Anyone who has been reading this blog since the early days will recognise my ‘unknown and underrated’ series of posts. In this series, I hoped to shine the spotlight on bands that I felt were drastically underrated or worse, unknown to the larger rock/metal populous for one reason or another. Each blog mentioned three bands and featured a small précis of the music as well as a track or two to illustrate why I considered them to be special.
By popular demand, I am reprising this series. The one difference this time around is that I will only feature one band per post so that I can go into slightly greater detail about them. In the coming weeks, I also hope to revisit the older posts and expand on a number of the bands that may have been missed first time around.
The first band to feature in this new format is…drum roll…
Darkwater
Swedish metal band Darkwater have been on my radar for a few years now and are a band that I return to on a pretty frequent basis. Formed in 2003 in Boras, Sweden, they have released two albums within their decade of activity, ‘Calling The Earth To Witness’ and ‘Where Stories End’ some three or so years later. Not enough as far as I’m concerned.
The output of this quintet is best defined loosely as progressive metal, although there is a lot more to the band than that. The most noticeable aspect of Darkwater’s sound is the lashings and lashings of keyboards that permeate every single composition. We’re not talking keyboards and synths in the virtuosic vein of Dream Theater et al, where they wander off on tangents and play lead duels with the guitars. Instead, the keys provide a dense and rich atmosphere upon which the compositions are built and through which a tangible sense of sadness is conveyed.
What I particularly enjoy about Darkwater’s approach is that they don’t sacrifice the more traditional ‘metal’ elements of their sound to allow the keyboards to shine. The rhythm section is extremely solid and the guitars provide a proper and satisfying crunch throughout, although don’t expect much in the way of solos or lead breaks. In many ways, Darkwater’s approach reminds me of Evergrey. They are not clones of their compatriots, but there are some parallels to be heard for certain.
Delving into the compositions themselves, the band tends to favour more lengthy songs and so, when coupled with the keyboards, it lends the material a rather epic feel. That being said, the sophomore release did address this to a certain extent and as a result, the tracks generally sit more around the five-six minute mark rather than seven or eight minutes. No less epic in my opinion, just a little more focussed and honed.
Darkwater are big on melody and so expect to find some big choruses and memorable hooks that will no doubt entice you into repeated listens. And the more you listen, the more you find. Not everything is offered up to the listener on a plate and whilst there is an undeniable immediacy to much of the material, little gems here and there will only reveal themselves in time.
Vocalist Henrik Bath and I at Progpower 2010
All-in-all, Darkwater are a band that is definitely worthy of further exposure and I hoped I’ve piqued your interest enough to check them out.
An Evening with Haken – A Live Review. For this blog post, I thought I’d combine a couple of things, kill two birds with one stone, so to speak: offer readers my first ever live review for this blog and at the same time, offer a personal insight into my gig-going experience, from start to finish. The band that I have chosen for this will come as no surprise to existing readers, as it’s one of my very favourite bands, Haken.
One reason for this was that I wanted my first live review to feature a great band. The other reason is pure pragmatism and plain reality. Now that I’m a father, I have responsibilities and this means that I’m unable to attend the sheer quantity of gigs that I once did. Therefore, when I’m let off the leash and I make the effort, it needs to be for a worthy band. So Haken it is.
The Gig:
Haken, supporting the Von Hertzen Brothers, with the Barbe-Q-Barbies as opening support.
Islington Assembly Hall
5th April 2013
My evening actually started much earlier than that – mid-afternoon to be precise. It was a working day so I ended the day early and took the dogs out for a nice walk in the sunshine to ensure they’d be content while I was out. A quick cuddle with the littl’un and by 4:30pm, I was out of the door. If you’ve read previous blogs of mine, you’ll know that I don’t live too close to London and so I had to travel the 70-odd miles down to the big smoke which on average takes about two full hours door-to-door. On the car stereo? A mixture of Spock’s Beard, Hypocrisy, Leprous and Dark Tranquillity.
