For the last 50 years Germany has been a global stronghold for heavy metal, hard rock and progressive epic power metal. The obvious origins began in 1965 with the debut of the Scorpions. The Scorpions would certainly keep Germany as a hot bed for hard rock based heavy metal until the early part of the 1980’s. In the 1980’s and explosion of heavy metal and power metal was happening at a serious rate. Then in the 1980’s something happened in Germany. They had taken a lot of the lyrical influence of bands like Rainbow and later Dio and added the aggressive power filter of New Wave Of BritishHeavy Metal bands like Diamond Head and more importantly Iron Maiden and created a sub genre that would endure the test of time. This would be called Power Metal. Bands like Helloween, Gamma Ray, Warlock, Blind Guardian would all pioneer this metal movement that would later catch a eternal stronghold in the European Metal Summer Festival circuits with Festivals like Pinkpop and the the festival of festivals Wacken Open Air in Germany.
The roads laid and ground work done due to these pioneers would make it totally possible for a band like Human Fortress to come along with such conviction and force. Human Fortress came up on my personal musical radar back in 2001 with their stellar debut Lord Of Earth And Heaven’s Heir. I can remember how much more different and distinct it was in sound compared to its peers at the time. Where their peers like Blind Guardian, Gamma Ray and others were incorporating more speed passages within the instrumental structure of their material, Human Fortress had a bit slower more progressive and epic metal approach to the power metal structure. It did not seem all rushed nor did it sound the same with every track. It sounded like every track was more organic with slower tempos and heavier rhythms at the time.
Human Fortress have seemed to stay on this path and with 2016’s Thieves Of The Night it is no different and actually a well written and produced album. There is another amazing fact about the band. Despite the ever changing line up of band members, Human Fortress has not only maintained the integrity within their sound but also have improved and built upon it. This makes the result of Thieves Of The Night one of their strongest albums to date and keeping their stellar sound intact. Now a little breakdown of Human Fortress Thieves Of The Night.
Amberstow has a beautiful acoustical opening before taking off at the :27 mark with a blistering rhythmic melody. This is soon accompanied with a solid lead vocal that has a a solid backing vocal harmony. The drum/bass rhythm section along with the rhythm guitar anchor the track while the stringed section clashes with a melodic and harmonic balance. The double guitar really does the track justice as Torsten Wolf and Volker Trost interchange the lead and rhythm melody out much like Dowing and Tipton of Judas Priest have over so many years.
Last Prayer to the Lord opens with a great rhythm based guitar section. It is a very straight away crunchy rhythmic section with nice clean vocal harmonies. The backing vocals perfectly compliment the lead. The back melodies almost serve as a second lead instrumental and vocal in how they run side by side with the main lead parts. at the 2:55 mark the twin guitar serves both as a double lead and rhythm along with a few breaks where the keyboards accentuate the composition.
Rise or Fall takes a more traditional power metal intro with galloping speed passages and progressions. It is soon met with another power metal hallmark where the vocals will make it easier for the listener to follow. The result maybe one of those tracks that a live audience will sing back to the band which is now a power metal staple. The twin lead guitar attack really gives the track a lot of power in both melody and harmony.
Thieves Of The Night opens with a nice little drum passage before the bass and guitars bring in the full rhythmic section. This track takes a more stringed section lead approach both instrumentally and lyrically. The lead and backing vocals are almost in perfect sync giving the listener a more choral experience overall vocally. The track is just as balanced with two great lead guitar solos. This track shows the band really coming into a cohesive unit.
Thrice Blessed has a lot of rhythm sections and signatures going on. It seems there are breaks where the band takes the track in many different progressive directions. Unlike some power metal outfits, Human Fortress also dig into progressive rock and metal’s past especially along the pathways of Crimson Glory, Fates Warning and Watchtower of the 1980’s and early Dream Theater in the 1990’s.
Hellrider is certainly one of the more progressive tracks on the album. Although it contains many straight away power metal staples there is a very heavy and strong progressive metal underbelly almost in the vein of their German countrymen Vanden Plas and Norway’s Jorn Lande. There is some very powerful straight away heavy rhythmic sections running along with strong lead guitar lead stringed sections.
