Thursday, October 26, 2006
Skål!
It was probably the strangest, most hectic weekend I'd ever experienced, and as exhausting as it was, my two-day stay in Sweden was an incredible experience. A couple weeks prior, I learned I had the chance to attend a Therion listening session in Stockholm, and after a great deal of stress (I had to get a passport ASAP, which arrived a couple days before I had to leave), I was on the road to Edmonton, where I was going to fly from. Things were going great until I hit Alberta, when the snow started to fly, so I was forced to drive through a pretty subatantial snowstorm for two and a half hours, but despite the reduced visibility and overwhelming presence of the flaky white stuff (the snow, not my neurotic puppy, who was sleeping in the passenger seat) I was able to make it by 9 pm. My first of six flights on the return trip was at 2 pm on Friday, and while the US customs rigamarole was off-putting (that country sure doesn't trust outsiders), the two and a half hour trip was decent. That was all to change in Minneapolis, as I was stuck on a DC-10 in the centre row, with no ventilation, and a rather large person crushing me for eight hours. It was a brutal experience, and the only thing to do was try to doze (a futile prospect), watch bad Lindsay Lohan movies, and eat whatever they shoved in your face, not because I was hungry (I wasn't), but because it killed half an hour. When we landed in Amsterdam, I was thrilled to be in Europe for the first time, but that feeling soon dissipated as I had to scramble to passport control and then to my next gate which was a long walk away. Thankfully, Dutch customs officials aren't as surly as the Americans, and the KLM flight to Stockholm was a real pleasure, as I was able to relax and enjoy food that actually tasted like something. 16 hours after the first take-off, I arrived at Arlanda airport, and it makes me laugh that the first thing I saw on Swedish soil was a huge photo mural of Toronto Maple Leafs captain Mats Sundin. When you're a Leafs hater, it's not the first thing you want to see!
I got my luggage quickly, and made my way through the neat and tidy terminal, meeting Nadine, the Nuclear Blast publicist at the pre-arranged spot, who quickly sent yours truly and Belgian writer Wim (from Flemish mag Rock Journal) on the swanky, roomy Arlanda Express train, which zipped across the rainy Swedish countryside at 200 km/h, taking us right to Stockholm's Centralstation around 4 pm. It took a short while to find our bearings, but the walk afforded me a chance to start snapping some photos, and before long, we crossed the bridge to the island of Riddarholmen, where our yacht hotel, the Malardrotningen, was docked.
The cabins are a bit on the cramped side, perhaps a little too cramped as we writers were two to a room, but the beds were comfy enough, and the view out my tiny porthole window was actually quite cool, as all I could see was the imposing Riddarholmskyrkan church. By the time I had a chance to relax, I was absolutely dead tired, and instead of wandering around and meeting my fellow scribes, I wound up falling asleep quickly. If it wasn't for my alarm clock, I would have missed our rendezvous at 5:30. So I groggily made my way to the lobby, where everyone was gathered. Johann and Kristian from Therion were there to lead us on the short walk from the yacht to the historic island of Gamla Stan and the Sjatte Tunnan medieval restaurant, located in the basement of an old building, where we were treated to a lavish Swedish medieval feast (saffron soup with a gold leaf, roast chicken, reindeer, sausage, salmon, crayfish, a yummy dessert, not to mention copius amounts of champagne, wine, and beer).
Seven hours later, after the meal, listening to the new album Gothic Kabbalah (it's very good, but a real departure for the band), getting to know the rest of the European writers (all of whom were very friendly), having a good conversation with Therion bassist Johann, and taping a fun interview with the entire band, my body was shutting down. Most of the others hung around well into the night, but I needed rest desperately. And besides, since I and ten others were heading for Phase Two of the event the next day at 10:30 the next morning, I knew I had a small window of time in which to explore Stockholm on my own. So after sleeping for four hours, waiting for the sun to rise (Scandinavia, remember), and listening to Swedish radio on the iriver (the first thing I heard was Billy Talent...how's that for weird?), I got up at 7:30, e-mailed family on the lobby computer, and headed out into the overcast morning armed with my umbrella, camera, and Lonely Planet book...
Looking southwest across Riddarfjarden; Stadhuset (City Hall)
Riddarholmskyrkan (13th-15th century)
Birger Jarls Torg, Wrangelska Palatset to the left, Stenbockska Palatset to the right
Entering Gamla Stan, making my way to the massive Storkyrkan cathedral (14th century)
Riksdaghuset (Swedish Parliament)
Kungliga Slottet (the Royal Palace, 18th century)
Stortorget, site of the Stockholm Bloodbath (1520), Nobel Museum in the background; A spectacular statue of St. George slaying the dragon
One of the real highlights for me was the German cathedral Tyska Kyrkan. Being early Sunday morning, nothing was open, but as I passed this 16th-17th century church, the priest was opeing the gate, preparing for the Sunday Mass, and he graciously let myself and some German tourists in. And what a sight inside: stained glass, a lavish, garish gold altar, a stunning ebony/alabaster pulpit, a royal box, and a huge pipe organ on all four sides. It was the first really old church I'd ever seen, and it was stunning. I was too polite to take photos inside.
Walking the maze of streets in Gamla Stan...
Unfortunately, by the time the countless little bistros started opening for the day, it was too late for me to enjoy a sit-down meal, so I stuck to my breakfast of Red Bull (greatest jet lag remedy ever), and sauntered back to the yacht. Gamla Stan is small, but is so loaded with stores, streets, restaurants, churches, palaces, and monuments that it would be easy to spend a couple of days exploring the place. But I had other business to attend to, and an already highly enjoyable Sunday was about to get better.
I met the rest of the remaining crew, and we hopped on a big tour bus, where we'd be chauffeured to the mysterious mansion. When I first read that we'd be spending the night at such a place, and after going over the extremely strict dress rules and etiquette, I kept thinking, "Is this a put-on?" But as I'd find out, it most certainly wasn't.
Making our way southwest of Stockholm on the E4 highway, it was remarkable how that part of Sweden resembles Northern Ontario, with its coniferous forest and exposed bedrock. The whole country looks like Canada, it was like I'd never left, and was probably a big reason why I felt quite at home there.
