Poem time.

THE ONE THAT GOT AWAY

I live by the mountains in a cabin

And though time’s moved on, I haven’t

I exclusively

Reclusively dwell inside

No one else is here

But me, myself, and I

And her

She still haunts me to this day

I wait for the return

Of the one that got away

She whispers sweet nothing in my ear

In dreams she drives me mad

With what I’ve lost over the years

And all I could have had

---

I was young the day I met her

Morbid chance brought us together

My grandma died

At funeral time, our eyes lock and tether

I could not keep away

Her beauty I’d discovered

An enigma -- A paradox

A gravity like no other

She was not well-liked

But people seemed to know her

We both wore black clothes

And identified as loners

And lovers

Secretly passing notes in class

When I was sad

She was the only friend I had

Then my father caught us one night

Fooling around up on the balcony

He expunged my plunge and voyage

Into her beckoning anatomy

He assured me she was bad news

A huge mistake, a femme fatale

Insisted I keep my distance

So I resisted her siren’s call

---

I live by the mountains in a cabin

And while I thought I’d move on, I haven’t

I hear old bones, and floorboards creaking

My memories are fragile, fleeting

Like dust sculptures

I carved and cultured

Then sepulchered on a shelf

Kept out of reach from myself

But still, through tired eyes and cataracts

With vision that is blurry and inexact

I watch lucid reenactments  

Of my self-imposed entrapment.

---

It is my wedding day now

I smile and say my vows

But the one that got away

Is not my future spouse.

This miscarriage of a marriage

Only meant to be temporary

An unsuspecting cover-up

For the sadness that I can’t bury

All things we share  

Be they verbal, or physical

Are mundane obligations

Or just empty rituals

Our bed is silent

A non-violent coliseum

Passive aggressive

Throats choked and broken by the tedium

Resentment slowly rising

Realizing decisions

To carve scars into each other’s hearts

With surgical precision

Meanwhile, I stockpile

Thoughts of having an affair

My old flame is burning

Yearning for me out there

I know if I go through with it

I’ll probably be reviled

But an exile from this domicile

Is the only thing that seems worthwhile

After all this time

She wasn’t hard to find

We planned to rendezvous

At sunset, around five

But her train ran late

And I couldn’t handle the anticipation

My resolve dissolves, I chicken out

Stood her up, and left the station

I later confess to my wife

My secret moment of weakness

She stares at me in tears

Heart-broken and speechless

---

I live by the mountains in a cabin

Though my ex-wife’s moved on, I haven’t

On some days I manage

To break this cabin’s fever

I head outside to wander

And ponder ‘mongst the cedars

My feeble limbs come back aching

And I am greeted by never more

Than ravens stalking, mocking

Gathered around my door

Until one day, in the forest

I found myself betrayed

By slipping mental faculties

Which were leading me astray

I panicked, searching frantically

Through cryptic wood and boundless green

Until I stumbled through the treeline

Across a valley I’d never seen

Before me was a view so stunning

So overflowing with natural splendor

That I fell to my wrinkled knees

And wept in rapturous surrender

There is more to life than her!

My epiphany had made it clear

So I cast her shackles from my life

And banished all my fears

But the excitement is too much

I start to cough and wheeze.

I collapse to the earth below

As my heart begins to seize.

As the forest behind grows darker

And the sun recedes, leaving me

She steps between the trees, gracefully

To bequeath my pyrrhic victory

Embracing me in her dress of ebony

Stitched in entropy. She listens carefully

To the cadence of my fading heartbeat

And in perfect time, sings my elegy

Album Review: Periphery - Periphery II: This Time It's Personal

Djent.
That's right, I said it. I've seen this subgenre stir so much discussion/controversy over the past couple years you'd think it was dubstep or something. It certainly has grown in the past few years and Periphery is part of the reason why. I wasn't particularly enchanted with their debut though, and it wasn't until Tesseract's One that I really took a liking to the genre. However, I find myself reexamining my attitude towards this style of music after spinning their latest effort, Periphery II, for a few weeks.

