Middle East’s progressive mastermind Amadeus Awad is back with “Death Is Just A Feeling” Featuring an all star lineup: Anneke Van Giersbergen (The Gathering, Ayreon, The Gentle Storm), Arjen Lucassen (Ayreon, Guilt Machine, Stream of Passion), Elia Monsef (Ostura, Amadeus Awad), Marco Minnemann (Joe Satriani, Steven Wilson, The Aristocrats) and Jimmy Keegan (Spocks Beard, John Waite, Santana).
The new album from Lebanese maestro Amadeus Awad will be released worldwide on the 20th of August 2015 via Melodic Revolution Records. As with previous releases from Awad, “Death Is Just A Feeling” is a concept album and contains 6 tracks clocking in at around 47 minutes with one instrumental track.
According to Amadeus: This album is the result of: “my personal experience with death, both the tragic loss of loved ones (Father, Brother and a Best Friend) as well as my own attempt of committing suicide, which I contemplated more than once at a certain stage in my life.”
For his newest opus, Amadeus chose some of the best names in the business to collaborate with, “each one of the characters in the story represents a certain side of me, and I wanted myself to be represented by the greatest personalities in the progressive rock/metal world; being able to work with my idols is a great honor”
Amadeus is always stretching the boundaries with his music and lyrics, and it’s no different with his new album, he is opening up and revealing his most inner and darkest secrets and coming to terms with death. “Death is just a Feeling” is his finest work to date.
2015 is definitely starting to be a banner year in the world of progressive rock and progressive metal. Many bands are stepping up their game and coming out of the wood work with masterpieces. Australia’s own Arcane are at the forefront with their hand on the standard. Their double album Known/Learned is surely to turn heads. Take parts or Riverside, Dream Theater and Subsignal’s and throw in a portion of TOOL and you have Arcane.
Yet to make even those comparisons to the bands I mentioned above still do not do justice to the utterly organic sound Arcane have seemed to forge for themselves. They have even shared the stage with bands like Soilwork, Queensryche, Anathema to name a few. Although one can only speculate who their musical influences are, you sure can not hear them on Known/Learned as the band has made every effort to form its own sound and identity as to not become pigeonholed or typecast into any sub genre in the progressive rock and metal world. Hopefully this review will wet the curiosity of some to look into Arcane and make a purchase for Known/Learned.
CD 1 / Known
Promise (Part 2) displays some serious orchestration in the intro before going into a straight away progressive metal passage. It also has some killer atmospheric effects as a wonderful backdrop. At about the 1:45 mark , Jim Grey gently floats into this vocal that reminds me of the vibe that Mariusz Duda of Riverside would employ. At about the 3:26 mark a whole other hook and progression explodes. Matt Martin really has some stellar keyboard. At the 3:51 mark, Michael Gagen really takes the track on a whole other time signature making the track sound like two songs in one.
Unturning begins with a killer guitar shred intro. Soon a deep bass drum rhythm section comes in via Brenden Brown – Bass & Blake Coulson – Drums. This is followed once again by the warm vocal style of Jim Grey. Blake employs a lot of snare, tom, double bass drum action. The track them proceeds to a crunchy distorted type progression while Jim almost employ’s a spoken word vocal. Instrumentally the band combines a distorted crunchy rhythm section with elements of a shred laced within it.
Instinct opens with a very dark piano passage with a warm gentle vocal and a light snare in the background. This is soon followed up by a gentle guitar passage. The lead vocals are soon joined by some great atmospheric echoes with backing vocals. The vocals even sound at times like they are gently pumped through a echo chamber perhaps with a megaphone. At the mid point the piano softens and the vocal goes into more of a chant. Then the track really takes off with a heavier signature and a vocal chant register style.
Womb (In Memoriam) opens with a heavy fuzzy style organ like progressive bands of early progressive and psychadelic rock. The warm vocal is much more choral in nature gpoing from a barotone style to a mezzo and alto register leading into the next track Selfsame.
Selfsame has a wonderful acoustic guitar opening the track on top of a gentle vocal. At the 1:50 mark the track transcendental explodes. There seems to be a back and forth of this progression. On top of the atmospheric keyboards there are some serious time signatures and back and forth guitar solos that range from the distorted to the smooth anywhere from the typical 4/4 to 7/8 and in between. At the 5:13 mark the track blisters the ears wonderfully with some serious heavy work heading towards a heavy progression like melodic stalking.