Just a Graze is flat out a heavily Helloween influenced track with the galloping rhythmic sections, strong guitar leads and vocal harmony’s. Much like the Helloween track Its Helloween. Some of Just a Graze even takes on some influence off Keeper of The Seven Keys Parts 1 &2 .
Vicious Circle opens with a beautiful double lead guitar before a killer bass/drum rhythm section kicks in and takes off with the track. The vocal harmonies are really super tight. The vocal harmonies are at the level of a choir harmony at times. They are very clean. At the 2:11 mark the track does takes some unusual progressive time signatures almost in a SymphonyX manner.
Smite on the Anvil is a perfect segue instrumental for the next vocal oriented track Dungeons of Doom.
Dungeons Of Doom starts out with a great rhythmic section that has some nice underlying breaks while the lead guitar carries it towards the vocal opening at the 1:00 mark. Dungeons Of Doom lyrically is a track about one asking to be put out of his misery. The rhythm sections are very bottom heavy with great double bass drum blast beats at a more progressive level than a power metal level. The lead guitar and string section almost play in harmony at times with the bottom heavy rhythmic section. Gift of Prophecy begins with a warm inviting acoustical section on one guitar and a semi acoustic lead on the other half of the guitar duo. At the 1:00 mark the track takes on both prog and power metal characteristics. At one end the galloping power metal signature with a underlying set of progressive time signature passages. The vocals are really in total sync and harmony. You also have various guitar lead solo changing all through the track.
Alone is the ballad of the album if there is a ballad. It opens with a lush warm piano passage and gives the listener of the album a much needed break from the heavier assault in the prior tracks. It is full of vocal melody and harmony almost borderline AOR but not quite. A warm drum and bass rhythm enter without overwhelming the listener. Alone is a perfectly arranged track to finish the album with. Human Fortress have once again proven why they are one of Germany’s best power progressive metal bands with Thieves of the Night. Despite many lineup changes the band continues to mature with every release. They have proven as well why Germany is a major world hub for vocal oriented harmonic power progressive metal. Thieves of the Night did not disappoint here. I give it a 5/5 for sheer mature well written prog power oriented metal.
In 10 short years it seems that Germany’s Dante have established a pedigree in progressive metal and rock. Dante have certainly never been bit by the infamous second album sophomoric jinx and have something very few bands that have been around 10 years have, that being a steady consistency. Their fan base continues with every album and tour. Where some bands seem to struggle to build on past or recent success, Dante continue to build upon their recent efforts and never develop a pretentious attitude about them.
Dante are one of those bands to seem to incorporate elements of progressive rock’s past with present elements of progressive metal’s present. If there were a scale to measure the elements they incorporate the balance would be about even. Many of their current industry peers can not are not as balanced.
While preparing to write this review for Dante’s When We Were Beautiful , I also went back and got the three previous albums before this, 2008’s The Inner Circle, 2010’s Saturate and 2013’sNovember Red. Throughout my listening and research of their entire library it seems Dante have only matured and gotten stronger with every album. When We Were Beautiful is definitely and more matured progression that will certainly continue to cement the band’s legacy in progressive rock and metal. That all being said lets explore some highlights of Dante When We Were Beautiful.
Rearrangement Of The Gods opens up with a great thunderous drum beat. Soon it rips into a progressive rhythmic frenzy between the bass, drums and rhythm guitar. At around the 1:20 mark the keyboards come in with a neo progressive sound moving the track along with solid continuity. At the 1:36 mark the track has a really cool spoken word narrative that gives the track a conceptual element before the main lead vocal comes in to pick up the story in a melodic sense.
Ambitious is a straight away heavily rhythm oriented track with various old school hammond organ and synth atmospheres. Alexander Göhs – Vocals , comes in with a old school almost 1970’s stoner vocal dialect. The instrumental portion of Ambitious gives the listener several breaks as the vocal plays off the very core rhythm section of bass and drums inside the track itself. The core rhythm section as a span of various time progressions and signatures. At the 4:41 mark there is several rhythmic signatures playing off one another between the bass, rhythm guitar and drums. While the rhythm section remains bottom heavy the keyboards give it a floating atmospheric passage. Even including a nice old school piano.
