Melodic Revolution Records Featured Album July/August 2017 Forever Twelve | Home

Melodic Revolution Records Featured Album July 2017
Forever Twelve | Home

Label: Melodic Revolution Records
Release Year: 2017
Country: USA
Genre: Classic/Symphonic/Progressive Rock/Heavy Prog

 

Band Members

John Baker – Lead Vocals
Steve Barberic – Keyboards
Tom Graham – Guitar/Keyboards/Bass/Vocals
Fernando Martinez – Drums/Percussion

 

Track Listing

The Seven Seas
Home
Daisy Chain
Kansas By The Sea
Karmageddon
Acoustic Rose
Fate Is In Our Hands

 

Contact Links

Forever Twelve Official Website

Forever Twelve Official Melodic Revolution Records Profile

Forever Twelve Official Facebook Page

Forever Twelve On YouTube

Melodic Revolution Records Official Website

There are many things going on with Forever Twelve’s Home. First of all this is their debut album for Melodic Revolution Records. The second being many many influences within the band’s dynamic happening here. Third of all this proves once again that the staff of Melodic Revolution Records continues to think outside the ‘proverbial box’ to grow their ever growing roster. According to Forever Twelve’s Official Facebook Page : 

What others have said:
…elements of jazz, folk, rock, fusion, neo-prog, classical and pop all used to serve a musical purpose, express a certain mood or idea
…should especially appeal to fans of Marillion, Clepsydra, or Flamborough Head
…These original songs show influences by Genesis, Yes, Camel, and Rush, among others

I say there is much more going on in all three areas of how the band sound, what fans would listen to this band and the influences of the band. Forever Twelve are a return to progressive rock in its purist form. This band takes it back where people trashed the three minute single for a song that was the length of a entire 22 1/2 minutes on vinyl. A time when people preferred the 4-8 panel gatefold and appreciated all the art in its purist form. It takes us back to the time when keyboards began to be celebrated instead of tolerated. It takes us back to the time when Billy Ritchie of 1-2-3/Clouds fame, basically gave birth to the progressive rock genre and influenced a few guys, one would be a guy named Keith Emerson, another would be Robert Fripp and another few guys by the name of Jon Anderson and Rick Wakeman. Yes literally that Rick Wakeman and Jon Anderson. 

.When I listen to Forever Twelve’s Home I am reminded of the early period of progressive rock that allowed people both an escape through the melodious labyrinth’s of multiple time signatures and chord progressions and unique rhythmic changes and further intellectual nurturing through its dreamscapes due to its lyrical content and concepts. Forever Twelve also seem to embrace this earlier period of progressive rock along with the later periods of Supertramp and neo progressive periods of the 1980’s.

Forever Twelve’s dedication to the craft is very reminiscent to 1-2-3/Clouds, Yes, Caravan. Eloy, Genesis, Lindisfarne, Fairport Convention, Strawbs and Eclection on the earlier end. On the more current and modern end elements of Marillion, Flower Kings, Transatlantic, Spock’s Beard, Enchant and The Samurai Of Prog come to mind. The band has a very uncanny ability to take all those earlier influences and bands and create their own distinct sound without it appearing to be dated, imitated or duplicated. They also do this without watering anything down as well.

Throughout the duration of the seven songs on Forever Twelve’s Home the band certainly manages to stay true to the very core values that have come to define progressive rock as a genre to some and a lifestyle to others. Throughout the remainder of this review I will be pointing out the various influences that shine through from every song that makes up Forever Twelve’s Home.

The Seven Seas opens up from the first note with the fullness of the band. You have a very deep rhythm section serving as the anchor. Meanwhile in harmony to the deep rhythm section you have the fullness of the stringed section serving as a rudder in which to steer the track in its various time signatures and chord progressions. The band manages to balance all of this where it is not overwhelming as to invite the listener in with ease. Along with such beautiful harmonic balance between the instruments, you have the angelic voice of John Baker. The vocal reminds me of all the best parts of Jon Anderson of Yes meets Rodger Hodgson of Supertramp going on within John Baker.

There also seems to be subtle elements of jazz in the tradition of the late Alan Holdsworth going on underneath the fullness of the arrangement. Although more of a neo progressive style, I would be remiss in saying that this contains some heavy prog elements in melody with the neo progressive nature.This track is also as much guitar driven as it is keyboards in the stringed section. The deep bass/drum rhythm section in harmony with the deep keyboard portions provide a very heavy prog melody throughout the track.

Home begins with a drum along with the bass serving more and a percussive instrument within the rhythmic section. From there the guitar shines through to allow the fullness of the bands instrumental to breathe. After all this beautiful open melody the track drops and breaks and allows for the warmth in the vocals to enter with the instrumental to achieve a full harmony. Also after the break and vocal the track takes a more atmospheric nature with the steady flow on keyboards while the rhythm section serves as a backbone to the vocals. The track also includes intricate time signatures and chord progressions more in the tradition of Knight Area meets Cairo. This track has some more emphasis on vocal harmonies as well that add more depth to the song in general.

Daisy Chain is the band’s first single off Home. This track maintains the jazz style integrity that seems to be a unsung hero to the album. While the deep rhythm sections and atmospheric elements with the keyboards serve as ground zero for the album, the jazz elements really trigger the time signatures as much as the progressive elements. The band have a very keen sense on when to employ a jazz based time signature and a progressive time signature. Daisy Chain is a prime example of this.The song takes a break midway through with a semi solo that allows the various instruments to execute more intricate chord progressions. This track is also very loaded with classic progressive rock elements much like ELP meets Yes. The band really draw from many parts of the progressive rock spectrum and this song is a perfect example of it.

