The Resistance - Muse

Alright folks, I'm back with another album review. This week, it's Muse's newest effort, The Resistance. Those of you who are not really familiar with the band, you might remember me talking about them in my review of Origin of Symmetry. So what do I think of the new album? Let's dig in!
The first track, "Uprising" is very radio-friendly. It's got a very electronic bass part with a simplistic, thumping drum line. It also is a great introduction to the best part of this whole album: Matt Bellamy's vocals. I've always felt like Muse's real draw came from the passion and emotion produced by MB, and this album is no exception. Right away, we get a very swaying, lilting, yet punctuated verse. This is contrasted by the long, drawn-out vocal lines in the chorus (in true Muse fashion). Things get thicker and thicker in instrumentation as it moves along, and culminates with a huge block-chord refrain complete with noodly keyboard parts and everything. It's a great listen.
"Resistance" is the second track, and is very typical of what you would expect from a Muse song. Don't get me wrong, it's great, but you won't find any surprises here.
"Undisclosed Desires", however, offers a very fresh sound for the band. With the pizzicato strings in the background and sharp drum part, it's well-punctuated, which plays well under the emotional (Hard-Fi-esque?) vocals. The refrain adds a lot of different tracks. From what I can hear, you've got (by the end): drums, bass, drum machine hi-hat, strings, rhythm keyboard, synth, harmonized vocals, and a smooth-sounding vocal "ahh" line. Very thick instrumentation, but the way it comes together is fabulous. This is one of my favorites on the album.
"United States of Eurasia/Collateral Damage" will catch you off-guard. It starts as a standard Muse piano ballad. Eventually, though, it erupts into a lead-in that is an unmistakable Queen reference (complete with Brian May fills). After that, though it keeps throwing curveballs, switching modes, adding instruments, etc. It's absolutely amazing.
After a good filler with "Guiding Light", we're treated to "Unnatural Selection". It's very driving, with some great chord changes. My favorite parts are the refrain lead-in with the (again) unmistakable System of a Down reference, and the punctuation in the guitar line during the chorus. It's also got a kickass ending!
"MK Ultra" has some real unique parts to it, too, including one of Muse's best break-down sections ever. However, I want to talk a bit about the last work, "Exogenesis". It's split into 3 "symphonies". At first glance, it almost appeared that Muse was taking the progressive route with a big epic at the end, but what you get might surprise you. I'm not really sure how I feel about this last piece, yet. It's very symphonic and slow moving, which is nice, but I'm not sure how it fits with the rest of the album. I'd love some insight if any of you have heard it out there.
Overall, though, this album is great. Muse has really continued to put out great works one after another. Definitely give this one a listen!

Free link to the album on Napster:
http://free.napster.com/view/album/index.html?id=13350921

Third Stage - Boston

Here's a band everyone should know: Boston. Any music fan will recognize that Third Stage is not the most recognizable album by the group. In fact, I think this album is WAY overlooked by the majority of those who enjoy their debut album. In short, Third Stage contains a lot of the magic of the self-titled album, with a few twists and turns thrown in that make it a completely unique experience.
Looking down the track list, your average listener would probably recognize only the first track, "Amanda". The song became a great hit for the band after the initial success they had 10 years earlier. However, this is only the beginning. The song is a great single, but more importantly, it's a great introduction to a lot of themes that will be revisited throughout the album. That's right, Boston made a concept album. Each track contains some sort of musical reference to the others, whether it's the 4-note guitar lick from "Amanda" or the suspension-resolution line from the vocals in "Can'tcha Say/Still In Love". These little nuances make repeated listenings more and more enjoyable, which is why this album ranks so highly in my opinion.
Another cool thing you'll find here is the symbolism. A lot of the tracks appear (on the surface) to be related to a space shuttle's launch and journey, but underneath you'll find a metaphor for human relationships. Again, the concepts are an awesome addition to the already wonderful music.
Definitely turn up the volume when you get to "The Launch". The chords and build sequence are best experienced at high volume. My favorite part is when, after a heavy guitar passage, the bottom drops out, leaving just the synth to soar on the high end, as though drifting through silent space. It's a great effect.
And then.... it explodes into "Cool The Engines". You won't find this song on the charts, but it's solidly one of my favorite Boston songs ever. The energy in vocals keeps the song driving like a rocket on the red line. It's just fantastic!
The next few tracks are some wonderful fillers to the middle of the album that will take you to "A New World". "Can'tcha Say/Still In Love" is a mystery to me. I can't seem to figure out why this song isn't a worldwide hit. It's just as good if not better than every track on their debut album. And it's not even on "Greatest Hits"! What happened here? Without a doubt, you must listen to this song!
Finally, "Hollyann" is an interesting closer. You'll feel like this song brings back memories, because it closely resembles "Amanda", but slower. It really ties the ribbon on a great album.
All in all, I wish this album was more well-known. There's a lot here, and people don't seem to see that. Take a listen, I think you'll agree. That's all for this week; happy listening!

Free link to the album on Napster:
http://free.napster.com/view/album/index.html?id=10796610

Moving Pictures - Rush

It's finally come time for me to show some respect to Rush. As I'm sure you can tell, I really enjoy Dream Theater's work. However, with no Rush, there would be no DT. Many consider this band to be one of the most important influences on modern prog rock, and I'd have to say I agree. No album says "This is why I love Rush" better than Moving Pictures.
The first thing I want to mention about this album is its length. I think this album has to be near the top of the quality/time ratio scale. Weighing in at only 40 minutes, you'd never expect this album to be the prog heavyweight it is. The time has a lot to do with the fact that Rush was really one of the only prog bands getting a lot of radio play during the time period. Knowing this, the album's short playtime makes a lot more sense. It's filled with shorter songs for a casual prog listener.
First off is "Tom Sawyer". This is easily one of the band's most popular and well known tracks, and for good reason! The first thing I love about this song is the way it features Geddy Lee's vocals. The melodies are very simple, but will stick with you. Specifically, I love how the verse's melody is centered around one pitch, allowing for a lot of embellishment and emphasis on the later verses. Also, another thing I like to point out in this song is the idea of simple vs. complex. The guitar riff that runs through each verse is as simple as they come: sounding chords that linger through the vocals. However, the drums are often accenting here and there (as Peart is known to do). I've said it before, but it bears repeating: understanding instrumental focus is one of the best things a band can do to separate themselves from the rest.
"Red Barchetta" is more of a traditional symphonic prog tune. The lyrics follow a descriptive narrative, and as they change, so does the mood. The guitar sound is well chosen for different sections, as well. The melodic verse has a ringing, reverb-laden guitar, where as the faster, more energetic part has more distortion. Very tasteful and well done.
"YYZ" is an instrumental that I'm really glad to see has gained popularity with the rise of music gaming. As one of Rush's more progressive pieces, it's a true delight. Every time I listen to it, I focus on a different instrument (guitar, bass, and drums). Each has so much to offer here. I suggest you do the same.
"Limelight" has got a very radio-friendly feel to it, which is interesting, as it's got tons of time signature changes flying around. The syncopation makes this one really happen. Next time you listen, just check out how much is happening on and off the beat.
At 11 minutes (and taking up a quarter of the album!), "The Camera Eye" is the longest tune on Moving Pictures. Definitely check it out, though, as it's a wonderful progressive rock song. My favorite part of this one is how the sound paints the picture. With distorted guitar and soothing synth, you're taken on a ride.
The last two tracks are also very good, and in the same vein as most of Rush's music. If you enjoy any of the hits by this band, you owe it to yourself to dig just a bit deeper. Check out "The Camera Eye". If you're into that, I recommend another album called 2112. It's got that prog epic feel to it as well. I hope you guys enjoy this classic album as much as I do! Happy listening!

Free link to the album on Napster:
http://free.napster.com/view/album/index.html?id=10495733

Mezmerize - System of a Down

Here's a band that always kicks you in the face: System of a a Down. This week, I'll be talking about my favorite album by them, Mezmerize. Between the blasting metal riffs and awesome lyrics, it is definitely my favorite album I've listened to all week.
First off, you get an intro that is a hint to the second part of the double album, "Soldier Side". It's just serves to deceive you, though, as it's followed by the crushingly awesome "B.Y.O.B". The song is a war-protest effort, but unlike many politically-driven songs, it's amazing. The song has a few different riffs and sections, all of which are absolute gold. When the lyrics kick in, you get a taste of Serj's emotional and diverse vocals backed by a tasty 6/8 part in the guitar and drums. Then, this gives way to a bit more of a groove as it lays back with a simple 4/4 section (with a very well punctuated guitar part). For the third section, you get a blazingly fast scream section. I go to so much trouble describing these sections to illustrate what I love about SOAD. The music is very well written, even if it doesn't always get the credit it deserves from the public.
After that, you get "Revenga", which has some more great alternating fast and slower riffs. It also is the first song to feature the vocal harmonies that I enjoy so much. SOAD has a great way of choosing specific intervals in the vocals to highlight the background. The other wonderful example of this is later in the album on "Sad Statue".
However, the next track on the album is my favorite by far. "Cigaro" is solid through and through. With amazingly rough metal hooks in the guitar and vocals, it's one you'll want to listen to over and over. Whenever people mention this song, though, the main focus of their discussion has to be the lyrics. I won't be too inappropriate on this blog, but the opening line has to do with how much bigger Serj's... erm... body parts... are than yours. Take a listen... you'll understand. This song also uses that triplet bass drum feel that we saw in B.Y.O.B. It's a great effect to feature the second strain of a repeated phrase. You might remember I mentioned how much I love it when I talked about "A Nightmare to Remember" on Black Clouds & Silver Linings.
The rest of the album continues in the same vein, with great instrumentals, and even better vocals. It's no "Question!" that the band deserves more respect than they get. Their music has some of the best writing I've heard in the genre. The variety and quality of Serj's voice makes this album a grand treat. Definitely check it out if you want some crushing guitar action all up in your face. Happy Listening!

Free link to the album on Napster:
http://free.napster.com/view/album/index.html?id=12005200

Also, if you want to see what I meant about the lyrics to "Cigaro", here they are in their full explicit glory:
http://www.lyricstop.com/c/cigaro-systemofadown.html

What Happened To Television? - The Greyboy Allstars

Hi there, folks! I'm back from my vacation in the west, with a very fresh sounding jazz group called The Greyboy Allstars. You may not have heard of them, but one listen and you'll want to make sure that everyone you know has heard this sound.

Now, there are a lot of jazz groups out there. What makes these guys so special? Nothing specific. What I really get into when I listen to this album is the way it all comes together. In general, they take an approach to jazz that I really admire. Specifically, well-written melodies, short-but-sweet solos, really groovin' backgrounds (without losing focus), etc. I don't want to do the traditional track run-down on this one, but I do want to point out some things that I really love on a few of the tracks.
"V Neck Sweater" opens with a funky organ, sax and drum riff, which only gets better when you add those fuzzy-filter vocals that I love so very, very much, you get a head-bobbin' good time. The solos only stretch about 24 bars or so, but that's how I like them, it keeps the song moving. Jazz songs have a tendancy of getting long when soloists really go at it, and that's perfectly fine, but for the style that the Allstars lay down, the short solos are very welcome. In fact, most of the songs on the album are under 4 minutes!
Definitely check out the second track (the title track) as its gospel-influenced organ parts and jazzy guitar parts make it one of my favorites. Also, "Still Waiting" is a great James Brown-esque jam that really finds its way to your toes and gets them tapping.
As the album winds on, you get a lot of different influences: Some jazz flute that sounds very much like Jethro Tull, some Medeski, Martin & Wood-style turn-tables, some poppy female vocals, some R&B grooves, and more!
This is a bit of a short review, I know, but I feel like going into more detail really wouldn't do the album any more than my quick overview of it. Definitely check this one out. It's some great music for almost any occasion (except maybe funerals...). I know you'll be groovin' just as much as I was. Happy listening!

Free link to the album on Napster:
http://free.napster.com/view/album/index.html?id=12473141

Also, a big shout-out to Michelle and Kevin for finding this one for me!

Black Clouds & Silver Linings [follow-up] - Dream Theater

In an attempt to keep true to the blog's intent, I'm going to review the album I've been most into this week. To tell the truth, this is the only album I've listened to since last Tuesday! What I want to do with this week's entry is give the album another look, either reinforcing my first reactions or rescinding them.

"A Nightmare to Remember"
This song is amazing. It's definitely my favorite overall song on the album. The band really lets it all out on this song, musically. It rocks just as hard as their heaviest tracks from the past. Now that I'm more familiar with the roadmap of the song, I really love the transitions. For example, the switch between first verse and refrain is phenomenal. It's pounding along, fast and furious, when it broadens out into a slow 3/4. Then, in the middle of the refrain, the bass drum switches from a duple to a triple, which creates a great effect. The flow through the slow section continues to keep my interest. I've grown a bit fonder of Mike Portnoy's spoken section, but I still feel like it's a bit out of place. Also, there's a perfect place for the song to end around 14:16 in, but instead, it just repeates some themes with different drum beats. I don't know if this was necessary, but I'm getting too specific now... This song is wonderful and I embrace it as one of my favorites by the band.

"A Rite of Passage"
This song grows on me with every listen. The refrain is still a bit poppy, but it's catchy, and I like that. My favorite part is the lead-in right before the refrain. It's got a real gothic sound to it, and I can't get enough. I also really dig the transition into the solo section. As soon as you get that faster guitar riff, you know what's coming: some shredding from JP and Jordan... and you know it will be great.

"Wither"
I didn't have much to say about this the first time, but I have an opinion, now. Although this song is a fine filler, I don't feel like the album needs it. It's a good song, and a decent ballad, but I don't think it would have been missed by many people.

"The Shattered Fortress"
I've really developed a fondness for this song. It's a great closer to the suite, and in a way I wasn't expecting. I absolutely LOVE the way they take passages and riffs from the older songs, but play them in a different way (faster, slower, different time signature, etc.). Additionally, the original section at the end (called Responsible) is a wonderful glue to seal up the fragments of the other songs. This song's got a lot more to offer than it first appears.

"The Best of Times"
I don't really have anything new to say about this song. It's still a great song, and a wonderful tribute. However, last time I mentioned that it sounds a lot like "Spirit of the Radio". As I was listening closely today, I noticed that the lyrics use the words "spirit" and "radio" at different parts. I found this clever.

"The Count of Tuscany"
I said some negative things about this song last time. I still hold that the lyrics are not great. I won't call them awful like I did last time. They've grown on me a bit. However, I still don't feel that the narrator's reaction is justified given the scene we're presented with. Aside from the lyrics, though, this song is pure gold. As I become more and more familiar with it, and start to recognize foreshadowing and themes I really start to get into it. The flow is still broken a bit by the slow section, but Jordan's gorgeous solo makes up for it. It doesn't build like "Octavarium" and it doesn't have the flow of "Six Degrees of Inner Turbulence", but it's still a great epic by the band, and a very nice closer to the album that's grown nearer and dearer to my heart.

All of this considered, I also want to take back part of my afterthought from the last review. There is, indeed, something different about this album, but can't that be said about every DT album? Wouldn't I have said that if I had just picked up Train of Thought? With time and attention, this album is becoming better and better. Because I like lists so much, I'd like to present you with my Dream Theater album list. In order, from best to worst, I would list DT's studio albums as such:

Metropolis Pt. 2: Scenes from a Memory
Octavarium
Train of Thought
Black Clouds & Silver Linings
Images and Words
Six Degrees of Inner Turbulence
Systematic Chaos
Awake
When Dream and Day Unite
Falling Into Infinity

Disagree? Let me know with a comment! Thanks for reading my 2-part review! I'll be back next week with whatever catches my ear! Happy listening!

Black Clouds & Silver Linings - Dream Theater

So, this is it! I've been waiting about 6 months for this album, and it's finally out. Black Clouds & Silver Linings is the 10th studio album by one of my favorite bands: Dream Theater. Was the album worth the wait? Did it live up to my high expectations? The answer is interesting. I can't fully say that what I got what I expected. Some things were better, some worse, and some... well, they were just different. Allow me to elaborate:
As the album is only 6 tracks long, I'd like to say a little bit about each one.
"A Nightmare to Remember" starts out with some thunder and lightning sounds, which give way to some really heavy guitar riffs. It's very reminiscent of Train of Thought. The first 5 minutes rock pretty hard. What a great way to kick things off! Then, we get a slower groove that reminded me of the second section of "Octavarium" on their eighth album. By now, I was really getting in to the album as it jumped back into the hard-rocking first section again. Then, after some solos and complex unison parts, there comes a section I don't really understand. Similar to parts of other DT songs, there's a section where Mike Portnoy speaks/shouts in rhythm. It's a cool effect, but the words just don't make sense. "It's a miracle he lived, it's a blessing no-one died. By the grace of God above, everyone survived." This is immediately followed by a growl. Why should these words be spoken in Mike's "angry voice"? Wouldn't it make more sense for James LaBrie's tenor voice to carry these uplifting passages? On that note, all of the lyrics in this song are very, very straightforward. It's about a car crash, yes, but do the lyrics need to be a step-by-step description of the events? Why can't they include some of the wonderful imagery used in Scenes from a Memory? Overall, though, I'm nit-picking. This song is really great, and might even be my favorite on the album.
Secondly, "A Rite of Passage" is a good (8-minute) single to follow up with. It's a bit more radio-friendly, with fewer time signature changes, and less twist-and-turn than the average DT song. It's still got that prog feeling to it, but it's definitely accessible to a wider audience.
"Wither" is very similar to most of DT's ballads from the past. It's got a little more of an edge to it, but overall, you won't find anything too new here.
"The Shattered Fortress" is the conclusion to Mike Portnoy's (now) 5-song AA suite. It's a very odd song to hear if you've never heard the other parts of the suite, because it's nearly entirely composed of sections, passages, lyrical comparisons and riffs from the other 4 tracks. Overall, though, it's a good closer to conceptual series of songs.
"The Best of Times" was written for Mike Portnoy's late father, and is a wonderfully written and performed tribute. You'll notice a lot of Rush influence, specifically in the guitar parts. One passage is nearly lifted straight from "Spirit of the Radio". The song is 13 minutes long, but as with many great songs by this band, it seems to fly right by. Definitely check this one out!
I'm going to come right out and say this: I don't really understand "The Count of Tuscany". I'll start by saying that the music is wonderful. With a lot of time signature changes and tempo swings, this song will keep you on your toes. I really like the gothic metal influence in the main refrain, too. What I don't understand is the idea. The song is about a count who takes the narrator on a ride and frightens him with his stories and actions. However, I, as the listener, found nothing frightening about the lyrics. They tell the story in a very straightforward manner, like "A Nightmare to Remember", but the narrators frantic refrain and pleading verses don't seem to connect. To be honest, (and this is actually very hard for me to admit) I thought the lyrics were absolutely awful. Also, as much as I love prog epics, this didn't feel like one. The sections of the song felt disconnected and inconsistent with the current mood of the song. Many sites are saying that this song ranks up there with "Octavarium" and "A Change of Seasons". I very much disagree. Don't get me wrong. Everything about this song is awesome, except how it pulls together (and those really bad lyrics).
All in all, I think there are very few Dream Theater fans out there that will reject this album. It holds its own just fine. Don't mistake my comments for dislike. I really do enjoy this album, I just was surprised by some of the elements given Dream Theater's discography up to this point. Black Clouds won't make a convert out of anyone, but it is a great entry in a wonderful line of albums despite its few hiccups. Happy listening!

Free link to the album on Napster:
http://free.napster.com/view/album/index.html?id=13237325

An afterthought:
I feel like this album is just... different somehow. Maybe this is because it's the first new album since I came into Dream Theater fanhood... maybe it's something else. I compared it earlier today to Black Sabbath. With Ozzy, they were great. With Dio, they were still great, but they were just... different. Maybe I just need to keep listening to it to make it more familiar...