by Robert 'Unlce Prog' Brady | Oct 29, 2016 | Reviews
Petri Lindstrom Project | Hail To Sabbath
Label: Melodic Revolution Records
Release Year : 2016
Country: International
Genre: Doom Metal
Band Members
Petri ‘Lemmy’ Lindström – Guitars, Bass & Keyboards
Special Guests:
Blake Carpenter – (The Minstrel’s Ghost, Voice of The Enslaved, Corvus Stone) Vocals
Juha-Matti Koppelomäki – (Wolfhorde) Solo Guitar
Janne Ahonen – Drums
Track List:
My Time Is Now
Fall Into Hands of Reality
Lost Children
Get Away
Keeper of the Gates
Seaso
Contact Links
Petri Lindstrom Official Website
Petri Lindstrom Official Melodic Revolution Records Profile
Petri Lindstrom Project Official Facebook Page
Melodic Revolution Records Official Website
Melodic Revolution Records Official YouTube Channel
When it comes to Black Sabbath tributes you always hear about a multi band and multi song album full of Black Sabbath covers. Most notably the albums Nativity In Black 1&2 or NIB A Cover To Black Sabbath have really been the major Black Sabbath cover albums. While cover albums like those certainly help the posterity of both the band and the music they created, they have not really addressed the very essence of the music. Most of those cover albums we see the band taking the Black Sabbath track and making it their own with their own signature sounds uniquely.
I have always asked myself what if a band or artist were to write and record an entire album of originals with the very tuned down doom sound Black Sabbath basically created Heavy Metal with. After almost 27 years since this thought first hit me there is now a album that now has done that very thing. Petri Lindstrom Project Hail To Sabbath is a album of six original songs written by Petri Lindstrom himself that really dive into the very essence of the sound of Black Sabbath. Thus making Hail To Sabbath a very appropriate title to this new release on Melodic Revolution Records.
It is albums such as this as to why I do special features on Melodic Revolution Records artists. Nick Katona and staff never fail to impress or amaze the listener with unconventional find and sign acts such as Petri Lindstrom Project. It is albums like this and the first half of this monthly feature from NeverWake that display originality and the fact that Melodic Revolution Records refuses to be pigeonholed or typecast to who or what genre they sign and present to the world. This is what makes a record label a quality buffet of various sounds and flavours throughout the world.
Petri Lindstrom Project’s new doom laden Hail To Sabbath is the ultimate irony as it contains Blake Carpenter – Vocals – The Minstrel’s Ghost, Voice of The Enslaved, Corvus Stone , Juha-Matti Koppelomäki – Solo Guitar – Wolfhorde , Janne Ahonen – Drums . This is also a testament to both label and artists that there is a melodic family atmosphere. There seems to be a tight knit community within Melodic Revolution Records where its individual artists continue to work with one another much like a fraternity or sorority. They are not just so called “side projects” these are whole other bands with whole other combination of artists about them.
As for Hail To Sabbath, this album stays very true to the origins of not only just Black Sabbath but the very spirit that gave metal its birth, ‘Doom Metal’. To my surprise Blake Carpenter does a fine job transitioning his vocals with great versatility between various genres, sounds and band participation he has been involved with vocally. This project is no exception to that rule either. Petri does a wonderful job channeling both his inner Tony Iommi and Geezer Butler transitioning in and out between guitars and bass. The way this whole project has been written, recorded and produced show the listener the clear vision all participants have paying such original homage to Black Sabbath.
Petri Lindstrom has managed to bring together four world class musicians that clearly looked at his vision and to see it through. I hope Petri Lindstrom’s Hail To Sabbath will inspire future projects to pay very unconventional tributes with original standards and songs to bands they were influenced by and loved. Petri Lindstrom’s Hail To Sabbath takes tribute albums into uncharted territory I hope is explored more in the future. Petri Lindstrom’s Hail To Sabbath gets a 4.5/5 for very original content and courage to carry it out.
