Inside Out Records

Album of the Year 2016 – Number 2

Welcome to the penultimate day in my 2016 ‘Album of the Year’ top 30 countdown. It is a series I started at the end of November, so around a month later, here we are nearly at the end of this rather epic journey. It’s one that I undertake every year, so I should be used to it by now.

However, I always forget what a buzz it gives me. I really like having the opportunity to listen to the very best music of the year and to then be able to write about it one last time before a whole new year and a new chapter begins. It’s a labour of love that I fully enjoy – I hope you have enjoyed it too.

Forgive me but, as always, if you’re new to this series or my blog in general, links to the previous posts in this series can be found at the bottom of this post, along with links to the entire 2012-2015 lists, should you be interested.

As I stated at the beginning of the last post, these top three albums are almost inseparable and really, they should be given equal billing as joint winners. In my eyes and in my heart, they are equally brilliant and worthy winners. However, I’ve tried to avoid sitting on the fence for the purposes of this series. As a result, I have put these three records in an order. It is a little arbitrary but is based on the way in which the albums in question made me feel and continue to make me feel some time after their release.

So here goes, here is my silver medal winner…

Number 2

Haken
Affinity
InsideOut Music

“…in stark contrast to ‘The Mountain’, ‘Affinity’ captured my imagination right off the bat and has not failed to let go in the month or so that I’ve been listening to it. If anything, the more I listen, the better it gets.

‘Affinity’ is an album that transcends the normal debates around whether it is good or not. Of course it is good, that almost goes without saying.

‘Affinity’ manages to deftly and expertly merge the sounds of the past with the sounds of the future. In spite of the 1980s sheen, all nine compositions on ‘Affinity’ come across to me as fresh and exciting, with accents of djent, post-rock, ambient and all manner of other sounds bursting forth at whim.

How do I sum up an album like this? I could have mentioned a million bands throughout this review, from Textures to King Crimson and beyond as indeed there are reference points all over the place if you’re of a mind to count them. However, Haken are Haken and the bottom line is that they have developed into a modern prog band that is truly unique. ‘Affinity’ is one of the best progressive albums I have ever had the pleasure to listen to but more than that, it truly moves me and I connect to it on an emotional level; it makes me smile, it makes me cry and it makes me feel alive.”

Read the full review here

There is no denying that Haken has been an important band in my collection ever since their debut, ‘Aquarius’. This was a seriously great find for me musically and, as it happens, personally too as the guys in this UK based prog band are some of the nicest and most down-to-earth fellows you’re ever likely to meet. Not that they’ll feel the same about me when they find out that I’ve not given them the ultimate number one slot in this 2016 best of countdown!

Their debut was intriguing, full of unique moments whilst paying homage to their musical heroes. However, as it turns out, this was just the beginning. It was hugely enjoyable but moreover, it hinted at even better to come. Those hints were right. Over time, they have built upon their debut, always seeking to try new things and bring in new sources of inspiration. The net result is, in my opinion, a band that has remained one step ahead of their peers, sounding fresh and interesting with each incarnation and each album.

And so we now have ‘Affinity’, an album that once again sees Haken in devastating form. If ‘The Mountain’ was this young band coming of age, ‘Affinity’ silences any doubters to the assertion that Haken are the most accomplished and exciting band in progressive music today. Too much? Nope, I don’t think so.

Throwing the rule book away, they have managed to create an album that is something that only this sextet could have put together. It is incredibly technical and complex but never at the expense of the songs and the vibe that they are trying to create. ‘Affinity’ harks back unashamedly to the 80s whilst also managing to sound new, innovative and fresh, borrowing from all corners of the musical spectrum in the process. The playful side of Haken, never allowing themselves to be taken too seriously, is evident but, at the same time, there is a much more mature side to much of the material. At some points, the music is deeply moving and touching, whilst at others, you can’t help but smile.

Whilst many have rightly lauded the fantastically epic ‘The Architect’ as the best song on the album, perhaps even the best song of Haken’s career to date, I have other personal favourites from ‘Affinity’. The gorgeous ‘Earthrise’ with its wonderfully up-beat vibe has been my ringtone for months, meaning that I never answer my phone on the first, second or third ring…sometimes, I fail to answer at all. Oh well, music comes first.