I guess I'll just start by saying I like this album a great deal more than it's predecessor. While I'm aware Djent is a primarily rhythmic style, providing a melody for the audience to grasp on to is still an important quality and Periphery II has that in spades. The singer, Spencer Spotelo is directly responsible for this -- guiding the listener through all the calculated palm-muting and syncopated feels. Essentially he is what makes this all work in my opinion. While the band as a whole has shifted to a more listener-friendly approach, it is Sotelo that drives it primarily. His vocal hooks and melodic choruses are catchy as hell, and the growls he delivers are fuller and harder-hitting than the singing on the album previous. 

But enough comparisons. Let's dive into the album.

Structurally, Periphery II is very progressive. Songs are not just self-contained entities but are rather passages that blend into one another through electronic interludes that dwell in the first/last two minutes of several tracks. That, combined with a recurring lyrical motif, makes this an album you should listen to front-to-back rather than in piecemeal fashion. Unfortunately, the album's 73 minute runtime is not conducive to this at all. I wouldn't have shed a tear if a couple of the less exceptional tracks were dropped in favor of a more streamlined tracklist. Ji, Scarlet, and 13 Mile Zero have their moments but are ultimately just filler in my book.

A track that certainly stands out is Erised. Named after a mirror from Harry Potter, Erised is completely devoid of screams or the hard percussive onslaught that backbreakers like Ragnarok throw down. Instead, we get a nice respite that closes with Dream Theater's John Petrucci shredding some face... although, to be honest, Halpern's drum solo that preceded it was way more fascinating to me. Like many drummers in the genre, Halpern maintains the ever-essential task of providing a 4/4 backbone for the band while playing tons of ghost notes and accents to match the rhythms underneath it. Similar drummers like Stef Broks and Jeff Postones are still forces to be reckoned with, but Matt Halpern just carries a tasty groove like no other in the genre. His jazz and reggae background really shows through and it adds a lot to the album.

While the vocals this time around are solid and the drumming spectacular, the true focus of Periphery is the guitar trio that defines the band. While I wouldn't consider myself very knowledgeable of guitars, I still can appreciate all that goes on between the three axemen. Internet icon and lead guitarist, Misha "Bulb" Mansoor, leads them into a wild yet still synergistic frenzy of palm-muting and melodic solos that never fail to get lodged in my head.

An interesting facet about all of this technical playing is how serious you would expect the artists to take their music. While still very abstract at time, the lyrics are respectably meaningful to some degree, and the delivery for the most part is appropriate. Despite how serious Periphery should take their music, they still opt for silly references for song names - a move generally reserved for scenecore bands like The Devil Wears Prada or Asking Alexandria (Reptar anyone?). Because of this, I feel it disparages the maturity of the album slightly. One could argue that music really shouldn't be taken that seriously and maybe metal/tech/prog geeks should loosen their britches a bit and they may be right, but I still feel naming the core tracks of your album that carry a unifying motif after Final Fantasy swords is something I would expect from Powerglove or some nerdcore act. Despite this and a few other slight grievences, Periphery II is a great addition to this year's Progressive music roster. 

I give Periphery II: This Time It's Personal 3.5 Onamatopeias out of 5.

Album Review: Ne Obliviscaris - Portal Of I

Sometimes it just takes the right formula to bring several familiar elements together into an entirely new one. Australian band, Ne Obliviscaris manages to pull this off quite nicely this summer with their debut LP, Portal Of I. The EP that preceded it came out in 2007 -- and while 5 years is a long time for an album, Portal shows that good things come to those who wait.

When the record was released, numerous blogs and listeners compared the group to Opeth. Being a fan of the Swedish Prog-metal giants, decided to give them a listen. While the dynamics and 6/8 death-waltz sure seemed familiar, Ne Obliviscaris has a definite style of its own. Stirring violin and acoustic guitar segments alternate with walls of blistering guitar riffs and double-bass -- all while keeping the same steady, yet unrelenting drive of power, darkness, and beauty. Though the numerous passages and changes in each song, I can't help but feel whatever emotion these guys are trying to portray. When the album's opener, Tapestry of The Starless Abstract suddenly dissolves into quiet acoustic passage only to reemerge several minutes later full-force, listeners get swept away as Ne Obliviscaris opens the floodgates and immerses them in the intensity.

