Singles Roundup: Year Of The Goat, Killswitch Engage, Laura Espinoza, & The Nearly Deads

It's time to take a look at a few more singles. A couple are teasing us for upcoming records, and a couple are stand-alones. Is this a rare instance where I've found four great songs to talk about, without a clunker in the bunch?

Year Of The Goat - Avaritia

This was a pleasant surprise. I absolutely loved their last album, and had no idea they were even working on a new one. I was expecting a lot, and my first impression is that the band nailed it. You could say this is a bit too much of a clone of the last album, but they're new enough it doesn't matter, besides the fact this sound is awesome. They're almost a CSNY version of Ghost, with a more vintage aesthetic behind their occult rock. There's no gimmick, just some great songwriting. If we're getting another whole album on this level, I'm going to be quite the happy camper.

Killswitch Engage - I Am Broken Too

The first single from the new record was not setting my world on fire. Thankfully, they have righted the ship with this song, which plays more on their emotional side, which is something that goes underappreciated. Their heavy ballads have always been a highlight, and this is no different. It actually reminds me of the 2009 self-titled, which is my favorite of their records. Jesse is more melodic, which is so desperately needed. It may not be popular to say among their fans, but I've never thought he was a great melodic writer. That killed "Incarnate", but a few more tracks like this say the new record could be a solid rebound.

Laura Espinoza - Follow Me To The Sun

A few years back, Lunden Reign's "American Stranger" made my top ten of the year list, and right now it is playing on stage as an adapted musical. With that, a few new songs were included to flesh out the story, this being one of them. What we get is a slow-building ballad that hearkens back to that 70s classic rock sound from the titular album. It's a lovely little song that would be a lighter-in-the-air number, if theaters acted like rock audiences. The only downside, for me, is that the voice of the story on record, Nikki Lunden, is absent. The voice Laura is now using is also good, just not the same. Still, another fine song from Laura.

The Nearly Deads - Watch Your Back

The third single released since their last EP, The Nearly Deads continue to crank out fun music. TJ and her cohorts are on a winning streak with their writing, hitting on pop-friendly hooks for their songs. They also continue to play up their rock tendencies, nicely balancing the sound between heaviness and sheen. All three tracks, "Freakshow", "Halfway To Nowhere", and this one, are the kind of simple, catchy, fun rock music that is perfect for summer listening. What's the drawback? I still want an entire EP, if not an album, given how much I've enjoyed these songs.

Album Review: Volbeat - Rewind, Replay, Rebound

Few bands have been as frustrating as Volbeat. Their first three records were both great and unique, establishing them as a one-of-a-kind band that was able to fuse rock and metal, the past and the present. But after "Guitar Gansters & Cadillac Blood", without changing their approach much, they became rather bland and boring. Their profile was growing, but the music was no longer as interesting. And then the last album came, which found them going all-in on their play for the mainstream. "Seal The Deal & Let's Boogie" was Volbeat's pop album, let's be honest. I loved it, but even so, I was worried by what the record meant. Volbeat didn't really sound like Volbeat anymore, and since no one else can or does sound like them, where does that leave us?

Leading into the album, there was much to worry about. The singles released in the run up fell firmly on the pop side the previous album established, and lacked the two key elements that made Volbeat a standout when they arrived on the scene. With neither the metallic crunch of their riffs, nor the elements of 50s rock and roll, Volbeat is now essentially playing the same game that every other radio rock band is engaged in. Granted, they are better at it than most of them, and Michael Paulsson's vocals will always make them stand out, but it's difficult to hear a band watering down their identity.

The album does give older fans a few treats, but even those are marred by a glaring problem. "Pelvis On Fire" is the most old-school Volbeat song in four albums, but the melody line is a direct rip-off of "Sad Man's Tongue". They give us a new classic Volbeat track, but it's actually a rewritten old classic Volbeat track. And it's not just there that the melodies are rehashed. "Cheapside Sloggers" is eerily similar to older material as well, and when the first feeling you get listening to a song is deja vu, it's not a good sign. It makes me more inclined to want to listen to the old stuff again, rather than the new songs.

There's also "Die To Live", which features hammering Jerry Lee Lewis style pianos under the guitars. That's Volbeat at their most interesting, because not only are they doing something no other band would have the thought to do, but it sounds great.

Having established all of that, any disappointment with the approach has to be taken in perspective, because the pop version of Volbeat still writes really good songs. I don't listen to a lot of mainstream rock that would be on the radio, because every time I do, it tends to all sound identical, and bland. Volbeat's melodic material is bigger, stronger, and more memorable. It's hard to listen to them and not be entertained, even if you wish they were doing things a bit differently. Good songwriting covers many flaws, and that's the moral of the Volbeat story.

