Pain of Salvation - Entropia

Technique with Soul and Passion

Ladies and gentlemen, let me introduce you to one of the most impressive debuts I have ever encountered: Entropia by Pain of Salvation. Despite being a debut, Entropia sounds very mature and pretty much shows what Pain of Salvation stands for as a band. Moreover, I would consider this one of the essential progressive metal albums, especially for introduction to the genre. Seriously, all the elements are there and at the highest level.

Not only do we have complex song structures, with all the stamps of prog like shifting heavy and acoustic parts, odd time and changing signatures, syncopation, polyrhythms, a concept story told (sung) by one of the most emotive voices in metal, but also simply great riffs and solos that one will remember. This means that Pain of Salvation are able show their musical proficiency without going into self-indulgent show-off. What more can ask from a prog band? How about some jazz and funk? Yes, sir, and it sounds great.

In fact, Entropia is very diverse. Crushing juggernauts like the opener are followed by drum-and-sample-based interlude "Welcome to Entropia" or a fully acoustic song like "Oblivion Ocean" and the closer "Leaving Entropia" or how about the bass-driven intro into the short "Circles?" The vocals here are lacking absolutely nothing and range from sentimental calm singing and emotional utterances to deep low notes to aggressive or even high-pitched desperate bellows. What really matters though is that Daniel Gidenlow, it seems, puts his whole soul into both his music and singing, and that is why Entropia, despite being a debut, sounds so impressive: because it is daring and sincere in addition to being a piece of well-composed and -performed music. The obvious Dream Theater influences are heard, but if there was a great way to incorporate them into one's music, Pain of Salvation just did it right on Entropia.

If this is your introduction to Pain of Salvation or maybe even progressive metal, by all means start your further acquaintance by listening to this very album.

Black Sabbath - Paranoid & Master of Reality

Good Wine Gets Better with Age...

I have always thought that good music transcends time, that it will always be relevant and sound original. It will always be something one will want to come back to, and that is what I have confirmed once more while listening to two Black Sabbath classics Paranoid and Master of Reality. How does it work that the albums that we consider the harbingers of heavy metal still manage to impress today?

The answer is simple. These albums are not some half-cooked, deficient version of heavy metal that would be perfected by later generations. No, the music that Black Sabbath were making in the early 70’s is perfectly self-sufficient and complete on its own, not to mention, brilliant. So what makes it brilliant even today?

Again, the answer is simple: many smart rocking compositions, but incredibly catchy music that still has that rock n’ roll feel to it, heartfelt bluesy solos, and interesting mellow pieces like “Solitude” and “Planet Caravan.” What actually makes Black Sabbath stand out from other 70’s bands is that they were actually heavy: distorted guitars, a very audible bass, not so generic drumming, and… Ozzy. Ozzy’s wails, whether aggressive or subdued, add lots of new character to Black Sabbath’s sound and some sort of uniqueness if you wish.

All the music put out on Paranoid and Master of Reality is interesting to listen to: the songs are varied and each has its own idea, presentation, and catch. There we have it: great songwriting, great musicians, and unique approach – the win combo that always works. Enjoy!

Nevermore - This Godless Endeavor

Serious music

The words that keep coming back to me when I try to describe Nevermore's sixth album are "serious music." Be it vocals, music itself or the lyrics, everything projects a very non-trivial and profound character. And indeed this whole piece of art screams “Something is really wrong with our world.” Look at the grey album cover art with the little girl, suspicious look in her face. Take some of the lyrics:

The media loves the latest tragic suicide
They exploit it, then package it and profit from the people who die
Look at the world, look at the hell, look at the hate that we've made
Look at the final product, a world in slow decay

or

Why do we live this way?

Why do we have to say

The things that subvert the minds of youth?

