In order to save the blog, I need to make some changes. For example, the monthly recaps are actually going to be monthly recaps, rather than the detailed documentation of last month’s happenings. Perhaps I’ll keep the album of the month thing going, and maybe a diary of my favorites; I have yet to make such decisions. But more importantly, reviews are no longer going to be graded. I’ll just say a few words about whatever albums I’d like to talk about (like a wedding or a funeral) and give some sort of recommendation. Opinions always change over time; this way, I’ll be able to revisit and rediscuss subjects without officially shitting on my past-self. And more importantly, I won’t be officially shitting on the bands that would have received poor reviews because, though they might be labelled so for convenience and consistency sakes, they aren’t really reviews.

Anyways, that’s that and I’ll hopefully be seeing you around this year! I wish you all a happy new year. Just like every other year, make it count!

The Music (rating: B+)

1. Heavens to Murgatroyd
2. Whiskey & Ritalin
3. Musical Chairs
4. Uh-Oh
5. Amarillo Sleeps on My Pillow
6. A Loophole in Limbo
7. Typhoid Mary Sends Her Best
8. Short-Haired Tornado
9. The Upset at Bailey Bridge
10. Rikki Rikki Tavi
11. Golden Parachutes
12. Bright Bulbs & Sharp Tools
13. Coppertank Island
14. Three Foolproof Ways to Buy the Farm
15. The Greener Grass

Arrows and Anchors is an alternative metal album with elements of avant-garde and progressive incorporated into their sound. It is not to the extent that drastically shifts the musical style away from the alternative metal standing, but rather serves as an additive to help individualize the overall sound. The typical metal instruments are the primary ones, but there is also a healthy dose of synthesizers and strings and several folk instruments (like banjo among many of which I am unable to name).  So basically, the alternative metal sound is elevated to a grandeur surpassing that which is generally heard in the genre.

Nonetheless, Arrows and Anchors holds true to many elements of alternative metal which, to a small extent, keep it in the common room. Most of the tracks rely heavily on feel and catchiness as opposed to any “deeper” musical substance. This is not meant in a pejorative sense, but merely to highlight the risk that is involved. With such an approach, the music can be gripping and relatable or of annoying blunder (or somewhere between the two). With Arrows and Anchors, it is never to the point of the latter, but the hit percentage is not nearly 100%. Still, there are sections within pieces that grasp with their intrigue, such as “Coppertank Island” and “Amarillo Sleeps on My Pillow”. I guess it can be said that there is just too much “good” and not enough “great”. But let’s reiterate that there is a lot of good with this release.

The general songwriting is where most of the appreciation for Arrows and Anchors is derived from. It is frequently catchy but not annoying, as stated earlier, and warrants multiple listens – multiple, but perhaps not many. The instrumental balancing is extremely well done for the most part. There is a small issue with the guitar being unnecessarily overpowering towards the vocals, which are wrongfully compromised to a small extent. Thankfully, they are not drowned, but there is a minor muffling effect. But mainly, the instruments remain loyal to the big picture. All instruments contribute appropriately and punctually, like the bass in “Musical Chairs”. Again, this is a result of the natural affinity which is apparent in the band as seen in this record.

Arrows and Anchors is a very good release by the Fair to Midland. The songs can be overly generic at times though. This could possibly due to the overall alternative metal sound, but I sincerely doubt it. It seems more attributable to the underlying musical approach, which is most evident with the centralized vocal lines and simpler guitar riffs. However, the layering helps conceal its “mainstream” elements, pushing the alternative metal sound to regions often unfound by the genres peers. Aside from the nitpicking here and there, Arrows and Anchors is a solid, enjoyable listen.

The Music (rating: B)

1. Moria
2. Drop the Bomb
3. The Ones We Left Behind
4. Reflections of Evil
5. In for the Kill
6. Together We Fight
7. The Dark Side of Life
8. Brothers of War
9. Message From Hell
10. In the Dead of Night
11. Unholy Cross

Unholy Cross is no doubt a heavy-power metal album from start to end. There is a softer piece in the middle (“Brothers of War”), though this is common in the genre. It even has all the expected instruments: guitar, bass, drums, keyboards, powerful vocals. There are many palm-muted, fast-picked riffs and double bass onslaughts. The vocals are high and strong, as expected with power metal. It surely goes to say that this album falls safely within the confines of the genre.

