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...

Gitarooman Soundtrack - COIL

No, this is not another April Fool's joke; I have actually chosen a soundtrack as my album of the week. Most of you reading this blog will know that video games are a big passion of mine, along with music. That's why this week's selection is the soundtrack from one of the most creative music games I've ever played: Gitarooman. If you've heard of this game, pat yourself on the back. I'll wait...
So what makes a video game soundtrack worthy of my review? How about the fact that it's not just a soundtrack, but an album full of 14 unique, wonderfully performed tracks.
Good luck finding the band COIL anywhere on the internet, I've tried. However, I'll do my best to describe the music to you:
Throughout the game, you encounter many different bosses wielding different instruments. By using your magical guitar weapon, you trade solos with them, playing during your part, and defending during theirs. The actual logistics are difficult to describe, so I'll let you look it up on YouTube. I'll wait... See? Isn't that cool? The best part about the game, though, is the variety. In order, the levels you encounter are of these styles:
(I've starred my four favorites in case you're short on time)
Boogie*
Stadium Rock
Techno
Blues/Jazz/R&B*
Drum and Bass
Reggae
Acoustic Ballad
Latin
Metal* (with pipe organ!!!)
Classic Rock
Rock version of aforementioned Ballad
Hard Rock*

Whew! What a list, ya? I won't go into the details of the stages or anything, but their all pretty solid tracks. The solos are very well done, and the songs are extremely catchy. If you've never heard of this game, I can't blame you... however, I will blame you if you don't go look it up on YouTube. I think you'll really like what you hear/see. This is kind of a short review, but I think the game speaks for itself, so go check it out and Happy Listening!

If you're interested in what the gameplay looks like, I found this to be a good video:
http://www.youtube.com/watch?v=mOBz0TRhFyM&feature=related

Paranoid - Black Sabbath

Recently, I've been listening to a very new (to me) brand of music. After hearing the kind of power that's possible with heavier instrumentals and vocals, as in Train of Thought and The Divine Conspiracy, I started looking deeper into the kind of metal that scares parents: death metal. I started to do a review yesterday about my favorite album I listened to, but realized that I really need to listen deeper to give a fair analysis. However, last week I also revisited the birth of metal in Black Sabbath's Paranoid.
When the Sabbath set out to create metal, Ozzy said they wanted to create music that scared people, similar to how horror cinema was frightening, but attractive all the same. Black Sabbath (the album) really served that purpose. On their second album, though, they decided to kick things up a notch. Paranoid has more rock-style songs than the previous album.
First of all, you have "War Pigs/Luke's Wall", which makes a perfect opener. It's simple two-note riff and a cappella verse draw you in well. When the band does kick in, you might be tempted to listen only to the guitar line. Resist this temptation, because the bass and drums have a lot to offer on this track, and I'd hate for them to go unnoticed. The second part of the song is an instrumental section that really gives roots to the progressive metal genre. It changes the thought on a dime, and flows from theme to theme. Overall, this is a great song that EVERY metal fan must hear. Even if you don't like metal, maybe this will give you some perspective.
From there, you get an uncharacteristically straightforward rock tune in "Paranoid". The guitar is catchy, though, and the vocals will hold you.
"Planet Caravan" represents another side of Black Sabbath that comes out from time to time. It's a slow, mysterious composition with veiled vocals and limited instrumentation. Definitely interesting and worth a listen.
"Iron Man" is a slow, pounding with one of the most recognizable guitar riffs of all time. What you might not remember about this song are the great solo sections that pick up the tempo and change the mood. My very favorite part about "Iron Man" is the transition from that faster solo section back to the verse. It's flying along in fifth gear and suddenly just grinds down to that pounding riff we all know and love.
The other tracks are similar to what you'd expect after hearing the first few songs, but I do want to point out one more: "Hand of Doom". This has become one of my favorite Sabbath songs of all time. It doesn't start out as much. Just some bass and some light drum rims. Then, it explodes as the verse jumps up an octave with the guitar joining. Also, Bill Ward throws in some great fills on drums. The middle of the song is entirely different, but awesome all the same. Make sure you hear this one.
Overall, I just wanted to talk about an album that was one of the first on my journey to metal appreciation. I think even those of you who don't like metal out there will still find this album enjoyable. Sorry for the late post, but happy listening all the same!

No Napster for this one, but Amazon has a sampler:
http://www.amazon.com/Paranoid-Black-Sabbath/dp/B000002KHH/ref=sr_1_2?ie=UTF8&s=music&qid=1244741985&sr=8-2

In The Court of the Crimson King - King Crimson

Currently ranked #7 on progarchives.com's top 100 prog albums of all time, In The Court of the Crimson King is nothing short of a masterpiece. The year was 1969, and progressive rock was just starting to take off. It's no wonder that the genre gained so much popularity with albums like this one leading the way.
The first track is simple in composure, but a wonderful opener to the album. The main riff is a slow, concise guitar and sax part. This gives way to the megaphone-style vocals of Greg Lake (yes, THE Greg Lake). The vocal distortion was a perfect choice for the song, as it really gives it a unique flavor. Mixed in to the song are some free-form instrumental solos, and my favorite part: a few bars of a soli phrase where the bass and snare drum pound out the rhythm as the guitar and sax perform a noodly unison line. It's a really cool effect to put in the middle of a song which is dominated by rigid structure during it's verse.
Next is my favorite track on the album, "I Talk to the Wind". Taking away that pounding sensation of the first song, they replace it with very delicate, undistorted instrumentation (including some gorgeous flute parts). Just close your eyes, lean back and take this one in. After that, "Epitaph" kind of combines the two styles. It starts delicately, but with a firm and rigid drum part. Eventually, though, it passionately builds into fabulous ballad. I'm not sure why, but the use of synth backgrounds really makes this one come together; keep an ear out for them.
"Moonchild" is very psychedelic. It has a simple vocal part in the beginning, but soon becomes nearly 10 minutes of musical experimentation. I didn't really like it the first time I heard it, but now I LOVE it. I like to close my eyes and really see the music. Let the sounds transform into splashes of color in your mind. It's very "out-there", but you should give it a try.
Finally, it wraps up with the title track. This song, as the name implies, has a lot of majesty to it. It winds and weaves through sections and solos, but always keeps coming back to the broad refrain that always reminds me of Pink Floyd's "Eclipse".
I could listen to this album end-to-end over and over and never get tired of it. It's one of those enduring classics that you can always come back to when you get weary of whatever new kind of music you're listening to. Check this one out, and I guarantee you'll thank me for it. Happy listening!

