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Interview: Jon Rossi – Pilgrim

Posted on January 5, 2012 by Daniel Aston

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The almighty doom metal trio Pilgrim are set to release their debut album ‘Misery Wizard’ via Metal Blade Records later this month and I interviewed member Jon Rossi to find out more about their upcoming release and how they intend to resurrect the Doom Metal genre. The American group intend to revive the classic sound of doom whilst entwining it with their own intriguing personality that fuses imagery of sorcery, secret societies, aliens and tyrants of evil! A definite band to watch out for in 2012.

Daniel Aston: What can metal fans expect from your upcoming debut?

Jon Rossi: The reinvention of doom metal for a new generation of rock and metal fans.

DA: How did the band get together?

JR: Me and Krolg have been playing together since our freshman year of highschool. We bonded over the music we listened to. Over the years we had many bands and musical phases. After a while we stopped playing together because we had no musical direction, no influence. During this musical recess we discovered bands like Sleep and Acid King and Electric Wizard. We were really inspired by these bands. Eventually, as we delved deeper into music, I stumbled upon Reverend Bizarre’s very first 4 song release. It changed my life. It was then we decided we wanted to carry the doom metal torch.

DA: How would you describe the sound of your music?

JR: Heavy. Powerful. Triumphant. Unyielding. Aged. Huge!

DA: You want to bring true doom metal back to the masses, do you think that modern bands have misshaped the classic genre?

JR: Absolutely. Naming your band after an Electric Wizard song and ripping off Sleep riffs is not doom metal. Wearing funeral suits and crying about how sad you are is not doom metal either. Grow up and write some real music! Be yourselves, not someone else!

DA: What inspires you to write lyrics?

JR: Swords and sorcery, demonology, secret societies, aliens, our fucked up country and planet, and defeating the tyrants of evil.

DA: What is the song writing process like within Pilgrim?

JR: It takes us a very long time to write songs. We’ll only use a riff if it’s very unique and original, and sometimes it can take months to produce something like that. I’ll present the riffs to the guys and they’ll write their parts to it at practice. Our song structures are simple and blocked together in a classic ‘song’ style, we like ‘verse chorus verse’ style songs. I feel like most bands are trying to move away from that. Blasphemy!

DA: Is there a particular song off the upcoming album that you’re all particularly proud of?

JR: I like Adventurer a lot. I came up with the riff when I was about 16 or 17 while I was walking through a field with my guitar. It makes me happy that this old song finally got recorded and it came out amazing. Also, it’s very much like a theme song for us. It’s a short story about the band.

DA: Who are your main influences as a band?

JR: Reverend Bizarre is huge to us. They are my personal favorite band. Pentagram, Earth, Acid King, Saint Vitus, the Melvins, Electric Wizard, Sleep, anything dark, huge and heavy.

DA: The artwork for your upcoming album Misery Wizard is rather unique, what’s the story behind that?

JR: It’s a beautiful piece done by Paul McCarol of Unhinged Art. We wanted a renaissance style painting of the Misery Wizard for the cover and he did it. Different elements of the cover mimic the content of the songs on the record.

DA: Are there plans to tour after the album is released?

JR: Yes, we have a short east-coast US tour in the beginning of March with Windhand and NATUR, and later that year we’ll be playing the Heavy Days in Doom Town Festival in Copenhagen, Denmark

DA: How did your individual stage names come about?

JR: They are our Dungeons and Dragons character names.

Interview: Joey Eppard – 3

Posted on November 22, 2011 by Daniel Aston

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American progressive rock outfit 3 have recently released their new album The Ghost You Gave to Me. The album is a continuation of the band’s intriguing musical style and has been met with appraisal from fans and critics across the globe. I interview frontman Joey Eppard and find out more behind making and influences of the album, the band’s current direction and Joey’s fascination of the number 3.

Daniel Aston: How would you describe the musical direction taken on your new release, ‘The Ghost You Gave to Me’?

Joey Eppard: I think this record is a logical evolution from The End Is Begun. The music is more compositionally creative this time around which adds some challenges. The songs tend to have more scene changes, which makes for a more dynamic, almost cinematic type of listening experience. The biggest challenge becomes weaving a strong lyrical and melodic thread through these progressive soundscapes. The better part of my time was spent on making the flow of the melodies and vocals really live up to and even enhance the music. I think this is our most cohesive record yet even though it is very diverse.

DA: What inspired you to write the music and lyrics on the new album?