After turning south towards the small town of Soderkoping, it soon became apparent that our bus driver wasn't going to find the mansion anytime soon, and a two hour bus ride soon became a four hour one, but personally, I didn't mind, as this off-the-beaten-path tour afforded me a good look at rural Sweden. We finally arrived at the mansion (just north of highway 210 between Soderkoping and S:t Anna), and Therion's lyricist Thomas Karlsson was at the gates to meet us. He escorted us onto the property as we lugged our bags along the path, which was covered in maple leaves, and when we got to the big old house, Therion's leader Christofer Johnsson came out. There wasn't enough room for everyone in the mansion, so several would have to stay in the guest house (which didn't have plumbing), but because I'd traveled the farthest, Christofer assigned me a swanky room in the mansion (which I shared with Wim). The luckiest dude was Andy from the UK, who, being the oldest guest, got to stay in the King and Queen's room, which was quite unreal.
In fact, the entire mansion was mesmerizing, loaded with what had to be millions of dollars' worth in antiques and artwork, from an incredible 14th century Flemish tapestry, to a 400 year-old Bible, to an 18th century globe, to many 16th and 17th century portraits lining the walls. The count's guards arrived, in old-fashioned dress, and they treated us to a cool cannon salute. This was the real deal...antiques, guards, servants. We were all dumbstruck. We didn't have much time to take photos, as the sun was setting quickly and photos were prohibited during supper, but I managed to quickly get a few...
My (supposedly haunted) bedroom
The cannon; The mansion's entrance
An old harp, spinet, and guitar underneath a huge portrait; The dining room, with 14th century tapestry on wall
The mansion's lavish great room (note the small signed photo of the King and Queen of Sweden between the two candles)
Thomas Karlsson and Christofer Johnsson
It was a very enjoyable evening, as Johnnson and Karlsson were both very friendly and hospitable, both eager to talk at length about the new album and the inspiration for that particular piece of work, Swedish mystic Joahannes Bureus. Karlsson has written a book about Bureus, which is being translated into English, and considering how fascinating both Karlsson and Bureus are, I'm very interesting in reading it when it comes out. Anyway, we enjoyed the most expensive champagne I'll probably ever drink, as well as another hearty supper of roast beef, potatoes, vegetables, and some wonderful baked pears for dessert.
With only half the building with electricity, the candlelit mansion got very dark very quickly, and it was as if the centuries were melting away. The friendly old caretaker gave us a flashlight tour of the building, including a door to a secret tunnel which led underground to the nearby lake (an old mansion needs a secret passage, of course), and soon after, the aquavit was taken out, as we all enjoyed a taste of Sweden's national drink. Very sweet stuff, but I liked it because I can't stomach brandy, and we all sipped aquavit and coffee as the night wound down. It felt horrendously late at 9:00, and a small group of us hung around a corner of the great room past midnight, just sitting, talking, and trying to absorb the incredible haunting atmosphere as long as we could. By the time we headed up to bed, I was spent, and despite Christofer's hints that my bedroom might be subject to some paranormal activity, I was far too tired to let some poltergeists bug me, and I slept just fine.
I awoke about four or five hours later, and it was raining buckets. We made our way tot he dining room for a quick breakfast, and right before I hopped on the bus, I took some more photos of the mansion and the gate, and we were quickly off, first to the city of Norrkoping to drop one of us off, then to Svata airport to drop a German cohort. Time was tight, as the drive took three hours and my flight was at noon, but we made it to Arlanda with a little time to spare, and after saying a quick goodbye to everyone and a big thanks to Nadine (she pulled it all off without a hitch), I dashed off to the terminal, checked in, ran through the duty-free shop to find some stufff for the nieces, and plopped into my seat on the plane, still in a daze. I just wanted to go to the person next to me, "You would never believe the weekend I just had."
The flight to Amsterdam was terrific as usual (I love KLM...good food, lots of Heineken), but our flight arrived ten minutes after my Minneapolis flight boarded, so I had to make a break for it, Amazing Race style, sprinting to the passport control (seriously, those Dutch officers are so nice), and then running two miles to my gate. I got there in time, but I was drenched, and had to rinse off in the restroom, not to mention drink a gallon of tap water (we were penned in a holding area, so I couldn't run and buy a bottle of water). Mercifully, I had an aisle seat for the trans-Atlantic flight, so although I was ridiculously tired, it wasn't so bad going back. Got to Minneapolis around 6 pm, endured the ridiculous US customs ordeal again, and sat down for a yummy plate of bbq brisket (thank goodness I had time to relax and enjoy some real comfort food). I had to kill three hours in the quiet yet monstrously huge airport, but it was a good way to wind down after a grueling eight hour flight. On the trip back to Edmonton, I managed to sleep for the first time on any of the flights, and I was more than relieved to be out of the US back in Canada once again.
Unfortunately, the Americans had one last shot at me, as Northwest lost my luggage. needless to say, I was furious, not to mention more than a bit worried at the prospect of losing my clothes and interview tape. I slept okay that night at my sister's, and on Tuesday got in touch with Northwest, who were still searching for my bags. I was almost comatose, but after a stop at Octopus Ink, the greatest metal record store in Alberta, my happy pup and I drove back to Saskatoon, fueled on more Red Bulls and Wendy's burgers. My luggage did arrive a day later, which was a massive relief, so now everything's back to normal. And now comes the daunting challenge ahead...putting a stellar feature piece for decibel based on the events of that unforgettable weekend, not to mention doing some major catching up on my other writing assignments. As tiring a trip as it was, it was just what I needed to escape the computer for a while, as I'd been feeling quite burned out for a month there.
Big thanks to Nadine at Nuclear Blast Germany, the guys in Therion (especially Christofer Johnsson), Thomas Karlsson, my fellow writers (all of whom are cool people), especially Daniel Reichberg for ensuring I got out of Stockholm on time, and a huge, huge thanks to Loana at Nuclear Blast USA, who ran the idea past my editor and knew full well how much I like Therion's music. Man oh man, what a trip.
Tuesday, October 17, 2006
After ten or eleven days of extreme anxiousness, it's Big Anouncement Time. A three-part announcement, if you will:
1. I'm going to Sweden.
2. I'm going to Sweden on Friday.
3. I'm going to Sweden on Friday, for just the weekend.
Crazy! I'm actually going as a guest of Nuclear Blast Germany, who are flying me in to hear the new Therion album. I'm representing Decibel, so hopefully I can put together a nice little feature, and considering the special events that are planned (very hush-hush, I might add), I should have no shortage of stuff to write about. It'll be my first time in Europe, let alone out of North America, so it's going to be a painfully brief trip, and I don't think I'll have time to do much else, but this kind of opportunity doesn't happen every day. It's going to be fun...I fly out of Edmonton on Friday afternoon (leaving for Edmonton on Thursday), and return late Monday night. I'll have the digital camera with me, and I hope to post a huge recap of my whirlwind trip next week.