Then there’s the closer, ‘Bound By Gravity’ which is much more sombre, fragile and stunningly beautiful. There isn’t anything approaching a weak track on this album but these two have become the show-stoppers for me; when they start, I stop. I stop and listen, regardless of time, situation or mood. This is the hallmark of intensely powerful music.

I adore this album and my adoration has only strengthened as the year has gone on. I’d have to say that ‘Affinity’ is now my favourite Haken album, nudging ‘Visions’ off the top spot. But not only that, ‘Affinity’ is the best progressive album of the year and, for me, the best for some time beyond that too.

In case you’ve missed any of the other posts in the 2016 series, here they are for you to explore and enjoy:

Album of the Year 2016 – number 3

Album of the Year 2016 – number 4

Album of the Year 2016 – number 5

Album of the Year 2016 – number 6

And from previous years:

Album of the Year 2015
Album of the Year 2014
Album of the Year 2013
Album of the Year 2012

Haken – Affinity – Album Review

Artist: Haken

Album Title: Affinity

Label: InsideOut Records

Date Of Release: 29 April 2016

Beware! This is the first time that I have been able to review a full Haken album without any word limits or other punitive restrictions placed upon me. You have been warned…

I’m going to lay my cards on the table right at the outset: Haken are one of my all-time favourite bands. Despite only being in existence for a relatively short period of time, right from their debut ‘Aquarius’ I have held them in high regard. It is a situation that has only strengthened over the years with each passing album and having had the chance to meet the band on several occasions, from interviewing the whole motley crew on their tour van at Progpower Europe in 2010 to friendly chats with various members at numerous gigs subsequently.

Regardless of this however, Haken are the real deal. Yes, they are a cracking bunch of guys but crucially, they back it up with a superlative end product. Each member of Haken is a supremely talented individual with their chosen instrument(s) but together there is a real magic; an unquantifiable ‘x’ factor that leads to the creation of music that is almost peerless and jaw-droppingly good.

And, on that note, let us delve into the world of ‘Affinity’.

It took me quite a while to get into and appreciate ‘The Mountain’. It sounded different from what went before it; more grown-up and, ‘Cockroach King’ aside, more serious and introspective. However, in stark contrast to ‘The Mountain’, ‘Affinity’ captured my imagination right off the bat and has not failed to let go in the month or so that I’ve been listening to it. If anything, the more I listen, the better it gets.

Weirdly enough, a small voice in my brain kept suggesting that it might be a good thing if ‘Affinity’ wasn’t as good an album. That way, I’d be able to tackle this review without the inevitable comments from readers about me being a fanboy and moaning that ‘you were always going to give it a high score’. But then I came to my senses.

‘Affinity’ won’t be for everyone, that’s for sure. If you’re a fan of the first two albums and wanted a return to more of that sound and approach, you might be left slightly disappointed. If however, you’re open to listening to a band that refuses to tread the same path twice, a band that champions the true meaning of ‘progressive’ by trying new things whilst remaining loyal to their core principles, then ‘Affinity’ will probably have the same impact upon you as it has had on me.

And what exactly is that impact? It is almost impossible to describe if I’m honest. ‘Affinity’ is an album that transcends the normal debates around whether it is good or not. Of course it is good, that almost goes without saying. I’m not a musician, so I am unable to dissect all of the technical intricacies that are present on this record. That’s not my style. Instead it’s the feelings that Haken evoke in their music that I feel the need to focus on as this is arguably the most powerful and intoxicating aspect of their incredible music.

We all have them – bands that, as you listen, make you feel happy to be alive. Well, for me, Haken are one of the four or five bands on Earth that do just that.

The album opens with the sampled sounds made by early computers atop a dark, cinematic soundscape that grows in intensity, building the sense of anticipation brilliantly and setting the foundations to the musical avenues to be explored within ‘Affinity’. Whilst ‘The Mountain’ was heavily influenced by the 1970s with the likes of Gentle Giant looming large within certain compositions, ‘Affinity’ takes its cue from the following decade. To be fair, this was fairly obvious after one look at the retro cover artwork and the most excellent teaser trailers released a few weeks ago. Again, the imagery might not appeal to everyone, but I really like the boldness and simplicity of the artwork that deliberately and unashamedly harks back to the analogue days of cassette tapes and vinyl.