We need a reference point to work with, so let's go back to "Seal The Deal..." Compared to that record, this one is more diverse, perhaps a bit lighter, and not as consistently catchy. It appears Volbeat heard the complaints about them leaving a bit part of their past behind, because they try to work a bit more of that in, but the pop material here isn't quite as strong as the last time around. It's very good, mind you, but the last album absolutely nailed the bull's-eye.

So what it comes down to, for me, is that this album's title is prescient. Volbeat rewinds the tape to bring back a few elements of their early days, they basically replay a couple of melodies from those classic songs, and they try to rebound from the cries of being sell-outs. Trying to do all of that in a single record is asking a lot, and it means we get a record that's a bit disjointed. It's clear which songs are meant to appeal to their older fans, and which their newer fans. It's another identity crisis, and it's amazing that through all of this, Volbeat still manages to make a record that's so enjoyable. It's flawed, but they don't detract. Volbeat is still good fun.

Album Review: Shallow Side - Saints & Sinners

Here's a question for you; does anyone know what's going on with mainstream rock in 2019? I'm assuming you said no, because that's my answer too. This year has been remarkably quiet on that front, without a single song I can think of that has made itself known to people who aren't devoted to following the radio playlists. Last year we at least had Ghost and Halestorm that got a lot of attention. This year has been barren. That might play well for Shallow Side, as after delay, their new album is not only going up against very little competition, but it might sound fresher than usual given how little of the style I've had to hear so far. Let's take a look.

Thankfully, Shallow Side is still playing things straight as a rock band. They have not been tricked into absorbing the Imagine Dragons style of 'rock', nor are they playing the tuneless slush that passes for rock and roll to people who grew up thinking grunge was happy time music. These southerners sit in the comfortable middle ground between hard and southern rock, sort of where Black Stone Cherry started out before they started chasing the top of the charts.

The title track is essentially a blues track, with a swampy atmosphere leading into the bursts of big guitars. It gives the album some balance, when put alongside "Sound The Alarm", which is a fantastic radio single. That track has a big, propulsive hook to go along with the groovy riff. It's the sort of song that makes an obvious single, except for the fact there's not much that sounds like it currently getting any traction. Everything today is either so dark, or so electronic, that a traditional and catchy rock song feels unusual. I suppose that's part of how Ghost has become so successful.

So now that we've established what Shallow Side are doing, how are they doing it? Well, that's a bit harder to judge. They've got some great songs, but there's also times when the southern and blues influences don't quite mesh with the more upbeat hooks. Not to the point where it detracts from the record, but it isn't quite as well-integrated as it could be. I'm reminded a bit of the album a few years ago from One Less Reason, "The Memories Uninvited". I get the same feeling from this record as I did from that one, but the difference is One Less Reason's sound felt more well-honed, and their songwriting never once faltered. That record was fantastic from start to finish, while this one has ebbs and flows.

Basically, what I'm trying to say is that Shallow Side has made a record that is good, very good in spots, but isn't yet great. They've got some great songs, which shows they have the talent to make that kind of essential record, but they still need to dig inside themselves and figure out exactly what thread is the one to pull. But, given the state of mainstream rock right now, "Saints & Sinners" stands up to anything else so far in 2019. It isn't a perfect record, but it's plenty good enough.

Album Review: Sinheresy - Out Of Connection

Some of us have the mindset of always wondering 'what comes next?' That can make it hard to appreciate the moment we currently live in, but it also is a perspective that keeps the thrill of the hunt hones and sharpened. Metal has been stagnant for a few years now, but there are little ripples coming through that might point us toward certain futures. One of those is the continued success of Amaranthe, who are opening the door to a path where metal and modern electronic pop can meld together. Their album last year was a fine example of just that, and while I know plenty of fans who don't share an affinity for pop were disappointed, I saw a potential future I could easily live with.

Sinheresy follows a similar playbook, mixing together pop, metal, and blended dual vocals. It's a formula I've heard work, so they're starting out with a solid base, if they have the songs to back it up.

The opener "What Makes Us Human" hits the right marks, but also reveals a flaw in the record. It's an energetic track, and it has a solid hook, but the mix of the record holds it back from what it could be. I would expect more from a veteran like Jacob Hansen, but Cecilia Petrini's vocals sit back in the mix enough that the chorus doesn't sound as powerful as it should when she is singing alone. Her voice has a shy tone to it, and it needs to be pushed further in front to compete not just with Stefano Sain's voice, but an entire metal band as well. She doesn't have the same bite that Elize Ryd does, and she isn't given the right help to compensate.