Kansas By The Sea is one of the more experimental and atmospheric songs the band has offered up on Home. It opens with a beautiful effect of a ocean wave washing up against the shoreline. This happens in melody and harmony with a piano. The ocean effect with the piano give the track a conceptual feel about it. This is a track that could open up introductions to newer fans going forward. The guitar and bass lines also give the appearance of two different instrumental characters within the song. Lyrically this is both a retrospective track and one of optimism equally. The song also has a very robust chorus working for it among its experimental nature. This song has periodic breaks to set up the next part of the desired story of the band. Towards the end the song takes on a very heavy prog King Crimson style in the tradition of 21st Century Schizoid Man.

Karmageddon starts out with various effects of the city before going into a very guitar and bass driven chord progression. This is the heaviest song on Home. The bass and guitar really send the mind and emotions of the listener on a immediate roller coaster ride. It soon drops a bit and a very balanced vocal comes into play. From there the track takes on a more methodical purpose. Every riff, every portion of the instrumental has a definite purpose and does not serve as just any old filler for the song. The drums really send this song into rhythmic areas that are very unorthodox. The band shows its full time signature and chord progression prowess on this song. All of this really makes the song a very unique offering to the album. The keyboards are more in the Hammond Organ tradition.

Acoustic Rose is just that a rose. It opens up with a beautiful acoustic guitar and keyboard atmosphere that allows the listener to settle in and start to really digest the entire album. This is just as strong with the lyrical and vocal harmonies as it is with the instrumental melodies. The deep rhythm section lays back a bit for the more guitar and keyboard driven atmospheres to shine through. The vocal harmonies have a very folk Crosby,Stills, Nash & Young vibe working about them as well. This seamlessly transitions into the next song Fate Is In Our Hands.

Fate Is In Our Hands is the seventh and final song on Home. This transitions seamlessly off the prior song Acoustic Rose. This opens up like a old school gritty blues based guitar chord progression. The added crackle of vinyl effect is very rare in the era of digital media. The listener can easily notice that the band is paying homage to the essential roots that made progressive rock not only a genre but a lifestyle. This has both a heavy Pink Floyd meets King Crimson atmosphere. The band does a great job playing a summary of elements on here that really tie all the album together as a cohesive unit. This one is also heavy King Crimson induced throughout the entire track.

After listen to this I come to the conclusion that Melodic Revolution Records has another great signing on its hands. I would encourage the band to tour with this. I believe a live experience of these songs and this album in particular would be a real treat to fans both old and new to Forever Twelve. This is a band that could easily qualify for a Cal Prog, ROSFest even Prog/Power USA & Prog/Power Europe. I give Forever Twelve’s Home a 5/5 .

 

 

Iapetus | The Long Road Home | Album Review July 2017

Iapetus | The Long Road Home

 

Label: Independent/Unsigned
Release Year: 2017
Country: USA
Genre: Progressive/Atmospheric/Melodic/Blackened/Death Metal

 

Band Members

Matthew Cerami – Vocals/Guitars/Bass
Jordan Navarro – Guitars/Drum Programming/Keyboards/Additional Sounds
Jordan Navarro And Nick Shann – Drum Programming/Arrangements

Additional Musicians

Nick Shann – Guitar Solo & Stringed Arrangememnts on ‘The Long Road Home’ Violin on ‘My Father, My God
Benjamin Ian Meyerson (Fin Amor) & Justin Barone (Consonance) – Additional Lyrics & Vocal Arrangements
Samantha Marie Rae (Nectar) – Guest Vocals
Charles Buonsera – Bass Solo on ‘Evisecrate Divine’
Ben Xenoyr (Ne Obliviscaris) – Logo & Album Artwork
Nick Shann – Recorded/Mixed & Mastered

 

Contact Links 

Iapetus Official Facebook Page

Iapetus Official Bandcamp Store Profile

Iapetus Official Twitter

Iapetus Official YouTube Channel

 

I do not know if it is the ‘Prog Metal Purist’ in me or if it is a more open mind but I find the older I get the heavier and more brutal I can accept some forms of metal. Progressive Melodic Death Metal is one of those fractured sub genres. If you would of told me 20 years ago I would fully embrace death growls or black metal screams in the confines of progressive metal I would called you a total fool and joke. Of course I have been into death metal like DEATH, Obituary, Morbid Angel, Cynic even UK’s own Ackercocke. However when it came to progressive metal I did not bat an eye until I discovered Opeth’s Still Life album and witnessed just how beautifully they took the extreme metal/death metal element and made another force in metal’s longevity in rock n roll.

From that point on my objectivity began to grow and my cynicism began to diminish concerning Extreme/Progressive/Atmospheric/Symphonic/Death & Black Metal. I discovered bands like Agalloch, Lamentation Of The Ashen, Summoning on the Black Metal side. On the more Death Metal side I continued to collect Opeth, Between The Buried And Me, Grey Skies Fallen, etc … Soon I would discover what has been branded as ‘Beauty & Beast’ metal where the female soprano is front and center along with the masculine and brutal extreme vocals by the usually the male counterpart with bands such as After Forever, Epica, Tristania, Revamp, etc .. It seems like the older I get the more I am embracing more ‘Extreme’ Metal’.