[youtube https://www.youtube.com/watch?v=W8Gso9bVFw4]
Video Courtesy of (Melodic Revolution Records Official YouTube Channel )
by Robert 'Unlce Prog' Brady | Oct 29, 2016 | Reviews
NeverWake | Incinerate
Label: Melodic Revolution Records
Release Year: 2016
Country: USA
Genre: Modern Alternative Metal/New Wave Of American Heavy Metal
Band Members
Johnny DiCarlo – Lead Vocals/Guitar
Justin Sanford – Guitar/Vocals
Marcus Giannamore – Drums
George Scott – Bass
Track Listing
Incinerate
Burn
Hypocrisy
Suffocate
Thriller – Michael Jackson Cover
Incinerate – Radio Edit
Contact Links
NeverWake Official Website
NeverWake Official Melodic Revolution Records Profile
NeverWake Official Facebook Page
NeverWake Official Twitter
NeverWake Official YouTube Channel
NeverWake Official Soundcloud Profile
Melodic Revolution Records Official Website
I can remember a time when heavy metal music in America seemed to have reached its zenith and was about ready to be a null and potentially void genre of music here in America. This all happened around the latter part of the 1970’s. Disco and Punk had somehow served as a 1-2 punch for hard rock and heavy metal. Some hard rock bands even conformed to the sound of the time and alienated many of its original core of fans. Then something happened. There was a wave of heavy metal out of Great Britain about to become a melodic tsunami and crash upon the shores of America. This would be the New Wave Of British Heavy Metal. Bands like Iron Maiden, Def Leppard, Diamondhead, Quartz, Tygers Of Pan Tang , etc …would give heavy a shot in the arm in both America and on a worldwide global scale The NWOBHM not only altered the landscape for metal at the time but it also helped the bands that it was supposedly trying to replace.
In the early 1990’s metal would face another threat of extinction within heavy metal out of the Pacific Northwest of Seattle with the Grunge movement. It seems like American metal has always faced some threat to its vitality every 10 to 15 years. However not this time. In the early 2000’s a new crop of bands would enter the fray. Bands such as Disturbed,Killswitch Engage, Shadows Fall, Lamb Of God, Black Dahlia Murder, Godsmack, etc… . These bands would be called the New Wave Of American Heavy Metal.
With this major resurgence of modern heavy metal within America for the last 15 years or so, it has certainly inspired many more NWOAHM bands to form and grow. One of them is Melodic Revolution Records own NeverWake. Hailing out of the Pittsburgh, Pennsylvania area, the guys at NeverWake have certainly carved out their own path in the NWOAHM. This is very evident with their new release Incinerate. Produced by Disturbed’s own John Moyer, NeverWake’s Incinerate carries all the dark, symphonic thrash signatures produced by the NWOAHM.
On Incinerate you have a very in your face smash mouth style of metal that is very heavy from the first note to closing note of the album. Hallmarks such as tuned down guitars and bass alongside the deep brutal double blast beats of the drums allow this band to experiment with both levels of heavy melody with heavy clean and grunting vocal harmony. Even with John Moyer as the producer NeverWake has its own distinct sound, if you are expecting a Disturbed clone of a band this album is NOT for you. If you are objective and judge a band on its own presentation and merits than NeverWake’s Incinerate is a album you should invest in. With only 6 tracks on the album I am not doing a track by track analysis on this review. There is something about the album you must hear for yourself to make your own conclusion on in which a track by track analysis would not do this justice. I do however give NeverWake’s Incinerate a 4/5 only because I felt the band could of made a little longer album. Outside that their sound and hooks are spot on.
[youtube https://www.youtube.com/watch?v=8WIf7qeGszU]
Video Courtesy of (NeverWake Official YouTube Channel)
by Robert 'Unlce Prog' Brady | Oct 23, 2016 | Reviews
Label: QuiXote-Music
Release Year: 2016
Country: Germany
Genre: Progressive Rock
Band Members
Phil Griffiths – Vocals
Martin Griffiths – Vocals
Stefan Glomb – Guitars
Philipp Jaehne – Keyboards
Dennis Sturm – Bass
Dominik Steinbacher – Drums
Pia Darmstaedter – Flutes
Contact Links
Poor Genetic Material Official Website
Poor Genetic Material Official Facebook Page
Quixote Records Official Website
Poor Genetic Material At CDBaby
Poor Genetic Material Official Soundcloud
It is no secret that Germany have had a significant hand in the progressive rock and progressive metal for the last 45+ years. Starting with the early Krautrock bands like Amon Dull ii, Can, Popol Vuhl, Sun Ra, Klause Schultz and Kraftwerk, Germany have certainly left their lasting legacy in the world of progressive rock which influence is still felt and handed down to this day. In recent years bands like Vanden Plas, Sieges Even, Subsignal and now Poor Genetic Material have continue the German progressive rock legacy.