The opening instrumental segues seamlessly into ‘Initiate’, the first ‘proper’ track on the album and a barnstormer at that, a deceptively complex piece of music that acts as a real showcase for everything great about Haken in 2016. And as I listen, almost immediately, several things become clear. Firstly, ‘Affinity’ is blessed by a production and a mix courtesy of Jens Bogren (Fascination Street Studios) that is right out of the top drawer. The music sounds powerful yet with a clarity that allows every instrument to shine. Nothing is lost or overlooked and the results are simply stunning.

Secondly, Ross Jennings’ vocals have taken another huge leap in the right direction. I was always one of those that took a lot of convincing over his delivery on the debut record particularly. However, he has pushed himself to the point that he is, without doubt a highly talented and accomplished vocalist with a unique, passionate delivery.

Thirdly, the increase in atmospherics, of electronic sounds and textures courtesy of Diego Tejeida is also very pronounced from the outset. Not only does he create a very interesting sonic palette that weaves in and out of each composition, he injects a surprising amount of warmth to the music that could so easily have sounded cold and inaccessible.

This in turn links to my final observation, that ‘Affinity’ manages to deftly and expertly merge the sounds of the past with the sounds of the future. In spite of the 1980s sheen, all nine compositions on ‘Affinity’ come across to me as fresh and exciting, with accents of djent, post-rock, ambient and all manner of other sounds bursting forth at whim.

Having said all that, ‘1985’ is almost entirely immersed in the 80s. In the same way as ‘Cockroach King’ was Haken’s ‘all-out’ track on ‘The Mountain’, ‘1985’ is the song on ‘Affinity’ that throws a little caution to the wind and shows Haken at their most audacious in many respects. Synth drums, overt retro sounds and an occasional dive headlong into 80s movie soundtrack territory all take place within this ambitious composition. However, it works, retaining a homogenous feel throughout. It is made all the more special thanks to a really rousing, hooky chorus that is nothing short of addictive.

The elegant ‘Lapse’ features some of Jennings’ most accomplished vocal work on this record, and indeed throughout the entire back catalogue. The vocal chords are stretched in directions that must have been really challenging but the result is gripping, full of sincerity and emotion in places.

‘The Architect’ is Haken’s monster epic. At 15 minutes long, it allows the band the time to explore a number of ideas without ever feeling cluttered or disjointed. The track starts off in grand, cinematic style before exploding in a barely-controlled prog metal assault. It is here that Haken most clearly reference their earlier output as the music flits between the over-the-top excesses of the debut and the grandiose tones of ‘Visions’.

I’m then reminded vaguely of Tool in the more refrained guitar work and rhythms that follow, before another memorable chorus of sorts grabs the attention. And then, the song plunges into a music abyss where everything falls away to eventually and gradually rebuild over time. The foreboding yet ambient synth sounds lay the early groundwork as the bass guitar of relative newbie Conner Green joins the fray with some exceptionally expressive, deft and highly musical work. Ray Hearne’s drumming is subtle but inspired, and the resulting guitar interplay between Richard Henshall and Charlie Griffiths is inventive, melodious and ear-catching.

If that wasn’t enough, as the song ascends from the depths, the band are joined by Leprous’ Einar Solberg who adds his unique gruff vocals atop some heavy djent-like riffing before a return to the chorus and an epic lead guitar solo that rivals that of ‘Aquarium’ for spine tingling majesty.

‘Earthrise’ is possibly my favourite track on the album right now. I adore the quiet and melodic opening because it fills me with a warm glow and the feeling that the world can’t be an entirely awful place if such beautiful music can be written. It develops into a composition that is bright and breezy, complimented by lyrics that have a distinctly positive vibe to them.

By contrast, ‘Red Giant’ explores entirely different terrain. It is the most modern and post-rock that Haken have ever sounded and is also one of their most brooding and quietly intense compositions. The keys and rhythm section take the lead on this track, which is arguably the biggest and most consistent grower on the entire record.

‘The Endless Knot’ features some delicious drum fills from Mr Hearne and more killer melodies. It also affords Diego the opportunity to go a little crazy with more zany and out-there sounds. It also allows some six-string indulgence in the shape of one of the most intricate and dextrous guitar leads at around the mid-point. The song constantly shifts direction throughout its relatively modest life, but is held together by those strong melodies which return time and again to my great delight.