The above mentioned bands are basically first generation bands. After 30+ years of Extreme Metal it appears there is no sign it is going to wane nor vanish anytime soon. Bands like Iapetus out of New York almost guarantee the certainty that Extreme/Progressive/Atmospheric/Symphonic/Death & Black Metal will continue to grow a evolve with great strength as the years continue. Iapetus’ The Long Road Home has everyone of those elements present within the general construct of the entire album. Iapetus are definitely on the front line as front-runners of the next generation of this style and genre of progressive metal music.

On the surface at first full listen it appears the band have created a concept album. In many ways on the instrumental side they have. On the lyrical side it runs more of a common conceptual theme of science fiction more so than a full conceptual story having a beginning and a end. Throughout the rest of this review I will point out the Extreme highlights, Progressive highlights, Atmospheric highlights, Symphonic, highlights and Death & Black metal highlights with a track to track analysis.

Nomads begins with a very heavily synthesized effects and a almost spoken word effect laden inside the those synth effects. The spoken word effects either sound like a newscast or something from ground control in Houston Texas. It simulates the beginning of a migration towards the cosmos. Like every track on the duration of the album, Nomads bleeds and transitions seamlessly into … Of Hangmen & Vertebrae.

… Of Hangmen & Vertebrae picks right up as Nomads is coming to a close. The transition is beautifully and tastefully done. Nick Shann certainly knows what to do with the compositions of the band as far as recording and mixing. This begins with a thick and heavy atmospheric progression before going into a semi low-fi black metal style guitar riff. That riff is soon met by a more progressive thrash riff with a lead solo in harmony with the low-fi rhythmic chord progression. This track blisters in and out of various chord progression and various time signatures including heavy atmospheric section towards the end of the track. The atmospheric sections do a great job melodiously articulating a space or a cosmos atmosphere. This track transitions very fluidly into the next track Lachrymae Rerum with another spoken word section that serves as a introduction to Lachrymae Rerum.

Lachrymae Rerum this one explodes into nothing short of a serious death metal assault on the senses that is further compounded by some very aggressive death growls with a blackened crust just on the surface. The instrumental portion remains heavily progressive based and does not deviate much from its progressive aesthetic. Instead of placing the entire track in the center of the head the band have a very uncanny ability to hit both the right and left channels in the listening experience where the entire composition envelops the senses. This is a song on the album that perfectly introduces the ‘Metal Purist’ to a more progressive leaning style. Among the vicious blackened death growls there are some spoken word elements to articulate some of the story. About the 4:10 mark the track takes a break from the assault and lures the listener further in with a very beautiful atmospheric passage eloquently done by the acoustic guitar. Think Opeth The Moor from Still Life or even Serenity Painted Death that is what I am reminded of with this song. Once again towards the end the song carries the album towards a interstellar space atmospheric passage where it bleeds and transitions seamlessly into the following track I Sing Of Satellites.

I Sing Of Satellites transitions perfectly off of Lachrymae Rerum with a gentle acoustic guitar passage created a heavy atmospheric passage. This serves like a intro into Savior Solitude where the track transitions seamlessly into the beautiful beginning of Savior Solitude.

Savior Solitude starts off beautifully with a warm, yet open double acoustic guitar passage that allows the listener to be brought into the track further. Then the senses are once again assaulted with the low-fi black metal style of vocal along with a blackened death metal vocal. All the progressive death metal frenzy is met by a very warm and inviting female vocal done very well by Samantha Marie Rae of Nectar. Samantha Marie Rae is a real wild card and dark horse on the album that adds depth to a already deep contented album. This is a very progressive track going in and out from various time signatures and chord progressions that are very obvious. The chord progressions are in the tradition of Periphery, Between The Buried And Me, Textures even Alkoloid. Once again the song transitions seamlessly into the following song My Father, My God.

My Father, My God transitions seamlessly with perfect continuity from Savior Solitude. This is once again accomplished by beautiful acoustic guitar passages that seem to be part of the root backbone to the album. It is not long before the track takes on a more metal direction. This is also the first of two 15+ minute epics on the album. The heavy guitar passages go on for a bit in progressive fashion to set up other parts of the composition. After a thunderous opening the song drops into a very easy acoustic passage adding layers upon the atmospheric side of the album. The acoustical atmospheres are very appropriate for the progressive element to the track. They allow the listener in to experience a auditory journey even with the more extreme elements that are within the composition. The metal half of this track moves the band in a much more European flavored of metal represented in the composition.
The band uses a very unorthodox method to take the low-fi black metal style riff and layer it as if it were a symphonic piece in the composition. At the same time it is a very atmospheric riff as well. The vocals are very blackened melodic death metal in nature. There are spoken word elements to give the senses a reprieve from the guttural assault. The spoken word elements come from both the feminine and masculine perspective. That is something rare in this style and genre of music. Elements like that will invite a female fan base eventually that will help in the growth of the band. My Father, My God transitions quietly into the following track Crown of Stars.

Crown Of Stars begins with a beautifully done acoustic guitar to keep the listener consumed within the album in its entirety. Here the band confirms that its more progressive elements have roots in the 1970’s more so than any other decade. After the lush acoustic guitar opener the band goes into a more symphonic route with various vocal chants running in harmony with solid guitar riffs before the track drops again to a more atmospheric side. By now the band has pulled many elements out for the listener to feast on. By now they are putting them all together with beauty and ease.This serves as a intro to the next track that seamlessly transitions into the following track Eviscerate Divine.