Once we get past that issue, what we have is an album that serves as a fine companion to Amaranthe's latest. I'll be frank here; I'm using the word companion due to the connotation, as this album is not on par with "Helix". The sound is right, and the effort is there, but the songs just don't have quite the crackle and spark that Amaranthe manages. That's why they are the leaders of this charge, and everyone else is coming in their wake. There's no shame in that.

It also doesn't mean they don't have some really good material to offer us. "Facts, Words, Sand, Stone" is a great track, with a stomping beat and a tremendous chorus. Actually, the middle of the album is packed with great songs. "Absolution" and "Break The Surface" are just as good, and give the album an odd center of gravity, almost a bell-curve, which goes against the conventional way albums are structured. I'm not sure it makes the best first impression, but if you stick with it, things get better as each track moves along.

By the time we're done with "Out Of Connection", it's done a lot to earn my affection. There's still little things here and there that can be tightened up, but the band does a good job of riding the wave of this modern style. There aren't a lot of bands doing it well yet, so if they can get some traction out of this record, they have plenty of room to rise. Sinheresy gave me a nice little surprise here.

Album Review: Rosalie Cunningham - Rosalie Cunningham

Among the long list of bands that have started strong only to quickly fade away is Purson. They were a prog/psych outfit that put out a debut record that was oozing potential. Unfortunately, their second album didn't step forward, and then they disbanded. It was a case of what could have been, as have been so many others. That story doesn't end there, though, as the leader of that band is now ready to return as a solo artist. Rosalie Cunningham was Purson, for all intents and purposes, so a solo album is only natural. Now, there's nothing to distract her from putting out her music as she sees fit.

Her vision of music is still focused on the acid-tinged days of the 60s. All you need to prove that is the first track, "Ride On My Bike", which is ripe with fuzzy guitars and organs that sound like they're being played in vivid technicolor. Basically, if you've ever stared at an old concert poster of the time, Rosalie's music sounds exactly like what those pops of color would put in your mind.

"Fuck Love" gives me an opportunity to talk about smart songwriting versus amateurish posturing. All That Remains had a song of the same name last year, and the two couldn't be more night-and-day. They're track was alpha-male bullshit where the lyrics were screamed inaudibly, leaving us with nothing but the title to contemplate, which sounded like a childish tantrum, and almost ruined what I thought was a very good album. Rosalie takes the same idea, but uses it to tell a story of generations of women rebelling against love so they could embrace their own power. There's a feminist bent when the first line starts, "Fuck love said my mother and her mother before." It's smart writing, and it makes the song vital.

Then there's "House Of The Glass Red", which has a few "Abbey Road" qualities to it. Rosalie's voice is ethereal yet assertive as the music gives her a soft backdrop to sing over, including little stabs of guitars that have the same bite George Harrison did on those classic records. But it's no carbon-copy, as Rosalie twists the vintage sounds into something that is familiar yet entirely her own. That bit of reinvention isn't easy to pull off, so credit where it's due.

Rosalie taes advantage of her solo status by building several of these songs on more open, airy soundscapes that put the focus on both her voice and the atmosphere of her surroundings. It's a different approach than Purson had, and it's something that I fell suits a solo artist. There's no mistaking who is running the show, or who is the center of attention here. Everything about this album is designed to support Rosalie and her songs, which is the right approach. There isn't anything flashy here, but that's the point. We're supposed to focus on Rosalie as a songwriter.

And since I brought up "Abbey Road" before, Rosalie finishes her record in a similar way, with "A Yarn From A Wheel" spending thirteen minutes transitioning from vignette to vignette, tying them together as a more epic statement than any of them could have been on their own. I don't know if it works as a single entity, but it certainly gives us a lot to chew on.

Ultimately, Rosalie Cunningham has done what I would expect from someone striking out on their own. She is using her album to explore a variety of sounds, and play around with music in a way her old band might not have allowed her to. That gives us an album that is playful, and sometimes challenging, but always one that reminds us she is a talent still forging her identity.

Album Review: Scott Stapp - The Space Between The Shadows

The last bunch of years have not been good for Scott Stapp. Even before they broke up, Creed was Nickelback before Nickelback was Nickelback. They were laughing stocks in rock, and since then Stapp has been through rehab and divorce, while the other members of the band put together a new group that is nearly universally regarded as far superior to their original source. To top that off, Mark Tremonti has even forged a successful solo career, while all Stapp has to show for that time is an album with Art Of Anarchy, a group that purchased lead singers to try to make themselves famous (and his record with them is far outshined by the one made by Scott Weiland in his last days - not a ringing endorsement, eh?). Needless to say, Stapp is not rolling into this new record on a high note, so I was surprised to see he had a deal with Napalm, a notable record company.