JE: After we’d done all this touring with the likes of Porcupine Tree, Dream Theater, Opeth, BTBAM and even Scorpions, we had a voracious creative appetite. We were feeling very inspired to write and by the time we finally got a chance to do so we were on fire musically. We had so many Ideas for this album…. there are another 13 songs that didn’t get finished. After making Revisions, which was a collection of revisions of some of our most pop-like material we were ready to break out of standard. We knew we wanted to allow the compositions to go where they wanted, we weren’t going to try to limit song lengths unless it made the song better. We wanted to push ourselves on every level, making a cinematic record with lots of scene changes while still making every song memorable and potent. I think the idea for us is to always push ourselves farther on each record. I found myself writing stuff that I had to work hard at being able to play well, and then coming up with elaborate vocals on top of that.

Lyrically, there are some over-arching themes. Right around the time we began writing for The Ghost You Gave To Me I found out I was going to be a father. It was a wild ride for me, and it had a huge impact on every aspect of this record. Something that came up for me was becoming aware of my own mortality. I think when you are bringing a new life in you can’t help but see the other side of the equation, that in a sense your time is running out. Many lyrics on this album deal with this, in fact some passages are written to my son directly, for a future when I may no longer be here. “But if I should change before your eyes, don’t be fooled by my disguise. You were born of my demise and I’m a willing sacrifice. Should you wake before you die, don’t let a day go by. Don’t believe a word they say, I’ll be back again one day.”

When you’re going through a lot in life I think it tends to translate creatively. Not only the fatherhood thing but as a band we’d been on a roller coaster. We’d signed to Roadrunner Records, gotten dropped before we even made a record, and then returned to Metalblade. We were reeling from it all but in the end it brought us to a place where we just wanted to focus on making a great album. We realized the only power we really have is in the music and all the other bullshit has to take a back seat. React really exemplifies our attitude about all we’ve gone through in the last few years. It is a story but it’s also a metaphor for all we’ve been through as a band and still kept at it. The girl in the song represents the dangling carrot, the dream, the ghost we’ve been chasing all these years trying to “make it” as a band. We’ve signed two major deals in our career and both times got dropped before we could even make a record. “She came to me twice but she fell through the ice, I watched as she sank like a stone.” The song is about taking ownership over our career and the anthemic chorus exclaims “I’m not gonna give up this heart attack, I REACT!”

The other side of the lyrical coin are those songs that were last minute efforts lyrically. For the song “Numbers,” I had one day to write and record my vocals. I had to get in touch with my frustration about how things work here in the US. Our government usually favors large corporations over people and it has to change. For example, I believe that as an American I should have the right to choose whether or not to eat genetically modified foods. I don’t have that right in this country though because our government sides with big agrabiz and refuses to enforce the labelling of GMOs. Hopefully this will change. There are many other examples of this type of thing and the lyrics for this song are all words I can stand by. “You look down on me, all your eyes can see, numbers on a screen, looking back at you I can see right through, you’re not what you seem.”

DA: Is there a particular moment on the album that you and the rest of the band are particularly proud of?

JE: I think the song “Numbers” is probably the best example of our band firing on all cylinders. Everyone equally contributed to the music so it really exemplifies our four personalities. You really get a strong sense of who we are and how we play.

One of my favorite moments is the solo of “Only Child.” There is some really intricate tapping going on underneath the prime melody. It’s a very unique combination of elements and is such a twist from the verse that proceeds it.

DA: You have a busy November tour schedule supporting Cynic in the US, are there any plans for further dates across the globe?

JE: We do have aspirations to tour the world. We plan on running a kickstarter campaign this winter to help raise the funds to do it. I did one to raise funds to make a DVD of my solo set and it was hugely successful.

DA: How much of the new material can we expect to hear in the new live set?
JE: Depends on how much time we get. Most likely it will be at least 50% new material.

DA: You have played alongside many progressive bands over the past few years including your slot at 2008’s Progressive Nation tour, would you call your music ‘progressive’?

JE: It is the only genre classification that has really stuck for us. I do think it fits us, because we take the term “progressive” to heart. It’s not just stacking up a million different parts for the sake of sounding complicated. To me there are much deeper ways to be “progressive.” They involve the lyrical imagery and melody as well as the structure and intricacies of the music. It’s also about musicians having their own voices and approaches so that you are really creating something new. Something that hasn’t quite ever existed before. It’s about pushing your own boundaries, and not living inside a 1- dimensional box. It’s about generating a musical persona that allows for transformation, growth and evolution. So that people expect it, crave it and grow with you. Music has always had the power to influence the expansion of consciousness and that is truly the most progressive aim I can think of.

DA: You were personally chosen by Mike Portnoy for that tour, how did that feel?

JE: It felt pretty damn awesome. We put a lot of hard work into this band and it feels great when you get some acknowledgment for your efforts. It was a huge tour for us. Mike is a really great guy and a true rock soldier.