Eviscerate Divine transitions beautifully from Crown of Stars. The band opens it up with their elegant acoustical chord progression before the all out death metal assault hits you with a wall of sound. This track continue to see the band explore all the extreme/death/black/symphonic/atmospheric and progressive boundaries into uncharted waters. The band are certainly very experimental and never afraid to take chances. This track is another validation of all that. They are also not afraid to show the more mature progressive side with very atmospheric acoustic and semi acoustical guitar passages. The layers upon layers they utilize within all the guitar work shows that they not only record but understand the craft it itself. There guitar work spans from 1970’s progressive rock, to late 1970’s to early 1980’s NWOBHM galloping guitars to the low-fi black metal aesthetic we have heard for the last 30 years in the tradition of Hellhammer or a Mayhem. This transitions very atmospherically into the final song The Long Road Home.

The Long Road Home begins with the trademark beautiful lush acoustic guitar passage. These passages are very welcomed when you get them. Oddly the acoustical passages really allow for the progressive elements to shine throughout the album including the last song on it here. This is another epic at 15+ minutes in length. From the beautiful lush acoustical passage comes a very NWOBHM oriented guitar passage with galloping riffs that move the song forward. This song goes in and out from the heavy to the not so heavy passages. In like minded progressive form the instrumental portions are a lot longer. The journey is a beautiful thing with the objective listener. The guitar work is still rooted within a 1970’s element, yet with very modern elements as well. Matthew Cerami, Jordan Navarro and Nick Shann must of had some killer brainstorms as far as the actual recording and mixing. They definitely have a winning infrastructure in play as far as Iapetus as a project is concerned. The Long Road Home really brings all the elements together the band used throughout the album.

I honestly came into this album expecting nothing and getting a lot more than I could ever expect in my own imagination. Iapetus The Long Road Home is definitely on the front-line in the next evolutionary step into the Extreme/Atmospheric/Death/Blackened/Progressive Metal. When we look back on 2017 this will be one of the albums I can say opened more doors into the possibilities of what progressive metal can do and be. I am definitely a believer in the project. I would like to see them create a full band out of this and tour this if possible. The world deserves to hear and Iapetus deserves to be heard. I give Iapetus The Long Road Home a solid 5/5.

 

Dark Sky Choir | Dark Sky Choir Album Review June 2017

Dark Sky Choir | Dark Sky Choir 

Label: Unsigned/Independent
Release Year: 2017
Country: USA
Genre: Heavy Metal/Prog Related

 

Band Members

Hollywood How – Vocals
Fred Gorhau – Guitars
Joe Stabile – Bass
Mike James Sakowski – Drums

 

Track Listing

Death Of A Nation
Like It Or Not
Walking By Myself
Die Young (Maybe He Wanted To)
The End
The Sails Of Charon **
Cry For The Legions
Show No Mercy
Bedouin Caravan

 

Contact Links 

Dark Sky Choir Official Website

Dark Sky Choir Official Facebook Page

Dark Sky Choir Official Twitter

Dark Sky Choir Official YouTube Channel

 

When I first heard that The Wizards Of Winters’ guitarist Fred Gorhau was going to be putting together a project that would allow him to leave the ‘Christmas Time Only’ cocoon I was elated. I was also in a bit of anticipation of the unknown. To be honest I had only heard him in The Wizards Of Winters and Trans Siberian Orchestra. With his new project Dark Sky Choir it is a return to force of quality old school prog related heavy metal with a very modern and contemporary twist to it.

Make no mistake about it Dark Sky Choir are NOT a reflection or a re-visitation of what is now termed ‘Hair Metal’. I mean back in the day we all had hair whether we were thrash, glam, death, power, progressive or black metal with the exceptions of Rob Halford, Graham Bonnet or UDO Dirkschneider ex- Accept. If there is any visitation of the past with Dark Sky Choir it is the mentality of when bands were out drawing and designing their own fliers to have them wrapped around the local telephone poles of the vicinity of the local club or venue for the show promoted.

‘To you millennials who only know of and rely on photo-shop there was a time when we actually hand drew up fliers and printed them out in mass.’ We did not sit at home on a computer and hope people would show up.’

Dark Sky Choir also is a legitimate reminder that no matter how metal changes and evolves it will always return to its roots. Joining Fred Gorhau on this run are Hollywood How – Vocals, Joe Stabile – Bass and Mike James Sakowski – Drums. There is also a certain creative democracy going on with the album because the listener can hear every instrument come through where they properly need to. This may be a new concept to those millennials who have bought into a cheapened form of compressed music for entertainment. The guitar, the bass and the drums are all allowed to breathe and be heard. Hollywood How -Vocals is also allowed to be heard and tell a actual story with the lyrical content instead of it only serving as background noise or instrumental elements. Yes the album is a return to common sense straight away metal performed with a hint of the progressive.

Yes this is a album that is also a triumphant return to the verse/bridge/chorus/solo that metal enjoyed in the 1980’s and early 1990’s here in America. It is also a return of the style of music you would see on MTV instead of shitty and cheesy reality programs that make no sense whatsoever. Now some brief highlights from every track.

Death Of A Nation

The track Death of A Nation is both a track laden with progressive tendencies met with some heavy social commentary. Hollywood How – Vocals soars up into ranges that are explored by Rob Halford, David Coverdale and Primal Fear’s Ralph Scheepers. Fred Gorhau – Guitars shows us a entirely other dimension of his playing. This is a dimension that is more straight away progressive hard rock/heavy metal than what we have been accustomed to hearing in his other outfit The Wizards of Winter. There is also some powerful spoken word element on this track as well.

Like It Or Not

This track fades in a frenzy of a heavy distorted rhythm based chord progression. It has the signature verse/bridge/chorus with great raunchy heavy instrumental passages in harmony with the high end vocals. The guitar solo really shines through with a wonderful melody from the rhythm section.