Holding Atropos starts with a beautiful guitar and deep heavy brooding rhythm section. This track carries elements of Riverside’s – Out Of My Mind & Second Life Syndrome with a part of Opeth’s –In My Time Of Need from Damnation.
Keeping Stone Sound On Fire has some really great drum and keyboard work in the beginning. Soon it explodes into a deep detuned progressive metal frenzy with distorted passages and wonderfully execute breaks. The rhythm section is insanely thunderous in its nature. Some of the thunderous rhythm section reminds me of much of Cynic’s work meets TOOL while maintaining great emotion. There is a killer bottom drop towards the end with some serious bass and rhytmic guitar effects.
Learned is the epic of this double album masterpiece. Learned instantly ranks up there with the Fates Warning’s – Ivory Gate Of Dreams and Pleasant Shades of Grey, Dream Theater’s – ChangeOf Season’s, Six Degrees of Inner Turbulence & The Count Of Tuscany as well as SymphonyX’s – Odyssey & Divine Wings Of Tragedy.
Learned begins as a slow vocal melody with what appears to be a waterfall effect. Thereafter the drums and piano make for a very unusual yet creative effect. This is all followed up by a heavy distorted crunchy rhythm section with the guitar. The bass also is more percussive in nature than melodic in the intro. Learned takes off with the band in full instrumental harmony with the vocals not that far behind. Their are multiple guitar solos that have a bridge, chorus, verse style to them on the harmonic instrumental side. The band at times have to be math geniuses with their execution and delivery of the time signatures throughout this 23:15 track. Jim Grey seems to be getting stronger vocally as this double album concept progresses. Learned is one of those tracks that when played live will demand the listeners attention as it takes them on a genuine journey especially if the band does it all in its entirety.
CD 2 / Learned
Hunter, Heart & Home has a killer acoustic opening. After which a very deep rhythm section between the drums and bass now played by Mick Millard. Hunter, Heart & Home is a rhythm section players dream in the structure by which it is written. The vocals flow in and out between some great background vocals that appear to be chants at times. The acoustic guitar sections remind me of a lot of Arjen Luccassen’s acoustical portions from Ayreon – The Human Equation project. I really enjoy the auxiliary percussion elements in this one as well.
Little Burden has one serious electric acoustic sections blended with a mellotron style keyboard. Little Burden is perhaps the more simple tracks as far as time signatures and changes in progressions are concerned. The double kick cymbal in the drums puts a perfect backing accent to the track. The guitar solo reminds me a lot of Al Dimeola with the fingering theory employed.
Impatience And Slow Poison takes off with so more masterful acoustic work. There seems to be a more mellow vibe trending now on CD 2/ Learned. Impatience And Slow Poison is no exception. At certain periods there seems to be some jazz influence with the drum work incorparating more snare, tom and cymbal work instead of aggressive blast beats. The piano is totally in time with the drums on this one blending more in harmony than going out on its own to lead the track.
Known ironically is ten times shorter than its CD 1 counterpart title track Learned. At 2:50 it incorporates great acoustic work. Known is a very introspective track both instrumentally and lyrically. Known sounds like they sat down at the stool and just played the entire thing live in studio and with only one take.
Nightingale’s Weave continues in the mellow acoustical vein. Jim perfectly overdubs his background chants to compliment his lead vocal portions. Nightingale’s Weave is one of the most emotional tracks I have heard in a decade. Nightingale’s Weave has a vibe much in the way Transatlantic does with Bridge Across Forever meets Enchant’s – Broken Wave off 2000’s Juggling 9 Dropping 10.
Eyes For The Change takes off with a really deep bottom with the bass and acoustic 6 string guitars. The vocal is soft and warm much like the second half of this double concept has been. The listener can hear a subtle cowbell and even a rainstick effect utilized with the auxiliary percussion kit used by Blake Coulson. The rest of the track has some smooth jazz style guitars with progressive rock signatures and themes.
Keeping Stone-Water Awake opens with a beautiful organ much like what you would hear when you listen to a orchestra and choir. Jim really has more of a Steven Wilson vibe. Slow and steady. Melodic and methodical. This also contains some wonderful spoken word passages within the background. Keeping Stone-Water Awake is a beautiful atmospheric tapestry. It is as if a a person is looking back on life in the first person narrative.