Poor Genetic Material are no strangers to the world of progressive rock. Founded in 2000 and with eight prior releases under their belt, Poor Genetic Material continue to add their own flavour and blend of quality well crafted progressive rock to the progressive rock community. I suppose if one had to make comparisons, Poor Genetic Material’s sound is a mixture of Yes meets Caravan meets Subsignal. This is also very evident with their current 2016 offering Poor Genetic Material Absence.
Absence has a little bit of every element of progressive rock. It contains longer compositions, great atmospheric chord progressions and even some light off rhythmic sections that still remain within the main time signature focus and objective. Poor Genetic Material’s Absence also has a warmth and maturity about it that is appealing to both a mature seasoned progressive audio pallet and a fun appeal that even draws in a younger more curious audience to their music. With only six tracks, some that range from 3+ minutes to 18+ minutes Poor Genetic Material’s Absence provides a quality hour of progressive bliss that is certainly to continue the band’s own legacy. Within the duration of the hour plus, Poor Genetic Material examine the void, emptiness brought by the absence of a person through death or a break up of a friendship, a lifestyle change,,or even a change in circumstances.The band has also taken brilliant creative license by book ending the 30+ minute epic Absence. That is the immediate indicator that this is a concept album and that the band is about to take you the listener on a cerebral journey stimulated by music through the audio senses. Now let’s look at few highlights from Absence.
Absence Part 1 starts out with a nice keyboard driven atmospheric passage in the intro. It continues layers upon layers of various keyboard effects as it builds towards the inside of the track itself. It is like a film soundtrack opening with soft warm and subtle vocals gingerly in step with the atmospheres. The lyrical content speaks of loss and loneliness that anyone can identify with. It also speaks of those who may mean well about talking to these people in the afterlife however the person in question who experienced loss of a friend wants no part of it. The instrumental atmospheres and melodies are spot on point with the emotion conveyed by the character in the story. Instrumentally the band build these symphonic style passages with smooth rhythm sections.
What If …? Lyrically picks up where Absence Part 1 leaves off except this time it has a thunderous rhythm section with very abstract guitar passages. Lyrically the character starts to question the very definition of the topic of Absence. The vocal presentation and delivery is both soulful and has a powerful level of conviction to perfectly accompany the powerful rhythm based section. The harmonies between father and son duo of Phillip and Martin Griffiths are both powerful and filled of soul. The guitar work is like another vocal transcribed on the fretboard. Although they sound slightly neo progressive, the keyboards provide a darker side to the song.
Lost In Translation begins with a lush keyboard that is layered with a very dark symphonic bass line. The synth guitars continue to add to the dark atmosphere to this one. The lyrical matter explores what all humans question while in this life still, that being where do we go once our body takes its last breath and we enter the afterlife. With the dark brooding instrumental in harmony with the warm vocals this makes for a emotional 4+ minutes. A lot of this composition reminds me of IQ’s Dark Matter.
Chalkhill Blues opens up with a far more upbeat and lighter instrumental chord progressions. The lyrical matter is even a lot lighter on this track. However make no mistake the band remains on point with the concept of Absence on this one.
Absconded is a story of absence due to the break up of a friendship or relationship whether it be a personal or professional relationship.It is also the absence of influence as well. This track is very heavy on percussive rhythm with the drums matched by the deep textures in the guitars and synth guitars. The backing vocals perfectly echo compliment the lead vocals. The harmonies have a little more muscle on them throughout this track. The unsung hero of this track are both the Hammond style organ and the beautiful flute done wonderfully by Pia Darmstaedter. The flute seems to also take on another level of emotion to match the mental content lyrically.
Absence Part 2 opens with a very wonderful atmosphere of both keyboard and brilliant percussion work adding layers to textures. This has some serious special effects of vast open atmospheres like those heard in space rock. It is as if the music is calling and beckoning the listener from deep interstellar space. Lyrically the character is forced to mature or perish under the weight of his own loneliness and grief This is a heavily atmospheric track from the first to final note. It would make sense that the band book ended the 30+ minute epic of Absence. The book ending of the epic with the shorter tracks in the middle serve as the various forms absence takes within the human psyche. The band throughout the 6 tracks beautifully paint a dark, melancholic yet beautiful story on the theater of the mind of the listener.
Poor Genetic Material’s Absence is not just another piece of album work as far as the writing, recording, mixing and mastering. It goes way beyond that. This is music that is more crafted than the typical process. The band really pays attention greatly to detail. I will admit this was my first introduction to Poor Genetic Material. Now to get started financially on their library of the previous eight releases. Poor Genetic Material’s Absence gets a 4.75/5 .