Walking By Myself

This track here is the standard ballad. For those who were not there or this is still alien to you, the power ballad usually showed up on a album around the second, third or fourth song into the album. It standard ballad fashion this opens up with a beautiful lush acoustic guitar to create a more classical chord progression. The band does a great job painting a beautiful guitar oriented atmosphere for the ballads lyrical content. The guitar solo is spot on with the instrumental off the atmospheric layers.

Die Young (Maybe He Wanted To)

This one is almost a straight away power metal track. Its charging and galloping guitar in harmony with a rather fast bass/drum rhythm section really establish it as one of the faster and heavier songs on the album. In the midst of the fast chord progressions there are some breaks to take the song into a heavier layer. The guitar solo reminds me a lot of Uriah Heep meets Iron Maiden. There are some layers of progressive metal sprinkled throughout this track. The backing vocals serve more as a echo vocal than melodic vocal.

The End

This one starts off on a more old school doom metal chord progressive passage. It contains some very heavy handed and deep doom like rhythm section between the bass/drum/guitar. Even the lyrical content reminds me more of a Black Sabbath Children Of The Grave. The guitar channels Tony Iommi quite well. The bleak instrumental definitely works in perfect harmony with the brooding lyrical material. Part of me feels like I am listening to Trouble meets Iron Maiden on this one. This is definitely a unique tribute of original material to Black Sabbath.

The Sails Of Charon

This one opens up with a blistering down tuned guitar passage. There are breaks in between the rhythm section and the lead guitar. Those breaks allow the song to breathe and grow into itself naturally. A lot this track reminds me a lot of Savatage’s Hall Of The Mountain King both instrumentally and lyrically. The vocals even soar like Jon Oliva’s at times.

Cry For The Legions

This opens up with a blistering thunderous frenzy of layer upon layers in the chord progressions. This track is very heavily progressive induced with the way it builds various layers upon layers on the instrumental half of this. The chorus takes a slight anthem form with the backing vocals. This track is definitely one of those that is designed for fist pumping.

Show No Mercy

This another track that opens up with the galloping Iron Maiden style rhythmic progression. This also is a track that builds layers upon layers. It carries both traditional heavy metal elements with light progressive metal elements. It does take a few breaks to allow the song to breathe so the listener can digest it. The guitar solo is one raunchy beast driving straight away which works very well for the soaring vocals.

Bedouin Caravan

This is the final song on the album and subsequently the end of the journey for now. This track is half a ballad style track and half a straight away traditional metal track. This is also the only instrumental on the album. The rhythm section and stringed sections still do a wonderful work telling their own story throughout the instrumental composition. Some of the elements we have come to know of Fred Gorhau from The Wizards of Winter project shine through on this track more so than the other tracks on the album.

I approached this album with some reservation and caution. It exceeded all of my expectations. This is definitely not a clone of The Wizards of Winter nor does it sound dated where it can easily fall through the cracks and branded as a nostalgia album. This does visit a era of metal many have forgotten about but maintains very modern and updated elements. The updated elements definitely prove this album is not your father’s metal but is also very modern to be your metal as well. With this project Fred Gorhau now has something he can work with on a year round basis without being pigeonholed to a specific time of year like he does with The Wizards Of Winter. I give Dark Sky Choir Dark Sky Choir a 4.5/5.

MindMaze | Resolve | Album Review April 2017

MindMaze | Resolve | Album Review April 2017 

Label: Inner Wound Recordings
Release Year: 2017
Country: USA
Genre: Power/Progressive Metal

 

Band Members

Sarah Teets – Lead Vocals
Jeff Teets – Guitars, Keyboards, Backing Vocals
Rich Pasqualone – Bass, Backing Vocals
Mark “Truk” Bennett – Drums

 

Contact Links 

MindMaze Official Website

Mindmaze Official Facebook Page

MindMaze Official Twitter

MindMaze Official YouTube Channel

MindMaze Official Bandcamp Profile

Inner Wound Recordings Official Website

Inner Wound Recordings Official YouTube Channel

Pennsylvania has been rich in history with strong working class values and ethics. It was certainly the birthplace of the first Continental Congress that declared America’s Independence from Britian, American Industrial Revolution, the Battle Of Gettysburg, and even football’s first real dynasty with the Pittsburgh Steelers. There has always seemed that there is a very relentless hard working independent spirit about that area in America. This has even trickled down to American Heavy Metal/Hard Rock. It certainly trickled down to the sister and brother duo and founders of MindMaze Sarah Teets and Jeff Teets.

To the Power Of Prog audience unfamiliar with MindMaze here is a brief biography from the MindMaze Official Facebook Page :

In a time when female-fronted metal is at an all-time high in popularity but also at an all-time high for copycats and imitators, MindMaze has striven hard to forge their own sound and identity. Hailing from Allentown, Pennsylvania (United States) the band are young but have already released two successful full-length albums since formation at the beginning of 2012. In September 2015 the band was selected to go on tour as a direct support band for metal legends Saxon and Armored Saint on the heels of an independently booked and promoted tour with the Virginia-based progressive metal band Iris Divine. The band has traveled thousands of miles and performed all over the United States over the course of the past several years.

The band’s debut album Mask of Lies has been hailed by fans and critics all over the world as an outstanding piece of independent metal that is refreshing while being firmly rooted in many classic metal mainstays. With no label support, management, or outside hired promotion, the band managed to sell copies of Mask of Lies to fans in 34 of 50 United States and a total of 17 countries worldwide, selling 100% of the album’s first pressing in the first 12 months of its release.

