÅKERFELDT and STEVEN WILLSON put out their long teased about Storm Corrosion album. It sounds neither truly like OPETH or PORCUPINE TREE which were the groups that brought these great artists together. Nor does it sound too much like Wilson’s solo high quality work. While there are hints of the talents and styles of each titan, the blend of the two is something new, if not unexpected. It is definitely not the progressive rock masterpiece fans (amd I) have dreamed of and that likely is either a plus or a minus depending on your taste.
The album as a whole is more like a series of emotional peaks and valleys rather than the bombastic riff fests these two are better known for in their earlier, more metal-related careers. “Drag Ropes” begins as a somber affair sonically with some gentile keyboards and guitar. ÅKERFELDT’s chant like delivery of pastoral chords sets the table mysteriously. When Wilson’s voice comes in later it is magical. They contrast and compliment each other well as they have for years. There is also some interesting guitars that resemble neo-folk sounds almost like a movie sound track. In fact it does almost sound like the sound track to one of the past Diablo games. Trippy! Further along the music draws you into a mantra like chant like classic music cannons. Not only are these masterfully done parts of songs, the melody’s will stick with you for days. Some sparse drumming is provided by PORCUPINE TREE ace Gavin Harrison and the track fades back to the beginning after some interesting restrained guitar solo/synth parts. Overall the production is as neat and crisp as you could imagine from this pairing. The title track is next and even though is never gets beyond a hush volume wish, it can be described best as epic and jazzy. The lyrics are thoughtful and also as delicate as the performances. Wilson’s voice leads first with his partner in crime second. Their jazz harmonizing is on a special level. Wilson in particular shows off a surprising amount of soulfulness vocally without falling prey to a rote blues style that another might try. The guitar and keys interplay is again intricate and tasteful. There is a bit of early GENESIS/PINK FLOYD style music-concrete in the end of the track that adds some horror movie tension. “Hag” is almost like listening to two different songs A-B tested against each other. Åkerfeldts’ voice leads here and you have another piece that builds up into something special. From a eerie, creeping tone poem into a bit of a waltz the track definitely takes you out of yourself. You wonder what the faint laughter is about in the background. Fancy dinner party or insane asylum. You never know with these guys. “Happy” is anything but happy sounding. It is very sad and foreboding even with the la-Dee-dah vocalese at the end adding a ray of hopefulness. “Lock Howl” is an all instrumental piece that also sounds like the soundtrack with no movie. Without falling into a gallop beat, it definitely has the feeling of the road traveled, rhythmically and sonically. The final cut, “Ludjet Innan” is a spacial, shoe gazer that will even call to mind good 1980s Brit pop! More great guitar work and peaceful bass and drums. The tones just call to you with remnants of 60s and 70s psychedelic references. Although there is no ceiling on what these fellows can do, it is their stylistic and musical choices that really make this album a winner. It is about as far from metal as they can get collectively. But if you, like them, love great song writing and story telling, this album is for you.
There is a familiar cliche that says imitation is the sincerest form of flattery. What then I ask is it when inspiration takes a hold of you so deeply that you create a tribute to your influences? This is the strange case of the quasi-super group (yep, another one in 2012) of SOEN. Masterminded by former OPETH drummer Martin Lopez, the group arrives with the much hyped Cognitive (Spinefarm). Having played on what is regarded as the best of the early and middle-era OPETH albums as well as the very first AMON AMARTH album, fans have long waited for the re-emergence of Lopez. Hopes have been high that perhaps he would pursue a heavier tract than his most recent work in his former band, as SOEN geared to launch last fall.