DA: You have also had successful live shows supporting the likes of rock legends Scorpions, would you say this is a testament to your music’s strength and wide appeal to fans of multiple genres?

JE: That’s always been one of our strengths. We reach people of all races and ages with our music. Often we have entire families show up to our gigs because we’re the only band they can all agree on loving. Seriously, kids, parents and grandparents! We have fun when we play and that translates to almost any audience.

DA: Your music has fallen into a variety of different genres during your career, who would you say are your main musical influences as a band?

JE: We each bring our own influences to the table. The Beatles, Led Zeppelin, Pink Floyd and King Crimson are strong contenders.

DA: You have been reported to have a fascination with the number 3, what can you tell us about that?

JE: Ever since I was a kid there was something about the number 3 that always really inspired me. I used to have these dreams about it… I think it is a key of sorts. We live in a 3-dimensional physical space, on the 3rd planet from the sun experiencing time as past, present and future in a form that consists of a body, mind and soul. Musically we try to create music that is 3-dimensional.

Interview: Richard Christy – Charred Walls of the Damned

Posted on November 15, 2011 by Daniel Aston

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American metal supergroup Charred Walls of the Damned have recently released their highly anticipated second album Cold Winds on Timeless Days receiving rave reviews across the metal community. Richard Christy (Death, Control Denied, Iced Earth), Tim ‘Ripper’ Owens (Judas Priest, Yngwie Malmsteen), Steve DiGiorgio (Death, Control Denied, Testament) and producer/guitarist Jason Suecof join forces in what is undoubtedly one of metal’s most exciting outfits today.

I caught up with drummer and songwriter Richard Christy and found out more about the band, the making of the new album and also the latest on the highly anticipated second Control Denied album.

Daniel Aston: Congratulations on the new album, how did the making of the new record compare with Charred Walls of the Damned’s debut?

Richard Christy: This record was much easier to make and went much smoother, not that we had any trouble with the first album, but with the new album, the demo tapes that I wrote and recorded for the album were much more detailed and complex so once we got into the studio we had a very good idea of how this album was going to sound, which made it much easier to record this new album.

DA: The recording process for the new album was completed very quickly with the drums only taking two days, was that a natural occurrence?

RC: I think that’s because we were all very well rehearsed. I played the 12 songs for the album every day for two months on the drums in my rehearsal room in Queens, New York so by the time I was in the studio I knew the drum parts like the back of my hand. It’s the same thing with Steve, Jason, and Tim too, I sent them the demo recordings for the new album about two months before we started recording and they were very well rehearsed by the time we got into the studio and they knew their parts very well. We were able to get a very raw, live, and tight sound on the album because everyone was so well rehearsed.

DA: You wrote the material on this record to cater to each members’ personal playing style, was that a particular challenge or did it help with the writing process?

RC: It definitely helped, when I was working on the vocal melodies for the demo tapes I would definitely think about Tim’s singing style and put plenty of screams and high parts in there because I know he would sound amazing singing in that style. Same with Steve and Jason, I can’t play guitar or bass anywhere near as good as them but when I wrote the guitar and bass parts for the demos I would tell those guys to improve the parts and make them their own and I knew that on the final album the bass, guitar, and vocal parts would sound amazing once Tim, Steve, and Jason played them.

DA: What was your inspiration behind the lyrical content on this album?

RC: It was many different things that inspired the lyrics for this album. It’s just things that I see every day and things that inspire me enough to write lyrics about them. I’m inspired by a lot of things in New York City where I live, like the song “The Beast Outside My Window” which is inspired by the Queensboro Bridge which I can see out of my bedroom window and every day I see it I’m very inspired because I love living in New York City and I’m very thankful that I live here.

DA: What creative input does the rest of the band bring to the song writing process?

RC: Once we get into the studio to record the album they have a lot of input. I originally write all of the music and lyrics and record everything on our demo tapes, but once we get into the studio I tell Jason, Tim and Steve to put in their ideas and suggest any changes or improvements, so once we get into the studio everyone works together to make the songs amazing.

DA: It is perhaps unusual for a drummer to have such a large role in the music writing within a band, how would you describe your own personal writing process?

RC: I’ve been playing guitar since 1992 so my songwriting usually starts with guitar riffs, although my writing process differs from song to song, like the song “Forever Marching On” which was written around a drum beat that I came up with at drum rehearsal one day. Usually though I start with guitar riffs and then build from there. Even though I’m mainly known as a drummer, I also play guitar, keyboards, and bass so I’m able to write songs.

DA: Is there a song or moment on the record that you’re particularly proud of?