On the heels of Mask of Lies’ success, the band released their sophomore effort Back from the Edge (2014), on October 24th, 2014 in Europe and October 28th, 2014 in USA/Canada via Inner Wound Recordings, featuring artwork by MONOWASP (Seventh Wonder, Harem Scarem, Brazen Abbot, Crash Diet, many more), Symphony X bassist Mike LePond on all tracks, and guest appearances by members of Stratovarius, Pharaoh, LORD, and Draekon. 2015 saw the band release a fan-funded EP in support of their single “Dreamwalker” which featured a selection of cover songs, acoustic versions, alternate versions, and a new original track entitled “Slave to the Cycle”. The EP is on the verge of going out of print after only 6 months on the market.

 

I first discovered this prog/powerhouse back in 2013 around the time their debut Mask Of Lies was to be released. I wrote a review for it during my brief tenure over at Lady Obscure Magazine. Due to respect and good faith I have never reissued that review anywhere else. However you are free to read that review by clicking insert link >> Mask Of Lies Review at Lady Obscure Magazine. I was totally floored to hear a female fronted band come more in the vein of a Savatage meets Dream Theater meets Crimson Glory and Iron Maiden. The last review I wrote for MindMaze seen the band wearing their influences on their sleeves. In 2017 with their third album Resolve I have seen a band mature into one of the most under rated powerhouse’s in the progressive and power metal communities.

With Resolve MindMaze have taken all their influences placed them into a melodic furnace and now have forged their own mature sound. With Resolve Sarah Teets has really come into her own and established her a vocal force to be reckoned with. With Resolve being just their third album the band has really come together like a bad that has been in the industry for 15 to 20 years and have a further developed sense of confidence on this.

The fact that such a powerful album like Resolve is a third album is not a band thing whatsoever. Many many bands have set the table and strides for a long lasting career off the third album. I call it ‘The Third Album Stride’. I will elaborate on that later in this review. Now I would like to point a out a few highlights from every track on MindMaze’s Resolve.

 

Reverie opens up the album with a very melodic acoustic guitar section. Soon the track explodes and the band delivers a powerful wall of sound. The rhythm section with the piano and lead guitar take the listener on a ride and immediately hook their interest. The time signatures are very intricate and mature.This track is written and arranged quite well and also bleeds seamlessly into the following track Fight The Future. This is the first of three instrumentals on Resolve.

Fight the Future begins seamlessly off Reverie. It makes Reverie appear to be the opening credits to a film story or short film before any vocal dialogue is handled by Sarah Teets – Vocals. The opening instrumental section takes on many twists and turns in and out of various chord progressions and time signatures and thunderous rhythmic sections. This contains both power metal and progressive metal elements. The vocals come in very clear, aggressive and with some serious conviction behind them. Sarah has really established herself as one of the more unique and distinctive voices in the progressive/power metal community. The solo’s have a very Iron Maiden vibe about them meaning heavy galloping guitars with highly distinctive bass work that is evident.

In This Void is the second of three instrumentals on the album. Once again the band very eloquently and seamlessly enters into this very effectively off Fight the Future. Although it is only 1:12 do not mistake this for just a filler on the album. There is a purpose served with it. This track moves beautifully with ease into the following track Drown Me.

Drown Me starts off with some really heavy neo progressive elements on the keyboards. The guitar is even tuned to match the neo progressive element. Soon after the band take the more conventional pure progressive/power metal chord progressions. This is a very very guitar oriented track. While taking a European flavor with the power metal half of the track the progressive metal element is much more American. The band have managed to bring both styles in a well balanced harmony along with the wicked time signatures of the rhythm section. This is a track that will appeal to both a North American and European audience thus opening more opportunities for the band on live bills. The track takes a bit of a break for a more ethereal element around the 5:30 mark. The guitar solos seem to be getting stronger and more complex the further into the album the listener gets. This track has a thunderous outro to finish it where it bleeds seamlessly into the next track Sign of Life.

Sign of Life is the first single off the album. It begins as a very traditional melodic progressive metal track much in the vein of Crimson Glory’s Lonley, Queensryche’s Eyes Of A Stranger or even Dream Theater’s Another Day. This opens up with a harmony of a well executed guitar solo in harmony with the rhythm section. The track drops and takes a break where some acoustic guitar is present along with a beautiful vocal harmony. This track is one of the heavier tuned down tracks on the album. The use of a double vocal with back vocals adds a depth not heard on previous albums. There is not only a conceptual theme developing here but a very vocally oriented and mature album. The guitar solo’s are very insane but remain on point with the main objective of both song and album.

Video Courtesy of: ( Inner Wound Recordings Official YouTube Channel )

 

Abandon opens up and continues the guitar oriented assault. The drums are more present in the scheme of things with the rhythm sections. This track is where the band starts to display that European flavor of power metal with more up tempo guitar riffs and aggressive vocals. The vocals are a bit more aggressive on this one and rightfully so. This is a total rhythm and vocal assault from opening to close with more aggressive guitar solo’s as well. There is a very Iron Maiden influence presence on the portions of the guitar solo’s.

Sanity’s Collapse is the third and final instrumental on Resolve. It seamlessly picks up where Abandon left with a slower more rhythmic chord progression throughout the track. The tuned down atmosphere allows for the band to set up the last half of the album and the listener to digest the listening experience.