‘Bound By Gravity’ then closes out the album in an impossibly perfect manner. It is arguably one of the softest songs that Haken have ever penned but it is also one of the most beautiful. Acoustic guitars and more warm and inviting keys, vaguely reminiscent of Sigur Ros envelop the listener in a soothing, comforting embrace. Jennings’ soft and gentle delivery adds an almost ethereal quality to the track as it floats along on a warm current of magical melody that is both uplifting and almost heart breaking. Such is its understated and subtle beauty, I find myself smiling broadly and wiping tears from my eyes almost simultaneously.

The Score Of Much Metal: 10

If you’ve enjoyed this review, check out my others right here:

Long Distance Calling – Trips October Tide – Winged Waltz
Odd Logic – Penny For Your Thoughts
Iron Mountain – Unum
Knifeworld – Bottled Out Of Eden
Novembre – Ursa
Beholder – Reflections
Neverworld – Dreamsnatcher
Universal Mind Project – The Jaguar Priest
Thunderstone – Apocalypse Again
InnerWish – Innerwish
Mob Rules – Tales From Beyond
Ghost Bath – Moonlover
Spiritual Beggars – Sunrise To Sundown
Oceans Of Slumber – Winter
Rikard Zander – I Can Do Without Love
Redemption – The Art Of Loss
Headspace – All That You Fear Is Gone
Chris Quirarte – Mending Broken Bridges
Sunburst – Fragments Of Creation
Inglorious – Inglorious
Omnium Gatherum – Grey Heavens
Structural Disorder – Distance
Votum – Ktonik
Fleshgod Apocalypse – King
Rikard Sjoblom – The Unbendable Sleep
Textures – Phenotype
Serenity – Codex Atlanticus
Borknagar – Winter Thrice
The Mute Gods – Do Nothing Till You Hear From Me
Brainstorm – Scary Creatures
Arcade Messiah – II
Phantasma – The Deviant Hearts
Rendezvous Point – Solar Storm
Vanden Plas – Chronicles Of The Immortals: Netherworld II
Antimatter – The Judas Table
Bauda – Sporelights
Waken Eyes – Exodus
Earthside – A Dream In Static
Caligula’s Horse – Bloom
Teramaze – Her Halo
Amorphis – Under The Red Cloud
Spock’s Beard – The Oblivion Particle
Agent Fresco – Destrier
Cattle Decapitation – The Anthropocene Extinction
Between The Buried And Me – Coma Ecliptic
Cradle Of Filth – Hammer Of The Witches
Disarmonia Mundi – Cold Inferno
District 97 – In Vaults
Progoctopus – Transcendence
Big Big Train – Wassail
NightMare World – In The Fullness Of Time
Helloween – My God-Given Right
Triaxis – Zero Hour
Isurus – Logocharya
Arcturus – Arcturian
Kamelot – Haven
Native Construct – Quiet World
Sigh – Graveward
Pantommind – Searching For Eternity
Subterranean Masquerade – The Great Bazaar
Klone – Here Comes The Sun
The Gentle Storm – The Diary
Melechesh – Enki
Enslaved – In Times
Keep Of Kalessin – Epistemology
Lonely Robot – Please Come Home
The Neal Morse Band – The Grand Experiment
Zero Stroke – As The Colours Seep
AudioPlastik – In The Head Of A Maniac
Revolution Saints – Revolution Saints
Mors Principium Est – Dawn of The 5th Era
Arcade Messiah – Arcade Messiah
Triosphere – The Heart Of The Matter
Neonfly – Strangers In Paradise
Knight Area – Hyperdrive
Haken – Restoration
James LaBrie – Impermanent Resonance
Mercenary – Through Our Darkest Days
A.C.T. – Circus Pandemonium
Xerath – III
Big Big Train – English Electric (Part 1)
Thought Chamber – Psykerion
Marcus Jidell – Pictures From A Time Traveller
H.E.A.T – Tearing Down The Walls
Vanden Plas – Chronicles Of The Immortals: Netherworld

Album Of The Year 2015 – Number 25

Welcome to day 6 of what is my most comprehensive and mammoth end of year countdown ever. 2015 has been such a ludicrously strong year that I felt I had to extend the content from 20 to 30. With two small children, Christmas around the corner and a house-move still a very vivid nightmare, some might call me crazy. Well, they’d be right as I am crazy…about this great music that artists from around the globe have created for our listening pleasure. The least I can do in return is to write a little bit about the very best albums that have been released.