With the car safely parked, it was a short trip along the Victoria Line on the London Underground to Highbury & Islington station. Normally, I’d never choose to get this close to a certain football club that resides here – I’m more of a Seven Sisters chap – but for Haken, I decided to make the exception!
After a quick bite of some fast food (no healthy eating lectures please!), I arrived at the venue just as the doors were opening. The first thing of note was the very small number of fans queuing or milling around outside. When compared to the queue at the nearby Garage for Paramore, it was somewhat disappointing although perhaps fully expected. Nevertheless, I handed over my money and made my way into the venue.
Once inside, I made a beeline as I always do to the merchandise stand. Unfortunately, I had just about all of the Haken merch on sale and there were no shirts available with tour dates on the back. Therefore no initial purchase was made. I did however bump into Haken’s vocalist Ross Jennings and had a brief chat, which was great.
Barbe-Q-Barbies were first up on stage and to be honest, their brand of straight-up rock ‘n’ roll was not really my cup of tea. In spite of a very sparse crowd and a very muted reaction, the five lasses did give it a damn good go. The mix was quite loud but was clear and the music was executed with a decent level of professionalism. However, tracks like ‘Shut The Fuck Up and Dance’ and ‘Friday’ felt very average, meaning that their thirty-minute slot did drag a little bit.
A chat with Peter, one of Haken’s biggest fans (and a relation to one of the guys I think) passed the time during the changeover, as did a meeti ng with Chris, one of the best follows on twitter (@WhiteRhinoTea if you’re interested).
And then it was Haken time. The band had announced that they planned to play a brand new track off their new album during the set and so my excitement was piqued even more as six of the most unassuming yet highly talented guys wandered onto the stage.
The 45-minute set kicked off with ‘Drowning In The Flood’, from their debut album, ‘Aquarius’. It goes without saying that the standard of musicianship was outstanding because these guys are masters of their instruments, knowing exactly how to get the very best out of their tools. The sound initially was a little muddy with Tom MacLean’s bass guitar looming large over proceedings.
However, as the set developed, the mix steadily improved and by the end , the only grumble was a slight lack of volume at the top end, which robbed the lead guitar work of Charlie Griffiths and Richard Henshall a little of its clarity.
The slightly shorter ‘Eternal Rain’, also from the debut quickly followed and then, all of a sudden, it was new song time. I could barely contain my excitement and, if I’m entirely honest, I suddenly became nervous. I needn’t have worried though, because the ensuing eight or nine minutes flew by as I desperately tried to commit as much as I could to memory. It is always difficult to accurately judge a previously unheard song on just one listen in a live environment but judging by the number of approving faces among the audience, I was clearly not the only one to like what I heard. If anything, this as yet unnamed track seemed to be even more reliant on Diego Tejeida’s keyboards, with giant atmospheric walls of sound assaulting the ears, ably assisted by some chunky guitar riffs underneath. Later, talking to Richard, he informed me a little tongue-in-cheek that this was by no means the best song on the new album but that it was the only one at a stage that was ready to air to the public. The mind boggles as to the quality of the remainder of album number three then.
From a performance point of view however, the next two tracks, ‘Portals’ and ‘Shapeshifter’ raised the bar to a whole new level. I have had the pleasure of seeing these guys play live on numerous occasions but there was an accuracy, intensity and professionalism here that I don’t think I’ve ever seen before. Front man Ross was his irrepressibly energetic self, engaging with the crowd and interacting with his band mates wonderfully. However, as he exited stage right to allow the spotlight to fall on his colleagues during an ubiquitous extended instrumental workout, the crowd were treated to some of the most technically brilliant musicianship imaginable. Most impressive was drummer Ray Hearne who has developed in leaps and bounds over the last year or so to the point where you simply can’t believe he’s only 21 years old. I swear I must have stood in front of the stage with my mouth wide open for the entire time, only occasionally diversifying with an unbelieving shake of the head.
And before I knew it, it was the end of the show – another top class performance from the sextet to send the hard core of fans and devotees home very happy indeed.