Unfortunately, having said so condemns Unholy Cross to the region of mediocrity. It is better than average, but still lingers to the taste of normalcy. It starts of very basic and bland, but does pick up towards the end (my personal favorite tracks being “In the Dead of Night” and “Unholy Cross”). But they most definitely overuse their small palette of riffs. There is a lot of single-note palm-muted picking throughout the album and it certainly grows weary after a short time. Not only that, it blends some of the tracks together and negates the potential uniqueness of the tracks within the album. As a result, Unholy Cross becomes generic both outside and inside the tracklist itself. Every goal that is seemingly underlying this album has been accomplished in previous settings and at higher levels. This is, in a sense, adding a single straw to an overflowing haystack.

But it is not as cut and dry as what I have made it out to be so far. Sure, Unholy Cross is a basic regurgitation of what is already in existence. But it does the doable above expectations. There are some good leads dispersed throughout and the vocal phrasing is no less than pleasant. The drums are definitely better than average, giving more intricate cymbal work than expected. There are some very basic parts along with higher creativity ones; it is a jumble of love and hate (or more so like and dislike).

There really is not much to say regarding Unholy Cross. I can simply state that it is a heavy-power metal album and whatever comes to mind will likely resemble what the record contains. It sounds rather generic and safe at most times, but still sounds better than the average output of the genre. Everything from the production to the instrumentals to the songwriting is at a level high enough to partially compensate for the records conformist characteristics. Unholy Cross provides a good listen for fans of the band and genre, but is not a draw for an unfamiliar crowd.

The Music (rating: B+)

1. Beast of Fire
2. Infinite Descension
3. The Wilderness Beyond
4. Bloodbath
5. Darkness Forever
6. The Nightcomers
7. The Passion
8. Der Todesking

Crimin Laesae Majestatis Divin is a heavy metal album which has been often compared to Mercyful Fate’s works. There are softer parts lingering throughout the record as well, such as “The Wilderness Beyond”. But for the most part, it is extremely high vocals with heavy, distorted guitar riffs and hard drumming. And on the production side, the sound is very vintage. It sounds as though it could have easily come out of the 80’s. The combination of the guitar tone and drums are the most contributing factors. It is a very good tribute and addition to good old heavy metal.

Some have had their complaints about the vocals on Crimin Laesae Majestatis Divin. Those who are have some legitimate grounds. At times, the vocals are slightly off pitch and not as steady as some I have heard (such as Hell’s release this year, Human Remains). But other times, the vocals are actually quite impressive in my opinion.  The range is fantastic and the power is present. But sometimes, they do sound too scratchy. The rasp is effectively aggressive for the most part, but there are moments when the sound grinds through your ears. Perhaps it is the production, or maybe it actually is the voice itself, but something is just slightly off-putting. But overall, the vocals are great at the very minimum.

The instrumentals are consistently awesome in Crimin Laesae Majestatis Divin. Despite staying true to the heavy metal sound, the guitar riffs are still able to impress. “The Passion” has some killer rhythmic guitar work that not many can match. The solos are not outstanding in this record (the one in “The Passion” is rather messy), but the riffs are consistently strong. Drums and bass are mostly supportive here, but they do come and go appropriately, like in the middle of “Der Todesking”. Also, I found it a pleasant surprise how the aforementioned track incorporated the drum intro to Iron Maiden’s “Where Eagles Dare”.

Crimin Laesae Majestatis Divin is a very solid album. There are some unique riffs that standout even given how much has been expanded upon in the genre. The drums and bass do not put themselves out to the spotlight too often. The best and worst parts of the record are the vocals. They are extremely impressive at times and somewhat detrimental at others. There is never a time when they are bad, per say, but the inconsistency is noticeable. There are times when they are awesome and others when they are adequate, and that difference keeps this album from achieving perfection. That being said, Crimin Laesae Majestatis Divin is definitely one worth checking out for fans of the classic heavy metal style.

The Music (rating: A)

1. Extraordinary Fades
2. How it Goes
3. Shallow’s Low
4. What If I Can’t See thee Stars Mildred?
5. Zero Orchestra
6. Non Populus
7. In a Place of Lesser Men
8. Set Me on Fire
9. Lights of Endangered Species

The number of personnel is large regarding Lights of Endangered Species. So as one can expect, the orchestral element is overpowering, albeit not to the point which compromises the alternative rock sound. The balance between the two is remarkably level, and the natural mesh is even more impressive. The symphony side of music has a consistent presence throughout the duration of the record, but the more standardized rock instruments (guitar, drums, piano, etc.) are not at all overshadowed. And the coming together of the two is unseemly. Think of this release as a predestined marriage of rock and symphony.