I was even more surprised when the first single, "Purpose For Pain", was really good. Seriously good. Stapp and whoever put the record together (they are uncredited in any press materials I have seen) did a fantastic job of reintroducing him, giving him a song that was modern and catchy, and devoid of the schmaltz that made people hate Stapp. Love him or hate him, when he toned down his self-righteous personality, he had a voice you remember. A lot of guys don't even have that much.

That positive attitude didn't last long, as the following singles showcased a lovely emotional ballad, then two more utterly bland songs that never should have been released  as a preview for the record. After the first two songs, I was excited. After the second two, I was ambivalent.

Here's the thing about this record; the good stuff is very good, but there isn't enough of it. As mentioned, "Purpose For Pain" is great radio rock, and "Name" is the sort of emotional song Stapp brought to Creed. Those are excellent. "World I Used To Know" borrows a certain motif from Nirvana's "Heart Shaped Box", but it's also an enjoyable track that puts Stapp in a better light than I can ever recall him in.

"Heaven In Me" is another great track, which starts with a guitar line that has the same Western tinge that "Wanted Dead Or Alive" brought to rock, but it becomes something more dramatic as it moves along. The song is enjoyable because of the melodies, but it stands out for bringing some added diversity to the record, and keeping it from being a collection of cookie-cutter rockers and ballads.

That phrase is where the negatives come in. For all the good on the record, there are also a handful of songs that are played-out and trite. "Wake Up Call" stands out among them. It tries to be another emotional ballad on an album heavy with them, but the composition never builds to anything. The entire track is presented in the same subdued tones. There is no cathartic moment of release, the song just fizzles out without satisfaction.

The other negative is that the album, for being on a rock/metal label, doesn't rock all that much. Stapp is better suited for the more emotional material, granted, but the balance is a bit odd here. It's as though they knew the record they needed to make wasn't what would sell, so they threw a couple of more generic rock songs in the mix to convince people this is a record that real rock fans can still enjoy. Frankly, I think the record would have been better if they focused on what Stapp is best at, genre be damned.

What I think after hearing this record is that if Stapp and his collaborators had gotten together to make a collection of hard-tinged ballads, and given them a symphonic bent, it could have resulted in something excellent. His voice has the power and drama to stand up to that level, and it would also serve to give him a new identity for this new phase of his career.

Still, this record is better than I ever could have imagined. I don't think many people will be going into it with any expectations, so it could be a big surprise. Creed may have been unbearable at the end, but Scott Stapp redeems himself somewhat. I have to give this one a decent thumbs up.

Album Review: Valis Ablaze - Render

I must be getting old. I remember back when prog metal referred to music that deviated from conventional structure. It was about playing long songs, taking the listener on some unexpected twists and turns. I also remember when the next variety came up, and prog metal became more about the technical proficiency of the players, where the length of the song didn't define prog as much as the difficulty of playing the songs did. Virtuoso players made prog, regardless of the structure they wrre playing in. I thought that was stretching things a bit, but whatever, it was fine.

Lately, though, prog has also been defined by the bands coming up in the rise of djent, where as long as the time signature isn't 4/4 (or doesn't sound like it even if it is), you qualify. There are scores of bands that chug simple riffs in slightly odd cadences for four minutes, and that somehow is now prog. I don't get how, but the sky looks awfully cloudy today. Maybe I should yell out the window....

That is the style of prog Valis Ablaze plays. If you enjoy counting beats and doing math, they are the kind of band you'll love. Their guitar style is one that doesn't feature big riffs, the kind you could sing along to at a show like "Heaven & Hell" or even "Seven Nation Army". These are riffs where there is little internal melody, they are predominantly focused on the right hand pattern. For a guitar player, that can be fascinating stuff to dissect (if that's your wont), but it makes for a difficult listening experience. By doing so little, the appeal of the songs is shifted almost entirely to the vocals.

I'll say this; Phil Owen has a more appealing voice than many of the extremely ethereal singers djent bands employ. He's got a good tone, and diversity to play up the lighter and heavier sections of the songs. The problem is, as I complain about often with these kinds of bands, the hyper-focus on rhythm among the musicians carries over to the vocals, which don't have a lot of melody to them. They do when compared to the guitars, but it's the kind of melody where anything sung cleanly would sound as such among relentless chugging. Take the vocals out of these constructions, and nothing he is singing would make for a good song on a strummed acoustic guitar.

