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

Rust In Peace - Megadeth

Megadeth. What a name. If I were to vote on band names that really embody the spirit of the genre, Megadeth would be right up there in the top 5. A little piece of history before I begin talking about the album, though:
In the early 1980's, Metallica was establishing itself as a metal powerhouse with their first album, Kill 'Em All. This was grood (great and good) until the band had to kick out their lead guitarist, Dave Mustaine, due to his unruly addictions to drugs and alcohol. In 1983, Mustaine decided it was time to forge his own way and create a band that would rival Metallica. The result was Megadeth. Whether or not Megadeth's legacy will live up to its big brother is questionable. However, it's worth noting that both bands are still producing albums, which is very commendable.
Why talk about the history, you say? Because you can hear it. That's right. You can hear the history come through in most of Megadeth's music, and especially this album. Songs like "Holy Wars... The Punishment Due" and "Five Magics" really bring out that grunge metal sound of the old Metallica, where as others showcase Mustaine's new direction. In general, Megadeth's songs tend to have more melodic guitar hooks and vocal lines. Some great examples of this are the guitar intro to "Lucretia" and the vocals in "Tornado of Souls." Mustaine does a great job of balancing those familiar grungy vocals that come from the gut with higher lines not often found in the genre. Don't get me wrong, here, though. I don't mean to say that Megadeth is only a rip-off of Metallica. It seems they've even taken a page out of Alice Cooper's book with "Dawn Patrol."
Bottom line time: You want good metal to scrunch up your face and head-bang to? You've got it. This album is always a fist-pumpingly good time. (Incidentally, I think that may be the first time in the Universe someone's used the term 'fist-pumpingly'). My big highlights on this album are "Hangar 18," "Holy Wars..." and "Tornado of Souls." Happy listening!

Free link to the album on Napster:
http://free.napster.com/view/album/index.html?id=10920463

Milliontown - Frost*

So, another few days go by and another batch of albums go through my ears. What have I for you today? A band you've probably not heard of. Frost* is an interesting group. I guess most groups are interesting in their own way, but this band is interesting to me in the way they defy their genre. Sure, any casual listener could slap "progressive rock" on the band with no problem. But I beg to differ. I tend to think that we could label them that way, but it wouldn't be appropriate because they've really pioneered a new version of the genre.
Milliontown is the first album by this band, and until a few weeks ago, their only album. It starts out with "Hyperventilate" which is has a lot of progressive elements in it, but I would still hold back that title. The instrumental that kicks it off sounds much like Dream Theater would if they experimented with a lot of electronic filters. Then, the album shifts gears into "No Me No You" and your expectations are thrown out the window. The verse has a very short and quick metal sound to it, but the refrain and bridge are quite symphonic (almost in a classical sense).
Much like The Pixies, Frost* capitalizes on the power of drastic volume and energy shifts. This one song will take you on a roller coaster of all aspects: orchestration, pacing, layering, etc. It's really worth listening to just to get a sense for what I'm talking about. "Snowman" slows it down and introduces a vocal filter that is used for the rest of the album. I love it. It's almost like something you'd hear on an electronica album, but it's soft and lyrical. "The Other Me" and "Black Light Machine" are wonderfully written, yet crushingly powerful, songs as well.
Finally, it comes to the title track: "Milliontown." If you read my blog often, you'll recognize it as one of my honorable mentions for my epic list. Why an honorable mention and not an entry? Because although it is a magnificent song, it doesn't feel like just ONE song. To me, it lacks the continuity of other great epics. However, it's still an amazing listen, and one I highly recommend.
I think those of you out there that avoid prog because it's "too complicated" or "not your style" should give this album a chance. I think you'll find a lot of things you like, and before you know it, you'll have enjoyed an album labeled as progressive rock.

Free link to the album on Napster:
http://free.napster.com/view/album/index.html?id=12205520

Oh No - Ok Go

Alright. So I'm back from my little hiatus in South Carolina. I had two 17-hour car rides to do nothing but listen to music... and what was my album of the trip? None other than Oh No by Ok Go.
Ok Go is one of my favorite non-prog modern rock bands. Awfully specific, I know, but it does say something about how highly I recommend them. Their live show is a real delight, and their studio material doesn't disappoint, either. Oh No starts out with a bang with the ever-pleasing sounds of "Invincible," which is a excellent choice with which to lead the album. It's just plain strong all the way through. The second track, "Do What You Want" is the best example of something I've noticed about Ok Go that I really dig. The lyrics don't necessarily tend to be important, but the way they sound is the MOST important. Damain Kulash (the lead singer) pronounces his syllables in a way that just draws you into the sound of his voice. He has a great sense of staccato and legato to his consonants and vowels. To put it simply, he really knows how making certain sounds long and others short accentuates his voice. Example: the line "just a ticker tape parade and me" is just a wonderful treat to the ears the way he sings it.
I'm going to break a cardinal rule of reviewing rock albums. I'm going to compare Ok Go to The Beatles. Now, stop freaking out. I don't compare the two because they're similar in skill, or because they both represent a generation. All I want to say is that both bands really do a great job of taking simple songs, and making the listener say "Oh, man, I love this song!" every time. Nothing on Oh No is difficult, or complicated, but it's fun, and it's just plain good music.
Overall, this album is one that might not be the jewel of your collection, but I guarantee that every time you pull it out, it'll remind you why you love it. Especially when you groove out to "Oh Lately It's So Quiet."

Free link to the album on Napster (30 second clips only... boo!):
http://free.napster.com/view/album/index.html?id=12044898

Epics #1 - Thick as a Brick - Jethro Tull

So this is it, my number one epic of all time. Did you see it coming? The album may be unfamiliar to the general audience, but it holds a special place in nearly every prog rock lover's heart.
Released in 1972, Thick as a Brick was an early achievement both for Jethro Tull and for the genre. The song is a mighty 43 minutes long, making it an exceptionally lengthy song.
The song is a parody of other works of the time, such as Emerson, Lake & Palmer, and Yes. As epics began to emerge in the world of rock, they were often filled with very ornate language and deep meanings. Jethro Tull sought to poke fun at those songs with this album. The story is about a young child who is disqualified from a poetry contest in a great controversy. His poem is extremely long and elaborate, and is viewed by the judges as an attempt to impress them rather than as legitimate poetry.
The folk environment the album starts off with carries through all of its seamless transitions, keeping your interest. To me the best thing about this song is the way it sticks with you. Most people that have heard this song 3 or 4 times would be able to predict every single transition and probably even know most of the words. For a 43 minute song, that's pretty impressive. It just has a way of seeding into you in the most unforgettable way. Between the balance, the orchestration, the lyrics, and nearly everything else, I don't even know where to begin or end dissecting this piece. I'll leave it with what I have here, and recommend that if you want to hear an epic that will never disappoint, this is my very highest suggestion.

Free link to the album on Napster:
http://free.napster.com/view/album/index.html?id=12437387

Honorable Mentions:
"All of the Above" - Transatlantic
"Milliontown" - Frost*
"A Change of Seasons" - Dream Theater
"The Odyssesy" - Symphony X
"The Water" - Spock's Beard
"Supper's Ready" - Genesis
"Ballet for a Girl in Buchannon" - Chicago (not prog, but an epic nonetheless)
"Karn Evil 9" - Emerson, Lake & Palmer

Did I miss your favorite epic? Let me know with a comment!