Right from the jump the trippy backwards-looped track of “Fractal”, a Gregorian Chant-style vocal creates a haunting warm-up of what is to come. “Fraccions” kicks in with its infectious, angular guitars and off-kilter drumming and you are caught in the swoon of the melody. It becomes apparent that the by far the primary influence on SOEN is TOOL. Anyone who has followed my scribblings on this site knows what huge fan of that band I happen to be. Most bands err too close to the actual sound of the artist they admire, and hinting at that comparison tends to bore me right out of the gate. However, with SOEN there is an originality to the writing and performance even if the band that inspired this music is definitely apparent in every song. Vocalist Joel Ekelöf (WILLOWTREE) definitely has a MAYNARD JAMES KEENAN vibe to his delivery, but reveals other influences too. There are certain moments in this first song and really the entire album where you hear traces of artists as disparate at the Gothic undertones of IAN CURTIS, the disappointment of DAVE GAHAN (DEPECHE MODE) and the anguish of TRENT REZNOR. The songs are definitely more a long the lines of prog metal than modern rock. The track definitely builds to a rhythmic climax towards its end, giving way to an A Capella chant vocal by Ekelöf which sounds great in comparison to the rage. “Delenda” has more of an OPETH/PORCUPINE TREE musical bent with some added weight in the guitars by Kim Platbarzdis. Also, the winding, ostinato bass lines of Steve DiGiorgio (DEATH/SADUS/TESTAMENT) are astounding and he is the perfect match for some of the more obtuse sounds on the albums. It’s a fair bet to say most people haven’t heard Steve play like this before and will be even more impressed with him here than ever. The band plays fast and loose with dynamic shifts as well, which of course only adds to the aura and mystery in these songs. “Last Light” is about as mellow as it gets on this album and could be considered a “single” if they were going to have one. Laconic waves of plucked guitar and doleful vocals will fill your ears up. The best track on the album might be “Oscillation” which starts off with a brutal main riff before breaking into tribal beats and contrasting single note guitar lines. Lopez shows his entire arsenal of ability playing a standard kit and other percussion instruments to a flawless degree. Platbarzdis and DiGiorgio bring back the machine gun tight precision later on, building up to a huge ending, before the jazzy coda winds it down. Another heavy track is “Canvas”. Meditative yet, raw it is one of the standouts of the album. Lopez and DiGiorgio often go from supporting rhythm section to lead instruments and back again in the same song. “Ideate” is more of an interlude than a realized track by itself. It serves up a good palate warmer leading into “Purpose” which is another rager. Ekelöf pours all of his passion and dismay in his vocal lines. “Slithering” is another excellent tune, with its whisper to a scream temperament. The last two minutes of the track are as deep musically as any nearly band has put out in 2012. “Savia” is a glorious and transcendent final epic, complete with that old familiar nautical feeling that gives off a peaceful vibe. I believe that over time SOEN will prove to be more than the sum of their famous partners or influences. For now they will settle for a great album of music, even if it is not the most original stuff you’ve ever heard.
Formed by the immensely talented multi-instrumentalist and singer Duncan Patterson as a back-to-rock extension of his days in British legends Anathema, Alternative 4 fulfills expectations and defies them by releasing a record which practically bleeds emotion from every sonic pore.
The Brink doesn’t follow any predetermined path, however, nor does it cater to the will of longtime fans-although the temptation surely loomed high to do so-but instead blazes a unique trail of its own along the way, taking the lessons learned by Patterson throughout his years in Anathema, as well as his own, brilliant Antimatter project. Sparse arrangements are the name of the game here, and Patterson is in no hurry to ‘get to the point’ with any of these songs, instead letting each track breathe and grow to its fullest potential.
Gentle piano and painted, fragile vocals lift these songs up to the heavens, while grandiose guitar accompaniment hit with just the right sonic impact to sound totally thunderous and smashing, when taken in proper context. Elsewhere, ethereal female vocal work offers beautiful counterpoint, as drummer Mauro Firson and guitarist/vocalist Mark Kelson-on loan from Aussie doom rockers The Eternal-back up these songs with their own impressive skill.
To say that Alternative 4 and The Brink are essential to classic Anathema or Antimatter fans is a given at this point: this one is right up your alley, and is destined for some severe stereo rotation. Pure, despondent brilliance.