In fact, the bondage between the symphonic and rock styles is the most standout aspect of Lights of Endangered Species. It is as though the music had been laying dormant, waiting for a face to cling on to. Such pieces as “Shallow’s Low” and “Zero Orchestra” demonstrate just that. Also, Good never tries to force one of the two dominant styles onto the other. Sometimes it favors the rock side (“What If I Can’t See the Stars Mildred?”); other times it sides with symphony (“Zero Orchestra”). Though there may not be anything too technical in the musicianship, the choices made regarding layering display the artist’s respectable natural affinity for music. In “Non Populus,” for example, the partnership between the symphony and rock styles allow for mutual growth as well as individual flourishing based on whichever is warranted in the moment. All the subtleties in the layering and amalgamation of such dissimilar styles truly highlights the commendable musicianship underlying this record.

As mentioned before, Lights of Endangered Species contains very little upfront technicality in its composition. Most of its quality is based on its overall feel and presentation. With Good’s patience and unforced song structuring, one can only expect a great album. There are many instrumental passages which put forth a wonderful web of melodies accompanied by a heavenly atmosphere, such as in “Shallow’s Low”. The track sequencing is very well done also. As it stands, it has an appropriate intro with natural ups and downs which lead to a proper conclusion to the 45-minute journey. But also, the unorthodox song structures themselves flow extremely smoothly, as is the case with the dynamic but fluid “Non Populus”. None of the songs are particularly wowing in the sense that I am dumbstruck as to the blatant display of talent. This is more the type of album that aims to touch one’s heart, and undoubtedly does so.

Lights of Endangered Species is an album of beautiful melodies, large musical webs, dense layering, gentle flow, and emotional atmospheres; all of which constitute a great album. In a sense, it has a sort of pop-ish feel, but it is far from the typical pop album. It is more than an orchestral alternative rock album; it is a well-written, well-presented piece of art. Without doubt, it will join the elite ranks of quality records that 2011’s best has to offer.

The Music (rating: A-)

1. The Alchemist
2. Undying Wings

The Alchemist can be thought of as a fusion between power metal and classic heavy metal. There are key sections of double-bass drumming over a power metal riffing. But there are also portions of the album which utilize a less powerful drum beat with more expansive riffs; this is the more heavy metal aspect of the EP. The vocals are strong and centralized mainly around the middle range, though there are a couple of growls and screams here and there. The EP is mainly guitar-based, though the keyboards and bass do come out to shine ever so often. Basically, this release stays true to the metal formula but makes numerous tweaks to keep it fresh.

There are a few minor issues with The Alchemist. In fact, they are more so isolated spots than issues. The first comes with the growl. It is not exactly a weakness, but it seems out-of-place and unnecessary given the power and gruff of the mid-range vocals. And also, the high-pitched scream in “The Alchemist” seemed somewhat misplaced. Again, there is nothing particularly bad about it. It just seems toned down in the production and noticeably weaker than the rest of the vocals in general. And the fact that there is a gap between the comfort range (middle) and the scream (high) is slightly unsettling. But the biggest ‘problem’ is the forcing of the bass to the frontline. At certain times, it works excellently. But the solos are much too long and of predictable placement. Furthermore, during the bass solos, the music seems fairly bottom-empty and shaky. However, more good than bad is done with the decisions made regarding the bass.

In The Alchemist, pros heavily outweigh the cons. The guitar riffs are fantastic and give the rest of the music a strong central point to revolve around. They do not force their phrase length or their overall duration past what is warranted. The use of a great range of notes (low to high) within each riff gives the much-needed sense of completeness, especially since there is only one guitar present. The solos are less remarkable but of commendable quality nonetheless. And the vocals are very well worked into the tracks, delivering good phrasing and a fitting tone. The keyboards and bass, as earlier stated, come out to the spotlight smoothly and gracefully. And the pacing and transitioning done by the drums are not to be neglected. The way all the instruments come together in the writing aspect of the EP is seamless and natural. In fact, what truly makes this record a great one is the quality songwriting which meshes the impressively technical instruments into a more-than-comfortable groove.

The Alchemist is a well-written, well-performed EP. It does not stray too far from the norm, but still sparkles brightly within its associated genres. And yes, there is the rare spot on the album, but they are small in size and number. More importantly, they are greatly overwhelmed by what makes The Alchemist a great listen. It is a great, albeit short, EP that will hopefully lead to an even better full-length release. Keep an eye out for Skyliner!