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Embed Courtesy Of (Poor Genetic Material Official SoundCloud)
by Robert 'Unlce Prog' Brady | Oct 22, 2016 | Reviews
Glass Hammer |Valkyrie
Label: Arion Records/Sound Resources
Release Year: 2016
Country: USA
Genre: Symphonic Progressive Rock
Band Members
Susie Bogdanowicz – Lead & Backing Vocals
Fred Schendel – Keyboards/Guitars & Backing Vocals
Steve Babb – Bass Guitar/Keyboards & Backing Vocals
Kamran Alan Shikoh – Electric, Acoustic & Classical Guitars/Electric Sitar
Aaron Raulston – Drums
Contact Links
Glass Hammer Official Website
Glass Hammer Official Facebook Page
Glass Hammer Official Twitter
Glass Hammer Official YouTube Channel
Glass Hammer Official Store
Glass Hammer is perhaps one of the most consistent progressive rock bands over the last 50 years. With nearly 17 albums since 1993, Glass Hammer has managed to maintain their cult like status while adding new members to their fan base. Glass Hammer were formed by Steve Babb and Fred Schendel and have grown since then. Many of Glass Hammer’s albums are conceptual pieces rooted and inspired by the writings of J.R.R. Tolkien’s The Lord of the Rings, or the works of C.S Lewis. Glass Hammer’s concepts are meant to be listened to in one sitting for the desired effect that band intends on accomplishing with the listener. This is very evident with their new 2016 offering Glass Hammer Valkyrie.
Glass Hammer’s Valkyrie is rooted within the latter 1960’s to 1970’s style of progressive rock notable influences being ELP, Yes, Genesis, Amon Dull ii and Renaissance. With the exit of Carl Groves on vocals and Susie Bogdanowicz stepping up to the forefront, Glass Hammer now joins the ranks of their contemporaries such as Joann Hogg IONA, Christina Booth Magenta, Olivia Spamenn Mostly Autumn and even a twist of Candice Night with Blackmore’s Night and Liselotte Hegt of DIAL. And join company with legends as Annie Halsam of Renaissance and Renata Knaupf of Amon Dull ii.
Glass Hammer’s Valkyrie according to their press release, tells the story of a soldier trapped in an endless war, and of the girl he left behind. As with most GH albums, deeper meanings abound for those who take the time to digest the lyrics which are, according to the liner notes, “dedicated to those who battle the effects of trauma, and to those who love and support them.” It is a very compelling story that requires the listener to set aside just over one hour of their time to get immersed in the journey of Valkyrie. Musically the band takes a very vintage and traditional progressive rock approach with heavy Hammond organ style synths, beautiful straight away rhythm sections with gentle lead vocals now done by Susie Bogdanowicz that are supported and sung with great conviction.
If you decide to follow the story through the CD booklet you will find Susie Bogdanowicz, Steve Babb and Fred Schendel uniquely and subtly interchange the vocals from narrator to character in the story and still maintain a harmonious balance with interchanging between the lead and backing vocals.It is a love story between a very spiritually damaged war veteran and the woman at home waiting to love him again. Valkyrie certainly solidifies this with great accuracy and timing. Meanwhile Fred Schendel – Keyboards/Guitars & Backing Vocals, Steve Babb – Bass Guitar/Keyboards & Backing Vocals , Kamran Alan Shikoh – Electric, Acoustic & Classical Guitars/Electric Sitar , Aaron Raulston – Drums all execute great instrumental chord progressions instrumentally and alongside the vocal narratives in balanced harmony.
There are some highlights from every track I would want to explore at this time.
The Fields We Know sees us introduced to the loving couple of the war soldier and his sweetheart waiting back home for him to return. This opens with very traditional progressive rock elements with Hammond style synths meeting a tight layered lush rhythm bass/drum section. The big rhythm section reminds me of the heavily bass induced classic by Yes called Roundabout. Steve Babb reminds me a lot of the late Chris Squire with his spot on timing. The female vocal of Susie enters in in a very angelic ethereal delivery. This is the start of this love story and with great consideration the band delivers the emotional and spiritual narrative instrumentally. The keyboards provide for appropriate breaks so the song can be digested within the concept.