This one's not available on Napster, but Amazon has a sampler for you:
http://www.amazon.com/Court-Crimson-King/dp/B00065MDRW/ref=sr_1_1?ie=UTF8&s=music&qid=1244093316&sr=8-1

Two Shoes - Cat Empire

Welcome back, everybody! After a few weeks off, I'm back with more great music. Also, we've now entered Summer Mode. There's nothing special about Summer Mode, but we're definitely there.
This week, I want to bring to you some great music from Australia. The Cat Empire is (unfortunately) not very well known, but they should be. Their sound is VERY catchy. I am, though, presented with the challenge of categorizing them into a genre. Wikipedia lists them as:
Indie
Rock
Ska
Jazz
Latin
Reggae
Alternative
Personally, I think this is ridiculous, but I can see how they get all of those genres. To simplify, I'd call them a Ska band with a lot of Latin flavor. Similar to what I said about Ok Go, Felix Riebl, the lead singer, really knows how to accentuate syllables to really pull the listener. Take for example, the lyrics "like dealing stories in that sprinkla style and so sly" in the first track. Another thing to listen for in that song is the tasteful use of horns. Although horns are a very important voice in ska bands, it's very easy to overuse them. These Cats really keep it cool, though, using them in backgrounds and melodies without them being in the way.
"In My Pocket" really shows off that Latin flavor I mentioned before, mixing it exquisitely with some reggae groove. My favorite track on the album, has to be "Lullaby". Every voice in this song has a very distinct purpose, and it's executed wonderfully. The piano gives up a jazzy bass groove, while the turntables and drums lay down more of a hip-hop feel. The horns have some great give-and-take with the vocals, filling in the spaces with some catchy inserts.
"The Car Song" is a bit more straight-forward, filling out the album with a more traditional ska track. "Two Shoes" has that real Latin feel again, but remains unique because of those aforementioned rhythmic vocals and reggae refrain. "The Night that Never End" sounds like the kind of big band song you'd expect to hear at a smokey burlesque show.
As I continue to talk about the tracks, I realize how futile it is. Each one is so unique, and they're all so difficult to describe in words. This is an album you really have to hear to understand. If you're baffled by reading my descriptions, one listen will clear it all up. I'm absolutely amazed that the Empire isn't more well-known. I'd love to see these guys stick around, so tell your friends! The music just keeps me coming back over and over. Enjoy, and happy listening!

30 second clips from the album available on Napster:
http://free.napster.com/view/album/index.html?id=12375615

Train of Thought - Dream Theater

Recently, I've tried to avoid choosing albums by artists whose work I've already discussed. However, I found it necessary to remind myself of the purpose of this blog: to pick the albums that were "my favorite for the week." So, if you're not a Dream Theater fan, I'm sorry, but I couldn't possibly pick an album that I've listened to more this week.
That being said, on to the album:
Dream Theater has always been at the front of modern progressive metal. However, their albums each have a different personality. Their fifth, Metropolis Pt. 2: Scenes From a Memory was a concept album, and very much to the "progressive" side of prog. metal. Their sixth, Six Degrees of Inner Turbulence, was a double album, with the first disc being more metal and the second more progressive. When it came to their seventh, though, Dream Theater must have said something along the lines of "You want a metal band? Here we are!" In short, Train of Thought will destroy you with its darkness.
Kicking off with the final chord from Six Degrees, the album sets its mood with "As I Am". With an opening lick that sounds a lot like "Black Sabbath" (only 40x heavier), this song is a great way to show the listeners that they aren't messing around. This song is a balls-to-the-wall heavy metal showcase with some really great lyrics. My personal favorite is, "I've been trying to justify you/ in the end I will just defy you."
Next, you get the continuation of the AA suite with "This Dying Soul." This is the same suite I've pointed out in Six Degrees and Octavarium, and that will be concluded in their new album, Black Clouds and Silver Linings. If you were worried that there would be no prog in this heavy metal album, this song will make you happy. Although it continues to grab you by the cohones, it's got a lot of complicated passages that are very true to the Dream Theater style.
The best part of the album is that it doesn't let up there. A lot of artists would choose to have a slower ballad after 1 or 2 tracks, but not here. Although "Endless Sacrifice" has a lighter verse, to begin, it has one of the heaviest choruses. Also, it evolves into an 11-minute progressive epic, which is always nice!
"Honor Thy Father" is the star of this album in my opinion. The time signature changes keep you guessing while the crushing guitar and technically-masterful drum parts make this a shining achievement for the band. Another thing I really dig about this track is the anger in James LaBrie's voice. It doesn't come out often in Dream Theater's work, but it works beautifully with this song.
"Stream of Consciousness" and "In the Name of God" are an instrumental epic and a great closer, respectively. The last track has a piano hook that adds a great sense of majesty to the whole piece. Overall, it is a very appropriate ending to this great album.
I won't sugar coat it: If you don't like metal, you'll probably hate this album. It's heavy, it's loud and it's dark. However, if you like prog metal, and are looking for something to really sink your teeth into, this is one of my highest recommendations. This is my favorite album to turn the volume WAY up on my headphones. If' you've got high-quality speakers or headphones, I suggest it. Even if they're low-quality, you should still crank it. Happy listening!

Free link to the album on Napster:
http://free.napster.com/view/album/index.html?id=10844303

Once Upon a Time in the West - Hard Fi

<- This is a cool album cover. I'd just like to get that out of the way before I talk a bit about Hard-Fi's sophomore album, Once Upon a Time in the West. If you're familiar with their first album, Stars of CCTV, you won't be disappointed with this one. If you're new to the band, welcome aboard! We're about to explore some of my favorite modern British rock.
I know that people out there dislike it when you compare bands to other bands, but I'm going to do it anyway. If you remember back in the day when I reviewed Ok Go's album, Oh No, I summed it up by saying that the songs are simple, catchy, and wonderfully done. All of those things can be said about Hard-Fi as well. With a very British voice, Richard Archer leads the way in all of these tracks, giving them a wonderfully unique sound.
"Suburban Knights" starts off the album in the same vein as Stars of CCTV. It's a straightforward alt-rock tune that'll have you nodding your head and tapping your toes. However, it's what comes after the first track that sets this album apart and makes it extraordinary. "I Shall Overcome" uses some techniques that are new to the band, such as female backup vocals and a real smooth R&B feel behind it all. Definitely check it out.
"Tonight" and "Watch Me Fall Apart" do a great job of keeping that slower tempo interesting. For me, that's the biggest surprise in this album: the band chose to explore more corners of the alt/indie genre rather than sticking with the narrow sound that brought them success on their first album. In my opinion, they pull it well, and with plenty of grace. A few more influences/styles to listen for are the Who-like verses in "I Close My Eyes" and a very 80's-style track, "We Need Love".
If you want some simple alt/indie rock, you can always find it with Hard-Fi. However, it's really the way they've twisted their style in this album that makes it my choice for the week. With great melodies and catchy instrumentation, this album is a perfect choice if you're in the mood for some chillin'-out/driving music. Here's hoping that their third album is just as enjoyable! Happy listening, and see you next week.

Free link to the album on Napster:
http://free.napster.com/view/album/index.html?id=12580793

P.S.:
Also, this band is from Staines, and everyone knows that "West side is de best!"

Liquid Tension Experiment 2 - Liquid Tension Experiment

I bet at some point or another, you've found yourself thinking, "I wish three of the instrumentalists from Dream Theater would create a side project with the bass player from King Crimson where they abandon the vocal focus of their respective groups and have more freedom to solo and let loose their mad skillz." Your wish came true (12 years ago)! As the name implies, this is the second studio album by Dream Theater side-project, Liquid Tension Experiment. What you get is exactly what you'd expect from these guys, and a little more:
To me, the first song, "Acid Rain", sounds like the guys really indulging themselves. It's got a full-on prog metal sound. It also shows off quite well the first point I want to make about this band. Oftentimes, when side-groups and supergroups are formed, the members are great, but there isn't really any structure or chemistry; they don't sound like a group so much as individuals. With LTE, though, I find the opposite. Although the 'jam band' feel is intact, it isn't all solos and hooks: true to the band that spawned this one, you'll find a lot of thought-out progressive rock/metal instrumental sections tying it all together. "Acid Rain" is a perfect example of this. Listen to how the solos trade and are complimented by unison sections.
"Biaxident" is probably my favorite song on the album. With a little less soloing than the first track, it starts off in the fashion of a ballad. It quickly shows it's progressive side, but maintains the keyboard focus it started out with. Definitely check it out. Also, the ending is one of those hooks that makes you go, "AWW, YEAH!"
Skipping ahead a bit, I want to mention "When The Water Breaks". Obviously, the name is a clever little musical reference, but the song was inspired by a time when the group was ready to record and Petrucci's wife went into labour, spawning a side-side-project, Liquid Trio Experiment. This song kind of reminds me of "Dance of Eternity" on Metropolis Pt. 2: Scenes From a Memory by Dream Theater (soon, my friends.... soon...). It's got a lot of VERY complicated passages that will make any prog metal fan squeal with joy. However, what makes it different is that is has those solo breaks that I mentioned before (and some cleverly hidden King Crimson references).
Overall, this album is really great. Don't look too deeply into the content, because you won't find any, but just enjoy it for it's face value: great prog metal (with just a hint of jazz!). There aren't a lot of really great supergroups and side projects out there, but if you're a fan of the genre, or of Dream Theater, I guarentee you'll love this. Unlike the Porcupine Tree album from last week, though, I can't say that this one is super-accessible, but it really is a wonderful find. Check it out, and happy listening!

Free link to the album streaming on Napster:
http://free.napster.com/view/album/index.html?id=12516768
(...and for once, I agree very much with the Napster review!)

Deadwing - Porcupine Tree

Porcupine Tree may just sound like random words thrown together (like many modern band names (I'm looking at you, Neutral Milk Hotel and Vampire Weekend! (sorry for the nested side-comments...))), what they have to offer in Deadwing is far from random. This British progressive rock/metal band has put together an album that has become one of my go-to selections when I can't make up my mind what to listen to. I make this distinction to highlight the wonderful diversity and accessibility found herein.
The album starts off with an intro that's very typical of progressive rock/metal: A simple hook followed by an explosion of guitar and drums. What you find from there, though, is not quite as typical. This song contains a lot of subtlety that could easily go unnoticed. For example, compare the driving rock verse to the spoken-word strain to the psychedelic refrain. The flow is excellent, and you might just miss how much variance exists here.
This theme continues throughout the album. The next track, "Shallow," starts off with a great little metal riff and verse. However, it shifts gears for a moment to go into a few bars that sound like an alt-rock ballad. Right after that, though, it kicks right back into an even harder refrain. These little changes are really the crowning moments of the album. However, just when you think you've got it figured out, you'll get a song like "Lazarus". It's a great piano-driven ballad that would fit in nicely with anyone's Snow Patrol collection. The use of harmony in the slide guitar and back-up vocals is something to listen for here.
So, what could possibly be next? How about a funky drum beat and a catchy refrain? That's exactly what you'll find in "Halo". Very nice.
I'll leave the rest of the album to you, because I feel like I've made my point about this album: it's a very interesting mix. Earlier on I used the word "accessible", and I meant it. This is another great album like Milliontown that really shows the modern side of progressive rock. With a lot of different influences, this album shines in its cohesiveness (is this a word? (yes.)). Happy listening, and shine on, you crazy diamonds.

Free link to the album on Napster:
http://free.napster.com/view/album/index.html?id=12001510

Hannah Montana - Hannah Montana (Miley Cyrus)

When one is a fan of music, it can be difficult to put one's finger on what, exactly, is their favorite album. That's why, in the past, I've always referred to my "Top 5." However, I think I have found what I've always been looking for. The soundtrack to Hannah Montana is, by far, the greatest collection of songs to which I have ever listened.
This may sound odd coming from me. I always tend to feature classic and progressive rock/metal albums on this blog, but I thought I'd show you all my true nature today. This album is solid all the way through. Whether it's dancing around in my underwear to lyrics like "I'm a lucky girl whose dreams came true" in "Just Like You" or layin' into the groove in "Pumpin' Up The Party," I can't get enough of this album.
The album starts off with "Best of Both Worlds," which is a delightful pop tune with some lively vocals. I really like how she interleaves solo sections with harmony throughout the verse. Also, the key change is extremely uplifting and will give you goosebumps every single time. After that, the album gets a little bit of a country flair with "Who Said." In this wonderful...

Alright, alright. You got me. So, Hannah Montana isn't really my favorite album, but how often does April Fool's Day land on a Wednesday? It was just too perfect. Keep on groovin' and I'll be back next week with something a little more to my normal style. (Although, I have to say, listening to the first few tracks, this album is kinda catchy...)

If for some reason you experience brain damage, and actually want to hear this album, the link is:
http://free.napster.com/view/album/index.html?id=12284026

Goodbye Yellow Brick Road - Elton John

I'm convinced that nearly every American or Britain who listens to music at all has heard an Elton John song. I'd also say that most people have heard many Elton John songs. A lot of us could even sing you most of his hits word-for-word. My point is that Sir Elton John is an extremely recognizable artist, and one who's accomplishments won't soon be forgotten. With an astounding 29 studio albums (17 of which are certified at platinum or higher!!!), he's certainly made his impact upon the music world. Today, I want to talk a little bit about his best-selling album, Goodbye Yellow Brick Road.
The first track on the album is a two-part epic entitled "Funeral for a Friend/Love Lies Bleeding." The synth dirge is a very interesting way to set up the album. It quickly evolves into a very upbeat, piano pop/rock tune. It's a pretty cool song in its entirety. I also recommend listening to the Dream Theater cover of this song on their EP, A Change of Seasons. Tracks 2 and 4 of this album are two of my very favorite Elton John songs, "Candle In The Wind" and "Goodbye Yellow Brick Road." Both are wonderful ballads that will have you singing along in no time. I think my favorite thing about these songs, and a lot of his work in general, is the writing. It's been said that "nobody writes a melody like Elton" and I have to agree. Also, although I write on and on about epics and lengthy songs, it's worth noting that I admire the title track of this album for its brevity. With two verses and two refrains, it has its moment, and it moves on. Perfect.
You may have noticed that I skipped track 3, "Bennie and the Jets." I meant no disrespect, as it is a great tune. What I really dig about it is the backhanded groove that comes out in the vocals and drums. It's balanced nicely by the syncopated piano hits. Give it a listen; I think you'll agree.
The next track, "This Song Has No Title," starts what I consider to by the crowning glory of the album: it's flow. This song takes the foundation of the opening ballads, and starts to pick up the tempo. From there, the next few tracks continue in that vein, including "Jamaica Jerk-Off" which is a fun little reggae tune.
Shifting again, Elton heads dips into the blues for a few tracks. Be sure to check out "I've Seen That Movie Too." It's got a dragging, down-n-out feel that I absolutely love. I don't want to give away the whole album, but it starts to take a turn toward rock, climaxing with "Saturday Night's Alright For Fighting." Then, after some Western-styled songs, it ends with "Harmony," which takes us back to the ballad feel of the beginning of the album.
Overall, they album has something for everyone. If you're a fan of any Elton John song, you're gonna find that this album is a great way to start listening to some deeper tracks. I hope you love it as much as I do. Happy Listening!