RC: I’m very proud of the whole album but if I had to pick one song it would probably be “Forever Marching On”. I love the drum beats in that song and I’m really proud that it was all written around the drums, and I also really love the middle part where it goes from super technical to straight forward and epic in the middle, the middle part in that song gives me chills.

DA: How did the band form originally?

RC: I had been writing songs for fun from about 2004-2008 and when I realized I had enough songs for an album, I decided to call up Steve, Tim, and Jason and ask them to join a band that I was forming and they were totally into it. At first it was something we were just going to do for fun, record an album of songs that I had written and see how it turns out, but once we got a record deal it became much more serious and I knew this band would be around for a long time.

DA: You’ve worked with some iconic bands in your career, how does this supergroup compare to them? Is there ever a battle of egos within the band?

RC: There are no egos at all in this band, that’s why I chose Steve, Tim, and Jason, because they’re super cool down to earth guys and I knew that we would have a lot of fun in this band and there would be no egos. I’ve been very lucky because out of all of the bands I’ve been in, there have never been any egos in any of the bands I’ve been in.

DA: As individuals you all undoubtedly must have heavy schedules but for you and Steve there is a particular interest from the metal faithful to hear the long awaited second Control Denied album (myself included!). Will you both be going back to that project now this album has been completed and do you know when it is likely to be finished?

RC: Yes we’ve actually been working on finishing this album for a while now. The legal issues were finally cleared up a while back and now we’re working on getting everyone from Control Denied’s schedules and also Jim Morris’ schedule situated so that we can finish the album and hopefully it will be ready for release in early 2012! Chuck’s family is working with Relapse records and we’re all very excited about finally finishing this album so the fans can finally hear it!

DA: Can we expect a tour from Charred Walls of the Damned any time soon?

RC: Yes definitely! We’re speaking with some booking agents now about doing a Charred Walls tour in 2012 and also doing some festival shows. I’m so excited to get out on the road and play all of these new songs, and now that we have two albums worth of material to play so we’ll have plenty of metal to bring the fans in 2012. We should have some show announcements very soon at www.RichardChristy.com and www.MetalBlade.com/cwotd!

DA: What’s next for the band?

RC: We filmed a video for the song Zerospan which we will be releasing very soon and I’m so excited about it! It’s going to be like a 5 minute horror movie and people are going to be blown away by it! We’re also planning on touring next year so I’m really excited about that as well! Thank you so much for interviewing me and for all Charred Walls info you can go to www.RichardChristy.com and www.MetalBlade.com/cwotd! Take Care!

Album Review: Relic – Matt Stevens

Posted on October 19, 2011 by Daniel Aston

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Album: Relic

Release: 2011

Artist: Matt Stevens

Label: Spencer Park Music

Track Listing: 1) Nightbus 2) Relic 3) Rusty 4) 20 GOTO 10 5) Rushden Fair 6) Up 7) Scapegoat 8) Sand (Part 2) 9) Frost 10) 30 END

Internet phenomenon Matt Stevens returns with his latest offering Relic only a year after his critically acclaimed Ghost album. His third instalment is an inspirational blend of progressive guitar passages accompanied by drums, bass, strings, glockenspiel and even the occasional Mellotron. Stevens’ solo climb through self-internet promotion via social media sites and an army of enthusiastic bloggers, podcasters and fans is respectable in itself with his music being well worth the effort to promote.

The cheery grandeur of tracks such as Nightbus and Rusty are a delight upon first listen and the musical textures and melodic hooks grow more impressive with each consecutive play. Known for his technical blend of acoustic guitar music, Stevens moulds intriguing song structures with catchy melody lines throughout this release. The swirling time signatures in Up and Scapegoat create an effortless dreamscape crafted by complex rhythmic passages that appear more beautiful that they do awkward.

Despite the many moments of splendour, Relic isn’t as consistent as its predecessor. Whereas 20 GOTO 10 and Rushden Fair fail to muster the same magic found elsewhere, there are welcomed surprises held within this record. Frost is a prime example; a dynamic explosion of distorted guitars and soft soundscapes that marry perfectly within a spiralling seven-eight landscape, providing a much needed boost of energy to the album. 30 END is a pleasant closing number with luscious Mellotron layering that creates yet another wonderful dreamy soundscape whilst Stevens’ lead guitar melodies serenade the listener into a state of bliss. The chaotic white noise at the end is perhaps a little too out of place yet it is just another testimony to Stevens’ open-minded approach to song writing.

So, if you’re in search of a fresh musical journey that will take you through the realms of prog, folk, ambient and post rock then you can’t go wrong with Relic which has proved itself to be one of this year’s most interesting releases.

