The Batlord

But hating Bon Jovi is like hating kids with Heelys. Yeah they're annoying and ****, but they're unintentionally hilarious and you haven't been subjected to them for years.

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Ol’ Qwerty Bastard

i love heelys, i lived through their cultural height as an elementary school student. Bon Jovi is significantly less cool than shoes with rollerblade capabilities.

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Music Blog / RYM / Last.fm / Qwertyy's Journal of Music Reviews and Other Assorted Ramblings

The Batlord

Gross.

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Trollheart

Comments all expected. May I just add, go **** yourselves.
And now, on to the next:

Album title: Digital Ghosts
Artiste: Shadow Gallery
Year: 2009
Nationality: British
Genre: Progressive Metal
Rank: High Priest
6

One of the very first reviews in my original journal is a double one, concerning Shadow Gallery's albums Tyranny and Room V, which together tell a dystopian story, and I have been into them since I found and listened to the latter album, afterwards collecting all their others. The discography was, admittedly, small, and remains so. This is their sixth album, and having been released in 2009 with nothing afterwards, it seems fair to conclude it may have been their last. It was the first album put out by them since the untimely death of former lead singer and founder Mike Baker, and though I've only listened to it I think twice, you can hear the pain and the loss in the songs, and it's a much darker album than they've recorded up to this point.

1. With honor: Not surprisingly a tribute to their fallen bandmate, this is a heavy, frenetic piece of progressive metal, and new man Brian Ashland does his best to fill those big shoes, but he's no Mike Baker, nor I guess should be try to be. One thing Shadow Gallery do well is vocal harmonies, and this album is no exception. The core of the band is of course still here, and Gary Wehrkamp and Brendt Allman share guitar, keyboards, bass and backup vocal duties among them, with Wehrkamp even looking after the drumming. The familiar Shadow Gallery melodies are here in abundance, and if you're a fan you would not mistake these songs for anyone else's. Yet there's something missing, as I suppose you would expect: the album is called Digital Ghosts, and there's one huge ghost looming over every part of it, a man who will never be forgotten in the ranks and history of this band.

The song titles themseleves speak of this, with titles like “Strong”, “Pain” and “Venom”, and the closer, “Haunted”. It must have been hard for the guys to continue on after losing the friend and colleague they spent sixteen years with (thirteen in the case of Wehrkamp, who only joined in 1995 for the second album) and Baker's a hard ghost to exorcise. His fingerprints are all over the music here, his voice echoes in that of his replacement, and there just seems to be a very deep dark pall over everything. Shadow Gallery didn't tend to write necessarily happy songs, but there's a real sense of gloom and loss over the music here. Starting with a ten-minute track was either a brave or a foolish move, but I've yet to really get into this opening track, and feel it definitely lacks something. Must admit though, the sad keyboard ending is almost like a final salute to Baker, almost a last post.
2. Venom: Kicks things back up with vocals from Suspyre's Clay Barton, sort of reminds me of older tracks like “Cliffhanger” and “Deeper than life”. Some great guitar from Gary here with powerful keyboard work too, and the lyrics spit vitriol as Barton snarls ”I wrap a curse around your throat” and envisages the end of days. Heavy stuff.
3. Pain: Another thing this band do well is look behind the mask, get right down into the details and tear apart the lies. They don't do this as viscerally as the likes of Slayer or Cannibal Corpse do, but I believe they do it as effectively, by exposing the real face of humanity in all its vainglory. Seldom though will they waste time on empty words of love and devotion; they're usually more into the bitter, recriminatory type of message, and here this is exactly what we get when Ashland sings ”And what of all that talk/ About how two become one?”. Laying bare the realities of life is something Shadow Gallery know all about, and they use it to good effect here. There's a nice kind of marching beat to the song, and it's driven well on the twin guitars of Wehrkamp and Allman, with plenty of keyboard flourishes on the way.
4. Gold dust: Keeps everything running at a high tempo, with some squealing keyboards and grinding guitar. The familiar motif used in many Shadow Gallery songs is here, kind of their signature sound, with again great vocal harmonies. On a long keyboard outro it flows directly into
5. Strong: where guitar takes over, marching along as if the two songs were in fact the one. A searing solo from Gary to get the track underway before guest vocals come in from Primal Fear's Ralf Scheepers. It's a very dramatic kind of rhythm with a sort of boogie feel to it as well. In the middle it rises to a pumping, frenetic keyboard solo from Wehrkamp before guitar joins in too. The lyric really is poor, sub-Rainbow material, quite dated and not really worthy of the band, perhaps another reason why I don't find myself as drawn to this album as to their earlier, far superior efforts. Like I said, there's something missing, and it doesn't help that there are two guest vocalists on the album. There are only seven tracks in all: did Brian Ashland feel he couldn't handle all of them? It makes for inconsistency, and while nobody would want to see Mike Baker's legacy tarnished, and nobody could properly replace him, you'd think they would have given it a decent go.
6. Digital ghost: Great intro to the title track, really reminds me of the Shadow Gallery of old. Descends into a slow slide guitar passage then, almost reminiscent of Gilmour, then that famous rapid piano comes in and suddenly it's 1995 all over again. Perhaps this will be the one to change my mind about this album. Opening lines ”I believe in the afterlife” shows you right away where this is going. When they all sing in unison ”The circle remains here my friend/ We guard it with trust” you can't help but be moved, even if the wording is a little off. It's a touching song, obviously a tribute to Baker and their final musical farewell to their friend, and it's a fitting tribute. If the rest of the album was like this I'd have no problem with it. There's quite a jazzy little piano piece here at about the sixth minute, and harmonies that put me in mind of early Yes, followed by a truly exceptional guitar solo.
7. Haunted: A fitting title for the last track, the closer to this album and possibly the last song we'll ever hear from Shadow Gallery. This album is certainly haunted by the restless ghost of Mike Baker, and I'm not even sure it's a spirit they want to put to rest. A soft piano with group vocals introduces the song, tolling bells underlining the message with perhaps a little too heavy a hand. A fine vocal by Ashland, and he distinguishes himself well at the end. It is the final farewell though, and all the band take part in it, there being more vocal harmonies and group vocals here than anywhere else on the album, as if everyone wants to have their say, be counted, shake the hand and hold the shoulder one last time. A Brian Maylike guitar solo comes through in the third minute, and you can feel the emotion and the pain in Gary Wehrkamp's fingers, reaching right down from his heart to the guitar strings. The song then takes on a harder edge as it speeds up, keyboard flurries adding to the melody.