Beautiful Again begins as a rhythmic distorted frenzy. Within that frenzy it stays on a steady time signature laden progression. It has the appearance of progressive proto-thrash. The vocal harmonies give the track a fullness and warmth within the progressive frenzy. The listener can easily comprehend the track once the vocal and harmony comes into play. Markus Maichel – Keyboards/Piano really meshes the track together with his various time changes. It is wonderfully executed controlled chaos coming off the keys on this track.
Until The Last Night Breaks In has a somber yet mellow intro that quickly roars into a furious progressive frenzy. A progressive frenzy that includes old school hammond organ with modern synth atmospheres. After the first 3:00 of well crafted signatures the warm lead vocal comes in and carries the track. The lead vocal is accompanied by several echo vocals that encompass the listener’s senses. At the 6:00 mark the track takes you on a roller coaster of various up tempo riffs and time signatures. Some signatures with serious solo work by Julian Kellner – Guitars. Around the 8:00 mark some very well written and engineered drum/rhythm section comes into the track.
Let Me Down begins with some very synth new school based keyboarding and drumming that builds to a thunderous rhythm section. This track takes on a more raw and nasty approach with the rhythm guitar at the center. It is soon followed by some old school hammond organ. Even more so than a newer glossy keyboard. Where there is a crunchy distortion rhythm there seems to be a great lead keyboard/synth/hammond to compliment the passage and progression.
Sad Today begins in a very dark somber mood. It contains ballad like piano work. The warm vocals are a perfect compliment to the bass and piano. Lyrically it is about heartache.
Finally is the appropriate last track on the album. It opens up with a 3:00 passage of various twists and turns among the time signature. The first 3:00 are very busy as to not allow for the listener to get bored towards the build up of the vocals at the 3:05 mark. About the 5:05 mark their are some wonderfully engineered spoken word passages that help with the narrative of the story. There are some wonderfully vocal harmonies and vocal echo melodies well crafted throughout the entire track. At the 7:45 mark the keyboard works double duty as another guitar in the band and a keyboard in the track. This is compounded wisely with a killer bass/drum section taking trade off turns.
After going back and listening to every Dante album before When We Were Beautiful, I have come to the conclusion that this band does not know how to put out a bad album. This is a band that certainly continues to build and progress upon excellence. They are a band where you can also start anywhere in the library and become a fan off any album they have released. I am giving this a 5/5 for uncompromising songwriting, production and presentation.
Melodic Revolution Records Featured Album | April/May 2016 Kristoffer Gildenlow | The Rain
Label : Melodic Revolution Records Release Year : 2016 Country : Sweden/The Netherlands Genre : Atmospheric Progressive Rock
Band Members
Kristoffer Gildenlow – Vocals/Electric/Acoustic Guitars/Keyboards/Piano/Bass Guitars/Double Bass/Percussion/Glockenspiel Lars Erik Asp – Drums/Percussion Paul Coenradie – Electric Guitar Fredrik Hermansson – Piano/Electric Piano Anne Bakker – Violin/Viola/Vocals Maaike Peterse – Cello
Special Guest Musicians
Norman Ebicillo – Vocals on (Drizzle) Cees Pouw – Accordion Theo Tuesien – Church Organ Popkoor Zuilen – Choir Rienk Speelman – Conductor
Inside a mans beating heart lies a cause or concern they must address and create awareness of. This comes in many forms through the arts and sciences. It gets so strong and deep within in their mortal soul that they must find a outlet to express and address such concern to the particular cause that keeps them awake at night. The expression even requires them to step outside themselves out of love so they can reach their desired target demographic. This is certainly the case with Kristoffer Gildelow and his 2016 album The Rain.
The Rain examines the life of a ageing man in the latter stages of dementia. The only comprehension of what he is experiencing comes through the elements of clouds and rain. The Rain also sets itself apart from most of Kristoffer’s work with DIAL, Pain Of Salvation and even his last solo album Rust in 2013. Where most concept albums in music serve as a escape from any reality with stories of science fiction, horror and fantasy, The Rain causes us to journey within the soul and heart of a man suffering things he does not much understand. Any listener with a open heart and mind can see themselves in this situation.
To the listener, The Rain is a very easy concept to get into. There is nothing too instrumentally overwhelming to where the listener gets lost in any virtuosity leading them away from the lyrical conceptual journey Kristoffer intended it to be. Every track on The Rain represents a memory or emotion within the man’s mind. The acoustical backdrop allows the listener to get captivated with the project where the lyrical content can better sink in to the psyche of the listeners understanding.