Actually, a big reason why I didn't post much is because I was on pins and needles trying to get a passport in time. I was scrambling trying to find a guarantor after my doctor moved away without telling his patients (the jerk), but the folks at the passport office were terrific and got my passport with a couple days to spare. Whew. Let that be a lesson: be sure you always have a passport. You never know when someone will want to fly you to Scandinavia.
Back to business here...I have a bunch of reviews to mention. On the Decibel front, there's the new Amon Amarth album (killer!), Brand New Sin (been fans of these guys since their first album), Saskatchewan's metal pride and joy Into Eternity (a hugely enjoyble CD), and postponed from last month, my review of the ace new Arch Enemy DVD. Over at PopMatters, I've slowed down a bit, but my Alexisonfire review appeared last week. It's a very good album by a band that continues to get better with each release. Things should pick up, review-wise, pretty soon. I'm getting so many new CDs in the mail, and so many albums are leaking lately, that it's impossible to catch up!
Not only was Monday a big day in that I got my passport (and could officially say I'm going to Sweden on Friday), but it also marked the first time in over three years that Vancouver's beloved New Pornographers played a show in my city. I was at the show in 2003, in the wonderfully cramped Amigos, as the band played a wonderful set, and coupled with the fact that I'd been so preoccupied, I think I might have forgotten just how great this band is in person, because although Neko Case wasn't performing with the band (being a busy solo artist and all), I had just as good a time last night as I did in 2003. In fact, it's was a rare instance where the time just flew by...when the show ended, I thought it was a little after eleven, only to discover it was 12:30.
I arrived to find the Odeon full, but comfortably so (unlike Metric back in April), and Winnipeg's Novillero finishing their set. I really liked their last CD, and indeed, the music translates very well in a live setting, as "The Hypothesist" had the crowd going. Immaculate Machine played next, who I found surprisingly enjoyable (Mint Records has a reputation of signing really annoying indie pop bands alongside their more talented acts), singer/keyboardist Kathryn Calder trading lead vocals with the drummer and guitarist...though I htink they'd be better off if Calder sung full-time.
Durig the quick changeover, I found a nice spot about thirty feet from the stage that afforded me a good, unobstructed view, and the six-member New Pornographers strode onstage, launching immediately into the crowd-pleasing "Sing Me Spanish Techno". No, Neko wasn't there, but Calder filled in very nicely; she doesn't have the powerful voice that Neko has, but her range is very similar, and she held her own so well, that it was easy to forget that the famous redhead wasn't there on stage right. Carl Newman was a terrific, wry bandleader, in great vocal form and engaging in hilarious banter with the crowd. Drummer Kurt Dahle is always a treat to watch, a lively percussionist who keeps things tight. The rest of the band were more understated, letting the music do the talking. And what a wealth of tunes! Three albums in, there are so many fine New Pornographers songs that you can't squeeze them all in, and although they didn't play "Star Bodies" (a personal fave of mine), it was still a very impressive setlist (the rousing "The Bleeding Heart Show" being one of many highlights), climaxing with two encores, the latter a euphoric rendition of "Letter From an Occupant" (one of my all-time favoutire songs), Calder doing ana mazing job on lead vocals. I forget the order, but here are the songs they played, in order of albums: Mass Romantic, The Fake Headlines, The Slow Descent Into Alcoholism, Letter From an Occupant, Execution Day, Centre For Holy Wars, From Blown Speakers, The Laws Have Changed, All For Swinging You Around, A Testament to Youth in Verse, It's Only Divine Right, Twin Cinema, The Bones of an Idol, Use It, The Bleeding Heart Show, Jackie Dressed in Cobras, Sing Me Spanish Techno, Stacked Crooked.
There are four bands that are always so enjoyable in concert, that you just can;t help but feel good afterwards: Arcade Fire, Broken Social Scene, Stars, and the New Pornographers. National treasures, every single one of them.
Oh, and the new Hold Stady CD just keeps getting better the more I hear it. Year-end list, watch for it.
Monday, October 9, 2006
Sorry about the lack of posts, but there have been a ton of things going on over the past five days or so. But I'd better get Friday's recap over and done with here. After all, after seeing the Rolling Stones thrill 45,000 giddy punters in Regina, it just begs a blog entry, no?
We wound up leaving Saskatoon around 2 pm, and the number of cars heading south was astonishing, bumper to bumper traffic for 240 km, everyone headed to see the show. Aside from a 15 minute delay thanks to a brutal bottleneck in the ugly dustbowl town of Chamberlain where the divided highway becomes a two-laner for 3 km or so (how this insignificant hamlet has managed to prevent twinning of Highway 11 for so long is beyond me), it was a relatively hassle-free drive, but as we entered Regina, it was clear the huge influx of cars from all directions had brought the small city to a standstill, so finding a parking spot at the stadium was a lost cause, so it was Plan B: the park and ride. We weren't the only ones gathered at a northside mall to catch a free bus...there were hundreds, forming a line that stretched across the huge lot. The transit folks knew how to do it, though, as our wait was no longer than half an hour, and soon we were enroute to Taylor Field in a bus crammed with giddy folks nattering and chirping along in that grating, but weirdly endearing way only Saskatchewan people can do (it's true, if you've been on a crowded flight from Calgary to Saskatoon, you know what I mean).
Once we got to the stadium, though, it was mayhem. It's one of those smalltown situations where everyone in the city knows where to go, so they assume everyone else knows where to go, so the signage was nonexistent, leaving out-of-towners to wander around confused, not knowing which entrance to use. It took about 20 minutes to figure out just where the heck we had to go in. Our seats weren't bad, on the west side (out of the sun), the far side of the field, around the 30 yard line. The weather was sensational, sunny and warm, the heat lingering after sunset, with a big round moon to the southeast.
Opening band Three Days Grace did their fourth generation grunge thing, churing out 35 minutes of repetitive, plodding music that was heavy on the angst, and low on hooks. It was very boring, and the sound was lousy, the band using less than half of the PA. Forgettable.