In terms of instrumental skill, Ne Obliviscaris is in no way shorthanded. The guitars play their parts perfectly; laying down the heaviness when appropriate, and reverting to acoustic playing in the quieter moments. The bass is audible, active, and contributes excellently as well. Then of course, is the inhumanly-fast double-bass stampede of Daniel Presland driving the whole thing. Presland is a machine on this record, maintaining ludicrous speed and precision for considerably lengthy periods of time. Despite all this speed, the drumming manages to stay varied -- with blastbeats, huge fills, and excellent use of effects-cymbals.  He also manages to top it all off with tasty grooves during the slower segments that complement the other half of the band's sound nicely. 

The defining element of the group's sound is of course the violinist/clean vocalist, Tim Charles. With both his voice and instrument, he manages to balance the dark aggression the rest of the band pours out, and creates the emotional contrast that forms the core of the album's theme. I love the vocal duets, and how both parts manage to overlap, yet never step on each other's toes. 

However the most impressive thing about the album is that, as a whole, Portal Of I manages to rein in all of this complexity and dynamics and compose them into sensible and tasteful transitions. There are a few that don't work so seamlessly (cough Xenoflux 2 minute mark cough), but for the most part these guys pull it off spectacularly well. Track 4, Forget Not, utilizes this to the max, and is by no coincidence my favorite on the record.

(As a completely unrelated sidenote, I should make it a point to mention that this entire album oozes the kind of pretension any fan of progressive music is likely to be intimate with. With songs titles like "A Plague Flowers The Kaleidoscope" and multiple 12 minute tracks, they're not pulling any punches. 

Then again... anyone picking up a CD by a band named "Ne Obliviscaris" (Latin for 'lest we forget', by the way) should honestly come to expect these kinds of things.)

Anyways, I can't stop listening to this record. It's certainly a gem, and no doubt a likely contender for top album of the year in my book. Check it out if you're a fan of Opeth or if you dig metal bands that use violins/cellos.

All in all, I give Portal Of I 4.5 Ominous Latin Phrases out of 5.

Album Review: Children of Nova - Impossible Landscape

Ahhh, Children Of Nova. I've been keeping an eye on this group ever since I stumbled upon their debut EP Complexity Of Light. Despite the storyline attached to it that I didn't particularly care for, the musicianship was impressive and it was overall a fun little adventure.

Having said that, let me get out of the way that Impossible Landscape is not as "fun" or "exciting" as the EP that preceded it. There are no crazy conga parts and hardly as many falsetto flourishes that make me wonder where the singer's balls went. Instead, we have a more focused and refined effort that marks a step in a mature direction for the Progressive Rock act.

Impossible Landscape definitely puts it's best foot forward and opens the album with some of its most solid tracks. Opener, Erratic, showcases CoN's ability to change moods and textures at a moment's notice with it's climbing riffs and laid back bridge segment. Kaleido brings to light one of CoN's favorite techniques: Full band stop-and-go's. These are tricky to perform and I'm sure some of my readers have had the experience of trying to get your group of 4-5 musicians to cut all at the same time and then come back in simultaneously a second later. It's not quite as easy as it sounds. It's obvious these guys want you to know they can play, and aren't afraid to show it in true Prog fashion. The next two tracks, Impossible Landscape and Moment of Clarity are easily my favorite on the record with their high-pitched vocals and effects-laden guitar parts soaring over tasty bass lines and quick drum licks that always manage to grab my attention. Speaking of drums, Colin Ingram smooths out his groove a little bit more this time and although he maintains his bursty, innovative feel, it definitely blends better into the sound the band is trying to achieve. This Graceful Tragedy is an excellent example of Ingram working his kit's hi-hat/snare to great effect during the verse, but taking a back seat during the chorus to let the guitars do their thing.

The second half of the album is where it starts to drop off in terms of excitement, and I can't help but feel fatigued by the drop in momentum. The last track, It's Just A Ride, manages to bring things back to life with some sick riffs and fantastic bridge section but it's too late at that point. It might have helped the album as a whole if the high-energy tracks were dispersed more evenly or if a few of the slower ballads were dropped in favor of more aggressive songs like on their EP.