Promise (Part 1) closes this masterpiece with nice finger work on the acoustic guitar and deep dark rhythmic elements. The drum work gives it a semi up tempo vibe while the track remains in the trend of soft melodic bliss. Promise (Part 1) sounds lie the end of a love letter and last chapter of a novel/memoir.
I really enjoyed this journey and concept. Arcane’s Known/Learned. It is definitely one of the best concept albums over the last 15 years. Arcane’s Known/Learned ranks up there with the likes of Dream Theater’s – Metropolis 2 Scenes From A Memory, Pain Of Salvation’s- BE & Remedy Lane, Shadow Gallery’s- Tyranny/Room V combination concept and Vanden Plas’- Crist O concepts. This is definitely a concept many will look back on another 15 to 20 years from now as a inspiration or perhaps a blueprint due to its organic melodic nature. Arcane’s – Known/Learned is a definite front runner for Prog Metal album of 2015. I give it a 5/5 for its sheer orginality and musicianship merits.
They often say that the right thing will happen at the right time. This is now my experience with Portugal’s progressive powerhouse band Forgotten Suns. A buddy of mine earlier in the year sent me the audio files of the bands newest offering of 2015 When Worlds Collide. For the last two months I could not go one day without a full listen to the album. For some reason I can not put down the album nor cease from my attention towards it. Forgotten Suns were founded in 1991. While bands like Watchtower, Fates Warning, Crimson Glory and Queensryche left a lot of stellar work and the blueprint for progressive/power metal, it would be Dream Theater that would really take it by the horns and run with it. Remember in 1991 as well grunge had taken melodic, glam, and metal as we know it in the US and shelved it for a time. Reminder as well, Dream Theater’s monster Images And Words was yet to be released and would come later in 1992. Therefore basically what a band like Dream Theater was doing in the USA, Forgotten Suns was doing for their homeland of Portugal and Europe in general.
So I am here in 2015 and just discovered Forgotten Suns through their latest offering When WorldsCollide. There is some thrash metal influence on this record anywhere from Megadeth to Metallica. ‘Great Album’ would be a understatement this is a sheer masterpiece. Let us explore it.
The Road To Nowhere Part 1 has much a intro as Megadeth’s Foreclosure Of A Dream before kicking into this rapid fire and kick ass blast beats section much like the sub middle portions of Metallica’s One, where even the bass serves as a percussive instrument alongside the drums. Also in the intro there is a voice over dialogue that automatically sets a conceptual tone about to tell a story. At many points it is progressive thrash metal containing time signatures that ascend and climb to the opening harmonies. At about the 4:44 mark it goes into this really wicked cyber death metal style grunt. Throughout the rest of the track there is a powerful roller coaster of sheer and complex time signatures and hooks. Then about 6:35 mark there is some wicked rhythm section with a spoken word overlay of twists and turns. Approaching the 8:35 mark there are a series of killer guitar solos.
In Harms Way opens up with a thunderous rhythm section of bass, drums and guitar in unison. Soon after taking a more melodic turn both musically and lyrically with very definitive harmonies and some killer background deathy style grunts and growls. At about the 3:25 mark boom a spoken word portion emerges in death metal fashion. There seems to be a spoken word and spoken dialogue trend taking shape on When Worlds Collide here. A little Amon Amarth meets Symphony X and Dream Theater all at once.
Somewhere In The Darkness opens with a beautiful piano blended with a warm beautiful vocal. The piano lends a great deal of dark melody to this track. This is in its nature a very internal introspective track both lyrically and musically. It really borders on the form of a power ballad, however not in a classic rock nor a AOR sense. It is more of a ballad of progressive power metal vibe like Dream Theater’s – Forsaken from 2006’s Systematic Chaos. The guitar solo towards the end is very John Petrucci like especially in a track The Ministry Of Lost Souls.
Fortress Of Silence has a Ayreon style intro especially from albums like Into The Electric Castle and both parts to the Universal Migrator- Dream Sequencer/Flight Of The Migrator. Ernesto Rodrigues – Keyboards, reminds me a lot of Gunter Werno of Vanden Plas with such a very distinctive sound. Sometimes even Jordan Rudess like. Nio Nunes – Vocals at times throughout the track has a way to go to a high aggressive register to a very warm vocal.