It was a good 45 minute wait, compelling the crowd to do the wave for ten minutes (we Saskatchewanians are easily amused...it's embarrassing), but finally the stadium lights went off, the huge eight-storey stage lit up, set off fireworks, and Keith Richards appeared, playing the opening riff to "Jumpin' Jack Flash", the rest of the band following suit. The sound mix was a real surprise, it was quite loud from where we were, and cleanly mixed...when Keef had a solo, you heard it, and likewise for Ron Wood. Mick Jagger sounded great, and was all over the place, doing the silly dance moves, running to either side of the huge stage...the dude is truly ageless, and it's amazing how he can draw the attention of a massive audience. Of course, being in his 60s, he did have a couple strategic breaks where he played guitar on songs like "Streets of Love" and "Miss You", and when he let Richards sing a couple songs. The usual crowd pleasers were wheeled out, but the real fun was hearing what other tunes would be played mid-set. "Let's Spend the Night Together" and "Get Off My Cloud" were nods to the early years, but the real highlight for me was the trifecta of "Bitch" (with that nasty horn/guitar riff), an incredible extended performance of "Midnight Rambler", and the old Exile on Main Street standby "Tumbling Dice".
The show was heavy on the flash, and although seeing the Stones in a more intimate setting would be preferable, shiny lights, explosions, fire, and giant inflatable lips are fun, and there was enough eye-popping effects to hold our attention. On previous tours, the band had waked along a long ramp to a small stage at the centre of the floor, but this time, during "Miss You", a chunk of the stage detached and moved out to midfield, which was a neat little trick. The best thing, though, was the humungous video screen, which was easy to see from even far away, and featured many clever edits and visual effects by the crew.
Even though songs like "Start Me Up", "Satisfaction", and "Honky Tonk Women" are so overplayed, the crowd ate it up, and during "You Can't Always get What You Want", there was even a good sing-along going. More fireworks ended the show, as the band ran offstage into a waiting motorcade (which we could see forming during "Satisfaction"), leaving the throngs to slowly (and do I mean slowly) trickle out of the stadium. I don't know how long it took us, but it was chaos out there, first getting stuck walking in an alley filled with thousands of people, trying to find the bus stop amidst the confusion, and figuring out which bus was ours. By 11:10, we were back at the car, and following the looooong line of red taillights north out of the city. It was tiring, we'd barely eaten, no good food places were open when we got back home, but it was worth every penny. I'm glad I got to see such an event once. Here's the full setlist:
Jumpin' Jack Flash
It's Only Rock And Roll
Oh No Not You Again
Let's Spend The Night Together
Streets of Love
Bitch
Midnight Rambler
Tumblin' Dice
You Got The Silver
Little T&A
Miss You
Rough Justice
Get Off My Cloud
Honky Tonk Woman
Sympathy for the Devil
Start Me Up
Brown Sugar
Encore:
You Can't Always Get What You Want
Satisfaction
Friday, October 6, 2006
I was going to post a big update the other day, focusing on the shimmering brilliance of the new Hold Steady album, but that's been shelved temporarily, for a few reasons, one of which is a potentially massive opportunity for yours truly, which came to light yesterday. That's all I'm going to say.
I will say that my new column is up at PopMatters. It's a big piece on Blind Guardian, focusing on their new CD (it's a good one!) and my interview with singer Hansi Kursch. He's a nice guy, and provided some good, articulate answers. It's a piece I'm quite proud of. Oh, and check out all the albums I mention in the sidebar...it was a fun bunch of discs to review. Top quality metal, I tell you.
The other big development today: Stones concert in Regina! The entire province is abuzz, and I'll be at tonight's show, and will post a full recap, including setlist. I'm pretty excited, it's been a long time since my last huge stadium event. One question that's been on my mind, though, is just what will the most famous band on earth do for three days in Regina?
Monday, October 2, 2006
That's right, I hate the new Killers album. Big whoop, you wanna fight about it? Seriously, it's a terrible CD, and I say pretty much all I want to say about the thing in my review. Though I should perhaps clarify that although I say Sam's Town is as facile as Bon Jovi and as overblown as the Alarm, at least both bands sold the schtick convincingly enough. The same goes for such legendary albums as The Joshua Tree and Born in the USA, U2 and Bruce were as hokey as anyone on those albums, but they were so convincing, it was impossible not to get cauught up in it all. I get absolutely none of the feeling from the Killers, and since that kind of stadium-filling grandiosity appears to be their goal (instead of being a good post punk band), the album is a complete and utter failure. They've always been good at being tacky, but save for two songs, it all comes off as disappointingly hollow. And "Bones" is the worst single of 2006, hands down.
Instead of wasting your cash on the Killers tomorrow, seek out the new Hold Steady album instead. If you liked their first two albums (as I did, with Separation Sunday ranking at #2 on my 2005 list), you'll love this one. Barroom rock coupled with some of the most compelling lyrics you'll ever hear. Although I have yet to warm up to the female vocals on "Chillout Tent" (she seems to be trying a bit too hard), Pitchfork's review is dead-on, and this will definitely contend for my year-end top ten yet again.
Talk about a crazy week ahead...reviews to do, a column to write, Junior Boys tomorrow, the Rolling freakin' Stones on Friday, niece's birthday, and Thanksgiving! So that leaves me with about three full days to get a ton of writing done. Including today. Uh-oh.
Friday, September 29, 2006
Black Stone Cherry is a band of Kentucky youngsters that is trying to make itself known among the countless other Southern hard rock/biker metal bands out there, and while their debut album sputters at the beginning, sounding more Godsmack than Skynyrd, it gains momentum with each song,and while the first track has you thinking, "meh," 45 minutes later, you're loving the heck out of this album. That was the case with myself, anyway...I thought it was going to be a real dud, but it packs some nice surprises in the last 20 minutes. Here's my review. Oh, and an interesting trivia nugget: the drummer is the son of the guitarist from the Kentucky Headhunters.
Well, I'm trying to listen to some tunes while writing this, but thanks to seeing and hearing some pulverizing death metal a few hours ago, everything's sounding muddy. Montreal's Neuraxis was tremendous, specializing in a similar progressive death/grind style as Cryptopsy, but considerably more melodic and less complicated. A very enjoyable band, and Ian Campbell is a terrific frontman, really gregarious, and the fact that he was having so much fun in front of the small crowd really brought the room together. Professional and gracious, you've got to like that. Baltimore's Misery Index, on the other hand, was absolutely punishing. I was really looking forward to seeing the band, especially after having listened to Discordia nonstop back in May or so, as well as interviewing guitarist Sparky Voyles for decibel, and these guys did not disappoint. They're not quite as eclectic as Neuraxis, but they're far more muscular, creating a massive sound that consumed the tiny venue...so much so, that I had a hard time finding a good spot to hear everything properly. That was the only down side, the mix in the room wasn't as crisp as when I saw Vader or Cannibal Corpse. Still, it was great fun, as the band played new stuff and old stuff during an hour-long set that never let up for a second. Nice to get back to some good old metal after two screamo shows last week. And small shows are extra sweet because of the cheap merch!