Rating: [8/10]

TTT:

1) Scapegoat

2) Frost

3) 30 END

Reviewed by: Daniel Aston, 19/10/2011

Interview: Jon Arch – Arch/Matheos

Posted on October 17, 2011 by Daniel Aston

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After collaborating once again with former Fates Warning band mate Jim Matheos for the successful Sympathetic Resonance album (Review: http://danielaston.co.uk/album-review-sympathetic-resonance/), I catch up with vocalist Jon Arch and quiz him on the process of creating the album, his time away from music and the future of Arch/Matheos.

Daniel Aston: Congratulations on the new album, what was it like getting back into the groove of writing and recording a full-length album after all these years?

Jon Arch: Thank you, one word comes to mind, “daunting” I knew I had a lot of work ahead of me when we started this. Vocally I was at square one and a whole lot older and as far as the creativity, it was a wait and see what happens kind of thing. In a few months time it seemed to be evident that Jim and I were working well together and the music started to take shape.

DA: You worked closely with Jim Matheos on your 2003 solo EP A Twist of Fate, how did the writing for that project differ from the current collaboration?

Arch: Well this full album was a true collaboration between Jim and I like we have worked in the past where Jim presents music to me and through a process I write the melodies and lyrics. ATOF was considered a solo effort because I presented Jim with the Music for Cheyenne and part of Relentless, but in my opinion we both had our creative input on that as well, we just went about it a little differently.

DA: The music that you and Jim have written for Sympathetic Resonance is as impressive as the material from the early Fates Warning days, has anything changed in the way you write songs together and what is the process that you two go through to create lengthy prog epics like Stained Glass Skies?

Arch: Well the beginnings of these songs and the movements that make up the length of a song start with Jim and whatever is inspiring him, and that is done in the privacy of his own thoughts alone. When I write melodies and words it is done in the same way, where there are no distractions, and you can hear your own thoughts. Then when we get together in the studio it’s like a presentation where we get to hear how well or not so well everything meshes together. Usually a little tweaking is all it needs.

DA: Sympathetic Resonance contains performances from musicians that have been a part of Fates Warning at some point or another, what was that like and was it something you planned to do from the start?

Arch: I’m pretty sure before I got involved with this, Bobby and maybe Joey were already working with Jim, as this was originally slated to be a FW record, so actually I was the odd man in this. The guys are all awesome at what they do, and I love all they added to this record.

DA: Your vocal power remains stunning after all these years, did you have to do much work on it before recording?

Arch: You’ll have to trust me when I say that I told Jim if he released any of the early vocal tracks, I would brain him. It took some doing to get into respectable shape, and it’s gonna be lots of work staying there.

DA: What inspires you to write lyrics?

Arch: The music and all its movements get the ball rolling, and with this album the words are of a more real, non-mythological nature, based on a more personal perspective. I have been praised for the honesty and criticized for the self indulgentness, and I couldn’t be happier about that.

DA: Your work with Fates Warning in the eighties has inspired a legion of bands, what’s your opinion on the state of progressive metal today?

Arch: There is no doubt that the technical ability of the musicians in this type of music is unbelievable, almost neurotic at times and can be just what the doctor ordered, but if it is not a cocktail mixed with dynamics and melody it can be tiresome after a while. In an effort to undo insult to injury, there is so much talent out there, much of it still undiscovered.

DA: Who would you name as your main influences in music?

Arch: Well there are so many time periods for me I would break it down as early influences would be, Tull, Grand Funk, Yes, Kansas, UFO, Uriah Heep, Deep purple. Later influences would include, Scorpions, Maiden, Priest, Dio, among many others.

DA: Your return to the music scene is much welcomed by music fans all over the world, why did spend so many years away from it all?

Arch: I was never in a band situation after Fates Warning, and that is the biggest motivator. When you are immersed in something you are passionate about, and you make a living doing it, well there is your motivation. As soon as you step out of that arena, things change quickly and you soon feel like a stranger to something you once knew so well.

DA: Can you give any details on a potential tour for Arch/Matheos?

Arch: Not much to mention at this time, except for one fesival in Germany.

DA: What are your plans for the future, can we expect another Arch/Matheos album?

Arch: After all was said and done, it was lots of work, but we had fun doing it, and the fans made it all worth while… making the way for music in the future.. why not?