After their set, I met up with Freddy from Inside Out Music, with whom Haken have just signed. I have high hopes for this partnership because Inside Out are possibly my favourite label in the business. Not only are the staff helpful, friendly and passionate, if you like prog music, their roster is one of the strongest out there. Check them out here if you don’t believe me.
The headliners for tonight’s entertainment were of course The Von Hertzen Brothers. Their latest album, the recently released “Nine Lives” has been lauded highly by fans and critics alike but if anything, these Finns are better on stage than on record. In the live setting, their particularly palatable brand of melodic rock with understated progressive tendencies is afforded more energy and power. Truth be told, I wasn’t intending on staying for long after Haken, but I found it very hard to pull myself away and consequently, I stayed a lot longer than I’d bargained for. And, had it been another night with another support act, I may have ended up waxing more lyrical about The Von Hertzen Brothers. As it was though, the night belonged to Haken. And, as it’s my blog, I’m allowed to be biased!
After a light-hearted conversation with Ray, during which time I discovered how deep his love for the tuba goes, I had to face the prospect of the journey home. Stoically, I stuffed my headphones in my ears, replaced my beanie hat and headed into the crisp and cold London night. The journey home always seems to be twice as long but thanks to some pre-prepared sustenance in the form of fizzy drinks and chocolate, I made it home in one piece in the early hours of the following morning. And with that, another evening of live music was brought to a close. Bugger the time and expense, nights like this are what us music fans live for.
Hands up how many of you still get that excitement from a new album release? You know the feeling – that eager anticipation which begins the moment you find out a particular band is going to be releasing a new album. The eager anticipation that begins to turn into barely controlled impatience so that, on the eve of the release, you are just about chewing the furniture.
For what it’s worth, I do. Of course, the intensity of these feelings will depend on the band in question, where they fit on my own personal hierarchy and how long it has been since their last release. At its most mild, it may take the form of a pleasant ‘ooh, that’ll be interesting’. At its strongest, though, it is all-consuming. Personally, I will trawl the Internet looking for as much information about it as possible, devouring any studio reports, snippets of information or anything that may enlighten me as to the forthcoming direction of the music or what it might sound like.
If the feelings of excitement take the form of the latter, does anybody find that the excitement is very much tinged with nervousness? You can’t wait for the new material but certain questions start to creep into the back of your mind…what if I don’t like the album? What if the band decides to go in a different direction? What if the production is bad? What if, what if, what if? It’s like it’d be the end of the world if the album didn’t turn out to be the best thing in the world.
You’d think that this would all change now that I’m an amateur journalist and as such get access to a large number of albums early. But no, not a chance. The only difference now is that I will send a frantic email to my editor and ask, nay demand I am given the exclusive rights to review the album personally. I await the email reply with the same excitement and, if the answer is yes, await the promo or the mp3 files impatiently, having first done a little jig of delight in front of my laptop.
I won’t lie, it is great being able to hear an album early. The naughty mischievous side of me enjoys the good natured banter that follows when other fans find out I have stolen a march on them. It is also an honour and a privilege of which I never lose sight. In return, I am expected to give the album my full attention and offer my thoughts on it in a coherent, considered and fair manner. That, in itself, can be very challenging, but is a challenge I enjoy.
Having said that, nothing beats the feeling I get when I get the highly anticipated album in my grubby little paws. More and more these days, the album will come through the post having been ordered on-line. I tend to use a select few outlets I trust, including the fabulous Laser’s Edge in the USA for most of my prog needs – check them out, they come highly recommended.
However, there are still occasions when I can take a trip into my local town centre, safe in the knowledge that even HMV, the only record shop left in the high street, won’t have cocked up and will have the album on their shelves. Walking into the shop and locating that album on the rack is all part of the ritual and I still get a thrill from seeing it on the shelf, ready for me to pick up. Even better if there’s a limited edition because it will be mine.