Very straight-forward and clear those lyrics are, and it is good that some people speak about the condition humanity finds itself in. Warell Dane’s customary emotional utterances combined with angry half-growls work well to convey those apocalyptic desperate messages. Then think of the music, which not only kills but also completes the whole picture resulting in a very thematic release and one of the most consistent ever. The guitar work is in the heart of This Godless Endeavor (just like any other Nevermore album), and it is pretty much flawless. There is everything here: complex rhythms, acoustic guitars, technical skill, catchy hooks, and unbelievable soloing. One will also hear a lot of variety, with different tempos and approaches being used to support the vocals or create instrumental bridges: through fast, shred-like riffs and arpeggiated passages or just simple chord progressions, but sometimes also dissonant note sequences.

The main thing is that the music, lyrics, and vocals work together and complement each other to create an eerie atmosphere and project that serious mood, which not only makes one stop and contemplate a little about life, but also thoroughly admire ­– not just have fun with – the powerful artistic expression and musical accomplishment, which Nevermore has crafted with This Godless Endeavor.

Magnus - Magnus

Muddy the Riff Monster

Magnus are part of the underground scene in Fort Worth, TX. There is a tragic story behind the music on this album as the original guitarist/vocalist passed away in 2003, and the band went on hiatus till 2007. His demo vocal recordings can still be heard along with the vocals of Kenneth Thompson, who also plays the bass.

Now to the music itself...

Magnus' self-titled is a riff-based juggernaut with pounding bass and groovy restless drumming. The overall sound is very misleading: the production seems somewhat garagey, but somehow every component is still very clear and apparent, especially the bass, which stands out in a very subtle way. To describe Magnus’ self-titled, two words are really needed: riff storm. And indeed, the mighty riff is in the heart of this release… the mighty ever-changing, ever-shifting riff.

Overall there is a lot of sludgy groove, which is just fun listening to, but it’s not all that simple. The tracks are quite dynamic and even neurotic in the way the parts change each other, but at the same time Magnus do not go over the top with technicalities making them very listenable and easy-going. The exception would be the last track, which builds up for five minutes and only then bursts into a chaotic, psychedelic and also, in some oxymoronic way, soothing delirium. The rare occasions, on which vocals appear, could be described as shrieks of a desperate madman, which complement the sludgy atmosphere in a most suitable way.

To listen to the album, go by this link and behold the rise of the riff-monster.

The band has changed the name to Unraveler. Follow them on Facebook.

Opeth - Heritage

Carpe Diem!

 

I can't help but admire Opeth, especially the brave genius of Mikael Akerfeldt that stands behind its creative force, and Heritage is its latest embodiment. It sounds like nothing that Opeth has ever done and at the same time it is everything. The form is very different, but the content is full of undeniably Opethian spirit. As the band members have numerously mentioned, the new album is a musical heritage, not only of Opeth's past achievements, but also the music that Mikael likes, e.g. the evident presence of 70's prog and classic rock and, as others have noted, Swedish folk music, which I am not yet familiar with.

This new child of Opeth is not a perfect album, but it is a blow of fresh air; it is daring. One must be free indeed to delete forever two ready songs similar in style to Watershed (and that's what Mikael did) and yield himself to what one's heart is telling him. Free, daring, and independent, this is what this album is, but also utterly original and surprising.

It will take a few spins to start appreciating Heritage, but those spins will take one on an exiting journey. Yes, it will hurt a little at the beginning, but once the mind opens, an entire new world will unravel to discover and explore. Dare to do it.

Echoes - Nature|Existence

Amazing debut from Venezuela

Echoes' Nature|Existence is simply an epitome of prog, which reminds one of the numerous great prog metal bands: Dream Theater, Pain of Salvation, Riverside, Symphony X, Evergrey etc.; nevertheless, one does not get the feeling of stale imitation. These guys are amazing composers, who have collaborated with talented vocalists to create this epic stellar monster, with songs that will not leave you indifferent: great instrumentals and tunes with deep emotional vocals. If you somehow missed Demonic Tutor's review of the album, do yourself a favor and check it out, and then get hold of this piece of art!