If you are interested in those releases that featured between 30-26, please check out the links at the end of this post.

As always, comment, criticism and general interaction is greatly encouraged – let’s hear what you all think! But the time has now come to reveal number 25:

Number 25

The Gentle Storm
‘The Diary’
Inside Out Records

There are two primary reasons why this release features in my Top 30 list this year. Firstly, the compositional and song writing brilliance of Mr Arjen Lucassen. The second is the vocals of ex-The Gathering’s Anneke van Giersbergen. Put these two together and it is a recipe destined for magical things. And, as appetising at it sounded on paper ahead of the release, the result is wonderful, the musical equivalent of a meal at a Michelin-starred restaurant if you’ll forgive the continuation of my food-based theme.

Arjen Lucassen is the reclusive workaholic genius behind the Ayreon, Star One and Guilt Machine monikers and so this album should be on the radar of anyone who enjoys any of the aforementioned projects. From a musical perspective, there are many familiar ingredients that instantly marks it out as a Lucassen effort; the song structures, the melodies, the instrumental tones, a whole range of different things.

And yet, The Gentle Storm, being a collaborative affair with Anneke van Giersbergen, is quite a different venture indeed. My full review can be read here, but to quote a small passage:

‘The Gentle Storm is, to put it mildly, an intelligent and multi-faceted beast. It’s a double album that features eleven tracks recorded twice in two different guises. Disc one features ‘calm’ versions of the eleven compositions whilst disc two revisits the songs and in the process dials up the metal. No suprise then that disc two is referred to as the ‘storm’ disc. I find the whole idea thoroughly fascinating.’

Folk-inspired melodies, Middle-Eastern influences and authentic instrumentation, coupled with the inclusion of a number of guest musicians throughout make this lyrical and musical concept album a really fresh and invigorating listen. The ‘gentle’ disc is subtle and beautiful throughout, enhanced by the truly angelic vocals of Anneke van Giersbergen, a singer that I could listen to all day; this is most definitely one of her very best performances committed to disc, I am convinced of this.

However, I would be lying if I didn’t say that the ‘storm’ disc is my personal favourite. We’re not dealing with anything approaching extreme metal and indeed, much of the heavier material remains subtle enough to let the heart of the compositions shine. However, I do enjoy the beefier guitar tones and the added sense of drama that the ‘storm’ versions create.

I loved this album upon its release earlier in the year and now at year’s end, I can say that my love has not waned. I frequently dip in and out of the release and every single time, I find something new to like or I change my mind about which is my favourite track. Importantly therefore, I’m still engaged with it and in truth, I suspect I will be for the foreseeable future.

To conclude, as I stated in my full review, ‘one day, Arjen Lucassen will be involved with a less-than-stellar album, but it isn’t now. The partnership between Arjen and his leading lady, Anneke van Giersbergen has proved to be an inspiring one, one that has delivered a double album which is epic and ambitious but ultimately a magnificent triumph. It might not all be to everyone’s taste, but I love it. Absolutely superb.’

Album Of The Year 2015 – Number 26
Album Of The Year 2015 – Number 27
Album of the Year 2015 – Number 28
Album of the Year 2015 – Number 29
Album of the Year 2015 – Number 30

And from previous years:

Album of the Year 2014
Album of the Year 2013
Album of the Year 2012

The Gentle Storm – The Diary – Album Review

Artist: The Gentle Storm

Album Title: The Diary

Label: Inside Out Music

Year of Release: 2015

‘The Gentle Storm’…if you stop and think about it and let the words mull over in your mind for a time, it suddenly hits you what a really nice, clever and simple name it is. A contradiction in terms it may be but it’s one that beautifully sums up what this album is all about. But more about that in a moment; first, some context.

The Gentle Storm is the latest release from the intense workaholic that’s Arjen Lucassen, the Dutch multi-instrumentalist that is occasionally – and rightfully in my opinion – referred to as a musical genius. Arjen has been a part of the rock/metal music scene for over 30 years and in that time, has recorded some of the most highly regarded music within the progressive genre. With The Gentle Storm, normal service has been resumed and this project stands shoulder to shoulder with Lucassen’s previous work under his several various guises, be it Ayreon, Guilt Machine or Star One to name a few.