• Album of the Month
• The Devin Townsend Project
• Better albums
• Lesser albums
• FML albums
• EPs
• My personal favorites of the month

A little something about June’s Album of the Month…

This particular album had been announced over a year ago. They said most of the parts were recorded and the tracking process was underway (according to wikipedia). There I sat on the edge of my seat waiting for the pot of water to boil. I guess the more water there is in the pot, the longer it takes to boil. Here we are, more than one year later, and the pot has overflowed. The Album of the Month for June is:

Album of the Month: Iconoclast (Symphony X)

Symphony X – Iconoclast – June 17 – Rating (A): For those of you who do not know, Symphony X is loaded with top-tier musicians that bring forth elegant, unique sound. This is no doubt the case with Iconoclast. The songwriting and instrumental execution meets the expectations that come of Symphony X. And despite the lesser symphonic impact and diversity with the record, there is already so much given that it is near impossible to find fault with it. Fans may instinctively show disdain towards where their sound has arrived at, but they would be most unfortunate to do so. Iconoclast is undoubtedly a Symphony X album; do not underestimate the connotations of that statement.

Double Devin

This month, the brilliant musician (or should I say mad man) Devin Townsend released the parts three and four of his superbly ambitious four-part suite known as the Devin Townsend Project. Not only is the project quality high, but the diversity spans an unbelievably wide range. To state the obvious, it’s great work.

Devin Townsend – Deconstruction – June 20 – Rating (A): With Deconstruction, Townsend truly portrays his ingenuity on all fronts. Yes, some things were a slight miss with me. But his scope and thought process are nonetheless mind-blowing. His layering and production, as usual, surpass excellence. And the instrumentals are simply fantastic. This is not an album for everyone, but it certainly is grower and a lover for those who can accept it. Deconstruction is one of the better and most unique albums released in today’s world.

Devin Townsend – Ghost - June 20 – Rating (B+): Basically, Ghost is an album that takes patience. Unlike much of Townsend’s work, it is not for the typical metalhead. But like the artist’s typical creation, it is heavily layered and extremely well produced and of high musical standard. In my opinion, it gives too much of the same and is much too long for its own good. However, its indulgence and patience is respectable and its natural flow is undeniably silk smooth. Ghost is a great album that could be a little better.

Good, Good

There are a couple of pretty good albums that came out. Neither compares to the likes of Deconstruction or Iconoclast. But still, they’re good.

Falconer – Armod – June 3 – Rating (B+): Armod is a good release, but can be somewhat uninteresting at times. Everything is done well on paper, but it as though the band forced the formula onto the music. It seems to be missing much of the spark and spontaneity that great music should have. There are sections throughout the album that are merely missing something. But there are also those that are well-portrayed. It is a good album, but an imperfect one as well.

Rhapsody of Fire – From Chaos to Eternity - June 17 – Rating (A-): Many great things have come together to form this album. From Chaos to Eternity has an arsenal of quality symphonic arrangements as well metal instrumental parts. Its narration is more of a distraction than an additive aspect, but does not significantly detract from the stellar music. Fans of the band or genre should most definitely check out this one; it surely will not disappoint.

Good…?

There are a couple of good albums… kind of… they are closer to average than great.

Saxon – Call to Arms - June 3 – Rating (B-): With all parts accounted for, Call to Arms is quite average. In general, the music is at a higher level than average. But with as much repetition as in this record, there is a definite deficit of long-lasting value. Stellar songwriting and instrumentation would be able to salvage the quality had they been present. Call to Arms is not necessarily a bad album. But for a genre that has been in existence and in circulation for so long, Call to Arms offers very little innovation or awe-inspiring performances and is definitely not a must-hear.

Yes – Fly from Here - June 22 – Rating (B): All in all, Fly from Here is a decent album. There are undoubtedly aspects that can be improved upon with this release. But with the expectations the band has set for themselves, it is damn near impossible to achieve them. Fly from Here certainly fell short, but still retains a respectable quality. It is a recommendation for fans of the band, but there still are better options; no need to settle for good when there is still great.

Good… Not

Always good to be reminded of the lower extremity in which music can still achieve…

Pain – You Only Live Twice - June 3 – Rating (C-): Generic, repetitive, poorly executed, diluted, excruciating – all qualities which describe the disaster that is You Only Live Twice. The music is of very low quality and basically no variation. It can be described as a bad song on repeat. Okay, maybe it is played at 1.5x or 0.75x speed, but it still is the same damn song! You Only Live Twice is a perfect example of what not to do in making unique, prestigious music.

Queensrÿche – Dedicated to Chaos - June 28 – Rating (C): Once again, Queensrÿche has crushed my hopes and faith with a sub par release. Dedicated to Chaos in many ways descends beyond mediocrity. From its lyrics to its musical content, it is just an all-around poor effort. With such masterpieces from their earlier career (most particularly Operation: Mindcrime), many will find it difficult to cease clinging to the band’s glory days. Believe me, I am most certainly one of the many. But the saddest and most heart-breaking of truths is that Dedicated to Chaos should be avoided under all circumstances, fan or not.