The concept begins with the effects of a thunderstorm followed by rain drops with a orchestral sound on After The Rain Part 2. Thereafter the track takes a lyrical self evaluation of where the man in at in the stage of his illness. It continues with Holding On Pt 1 through to Breathe In, Breathe Out. The female vocal best represents a dialogue between the man and family member. Tracks like Breathe In, Breathe Out , Drizzle, She, Seeking The Sun Pt 1 serve as eureka tracks where the concept actually starts to make sense to the listener. There are also many beautiful segue tracks that make the continuity of the album flow with gentleness between both instrumentally oriented and lyrically oriented tracks.
Kristoffer Gildenlow’s The Rain was well thought over, written, recorded, arranged and mastered. It is one of those albums that come along once in a generation and has such profound effect on the lives of the listener. Kristoffer Gildenlow has created a masterpiece by which will be talked about a few generations from now. The Rain has instantly entered into my top 15 albums of all time. The Rain also joins other concept albums of self conviction and reflection such as 2015’s Amadeus Awad’s Death Is Just A Feeling and 2004’s Areyon The Human Equation. It would not surprise me that this shows up as a Top 5 album of 2016 when the year end lists start coming out in November and December. This gets a 5/5 on content and development alone.
Melodic Revolution Records Featured Album March 2016 | Time Horizon | Transitions
Label : Melodic Revolution Records Release Year : 2015 Country: USA Genre : Christian AOR Progressive Rock
Band Members
Ralph Otteson – Keyboards/Vocals Allen White – Electric 5 String Bass/Fretless Bass/Upright Acoustic & Bass Pedals Dave Miller – Electric Acoustic Rhythm/ Lead Guitar Bruce Gaetke – Drums/ Vocals
Contributing Musicians
Rich Reif – Vocals Jeff Garner – Lead & Rhythm Guitar Dan Eidem – Drums on River of Sorrows Michael Mullin – Violin on Love is Here Gary Gehman – Background Vocal on Only One
Guest Artists
Lang Bliss – Drums/Percussion David Wallimann – Lead/Rhythm Guitars Tony Kaye – Hammond B3 organ on Prisoner Billy Sherwood – Lead Guitar on The Moment Is Here Jake Livgren – Vocal on Love Is Here
It seems like quality progressive AOR rock does not discriminate as far as audiences are concerned. It seems over the last thirty years or so starting with bands like Petra, White Heart, Mylon Lefeverand Brokenheart, Proto-Kaw, John Elefante, Kerry Livgren etc … that this genre and style of music has found a home in the Contemporary Christian market as well. In 2016 this rich tradition continues with California’s own Time Horizon.
Time Horizon were built on the foundation of charity. 100% of their proceeds off the first 1000 CD’s goes towards Living Water International, a charitable ministry dedicated to building fresh water wells in third world countries. It is certainly something rare and unique in today’s music climate in the face of adversity of illegal downloads and non lucrative streaming services.
The music portion of the band goes back to the days of the 1980’s where many progressive rock bands from the late 1960’s and mostly 1970’s had to adopt a more modern pop sensibility to remain relevant in the public eye. Many bands such as Yes, Genesis, Asia and Emerson, Lake and Powell went the way of the AOR of bands like Journey ,Survivor , Styx, Passenger, etc … Time Horizon include the AOR element as well as elements of progressive rock and even neo progressive rock making for a unique distinctive sound all their own.
All these elements are present in their very latest effort Transitions . With the engineering and production assistance of legendary Billy Sherwood, Time Horizon have crated a well polished and clean project that will appeal to many listeners both old and new. Transitions suffices the audio pallet’s of the older listener more familiar with progressive AOR oriented rock while being easy enough to follow for a newer generation just discovering these brands or the brand collective of this genre of music. Now a brief yet to the point break down of Time Horizon’s Transitions.
Transitions has some very up tempo rockers on is Only One.
Only One starts as a straight away progressive rock track. It has some nice softer breaks within the verse and bridges before picking it back up with the chorus. The rhythm section is very tight and the guitar solo is very welcomed. Only One has a beautiful segue into the albums first instrumental track Only Through Faith.