Golden Days begins with a total percussive clinic with the drum work Aaron Raulston. Soon the female vocal of Susie takes this track to the depths of the soul of the listener. Not only is she on time but she has such a grace behind her voice in both the female narrator and female lover waiting for her soldier. At times the entire band who is playing most of the instrumental portions live in studio take this to a more progressive hard rock edge much like King Crimson or ELP. The keyboards are a constant flow of layers upon layers that help the other instruments transition from passage to passage easier. At times the female vocal takes on beautiful chant like effects.
No Man’s Land begins in a very haunting style between the keyboards and synth guitars. Soon the drums enter in but more as a percussion instrument. The whole instrumental narrative gives the listener the total illusion of something building , something coming. The percussion continues to add layers and flavors with the chimes meanwhile the semi acoustic guitars are right in harmony with the percussive portion. This track is almost like a film track or film score with the band transcribing foely style effects on to actual instruments. Susie’s vocals are like none before her or currently out there. She certainly has her own unique register and signature where you know it is her when she is singing. The same goes for Steve Babb and the rest of the band instrumentally. Lyrically the soldier is thinking heavily about the woman at home who he loves. At the 7:15 mark the track really takes on some progressive hard rock passages. You can tell the band are playing live in the studio and there is not much overdubbing going on. It is organic that requires talent and Glass Hammer have that. Towards the 9:50 mark the song takes a darker sound both instrumentally and vocally. This perhaps to show the result of the soldier’s experience. A great underlying spoken word line gives this a distinct sound.
Nexus Girl is the only instrumental on Valkyrie. This starts out very heavily with a electronica sense in the vein of Kraftwerk. The minimalist approach of less is more really dominates the landscape of this track quite nicely. This track builds layer upon layer in real time as the band really had a live in studio approach on this album.
Valkyrie this is both a tender story of the woman who loves and misses her soldier. Her emotional nuances to comfort and protect her soldier is some of the most compelling and breathtaking story lyrically. The soldier likewise yearns for her embrace. The band really does a great job emulating this melodic love letter back and forth. The Hammond synth is very vintage yet modern sounding. By this point the band should have the full attention of the objective listener of traditional progressive rock both new and old.
Fog of War begins with such density and intensity with a heavy thunderous rhythm section. The bass/drum rhythm section relentless. The guitar comes in like a fuzzy distorted progressive space rock chord progression to probably give the listener the effect of a fog around the soldier. This comes about the time his woman back home is starting to observe a change in both behaviour and mood as a result of the war. The rhythm section is really tight about this time. The band also has more complex time signatures and changes in this one. It is is really loaded with these signature changes throughout the duration of Fog Of War. The emotion and concern in the woman is so powerful both lyrically and instrumentally.
Dead And Gone begins with a beautiful piano that doubles both as a piano and violin. The woman character has great concern for her soldier. At some point she develops a reservation about him bringing home the wounds of war where she may not recognise him. This is the true ballad of Valkyrie. About this time it seems that there are melodic letter exchanges between the two. The bass plays very well off the lead of the Hammond style synth on this one. There are typical questions of life through this one.
Eucatastrophe means happy ending. The track starts as a ballad type track . The woman is ready to be united together with her soldier and begin to build a life with him. She is ready to help him with the wounds and scars of war. Soon the track takes on a very heavy disposition with hard rock guitars that accompany big bass/drum rhythm sections. Glass Hammer display that they can be a little aggressive when the situation is right to be.
Rapturo the final track on Valkyrie ends the album with what I would call a part love letter part prayer for both the soldier and his sweetheart. It is a very haunting song with deeper piano passages that are almost in the style of Mozart or Bach playing in a live acoustic hall. The vocals seem to take on a very heavy ambient atmosphere. Sometimes a little psychedelic however the band remains on point. The band through the filter of the female character seem to make the case that no matter how much baggage or wounds a person incurs during a lifetime there is still hope, faith and love.
This is a true love story for the ages set to melody. Glass Hammer have managed to make a motion picture film and show it on the screen within the theater of the mind.With 23 years and now 18 albums to their credit, Glass Hammer still proves they are a relevant force in the progressive rock world. I give Glass Hammer’s Valkyrie a 5/5 .