Another difficulty I had with Impossible Landscape were the vocals. While high-pitched falsetto singing is one of my guilty pleasures, (Mmmmm, I like me some Rishloo, TMV, and Fair To Midland), Impossible Landscape could have easily benefited from a break in the singing. The vocals are definitely mixed to be the center of attention, and the singer spends a considerably higher percentage of the songs singing than he did on Complexity of Light. This is not a change I'm particularly fond of, and there are several moments on the CD where I just wish he would ease up off the rest of the band's nuts and let them have more of the spotlight. Perhaps my judgement is clouded by the "Instruments > Vocals" norm that Progressive music clings to, but the way I see it, this album had a lot to lose by giving more ground to the singer this time around. A purely instrumental track might have been a good break in the action and would have opened some interesting possibilities. Despite these gripes, something must be said about how focused the album is in it's sound. Landscapes manages to avoid being a sloppy mess and although it slows down near the end, it stays cohesive as a whole.

All in all, while Impossible Landscapes is a necessary stepping stone in Children of Nova's journey to take it's place in the Prog Rock world, the execution falls a bit short and I'm left wanting more of what I heard on the EP that preceded it. Next time around, I hope they realize a little more old fasioned instrumental indulgence probably wouldn't hurt their new sound.

All things considered, I give Impossible Landscape 3 Sorely-Missed Conga Solos out of 5.

Album Review: Soen - Cognitive

Maynard James Keenan: "DAMMIT. I was gonna use that picture.! Ugh, guess I gotta find another one... 
Someone call the record company. Looks like the album's gonna have to wait another year."


I'm pretty excited to review Cognitive because it is the debut of a new band named Soen. It's got a couple big names in it, one of them being Martin Lopez of Opeth (Drummer for the albums My Arms, Your Hearse through Ghost Reveries). The other is Steve DiGiorgio, ex-bassist of Testament and Death.

My first thoughts upon seeing the album artwork were "Wow, that looks like a Tool record." The whole 'Human-body-as-a-machine-inhabited-by-cranial-fetuses' thing is a trademark of there's. Upon spinning the record though, I noticed the similarities did not stop there.

In fact, the first two tracks on the album, Fraktal and Fraccions, are hilariously similar to Tool. Everything from the winding basslines and methodic tempo, to the ride cymbal double taps and double bass bursts at the end of the measures makes me wonder if I'm listening to some abstract interpretation of Schism or Vicarious. 

However, as the album continues on, Soen manages to distance itself from it's obvious influence. Last Light sounds more like Riverside than anything else, with its contemplative yet somber vocals and excellent use of ambiance. My favorite track, Oscillation, possesses the most obvious distinction with it's opening riffs that sound like a breakdown from some groove metal act. Ethnic drumming brings that same rhythm along to the verse spectacularly well, creating an entirely different feel with the same sequence of sounds. The band shows off their metal chops in the bridge section with some galloping polymeter and quick strumming.

That's probably Soen's greatest strength is how well they all lock in together rhythmically. Drummer Martin Lopez shows he can play a variety of tribal and traditional styles (although I still prefer the jazzy feel he opted for in Opeth), and as always demonstrates incredible use of his left foot, opening and closing the hi-hat and using double bass accents all over the record to great effect. The bassist, DiGiorgio, steals the show though, groovin' it hard and even carrying the melody at some points. He manages to cover a wide variety of tones, keeping things fresh, and stands out in the mix in the best possible way. Match that up with synergistic guitar playing and you have incredible musicianship that still remains accessible.

However, the vocals are unfortunately quite limited. Not in volume, (Unlike Pain of Salvation, they made sure the vox levels are mixed right) but in dynamics. Joel Eklof pulls off the solemn feel well, but can't help but come off as one-trick pony. He's not a bad singer, it's just I wish he'd get angry or show some degree of emotional spectrum on the album. The result is quite a few missed opportunities that really could have put this record into the "awesome" category for me.

All in all, Cognitive is a pretty solid debut album. What it's lacking in originality it makes up for in musicianship for sure. If you can resist the reflexive urge to yell "OMG TEWL CLONE" at the top of your voice and/or lose control of your bowels in a fit of music nerd ragedom, then you'll probably be able to chill out and enjoy the work as a cohesive and effective prog effort. Until then, go find some Youtube/Last.fm comment boxes to defile.

I give Cognitive 3.5 Pieces I Know That Fit out of 5.