Only Through Faith comes into its own with a very fluid keyboard atmosphere. For 3:10 of the track moves in and out of atmospheres as if it were a soundtrack of a filmscore to a movie or television show. Only Through Faith sets up the following track Only Today perfectly.
Only Today opens up with a nice guitar solo followed by a thunderous bass/drum rhythm section. Only Today is a heavier track based on the fact it is more rooted in the bass/drum section. Pieces of neo progressive keyboard elements present themselves in a subtle yet well presenting manner. It has a nicely executed guitar solo about the 3:00 mark before being met with a rich keyboard passage at the 3:50 mark. The vocals and harmonies are very present in harmony with the instrumental.
Prisoner the longest track on Transitions, opens up with a deep bottom rhythmic section. There is a lot of 4 and 5 string bass going on here. The keyboard section is in a more nostalgic vein with the hammond organ reminding the listener of progressive rocks roots. The vocal harmonies are totally executed in a united matter. The deeper bottom bass in harmony with the hammond organ and guitar give it a little darker touch. Although the Prisoner is one of the darker tracks on the album it still presents positive hope.
The Moment Is Here opens in a more traditional AOR style. The vocals at times reaching that of Chicago’s Peter Cetera. Much of the track has a great dynamic between the lead vocal and the background vocal. The background vocal serves as a echo vocal before meeting in perfectly harmony with the lead. The Moment Is Here is another of the more heavier tracks off the album. The are even vocal portions accentuating the guitar solo.
About Time begins with a great straight away progressive rock track with heavier rhythmic licks matched by a opening guitar solo serving as a instrumental passage in a melodic narrative. This is another instrumental where the band can show skill however under the umbrella of humility and appreciation. There is a sick rhythm solo about the 3:20 mark. At 4:30 mark it takes a very traditional very hard rock direction in the Outro solo.
You’re All I Need picks up where About Time left off with a blistering section of straight driving hard rock. Just like About Time before it, You’re All I Need is one of those tracks that could hold its own in any decade from the 1980’s through 2010’s.
Water Girl, River Of Sorrows, & Love Is Here are more of the softer side bordering on ballads. These three tracks are a great and peaceful way to settle into the end of Transitions. They all have great guitar solos with great rhythm sections running in perfect harmony inside the melodic structure of each track. These three tracks are also perfectly arranged where the listener can reflect on the entire project as a whole.
I believe Melodic Revolution Records signed a great overall talent in Time Horizon. Not only are the band are generous with their resources, they also focus on quality progressive AOR oriented rock that can appeal to listeners across the generations. I give this a 5/5 for that alone.
Label : InsideOut Music Release Year : 2016 Country : International Genre : Progressive Alternative Rock
Band Members
Nick Beggs – Bass/Chapman Stick/Guitars/Keyboards/Vocals/Programming Roger King – Keyboards, Guitars/Backing Vocals/Programming/Production Marco Minnemann – Drums/Percussion/Guitars/Sound Design
Nick Beggs has been a true tour de force in music for the better part of 35 to 40 years now. In recent years he has shed his pop rock wings in the 1980’s for a more progressive flight in his musical and creative journey into the 21st century. He has had a dream resume playing with the likes of IONA, Steven Wilson, Lonely Robot and Steve Hackett to name a few. However up to this point he had never done anything of his own accord. Finally Tomas Waber at Inside Out Records brought the idea to Nick Beggs himself.
A period of thought and consideration finally resulted in the name The Mute Gods. After settling on The Mute Gods for a name, Nick Beggs would proceed to to hunt band members to share his musical and creative vision. On drums he did not have to search too long. He would enlist his Steven Wilson band mate Marco Minnemann. To round out the band he would enlist the services of world renowned musician known for his work with Steve Hackett, Roger King – Keyboards, Guitars/Backing Vocals/Programming/Production . The Mute Gods were set.
In 2015 and throughout portions of touring with both Steven Wilson and Steve Hackett the respective members would come up with the debut album The Mute Gods Do Nothing Till You Hear From Me. The thematic concept of the album is basically the world view of Nick Beggs. While some listeners may come to the conclusion that the project is a list of conspiracy theories out of the strange, I see it as the creativity of a true modern musical genius with a lot to say. Another thing I appreciate and respect with this album is Nick Beggs refuses to be pigeonholed in to genre stereotyping. For the true progressive fan or fan of great music in general, there is a lot going on through the duration of Do Nothing Till You Hear From Me. Lets look a little at The Mute Gods Do Nothing Till You Hear From Me.