[youtube https://www.youtube.com/watch?v=VWEGdhJ9OQQ]
Video Courtesy of (Glass Hammer Official YouTube Channel )
Written By: (Robert “Uncle Prog’ Brady)
by Robert 'Unlce Prog' Brady | Oct 17, 2016 | Reviews
Melodic Revolution Records Series (#4)
Thoughts Factory | Lost 2014
Label: Melodic Revolution Records
Release Year: 2014
Country: Germany
Genre: Progressive Metal
Band Members
Sven Schornstein – Keyboards
Bernd Schönegge – Bass
Chris Maldener – Drums
Markus Wittmann – Guitars
Cornelius Wurth – Vocals
Track Listing
Awakening
The Deep Forest
Desperation
Light
Voices From Heaven
The Mire
Death Of A Dream – Bonus Track
Band Contact Links
Thoughts Factory Official Website
Thoughts Factory Official Melodic Revolution Records Profile
Thoughts Factory Official Facebook
Thoughts Factory Official Twitter
Thoughts Factory Official YouTube Channel
Melodic Revolution Records Official Store
Contact Links For Suicide Information And Prevention.
You Can Not Be Replaced
International Association For Suicide Prevention Suicide Prevention And Crisis Centre’s Europe
Suicide Hotlines – Outside USA At Suicide.org
American Foundation For Suicide Prevention – Knowing The Warning Signs –
Suicide is a very sensitive subject. We do not know the reasons why somebody is driven to the point to where they feel like they have to take their own life. The warning signs of suicide vary and greatly depending on the personality and circumstances. It is believed that their are 3 suicides to every 1 homicide per year worldwide. Some people who attempt suicide and people who are actually successful with suicide have been thinking about it and developing their exit strategy for years sometimes decades.
What happens to those people that are left behind and alive ? There is a constant questioning of the loved one’s motives who committed suicide. There is also a false sense of guilt that some carry with them. Questions such, “If I would of been there more?” , “If only I knew the signs I could’ve talked them out of it?” Should’ve , could’ve or would’ve now fall on deaf ears of life’s relevancy. The loved ones left behind to now have to live with it are Lost.
This is the subject that Germany’s Thoughts Factory tackle on their Melodic Revolution Records 2014 release Lost. Thoughts Factory Lost is the second release from Melodic Revolution Records that has dealt with the subject of suicide. The other release being 2015’s Amadeus Awad’s Death Is Just A Feeling. It also serves as a testament that Melodic Revolution Records allow for their artists to have breathing room to explore some deep personal conviction without demanding something for the sake of a mainstream pallet and quick revenue.
Thoughts Factory Lost examines the life of a person that is left with the task of serious grieving right after a loved one successfully committed suicide. The band wrote this in such a way where it was gender neutral in the first person narrative where male or female can put themselves in the position of that first person narrative. Meanwhile as the grieving person picks up the pieces and makes every attempt to move forward and understand the loss they have just experienced they are being visited by some of the same inner demons that cause their said loved one to take their own life. This sets up the epic battle between two characters in the story of Lost the grieving person questioning everything and the character of FEAR that continually taunts them and tempts them through the grieving process.
The 8 songs within the album represent the various stages of grieving for the loved one who has been left behind. It is as if the one left behind is keeping a melodic journal of the various stages of grieving. I will share some musical highlights from every track.
Awakening starts off with a power intro of great rhythmic hooks and signatures with both the bass/drum rhythm section and the keyboards serving as backbones anchoring the track. The track contains power guitar solos. This is a great approach to hook the listener immediately. Soon the track drops and takes a more mellow yet warmer direction as soon as the lyrical content and story begins. The lyrical content is a reflection on past recent events in the life of the one left behind.
The Deep Forest begins with a beautiful yet melancholic acoustic guitar passage that is soon met with very warm vocals to continue to draw the listener in both the narrative of the story and its message. This is the song where we see the first conflict of the person left behind and Fear. The instrumental portions are not just there as music they are also there to convey the emotion of each lyrical line and every passage. The band even resort to something rare in progressive metal these days with a Hammond style synth. The instrumental narrative and lyrical content sound more like a beautiful harmonious unity rather than just a filler of formality. When the vocal narrative requires anger the instrumental also conveys the anger as well. The treacherous battle between the one left behind and the taunter , the tempter Fear is epic.
Desperation finds the voice of Fear stepping away. The person left behind begins to blame him or herself for their friends suicide. This is when all the should’ve, would’ve and could haves really start to surface again leaving the person left behind to beat themselves up over the loss of their loved ones. The instrumental is crunchy and rhythmically brooding to convey the anger of the one left behind. This is a step within the grieving where the person assumes false guilt for his or her loved one’s suicide.The rhythm section really does a great job conveying the adrenaline that is brought on by inner anger in cases like the one this person is going through. They synths interchange from old school Hammond style to current neo progressive for more emotional effect.