To be entirely accurate though, The Perfect Storm is more of a joint collaboration between Arjen and his compatriot, Anneke van Giersbergen, better known for supplying her angelic vocals to The Gathering and more latterly, in collaboration with Devin Townsend but also as a revered solo artist in her own right.

The fiendishly talented Lucassen handles the majority of the standard instruments on the album. However, a plethora of guests join him and Anneke on the record including a choir and over 40 authentic, exotic instruments making it an ambitious project to say the least. But Arjen is no stranger to handling such huge logistical efforts as he proves once again.

There’s even a live band for when The Gentle Storm goes onto the stage. Yes, you heard that right, the reclusive Arjen is going to perform live. For this momentous occasion, Anneke and Arjen are to be joined by an all-Dutch crew comprised of guitarists Merel Bechtold (Purest of Pain, MaYaN) and Ferry Duijsens (Anneke van Giersbergen, ex-Dreadlock Pussy), drummer Ed Warby (Hail Of Bullets, Ayreon, ex-Gorefest), bassist Johan van Stratum (Stream of Passion) and keyboardist Joost van den Broek (ex-After Forever).

But what’s the music like that fans will be treated to?

The Gentle Storm is, to put it mildly, an intelligent and multi-faceted beast. It’s a double album that features eleven tracks recorded twice in two different guises. Disc one features ‘calm’ versions of the eleven compositions whilst disc two revisits the songs and in the process dials up the metal. No suprise then that disc two is referred to as the ‘storm’ disc. I find the whole idea thoroughly fascinating.

But that’s not all. ‘The Diary’ is a concept album lyrically as well. In celebration of their Dutch heritage, the concept centres around the Dutch Golden Age from the 17th Century, a time that encompasses the likes of Rembrandt and Vermeer for example as well as new discoveries and advancements in many of the important areas we now take for granted. The story is then brought to life and given a real human element via the creation of two central characters. A sailor and his wife are kept apart for two years and their only means of communication is via letters, the content of which are explored throughout the album. It’s both am enlightening and touching story that only serves to add to the drama and richness of the album.

Disc one, the ‘gentle’ disc is stunning in its beauty. To say it is simple would be grossly unfair but so expertly crafted is it that the music gives off the illusion of simplicity; the melodies are hook-laden and breezy, the compositions feel light and airy and the almost ethereal vocals of Anneke sound effortless. The entire disc has a demonstrable folk feel to it; acoustic guitars, woodwind, strings, French horn, pianos and the myriad of aforementioned authentic instruments all play a part in creating an end product which is really rather special. Lucassen’s compositional skills are well-known and widely lauded but here, he has pulled out all the stops. In interviews, he readily admits that he wrote the music to allow Anneke’s voice to shine and he has achieved his aim with aplomb. The music is instantly recognisable as Arjen’s work but he has allowed his melodic sensibilities to come to the fore and has created some of his strongest material to date, allowing Anneke to shine like a diamond throughout. Frankly, so beautiful is Anneke’s voice that I could genuinely listen to her singing the contents of a tax return all day long.

I must admit that I wasn’t immediately put under a spell by the ‘gentle’ disc but I cannot deny that the more I listen, the more I want to return for more. The chorus within ‘New Horizons’ for example is gorgeous and captivating, the subtleties within ‘Endless Sea’ or ‘Heart of Amsterdam’ are remarkable and the almost cheeky instrumental interplay within tracks like ‘Eyes of Michiel’ is a real joy to behold.

However, I am the Man of Much Metal and for all the copious strengths of the ‘gentle’ disc, it is on the ‘storm’ disc where I unsurprisingly derive the most enjoyment. Others will no doubt disagree, but to my mind, the whole thing comes fully alive on the second disc.

We’re not talking extreme metal here and, in all honesty, the metal excesses and fripperies could have been further embellished had the mood taken the duo. However, in spite of this laudable restraint, the ante is nevertheless upped significantly. On opener ‘Endless Sea’, the guitars and dramatic symphonics are brought more to the fore to wonderful effect. The choir sounds magnificent and Anneke’s vocal delivery is captivating, reminding me more of her output on The Gathering’s seminal release ‘Mandylion’ than anything else she has put her name and considerable talents to since.

‘Heart of Amsterdam’ benefits second time around from a surprisingly chunky and heavy guitar tone that I adore and the whole thing has a grandiose majesty and beauty that cannot be ignored.