Album Review – Chickenfoot III (Classic Rock Limited Edition Collector’s Pack) – Chickenfoot

Posted on September 27, 2011 by Daniel Aston

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Classic Rock Presents: Chickenfoot III

Album: Chickenfoot III (Classic Rock Limited Edition Collector’s Pack)

Release: 2011

Artist: Chickenfoot

Label: Ear Music

Track Listing: 1) Last Temptation 2) Alright Alright 3) Different Devil 4) Up Next 5) Lighten Up 6) Come Closer 7) Three and a Half Letters 8) Big Foot 9) Dubai Blues 10) Something Going Wrong 11) Down the Drain (Live in Phoenix) 12) Oh Yeah (Live in Phoenix)

The lively supergroup returns with their bizarrely titled second album. The version reviewed here is the Classic Rock Collector’s fan pack which includes two bonus live tracks and a host of exclusive goodies. The bulk of the extra items is the 132-page glossy magazine. Inside you will find lots of interesting articles including in-depth interviews, a track by track guide, details on the new live drummer and features on Satriani and Hagar’s respective solo careers (although disappointingly dodging out the Montrose albums). The presentation is clear and it’s a real delight to behold. A great deal of 3D imagery is used inside the mag and also on the four postcards inside the album packaging with 3D glasses included. The cards also include amusing interviews with the band members and bar codes that allow bonus video content to be accessed when scanned by a smart-phone. The icing on the cake is an official guitar pick pack for all those aspiring Satriani shredders out there.

So far so good, now down to the quality of the album itself. The band have deceivingly dodged the ‘difficult second album’ in name, but thankfully they have also produced a solid album that completes the illusion. This is after all not a strenuous second offering and if anything cements the band’s reputation as a strong creative unit. Egos still tamed, Chickenfoot III is the sound of a band growing musically – not a group of rock gods trying to outplay each other.

Last Temptation is a strong opening number and is as impressive as the material on their debut. The band’s bluesy roots are again in full swing with catchy chorus lines being pumped into every anthem giving this album plenty of replay value. The memorable funky riffs that spawned all over the previous release are present here in numbers such as Up Next and Big Foot. The softer songs are just as strong with the likes of Different Devil and Come Closer showing that the band can do more than just party with Hagar’s vocals being suitably versatile. Three and a Half Letters sees the band produce a fiery and rebellious monster. Tales too familiar of individuals struggling to find work in an unfair world are represented with class and passion accompanied by the explosive musical performances of the band.

Satriani’s guitar solos are as well-crafted and just as tasteful as before. Sure he’s known as a shred master, but his melodic lines in songs such as Alright Alright and Something Going Wrong are both technical and musical to a high standard, showing professional restrain when needed.

The new album is a good listen and is destined to please fans that have already lapped up their debut album and energetic live DVD Get Your Buzz On. Two tracks from that video make up the bonus live tracks in this package. Lengthy versions of Down the Drain and Oh Yeah sound not only as crystal clear as the record production-wise, but they also sound better than the majority of the new material. There are occasional shades of mediocrity in the likes of Lighten Up and Dubai Blues which fail to muster up memorable qualities and the overall feel of the album isn’t quite as great as their first effort. There’s plenty to enjoy here and the extras in the Collector’s Pack make this particular version an essential purchase this year.

Rating (Collector’s Pack): [9/10]

Rating (Chickenfoot III): [7/10]

TTT:

1) Last Temptation

2) Three and a Half Letters

3) Come Closer

Reviewed by: Daniel Aston, 27/09/2011

Album Review: A Dramatic Turn of Events – Dream Theater

Posted on September 22, 2011 by Daniel Aston

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Album: A Dramatic Turn of Events

Release: 2011

Artist: Dream Theater

Label: Roadrunner

Track Listing: 1) On the Backs of Angels 2) Build Me Up, Break Me Down 3) Lost Not Forgotten 4) This is the Life 5) Bridges in the Sky 6) Outcry 7) Far From Heaven 8) Breaking All Illusions 9) Beneath the Surface

Arguably the most anticipated Dream Theater album in quite some time, A Dramatic Turn of Events is the aptly named product of a shaken band. Co-founder, drummer and songwriter Mike Portnoy infamously departed last year on the back of the group’s most successful album in search of a more metallic venture with Avenged Sevenfold. Once he was surprisingly shown the door from that project he was justifiably denied his place back in Dream Theater and the band (after a long drawn out process) recruited former Extreme and Annihilator powerhouse Mike Mangini. Recent reports that Portnoy is now looking to sue his former band mates is casting yet another shadow over the Dream Theater camp, but if not more so over the ex-drummer himself. For this new album is the result of a band bravely marching on, leaving the past behind and embracing a new future. Perhaps their strong defiant approach has left Portnoy more than just a little bitter.

Eager fans will already know the opener On the Backs of Angels since it was released as an early album teaser. Our first glimpse of the new outfit is most impressive. A technically advanced yet musically enjoyable track, the opener proves to be one of the most satisfying Dream Theater tunes in recent years. Beautiful chiming clean guitars marry with the atmospheric keyboard pads and chugging riffs. Build Me Up, Break Me Down is also a success, presenting brutally heavy memorable riffs and catchy chorus lines.