I'm tired now. With a very busy weekend imminent!
Thursday, September 28, 2006
Yesterday was a sad anniversary, the 20th in fact, of the tragic death of one Cliff Burton. September 27, 1986 was actually a pretty big day for the fifteen year-old yours truly, as that was the day Iron Maiden's Somewhere in Time finally hit the local record store. I'd been waiting two years for that album, which is an eternity to anyone who's that age, and I played that album to death that night, poring over the eye-popping artwork. The music didn't disappoint, and I knew it would be right up there with Metallica's Master of Puppets as my favourite album of 1986 (I wound up giving Maiden the slight edge, because I was such a fanboy). Then the next morning, the first thing I heard at school was, "Hey, Cliff Burton died last night!" Talk about being gutted.
Much has been said about how Metallica went into serious decline in the two decades following Burton's death, and Some Kind of Monster played a large part in proving that point, but musically, the band's principal songwriters have been James Hetfield and Lars Ulrich right from the beginning. What Burton did best was give the band an incredible fourth dimension under the guitars, drums, and vocals. His finger-picked basslines had a fluidity that few could match, and were much more melodic than the majority of his peers, something you can hear on such songs as "For Whom the Bell Tolls" and "Ride the Lightning". The band always credited Burton for introducing the rest to bands other than New Wave of British Heavy Metal acts, but his biggest musical influence can be heard on Metallica's two seminal instrumentals, "The Call of Ktulu" and "Orion", on which Burton's lithe basslines conduct the proceedings, shifting beautifully from anchoring his and Ulrich's massive rhythm section to some astonishingly gorgeous melodies and upper register solos, the best of which coming midway through "Orion". He was the proverbial straw that stirred Metallica's potent drink, an eccentric, non-conformist oddity among the sound-alikes and look-alikes, windmilling his long hippie hair on stage left while wearing unfashionable bell-bottoms and sporting a Misfits tattoo on his arm. Metallica would find a very capable replacement in Jason Newsted, and then with Robert Trujillo, but Burton was one of a kind, leaving a small body of work, but one that ranks among some of the most influential heavy metal music ever recorded.
From the classic Cliff 'em All video, here's a flat-out brilliant performance of "For Whom the Bell Tolls" from 1985 that shows perfectly what Burton was all about. The dude was awesome, there's no other way to put it.
And because it's one of my favourite pieces I've ever written, here's my detailed piece on Master of Puppets, written back in 2002.
Wednesday, September 27, 2006
Well, Sam's Town, aka the new Killers album, surfaced yesterday, and that ppfffffftt sound you heard yesterday afternoon was the sound of the band's momentum coming to a sudden, deflating halt. After the tacky brilliance of "When You Were Young", I thought that maybe, just maybe the band had learned from past mistakes, and managed to put together an album that was good all the way through, but alas, that's not the case, as rock's greatest group of underachievers in recent memory take another swing for the fences, and wind up whiffing a second time. You're down in the count, boys.
In all seriousness, it's a mess of an album. I've always thought the band was at its best when the guitars are downplayed and the synths are emphasized, but the record starts with the extremely bombastic title track, a song that starts off confidently, but goes into an awkward circus-like outro that sounds forced and tacked on. After the useless, overly theatrical "Enterlude", the album kicks into gear, first with "When You Were Young", downshifting a bit with the horribly titled "Bling (Confessions of a King)" and "For Reasons Unknown", the latter of which beginning with annoying double-tracked vocals and containing a drab chorus, but things quickly pick up on the terrific "Read My Mind, where the synths become more prominent, the band playing to its strengths, Brandon Flowers doing the sappy melodrama thing. After that, though...yikes. "Uncle Johnny" (what's with those backing vocals?) and "My List" (what's with that 1970s Alice Cooper climax?) are lugubrious filler. "Bones" is the worst song they've ever done, a laughable blend of Morrissey and Motown horns. "This River is Wild" and "Why do I Keep Counting" return to the Springsteenisms of "When You Were Young", with little of the passion. The production is fantastic, which is no surprise considering Flood and Alan Moulder are resposible for the album's huge sound, but the band seems to be relying too much on the inexplicable "I got soul but I'm not a soldier" moments. Sure, those weird departures are a surprise, but they all sound so tacked on.
Don't get me wrong, I love flashy pop music, and the Killers are well on their way to becoming one of the best singles bands of the decade (well, not counting "Bones", which is a freakin' embarrassment), but while Brandon Flowers acts like a carnival barker throughout the CD, he doesn't sell the product. It's a quintessentially American record, one that's heavy on the flash and low on real emotion, so garish and sweet that it lures us with one tantalizing bite, but like the Smarties bar, what seemed like a good idea at first leaves us sick to our stomachs 45 minutes later.
Monday, September 25, 2006
Still more reviews, can you believe it? The latest, which appeared on Friday, but I'm only just mentioning now bwcause I got so sick to death of sitting at the computer this weekend, is the new album by hardcoremeisters Hatebreed. I'd always had the band pegged as plain, drab old-school hardcore, but this new CD actually shows a little musical growth, enough to warrant a somewhat enthusiastic thumbs-up. Of course, Jamey Jasta is all over the thing cramming the liner notes, the song explanations, and lyrics full of typical hardcore motivational self-help silliness, but his enthusiasm is kind of endearing. I didn't really like Hatebreed's last CD, but this one was quite a blast.
There might be a couple more reviews this week, but for now, I'm pretty much caught up. That won't last, though, as I hope to get a huge pile of new pieces done this week. It never ends!!!
The new Girls Aloud single is pretty ace...they have a new best-of compilation coming out in a couple months, and needless to say, it's a must-have. Or for us in North America anyway, a must-download.
And the video for Basement Jaxx's "Take Me Back to Your House" is such a riot, it's made me rethink the song completely. Amazing how the simple inclusion of cossack dancers, big furry hats, an army tank, a horse with a girl hanging off it sideways, dancing bears, and a gigantic balalaika with another balalaika player hiding inside, can improve an otherwise so-so song.
One more video to mention: Weird Al's "White and Nerdy" is hilarious, borderline brilliant. Best thing the guy's done in years...it even works if you don't even know the song he's lampooning (Chamillionaire's "Ridin' Dirty", for those not aware).