Light is a short 1:50 piano passage backed ballad. However within its short 1:50 it tells as much a story as a 4:00-6:00 track could do. The message is key on point and profound in its nature.
Voices From Heaven begins with a powerful grand intro much like The Deep Forest does. It starts out more like a symphony orchestra than a metal song. It soon takes on the metallic sound though. The complex and tight rhythm section makes this a true treat for the progressive metal purists. The keyboard has been stripped in areas to be a piano. Through all the time signatures the band stays on point of their objective to tell the story of the concept. Not to make too many comparisons some of the instrumental sections sound as tight as Dream Theater’s Erotomania off of 1994’s Awake. The person left behind reflects on the life he or she had with their friend while in their youth. It leaves some speculation that the friendship and bond had many years before the unthinkable happened. While the person reflects on their youth he or she still questions why the person they loved for what seemed a lifetime would commit such act towards themselves. You can really tell the person still living and left behind is hungry for some comfort to get them through this time. The instrumental portions still stay within the lyrical emotion and on point. The guitar solo towards the end has so much passion and emotion it is like another character within the story.
No Way Out finds the friend living and left behind coming to some reconciliation within themselves about the entire situation they have been struggling to understand. The instrumental conveys the emotion of serious anger as the friend living and left behind knows they must move forward before it consumes them. The instrumental is more of a progressive power metal element to achieve the desired result of moving forward. The rhythm sections straight up assault the audio senses of the listener in a very melodic way. The double blast beats add to the emotions as well. There is a nice spoken word narrative within the song as well. Ultimately the one living and left behind has come to the conclusion that their friend was selfish and sadly can never forgive their friend for doing this to themselves. The guitar solo is a full on shred fest much in the vein of Randy Rhoads on Crazy Train.
The Mire begins with a lush layered piano and guitar intro as if to convey a tearful emotion. It sounds very isolated like a character that now needs to be left alone to start the healing process. It also at this point that the friend left behind gives his or her final verdict of the situation concerning the suicide of their friend. Once again the band stays spot on in harmony between the lyrical and instrumental narrative. They never abandon this throughout the album whatsoever.
Death Of A Dream -Bonus Track sees the friend left behind continue to question this situation. In this surreal moment somehow they find a little clarity of mind. The instrumental breaks perfectly with the lyrical narrative.The person left behind living is questioning whether or not this has been a long dream however reconciles that it was in fact reality. On the other hand, this song can be interpreted as the struggle of the person who took their life. This is also a bonus track from the album that really concludes all the narrative from the seven previous songs. This is also the final battle of the living one versus the voice of Fear. It depends on the listener to decide on this one. This is also the epic of the album clocking in at 15:59. Throughout the song the complex time signatures and chord progressions allow the listener no time whatsoever to get bored with this well crafted composition. Towards the end this track gives the listener a sense of security that there is hope to move forward from the what their friend did.
The thing that the listener can take away from Thoughts Factory Lost is that suicide is very real. It also speaks at the fact that we can all educate ourselves to notice the warning signs of a loved one thinking about suicide and to stage an intervention before it is too late. Although we can never be prepared for a person we love to commit suicide does not mean we are totally helpless to make a real concentrated effort to help them detour it. I have provided links in the ‘Contact Links’ Section’ on how you can and what you can do to get proper information concerning the signs someone you love could be a danger to themselves. This is a score of 5/5 all day long. However as I write this I would certainly hope you take something meaningful and helpful with and for you.
[youtube https://www.youtube.com/watch?v=-oFLjtfAmiE]
Video Courtesy Of (Thoughts Factory Official YouTube Channel)
by Robert 'Unlce Prog' Brady | Oct 14, 2016 | Reviews
Watchtower | Concepts Of Math : Book One EP
Label: Prosthetic Records
Release Year: 2016
Country: USA
Genre: Progressive Technical Metal
Band Members
Rick Colaluca – Drums
Ron Jarzombek – Guitar
Doug Keyser – Bass
Alan Tecchio – Vocals
Contact Links
Watchtower Official Facebook Page
Watchtower Official Prosthetic Records Profile
Watchtower On YouTube (Ron Jarzombek’s Official YouTube Channel)
Watchtower Official YouTube Channel
Prosthetic Records Official Website
Prosthetic Records Official YouTube Channel
You do not have to have a lengthy library of albums to be a pivotal influence in the area of music or entertainment in general. As a matter of some of the most influential bands or artists may only have one or two albums out but the influence and legacy they have lives through other bands or artists.