It feels weird saying this, since I'm still years away from being forty, but maybe it's a generational thing. I'm old enough to remember before the big shift in what constituted popular music, when instruments and melodies were dominant, and not rhythms and percussion. If I was younger, and only knew electronic pop and hip-hop as mainstream, this might be the kind of metal that would get me excited. But since I do remember the old days, and that's what I grew up with, this style is just bland to me. It isn't that there's no swagger or no aggression, it's that I walk away from these songs wondering what I'm supposed to remember.

How does one hum a 7/8 polyrhythm to oneself?

So I have to say the same thing about Valis Ablaze that I do about Periphery, Tesseract, and the rest of that ilk; they sound very good at what they do, I just don't know what the point of it is.

Singles Roundup: Opeth, Dream State, Eclipse, Alter Bridge, & Goo Goo Dolls

Looking around the musical landscape, there aren't any albums I want to talk about today, so let's instead talk about a few singles, since they give me something to say.

Opeth - Heart In Hand

After a few disappointing records, Opeth needs a win. Desperately. Their shift to prog rock has been poorly received, not because of the lack of metal, but because they've written terrible songs for the most part. This first look at their new album is a sign of hope, for once. Maybe writing in Swedish first opened up something in Mikael's mind, but this song is still prog rock, but there are a few hints of old Opeth in the way the riffs move, and the main chorus melody sounds lifted from "Ghost Reveries". This is finally closer to what we had in mind when Opeth announced their stylistic shift. The rest of the album might not follow suit, but for right now, there is reason to think Opeth may have finally found their footing.

Dream State - Primrose

I commented at mid-year that there aren't many things I'm looking forward to at the moment. Dream State's debut record would be one of them. I really enjoyed their EP, and "Hand In Hand" is one of my favorite songs of the year so far. This new single is just as good, and has both hands on the rope, raising the bar just high enough where only our fingertips can touch it. Their melodic post-hardcore sound and songwriting nails the energy and hooks to be infectious. It's great work, and I'm very much excited to hear what else they've got in store for us.

Eclipse - United

While I have loved some of Erik Martensson's side work, his main band hasn't quite gotten me in the same way. This first taste of the new album might be changing that. This song is slightly darker, sounding very much like a song from last year's amazing Nordic Union album. Erik's voice is also not as squeaky clean on this one, and while I would still rather have Ronnie Atkins singing this, this is pure ear candy. The last Eclipse album was very good, and this song points to the new one potentially being great.

Alter Bridge - Wouldn't You Rather?

Alter Bridge is weird to me. They're very good, but I never find myself wanting to listen to them. Plus, the one album of theirs I like in full, "AB III", is often written-off by fans. So I was happy to hear this new song returning to that style, dropping the more involved metal for a simpler, more melodic rock approach. Tremonti's riffs are still thick and heavy, but there's more room for Myles to sing. I don't know if fans will be thrilled, should the album follow suit, but I am.

Goo Goo Dolls - Miracle Pill

Am I supposed to believe that a host of bands from the late 90s and early 00s (The Wallflowers, Matchbox Twenty, Daughtry, etc.) all had the same artistic pull to ditch the guitars they played all their lives in favor of electronic percussion and rhythm-based songwriting? I don't. All of those bands started to pander to modern pop listeners, trying to expand beyond their core fans. Those three I mentioned all completely lost me, because they no longer sounded like themselves, and it was obvious why. Goo Goo Dolls are doing the same thing, with this new song that you wouldn't recognize as them without Johnny Rzeznik's vocals. It's disappointing to hear bands like this move into areas they aren't good at, trying to win over fans who already think they're lame. I'm certainly not going to listen to more of this.

Album Review: Mind Key - MKIII: Aliens In Wonderland

This has been an odd year for progressive metal so far. Other than Dream Theater's newest release, there have been almost no records big enough to land on my radar. I know I did review the new Darkwater record, but beyond that progressive metal has been in a tough position. Of course, some of that depends on how you define prog vs Prog. This new Mind Key album, for instance, is labelled as progressive metal, yet only one of the eleven tracks hits six minutes long (and only by nine seconds). Is that prog?

I've heard it argued both ways; that prog is about defying conventional structures, and that prog is a style of complex music regardless of originality. Personally, I don't know how I can call an album of purely five minute long, verse/chorus songs a prog album. The music might be complex, technical even, but it isn't progressing anything. Mind Key's music is a mix of Dream Theater and Symphony X, which is fine, but they don't add anything new to the mix. Being derivative is not prog. At least not in my book.