Do Nothing Till You Hear From Me opens with a special effects passage that mirrors and appears as someone is tuning in a radio or television set. It contains a great fluid rhythm section that is in a very heavy post progressive rock element. For a band whose members are more accepted for their instrumental prowess, their is some really tight harmony happening within the vocal structure and the relationship of the vocal and instrumental as well.
Praying To A Mute God has a nice fluid rhythm opening section. The bottom rhythmic passage is very heavy. Not in metal heavy, but in heavy prog. The chorus and verses have a very clean pop sensibility without defeating any purpose to those listening for progressive rock reasons. Roger King’s hammond organ reinforces the heavy rhythmic passages and elements. The track takes a wicked off time signature solo about the 3:38 mark. The rest of it is a straight away progressive rock track.
Nightschool For Idiots is one of those tracks that is melancholic instrumentally but full of life lyrically. On many levels both as a musician and just a individual the listener can identify with the track. Lush keyboard atmospheres meet with heavy rhythm elements throughout the duration of the song. The vocals may be soft however serve the greater purpose of the story being told.
Feed The Troll begins as something out of science fiction with certain keyboard generated effects before exploding with the main backbone passage. That main backbone passage is one of a thunderous bass/stick oriented rock met with more synth atmospheres. Science fiction effects and elements move in and out with grace throughout the track and arrangement. About the 2:25 mark the track presents some wicked effects as one breathing through the vacum in interstellar cyber space. The story is very much of that of cyber stalking on all levels.
Your Dark Ideals starts in a heavy prog rhythmic sensibility. It relies more on the verse /chorus /verse in a straight up progressive rock track. There is some great harmony and melodies happening all through the track. There are some perfect backing harmonies playing off the main harmony vocally.
Last Man on Earth opens as a ballad. It has a basic song structure of opening verse to bridge that builds towards the chorus. The story can be construed in a few ways. The track is very easy to listen to , even to those unfamiliar with progressive rock or the bands members and their work. Last Man On Earth serves as a great gateway track.
In The Crosshairs is a really heavy prog laden track. This opens with a towering thunderous rhythm section with a sleek keyboard running side by side in harmony with the main rhythm section. It is the only instrumental on the album. It is very well crafted.
Strange Relationship starts out with a almost jazz drum passage before the bass , keyboards and vocals come in. It is also a bit of classical fusion blended smoothly with the jazz drumming of Marco Minnemann. If you listening closely it is almost two songs going on at once, however not loosing the attention of the listener. At about the 3:30 mark the keyboard gives it a great fusion style atmosphere.
Swimming Horses starts with a almost space rock vibe on the keyboards. It soon picks up with a more eclectic passage of stick pumped through a bass processor. About the 1:50 mark the vocals take on a chant before the chorus kicks in. This is a track that builds upon every passage. The vocal harmonies are lush and beautiful. The echoes compliment the main vocals perfectly. The solo in this takes a very late 1960′ to early 1970’s appeal.
Marvo Capelo starts out with a simple semi acoustic guitar and vocal harmony. Then it totally explodes with rhythmic atmospheres and and keyboards that carry a vintage prog sound with a modern sensibility. There are several atmospheric passages and elements that all come together under a perfect melodic banner. This track even has small hints and elements of metal at certain points. The tracks’ towering rhythms really carry the track through.
Father Daughter is a tender song , almost ballad, about a father and daughter communicating through the melodic filter of song. It is a song about regret and reconciliation. To some listeners this could be a real tear jerker of a track. Lula Beggs , the daughter of Nick Beggs has a stellar performance complimenting the male vocal done by her father.
What I liked about The Mute Gods Do Nothing Till You Hear From Me is that you can not compare the tracks or passages to anything out there. It is one of the most original albums to come down the pipeline over the last 30 years. The album is so well written and produced you can not even place the title of ‘Supergroup’ on the band as well. There are individual stories that really capture the vision Nick Beggs articulated on the album. I give this a 5/5 on the above mentioned alone.
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