It's amazing, the new Killers album hasn't leaked yet. Yeah, that's right, I'm very interested in hearing it.
Friday, September 22, 2006
...And the reviews keep on coming. My Lamb of God piece is up at PopMatters. More of the same stuff from the band, just a little more refined. I've always liked this band, and they never fail to disappoint. They seem to be content sticking to the same formula, delivering just the subtlest of variations each time out, which is probably a big reason why so many people like them. And I tell you, Randy Blythe is a very underrated vocalist, delivering yet another great performance on Sacrament. For a guy who yells and screams a lot, he makes it surprisingly easy to understand what he's hollering about.
Over at Static, on the heels of my Underoath concert review, is an Underoath album review. It was an odd situation on Monday, I reviewed Define the Great Line, then went to see the band play a couple hours later. I don't think I've ever done that before. Anyway, I left liking the album, but I returned from the show not impressed with the band at all.
Had a cool little used CD find the other day, snagging the new reissue of Billy Bragg's great Talking With the Taxman About Poetry. For 20 years I've been a huge fan of Bragg's singles, but never got around to getting the actual albums, aside from his excellent best-of compilation. On this album, Bragg shows just why he was at times the finest singer-songwriter around, with tunes like "Levi Stubbs' Tears" and "Greetings to the New Brunette", and even when his politics got the best of him (which happened often over his career) on something like "There is Power in a Union", he sells it well enough, and "Help Save the Youth of America" is just as poignant as it was in 1986. Terrific album.
The new Sloan album is exhausting. They're a good band, and on this CD they sound the best they have in years, but really, was a 30 track, 76 minute album necessary? With Sloan's quick, catchy power pop style, it's close to overkill. Are they going for a big, grandiose artistic statement? Have their collective egos as songwriters become so inflated that nobody was going to allow their extra songs to be cut? Either way, while the CD sounds great in small doses, it's a heckuvalotta pop rock to digest, and will need a long time to settle.
Thursday, September 21, 2006
We always get new bands trying to cash in on the Southern biker metal thing, copying the likes of Corrosion of Conformity, Black Label Society, and Brand New Sin, but for every Black Stone Cherry, who approaches it with a refreshing amount of creativity, there's an Artimus Pyledriver, who bluntly hammers away, beating the formula to an ugly pulp. Not that Artimus Pyledriver is a complete lost cause, as their new album has a couple of promising songs, but for the most part, it's too much attitude, and not enough nuance. Read my review here.
On Tuesday night, I flipped the channel and caught the video for Alexisonfire's "This Could Be Anywhere in the World", and thought, hmm, this is good...if the CD arrives tomorrow, then I'll definitely go see them. Well, lo and behold, what was waiting for me in the mail yesterday but the new Alexisonfire album, and while I'd been mulling over going for the past month, this was the clincher. Add the fact that Crisis is the band's best album yet, and as the afternoon wore on, the more I started to look forward to the show.
It was at the same exhausting venue as Underoath two nights earlier (full review here!), with about the same number or people (a couple thousand), but it was a completely different atmosphere. While Moneen and Silverstein were politely melodic and Underoath sanctimonious and devoid of charisma, the bands on this night, while fitting under the same post-hardcore label, were all about aggression. I caught the end of Attack in Black's set, which seemed okay, and Toronto's Cancer Bats delivered a half hour or so of solid, metal-tinged hardcore, energetically performed, and getting the kids on the floor moving with tunes like "100 Grand Canyon", "Golden Tanks", and the swaggering "Shillelagh". Fun stuff, but the real mayhem was just about to begin.
Somethnig about Every Time I Die didn't click with me at Sounds of the Underground just over a year ago. I know I was taking a break between bands, wathing them from my seat, so I might not have been paying much attention. Since January, though, when I picked up Gutter Phenomenon for a couple bucks, that album has grown on me in a huge way, its blend of Southern rawk grooves and mathcore enthralling me to no end, so it was great to see this band one more time with a clearer head. And what a punishing set they played, inciting circle pits, crowdsurfing, and that dopey hardcore dancing. The band was unreal, extremely tight, and singer Keith Buckley is a charismatic, down to earth guy onstage...for the life of me, I can't remember everythnig they played, but they did do "The New Black" (my personal fave, an astonishing, wonky hardcore boogie number), "Apocalypse Then and Now", "Kill the Music" (I think), "Guitarred and feathered" (I think), and "Floater". It was all a wonderful blur of swinging riffs, screaming, atonal stretches, and singing, something to behold, just a powerful performance. Yeah, these guys are for real.
Alexisonfire had a tough act to follow, and when they took the stage, swanky swanky new light show in full blinding mode, the sound took a while to match Every Time I Die's, George Petit's mic a little thin, and Dallas Green's guitar drowned out by Wade MacNeil's guitar, but the band gradually gained momentum, and the entire venue was going nuts, even for the new material. Unlike the somewhat polite reception Underoath received,it was total euphoria for Alexisonfire, kids singing along, crashing into each other, and forming the most intense circle pit I've seen in a while. As good as the songs sounded (the band's three vocalists work extremely well live), it was all building up to the night's final song, the anthemic "Accidents", which has become the band's calling card, and the place exploded (hyperbolically speaking, of course) when the opening notes were played, a rousing finish to yet another drainging night. I can't remember the entire set list, but from the band's first album, they did "Pulmonary Archery" and "Waterwings". From Watch Out!, they did "Control", "No Transitory", "Get Fighted", "Happiness By the Kilowatt", and "Accidents". From Crisis, I'm pretty sure they did "Drunks Lovers Sinners & Saints", "Boiled Frogs", "This Could Be Anywhere in the World", "Keep it on Wax", "Rough Hands", "We are the Sound", and "Crisis". The other songs they did, I don't know that well. Overall, the whole thing left me completely drained yet again, but unlike Underoath's less-than-inspired set, the bands on this night delivered in a big way.
Wednesday, September 20, 2006
You might have noticed last December how the Cardigans' song "I Need Some Fine Wine and You, You Need to be Nicer" placed at #11 on my 2005 singles list. It was a superb comeback by one of Sweden's finest bands from the 90s, but for all the attention that song received a year ago from American bloggers, the band's new album didn't have US distribution (it came out in Canada early this year). Well, it finally came out in the States yesterday, do no more excuses, my American buds, you have to check Super Extra Gravity out. Need more persuading? Go read my review, which appeared yesterday. They've gone totally MOR, a far cry from the days of "Carnival", but Nina Persson is still a lovely singer, and the songs still have that bite to them that made this band so endearing in the first place. Well worth seeking out.