But what of the music? Leaving the nomenclature behind, we can look at this record as coming up short on both ends. Good prog metal needs to either have mind-blowing musicianship, or strong melodic hooks, to really capture the listener's attention. Mind Key doesn't hit either of those marks. The melodies are ok-ish, but there isn't a single one that stands up to what Dream Theater does with songs like "Home" or "Outcry". These melodies are mostly forgettable, with the exception of "Hate At First Sight", which is memorable for how much it sounds like an 80s soft rock track. It's the best thing on the record by a mile, but it also feels a bit disconnected from what year it currently is.

The other thing is that the musicianship, while excellent, isn't flashy enough for what this kind of prog needs. Without the big melodies, the album's core focus is on the work the guitars and keys do, and there isn't much there to impress me. The appeal of listening to Michael Romeo or John Petrucci is hearing a litany of riffs and solos you can't imagine fingers being able to actually play. That's the whole crux of that side of the prog debate. Mind Key doesn't go far enough in that direction.

That leaves me with an existential question; what is a prog album, if it is neither prog nor Prog? In the case of Mind Key, it's an album that is rather bland, and all too perfunctory. "Aliens In Wonderland" doesn't make a strong enough case for why I should be investing myself in this music. It doesn't give me enough to warrant repeated listens.

Ultimately, even if an album is decent and well-played, it needs to do what it sets out to. I don't think this one does, so I can't say you need to hear it.

Album Review: Hollow Haze - Between Wild Landscapes And Deep Blue Seas

It isn't often the case, but sometimes a record is like having your tail tucked between your legs. At least that's the way I see Hollow Haze, a group that disbanded when the leader tried to make a bigger mark with some more established names, only to crawl back to his old moniker when that fizzled out. But this isn't the original Hollow Haze, no, this is an entirely new group using the same name. As if that wasn't confusing enough, this record also promises us a brand new sound for the group. So what we have is a band that broke up, then got back together with entirely new members, to play a different style of music, but still use the same name. Huh?

This new version of Hollow Haze is attempting to play a symphonic style of power metal that has bigger sounds, and more drama than before. With a powerful production behind them, they do get the first part of that equation right. This record sounds fantastic, and the epic moments have all the power and punch you could ask for. From an engineering perspective, this record is flawless (and a welcome relief after I've been subjected to some pretty bad production jobs lately).

What is less clear to me is why Hollow Haze decided to become symphonic, and whether they know the proper way to do so. It isn't enough just to throw some string patches on the keyboards and add some sounds in the background. Proper symphonic metal needs to integrate those elements into the core of the compositions. I always say if you can remove the strings and the songs are essentially the same, you're doing it wrong. On this record, the strings don't serve in a prominent enough role for my liking. They aren't buried in the mix, but they don't often have the crux of the song in their hands.

Perhaps I'm focusing on that because the songs themselves aren't strong enough. "Destinations" opens things with a rather stomping riff, but it's one of a very few throughout the record that stands out as anything but standard. Couple that with a set of melodies that aren't particularly hooky, and it leaves this record feeling flat, even with the layers of sound giving it depth. There are exceptions, with "It's Always Dark Before The Dawn" having a little more bite in the melody, and standing out as something to remember, but the majority of the record simply doesn't have that kind of appeal.

Everything here is played and sung beautifully, but that's not enough to win me over. It's important, but great songs can stand up to an array of mistakes, while even perfection can't lift mediocrity to the highest rung. Unfortunately, that's what this record strikes me as. It's perfectly pleasant to listen to, but there isn't a single moment that makes me believe I'm listening to a great band, nor one I have to go back and hear again. This falls into that category of records I will listen to if it comes on, but I will probably never choose to play of my own volition.

As I've noted before, I've heard so much music now that I find myself less and less impressed by the glut in the middle of the curve. That's where Hollow Haze sits. They're perfectly fine. Is that enough for you?

Album Review: Glasya - Heaven's Demise

There are a lot of people who love the beauty symphonic metal is able to bring us, with the lush instrumental sounds, and often classically trained singers who can bring an operatic tone to the music. It has become a very common sound, and it's also one that I have really not been able to embrace. It isn't as though I don't want to. I love the idea of having big, dramatic elements to the songs that more conventional metal sounds can't create, but I have always had a big problem with classical sounding vocalists. There is something in that style that doesn't hit my ears well, and it has ruined many popular bands for me. So it is always with apprehension that I press play on a band like Glasya.

When the title track bursts open with its string arrangements slashing through the mix, the first comparison that came to mind was Hollenthon. Obviously, that becomes moot once the vocals start, but I appreciate the heaviness the guitars still bring, and how the crux of the composition is put on the strings, not merely using them as set decoration. That approach happens far too often, and renders symphonic metal rather useless. If you can remove the symphony and have the same song, why was it ever there to begin with?

The band also uses chanted backing vocals to give the music more of a gritty feel than some of the overly polished bands of the same ilk. It's a little detail that keeps the music from becoming too saccharine, too neutered. Sonically, they've hit on a good balance that is both beautiful and powerful. That's something to commend.

There is, of course, the one issue looming over the entire record; the vocals. Though I'm sure they are done well, from a technical perspective, the style and tone is not my taste, and it also makes it hard for the lyrics to be made out clearly. When a big chorus comes along, and I can make out the crooning notes and nothing else, it is a drawback for me. A well-written song shouldn't be spoiled by a performance that denies me access to a part of the composition. The same criticism would be leveled against a record if the production obscured the details, or if the whole thing was fuzzy past comprehension, so it's only fair to say the vocals should be similarly clear.

I also realize, however, that my opinion is simply my own. The proliferation and success of classical singers in metal shows there is an ample audience ready to soak this up. Me not being one of them doesn't speak negatively about Glasya, it merely points out a difference of perspective.

So if you're more of a fan of classical singing than I am, I can absolutely recommend Glasya to you. Their sound is great, their songs are strong, and they have an identity. That can't be said about a lot of bands, so they are ahead of the pack in that respect. They haven't changed my mind on symphonic metal, but that would have been a tall order. It may not be for me, but I can appreciate when a style I'm not a huge fan of is done well. "Heaven's Demise" is done well.

Glasya should satisfy symphonic metal fans, no doubt.

Singles Roundup: Richie Kotzen, Hayley Griffiths, Twin Temple, Killswitch Engage, and Volbeat

The summer music slate is looking quite bleak, if I'm being honest. July and August have few records that are demanding my attention, so let's take a moment to look at some singles instead, and see if they offer any hope for the near future.

Richie Kotzen - Venom

Last year, Richie Kotzen put out two singles that were excellent, sounded like The Winery Dogs, and pointed at potentially a great new record from him. That may or may not come, but this year's first bit of new music is decidedly weaker than where we left him. This song doesn't have the blazing licks or sticky melodies that "Riot" did. That song made my list of favorites last year, and this one wouldn't even make a list of monthly favorites. Hopefully Richie has something better up his sleeve, because knowing what his last few solo albums were like, my enthusiasm is dying.

Hayley Griffiths - Haunted

The second single from the former Karnataka singer is even better than the first one. Here, we find her playing that same kind of dramatic, theatrical rock/metal. She has one of the clearest and strongest voices of any rock singer with a classical background, and that lets her give the melody a bite similar singers can't muster. I haven't heard if something bigger is coming down the road, but if it is, this is the kind of song that gets expectations raised quite high. I loved "Secrets Of Angels", and I love this song too. Keep it up, Hayley!

Twin Temple - Satan's A Woman

The debut album from these satanic doo-wop purveyors was a fun, retro blast. It wasn't the kind of thing that endures, but it has its moments. This new track captures all the best elements of their record. It's definitely a pastiche, and gimmicky, but it's also a lot of fun. If Ghost is a band that's been putting a shine on Satan in a more mainstream sort of music, Twin Temple can make Satan sexy. And if the title of this song is right, she certainly has my attention.

Killswitch Engage - Unleashed

I am a Howard fan, but Jesse's return to the band was quite good. Their last album was not, and I fear this single points further down that road. The big, anthemic choruses that defined metalcore are absent from this song. Jesse sounds good, but he's not given anything interesting to sing. Perhaps that band wants to prove they are still aggressive and heavy, but this is the sort of thing that pushes me away. Killswitch works when they can play to the heavy and the melodic. Heck, they defined an entire genre by doing that. So why aren't they doing it anymore?

Volbeat - Last Day Under The Sun

I'm worried about this record, now more than ever. Their last album was their most pop-leaning, and even though I thought it was fantastic, they were losing their identity. By the time this song hit my ears, I'm not sure I would even be able to tell you it was Volbeat, if not for the vocals. They are now fully mainstream, and without either component of what made their sound so fresh and unique. This song is so limp, and devoid of character that I'm preparing for the worst. Volbeat's best days surely look behind them at this point.

Album Review: Visionatica - Enigma Fire

I find myself saying the same things over and over when it comes to certain genres. Symphonic metal is one of them. If I go back through all the albums fitting the bill I've reviewed over the years, in most of them I would have talked about how many of the bands don't properly embrace the challenge of writing for the symphonic elements, and that classical singers aren't my cup of tea. We can get it out of the way right now that the same is true here, which puts a fairly hard limit on how successful an album like this can be.

But let's be clear; I am not anti-symphonic. I'm all for a good song that throws epic sounds into the mix, but I don't hear many of them that do it in the way I want to hear it. Though rock and not metal, Karnataka's "Secrets Of Angels" is my benchmark for how to integrate symphonic bits into the composition of the songs, while also writing irresistible songs. Spoiler alert; Visionatica doesn't achieve that.

Let's take a look at the first full song on the record, "The Pharao". It starts out with a simple guitar riff, but the symphonic bits are kept for the verses, where they flit in the background. They don't offer a hook of their own, nor do they mirror the riff, so I'm not entirely sure what they are doing there. Then the vocals from Tamara Avodem come in, and while she is a fine singer, her voice is so clean and polished it doesn't sound forceful enough to compete with a metal band. She sounds too small for the stage, and once that realization kicked in, it was hard to take in the rest of the music without that preconception.

Ultimately, that is the biggest takeaway I have from the record. The songs are pleasant, but there is absolutely no edge whatsoever to this music. Metal can be polished, but it can also be polished too far. Between the sheen, and Tamara's vocals, this is a a metal album that doesn't sound the least bit heavy. I've heard clips of Enya songs that had more weight and passion to them. I'm not trying to be harsh, but I'm also not going to sit here and tell you this is something it isn't. Sure, it's got distorted guitars, but it barely rocks, let alone throws up the metal horns.

This is the sort of album that is for die-hard symphonic fans, and just about no one else. Visionatica is not in league with the best the genre has to offer, and they're not really in the next tier down either. They're a band that has adopted the style, but doesn't have the songwriting chops to hit the mark. These songs not only fail to make good use of the symphonic elements, but they aren't particularly interesting as metal tracks either. I say that last bit about Nightwish's recent output as well, but at least they have other interesting things to keep my attention. Visionatica doesn't.

So what we have here is an album that is a pale imitation of something better. There's not much of a reason to be listening to this.

Album Review: Pattern Seeking Animals - Pattern Seeking Animals

The recent incarnations of Spock's Beard have been a mixed bag. They've put out great albums like "X" and "Brief Nocturnes & Dreamless Sleep", but also efforts like "The Oblivion Particle" that were tedious compared to their best work. What I've always found a bit odd is their relationship to John Boegehold, who has never been a member of the band, but who provided many songs in the post-Neal Morse years. I'm not surprised he would want to make a name for himself, but I am surprised that the band he put together to do so is... current and former members of Spock's Beard. So what we have here is a prog band made up by a guy who writes Spock's Beard music, being played by Spock's Beard members, that isn't actually Spock's Beard.

The press release says this project is consciously trying to do some different things than Spock's Beard, which is absolutely necessary, but something I'm not sure can be done. Most musicians have a particular way of writing and playing, and throwing a different synth patch on the keyboard isn't going to change that. My thoughts upon hearing the first song released, "No Burden Left To Carry", was exactly that. The building riffs, layered harmonies, and even the synth tones themselves, are exactly what I thought they would be. The differences are only apparent to those closest to the music.

"The Same Mistakes Again" does point us in a slightly new direction. It's a short song that tries to wring drama out with some string arrangements, and does so with a slightly Beatles-esque feeling. It's a lovely sounding track, and it's melodic, but it's too subtle. It needs to have both the hook and the drama revved up even more to hit greatness. This is prog, after all, where there's no such thing as not going far enough. Yet, this song doesn't go far enough.

Six of the nine tracks on this album are short and straight-forward, focused more on the songwriting than the prog. I like this decision, but it also highlights when there are deficiencies. Take "No One Ever Dies And Made Me King" for example. It's a short, almost pop tune, and I can argue it hits the mark by being catchy, but it does so in an annoying, lazy way. The entire chorus is just the title repeated over and over again, which is weak writing that has always (even when it was Iron Maiden doing it) reeked of not knowing how to give the song a proper chorus.

The other issue is that the entire album is too smooth for its own good. Neither the riffs nor the melodies have any real bite to them. That was one of the main issues I've had with the last two Spock's Beard albums as well. These are fine enough songs, and it's an enjoyable listen, but there's no spark, no energy, to these tracks. The whole thing sounds like very mature prog, but I spend most of the record begging for something to reach out and slap me.

They might say this is a completely different animal, but I'm going to compare this to Spock's Beard anyway, because they sound pretty much identical to my ears. Pattern Seeking Animals fits in the middle of that hierarchy. It isn't as good as "X" or "Brief Nocturnes..." (the best Spock's album, and made by this basic lineup), but it's easily more engaging than the last two albums. Frankly, they might as well had waited for the usual album gap and called this a Spock's Beard album. It sounds like one, it feels like one, and it's actually an improvement over what they have been doing.

So let's call this a mixed bag. It's fine, but not thrilling, if you get my drift.