When Worlds Collide has a gorgeous opening piano passage before embarking on a straight away progressive hard rock passage that soon ascends towards progressive thrash metal time signatures. About the 2:00 mark it breaks towards a lush atmospheric backdrop as the vocals are introduced. Afterwards entrers a rhythmic section where the bass is a more percussive instrument with the drums as the vocals kick in. This reminds me of many tracks from Pain of Salvation’s – PerfectElement Part 1 and Remedy Lane. In When Worlds Collide the band really executes the piano and keyboards as they send the listener on a journey through multiple time signatures with guitars, bass and drums. When Worlds Collide has some seriously heavy djent passages throughout the entire track that keep the track demanding the audience to listen to what is to come next.
Rise & Fall for some reason reminds me of the intro to Shadow Gallery’s – Encrypted from 2008’s Room V album. It has a very semi electric/ semi acoustical vibe. This also contains prog ballad elements much like Dream Theater’s Wither and Hollowed Years. Rise & Fall is one of those tracks I see as a acoustic track in live sets.
The Road To Nowhere Part 2 opens with a 6:30 passage of ascending progressions going in and out with various time signatures. The intro has a vibe about it that is like a musical introduction to a story about to be told. Its melodic introduction kind of reminds me of old vintage films where the credits were first before they started the film much like a movie soundtrack. This is followed by a beautiful duet between the male and female vocal. This goes one until the 11:25 mark where the track once again takes a progressive ascension in between progressive hard rock/metal. The lead and background vocals make for a perfect statement with all the elements in the previous tracks. It very much so reminds me of Dream Theater’s – Systematic Chaos with In The Presence Of My Enemies Part 1 & 2. The track finishes with a serious tight finale.
Out of the albums in 2015 I have reviewed thus far, Forgotten Suns – When Worlds Collide continues to grow on me. It is easily going to finish in the Top 5 of my top albums in 2015. I can not wait to hear this with some live in concert treatment whether I see them live, buy a live album or DVD. When Worlds Collide easily gets a 4.5/5.
Label: Frontiers Release Year: 2015 Country: USA Genre: Melodic Hard Rock, Heavy Metal
Band Members & Special Guests
Veronica Freeman – Lead Vocals Leather Leone – Duet Vocals “Kiss My Lips” Tony Martin – Duet Vocals “King For A Day” Meliesa McDonell – Additional Vocals “Starshine” & Acoustic Guitars Derek Kerswill – Drums Jeff Pilson, Mel Brown, Garry Bordonaro, Aric Avina, John O’Boyle & Mike Lepond – Bass Pete Wells, Michael Sweet ,Peter Tentindo, Jimmy Durkin, Mick Tucker, Jordan Ziff, Michael Harris – Guitars
Produced by John Herrera except for: “King for a Day” (produced by Kenny Lewis) “Love Should be to Blame” & “Again” (produced by Michael Sweet)
In about 2008 a friend of mine handed me a CD that would be Benedictum’s – Season of Tragedy. What I heard was nothing short of one of the top 10 album’s of the first decade of the 21st century. Outside the mentorship and production of the likes of Jeff Pilson – Dokken Dio and Craig Goldy – Dio and legendary guitarist George Lynch – Dokken and Lynch Mob there was much more there. What I heard this ultra powerful voice that reminded me of power metal’s past like Leather Leone – ex-Malibu & Chastain, Kate French – ex-Chastain & Vainglory. I would come to find out this most powerful leather lunged melodic beauty in the form of Veronica Freeman. I was hooked from that day forward.
Fast forward to 2015 and Veronica Freeman has returned with a solo statement. affectionately titled ‘The V’ – Now Or Never. She has most definitely returned with one of the most definitive powerhouse melodic lineup’s in recent memory. Look at the introduction above to see all that participated on what I am calling a ‘Instant Classic’ and a definite easy front runner for one of my Top 5 of 2015. ‘The V’ – Now Or Never has given Veronica Freeman a more melodic metal outlet compared to the heavier power metal we are accustom of hearing in Benedictum. Let’s explore some highlights of the project.