But as we reach the sixth minute it slows down again, taking on a stately, almost reverential tone with a a particularly poignant line in ”Another good man goes down” and the last minute or so of the song is driven by impotent, frustrated anger, guitars whining and the final lines, as bells toll, an appeal perhaps for there to be something beyond this life, continuity beyond the grave as they sing ”And on and on, and on and on...” the drums beating out a final sad tattoo as they fade into the distance.

Conclusion: I can understand the album better now, having read the lyrics for the first time, but it still stands as one of Shadow Gallery's weakest efforts for me, and this rankles. If this is to be their final recording, their swansong and their tribute to Mike Baker, it really needed to be a whole lot more cohesive than it is, and better written. I've looked over the lyrics and some of them are so embarrassing it's painful. I wouldn't expect that from a band whose first language was not English, never mind from one for whom it is their native tongue. It's also something of a mishmash of styles, with no real common thread going through it, and as I said, the reliance on guest singers really damages Ashland's chance of making his mark as the new vocalist, should they go on to record more material. Even if they don't, had his been the one voice carrying the album then the message would have been stronger; as it is, it's very confused. Do they think nobody could replace Baker? Probably true. Are they afraid to try, for fear of sullying his memory? Perhaps. But if this album is, as it surely must be, a tribute to him, should Shadow Gallery not have made it the very best they possibly could? I feel in this, though they hit the mark later on, overall they missed the opportunity.

And there may not be another one.

Rating:

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Trollheart

Album title: For the Journey
Artiste: Threshold
Year: 2014
Nationality: British
Genre: Progressive Metal
Rank: High Priest
10

I've been a fan of British progressive metal band Threshold since I first heard Subsurface, and quickly set about buying the rest of their discography. I can honestly say I've yet to hear a bad, or even substandard album from this band. They're not guys to rush out releases though: their album before this was out two years prior, and three years elapsed between the release of that and their 2007 album. So when you get a new Threshold album, you're pretty certain it's going to be an event.

1. Watchtower on the moon: A big heavy guitar from Karl Groom to get us underway, underscored by wailing keyboards from Richard West as Threshold lay down their signature sound, Damien Wilson in fine form on vocals, and the vocal harmonies are as usual spot-on. Some vocoders and then a really nice group vocal in the middle before the guitar picks up again with another fine solo from Groom, ably assisted by Pete Morten. Great start.
2. Unforgiven: Slower with some nice acoustic guitar and a dramatic keyboard line. Great passion in Wilson's voice; he always throws himself fully into every song.
3. The box: Every Threshold album has an epic, and this is twelve minutes long. Opens on a beautiful piano and synthy line with a soft vocal, then it starts to get a bit more intense, faster, with someone yelling about a machine in the background (may be taken from a movie or something) as the guitar kicks in around the third minute with organ overlaying the melody. A cautionary tale, it would appear, about ... um ... I don't know. Losing control? Handing it to others? Forest for the trees? Don't really get the reference, but that's one hell of a keyboard solo just now. Those great vocal harmonies are used to fine effect here. Back to the piano from the opener as we come towards the end of the song, and a big powerful instrumental outro. Class.
4. Turned to dust: Good uptempo track, guitar-driven with a great hook. Another scorching solo from Groom.
5. Lost in your memory: West's piano drives this one though, which feels as if it may be the ballad. Sort of reminds me of “Keep my head” from Hypothetical. Very progressive metal guitar groove and again there's a fine hook in the melody. You could almost hear this playing on the radio.
6. Autumn red: Great driving keyboard line opening the song. Again I have not the first idea what it's about. Very uptempo and sharp though. Love the building line in the fourth minute which brings in the vocal harmonies.
7. The mystery show: A very reflective, ominous guitar with phased vocals; a much slower song, feeling of paranoia and terror clutching at you. Love the chorus. Another really progressive guitar solo from Karl Groom
8. Siren sky: Atmospheric intro that gives way to powerful guitar. A very Yes-style melody in parts, a very optimistic message: ”Instead of walking around all negatively, allowing that to affect your entire outlook on life, why not choose to live thankfully?” Really orchestral-like keyboard ending and a passionate vocal to bring the song, and the album, to a triumphant close.