Whether or not the disc has arrived through the post or been purchased in a shop, the next set of actions is always the same. On goes the disc and out comes the booklet. Forget any prior engagements; if the band has the necessary gravitas, everything stops for a first listen. Some people I speak to have amazing self-control, saying that they wait for a more opportune moment to listen, rather than off-the-cuff the minute it arrives. I can’t do that.
I will tend to follow the lyrics as the music plays, intermittently dipping into my favourite part of the booklet – the acknowledgements section. I love seeing who was involved in the album, from the artwork to the production. Were there any surprise guest musicians involved? I then trawl through the ‘thank you’ segment. To my mind, there’s nothing worse than a blanket generic ‘thanks to friends, family and fans’. Damn it, I want to know exactly who has helped as it gives me an insight into the thoughts behind the album, inspirations and a million other things. Of course, if it’s a band I have interviewed or met as a fan, I always check for my name in the list. I’d be lying if I said otherwise. It has happened on a couple of occasions – big love to the awesome Haken (‘Visions’) and the excellent Derision (‘Ancient’) (both of whom you should check out if you’ve not already) And, if I’m honest, I hope it might happen again in the future!
Then, as you’re listening for the first, the second, the third time, you run the gamut of emotions – do I like this? Am I pleased with it? Is it their best? Why have they done that? It’s awful. I don’t like it. I’m disappointed. I love it. I love this band, they’re the best…it goes on and on.
If you like the album, the fun then really begins as you try to spread the word and the love. You want everyone to know about it, even those who you know hate rock or metal and couldn’t give two hoots about the great guitar solo on track three. Therefore, social media is carpet-bombed these days but before that, it was music forums and before the Internet explosion, it was phone calls or face-to-face chats over a drink in the pub…well, not for me, because the Internet was in place before I turned 18…but you know what I mean!
And so it goes on, week after week, month after month. There you have it, the excitement of the new album release. In a nutshell, this is one of the big reasons that I love music. Is there anything else that can rival it? Sport comes close, but not close enough. For me, music is the be all and end all.
The work that I do for Powerplay Magazine and to a slightly lesser extent ThisIsNotAScene and Ghost Cult, I do for the love of the music. I don’t get paid for it. Whilst I’d love to be remunerated for it, the biggest payment I get is non-financial. It’s the buzz of seeing my name in print, feeling proud of a piece of prose that I have created. But more than that, it is the knowledge that I am giving something back to the scene that I love and that desperately needs support. I love being able to recommend good music to like-minded people because in so doing, I have the fervent hope that I am helping that band in a very small but tangible way to succeed or, at the very least, to survive.
I have been lucky enough throughout my 7-year ‘career’ to have been inundated with positive experiences, too many to recount here. Of course there may be the odd small niggle here and there but generally, it has been a lot of fun, indeed a privilege. Someone once said that it is a mistake to meet your heroes because you’ll only be disappointed. But, in my experience, this is a falsehood and, in certain cases, I am thrilled to call some of my heroes friends now. Shadow Gallery’s Gary Wehrkamp for example, or the guys from Haken and Evergrey.
So it is all the more disappointing to have to report that for the first time since I started writing, I have had a really negative experience that has had such an impact upon me that I felt the need to share it.
I will not give any names because I value what I do and do not want to jeopardise my work going forward. However, this is what happened…
I am requested by my Editor to do a feature on a band. I agree because I like their music and feel that it could be a good article to write. The record label contacts me and a date is agreed for the interview with the artist. At this point, I wish to make it clear that the bone of contention is in no way with the artist, as I hope will become clear.
At the end of the email exchange, having committed myself to the interview, I am asked to call the artist directly. I am always reluctant to do this and will generally try to find another option, but agree on this occasion. Naturally, the artist is not UK-based and so I make the international call, conduct a very successful and enjoyable interview and the job is done.
It is only when I check my telephone bill that I realise the cost of the call is around £25 (or $35/28 euros for my international friends!) With a young baby and a household on only one income whilst my partner remains at home to look after our daughter, this is not an insignificant amount of money. I therefore take the relatively rare step of sending a copy of the bill to the record label asking them politely if they would mind reimbursing me for the cost of the call. The reply I get?