The intro track Again, produced by Michael Sweet shares signature hallmarks of Stryper between the Reborn and No More Hell To Pay era. There is that distinctive sound Michael Sweet and Stryper have crafted melodically in recent years both in vocal range and chord progression.
Now Or Never the self titled track on the album opens with a gritty distorted killer rhythm section. Veronica’s harmonies are more in sync with with the rhythm section between the drums and bass. Now Or Never comes armed with a nasty rhythm guitar with a killer shred section.
Rollercoaster is a drummers delight. With great double bass drum blast beats in harmony with snare, tom and cymbal fills. Once again Veronica is spot on with her harmonies following the lead with more of the drum and bass backbone. Her timing is perfect.
L.O.V.E is a straight away hard rock n roll gem. It tells a story of one’s opinion on what love is to her and what it is not. L.O.V.E is one of those tracks that could hold up and be current in any decade whether it be the 1980’s , 1990’s or 2000’s. It contains both vintage and current relevent elements both musically and lyrically.
Line In The Sand is a hybrid track mixing a little melodic metal, hard classic rock and AOR. Killer guitar hooks and melodies with a great guitar solo. Line In The Sand is one of the more stringed melodic tracks on the album with a nice blend of background vocal harmonies as well.
Love Should Be To Blame, once again produced by Stryper’s Michael Sweet. This time it bears a lot of the signature riffs and hallmarks of Stryper’s Against The Law album. Veronica definitely displays much emotion vocally here. This track has a wonderful stand alone guitar solo that demands the listener’s attention.
Kiss My Lips is a power metal fans’ dream come true. On this track Veronica enlists the vocals of the legendary Leather Leone ex- Malibu Barbie, Chastain. It certainly is one of the best duets I have heard in the last 15 years. Kiss My Lips leaves a hunger for perhaps a future exclusive album featuring Veronica Freeman & Leather Leone. Only time will tell however.
Spellbound is a highly introspective track lyrically. One can only speculate what Veronica was going through when she wrote it. Musically it is a pure straight up melodic hard rock jewel.
Starshine opens up with some killer guitar work from Hitman Honey’s very own front woman Melissa McDonell.Starshine is also the second outstanding duet with both women masterfully going in and out between front woman melodies to duet style harmonies. Much like Kiss My Lips, Veronica seems to hold court with gorgeous duet clinics with other women in the industry.
Below Zero has a Aldo Nova’s – Fantasy meets Dio’s – Mystery. This is also the longer track on the album and every musical harmony, vocal harmony, and 4/4 , 5/8 .
Ready To Run totally reminds me of Dio’s – Stand Up And Shout on the metal side with a twist of Giant’s – Time To Burn on a heavy AOR side. Killer runaway jam track that will totally sound powerful live.
King For A Day features yet another legendary voice in Tony Martin ex-Black Sabbath. This is definitely one of the more heavy handed tracks on the album. It even has light elements of doom metal. Really killer detuned bottom on the rhythm section mixed with powerful vocals to perfectly complimenting the musical composition. King For A Day is the closest track to hearing anything remotely to Benedictum.
This is one of my more enjoyable reviews I have done in 2015. I can appreciate any artist going a totally different direction than what we are use to listening to. Veronica Freeman definitely put together a killer album here. This was a profound departure from what we hear of her in Benedictum but still was as heavy and melodic. I believe ‘The V’ – Now Or Never solo effort has opened a door for Veronica Freeman to go out on her own more often during her breaks from Benedictum. For this effort alone I give this a 4.5/5.
The V – Now or Never EPK (Official / Studio Album / 2015 / Veronica Freeman)
Photo by: JENNIFER FISHER Artwork by: CLAUDE MARTIN
Seven years, after his RISING CAREER, with AGENTS OF MERCY, and STEVE HACKETT, the ULTIMATE SUPREME PROG VOCALIST, the one and only NAD SYLVAN, was signed by INSIDE OUT MUSIC.
Sylvan says: “Finally, after 40 years of fighting for it, I finally get a first-class record deal. ”
“ In a little less than four years I was snatched up by two iconic guitarists, Roine then Steve. That must mean something to the world – because it sure means an awful lot to me. ”
KEEP AN EYE OUT, FOR HIS SOLO ALBUM, WILL COME OUT THIS OCTOBER!!!!
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Track Listing:
