Ne Obliviscaris – Exul (2023)

Ne Obliviscaris broke new ground in the progressive metal, a genre which prides itself in its forward thinking style as well as the evolution of the bands within, but can often times become as stale and caught in its own cliches as much as any other genre. To break new ground is a feat that deserves praise, and they did that on their debut album with their unique blend of melodic death metal and power metal meets jazz and classical. And while that sentence alone doesn’t sound too unfamiliar, the use of real violin (courtesy of clean vocalist Tim Charles) adds a completely new dimension to this already technical band. Rather than a background instrument, it is in the forefront, setting the mood of the song or trading solos with the guitars.

If I had one complaint of their debut album, Portal of I, it was just a touch too long. (Steven Wilson once commented that emotionally driven albums shouldn’t exceed a length of 50-55 minutes because you will lose the average listener anywhere after that, and I agree with that remark). However, Citadel and Urn dropped the runtime significantly to 48 and 46 minutes respectively, all the while delivering catchy and memorable songs that still showcased the band doing what they do best. Plenty of riffs, solos, dynamic transitions. Overall showcases for every member of the band.

Coming almost 6 years after Urn, Exul had a lot to live up to. The band was more popular then ever before, the world had gone through a global pandemic which had inspired many great albums from other bands in the progressive metal genre, and also it was by far the longest gap between albums that the group had gone through thus far. And while the band has lived up to the challenge of releasing another solid full length, I am saddened to say that it does not live up to hype created in my mind by the last two albums.

One of the bands strengths is created driving and balanced albums based knowledge of when to delivery crushing riffs and when to bring in something for the audience to sing along to. And while the album has plenty of beautiful soft moments as we would expect it to, the memorable hooks are few and far between. Admittedly, if I took more time to really delve into the lyrics, I might find a greater appreciation for the album. Maybe these were calculated, deliberate choices by the band to enhance a story. I’ve only gathered bits and pieces of it, but I know parts of it deals with the crusades, and takes a page out of Indiana Jones and in turn talks about the search for the Holy Grail.

If there was a consistent theme throughout, I think the band should have been more upfront about that. They could have had included it in the linear notes, touched upon it in interviews, and done something really special with the already beautiful display of the collectors edition of the album. And if there is no consistent theme throughout, well, that just proves my fact that these are a group of songs that do not flow together well and the album does not match the brilliance of Citadel or Urn.

Dissecting the songs on the album, “Equus”, the opening track is probably the highlight of the album. It starts off with a driving riff leading into memorable soft vocals melodies, beautiful violin playing, great contrasting darker riffs and gutturals. Immediately evident is the upfront bass playing of Martino Garattoni. This is the bands first release, and while he is as talented as anyone else in this incredibly virtuosic band, it almost takes you out of the element to hear jazzy bass lines overtaking the beautiful string sections that come later in the song. I get wanting to showcase his playing, but the reason it works for a band like Cynic is because all the members are playing freely around the bass, leaving space for it. Here it almost sounds like the engineer forgot to bring the levels down after recording the bass parts.

Regardless, the song pushes on, and Tim brings us back with his emotional singing and playing, and the climax of the song is a highlight for not just the album, but the bands career. There are some upfront cymbal hits that feel like they are right there in the room with you, and the guitar solo is incredible. Not bad for a 12 minute song to open the album.

Multi-part songs have become a staple for the band, and here that comes in the form of “Misericorde I” and “Misericorde II”. The first part comes in with some frantic riffing, reminiscent of Obscura, and the Middle Easten sounding scales during the solo are fantastic. But there are many moments you think the song will take off, and instead seems to play it safe. Part 2 reprises a melody from the first part, this time softly and beautifully. This long build up is another highlight of the album. It contains a bluesy guitar solo that tugs on my heart every time. It starts to make sense why the parts were broken up, and why Part 1 focused so much on riffing. The vocals finally erupt almost 7 minutes in. This song is about as post rock/post metal as the band gets.

While my review has sounded mostly positive this far, I think you’ll find that’s the case for people regardless of if they love the album or hate it. The first half definitely is the stronger half. “Suspyre” and “Graal” aren’t bad songs. All the trademark elements of Ne O are there. But they bring nothing to the album you haven’t already heard in the first three tracks. Similarly, they are almost interchangeable. You wonder how they’d be able to top the first half, but it the second half feels safe, which is weird to think about when talking about such incredible musicianship. After the two tracks, the album ends with “Anhedonia”, which is a soft instrumental with beautiful wordless vocals by Tim Charles. However, this feels extremely anticlimactic as an ending track when “Graal” also ends anti-climatically with a violin solo.

I think the albums biggest faults lies in its track listing. It almost feels like reverse order of what it should have been. Looking exclusively at music and not lyrics, I would start with “Anhedonia”, or at least put it in the middle to separate and give breathing room to the heavier tracks. “Suspyre” and “Graal” would be my “one-two punch” out of the opening, “Misericorde” would be my epic centerpiece, and “Equees” would be my big finish, with memorable Melodie’s finishing off the album, rather than aimless ambience.

That being said, there’s no bad track on the album and I’d be excited to hear any of them in a live setting. But the order of the songs leaves the listener wanting more, and the lack surprises might leave long time fans feeling a little let down. Then again, maybe they will just be glad to hear new music after the extended wait. Maybe my appreciation of the album will grow in time. But for now, I’m gonna go back and and enjoy Citadel for what’s probably the millionth time.

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I rarely a gives scores any more, but this one to me feels like a 3 out of 5.

Porcupine Tree – Closure / Continuation (2022)

This was perhaps one of my most anticipated albums in quite sometime. However, as a Steven Wilson fan, I also knew not to expect an album like anything that came before it. This is a review of thee long awaited reunion album of one of the most loved Prog bands.

Porcupine Tree went on hiatus in 2010, at the height of their popularity, so that founding member/singer/songwriter Steven Wilson could focus on his solo career. Much has been said over the years, and without turning this into a “he said/he said”, let’s just focus on 2022. The band announced a new album, without the inclusion of former bassist Colin Edwin. The trio (Gavin Harrison on drums, Richard Barbieri along with Steven also fulfilling bass duties) have left their fate open to interpretation. Is this the swan song PT fans never got, or a sign that there’s more PT to come? I think the upcoming tour will determine that. But in the meantime, let’s talk about the new music!

4 tracks were released ahead of times as singles. I listened to the first two (the first two tracks on the album), before waiting to hear the rest in one sitting. Hearing songs out of context can always be underwhelming, and with so much riding on this album in my mind, I was already feeling that way about the first two. I wanted to give the rest a fair chance. I’m happy to say that doing so has changed my mind about these tracks.

The album starts with “Harridan”. This 8 minute song begins with a funky bass riff, similar to Primus. This style of bass playing already clashes with the soft full tone you would expect from Colin, but is more in line with Nick Beggs work on “Luminol” from Steven’s solo album The Raven That Refused to Sing. Gavin and Richard’s style are immediately evident. Gavin’s complex yet clear and precise drumming suiting the groove, and Richard’s ambient keyboard tones filling in the empty space. It is an upbeat and driving tune, with a very quick chorus. Tonal wise I loved it, but felt like it didn’t have a hook. Steven’s distorted vocals was a welcome return, and it has a wonderful soft middle section for contrast. Upon repeated listens, I realized the chorus had a better hook than I initially realized, and as an opener and reintroduction to the band, it is a definite success.

“Of the New Day” was the second single released and while it showed the ballad style that Porcupine Tree has always incorporated into their albums, having it second after such a big opener seemed like a drop in momentum. Also, the quick changing of odd time signatures seemed to make the pace more frantic, for what could have been a simple and beautiful song. The time changes become second nature with repeated listenings, and an upbeat middle section makes it so that you have already covered a lot of ground with these two tracks alone. I still would have loved to have seen a more stripped down version of this song later in the track list personally, but I can easily see it becoming a fan favorite.

“Rats Return” is one of my favorite tracks on the album. While the band has walked the line between Prog Rock and Prog Metal (starting with In Absentia in 2001), this song sees the band at their most full on Prog Metal. Starting with a riff worthy of Dream Theater or Haken, it quiets during the verse to the strange and ambient sound we know and love from Porcupine Tree, especially on the Fear of a Blank Planet album. While the riffs and dynamic transitions give the impression of complexity, the structure itself is very simple, and it includes all three members doing with they do best which is why I love it so much.

“Dignity” is kind of what I wanted “Of the New Day” to be as the second track, though it works quite well in the middle of the album as well. It is a delicate and beautiful song, that takes its time to build up, and has some wonderful harmonies, melodies, and lyrics. I especially love the classic rock riff after the chorus. It blends old and new quite well with the mellotron sound of the 60s meeting Muse like keyboard sounds in its bridge. It also has one of Steven’s best guitar solos over an electronic drum beat before returning to the song, and the huge finish at the very end is an added bonus. This song will sound massive live.

“Herd Culling” has similar issues for me as “Of the New Day”. It is a heavy track with glimpses of the last two songs of Fear of a Blank Planet, and should be on the same level as “Rats Return” for me in theory. But these two songs are some of the rare occasions where I feel like the band focused more on odd time signatures than suiting the song (something, Steven has often said is never his focus). The time signatures in my opinion make the song too frantic (something that is obviously it’s intention), but take away from the heavy riffs, throughout or the great vocal melodies in the middle of the song. Maybe it’s just my ear struggling to hear the rhythm, but as a fan of lots of complex bands and songs, these gripes are not something I expected to have on this record.

“Walk the Plank” is possibly the most straight forward song on the album, but it’s also very effective because of that. It incorporates the electronic and industrial elements of “Bonnie the Cat” and the title track off of The Incident with the funky grooves of “Eminent Sleaze” off of Steven’s most recent solo album The Future Bites. It is a great song to place on the second half of the album because it is amongst the darker and more complex tracks, but it does not lose the overall feeling of them.

“Chimera’s Wreck” is the epic closer, clocking in at 9 minutes and 40 seconds. If “Dignity” was the more uplifting counterpart of the 1960s Prog inspired songs on the album, “Chrimera’s” is the sadder and darker tune. With a Genesis like arpeggiated guitar intro and an ethereal call and response during the verses, the lyrics are amongst the saddest lyrics; a bold statement for a man who has made a career exploring that side of the spectrum. The main hook contains the lyrics, “I’m afraid to be happy and I couldn’t care less if I was to die”. This hook builds up with great bass playing and Gentle Giant like wordless vocals. This is followed by great riffing, a guitar, falsettos, and an abrupt ending.

Every song on this album has merit, and in total, it is probably the band’s most progressive AND most metal album. However, the flow of the album is not nearly is good as that of the last few releases by the band, and once it is over, you struggle to remember exactly what it is that you have listened to. Repeated listens will obviously help with this, and every song would be amazing to see live. But as a complete album, I have trouble seeing it in the same realm as Fear of a Blank Planet or even The Incident. Plus, some of the bonus tracks from the deluxe edition were great and could have helped the album with flow and pacing. And as a fan, I’m tired of dishing out $100+ for a few extra tracks that should have been on the finished product. But with all my complaints, it is wonderful to have new PT in the world, and I’m hoping it won’t be the last.

Duncan Patterson – Grace Road (2022)

I have never written a review of an album I helped make before, but seeing that my contributions were minimal, I still feel able to write this without my personal bias getting in the way. In fact, my love for Duncan Patterson’s music is the bias we should be more worried about.

Duncan Patterson may be most famous for his early work with the band Anathema, but has artistically (I believe) chosen to remove himself from projects when they start to take a life of their own. Maybe he’s in constant search of artistic freedom. Maybe he just gets bored. Either way, Antimatter (which is now under the careful watch of Mick Moss) and Alternative 4 (the band named after the Anathema album he spearheaded) have put out their own masterpieces of goth meets doom meets classical meets movie soundtrack.

My contributions to this album were working with my drummer Fernando Guerrero and our friend Alicia Mitchell in recording background vocals to compliment the already amazing Enas Al Said (female vocals) as well as Duncan himself. We were given just the parts we needed to add, which seemed like self contained songs as they were. But hearing them in the context of the full tracks with all parts put together was a fascinating and rewarding experience.

The album itself is a short one. Just 5 tracks, a total of 34 minutes long. And the music is very easy going. It doesn’t demand much from the listener, but to get lost in its ethereal sound. “Absolut Absolutum” starts off by building up with a choir like sound for over a minute before abruptly cutting off. The main piano theme comes in, later joined by frail female vocals (Enas). About 5 minutes in, Duncan’s background vocals come in slowly and help introduce the drums, which carries the tune the rest of the way alongside Alicia’s voice, whose delicate touch sounds more like a violin. There are only 8 lines of lyrics, but Enas conveys them with emotion, and the song leaves plenty of space in between lines for the message to come across.

“The Quiet Light” is the longest track on the album, at 10 minutes. As opposed to the spacious classical feeling of the first track, this feels more like a ballad from the get go. The piano is the driving feature with sparse orchestral flourishes and Duncan vocals filling in the powerful performance by Enas. A flute like instrument carries the piece into its next section, which is a hypnotic but still ambient trip hop section. The dub style drums and repeated piano melody unexpectedly drop out for a haunting back and forth between voice, strings, keyboards, before Enas repeats the phrase “calling me home” over it. This builds until the ending of the track.

“Walking Between Worlds” might be my personal favorite off the record. This song has a strong Celtic influence, starting with the excellent drum beat and use of reverb on the drums and vocals. Enas loses a bit of her Middle Eastern tonal qualities as she instead channels her Sinead O’ Conner or Dolores from The Cranberries. The driving rhythm is broken up with a very moody back and forth between Enas and Alicia’s vocals, acting as the chorus. The flute comes back in the middle along with some drawn out chords and notes. It is a section that reminds me of old school Prog such as Genesis, Moody Blues, or Camel.

“The Amber Line” is the song that is most reminiscent to Duncan’s work in Anathema and Antimatter. A guitar driven track with a dark melody and a duo throughout from Duncan and Enas. I love how their vocals pair and build together throughout the piece. It has a stronger emphasis on the lyrics, as previous tracks had words that fluttered around. This one’s are precise and upfront. The layering and effects are fantastic, and the second half is a dark yet beautiful test of patience as the guitar melody repeats and the vocals come in and out of the track.

The last song is also the title track. “Grace Road” is a 5 minute instrumental that is a somber way to part with the record. Starting with just piano, the strings come in a minute later, and then choir like vocals after that. It continues to build in this way, sounding like something straight out of The Lord of the Rings, till it comes to its final note.

Each of these songs provides something special to the album, making the whole experience cohesive, relaxing, and introspective. It should be no surprise at this stage in his career that Duncan knows how to compose, but at this stage, he has found a wonderful balance between his family time to become self reliant, and release gorgeous pieces of music on his own, with the help of a few friends. It is a fantastic release, and I am proud to have contributed even a small amount to it. To listen, you can go to his bandcamp or message me (comment below) for free download codes!

Cult of Luna – The Long Road North (2022)

Cult of Luna by the time of this release had already established themselves as one of the “big three” of Post Metal alongside legendary bands Isis and Neurosis. They are known for their consistency and forward thinking approach. For me, they had already been a part of two of my favorite albums of all time, with Vertikal and Mariner (alongside American vocalist Julie Christmas). But their previous albums were no slouch either.

Following those two albums couldn’t have been easy, and I may have been tough on reviewing the follow up, 2019’s A Dawn to Fear and the companion EP, 2021’s The Raging River, which both did grow on me with repeated listens. But sometimes the biggest problem with ambient types of music is that it can get lost in the ambience, and forget about the song at its core. This is not the case with the shorter songs with clean vocals the band has every release for some time now, but some of the longer songs that have great riffs, but ultimately sound very similar.

Following quickly after those two releases, I hoped that this one would have a little more diversity, and while that’s not exactly what I found, I did connect with it a bit faster than with the previous two releases.

First and foremost, the album name, track listing, and album art are quintessential Cult of Luna atmosphere, so much so that you can’t believe it already hadn’t happened. For a band who has traveled musically and lyrically through countryside, cities, and even space, a journey through snow and barren lands is the perfect setting for their cold, dark, moody feel.

“Cold Burn” opens the album much like “The Silent Man” did for A Dawn to Fear and “Three Bridges” for The Raging River. It’s a driving song with brief melodic moments. But what they brilliantly do here is lull you into a false sense of security. When “The Silver Arc” comes in right after with a similar sense of urgency, you think it’s gonna be more of the same. But when it’s beautiful droning middle section complete with a bright bass tone you would hear on a record by The Cure or Tool appears, it hypnotizes you.

“Beyond I” the first surprise of the album comes at the perfect time. I shouldn’t say surprise since soft songs on their album are becoming expected, as well as guest vocalists, but they are what I look forward to since they provide so much needed contrast. Mariam Wallentin’s voice is haunting on this keyboard driven track with no drums. It reminds me of AA Williams, especially on her split with Mono. The band intelligently follow this up with the slow building “An Offering to the Wind”. With the tension and atmosphere of a Western film, the flow of the album starts to take shape, with its peaks and valleys mimicking the very landscape it describes.

After it’s epic climax, the album brings itself down again with the ballad “Into the Night”. Whereas “Beyond I” was more electronic and industrial driven, this one continues the country and western feel the band started on the previous track. It starts slow and brooding, building half way in to a full band ballad, with very unusual chord progressions. It reminds me of Radiohead almost, due to a mellotron keyboard tone, and a crooning vocal style. It is a different style for the band. Very ambient, and it shows their continued confidence in the variety of clean vocals. And while the sporadic appearances on these track listings don’t signify a complete change, this middle dip of forward thinking songs bookended by the heavier, driving tracks is what gives this album its wonderful and consistent flow.

Continuing with this thought process, the band does not just randomly pick it back up with immediate heaviness and urgency. They slowly build it up once more time with the short instrumental “Full Moon”, a beautiful blend of the country and western feel of the last two songs, with the electronic/industrial keyboard heavy tones of “Beyond I” all mixed together. The subtle changes of tone yet constant flashbacks to past themes gives this album cohesion, and flows perfect into “The Long Road Home”, which starts with some incredible slide guitar work.

Eventually the title track brings that intensity felt on the first two songs. The band really take their time on this album, in the best possible way. The title track is filled with fantastic dynamics and the production really shines on this one as you hear layering that simultaneously make you think of the cityscapes of Vertikal, the space of Mariner, and the countryside of Somewhere Along the Highway. Aside from obvious post metal references, bands and projects like Agalloch, NIN, Author and Punisher also come to mind.

“Blood Upon the Stone” the last real song and second longest song, acts as an epic closer, and doesn’t take as long as “An Offering to the Wild” to get going. Using the momentum from the previous track, it gets right into it. The extended middle section with delayed guitars, consistent drumming and subtle keyboard tones turns into an explosion of dissonant and post rock goodness. The vocals return over a repeated melody a builds to an incredible climax worthy of finishing off this group of songs. But Cult of Luna don’t leave you hanging.

The album officially closes with “Beyond II”, which is an ambient piece of drone, classical, and industrial, all mixed together. It was created alongside Colin Stetson who also helped provide soundscapes on “An Offering to the Wild”. Normally I’m not the biggest fan of instrumental ambient noise closing out an album. But after such a massive track and complete journey, I can see the need for it here. It eventually fades out, and leaves you ready to re-experience it all.

It’s always hard for a band to live up to a fan favorite. And while Cult of Luna might be in the fortunate position to not have one distinct one, they have certainly created a mountain for themselves to climb over on each new release. But the band gives off the impression that they don’t care… in the sense that they have nothing to prove, and aren’t making albums for anyone in particular. They do what they want to. Some aspects of that are new, some are what they do best. But they’re not going to completely change over night for new fans, nor are they going to stay the same for the old ones. And each new release has something new to give, but it will always sound like Cult of Luna. It’s up to you how much you want to invest in finding the differences. But don’t expect to write it off entirely as just another new album by them.

Kowloon Walled City – Piecework (2021)

Kowloon Walled City blew me away when I saw them two nights in a row. Once at a small dive bar in Long Beach. The next in front of about 1,000 people opening for Neurosis. In both shows, their demeanor was almost identical. They are a very unassuming band. But this simplicity is also part of their brilliance. I wrote a review of their previous release Grievances. And when it came time to write a new review for one of their albums, I was shocked that it had been 6 years. A very quiet six years, with scattered shows.

This silence was in part to an uncertainty of the band’s future, which tends to happen when your main songwriter has writer’s block. And with the release coming when it did, it is possible to assume that the pandemic/lockdown could have played the role of the muse, like it did for so many others. If that is the case, I wouldn’t know. Because unlike many bands who came back flashy, swinging, inspired to try a new sound…. Kowloon came back exactly as before.

This new release contains 7 songs that could have been on either of their previous two albums. No clean vocals added, or female vocals…. No crazy times or song structures….no blatant song lyrics calling out specific people or events. It was as if everything we had been through in life had never happened. Just like it didn’t matter to them whether they played in front of 10 people or 1,000. They give you their sound. And that’s not such a bad thing.

In my previous review I explained what makes their sound so unique. Punk sensibility with a sludge/doom/post metal (whatever you want to call it) sound. No crazy light shows or song lengths. No endless tunnels of reverb and delay. And yet, despite their simple arrangements (2 guitars and bass playing slightly different things at the same time, they way Slint did on Spiderland), it is there unique use of space between notes that creates the atmosphere. Even though all the instruments are dry, you still feel like you could be falling as you wait for the next hit.

The title tracks opens by trudging along, as if the chugging were to mimic the lyrics of just passing through life (I don’t have the lyrics written down anywhere so my interpretations could be flawed). Though after a minute, it quickly rushes you to your first bit of soft guitars, a dynamic that despite how often it gets used, never overstays its welcome. Dynamics are after all what this band is all about. That if anything, is their only flex.

“Utopia” is a darker tune with its incredible bass tone, apocalyptic/lost in the wilderness like lyrics, and use of occasional feedback. After a brief soft section, it hits with an epic ending. “Oxygen Tank” on the other hand takes its time to build up, showing off the wonderful DIY production. Punchy drums, upfront bass, just enough room to breathe on the guitars so they don’t muddle the mix, and vocals that always feel on the brink of distorting right out of the speaker. The build up payoffs off with the closest the band has gotten to a normal chorus (“you never wanted to escape!”). Definitely a highlight.

“You Had a Plan” is the closest the band has come to a ballad. Heavy guitars don’t come in until around the 3:30 mark, the music takes over from there, and then the vocals throw in some powerful lines at the end. The song shows the band’s restraint while never conforming to singing when it gets soft.

“Splicing” might be my favorite from the album with its simple but effective bass lines, lyrics, and melodic (while still slightly dissonant) guitar lines. It has a standout lyric “through the haze, like a pulse, you sang”, a build up in an odd time signature, and an abrupt ending.

“When We Fall Through the Floor” musically might feel like more of the same by this point, but it makes up for it with so many memorable lyrics, so you can’t help but headbang as Scott yells, “What’s hidden in the floor?!”

“Lampblack” is a great closer, starting off with the lyric “One last thought” before closing with the line “You want to feel like you’re going home”. There is very little fluctuation in this song and is probably the most jam-like song they’ve done. Aside from the soft breaks, it stays on its main riff before the song ends and fades away.

Like their stage presence, very little attention is forced towards the album. It comes, it goes, and doesn’t over stay it’s welcome. In fact, after 6 years, a 32 minute album is kind of surprising. Most bands would feel obligated to switch things up, so something big, surprise their fans.

But Kowloon Walled City is perfectly happy to do what they’ve been doing. And their fans are perfectly happy to hear more of that. It was almost underwhelming upon first listen, but I should have seen that it’s not about what’s expected. And upon my third listen, I knew it was exactly what it was needed to be. Great lyrics. Great music. And a band that sounds like no other. Why then, would you want them to conform to the trends? Doesn’t matter anyway.

They won’t.

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(All pictures curtesy of the band’s social media pages, and websites selling their merch. If you like the album, support the band by purchasing a physical copy of it!)

Pain of Salvation – Panther (2020)

This album came over a year ago. So why am I just talking about it now? Maybe it was because a recent conversation reminded me that I had not done so yet. Maybe it was because I wanted to write about something but was struggling with what to write about. Maybe it’s because a year later, this album’s brilliance shines brighter as the world trudges along through another year of the pandemic, and the feeling of isolation grows.

Whatever reason, I’ll try to keep my gushing of this album brief. There are many great reviews of it, so I hope this one is unique.

Pain of Salvation has always been a Prog band in the true sense of the word. Where other “Prog” bands find a groove and stick to it, Daniel and company love to keep us guessing. From rock opera’s, to acoustic albums, the 70s blues rock worship, and back to the Prog metal that made them famous, Daniel wears his love for Mike Patton as he traverses different styles, musically and vocally.

Panther conceptually fits this theme, an album about the outcasts of the world. Those who take the road less traveled. A metaphor for the band themselves, while perfectly coming during the COVID lockdown. Musically, it’s darker, heavier, and almost industrial style gave that “noir city” vibe, or as we like to say in my band, “coldly calculated”.

The first song “Accelerator” lives up to its name. A driving syncopated rhythm, with the timing of Meshuggah, the warm guitar and drum tones from the Road Salt albums, and a nostalgic keyboard tone from 90s R+B, with just enough catchiness in the vocals. “Unfuture” is a groovier track with industrial and bluesy elements, conjuring up the heavy moments of Remedy Lane, Be, and Scarsick. Its “welcome to the new world” hook is sure to get stuck in your brain.

“Restless Boy” starts off as an trip hop like song, complete with vocoder style vocals. It’s chill groove lulls you in so it’s second half catches you completely off guard. The syncopated Meshuggah like rhythms of the first song return, this time of steroids. It is one of the craziest moments for a band who has made a career of interesting transitions.

“Wait” is the beautiful ballad we know to expect for POS, and yet catches us off guard every time. combining the theatrical elements of Be, the classic rock/folk sound of Road Salt, and the pure emotion of their previous album, it is lush, gorgeous, perfect.

“Keen to a Fault” is an interesting combination of late 70s and 80s electronic keyboard tones with some ferocious fingerpicking on an acoustic guitar. Interestingly the feelings of isolation Daniel described in the hospital room on their previous release feels similar to these lyrics of feeling isolated in the world. Songs like this one as well as “Wait” could very well have fit on it, and some songs from In the Passing Light of Day could have fit well here.

I say that with no disrespect to either album. They are both brilliant in their own ways.

“Fur” is a short instrumental interlude that provides some necessary breathing room before one of the album highlights, the title track. The track that embraces Daniel’s rap/hip hop style the most since the Scarsick album, these songs are always controversial in the POS fanbase. I personally think it’s brilliant, with lots of groove, attitude, and a simple chorus perfect for singing along to.

“Species” is a very simple song, but in doing so, really showcases a perfect blend of past Pain of Salvations combined. The anger of Scarsick. The classic rock feel of Road Salt. The melodic tendencies of their early albums. It shows a band aware of the past, not afraid to say what they have to say, and continuing to push on. I wouldn’t even say it’s one of their best songs, but that’s how good this band is if this is a weaker track on the album.

The album finishes with a epic that acts similarly as the closer of their previous album. When Prog fans see long songs, we expect to hear as many notes crammed in as possible. When POS has long songs, they usually have the opposite effect. They take their time, and provide some beautiful and introspective moments. After a piano melody and a deceptive heavy riff, it comes back down for a soft verse and chorus. It teases breaking out into chaos many times, but never loses sight of its few simple melodies. This provides an excellent guitar solo, something that seems to be rarer on their albums, so that the band can deliver their best ones rather than their flashiest.

Daniel’s soulful delivery towards the end of the song is nothing short of spectacular. It will please the old school fans of the band and give them lots of nostalgia. The band have become masters of looking back and foreword at the same time. Always evolving but never losing themselves completely. Panther is another stellar release from a band who may have briefly isolated their fan base from Be to Falling Home. But they gladly came back to prove that they never lost their heaviness, experimental tendencies, but most of all their songwriting abilities. This album is a joy to return to, and makes me so excited for what comes next.

Reviews roundup – Rossington vs. Derek Jacobi & Anne Reid vs. Kevin Simm vs. Aeonic Impulse vs. Levee Town

Reviews roundup – Rossington vs. Derek Jacobi & Anne Reid vs. Kevin Simm vs. Aeonic Impulse vs. Levee Town ROSSINGTON Take It On Faith Loud & Proud …

Reviews roundup – Rossington vs. Derek Jacobi & Anne Reid vs. Kevin Simm vs. Aeonic Impulse vs. Levee Town

A New Beginning?

…and it’s hard to know when to start….

….and it’s hard to know when to quit…..

….and it’s hard to know when to begin again……

…..and it’s hard to know when to end (for good).

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It’s moments like these when time takes forever.

It’s times like these when we are frozen.

With no one by our side, the minutes turn to hours.

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It’s almost another day.

It’s almost a new day.

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(It’s already dawn)

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Maybe I should get some sleep.

Maybe I should relax.

……

How do I calm myself down?

Evergrey – Escape of the Phoenix (2021)

I recently reviewed Evergrey’s previous release, The Atlantic, in anticipation for this one. While that was another solid release from one of the most consistent bands in metal, it did leave me with a slight worry:

Were we about to see the final step in a complete transformation of Evergrey?

And by this I mean, were the days of experimentation and melodic ballads gone in favor of this heavier sound?

True, Evergrey has always been a heavy band, and each album has brought something new to the table, but The Atlantic chose to focus more on the de-tuned sound. You could argue it also saw a resurgence of keyboards that we hadn’t seen in a while for the band, but I couldn’t shake this feeling. The lack of guest vocals, or completely soft moments made it feel slightly one dimensional in their discography, and I always leave the album wanting…..

Something extra……

However, the release of Tom’s Silent Skies album with Vikram Shankar showed Tom could still belt out the ballads. In fact, that album almost makes you wish that some of the songs from it had combined with The Atlantic for the ultimate Evergrey album. But I guess I shouldn’t complain about MORE music right? That’s just my OCD.

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The reason I start this review this way is because both albums seem to directly influence this latest release.

After three albums of Tom looking into himself, finding strength, and making two huge transitions in his life (divorce from longtime spouse Carina, and re-marrying), Tom has crossed The Atlantic so to speak, and this new album is representative of his fresh start. We are thus treated to the heaviness of The Atlantic mixed with the emotional depth of the Silent Skies release.

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Album opener, “Forever Outsider” doesn’t feel like a typical Evergrey opener. They’re usually a little more drawn out. It’s been a while since they get right into it, like they did with Monday Morning Apocalypse. And it’s infectious hook is subtle. Might not grasp you the first time, but after a few listens, you’ll be walking around and humming it. When released as a single, I was worried that this song as opener was a bad sign. Luckily, I now see it’s purpose.

“Where August Mourns” does fall into sounding like a typical 2nd Evergrey song. They always like to provide a groovier song after making a statement with the first. The electronic sounding keyboards and bass tone sound amazing, and already provide great diversity from the first song. Another brilliant chorus and another blistering guitar solo from Henrik Danhage.

“Stories” is the first major surprise. A ballad?! Already?! Clearly, I worried for nothing. Tom’s voice over Rikard’s piano always feels like coming home after a long journey. The full band and distortion does eventually come in, and the chorus took me a while to appreciate, but the major chords, bluesy guitar solo, and tapped harmonies are the kind of experimentation that I was looking for. Clearly, we’re on the right track.

“A Dandelion Ciper” might not be one of my favorites on the album, but after “Stories”, the guys are allowed it. This song goes back to the style of the first one. The guitars almost sound like djent, and the keyboards sound like 80s electronic and goth music. So I guess I can’t really complain. Even if it is one of the more generic sounding songs on this album, there’s tons of tones to discover beneath the surface upon repeated listens.

“The Beholder” was another song released early, and is probably the biggest news of the album: guest vocals by James Labrie of Dream Theater. it has the groove of the 2nd song, and it’s no surprise that the keyboards sound like something off of a James Labrie solo album. The chorus is soaring, and the duet is the stuff that dreams are made of. James’ delicate touch compared to Tom’s soulful delivery adds great contrast, before they sing in unisons and harmonies.

This leads us to… a second ballad?! We’re really cooking now! “In the Absence of Sun” gives me Fates Warning/Redemption vibes, possibly a direct influence of Tom’s time in the latter. It also has a melody in the chorus that reminds me of an Evergrey classic; “Harmless Wishes”. Whether this is intention or not doesn’t really matter. Like “Stories”, it utilizes the soft moments and heavy moments so well, showcasing not only their dynamics and transitions, but also Tom’s ability to adapt over the changes. It also has an interesting solo that might be the closest Evergrey gets to doing a Slayer solo.

“Eternal Nocturnal” starts with a driving rhythm before an interesting key change and a chorus that reminds me of their song “Passing Through”. This was another chorus that took me a while to appreciate, and while it’s not one of my favorite songs on the album, there’s no denying the Iron Maiden like dueling guitar solo extravaganza. The transition back into the final chorus is also a part that had me scratching my head at first, but I find myself complaining less and less.

The title track is one of the heaviest songs the band has ever done, until it gets the to the chorus, which has a nostalgic element to it. We are hearing melodies that feel like Recreation Day era Evergrey, just with Gojira playing underneath it. It also has one of the more memorable guitar solos with its dissonance, and its dive bombs.

“You From You” is the third and final ballad on the album, making this one of the most melodic Evergrey albums, despite the modern heavy metal approach on many of its songs. Fans of Tom’s moments of fragility will love this one, as he sings “I can’t save you from you“. Great vocal doubles on this one, and another brilliant blues guitar solo.

“Leaden Saints” has a great intro and a Symphony X like element in the background, but one of my least favorite chorus on the album. I feel like it’s purpose was to bring things back up after the ballad, but also before the final song does it’s job. Maybe it might grow on me like some of the others. I love the guitar work during the chorus, as well as the solos and riffs. Good, but more of the same on an almost hour long album.

Finally we end with “Run”, which might not be one of Evergrey’s most exciting choruses, but a fitting song to an album about escape. It’s got a unique keyboard tone and an anthemic chorus. It reminds me of the way Kings X closed Dogman with “Pillow”. A simple chorus that anyone can sing along to. Not the most interesting song on the album, but leaves you feeling hopeful… powerful.

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It may not be a perfect album. It may not even be close to one of Evergrey’s best. But 12 albums into this bands career, they continue to stick to their guns and do things their way while adapting with the times. Each album has its own feel and attitude. They continue to experiment with modern tones, adding a heaviness not seen on early albums. But it’s good to know that as they experiment, they never lose their melodic touch. You can always expect blistering solos. You can always expect catchy choruses. And as Evergrey fans, we couldn’t possibly ask for more than that.

My 50 Favorite Movies that I’ve Seen in the Year 2020.

Part 2 of 2.

I explained this list in part 1, so there’s not much more to add. I would like to put a quick reminder that this is a “Favorites” list, not a “Best” list. And while how good a movie is has a lot to do with its placement, I’m also biased, and take cultural significance and current events into consideration, in addition to how much I actually enjoyed it.

The purpose of this list is to share and discover, more than to actually say what movies are better than other ones.

That being said, let’s get right to it. Starting at #22 and going down to #1.

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22. Amores Perros (2000)

The first full length film by Iñárritu, and first film in his “trilogy of death” sets the stage beautifully. A fine example of hyperlink cinema, we see three separate stories interconnected, each with their own hardships and heartbreaks. It is a masterful demonstrations of the skills he has utilized his whole career.

21. Borat Subsequentfilm (2020)

Now I know what you’re thinking. Yes, this one is not better than the first one. Yes this is not better than many of the other films it’s above. That being said, this movie was so needed in the year 2020, to draw attention to how much the country had changed in 14 years. To draw attention to how ridiculous American politics had become. To remind us of a time when we used to laugh and PC culture hadn’t gone gone to its full extreme. In other words, this film was necessary.

20. Tie – In the Mood For Love (2000)

Considered one of the greatest movies of all time, it’s simple premise and compact running time allows all the focus and attention to be on the emotional state and passing glances of its two main characters. Combine that with some of the smartest cinematography I’ve seen in a while and you’ve got a love story for the ages.

20 Tie – Portrait of a Lady on Fire (2019)

I had to put these two movies together. If you’ve seen them, you’ll understand why. This recent French film has become a modern classic and fan favorite. An unlikely love story filled with subtle gazes and emotional weight. Great scenic views and matching music.

19. The Ballad of Gregorio Cortez (1982)

A young Edward James Olmos plays the titular character, based on the true story of a man who became a folk hero after a misunderstanding with the law. From the chase to the trial, this is a well-made piece of cinema, and the deliberate lack of translations to put you in the shoes of the characters was a brilliant choice.

18. The Cabinet of Dr. Caligari (1920)

The oldest film on this list, and one of the most important horror films of all time, it is known for its extensive use of German Expressionism (a style that Tim Burton was inspired by) and its unique narrative structure that has inspired legions of copycats. Still brilliant to watch all these years later.

17. The Irishman (2019)

Martin Scorsese returned to his award winning formula of Goodfellas and Casino, this time at a running time of 3 and 1/2 hours, and the inclusion of Al Pacino with Pesci and De Nero. And while the movie didn’t receive the awards to show it (unfortunately competing in the year of Joker and Parasite), it might be the quickest 3 and a 1/2 hour movie ever. I even watched it again a few days later!

16. ¡Alambrista! (1977)

The second film by Robert M Young (Gregorio Cortez) to be on this list, and another eye opening story. And while this one isn’t based on one true story, it is a story we see every day. Following a young man who crosses the border in search of a better life, it shows examples of bias, stereotypes, bilingual challenges, and occasional human kindness. Enhanced only by watching it with a woman who encountered a very similar journey in her life.

15. Shoplifters (2018)

Winner of the 2018 Palm d’Or at Cannes, this film covers many themes later explored in Parasite. But this movie doesn’t go the thriller route. Instead, this drama about family brings up many questions about the word and if “blood” is really thicker than water. Some moments of light-heartedness, some moments of tragedy. Worth every bit of praise.

14. Angst (1983)

This film was banned in Europe for extreme violence. Thankfully, it got a bit of a resurgence due to Gaspar Noe’s recommendation. Watching it, you can see many of his trademarks in it. The dark humor, the camera angels, the storytelling, the pacing. Following a recently released serial killer, we are constantly on edge waiting for him to kill again.

13. Les Diaboliques (1955)

Hitchcock fought for the rights to make the novel into a movie, but lost out to Henri-George’s Clouzot. In turn, this film adaptation actually inspired Hitchcock in the making of Psycho. And it can be felt when watching this. It is a classy, stylish thriller with elements of psychological horror that keep you guessing all the way until it’s dramatic ending. Fun for any fan of films like Vertigo.

12. The Night Porter (1974)

Twelve years after WWII, a former SS Officer and a woman who was a teenage girl in a concentration camp cross paths. What results is a movie that blends erotic drama and psychological thriller. With flashbacks to the war intercut with a country still trying to recover all those years later, it has strong political messages. It also has a lot to say about S+M, guilt, regret, and Stockholm Syndrome.

11. Knife in the Water (1962)

Roman Polanski’s first feature length film is a subtle game of cat and mouse between two men and a woman. A married couple bring a hitchhiker on board their boat for a night at sea. These are the only three characters in the film, and all the action takes place on a boat. It is a mental game and the tone changes slowly over time. And the ending leaves off with a question. Lots to say about expectations of people’s roles in life, as well as brain vs brawn.

10. Canoa: A Shameful History (1976)

Like Gregorio Cortez, Japon, and ¡Alambrista!, one of the biggest discoveries of the year for me was emotional charged and devastating movies from or dealing with Mexico. Canoa is based on a true story about students who were attacked in a small village due to fear and stereotypes. Shot in a documentary style, it is brutally raw, feels extremely real, and says a lot about politics, religion, and how blindly following can lead to massacres such as the Holocaust.

9. The Man Who Laughs (1928)

Perhaps best known as the inspiration for the Joker’s smile, it is an adaptation of a Victor Hugo novel, and feels very much like The Hunchback of Notre Dame. A romance with twinges of German Expressionism (providing elements of horror), drama, and a bit of action. It conveys so much emotion despite being a silent film. A lot of that is from the eyes of Conrad Veidt, which show joy and fear even when you can’t see his mouth.

8. Y Tu Mamá También (2001)

Alfonso Cuarón had already made three films by the time this one got released, but it quickly became his signature film. It’s blend of a road movie and a coming of age story paired with its depiction of sex helped issue in a new generation of Mexican directors that were getting attention from around the world. Some great performances including a young Diego Luba. Gorgeous cinematography and a look into gender roles as well as finding yourself.

7. Wait Until Dark (1967)

I had been wanting to watch this one forever. It was well worth the wait. A thriller featuring Audrey Hepburn as a blind woman trying to outsmart thieves in her home. Most of the action takes place in the apartment and feels like watching a play, but it keeps you on the edge of your seat the entire time. Contains one of my favorite movie moments of all time.

6. Burning (2018)

This movie messed with my head for a while after watching it. After 8 years, acclaimed South Korean director Lee Chang-dong returned with what is arguable his masterpiece. A blend of romance, psychological thriller, mystery, and drama, we follow a young man who quickly falls for a girl and fights for her attention. The pacing is outstanding, it’s well acted, has beautiful cinematography, and changes tone like it’s nobody’s business.

5. La Haine (1995)

One of the most intense films I watched this year felt right at home in the political turmoil of 2020. Following a group of friends the day after riots over the shooting of a Middle Eastern, everything is touched upon. From racism to sexism, to politics, religion, classism, age-ism. Gender gaps, gentrification, media control. From movie references to great music. You can break down every scene of this movie and find something incredible, but most of all, you can also find something current/relevant.

4. Belle de Jour (1967)

Luis Buñuel accomplished something amazing when he created a film about a sexually-repressed woman with masochistic fantasies who toys with the idea of working at a high-class brothel, and didn’t do it in a trashy way. Even at its most perverse moments, class oozes out of every scene. The dream sequences blend in a gorgeous/surreal fashion, and it is another perfect performance from Catherine Deneuve.

3. Blind Chance (1987)

I haven’t delved into Krystof Kieślowski’s crowning achievements (Dekalog/Three Colors Trilogy) yet, but after The Double Life of Veronique, I had high hopes. This brilliantly structured film introduces you to a character, shows an event, and then shows three different possible/potential outcomes. Each one has its own trials and consequences. Whether politics or religion, or love or self discovery, it challenges the ideas of fate with simple differences and simple crossovers. Would this have made a difference? What about that? Who’s to say for sure.

2. Carnival of Souls (1962)

The sole movie directed by Herk Harvey (who also plays the all-important ghoulish figure), a man more known for his work in making instructional films. And what a legacy he left. This low budget, independent horror film has inspired countless directors, especially those that have mimicked its ending. But up until that point, you are subjected to wonderful imagery, use of music, use of location, use of film techniques all whirled up in a style of a constant dream-like state. Blending shadows and nightmarish images with its simple concept, it has quickly become one of my favorite films of all time.

1. The Night and the Hunter (1955)

Putting these movies in an order of some kind proved to be a challenge. But from the start, no film could convince me to change my mind about what would be #1. As much as I loved every movie in the top 10, and especially that tight-nit top 5, this movie blew me away. The ultimate battle of good and evil, accentuated not only by the haunting performance Robert Mitchum, but by German Expressionistic influence. There are some shots in this movie that could never be replicated. Some of the most beautiful frames I’ve ever seen lie in this film. On top of the cinematography, it is smart, intense, and timeless. One of the most underrated films of all time, even despite its acclaim from people in the indus

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A special shoutout to directors Ingmar Bergman (Hour of the Wolf, Wild Strawberries, Cries and Whispers, The Virgin Spring, Winter Light, The Magician, The Silence, Through a Glass Darkly), Dario Argento (Phenomena, The Bird with the Crystal Plumage, Deep Red, Tenebre), Yorgos Lanthimos (Dogtooth, The Lobster, The Killing of a Sacred Deer), Michael Haneke (Cache, Funny Games (1997), Code Unknown, The Piano Teacher), and Nicholas Winding Refn (Bronson, Only God Forgives, Pusher 1 – 3) whose films I deliberately left off to keep this list fair and even. I didn’t want to overcrowd it with too many films from the same directors, and many of them would have overtaken the top slots. I recommend checking the movies mentioned here, as some of them are incredible and worth it.