“Hi Matt,
Glad your interview went well – great stuff!
Unfortunately we do not cover the costs of phone calls for interviews, maybe this is something the mag can help you out with.”
I was stunned. I may be being completely naive and wet behind the ears but I was not expecting such a reply. In the past I have attended press functions laid on by record labels and everything has been at their expense, fully aware as they are that our articles and opinions will help to promote their artists and ultimately benefit them as the record label. I don’t expect this treatment, but it is very welcome and greatly appreciated. Moreover, I feel appreciated. In point of fact, when many people in the industry discover that I do it for free and often travel significant distances at my own expense to carry out an assignment, they are shocked, but grateful for the effort.
In the case of this particular record label however, I feel very aggrieved. I feel like I have been used and now that they have got what they wanted, they are not prepared to assist me any further. I was prepared to overlook the fact that there was a minor cock-up in the organisation of the interview – both I and the artist were seemingly given different information, which meant that I contacted the artist an hour or two earlier than he had expected.
This is not an insignificant label, a small independent that, like the rest of us, is struggling to survive in a difficult financial climate. And so it rankles all the more that they could be so dismissive and cheap that they couldn’t see their way clear to reimburse me for a small sum of money that I have spent so that I can promote one of their artists. Fortunately for me, my Editor will kindly reimburse me for the call, but I also think that this is unfair. The mag will make money from sales, but nowhere near the scale of the label from record sales, merch sales and the like. You may think that I am being petty or making a mountain out of a molehill but there is an underlying principle here.
I know that it is a fight that is probably not worth fighting because it will only end up making me even more angry and disappointed than I already am. I even suspect that this blog post will draw a line under the whole affair.
The bottom line though is that I will now think very carefully before offering to assist this label in the future. Instead, if at all possible, I will direct my time and attention on those bands, artists and labels that are more deserving, that need the promotion and that are not involved wit a record label that cares more about money than anything else.
Rant over, thanks for reading and assisting in my therapy!
The older I get, the more interested I become in prog music. Generally, that statement would require further clarification via the addition of the word ‘metal’. However, more recently, this has become less and less necessary as I have found myself taking great delight in some of the more laid back forms of the genre, more rooted in rock.
Some of the blame I lay at the door of fatherhood; it’s not exactly ‘dad rock’, but whilst I still need to submerge myself in the heavier ends of the music spectrum on a frequent basis, sometimes I need to listen to something less in-your-face to counteract the crying, screaming and general noises associated with a baby…and some forms of extreme metal for that matter.
That said, the biggest portion of blame can be laid at the door of Big Big Train, the Bournemouth-based progressive rock sextet consisting of Greg Spawton, Nick D’Virgilio, Dave Longden, Dave Gregory,Andy Poole and, now, Danny Manners.
Previously unaware of Big Big Train, talk on the Internet, mainly on social media sites like Twitter and Facebook around the release of their eighth album, ‘English Electric Part 1’ got me intrigued. People whose opinion I respected and trusted spoke in glowing terms about the album and my curiosity piqued to such an extent that I could no longer resist. I listened.
On a first spin, the combination of the long compositions, a track led by a banjo, plenty of brass involvement and frequent interruptions meant that my attention wandered and I was less than enamoured. As such, it was only the constant badgering of wise people that forced me into a second listen. I’m indebted to these people because I listened again. Then again. And again. I was hooked, meaning that it reached number 8 in my Top 20 of 2012. And here’s why:
‘English Electric (Part 1)’ is, as I stated in my Top 20 of 2012 countdown, prog rock heaven. As many other reviews have pointed out, there are similarities between Big Big Train and Hackett-era Genesis. However, in my mind, much of this has to do with the feel and atmosphere of the album rather than the actual musical content per se. Yes, both bands play high quality progressive rock and there are some undeniable similarities but without question, they both above all offer the listener music that feels quintessentially English. I mean, where else could you hope to hear a track about the flora and fauna to be found in the hedgerows of the countryside for example? In fact, the lyrical content of the album takes the listener on a tour of England, taking in many aspects of our history and beautiful landscapes along the way.