Don't know if you've heard or not, but the ,000 Polaris Music Prize was handed out on Monday night in T.O., to none other than Owen Pallett, aka Final Fantasy, aka the guy whose concert I should have attended last Friday. Based on the pre-award buzz (if you could call it that), it was really looking like it was going to be either Final Fantasy or Cadence Weapon winning, but frankly, I wouldn't have gone with either. Cadence Weapon doesn't grab me at all, and Final Fantasy's woefully titled He Poos Clouds is nice, but too inconsistent (though "This Lamb Sells Condos" is quite amazing). My top pick on my juror ballot was Wolf Parade, and I stand by that...but alas, I only voted for the short list, and a special jury picked the winner at the awards gala dealy. Aaron Wherry put together an entertaining little recap of the awards night.
The one perk about being on the jury is that I got a copy of the Shortlist Compilation, which is a really good ten-song mix. The CD's one huge revelation is the Francophone band Malajube, whose album Trompe-L'Oeil is turning into one of the year's most wonderful indie rock surprises. It's loaded with fun, upbeat indie pop in the same vein as the Sleepy Jackson, Grandaddy, Broken Social Scene, with a little Shins tossed in. They sing in French, but who cares when the music's this good? Here's a song to sample:
"Montreal -40 C
I just might have to head out and look for this album tomorrow.
Going into the 2007 Polaris prize, I'd have to say that personally, my pick right now would be Junior Boys, followed by Voivod, Raising the Fawn, and perhaps Alexisonfire.
You're checking out Invisible Oranges daily, right?
Tuesday, September 19, 2006
Yeah, that's right, I gave Mastodon a 10. The first 10 I've ever given at PopMatters. And I stand behind it. I think it's an important album, one that brings legitimate, cutting-edge metal back to mainstream audiences. It's a very extreme album, meaning the vocal style and music are a bit rough-edged for new listeners, but I think Mastodon are starting well from the ground up. They have a good fanbase, sold over 100,000 copies of Leviathan, lots of mainstream critical praise, and have indie cred. So they've won over the metalheads, the hipsters, and the critics. Like my reiew says, we've seen this all before 20 years ago, and it could very well happen again. Maybe not on the same gargantuan level as Metallica, but remember, Metallica went a decade before hitting it huge...before the Black Album broke into the mainstream, they transformed modern metal, and I think Mastodon are doing somethnig very similar today. The seeds have been planted...now it's time to watch this beast grow.
Cosmo Lee is one of the best metal writers around, covering stuff for Stylus, and he's just started his own MP3 blog, the aptly-titled Invisible Oranges, so if you can't get enough of the metal, you have to check the page out, it's already off to a good start.
I just saw Underoath last night. Decent show, but what was an ordinary, somewhat antiseptic concert became a screamo version of the 700 Club. I'm too tired to go into detail, but I'm writing a concert review for Static today, so that'll be up soon. Smartly subtle Christian band on record, heavy-handed fundamentalist preachers in concert will be the basic theme. And Prairieland Park killed my back again. Thank you, concrete floor.
Have you ever seen the movie River's Edge? No? Yes? Either way, it's one of the greatest movies I have ever seen, one of the most perfect depictions of disaffected teens ever made, and the other night I stumbled across a brilliant YouTube clip someone made, sort of an abridged version of the movie. It's wonderfully done (yeah, even the Coldplay song works)...watch it here.
And speaking of perfect depictions of disaffected teens, the graphic novel Black Hole, by Charles Burns, is one of the best books I've read in a very long time. The story is heartbreaking (contagious disease affects teens in 1972 Seattle, turning them into freaks and forcing them into exile), the artwork is beautiful, and the whole package is just devastating, but in a good way. It's something you'll never forget. And here's a bit of trivia: Charles Burns did the artwork for Iggy Pop's Brick By Brick.
Friday, September 15, 2006
My Junior Boys review appeared yesterday. It was a good thing that I had the album for several months, becauseit took quite a while to grow on me. It's all about the subtlety when it comes to these guys, and So This is Goodbye is as low-key as it gets, but the duo of Jeremy Greenspan and Matthew Didemus do manage to show some very impressive growth on their second album, highlighted by the stellar "In the Morning". It hasn't been a great year for Canadian music, but this title is the best of the lot, destined for my year-end list, much like Last Exit was two years ago. The JBees are in my city in early October, and I shouldn't miss it...they were tremendous opening for Caribou in April 2005.
Some high profile albums have surfaced recently. First, the much-debated, much-hyped new CD by kiddiecore darlings Trivium. With Matt Heafy giving up the screaming for good, in favour of a shamelessly Hetfieldian singing voice, it has old folks like yours truly saying, "Hey, these guys are good when they sing," while the younger crowd is largely up in arms about how there's no screaming anymore. A generation gap in metal...you've got to love it. As for The Crusade, it's musically a significant improvement over the impressive Ascendancy, the band going for a thrash/power metal blend, combining mid-tempo Metallica with the sharp riffery of Accept ("Anthem (We are the Fire)" is so NWOBHM in tone, and the instrumental title track is superb), and vocally, Heafy sounds good despite the lack of originality, but the dude needs to work on his lyrics more. When you resort to such stupid lines as, "For your honor you will slaughter every one of your daughters," ("Unrepentant") you have some revising to do, my boy. One band singing about slaughtered daughters is enough. Anyway, the album is good, goofy fun, another sign that power metal is continuing to make a strong comeback in American metal.
Also, the highly anticipated new Scissor Sisters album leaked the other day, and it's an interesting departure. The Elton John influence is still there (not to mention the obvious Leo Sayer homage in the killer single "Don't Feel Like Dancing"), but more than anything else is a strong ragtime influence, which combined with the Sisters' penchant for glam rock and disco, makes for a rather flamboyant combination. It's not the instant grabber the debut was (I'll never forget how it floored me in early 2004 after I thought the "Comfortably Numb" cover was a so-so novelty tune in mid-2003), so it probably needs more time to grow on me, but it's a very enjoyable disc nonetheless.
I should be talking about the new Mastodon album (quick review: BUYITBUYITBUYIT), but I'll wait until my full review goes up, which hopefully will be soon.
I really should go see Final Fantasy tonight. What are the odds that I'll get away from the writing long enough to drag myself out?