One More Moment opens up with a ballad like piano passage in harmony with a deep bass tone for depth that adds to the vocal harmony quite well. The band have slowed this one down much more than some of the other tracks on the album. If there is a power ballad on the album this track is it. This is album also takes a very appropriate conceptual element making references of previous song titles like Fight the Future. This is also a very introspective track and it certainly stands out that way.

Twisted Dream has this wicked fade in in the introduction that is absolutely a brutal assault with both the guitar stringed section and the beast of a rhythm section. The band has certainly added a level of heaviness and layered it upon a melodic chord progression. The vocals once again are high priority and upfront. There is some nice vocal effects layered over some spoken word portions serving as a backing vocal. There is some serious depth with a seven string guitar present on the track that is becoming more and more common in progressive and power metal circles. This track just builds layers upon layers of heaviness and depth. Lyrically there is some serious internal issues at work here.

True Reflection opens up much in the vein of a Awaken The Guardian era Fates Warning track. There is some serious guitar work both on the electric heavy and the acoustic atmospheric sides. The rhythm section allows the string section to really stand out without being lost itself. The vocals are some of the most appropriately emotional vocals perfectly complimenting the intricate lyrical issues going on here. The guys perfectly compliment the lead vocal with the back harmonies. This is another track where the band utilizes building layers upon layers with great execution.

Shattered Self opens up with a thrash metal style power metal element. A style more heard on a Iced Earth style power metal. The rhythm section and rhythm guitar are relentless. The vocals are very melodic and ethereal over the instrumental portion. That is something very rarely heard in a thrash power metal atmosphere as this song is. There is even the use of a small choir in the backing vocal.

Release begins with a almost classical chamber music style piano passage before the acoustic guitar and vocals come into play here. On the surface Release appears as a ballad. I kind of see this as more of a slower paced song to allow the listener to digest the album thus far and for the band to set the tone to close the concept out on the final track The Path to Perseverance. The guitar solo is very atmospheric in nature.

The Path to Perseverance once again with ease and simplicity seamlessly comes over from the previous track Release. These seamless transitions make the album stand out as the concept album it is allowing the listener to remain immersed in the album and story. The Path to Perseverance is the epic on the album. It has a powerful atmospheric opening set of intricate chord progressions adding both electric guitar and acoustic guitar passages. The lyrical content really is a melodic summary of the overall totality of the conceptual element of the album. With this being well over 11:00 minutes expect longer instrumentals. The ethereal vocal effects add yet another layer upon which this album has been known for throughout. This is also a great closing track in the arrangement if the band ever decides to or has opportunity to play this concept in its entirety live.

Bands whose careers have exploded off the third album are as follows, Dream Theater – Awake 1994 ,Iron Maiden – The Number Of The Beast 1982, RUSH – 2112 – 1976, Fates Warning – Awaken The Guardian – 1986, Savatage – Hall Of The Mountain King – 1987, Nightwish – Wishmaster – 2000 , Blind Guardian – Tales From The Twilight World – 1990 , Ayreon’s – Into The Electric Castle – 1998 , Shadowside – Inner Monster Out – 2011, Evergrey’s – In Search of Truth – 2001 ,Pain Of Salvation’s – Perfect Element Part 1 -2000. I see MindMaze’s Resolve in 2017 being in the conversation 10 to 15 years from now. Resolve is also a perfect title for this album as well. It shows the bands grit and determination that they are going nowhere anytime soon. I give MindMaze’s Resolve a strong 5/5 for maturity and growth.

 

 

Odd Logic | Effigy | Album Review February 2017

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Odd Logic | Effigy

 

Label : Offseason Records
Release Year : 2017
Country : USA
Genre : Progressive Metal

 

Band Members

Sean Thompson – Vocals/Guitar/Keyboards
Mike Lee – Bass
Pete Hanson – Drums

 

Contact Links 

Odd Logic Official Facebook Page

Odd Logic Official CD Baby Profile

Odd Logic Official Bandcamp Store

Odd Logic Official Reverbnation Profile

 

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– Writer’s Note –

To say I was 100% familiar with Odd Logic would be false. I have heard much about them throughout the years by word of mouth from other friends. To prepare for this review I had to go back a listen to their previous material. You can say it was a true crash course. The following review will be written as if I have stumbled upon a new band.

Three man bands are no stranger to the community of progressive rock/metal. Many in fact are some of the most influential throughout the history of progressive rock. RUSH, ELP (Emerson,Lake & Palmer), Italian prog rockers Latte e Miele and at some points King Crimson, and Neu of ‘Krautrock’ or German Progressive Rock all to name a few. These three man bands or ‘trios’ would have maximum distribution in sound considering their numbers. Trio’s a lot of the time have to use one man to compensate for the appearance of two maybe three. This means it truly requires talent of both the craft of musicianship and the trade of performance to take it to a audience. This is very evident in the USA based band Odd Logic.

Odd Logic are the brainchild of Tacoma, Washington resident Sean Thompson. After leaving his original band MINE in 2002, he sought out to build a much more ‘progressive’ sounding band. This was even if he had to call in his ‘guest’ percussionist and bassist alter ego’s. Soon after later releases including Legends Of Monta: Part I – 2006, Legends Of Monta: Part II – 2009, Odd Logic would become a complete band with Pete Hanson – Drums and Mike Lee – Bass. Now as we enter into 2017 the band has returned with a greatly and highly improved project in Effigy.

Just as early progressive metal pioneers of the Pacific Northwest of Seattle Washington in Queensryche released the very pivotal Operation Mindcrime almost 30 years prior. So too Odd Logic now have ‘that-pivotal’ recording in their library with Effigy. Odd Logic’s Effigy has a grand spectrum of many dimensions that fall into the progressive rock and metal banner. Effigy has classic progressive hard rock influences such as Kansas, neo progressive influences of Marillion and Enchant to progressive metal influences such as King’s X Dream Theater, Symphony X, Opeth.