The fantastically indescribable 3 have a new record out on Metal Blade Records, and it’s just the phenomenal effort you’d expect from this neo-progressive phenomenon, with The Ghost You Gave to Me sounding melodic, emotional and passionate to the hilt. We got in touch with 3 mainman and maestro Joey Eppard to get the skinny! \m/G.
So wow has initial feedback been, and how does it feel to have the weight of its creation off your shoulders?
So far the reaction has been great. People seem to really be loving what they’ve heard so far. I have to say completing this project is a HUGE relief. Its like knowing you have something important to say, something you have to get off your chest but it has to be done right. We had to see this record through, all the way, to our satisfaction. Now that its done we can finally let the world know that we’re not only still alive, but thriving.
Was creating The Ghost You Gave To Me a painful birth of sorts, or did everything come together (relatively) as planned?
With any labor of love there are pains. Difficulties, challenges, drama, you name it. But there is also inspiration, motivation, the joy of doing what you love and the need to express yourself as an artist. Its funny you should mention birth pains because right around the time we began writing for The Ghost You Gave To Me I found out I was going to be a father. It was a wild ride for me, and it had a huge impact on every aspect of this record.
Though it may have slowed the process down a bit, it also transformed me for the better in so many ways. When you’re going through a lot in life I think it tends to translate creatively. Not only the fatherhood thing but as a band we’d been on a rollercoaster. We’d signed to Roadrunner Records, gotten dropped before we even made a record, and then returned to Metalblade. We were reeling from it all but in the end it brought us to a place where we just wanted to focus on making a great album. We realized the only power we really have is in the music and all the other bullshit has to take a back seat.
This one seems to be your most challenging and complex yet. Was this something you all knew going in, seeing it as a goal of sorts, and was the transition of songwriting from The End Is Begun to this smooth, with regards to songwriting?
I think the idea for us is to always push ourselves farther on each record. I found myself writing stuff that I had to work hard at being able to play well, and then coming up with elaborate vocals on top of that. Yeah its a pretty tall order, but for me thats the point of continuing to do this. We knew we were going to have a lot of fun making this record. We’d done all this touring with the likes of Porcupine Tree, Dream Theater, Opeth, BTBAM and even Scorpions. We were feeling very inspired to write and by the time we finally got a chance to do so we were on fire musically. We had so many ideas for this album…. there are another 13 songs that didn’t get finished.
I think The Ghost is a logical evolution from The End, the music is a little more compositionally creative this time around which adds some challenges. The songs on this record have a lot of scene changes. It can be particularly challenging to weave a strong lyrical and melodic thread through such soundscapes and so the better part of my time was spent on making the flow of the vocals really live up to and even enhance the music.
Could you take us into that songwriting process, actually? What changes have affected the process over the course of Three’s existence? How spread through the band are the songs, and do you jam through ideas often or write at home or on the road?
Songs happen in different ways. The first few seeds began as little riffs I recorded in my living room after returning home from Progressive Nation ’08. We’d beat them into shape at rehearsals and really make compositions out of them. They eventually became “Sparrow” and “The Ghost You Gave To Me.” Some of the other tunes were truly group efforts. When we were writing “Numbers,” Gartdrumm layed down the beat, I wrote a Primus-ish little groove to it (that seems to be mistaken for bass by a lot of people), Daniel wrote the Chorus riff and Billy came up with the ending. The working title was “oh shit” for the longest time because on the demo thats what we all simultaneously shouted when the bass kicked in against the drumbeat. It remained instrumental until the final days of mixing when I was forced to come up with the lyrics and melody before we ran out of time. It gives them a raw vitality that I really dig. The intro, “Sirenum Scopuli,” was actually the first thing I recorded when the time came to really make the record. It led directly into “React” which was one of those songs that just appeared clear as day in my mind one evening as a complete verse and chorus. In that situation I usually just run with the inspiration and try to figure out what the vocal wants in terms of guitar, and other instrumentation. Other songs like “Only Child” were born out of hours of Gartdrumm and I jamming. I would then go through everything and sort of piece together a sketch of what the song could be and we’d relearn it like that. The rest of the instruments and vocals would follow after that. On “One With the Sun” I had written and recorded the vocals and acoustic guitar first and then everything else followed. It was the same for “Afterglow” as well as “The Barrier.”