Monday, September 11, 2006
The insanity has been kicked up several notches these past few days, so please forgive the inactivity. Reviews to write, columns to finish, interviews to arrange...and add to that my scrambling to figure out my Best of the Year list for Decibel ("Come on, Trivium...leak!", "Oh no, I haven't heard the new Deicide yet!!!"), and you've got a wild start to an already busy ten or eleven days.
My 11th Blood & Thunder column appeared last Thursday...I had some fun doing a loosey-goosey recap of Sounds of the Underground last month. Not entirely dissimilar to my recap here the day after the show, just expanded a little more. The recently completed column #12 is looking really good, I think. So watch for that one in a month.
I reviewed the recent reissue of Matthew Sweet's Girlfriend for Static. That was a fun one to do, it's such a great album, one that's aged very well over the years. As fine as Sweets songs are, it's the guitar work of Robert Quine and Richard Lloyd that really elevates the record...a song like "Girlfriend" is a classic rock radio staple these days, but back in 1992, hearing Quine's wild, dissonant solos juxtaposed against such a sweet pop rock tune on maistream radio was very unique. I have to give 100% Fun a listen sometime...I was a big fan of that one.
Also appearing last week was my review of the new album by Boston metalcore dudes All That Remains. I first saw them in November 2004, as I walked into a club to see GWAR. I didn't know them from a hole in the ground, but they were pretty decent, the guitars doing the melodic death thing well, but I had trouble with vocalist Phil Labonte, who had a tendency toward generic metalcore screaming. So imagine my shock when I heard the fantazzgreat first five tracks on The Fall of Ideals a month ago...the dude can sing, and sing very well! What a transformation. Highly recommended if you like the heavy stuff.
All That Remains are definitely on my Decibel list, but I have some tougher bottom-five issues to address: Amon Amarth, or Jesu? Misery Index or the Haunted? Moonspell or Gojira? And what about that killer new To-Mera album? And the massive slab of doom by Ahab? Tough decisions over the next 24 hours, I tell you.
Thursday, September 7, 2006
New reviews! A bunch of 'em! First there's my rather, erm, wordy take on the new Iron Maiden album, which, as I've stated previously, that I'm enjoying quite a lot. I'm amazed at how strong the record is all the way through. Even the lesser moments are good, and when you consider the band's track record since 1990, is saying something. The new issue of Decibel has a very good article on Iron Maiden, but the story's not up on the website yet. I'll link to it when it does.
And speaking of Decibel, I have a pair of reviews in this month's issue. First and foremost is my review of the new Intronaut album, which is an amazing piece of work, one of the best metal discs of the year. Like the review states, it's all about the bass, which adds so much depth to an already brilliant embarrassment of riches. There's also my review of Weltenbrand, an interesting goth band from Liechtenstein that doesn't use guitars. Hearing double bass beats with just bass and synths is odd, and the album gets a little samey, but it has its moments. A third review (the new Arch Enemy DVD) seems to have been left out for space reasons, so hopefully it'll appear next month.
The uber-cheap Back to Mono arrived yesterday, and what a collection it is. To say Phil Spector was a genius in the 60s is a whopping understatement, and to hear his many, many great compositions one after another in chronologial order is something to behold. You start out with the demure "To Know Him is to Love Him", take a detour through "Spanish Harlem", and then the Crystals/Darlene Love/La La Phillips reel off song after song after classic song. Then disc two kicks in, and you're blindsided by the Ronettes, as Ronnie Spector completely steals the show (whatta voice...and how awesome is "Do I Love You"?), and on disc three, after some Righteous Brothers schmaltz, it kicks into high gear with Ike & Tina Turner. Add on arguably the greatest Christmas album ever made, and you've got nealy four hours of the greatest music ever recorded. A testament to how good mono can sound if used properly. Essential stuff.
The three words that make me cringe the most: Some Assembly Required. This is me putting a wheelbarrow together. Well, not really, but the similarities are disturbingly striking.
Monday, September 4, 2006
More new reviews, and at the top of the list is my piece on the new CD by one of what seems like dozens of bands from Denton, Texas, the Drams. Jubilee Dive is a bit of a departure from the more eclectic sounds of Slobberbone (three former members formed the Drams), and the album goes on for a little too long, but I think it's one of the most enjoyable albums of the year, loaded with cool upbeat rock tunes (think Wilco meets Toom Petty meets 80s REM), with a healthy dose of swooning, epic ballads. Nothing new, just simple music done especially well.
Also appearing over the weekend was my review of the scattershot, but quite enjoyable 2006 Warped Tour Compilation. With somewhere around 55 different bands featured, it's a mere fraction of the acts that appeared on the overwhelming Warped Tour bill, but as I always say, it's a good way to discover cool new bands you might not have known about. One such discovery for me was a fun little band called Paramore, a catchy little emo outfit fronted by a 16 year-old girl singer. She's a bit heavy on the Avril affectations, but the song "Emergency" has been a staple on my iRiver this past month. I've been meaning to check out their album sometime. And although we all know who Joan Jett is, I had no idea her new stuff sounded so good...colour me mightily impressed. So by all means, try out the CD (it's dirt cheap)...it's well worth wading through all the screamo garbage (Vanna is a band I wish I hadn't discovered) for those hidden treasures.
New Iron Maiden, new Blind Guardian are both out tomorrow. So is the new Alice in Chains best-of, which looks really good. Then Mastodon and Yo La Tengo next week. It's a fun time of the year, that's for sure.
Friday, September 1, 2006
Amazing that it's been six years since Nina Gordon's first solo album. It was far from a huge success (300,000 sold, apparently), and wasn't perfect, but for all its MOR (that's middle of the road, kiddies) leanings, I found it quite charming at the time. And the exact same thing happened to me when I first listened to the opening tracks of her new CD...really poppy, soccer mom rock, but nicely done. After that, though, it turned into a veritable ballad-fest, with about ten slow songs in a row. Not horrible, but not a good way to hold a listener's attention. Anyway, my review elaborates (or tries to, anyway) why the album is a near-miss in my books. At the risk of sounding rockist, more guitars, less piano!
I forgot to mention that a couple weeks ago, I was interviewed by a newspaper writer from Naples, Florida about how such older metal bands like Queensryche and Iron Maiden have managed to sound strong these days. It's not easy being interviewed like that...I started answering and then forgot what the question was. I think the quotes hold up rather well in the article (which appeared last Friday), but I don't know why he said I "had a friend" who liked Queensryche when I was clearly talking about myself! Ah, well. Creative license, I guess.