The further into Effigy the listener gets the more all the above mentioned influences begin to really stand out with great clarity. Odd Logic is also one of those bands that do a great job wearing their influences on their sleeve without it appearing they are trying to mock or imitate their influences which sometime’s happens in the progressive rock/metal world. Now let’s go into Odd Logic’s Effigy with some highlights of the well balanced musicianship that lies within each and every track.

 

Effigy the title track and the epic of the album, opens up very much in the vein of Fish era Marillion meets Wounded to Juggling 9 Dropping 10 era Enchant using quality neo progressive elements and time signatures. For the first 5 to 7 and a half minutes of the 17:29 the band executes in and out time chord progressions matched by very intricate time signatures to give the track various dimensions as to keep the listener’s long term attentions spans. Parts of Effigy even show shades of Sieges Even and Subsignal. The band gives the appearance of many shorter tracks within this epic. The listener has absolutely no time to get board. The band are always changing things up.

At the 8:30 mark of Effigy a wonderful and classic Hammond Organ comes into play to carry the track further into the bands objective for this track. The guitar solo’s have this big ethereal sound to blend into the various dimensions of the synths. The various sum of the parts of the instruments fulfill the purpose both in isolation and harmony. The various time signatures give different pictures on the tapestry and the theater of the mind of the listener. Effigy is certainly non stop time signatures and non stop chord progression change up’s on all levels of the audio senses.

Master Of The Moor starts off with a thunderous passage heavily based in the bass/drum rhythm section. The track gets progressively heavier and heavier going forward. There is a very fluid yet wicked underlying Hammond Organ section giving this track some heavy soundscapes and darker dimensions. The guitar has some serious rhythm based distortion while keeping in step with the intended purpose of the composition structure. The double blast beats also add much depth in Master Of The Moor. About the 4:15 mark the band uses a very abstract yet very easy vibe on the vocal harmony.

 

Mercenary explodes in the intro with a very Opeth Deliverance to Ghost Reveries era style passage. The band make excellent usage of the death growls in harmony with the instrumental portions. The death vocals interchange with various clean vocals on various different vocal scales. The track breaks and goes back into a cleaner vocal oriented track utilizing various vocal harmonies with both lead and background vocals trading off.

 

The Yearning the shortest track on the album still packs the same progressive punch as any other song on Effigy. This one opens up with a beautiful acoustical passage that is soon joined in harmony with the lead vocal. The vocal isolation allows for the vocal to tell a story. Soon backing vocals come in and it lowers the discriminatory defenses the listener may have. If there is a ballad on the album The Yearning is definitely it.

Witch Runner opens up with a more straight away conventional progressive hard rock intro. The neo progressive element in the intro continues to show the bands depth and progress. As I listen to this song in particular much more, I start to see the band forming their own sound off the many influences within the progressive rock/metal communities. Sean Thompson has a very strong Ted Leonard of Enchant vocal style working. The song takes on a much more melodic progressive metal approach at the 3:15 mark. The Opeth style death growls return on this track and on the instrumental portion of the song it takes a very blistering narrative. The band keeps its core objective in multiple time signatures and chord progressions on Witch Runner.

Iron Skyline starts off with a killer full on progressive metal passage before taking a break and and allowing the vocal to be isolated as to tell a story. The isolated vocal also gives the appearance of an ethereal register. Now the band are doing a incredible job coming together as a unit. Iron Skyline in all its complex time signatures can also be performed live as a three piece. The band never make the mistake and record something they can never play live. They execute their individual talents and allow breathing room for all the sum of the parts to really come together in harmony. This even holds true with the continual interchanges within the various time signatures and changes as a result. The track continues with some of the best guitar solo’s I have heard in some time. The band truly displays its very guitar oriented narratives.

Memories Of Light opens with a beautiful acoustical guitar passage along with a vocal chant that is practically a bit haunting. Soon that drops off and the drums take center to carry in a full instrumental and harmonic passage. The song soon takes on a anthem style about it. This track has a lot of personality that it gives the appearance that every instrument takes the lead at various points throughout the song. The guitar solo is as if the band wrote some jazz influenced passage and transcribed it to the guitar. At the 5:20 mark the track takes on some very interesting vocal harmonies.

Maiden Child opens up with some very wicked and deliberate rhythmic progressions. This opens up with some serious distorted grit with some power behind it. There are multiple levels in this one that leads in and out of various time progressions giving the song many faces and atmospheres. As a matter of fact this is the most atmospheric track on the album. The time signatures actually dictate the atmospheric narrative on Maiden Child. The guitar solo’s blend in nicely with the heavily lush atmospheres. This track allows the listener to become enveloped in it on many levels. The track is truly anchored by the Hammond Organ styled synth blended with the rhythm section. This track gets heavier and heavier the further you go into it. The vocal melodies really rest in harmony with the Hammond Organ styled synth. There is a fade out effect on the outro before fading back in briefly for the finish.

After going through the bands earlier efforts in my preparation for this review, I see a band that continues to grow. I also see a band that continues to improve in all areas of album making. Whether it is in the writing, recording, mixing, engineering or mastering Odd Logic improve more and more on every album and every song. I feel Effigy is the first album that gives the band a quality set list for live shows. Just on the improvements and effort to detail alone I am giving Odd Logic’s Effigy a 4/5.