EP Showdown

I reviewed a couple of EPs this month. I liked one better than the other, but personal preference may have came into play… probably. What can I say? I love Riverside.

Pharaoh – Ten Years – June 7 – Rating (B+): Ten Years is a great release, albeit a little safe. The execution is commendable, but the inventiveness is not exactly outstanding. The EP is at a very high level in a familiar field. Everything is done very well, from the instrumental performance to the general songwriting portion, but also has been done before. Still, it is a highly enjoyable listen and a recommendation to fans of the band or genre.

Riverside – Memories in My Head – June 20 – Rating (A-): Overall, Memories in My Head is a great EP. Unfortunately, the music demands a longer album length which the EP format is unable to provide for. But the music is great and the bands roots are fresh seemingly fresh as can be. With this release, Riverside adds another hit to their currently unscathed catalogue. There are extremely high hopes and expectations for their next (fifth) full length record.

June et Moi

Judging by how many favorable metal reviews I gave into comparison to non-metal ones, you won’t guess what my actual overall June favorites have been. Seriously, try! Think up an answer and write it down. Okay, ready?

My personal favorites of the month have been:

• Artist: Matthew Good
• Album: Lights of Endangered Species (Matthew Good)
• Song: “Weapon” (Matthew Good, Avalanche)

This month certainly seems like an outlier, but I honestly happened to fall in love with Matthew Good. His latest album really hit the spot. In fact, a review of it should be coming out next month, along with a few other things. I hope you’ll all join me for it. See you around!

The Music (rating: B)

1. Fly From Here – Overture
2. Fly From Here – Pt I – We Can Fly
3. Fly From Here – Pt II – Sad Night at the Airfield
4. Fly From Here – Pt III – Madman at the Screens
5. Fly From Here – Pt IV – Bumpy Ride
6. Fly From Here – Pt V – We Can Fly (reprise)
7. The Man You Always Wanted Me to Be
8. Life on a Film Set
9. Hour of Need
10. Solitaire
11. Into the Storm

Fans of Yes can expect Fly from Here to be an album of cheery moods and uplifting tracks. The vocals are silky smooth as well are the instruments in general. Both electric and acoustic guitars are included along with the heavy use of keyboards. It no doubt retains the general Yes sound with the vocal harmonies, intricate basslines and lengthy songs (especially the 20+ minute “Fly from Here” suite). On paper, this record reflects nicely with the rest of the Yes discography.

However, the actual content of Fly from Here is not totally overwhelming. The most noticeable issue is the inability of the sequencing to induce flow. Even within the six-part title tracks, the transitioning between them is virtually non-existent. They may as well be listed as separate tracks, not part of the same conglomerate. From Pt. 1 to Pt. 2: nothing; from Pt. 2 to Pt. 3: nothing; from Pt. 3 to Pt. 4… Obviously it is a truly noticeable weakness. But even within songs themselves, there are areas of visibly potential improvement. Especially with the intro of “Fly from Here – Pt.  4,” it is as though a repeat sign was lazily stuck at the end of the phrase. And looking at “Fly from Here – Pt. 3,” some of the switching from sections within the track is a little shaky and uncomfortable. Of course there are great ones too, such as the percussion introduction into the outro of the song. Basically, there is hit and miss involved with the album, only it is a tad too much of the latter.

On the upside, the band shows some of the quality musicianship and songwriting that garnered them such respectable acclaim in the first place. Although it is not near the quality of the band’s classics, Fly from Here most certainly delivers well-worked pieces with both upfront value and depth. Unfortunately, they have seemingly lost some of the spontaneity that created memorable moments as Yes had formerly been able to do. That is not to say Fly from Here is devoid of any spark, but it is simply not as consistent or powerful as the band has formerly proven they can produce. For example, “Life on a Film Set” gives what could have been an extremely gripping progressive section in the middle but just seems to be missing that click that elevates it from good to great. And then there is “Solitaire” (a lesser alternative to “The Clap”) which, again, is a nice piece short of stellar. Most of the album is this way: close, but no cigar.

All in all, Fly from Here is a decent album. There are undoubtedly aspects that can be improved upon with this release. But with the expectations the band has set for themselves, it is damn near impossible to achieve them. Fly from Here certainly fell short, but still retains a respectable quality. It is a recommendation for fans of the band, but there still are better options; no need to settle for good when there is still great.