Free link to the album on Napster:
http://free.napster.com/view/album/index.html?id=10797868

Come On Feel The Illinoise! - Sufjan Stevens

You've got to admire a man who devotes his album content to the midwest. We may not be the flashiest collection of states, but in the right hands, we make for some good music. Illinoise is Stevens' second state-related album, after he released Greetings From Michigan: The Great Lakes State a couple of years before. Both albums are a treat, but what I really want to talk about the Land of Lincoln, and the album that has had my toes tapping all week.
I think the best part of Sufjan Stevens' music is his ability to bring indie-rock to a wider audience. By infusing it with folk, and turning it into a basis for concept albums, he reaches out to those of us who might not necessarily notice it at first. The album starts out with a couple of introductory songs that are quite contrasting. "Concerning the UFO Sighting..." is a soft, soothing piano introduction which is then followed by the boistrous fanfare of "The Black Hawk War..." (Note that I use elipses in the song titles because writing them out would take up half of my post. Especially the second one!) Sufjan then pleases the progressive rock fans with a 5/4 song. The title track is a perfect example of what I was mentioning before. The vocals and style sound very much like an indie rock song. However, the instrumentation (trumpets, xylophone, piano, woodwinds, etc.) suggests a different style altogether. This blend is very lighthearted and catchy.
The next song is one of my favorites on the album: "John Wayne Gacy, Jr." The quiet guitar and piano parts almost remind me of "Dust in the Wind." This song also provides a good example of the material Sufjan chooses for his albums. Selecting important people and events from the stae's history is another way he is unique as an artist. "Jacksonville" has a lot of folk in it, but maintains a laid-back groove that I really dig. "A Short Reprise For Mary Todd, Who Went Insane, But For Very Good Reasons" is one of a few short tracks consisting of just a few chords. These segues keep the flow of the album very solid.
This is another album that I don't want to go into too much detail about, but I definitely suggest you all give it a listen. If you're just looking for highlights, I would recommend "Chicago," "John Wayne Gacy, Jr.," "Casamir Pulaski Day," "The Predatory Wasp..." and "They Are Night Zombies..." Happy listening!

Unfortunately, Napster does not have this album available for listening, but Amazon provides samples on their website:
http://www.amazon.com/Illinoise-Sufjan-Stevens/dp/B0009R1T7M

Chicago - Chicago

Once again, my listenings have brought me back to one of my top 5 favorite albums ( Thick as a Brick was the other, so far). Chicago was a huge hit in the seventies. It seems that everybody I know (and by that I mean everybody I know's parents) has at least one of their albums in their LP collection. If you could only have one, though, there's no other I would recommend than this one. As a side note, I want to mention that most people will call this album Chicago II. The "II" is often added to fit in with their eventual numbering system.
So why is this album so great? Let me tell you!
The album opens with "Movin' In," which sets the mood wonderfully. The playful trombone/trumpet opening really lays out the style and groove for the whole album. Then, as it quiets down, you hear the gravely, baritone voice of the late, great Terry Kath. He may not have been a particularly great singer, but the mood he sets and the emotion he infuses can't be matched by anyone else. I really like the background horns in this song, too: they're catchy, but don't steal the show. In the jazzy soli/solo section, each player really breaks out, giving an explosive 8-measure solo. The reason I mention this is because it's something Chicago has always done well. Their horn parts are always vital, but never outstay their welcome. The solos are wonderful, but short: the way they should be.
"The Road" is a great choice to follow with in my opinion. In this track, you'll hear less focus on the horns, and more on the sweet, passionate voice of Peter Cetera. It's another great track I look forward to every time. All of the tracks on the first "side" are solid singles. However, it's the second side I want to focus on.
Many casual listeners to Chicago will probably know the songs "Make Me Smile" and "Colour My World." However, they might not necessarily know that they're both part of the same 13-minute suite of songs called "Ballet for a Girl in Buchannon." You might recognize this name from the honorable mentions of my Epics Countdown. It starts out with the familiar, staccato chords of "Make Me Smile," but after the (shredding) guitar solo, it melts into "So Much to Say, So Much to Give." The middle tracks of the suite are very colorful little tunes that will capture you every time. "Colour My World" is a great ballad that I'm sure my older audience will remember well from their high school prom. A cool thing about it is that it only has one verse and one flute solo. That's it. Short and simple, but beautiful.
After the "Ballet" concludes in a somewhat-progressive fashion, we get "Fancy Colours" which will fool you. It starts out very slow and mysterious, but erupts into a "sexy party"-worthy psychedelic romp. Keep an ear out for the lyrics, too. They're full of creative little puns. I don't think I need to say much about the next track, "25 or 6 to 4" except that it has one of my favorite guitar solos ever. EVER. After a few orchestral tracks, you get another soft ballad called "Memories of Love" and another suite, called "It Better End Soon." This collection is more jazz-based. It's also full of a lot of grainy instrumentation. I dig it a lot. Finally, we conclude with a song that is a great finisher to the album, "Where Do We Go From Here?"
I hope you guys all like this album, because if you don't, I don't know if we can be friends anymore. Just kidding, but seriously, nobody should miss this album. Happy listening!

Free link to the album on Napster:
http://free.napster.com/view/album/index.html?id=10915632

The Divine Conspiracy - Epica

Since I've been talking a bit about genres in the last few weeks, I'm going to continue that little trend. I want to talk about a band that crosses genres with grace and ease. Although you've never heard of Epica, I hope to convince you all that it's worth listening to.
This band is most easily categorized as a goth metal band. I'd agree with this, but only in part. The vocal melodies and harmonies are very Gothic in style, but there's a lot more to it than that. The band has a lot of progressive metal sound to it, and the orchestra (yes, that's right, orchestra) lends itself to a genre called symphonic metal. The product of all of this is a very unique sound that I greatly enjoy.
If I had to sum up this band and album in one word, it would be "contrast." The heavy guitar and drum parts are contrasted by the orchestra in a very light/dark manner. Also, the lead singer's mezzo-soprano voice and the operatic choir are contrasted by the death grunt vocals. I like to compare it to food: the vocals and choir are very sweet, which is backed up by the bitter and sour grunts. Behind all of that, you have the creamy texture of the orchestra mixed in with the gritty metal chords. Molto Bene! Personally, I was never a big fan of death grunts. I found them objectionable, and I thought they detracted from the musical content of the songs. However, in this context, I find them a welcome addition, and something I look forward to. It's pretty cool when your long-standing expectations are shattered by something new.
The songs themselves are very lyrically deep. Much of this album is focused on the downfalls of organized religion. As a part of that, it holds the conclusion to the multi-album (multi-band) suite of songs, "The Embrace that Smothers." Similar to Dream Theater's AA suite, this collection of songs focuses on one topic over many different songs. Something I found cool about these songs is that they some part of the vocals is always in Latin. Not only does this sound awesome with the choir, but it adds ambiance to the message.
I don't really feel the need with this album to go into the specific songs, but if you're looking for some suggestions, I really enjoy "The Obsessive Devotion," "Never Enough" and "The Divine Conspiracy."
Even if this doesn't sound like your cup of tea, I still suggest putting an ear to it. If nothing else, it's unique. However, if you're a fan of prog/goth metal, and looking for something that has a broad, "epic" sound to it, this is the perfect band for you. Happy listening!

Free link to the album on Napster:
http://free.napster.com/view/album/index.html?id=12565645
(Oh, yeah, and the band is Dutch. (DUTCH!))

The Number Of The Beast - Iron Maiden

Last week I talked about a band who drew influences from a newly created genre. Continuing with this theme, I want to talk a little about a band that is usually credited with being one of the pioneers of their own particular style: Iron Maiden.
In the late 60's, heavy metal was just emerging as a genre in England with bands like Black Sabbath and Judas Priest. As the style grew and accumulated fans, it branched off into sub-genres. One of these was the famous "New Wave of British Heavy Metal," pioneered by none other than Iron Maiden. Where Sabbath and Priest had focused on that "heavy, metal-laden" sound that lent its name to the genre, bands like Maiden wanted to pick up the tempo and infuse a little more rock into the mix.
If we jump ahead a few years, we'll find ourselves in 1982, and the release of The Number Of The Beast, Iron Maiden's third album. This album is pure thrill and adrenaline through and through. Maybe that's why it's one of my favorite albums to listen to when I need to get pumped up for something. It starts out with a hard-hitting, driving guitar lick in "Invaders" that eventually yields to Bruce Dickinson's amazing tenor voice. As a new addition to the band, Dickinson really brought the group to a new level. What I really love about his part is that he combines the shouted style of Rob Halford (Judas Priest) with floating high notes accented by a sharp vibrato. In my opinion, it's the most identifiable thing about the band as a whole. When "Invaders" finishes, though, we're treated to a style that sounds a little more like Black Sabbath: "Children Of The Damned." It's slower and heavier, but still has those high vocals that make it unique. Next, we have "The Prisoner." This song is one of a few on the album that tricks you with its intro. You think the song is going to be another slow song, but it erupts into a tune similar to "Invaders." It's one of the most melodic songs on the album. I think this comes partially from the harmonies in the refrain.
"22 Acacia Avenue" is another tricky introduction. It starts quiet, then erupts, and you just get into a groove when they throw a wrench (spanner) at you. The song switches on a dime from 4/4 to 6/8 time signature. And that's when the head-banging commences. It really is a great song. "The Number of the Beast" and "Run to the Hills" make great singles that, for the most part, are similar to the previous tracks. The track I really want to make sure you all listen to, though, is the final one: "Hallowed Be Thy Name." Starting with a chiming bell and haunting guitar lick, it's a very ominous opening. Dickinson's opening verse is something I could listen to over and over. The lyrics in the song are about a man who is moments away from being taken to the gallows for execution. He struggles with his faith, maintaining that he's not afraid of dying, until he realizes that he really is. After the opening, the song just keeps getting better and better. This is my favorite track, and a must-hear!
If you're going for a run, or you've got a big test coming up you need some confidence for, put on this album. It'll get you going for sure. Every single song on this album comes highly recommended from me, and I hope you love them too. Happy listening!

Free link to the album on Napster:
http://free.napster.com/view/album/index.html?id=12867029
(Note that although Napster (annoyingly) lists "Total Eclipse" as the 8th track of the album, it was not in the original release. I don't know why this bothers me. Maybe because it blends in too well, and shouldn't.)

Waterfall - If

Here's a band that I'm sure VERY few of you have heard of. If you have heard of them, then I salute you (although you probably came to know about them by way of Mr. Golembeski). The band is If, and I bring to you their fifth album today, Waterfall.
If is a British band. The U.K. and the U.S. have a fun little relationship where one country will pioneer a genre of music, and the other will respond with a few bands of their own. Although progressive rock led the way, jazz rock was really made into its own category here in the United States. Bands like Chicago and Blood, Sweat and Tears ripped up the scene, selling records like crazy. Meanwhile, there were equally talented bands from Great Britain making their own records. While they didn't sell quite the way that their American cousins did, the quality was just as good. The best example is the album I bring to you today.
If is a great band, and has a lot of the same charm that BST and Chicago do. This album is a perfect example:
The first track, "Waterfall," sets the scene perfectly with a lot of flute/instrumental work that will remind anyone of Jethro Tull and Focus. This is broken up nicely by a few delightful verses and refrains. The groove really sets in when it gets to "The Light Still Shines" (The second track). The loose vocal rhythm is a nice contrast to the solid-as-a-rock backing. I like the lyrics too: "Tomorrow is never denied / The light still shines if you hide your eyes." This track has plenty of sax-y solos, too. "Sector 17" is a neat little instrumental/experimental/let-loose track that you should give a listen to. "Paint Your Pictures" will trick you. It starts out like a ballad, and you think that the drums will kick in with a slow beat. However, what you get is a break-out (I'm really using a lot of hyphens aren't I?) section that goes straight into a tight little groove. The middle section is a shredder of a guitar solo that makes me think of the late, great Terry Kath.
The last couple of tracks are pretty cool, too. "Cast No Shadows" and "Throw Myself to the Wind" are a proggy romp and a jazzy gospel, respectively.
If you love the American bands that inspired this U.K. group, you should not hesitate for one second to listen to these guys. I love it, and so will you! Listen to it with your lover on Valentines Day. ;)

Sadly, I cannot find a site that streams this album online. I did find one site, though that you can download a plugin to play it:
http://www.artistdirect.com/nad/store/artist/album/0,,106122,00.html
Seriously, though, if you love the American bands I mentioned, you should really own this album. I'm sure you can find it cheap!

Demon Days - Gorillaz

The Gorillaz are arguably the most popular virtual band (other than Alvin and the Chipmunks, if you count that) to hit the scene. Albums like Demon Days prove that they have a reason to be. This little collection will have you shutting your eyes and bobbing your head to every single song.
What amazes me about the band, and the album specifically, is the inter-genre sound they create in every song. For example, if you listened to just the beginning and end of "White Light" you might be tempted to say that the band is a punk/alternative rock band. However, one listen to "November Has Come" will change your mind immediately. They all have a sort of alt-rock feel, but when that's laced with hip-hop, rap, dance and funk, it creates a genre that I simply call 'Gorillaz.'
A few highlights I want to point out on the album:
First, on "Last Living Souls," I encourage you to listen to the orchestration and layering. How many instruments are playing at a given time? Which instruments are they? How does that change the style? This song is a perfect example of the musicality that might go unnoticed to the casual listener. That sense of depth is carried through to the next song, "Kids With Guns." What really jumps out at me in this song is the way the 'lazy' vocals add to the ambiance of the dragging, laid-back groove. Both the spoken and sung sections have that feel to them, and I really dig it. I think my favorite groove is found in "Dirty Harry," though. The chorus of children is a nice touch, too. "Feel Good Inc." and "DARE" make me want to dance, which is rare. Be sure also, to note the oddly-attractive spoken track "Fire Coming Out of the Monkey's Head." I can't put my finger on why I like it so much. I think it's just the way the background meshes so well with the narrator's voice. The acoustic breaks are cool, as well.
There's a lot I could say, but I'd rather let the album do the speaking, so have a listen! I can't imagine how anyone would be disappointed with this great collection of songs.

Free link to the album on Napster:
http://free.napster.com/view/album/index.html?id=12007058

The Grand Illusion - Styx

"Welcome to The Grand Illusion; come on in and see what's happening! Pay the price; get your tickets for the show. The stage is set; the band starts playing. Suddenly your heart is pounding, wishing secretly you were a star."
Ahh, this album's lyrics are just the first thing that make me love it so much. The Grand Illusion is the seventh studio album to be released by Styx. SEVENTH! By the time most bands hit their seventh album, they're on the way down, falling into obscurity. This is the exact opposite for Styx. They had just reached their first of four consecutive albums to go multi-platinum. In addition, they were only on their third of 8 to go gold! Also, you have to commend a band that releases 9 albums in 9 years consecutively. Talk about consistency! Enough, though, about the band, and a little bit about the album.
When I say this was the beginning of Styx's prime, you'll understand what I mean just by listening to the title track. It starts out very regal, like a royal procession. Then, it unfolds into the intro I quoted above, sung in a very 'circus-announcer' style. The verse is very much in the style of late 70's classic rock. When the refrain hits, though, you're gonna want to sing along. It's very catchy, and has what I've come to call the "Chris Rodey Bass Part" simply because he pointed out how much of a fan of it he is. Just listen; you'll like it, too. The short guitar solo changes gears a bit to a hard rock style before repeating earlier sections. It sounds like a lot of styles, but the way it comes together really makes for a solid hit.
After the head of the album, you get "Fooling Yourself" and "Superstars." My favorite part about the former is the way the sounds share the spotlight. Listening to the verse and refrain, you'll hear solo vocals bouncing off of synthesizer, trading with background vocals. The balance makes this a really fun tune. "Superstars" has a lot more chorus sections. It trades off between the thinly orchestrated verse, and the slow, powerful refrain section. After the guitar solo, it gets real quiet, building to Dennis DeYoung laughing and yelling in that circus-announcer voice. It's a good song to really get into.
Now, I assume that the average listener has heard at least 3 songs by Styx: "Lady," "Renegade" and "Come Sail Away." You'll find the first two on Styx II and Pieces of Eight, respectively, but you'll find the soaring vocals of Dennis DeYoung singing about angels and aliens on this wonderful album. I feel as though I don't need to say anything about this song, so I'll leave it at that. After a few other good tunes, you come to a song that most of you are unfamiliar with. I plan to change that. Your homework (yes, you have homework for reading my blog) is to listen to "Castle Walls." Starting out with a haunting single-note bass part, and developing into a creepy, yet satisfying ballad, it's not something that should be missed.
I won't take up any more space with this album, but, as I'm sure you can gather, it comes highly recommended. Go and check it out! Do your homework!