Lost Not Forgotten sees the band return to the technical exploitation that they’ve become renowned for. The complex sections are perfect opportunities for Mangini to prove his worth, complementing shifting rhythmic patterns with his likeable, if not Portnoy-inspired style. Despite the instrumental virtuosity, the track fails to deliver on the melodic side. At ten minutes in length it falls victim of a tried and tested formula that the band have been milking to death over the last decade. Outcry and Breaking All Illusions contain further examples of this.

Bridges in the Sky is a more inspired musical venture. With an intro that contains Tibetan throat singing, harps, oriental chimes and a choir, the track sets itself up to be nothing short of epic. It doesn’t disappoint with the eleven minutes packing in quality riffs and melodies to make it easily one of the most playable tunes on the record. The inspiration is also found on the tender ballad Far From Heaven. The single-length song contains a believable performance from James LaBrie accompanied by piano and strings. A much more stripped-down song, it proves to be one of the album’s most enjoyable. Beneath the Surface has the same approach, the band proving that they can do just fine without a drummer at all.

If fans had any doubts that Dream Theater would struggle without Portnoy then they can breathe a sigh of relief. A Dramatic Change of Events contains some great material and much promise for where the band may grow with future releases. This is one of their more enjoyable records in recent years and a strong one at that.

Rating: [7/10]

TTT:

1) On the Backs of Angels

2) Far From Heaven

3) Bridges in the Sky

Reviewed by: Daniel Aston, 22/09/2011

Album Review: Heritage – Opeth

Posted on September 19, 2011 by Daniel Aston

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Album: Heritage

Release: 2011

Artist: Opeth

Label: Roadrunner

Track Listing: 1) Heritage 2) The Devil’s Orchard 3) I Feel the Dark 4) Slither 5) Nepenthe 6) Haxprocess 7) Famine 8) The Lines in My Hand 9) Folklore 10) Marrow of the Earth 11)

Here it is, the most controversial Opeth album to date. Fans were warned well in advance that Heritage would be the start of a new musical direction that, daringly, would contain no death growls; the only album to do so since 2003’s Damnation. Whilst Watershed was an aptly named step in a new musical direction that largely favoured soft melodies over brutal death metal, this new release is another world still.

With keyboardist Per Wiberg departing from the band earlier in the year, his replacement Joakim Svalberg opens up the album with the solo piano piece Heritage. The beautiful solo spot conjures up classical and jazz vibes, a little on the short side at two minutes, it’s merely the doorway to the journey ahead. The Devil’s Orchard is a fine representation of the new style. One of the first noticeable changes is that the guitar tones are noticeably fuzzier and less ‘metal’ than before. Martin Axenrot’s drumming also adds an entirely new dimension to the sound. Credit has to be given to his playing here, his technical jazz talent is present throughout the album and the band’s new style has given him space to prove himself a versatile musician. The new sound takes a while to get used to but once the past is left behind there’s no doubting the grandeur of the opening song. Well-structured and melodically rich, The Devil’s Orchard is sure to become a staple in the new live set.

Whilst I Feel the Dark contains the classic Opeth acoustic vibe fans will be accustomed to, there are songs here that unashamedly display Mikael Åkerfeldt’s other musical influences. Slither is indisputably Rainbow. Not only that but it contains a guitar solo that is characteristically Ritchie Blackmore in every way. Their roots are revealed further with Ian Anderson-inspired flute solos in Famine and the pompous prog nature of Folklore reminiscent of 70s Camel. The latter track is the clear album standout and one of Opeth’s finest songs to date. An eight minute exploration that concludes with a spiralling dance-fused section, something not previously associated with the band that works tremendously well here.

Heritage is the beginning of a new chapter for Opeth. It’s worlds apart from their death metal days, a clear progression from Watershed and, if you’re expecting Damnation 2, it’s not that either. Open minded fans will cherish this new venture and it will surely enlighten a new prospective audience. Not everything is perfect and there are a few touches of mediocrity in tracks such as Nepenthe and Marrow of the Earth which show that Opeth have yet to fully master this new musical territory. The metal-heads out there will be disappointed if expecting anything remotely heavy, this is pure revitalised 70s prog rock.