Album Review: Alcest - Les voyages de l'âme

Being a sucker for awesome cover art, I was immediately drawn to Alcest's new, third album: Even More French Words. I was a fan of frontman/lyricist/multi-instrumentalist Neige's first full-length, and his second effort had some great moments as well so this was a release I didn't want to miss.

For those that aren't familiar with Alcest, listening to the band is like being in a ethereal dream, and Les Voyages is no different. It's the kind of music you put on and get lost in. The other day I was driving through town and happened to have my windows down. I must not have been aware of how loud this album was turned up, because when I was stopped at a red light, the guy in the car next to me kept staring. I guess echoic french lyrics, sung over a dreamy wall of guitar tones isn't something he was familiar with. Then again, it's not something I'm used to listening to, either. Most tracks I put on are doom and gloom, or some technical mish-mash of blistering guitars and drums. It's a tad refreshing (and strange) to put on some music that is really intended to immerse it's listeners in beauty.

Alcest was originally a black metal group, but after two members left, it became Neige's solo work. He took a personal approach to it and transformed it's sound into something truly unique. Les voyages de l'âme (The Journeys of The Soul) is a continuation of his trademark sound, but it also marks some progress for quasi-solo act. Neige maintains Alcest's traditional atmosphere but adds a few touches I most definitely approve of. Most notably, the dynamics this time around are a bit more stark in contrast. Take for instance, the first track - Autre Temps. The song nearly grinds to a halt at one point, but comes back to life with a solid, minimalistic guitar part that could make a grown man weep. A lot of the tracks on this record drop off and then resuscitate themselves with some awesome entrance. It's breathtaking. However, I wouldn't say Alcest fits the Post-rock category. They are a bit more centered around structure, and when they go between climaxes and mood-builders it is much more abrupt - akin to hitting a switch, rather than turning a dial up. It's a really nice addition, and sort of resets the listener's attention span (which is bound to wander the dreamy landscape the songs paint) and gets you to really pay attention to what follows.

The sixth song, Faiseurs de Mondes, is my favorite, and brings out Neige's Black Metal roots with some tasteful screams and beautiful instrumental passages to balance them out. Sure, Ecailles de Lune did that in the second part of its title track but it feels so much more epic (overused-word-alert) here. And how about that raspy wail that rises up during the chorus of Là Où Naissent Les Couleurs Nouvelles? Fuckin' awesome. Once again, these little additions give the songs elements that are not only memorable, but necessary to punctuate and embellish the shoegaze-delivery of Alcest's signature wall-o-sound.

Speaking of walls of sound, I've heard some complain of a lack of bass, but I really don't see room for it. The mix is already so thick that to imagine changing it up would probably transform the feel of a lot of the songs. That's not to say the rhythm section is less important. The drums this time around are as solid as ever, with drummer Winterhalter showing off an uncanny knack for knowing just where to build things up and take them down again. I imagine that to work with a solo artist like Neige, you really have to be on the same page as them when it comes to making their expectations reality and Winterhalter would definitely embody that trait. It's awesome how he can take a blast beat and make it fit a style of sound so different than what they're typically used in.

As far as criticisms go, I don't have very many. It's the same old Alcest as ever, just a bit more refined and complete this time around. A further dive into unfamiliar territory could have pushed this album into the "Awesome" category for me, but as it stands, it's a solid piece of work. It would probably be little easier on the listener if the album had more interludes (Havens is the only one) or breaks in the "action". Because of its trance-inducing nature, I find sections of the album (especially the middle and last track) a tad too big and homogeneous to digest all at once. This record took a few more listens to get a good grip on then most albums I've listened to lately.

 As a whole, Voyages is not a drastic change from Ecailles de Lune but represents the artist putting his finishing touches on carving his own place into the world of music. Next time though, I want Alcest to shake things up a bit more. Throw some curveballs and show us what else you got, Neige. Till then, I'll keep sharing your music one redlight at a time.

All in all, I give Les voyages de l'âme 3.5 French-English Dictionaries out of 5.

Album Review: Nightwish - Imaginaerum

While not a concept album, Imaginaerum is meant to accompany the not-yet-released movie of the same name. The story is of an old composer who suffers dementia and is trying reclaim those memories of his life that are most important to him. While I can't speak for how exactly the music from the album is going to be used in the film, the album was designed to be complete in and of itself. That is made apparent, as the album has an intro piece and even a closing part that uses the melodies from all over the album. But how is it as a standalone musical work? I'll get into that after a short bit of history on my past experiences with the band.