The album begins in pretty upbeat and urgent fashion in the form of “The First Rebreather” courtesy of some great guitar work. Over its seven-plus minute length it opens up and offers plenty of beautiful melodies and lots of great instrumentation, most notably from the keyboards which end the track in a lovely, epic fashion.
Up next is a charming little ditty by the name of “Uncle Jack”. It is led by a banjo and has a light, airy and folky feel to it. It is the first track too which introduces the topic of the hedgerow with a charming section that lists much of the wildlife to be found there. As I said, this is quintessentially English.
A woodwind melody opens up one of my personal favourites on this remarkable album, “Winchester From St Giles’ Hill”. I adore the central chorus to this piece, as the vocals of Dave Longden in particular really shine, sounding full of emotion.
The brilliance does not let up at any point and, after the magnificence of the preceding three tracks, it is business as usual courtesy of “Judas Unrepentant” which tells the tale of Tom Keating, a famous art forger who is now at rest in a churchyard less than five miles from my home on the Suffolk/Essex border. Again, the chorus is a memorable one and I particularly like the acoustic guitars and the mid section which features an instrumental passage dominated by a piano and violin duet of sorts.
Such is the quality of “Summoned By Bells”, I don’t even mind the closing few minutes. Normally, I cannot stand brass in my rock/metal – my prejudices cannot help but think that it is a waste of an opportunity for a guitar solo or some such. However, I cannot deny that the quiet and subtle interplay between the brass and electric guitar works to great effect, bringing the track to a close very nicely indeed.
“Upton Heath” is another bright and breezy composition full of those trademark melodies and is the perfect pre-cursor to “Boy In Darkness” which, by contrast is a much darker beast. Exploring the lives of children in the coal mines of 19th Century England, it is a sad and thought-provoking tale. The music behind the lyrics matches the mood and, coupled with an impassioned chorus, really sends shivers down my spine each and every time I listen.
Before you know it, the album reaches its climax and, thanks to “Hedgerow”, it is a suitably rousing and epic anthemic finale, reprising many of the melodies that feature throughout the album as well as the character of Jack seen previously. With a continuation of the superb musicianship, including an exquisite violin solo at the mid-point, it encapsulates everything that is so wonderful about this album in a nine-minute microcosm. And the soft sentimentalist in me loves the inclusion of Jack himself and his dog, Peg.
And there you have it. I have probably not been as eloquent as others in their review of this album but hopefully it gives you an idea of how highly I regard this album. It really is a gem from 2012.
Ever since I began to listen to rock and metal some twenty years ago now, I have been delighted by and frustrated by a particular phenomenon…the instrumental interlude. Most of the time, these pieces of music are used as an introduction to an album or as a closer. Often, instrumentals act as book-ends, both opening and closing an album and frequently, they can be found littering albums at various points.
I’m not aware of many other genres of music employing this ‘technique’, if you can call it that and yet, rock and metal is riddled with it. In fact, there are certain genres (black metal for example) where it comes as a shock to the system when an album opens up with a blast beat or a shriek rather than a more soothing symphonic refrain courtesy of the resident keyboardist or, if the budget allows, a real orchestra.
But, the question remains – are instrumental intros, outros and interludes a waste of time or do they serve a genuine purpose?
The answer, as always, depends on the quality that is being offered. Some albums are rubbish and no amount of clever, atmospheric, challenging or downright weird pieces of music will save them. Sometimes, an instrumental piece will be an exercise in padding, to bulk out a shortfall in worthwhile material whilst others serve a better purpose, acting as introductions, bridges or narration to that very metal of inventions, the concept album.