Rating: [8/10]

TTT:

1) Folklore

2) The Devil’s Orchard

3) Slither

Reviewed by: Daniel Aston, 19/09/2011

Album Review: Sympathetic Resonance – Arch/Matheos

Posted on September 5, 2011 by Daniel Aston

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Album: SYMPATHETIC RESONANCE

Release: 2011

Artist: Arch/Matheos

Label: Metal Blade

Track Listing: 1) Neurotically Wired 2) Midnight Serenade 3) Stained Glass Sky 4) On the Fence 5) Any Given Day (Strangers Like Me) 6) Incense and Myrrh

It’s been twenty-five years since John Arch last appeared on a full-length album. Since Awaken the Guardian, the former Fates Warning frontman released his solo EP A Twist of Fate in 2003 with help from former band mate Jim Matheos. An impressive return it seemed, yet it was to be another eight years before a full-length record would emerge, and here we are with Sympathetic Resonance. Bringing in further ex-Fates Warning members Joey Vera (Bass) and Frank Aresti (Guitar) almost makes this a version of Fates Warning in itself with Bobby Jarzombek completing the line up on drums.

This is an ambitious and undoubtedly progressive release, containing six solid pieces of music, three of which clock in past the ten minute mark. Neurotically Wired and Midnight Serenade are stunning tracks to open up the album. Arch’s angelic vocals glide sublimely above the voracious technical instrumental passages that shift relentlessly from one heavy riff to another. The guitar tones are beefy and heavy as hell. Creating a monstrous wave of sound, Matheos and Aresti execute intellectual guitar wizardry through the shifting time signatures. Each section compliments the next as tension-building soft passages mould seamlessly with the heavy riffage. Arch’s persistent use of the harmonic minor scale creates a sense of mystery that runs throughout the album. His vocal delivery is staggeringly powerful and with his high range as strong as ever this record is proving to be more than just a welcome return.

Stained Glass Sky is the longest track clocking in just shy of fourteen minutes. The instrumental intro is a show of technical brilliance and a prime example of how these musicians have inspired the likes of Dream Theater and Symphony X. Despite its mammoth length the track succeeds in being melodically rich and musically entertaining. Any Given Day (Strangers Like Me) is not quite as polished with some sections feeling a little out of place if not forced to fit into the arrangement. On the Fence and album closer Incesnse and Myrrh are shorter ventures (the former still hitting the eight minute mark) that solidify the strength of the album; expertly written songs that don’t outstay their welcome. Arch’s lyrics frame him as the perfect storyteller. His first person fantasy accounts blend perfectly with the instrumental progressions, together forming an intriguing musical landscape.

Far from just a Fates Warning side project, Arch/Matheos is a collaboration that has proven it has a place in the current progressive metal scene. The high calibre song writing seldom fails to impress, the individual performances from each contributing band member are unfaultable and the production is clear and polished. Kicking off a month full of highly anticipated progressive releases from the likes of Dream Theater, Opeth and Mastodon, Arch/Matheos have set the standard high.

Rating: [9/10]

TTT:

1) Neurotically Wired

2) Stained Glass Sky

3) Midnight Serenade

Reviewed by: Daniel Aston, 05/09/2011

Live Review: Animals as Leaders

Posted on August 29, 2011 by Daniel Aston

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Headline Act: Animals as Leaders

Support: The Bad Channels, Convex

Venue: Bunters, Truro

Date: 26/08/2011

All the way from California, acclaimed jazz-prog-metal act Animals as Leaders ventured down to Truro for a free-entry performance at Bunters. The fans could hardly believe their luck, and perhaps the band could hardly believe how their booking agent had allowed it to happen. Tosin Abasi and co have been embarking on a heavy touring schedule that has seen them play virtually every day for the past few months. Fears that the trio may be suffering from fatigue were put to rest as the band effortlessly ploughed through a set demonstrating high-calibre musicianship.

In today’s musical climate it is harder than ever for a band to get the spotlight and accumulate the following it needs in a landscape that is cluttered with music piracy and immeasurable competition. Kudos then to Animals as Leaders, their ambitious world tour on the back of their debut album has shown their passion and dedication in getting their music heard across the world.

Support came from two local bands. Convex opened up the night with a set of grunge rock. Sounding like a modern Nirvana, the band managed to deliver a decent set yet bizarrely managed to not acknowledge the audience once. The Bad Channels’ then swiftly succeeded in rallying the audience with an excellent set of high-energy stoner rock. During this time, Abasi was perched by the merch stall. Seemingly warming up by playing through the night’s set alone, a small audience had gathered around him simply to watch his virtuosity up close.

When the headline act took to the stage the room became full to the brim and the venue erupted in a roar of cheers. Animals as Leaders played for just over an hour, displaying excellent performances of fan-favourites such as Wave of Babies, Tempting Time, and CAFO. The band were somewhat taken aback by the high positive reception and shouts for an encore left Abasi in a state of bewilderment, resorting to apologetically packing away his gear. An impressive set nevertheless and a promise to return in the future left all those who witnessed the magic hungry for more.

Reviewed by Daniel Aston 28/08/2011

Photography by Daniel Aston