Getting our own recording system definitely revolutionized our writing process. Everything we’ve done from Wake Pig on was done this way. Our first few records we’re very different. Also the challenges of everyday life have altered the way we go about working on stuff.
My first experience with 3 was at the New England Metal and Hardcore Festival. Every year I’ve always noticed one band as THE standout; one which surprises and sits apart from all the homogeneity of the day. I had never heard of you, and you guys came out and killed it, I ran upstairs, bought Wake Pig and that was about it! Do you feel this square peg in round hole syndrome often when it comes to either touring mates or simply fitting into a scene which isn’t always tolerant of bands who cannot be categorized?
Yeah thats been our lot in life for better or worse. I look back at how my own state of mind has expanded through our explorations of music and I think the hope is that we do that for other people out there. I knew it would be a tough road. We could end up being the band that has something for everyone or the band that has something for everyone to hate. Not everyone is gonna be as open as I am, even within the band we have our arguments about what songs “fit.” I end up with a lot of stuff I write getting filed under ”Joey – solo”, especially now that the vision for “3″ has taken on a more specific character.
When it comes to touring though, I feel like we can go out in front most audiences and earn ourselves a good percentage of fans. Many people don’t “get” us until they’ve seen us live. Then they can’t get enough….
At the same time, do you feel this freedom of doing your own thing speaks volumes about the very ESSENCE of ‘progressive,’ and, given that definition, do you feel 3 personifies this progressive spirit of the 70s?
I do feel that. Progressive is the only genre label that ever really fit us and still leaves room to grow.
How do YOU define the term of ‘progressive’ and do you feel bands like Muse, Coheed, Porcupine Tree Mastodon and The Mars Volta are redefining this music for a new generation of free thinking musicians? Does 3 ally itself with this movement?
We take the term to heart. Its not just stacking up a million different parts for the sake of sounding complicated. To me there are much deeper ways to be “progressive.” They involve the lyrical imagery and melody as well as the structure and intricacies of the music. Its also about musicians having their own voices and approaches so that you are really creating something new. Something that hasn’t quite ever existed before. Its about pushing your own boundaries, and not living inside a 1- dimensional box.
Its about generating a musical persona that allows for transformation, growth and evolution. So that people expect it, crave it and grow with you. Music has always had the power to influence the expansion of consciousness and that is truly the most progressive aim I can think of.
I certainly wouldn’t complain about being included in the same sentence as any of the bands you mentioned above. They are all innovators so its an honor.
Has Metal Blade been open minded and supportive towards this aspect of 3?
Absolutely and thats reason numero uno why we’re with Metalblade. The ONLY label with the balls to support this band.
Going back to the live area: your performances are so viscerally emotional, yet with this bare honesty which honestly blows me away every time. What goes through your mind and body when performing, and how do these songs change for you when performed in front of an audience?
You know after years of recording my ears are trained to hear very subtle deviations in pitch. In the studio I get hit the notes just the way I want to… But when it comes to the live thing you just have to plow through. There is no time for self judgement there is only the moment of self expression. It becomes all about the passion for the music and you just give yourself to that. We always give it everything we have on stage. So much work goes into that little moment your up there in front of everyone and you just have to trust it. Everything that happens is part of the art and you embrace it. I try not to think much when I’m performing, if I do it gets me in trouble. I never think to hard about what to say or do. I just feel the energy of the moment and see where it goes.
There is nothing like being in front of a crowd, the songs are by nature more raw and real. The audience can really have a lot to do with the performance as well. We just played our biggest show this summer in front of 40,000 in Quebec City. It was quite a rush. It was like riding a wave. I kept looking down at my hands and thinking:”am I doing that?” Then of course I tried to stop thinking at all.