This is the very case with the Texas based progressive metal band Watchtower. Although Watchtower had Energetic Disassembly in 1985 and the pivotal yet influential album Control and Resistance in 1989, the band as a collective would not be heard again in a full collective form of songs until 2016’s EP Concepts of Math : Book One. To be very honest as I write this review I thought this would simply never happen. Well there are times when we are to never say never because the unexpected can and on some occasion’s happens.
Much like Queensryche, Fates Warning, Crimson Glory and Savatage Watchtower rank right up their as the class of pioneers of progressive metal. Watchtower took a much more thrash approach to progressive metal however with far more time signatures and chord progressions. As a matter of fact Watchtower’s chord progressions can and are felt and heard today’s progressive metal landscape. Bands like Tesseract, Leperous, Contortionist, Between The Buried And Me, Anciients Dillinger Escape Plan and Zero Hour can all trace those chord progressions Watchtower were doing 30 years prior to their very sound today. Watchtower’s sound was very much pre ‘Djent/Math’ metal.
Watchtower’s Concepts Of Math: Book One sees one of Prog Metal’s founding fathers return stronger than ever with such savage ferocity. Although it is only made up of five tracks they still knock the listener right on their audio ass. The fierce rhythm sections and complex time signatures confirm that the bands I mentioned above can trace their melodic heritage and DNA back to Watchtower and Concepts Of Math : Book One solidifies and galvanize’s this. I would like to point out a few highlights from Watchtower’s Concepts Of Math: Book One.
M- Theory Overture opens up with a progressive thrash shred frenzy with the guitar. The frenzy is blistering in its very nature. Soon it drops off then the band go to work with the natural complex and intricate time signatures that formed their unique sound from day one. The time signatures definitely are not for the faint of heart if you are into music that is written in 4/4. The bass takes a complimentary percussive direction along side the drums to make up the distinct sound of Watchtower.
Arguments Against Design begins with a thunderous yet very melodic bass line with the drums and guitar coming in and out with breaks. Soon the towering vocals come in such clarity considering the heavily thrash nature of the rhythmic time signatures and heaviness. The lead guitar gives the illusion their could be more than one guitar at times without it obviously sounding like it was overdubbed. The band sounds as if they wrote this track on the bass to get the desire rhythm effect.
Technology Inaction picks right up where Arguments Against Design off. The thunderous and brutal complex time signatures within the rhythm section continue the beautiful assault of the senses of the listener. The guitar serves both as a shredding lead and thunderous percussive rhythm instrument. With the thrashy speed metal backbone the band also continue the time signatures with intricate progressive interchanges within the passages. The lyrical content keeps with the common theme gracefully throughout the EP. The vocals at times even follow in step with the rhythm sections.
The Size Of Matter is not a original for the EP Concepts Of Math: Book One. This particular track was originally released on its own back in 2010 as a single. I believe the band released it perhaps to overwhelming demand for something new or the fact the band wanted to remind their fans and the people that they were still around. Instead giving a analysis of this track I have embedded the original.
[youtube https://www.youtube.com/watch?v=eyCXRvwdFQk]
Video Courtesy of (Watchtower Official YouTube Channel)
Mathematica Calculis sees the band continue with its own unique time signatures and chord progressions. This is the mini epic of the EP clocking in at 9:25. However the band does more in 9:25 than some progressive bands do in a 15:00 to 20:00 epic. The chord progressions remind me a lot of NWOBHM with galloping progressions. The band totally assault the senses very wonderfully. This track is a melodic roller coaster going in and out of various progressions and passages without it sounding like the band are taking the listener on the same sonic rail or track. There are some wicked backing vocals that run in perfect time with the lead vocal. The rhythm sections are almost as if the band are writing a mathematical equation and transcribing it to instruments.
Watchtower have certainly added more to the foundation of its influential legacy with Concepts Of Math : Book One. My only hope could be a follow up to this and perhaps some live dates. The band have also reminded people who they are. I also see this Concepts Of Math : Book One as a project that the band have made to attract newer fans to its already cult like status. Watchtower’s Concepts Of Math: Book One gets a 5/5 and will be the first EP ever to enter my Top 10 of Albums of the Year for 2016.
[youtube https://www.youtube.com/watch?v=DO-UuL2jlnI]
Video Courtesy of (Prosthetic Records Official YouTube Channel)