Free link to the album on Napster:
http://free.napster.com/view/album/index.html?id=10501564

Ben Folds Five - Ben Folds Five

Oh, what a treat it is to finally review my first ivory-tickling album. That's right, this week we're talkin' piano rock. Specifically, Ben Folds Five. A little story about the band name first:
The band is really only a trio: piano, bass, and drums. When asked about the band name, Folds reportedly quipped, "You mean a trio isn't five?" Like I said... just a little story.
About the album, though: what a gem. There are a lot of things about Ben Folds (Five) that I really love, and they're all found in their prime right here. First off, something that might deter some from the sound: the background vocals are pretty loose. I might go as far to say that the harmonies are downright sloppy. This is great, though, in my opinion. It really adds a casual tone to the whole sound. It makes them sound very much like a bunch of guys chilling out in their garage making rock music. To me, that's exactly what they should sound like. The style of music really lends itself to that laid-back sound. Adding to that, you have the drums and bass, which are very simple, too. (Not Meg White simple, but nothing fancy). This is all juxtaposed against the rich, jazzy style of Ben Folds on piano. The way he pounds out the notes balances nicely with the complexity of the chords themselves. He's also extremely playful with his part. Whether it be mixing up rhythms and syncopation, or sampling Gershwin in "Philosophy," it always fits nicely and brings the whole band together. I can't say much about the individual songs, other than they're all great. My favorites are "Jackson Cannery," "Philosophy," and "Alice Childress."
The intent of the music and lyrics seems to be very similar to what I said about The New Pornographers: just for fun. Although, the Five seem to be a little more sarcastic with their feigned 'angry white boy' attitude. This lot aren't trying to change the world, just trying to create some good old fashioned rock their own way. Of course, they had some help, as many hints can be heard of Elton John, Billy Joel, and the like. This band (and Folds's solo project) is really a great step for piano rock, keeping the genre alive in the modern age.
While listening to the album today, I couldn't help but smile and tap my foot to the music. I have a feeling most of you out there will react the same way to it. Go check it out!

Free link to the album on Napster:
http://free.napster.com/view/album/index.html?id=10899133

P.S.:
I also want to encourage all of you to check out Wasabi. It's my good man Chris Rodey's blog about music. He goes into a lot more detail than I do, and has some great insight into music. He also has a lot of cool links, release dates, and stuff I'm too lazy to put up.

Into The Electric Castle - Ayreon

Ayreon is not a band. I open by saying this simply because it's vital to understand my enthrallment with the works of Arjen A. Lucassen. Ayreon cannot even justly be called a 'group.' Ayreon is a project that (in my opinion) is one of the coolest things to happen to rock music. Now, that sounds grandiose, but it's true:
Concept albums have been done many times by many artists, but none quite like Lucassen does them. Rather than telling a story with multiple characters by signing all the parts, he hires help. For each album, he hand-picks famous vocalists to play the different personae of his tale. For example, in The Human Equation, he cast Dream Theater's James LaBrie as the main character. By putting together all of these voices, along with a different crew of instrumentalists every album, you get a very unique sound. It takes the term 'rock opera' to its truest form.
In this story, Into The Electric Castle, the listener follows 8 members of Earth's past through an emotional journey to the mystic Electric Castle. The characters are: The Barbarian, Highlander, Egyptian, Roman, Knight, Native American, Futureman, and Hippie. Also, there is the bodiless voice that follows and instructs them. All of Ayreon's albums are linked by an encompassing story, similar to the works of Coheed and Cambria. However, there's no need to understand that whole story to understand and enjoy this album.
So that's a little about the story, what about the music? I wouldn't pick this album if it wasn't amazing, of course! By allowing each vocalist to bring their own flair to the songs, it makes it an extremely rich, diverse experience. The songwriting is SOLID. Each song is carefully planned out to mesh with the story. The styles really put you in the environment: during "Across the Rainbow Bridge" I can almost close my eyes and see colorful expanse over a sea of tears. I don't really want to get in to the specific songs, as the piece is really about the whole, but every single one is a winner.
I don't want to mislead anyone: this album is indeed categorized in progressive rock/metal, but I think that most people would enjoy the music (even if they didn't get into the story). Do me a big favor, and give this one a try. I think you'll enjoy it. Yes, you.

Free link to the album on Napster:
http://free.napster.com/view/album/index.html?id=12285755

Ten Thousand Fists - Disturbed

Are you down with the sickness? Well I'm sorry to hear that; take some aspirin and get some rest. If, however, you are well and ready to get your rock on, I've got a winner for you. My second album of the week is Ten Thousand Fists.
The album kicks off with the title track. By now, you should know how important I find album-openers. This one leaves nothing left to be desired. After some synth and pounding drums, you get the amazing vocals of David Draiman soaring out above it all. Not only does his voice fit the style and genre perfectly, he has some little nuances that make it even better. The most noticeable is the grunting, throat-clearing, hocking noise he makes in between lines of music. I compare this much to Matt Bellamy's exaggerated breathing in much of Muse's work. It's by no means necessary, but pulls you into the emotion and environment that he wishes to create wonderfully. Also, in the band, the way the guitar strumming is often mirrored in the bass drum gives a pulse to the songs, drawing you in. This is another band that really makes use of long and short chords to place emphasis.
The content of the album doesn't vary too much, but that's a good thing. Why fix what's not broken? Unlike the concept albums of progressive rock, this album doesn't need too much variation to be a great addition to any collection. However, a few songs really stand out against the rest. "Ten Thousand Fists," "Stricken" and (in my opinion) "Land of Confusion" are amazing. The reason "Land of Confusion" makes in that list is that it presents me with a rare occurrence. It's a cover song, and I really like it. I'm usually not much for cover songs, as I feel that the original artist's idea tends to be the best fit for the song. However, I find Genesis' political pop song reborn in the metal chords of Disturbed. The song really lends itself to a new genre, and between the vocals and instrumentation, it's obvious that this was the band to do it.
That's really all I have to say. You can't go wrong with the 'in-your-face' sounds of this band, and especially, this album.

Free link to the album on Napster:
http://free.napster.com/view/album/index.html?id=12063015