Will there be major touring plans for this record, as well? You’ve been on tour with major progressive metal bands of the day, and have also played smaller, more intimate shows. Is there any difference for you at the end of the day?
We expect to be touring consistently for the next 2 years. We just completed a successful tour with Within Temptation and are looking forward to a run with Cynic coming up very soon.
Final thoughts and words, man?
Keep in touch! Thanks for your time and check in at www.theband3.com for the latest in all things “3.”
From the flurrying brilliance of the opening track, “Premonition,” it’s rightfully clear that London’s Haken are something a bit special and unique amongst today’s new prog acts.
Simultaneously soulful and musical, Visions hinges upon the delicate interplay between the up-front, clear vocals of Ross Jennings-which almost sound like Joey Belladonna at times, believe it or not-and the inventive guitar team of Charles Griffiths and Richard Henshall. Both axemen known exactly when to bring the heavy and when to criss-cross melodies and stringed atmospherics, while keyboardist Diego Tejeida offers up the perfect symphonic accompaniment, never overpowering the band’s metal aspects one bit.
Belladonna comparisons aside, Jennings’ vocals soar with class and emotional power, offsetting the complex Griffiths/Henshall riffage with capable efficiency, reminding at other times the crooning of Cedric Bixler-Zavala of neo-prog titans The Mars Volta. Meanwhile, the actual song structures are varied and never one dimensional, even delving into a surprisingly cinematic tone, such as on the epic “Nocturnal Conspiracy.”
Haken are full of surprises here on Visions, and have truly made an impressive statement of intent; one which should serve the band well as they make their North American live debut with an appearance at this year’s ProgPower Festival. After this, it’s only a matter of time before the band begin being whispered about and praised for their maniacal metal madness. Visions proves once again that ‘prog’ is NOT a dirty word.
Combining a bevy of disparate stylistic elements into their overflowing, avant-garde mix, the Oklahoman outfit known as Vangough nevertheless come out sounding very impressive here on their third album, Kingdom of Ruin.
Sounding very much like their hip, West Coast brethren in Giant Squid and Sleepytime Gorilla Museum, this criminally talented quartet also seem to possess much of the knowing, high-minded progressive tendencies of a Pain of Salvation, as well, utilizing the soaring voice and inventive riffage of Clay Withrow to wondrous effect.
Indeed, Vangough definitely belong within the ‘neo-progressive’ movements of bands like Between the Buried and Me, Porcupine Tree, 3, and Opeth in that so much of their success hinges upon that unique, inimitable way in which they approach their songwriting. Although the band focuses on melody throughout much of Kingdom of Ruin, an abundant amount of heaviness and exuberance also lurks within these songs, similar to Train of Thought era Dream Theater perhaps, although the similarities between both bands really end there, otherwise.
No, Vangough definitely stands out as a true original these days; a band which manages to sound intense, intelligent and involved all at the same time, while putting forth more than enough heaviness to make them certifiable heavy hitters, once more people are graced with their noise. Kingdom of Ruin is an electric listen, so check it out!
As if we should have expected any less from the band who backed ex-Emperor mainman Ihsahn on his last epic solo journey, After, this third LP from the Norwegian progressive metal maniacs in Leprous has struck…and boy does it ever leave a mark.
Just like Trent Reznor and his Nine Inch Nails somehow made industrial music structurally memorable and commercially viable, so too does Leprous manage to take their complex and progressive leanings and blend them into a near-seamless, avant/metal masterwork. There’s nothing dumbed down or conceptually stunted here on Bilateral. Instead, Leprous revels in challenging rhythm structure, up-tempo riff exercises and a theatrical, semi-operatic vocal style which doesn’t sound all that dissimilar to Ihsahn himself, although keyboardist/vocalist Einar Solberg occasionally drifts into an almost Jonathan Davis-level whine at times. Strangely enough, however…it works, fitting in just fine alongside the band’s difficult-yet-approachable arrangements.