I first discovered Nightwish in high school, stumbling upon their cover of Phantom of the Opera. Symphonic metal was new to me, and I quickly became a fan. As I got older, my musical taste began to shift towards more technical and progressive artists and Nightwish gradually cycled out of my daily playlist. However, the buzz of their new release (and its movie) encouraged me to dust off my old mp3s (?) and get my Finnish Symphonic Power Metal on. After re-familiarizing myself with their work I popped in Imaginaerum and let the magical journey into gothic fantasy begin. 

First of all, let me get out of the way that Imaginaerum is one of the most frustrating albums I've listened to in quite a while. That's probably the strongest emotion I feel when listening to this record. There are a lot of amazing moments, but there are also so many missed opportunities. I actually found myself yelling at my car's tape player in disbelief at some point. It was as if my sense of enjoyment was actually the roller coaster track on the album artwork. 

The album starts strong. The first track, Taikatalvi, is more of a poem, and while it struck me as odd at first, I think it sets the mood well. The track afterwards, Storytime, is their big single this time around, and one of the album's strongest songs. I wasn't too fond of the single version I saw prereleased on Youtube, but a few listens to the album version cured that. Ghost River comes next, and is another solid, if typical, Nightwish track, with a memorable chorus. Slow, Love, Slow seemed like an experimental voyage into new waters for Nightwish -- one I'm convinced didn't go so well. The instrumentals are fine, it's just the vocals... they don't work. Now before you all come after me with pitchforks, I am not a Tarja fanboy. I think Anette Olson does Nightwish well, and both singers have their strengths and weaknesses. However, that being said, Anette's accent and delivery didn't come out to well on this track or some of the others. I actually laughed out loud during Turn Loose The Mermaids (I can't type that name with straight face). 

"Here, weary traveler rest your wand. Sleep the journey from your Aiyeeeeeeeeeeeeeeese" 

Not all of its bad, though. She's a talented singer to say the least. I can't help but like what Anette does on Scaretale. It's probably my favorite track on the album. The strangeness just works for me, and the hilarious Disney-villain-esque singing part in the middle is great. The silliness in the voices is over the top but I think that's justified, considering the track was meant to be representative of a little boy's fears.

The more typical metal tracks on the record like I Want My Tears Back and Last Ride of the Day are almost formulaic at this point to me. They're more of the same Nightwish. I Want My Tears Back makes use of some neat flute playing, reminiscent of Dark Passion Play's Last Of The Wilds, but it feels held down by abrupt switches between the verses and the choruses. Even when the solo comes around, I feel like the awesome is cut short by a figurative Arnold yelling "GET BACK TO THE CHORUS". The same goes for Rest Calm. That songs builds up beautifully for the solo, which, while nothing complex, hits really well. Unfortunately, as soon as I get into it, it's over. This wouldn't bother me so much if Rest Calm didn't have the gall to almost algorithmically refrain the chorus over and over. They beat this dead horse with every part of the orchestra, switching between different sections/instruments. Tuomas Holopainen claims the end of the song gets "totally out of hand". Why couldn't they do that for the solo and cut the stupid ending chorus refrains?! -frustration-

I think my biggest beef with this record stems from Nightwish's tendency to focus more on mainstream sensibilities. I feel like there's some inexplicable pop rock force deep within their songwriting that keeps them away from me. Something about Symphonic Metal makes me want to believe that writing AABA songs is something below the genre. Unfortunately, that isn't the case. You can argue that tracks like Song of Myself are progressive or epic in their structure, but that simply isn't true. Sure, the song is long, but its just more of the same, and the spoken word part is nothing but a tacked-on bore. As for the instrumentals, I feel like the band members are using the orchestra as an excuse or compensation for their playing. I read on their site that the drummer is a big fan of Dream Theater and Mike Portnoy. You could never tell from his playing, though. It's very straightforward and not very inspiring.

This all being said, if you're already a fan of Nightwish's work you'll probably enjoy this album and maybe even consider a step up from Dark Passion Play. However, if Nightwish isn't your thing, don't expect this one to change things.

All in all, I give Imaginaerum 2.5 Gothic French Horns out of 5.