Personally, if the piece of music is well-written and is not just a throw-away composition, I tend to be a fan of them. But, if they serve no logical purpose or if they simply don’t add anything of value to the album, I’d rather they were removed. For example, I don’t get those 20-second sections of noise that masquerade as an intro as they tend to start the album on a negative footing. Neither do I enjoy the inevitable disruption in flow when something similar pops up in the middle of a record. Nevertheless, as foibles go, I can generally cope with this one from the rock and metal scene.
But it wouldn’t be the same without a few examples, so here are a few of the best and worst that the scene has to offer in my opinion:
The bad
Type O Negative – I love Type O Negative. Not seeing them live is one of my biggest music-related regrets. And yet, their albums delight and annoy in equal measure. Both ‘Bloody Kisses’ and ‘October Rust’ are firm favourites of mine but both contain no less than three of these instrumental interludes, all of which are, in my opinion, an utter waste of time. Admittedly they don’t last long and are quickly forgotten but if that’s the case, what’s the point?
In the case of ‘Bloody Kisses’, the album opens with ‘Machine Screw’ which is comprised of a woman moaning over a backdrop of a whining industrial noise whilst ‘Fay Wray Come Out and Play’ is a minute-long chant with howling wolves in the background.
‘October Rust’ on the other hand, doesn’t offer listeners anything closely resembling a song until track three. The album opens with ‘Bad Ground’, 30 seconds of an indeciperable noise before leading into an untitled track which is the band thanking fans for buying the album. It’s a nice enough touch but I question it’s necessity on the album.
Kamelot – Another band that I have liked for many years but who fall foul of the ‘pointless intro and interlude’ category. Their otherwise fantastic album ‘Epica’ for example features no less than five instrumental interludes and I’m hard-pressed to understand any of them. The band and die-hard fans will perhaps argue that they maintain an ebb and flow to the album but the fact remains that none of them are memorable or particularly interesting and I could happily live without them. I liken them to annoying advert breaks in the middle of your favourite TV show.
But arguably worse than this are the three interludes within ‘The Black Halo’, none of which contain anything that I would call music. Instead they’re just film-like excerpts within the album. Only one word required: skip.
There are, no doubt, a ton of other examples of poor or unnecessary instrumentals but these two culprits immediately spring to mind
The good
Bal Sagoth – ‘Black Dragons Soar Above The Mountain Of Shadows’
If ever there was an instrumental opener designed to get the blood pumping, this is it. Performed exclusively by keyboards, this is pure sci-fi fantasy music. It could easily be the soundtrack to your favourite fantasy novel such is it’s pomposity and grandiosity – personally, I picture Sparhawk, the hero in David Eddings’ ‘The Elenium’ and ‘The Tamuli’ trilogies astride his trusty steed on the edge of a windswept cliff as I listen. But I digress…
The minute I heard this instrumental opening, I knew I was going to enjoy Bal Sagoth. It is completely in keeping with the excesses on display throughout the remainder of the album and therefore gives listeners an gentle insight into the barbarian metal that is to follow. A great album overall, opened up by a fantastic instrumental piece.
In Flames – The Jester’s Dance
In a slight change of pace, this instrumental does not open up ‘The Jester Race’, but instead sits in the track two position. This classic melodic death metal album begins with the brilliant ‘Moonshield’ before giving way to this beautiful two-minute instrumental. As mentioned in a previouds post, I discovered this album via a Spanish friend at University on a beaten-up old cassette tape. At first I was not sure about my first taste of melodic death metal. However, I loved this instrumental piece from the get-go and it gave me the incentive I needed to keep listening. Witout ‘The Jester Dance’ with it’s juxtaposition of sublime guitar melodies, galloping bass line and heavy riffing, I might not have got into this genre at the time and my musical development may have taken a completely different tack.
At The Gates – The Flames Of The End
What better way to round out a near-perfect and genre-defining album than with a sensational outro. With ‘Slaughter of the Soul’, At The Gates created what is regarded by many as the melodic death metal album, the album from which all else came and the one that is lauded as the creator of the melodic death metal scene now known as ‘The gothernburg sound’.