Conclusion: Another fine album from the band who never disappoint. They may make us wait for their albums, but they're always worth waiting for. Criminally underrated band.

Rating:

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Trollheart

Title:The Unquiet Sky
Artiste: Arena
Year 2015
Nationality: British
Genre: Progressive Rock
Rank: High Priest
8

Expectations: Although I did like 2011's The Seventh Degree of Separation, it kind of only got working for me near the end, although I freely admit I only listened to it the once, so maybe if I gave it a few more listens? Thing is, for me, Arena albums usually don't require more than one listen to impress me, so I have mixed feelings about this new one, their eighth so far.

1. The demon strikes: Hmm. Rather long instrumental opening, almost like the overture to a movie or something, then the guitar crashes in and Paul Manzi's vocals are heard for the second time, he being the new vocalist since 2011. A good track but I feel there's something missing. Seemed to end a little too suddenly.
2. How did it come to this?: Sounds like the first ballad. Lovely cello, great synthwork and as ever Mitchell rules on the expressive guitar. A bit more like the Arena I know.
3. The Bishop of Lufford: An odd title indeed, though Arena are kind of known for their unorthodox subject matter. What's it about? ****ed if I know. Sounds good though. Got a lot of energy in it, and Clive's still got it on the keys. Again though, way too abrupt ending.
4. Oblivious to the night: I like the combination of piano and typewriter keys opening this – another ballad? Vocal is very good on this, like the sort of rolling guitar, but it's really short at less than three minutes and, given that so much time is spent on the piano/typewriter thing at the start, a little of a waste.
5. No chance encounter: Brings me back to albums like Contagion and Immortal?, with the opera singer effect from “Opera fantastique” off Pepper's Ghost. The most classic Arena song I've heard on the album so far. Gives Manzi a chance to really exercise his lungs.
6. Markings on a parchment: Another short one, though this time I believe it may be an instrumental. Yep. Not bad at all really. A little sparse perhaps. Well, mostly instrumental: some backwards masking or some **** in there too. Not sure why; doesn't really work for me. The choir at the end is good. Again too short though.
7. The unquiet sky: Love the pizzicato strings at the beginning. Okay, this is the first song so far that has really impressed me the way the old Arena did. Love this. Superb piano, powerful guitar, a great melody.
8. What happened before: Back to Contagion style with a lovely rippling piano, and I'm getting used to Manzi's vocal, which is not really that much different to the departed Rob Sowden's.
9. Time runs out: A good powerful rocker, again reminiscent of the Contagion era.
10. Returning the curse: I have to be honest, the feeling I keep getting from this album time after time is Contagion, and while that's not necessarily a bad thing, that album was over ten years ago...
11. Unexpected dawn: Opening with basically the theme from “Breathe” from Dark Side of the Moon is not the greatest move: it's so well known that there's no way you can believe they wrote this part of the music themselves. A decent ballad though. Would be a lot better if it didn't sound so much like a Floyd track from the seventies.
12. Traveller beware: Good decent strong closer. I like the way they pull the title of the album into it, even though there is a separate title track.

Final result: Again, it is only the first listen to an album by a band I really love, and it probably will grow on me with repeated listenings, but for now, first time out of the gate, though I'm a little more impressed with it than the previous album I'm still not floored. Definitely great, but is it excellent? Time, I guess, will have to tell. For now:

Rating:

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The Batlord

Side note: I'm always confused by people who give mediocre-to-decent reviews of an album and then say it's great.

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Frownland

I think his review was pretty good, actually.

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Studies show that when a given norm is changed in the face of the unchanging, the remaining contradictions will parallel the truth.

Trollheart

I said it was great because I am an Arena fan and love their music. But I'm prepared to admit that sometimes the album may be a little of a letdown and I'm not ready to slobber all over any artiste just because they are who they are. I even hated a Marillion album, and made no bones about saying so. I Greened everything here because I know after a few listens I probably will love this album, but if I really did love it most or all of it would be Blue.
Coming from you, that really means a lot. Thanks!

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The Batlord

Yeah that was a joke. He doesn't actually like your writing.

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