One of many highlights however must be the delightful ‘Shores of India’ with its Middle Eastern melodies and tangible exotic flavour. Coupled with a really superb rhythm guitar tone, big choir-led crescendo and another brilliant vocal delivery from Anneke, it’s a real head-turner and one of the strongest compositions on this record.

One day, Arjen Lucassen will be involved with a less-than-stellar album, but it isn’t now. The partnership between Arjen and his leading lady, Anneke van Giersbergen has proved to be an inspiring one, one that has delivered a double album which is epic and ambitious but ultimately a magnificent triumph. It might not all be to everyone’s taste, but I love it. Absolutely superb.

The Score Of Much Metal: 9.25

If you’ve enjoyed this review, check out my others right here:

Melechesh – Enki
Enslaved – In Times
Keep Of Kalessin – Epistemology
Lonely Robot – Please Come Home
The Neal Morse Band – The Grand Experiment
Zero Stroke – As The Colours Seep
AudioPlastik – In The Head Of A Maniac
Revolution Saints – Revolution Saints
Mors Principium Est – Dawn of The 5th Era
Arcade Messiah – Arcade Messiah
Triosphere – The Heart Of The Matter
Neonfly – Strangers In Paradise
Knight Area – Hyperdrive
Haken – Restoration
James LaBrie – Impermanent Resonance
Mercenary – Through Our Darkest Days
A.C.T. – Circus Pandemonium
Xerath – III
Big Big Train – English Electric (Part 1)
Thought Chamber – Psykerion
Marcus Jidell – Pictures From A Time Traveller
H.E.A.T – Tearing Down The Walls
Vanden Plas – Chronicles Of The Immortals: Netherworld

Thought Chamber – Psykerion – Album Review

Artist: Thought Chamber

Album Title: Psykerion

Label: Inside Out Music

Year of Release: 2013

Well, well, well. Progressive metal fans should…no, need to take notice of this album because it threatens to be one of the best within the genre in 2013. Why? Read on.

Thought Chamber were originally formed in the mid-naughties by guitarist Michael Harris with their debut album, “Angular Perceptions”, released on Inside Out Music in 2007. Featuring the vocal talents of Ted Leonard (Enchant, Spock’s Beard), that album garnered a lot of praise from progressive circles but everything subsequently went quiet in the American’s camp. Until now, that is. Fast forward some six years and finally, Thought Chamber are back with their sophomore release, entitled “Psykerion”.

Aside from the core duo of Harris and Leonard, the band is a completely different beast as there are new recruits in the drum, bass and keyboard departments. Mike Haid, Jeff Plant and Bill Jenkins (Enchant) have taken up these roles respectively and, to be honest, the quintet has never sounded better. I have the debut album in my collection and I listen to it now and again. I was never truly bowled over by it, preferring to say that I was respectful of it, taking relative enjoyment from it when the need arose. However, it couldn’t be more different this time around.

“Psykerion” is a monster of a progressive metal record from start to finish. Featuring no less than 16 individual tracks, Thought Chamber have gone down the route of creating smaller, more digestible pieces of music rather than long sprawling epics. There are still a few longer compositions, with a couple hitting the eight-minute mark but with a running time of around an hour, the norm is more around the four-to-five-minute mark with a handful of briefer numbers to round things out nicely. Given some of the ideas at play on this album, I for one think it is a great idea to keep the tracks a little on the shorter side. It makes things much more digestible and not as daunting at the outset.

With a family background in jazz music, it is perhaps not surprising to hear that this has rubbed off on Harris and his subsequent song writing. Fusion and jazz ideas litter this album, creating intricate instrumental interludes and tangents throughout. Some of the execution is hugely impressive it has to be said and more than once, I find myself raising an eyebrow or nodding my head in appreciation of the dexterity and the temerity involved in bringing some of these ideas to life.

Importantly however, Thought Chamber have not lost sight of what matters most and they deliver music that is not just technical but that is full of atmosphere, variety and bursting with melodic intent. Jenkins’ keyboard playing is a fantastic mix of stange effects, intricate solos and vast walls of sound, which often creates a slightly futuristic-feeling bedrock upon which all else sits. The bass work is crisp, clear, ballsy and funky and the drumming completes the rhythmic spine intelligently, offering subtle flourishes or more aggressive pounding depending on what the music requires at any given time.