Of course, the Leprous/Ihsahn collarboration was bound to rub off on the band, and-although I can’t claim to have heard Leprous on their prior two releases-Bilateral is proof positive that their take on the prog metal genre is both unique and unequivocally theirs to share. Not quite Tool-repetitive, nor Porcupine Tree-level spacey, the Leprous noise is heavy, dynamic, melodic memorable and oh-so intriguing; one which demands copious spins and unfocused intention. Marvelous all around-definitely check this one out.
Norway’s To Cast a Shadow play a fairly original game here on their sophomore effort, In Memory Of.
While I can’t say that I’ve been personally familiar with this band’s work up until this point, I’m sort of kicking myself that I haven’t, because In Memory Of displays an incredible amount of promise within its dark, gothic grooves.
For once, the attached press release actually describes the band quite well, offering up classic doom/death templates of 3rd and the Mortal, Theatre of Tragedy and Paradise Lost as comparative aesthetics, combined with the neo-progressive elements of Tool and Porcupine Tree.
If anything, the overall effect possess much in common with their countrymen (and woman) in Madder Mortem. Both acts are currently leading the charge in terms of forward-thinking stylistic risks, while also remaining conceptually vague and difficult to categorize.
In this day and age, this is definitely a good thing, and To Cast a Shadow win via their dogged determination to be different than the leagues of copycats and plagiarists currently ruling the indie metal roost. Instead, the band embraces heritage, quality and hard working songcraft, and the results speak for themselves: In Memory Of is a fantastic effort which blazes its own unique trail in the rough, spun hard by Marcus Garnlien’s inventive riffing and singer Gunnhild Huser’s sweet-yet-strong lead vocal command.
Sounding equal parts Kari Rueslatten and Agnete Kirkevaag, Huser is just one of the band’s excellent elements of defense against an oft-insipid and boring scene; a light in the darkness of complacency. Kudos to you guys for taking chances and coming up with something you can call your own!
While the appeal of Beardfish’s melodic prog rock might prove limited to all but a certain sect of the Metal Army, Mammoth’s sense of groove is right up my own personal alley; a memorable and enjoyable exercise in vintage progressive rock.
The real problem with so many ‘new’ prog bands is that-despite usually claiming all of the best musical influences, from Camel, Genesis, King Crimson, ELP and Gentle Giant-the end result of their sound tends to be so far away from this classic 70s sound, that it becomes barely recognizable.
Luckily, Beardfish are always are of the past here on Mammoth, even inserting a hefty helping of meaty hard rock riff work into the mix, for good measure. In other words, there’s just as much Grand Funk as there is Yes, ya dig?
This is a very good thing, and lends an air of authenticity to Beardfish and their musical exercise. While the 70s air is strong and ever-present, the whole of Mammoth should also appeal to neo-prog fans of Porcupine Tree, Opeth and The Flower Kings, as well; just another example of how adept mainman Rikard Sjobolm and Beardfish are at keeping their eyes on the prize.
Featuring tons of instrumental flourish, soulful solos, complex structure and an excellent, jazzy rhythm section, Mammoth is an excellent outing for a band whose name, though odd, should hopefully become synonymous with the Neo-Prog genre in 2011.
COACHELLA had a ton of great metal acts at last year’s event (Dillinger Escape Plan, Porcupine Tree, Faith No More, etc) so they obviously realize that heavy music exists. However, this year’s lineup featured ZERO bands that would even remotely be considered heavy. ZERO, zip, zilch, nada.
I would consider sitting through a DE LA SOUL set if I knew that I would also be seeing a band like Faith No More or Dillinger, however I can’t say that I certainly wouldn’t sit through a JACK’S MANNEQUIN set just to watch DAMIAN MARLEY later that night.
Thanks Coachella, I’ll save my money for Roadburn Festival this year!
