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