Harris himself is in startling form on the guitar, supplying incisive chops on minute and gentle acoustic refrains the next. Of course there are plenty of big riffs and fast solos, but it is the variety rather than the virtuosity that impresses me most on this record if I’m being completely honest. As with each member, the compositions are never jeopardised in favour of a moment of self-indulgence. It gets close here and there, but then it wouldn’t be prog if the music didn’t flirt dangerously with disaster occasionally.

As always, Leonard puts in a fantastic vocal performance here, adding the melodic and accessible icing on the cake as well as perhaps being the name that attracts potential fans to the cause. On “Psykerion”, he is asked to contribute to a concept that the band themselves refer to as a blend of sci-fi and human drama. As you’d expect, Leonard’s performance conveys the whole thing with aplomb but where he really excels is in managing to convey the humanity within the material. You really feel the character’s emotions, making “Psykerion” an album that you experience, immerse yourself in and emote with rather than simply listen to.

I come now to the bottom line and therefore re-iterate my opening line: Progressive metal fans should…no, need to take notice of this album because it threatens to be one of the best within the genre in 2013. Why? Put as simply as possible, this is modern progressive metal of the very highest order that challenges and rewards in equal measure. And when the album ultimately clicks with you, beware, because it will never let go. Fantastic stuff!

The Score Of Much Metal:

9.0

My Top 20 of 2012 – Number 3

My Top 20 rock/metal albums of 2012 countdown moves into the top 3 today. As always, if you’re new to this blog or have simply missed any of my previous posts in this countdown, a full set of links can be found at the bottom of this post.

But, on to business and that all-important top 3…

Headspace
‘I Am Anonymous’
InsideOut Records

At number 3 is a band that seemingly came out of nowhere and have produced a cracking debut album. I actually feel rather ashamed with myself that this band managed to blindside me because, with the clientele involved, this should have been slap bang in the middle of my radar. Featuring Adam Wakeman (son of Rick) on keyboards, prog music’s go-to bassist Lee Pomeroy and vocalist Damian Wilson, Headspace could be described as a ‘supergroup’. I’m not a fan of that term however, and so I’ll just say that the line-up contains some really impressive talent.

Given the personnel, I am delighted to say that the music on this debut album is not a let-down. In fact, so good is the material that I have rated this album as the very best progressive album of 2012.

It took a bit of time and patience, but that effort was well worth it. The album clocks in at around 73 minutes and is comprised of eight tracks, with all but one coming in at over eight minutes in length. Initially, this can be a daunting prospect but once you get immersed in the music, I guarantee that the time will fly by.

Each track offers an abundance of interesting ideas; odd time signatures, intricate drum and bass work, complex riffs and enough melody to keep things accessible and memorable enough to invite repeated listening. What I like about the melodies however, is that they are never overworked and are subtle enough to just bury themselves into your psyche without you often realising it. And, thanks to the genuinely heavy and crunchy overall sound, particularly where Pete Rinaldi’s guitars are concerned, this disc is worthy of being referred to as ‘prog metal’.

The number 5 slot was given to Threshold’s ‘March of Progress’. One of the big strengths of that album was in the vocal department, thanks to a great performance from Damian Wilson. On ‘I Am Anonymous’ however, his performance is not great. It is sensational. I have never heard Wilson sound as good as he does on this record. It helps that his lyrics are deeply emotional and full of passion but to be honest, on this form, he could be singing about the inner workings of a washing machine and I’d still listen, enraptured.

Put simply, if you are looking for an entertaining, gratifying and challenging listen, ‘I Am Anonymous’ is it. In my opinion, the progressive metal genre has produced nothing better in 2012.

If you’ve missed any of my previous posts, they can be found here:

Day 17 (melodic doom metal)
Day 16 (progressive metal)
Day 15 (prog rock)
Day 14 (post black metal)
Day 13 (prog rock)
Day 12 (power metal)
Day 11 (progressive metal)
Day 10 (progressive rock)
Day 9 (modern extreme metal)
Day 8 (UK thrash metal/NWOBHM)
Day 7 (Norwegian progressive black metal)
Day 6 (Prog Rock/Metal)
Day 5 (Melodic Hard Rock)
Day 4 (Symphonic Folk black metal)
Day 3 (Modern Death/Thrash Metal)
Day 2 (Melodic Prog Metal)
Day 1 (Dark/Doom Metal)

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