Aside from the massive opening track, it is the outro instrumental that I enjoy most on this album. The track builds wonderfully beginning with quietly and slowly, led initially by synths before being joined by a simple drum beat. And then, at the half-way mark, the guitars come in. First with a cool distorted riff and then all hell breaks loose. The riff continues but this time is overlaid with some awesome guitar feedback effects. It is a solo of sorts but all done through the medium of distortion feedback and it sounds epic. If you’ve never heard this instrumental, you’ve missed out.
Dimmu Borgir – Det nye riket
If I’m being honest, the debut album from one of the most well-known extreme metal bands was pretty average. The compositions are not that inspiring and, in terms of black metal, the music is very much in keeping with the genre at that time. The budget, as you’d expect from a debut album, must have been small as the production and artwork left a lot to be desired.
And yet, the album opens with one of the most memorable and fantastic instrumentals that I have in my ever-increasing collection. Spanning over five minutes, it is a relatively long opening salvo but it immediately grabbed me and I listen to it on a regular basis. In addition to the simple, slow-paced melodies and faux-orchestral synth work, what makes this track even more special is the spoken-word section towards the end. The Norwegian language has never sounded so mysterious and downright ominous.
Today sees the last instalment of a series of blogs looking at albums that did not make my Top 20 rock and metal albums of 2012 for one reason or another.
The final two albums that I have chosen offer very different listening experiences but are both excellent in their own right. Something here for doom fans and power metal fans I think.
Ahab
‘The Giant’
Napalm Records
This is one of those albums that took time to sink into my psyche and become a favourite. Doom metal performed at the same speed of a comotose sloth, stretched out over an hour-long six tracks is what you’re confronted with on ‘The Giant’. As such, it can be a bit of a daunting prospect. However, give it the time and attention that it fully deserves and it becomes less daunting. In fact, it becomes a very enjoyable listening experience indeed.
The length of the compositions suddenly becomes inconsequential as Ahab draw you in with some brilliantly-written doom metal. There is a hypnotic quality to much of the material but in addition, there is variety. The deep bass rumble of the vocals occasionally gives way to a clean approach and there are enough melodies to entice you into repeated listens.
It takes time, but stick with it, because boy are the rewards there to reap!
And the second album…
Dragonforce
‘The Power Within’
Essential Music/Roadrunner
With ‘The Power Within’, not only did Dragonforce introduce a new singer into the fold in Marc Hudson, but they also introduced a slightly new approach to their music.
In the past, as popular and as talented as Dragonforce undeniably were (and still are of course), many saw the band as a bit of a novelty act – long songs littered with odd sound effects, over-the-top soloing, silly lyrics and a care-free attitude that was perhaps wrongly mistaken for a ‘don’t care’ attitude. With ‘The Power Within’ it is very much a case of less is more. The essence of Dragonforce thankfully remains but importantly, the compositions are more focussed, shorter and punchier.
The big choruses remain, as do the solos both on keyboards and guitars. However, these have been dialled down just a little to allow the songs themselves to take centre stage. Existing fans may bemoan the lack of a ‘Through The Fire And The Flames’-type anthem but I believe the album is stronger throughout as a result, with barely a filler in sight. Oh and if you are worried about the departure of vocalist ZP Theart, worry no longer. Just take a listen to the track below as a demonstration of mechanic-turned-vocalist Marc Hudson’s powerful pipes.
Swedish metal band Darkwater have been on my radar for a few years now and are a band that I return to on a pretty frequent basis. Formed in 2003 in Boras, Sweden, they have released two albums within their decade of activity, ‘Calling The Earth To Witness’ and ‘Where Stories End’ some three or so years later. Not enough as far as I’m concerned.
Delving into the compositions themselves, the band tends to favour more lengthy songs and so, when coupled with the keyboards, it lends the material a rather epic feel. That being said, the sophomore release did address this to a certain extent and as a result, the tracks generally sit more around the five-six minute mark rather than seven or eight minutes. No less epic in my opinion, just a little more focussed and honed. 
