The best record to come out of Australia in 2008 comes in the form of Sleep Parade's debut record. Complete with a myriad of textures, soundscapes, ambiance, and crunch, it's amazing that the turmoil that the Melbourne trio have endured in recent memory (losing their rigs and instruments in a fire, frontman/guitarist Leigh Davies' father battling schizophrenia, an ugly fall-out with a former keyboardist) have created such a stunning record. Helped in part by Forrester Savell (who has worked with fellow Aussies The Butterfly Effect and Karnivool, among others), the record's sheer beauty is mesmerizing, with equal emphasis on electronics and synthesizers (listen to "Passengers" for one example) and guitars and percussion (try album opener "Carry On" or the epic two-parter "Everyday"). The album's theme comes straight from Davies' history: a family member with a severe mental illness struggles, and the relationships that individual has with his family members (and the relationships between the other family members collectively) can always change. The anthemic mantra "All we are is all we are" is repeated consistently throughout the record, and combined with the singer's insight, it's wondrous how a dark and disturbing topic can be presented in such a beautiful manner. The band's even-keel balance throughout the record is surely noteworthy, but the juggernaut "Weeping Walls" - a thundering, yet majestic closer - is rife with multiple layers and melodies, and the ever-building crescendo explodes in one of the most dramatic climaxes heard this year, encapsulating the listener within walls of pounding toms, screaming guitars, and one of Davies' many vocal highlights on the record. The Butterfly Effect and Cog may have released some excellent records this year, but newcomer Sleep Parade unquestionably delivered the most triumphant record out of Oceania in 2008. For fans of Oceansize, Porcupine Tree, and any of the aforementioned (Cog, The Butterfly Effect, Karnivool).
There have been few records this year that have captured the imagination with as much fervor as Jubala's self-titled debut release. The Californian quintet's music is unabashedly soulful, with heart-on-one's-sleeve lyricism that's astutely supported by atmospheric, melodic instrumentation. The effect-laden guitars carry an almost post-rock ambiance when not delivering thick, crunching riffs. The keyboards play a significant role in the album's aura as well, and the bass underneath supports the other instruments with an undeniably warm, mellifluous tone. Jubala's record is intricately designed, but never over-the-top in composition or delivery, and their aural landscapes and sonic ambiance will suck you in.
Let's address something right from the onset: this record is not for those who only need music for white noise in the background. Jubala is a dynamic and diverse album that requires nothing less than your immediate and undivided attention. There is a lot of music on the record; without question, listeners will hear something new or innovative with each subsequent listen. Stated differently, there is no possible way one can reasonably digest this album on one listen alone. How many songs this year start off moderately, with only bass and vocals, before giving way to a keyboard interlude that seamlessly segues into a saxophone solo that sounds like it was taken right out of a 1930s Chicago club? The track (aptly titled "On Stage") does not stop there - the saxophone break turns into a funky, guitar-driven passage that serves as an absolute album highlight. There is so much beauty to be heard on this record that it must absolutely be sought out and heard for yourself. Tracks like the socially-cognizant "Welcome to the Fall," the epic "Climber" and its extended metaphor are arguably two of the best songs of 2008, and the emotional outpouring heard on "On Stage" is an amazing cut. Many other tracks - namely "This High," "Aftermath," the Incubus-esque "Spiritual Warrior" and "Far Away" (especially its piano feature, which is absolutely awesome) - forge their own individualities on the album. Absolutely recommended for anyone with an attention span.
To fully appreciate 'Traced in Air' - and who Cynic are, in general - it would be a good idea to spin 1993's 'Focus' first. Do you read trilogies starting with the middle book? Does "Wayne's World 2" make any sense whatsoever without having the gnarly exposition "Wayne's World" has? Sure, you could pick up 'Traced in Air' without having any idea whatsoever who Cynic are and not have an understanding as to why "Focus" is heralded by nearly everyone, but the sheer enjoyment and satisfaction that comes with listening to this record will be incomplete without that prior knowledge and experience. If you haven't yet, do it now. If you are familiar, please read on.
Drummer Sean Reinert went on record proclaiming that the record would be "more upbeat, energetic, and most important of all, pretty God damn brutal," and he's absolutely right. "Focus'" biggest criticism was in the heavily vocoder-laden vocals - some people endured it, others cringed and blindly dismissed the record - but gone (for the most part) are the robotic, mechanized vocals from Paul Masvidal. Opting for cleaner, more melodic vocals in his upper-register (newcomer Tymon Kruidenier handles the harsh death growls on this record - he sounds awesome on "The Unknown Guest"), Masvidal's new delivery is stellar. Tracks like "Evolutionary Sleeper," "Integral Birth," and "Adam's Murmur" showcase these higher vocals, while stellar guitarwork from Masvidal and Kruidenier whips around the vocals. The solos are stunning - just listen to "Evolutionary Sleeper" and its concluding solo - and the lead/rhythm parts juxtapose to near-perfection throughout the record.
There are an incredible number of highlights on this record -"The Unknown Guest's" mellifluous main riff, "King of Those Who Know's" Byzantine, schizophrenic crunches could have split Pangaea while soothing one's ears like aural aloe (what a beautiful outro, by the way - almost as majestic and innocent as "The Space for This's" introduction). The lyricism on the record is also top-notch and challenging; once again, Masvidal returns to theological, spiritual and philosophical issues - themes typically far removed from your average death metal act.
Sean Reinert and bassist Sean Malone absolutely slay, as expected. They are quite easily one of the best rhythm sections to ever grace the Earth. Malone needs no expansive introduction: a well-versed fretless bassist who also composes for his Gordian Knot project, his lush basslines and tandem effort with the phenomenal Reinert consistently pull you in. Album opener "Nunc Fluens" (translation: "The Moving Present") starts so softly, but as soon as Reinert starts pounding away in a frenzied, almost tribal run, Malone's plunking adds just enough gasoline to set the song's low-end inferno ablaze. As for the bookend "Nunc Stans" ("The Timeless Present" - in theology and philosophy, a point in time where one cannot establish causation between the now and the past or future)? It must be heard.
Actually, the whole record needs to be experienced - Cynic sound tighter than ever - and like "Focus," "Traced in Air" will challenge you to listen for things you previously may not have looked for in music, your emotions will calmly ebb and flow just as much as they will violently turn, and the seamless listen from start-to-finish will leave you speechless at first.
Then again, I devoted five paragraphs and these last couple sentences talking about how brilliant this record is.
What effect will 'Traced in Air' have on you? Listen once, then listen again, and again. I can't guarantee that you'll love this record as much as I've loved Cynic's work, but it's certainly possible that, if you approach their work with an open mind, Cynic will open your mind even further.
While The New Normal's Byzantine songwriting structure and progressive elements have given way to this record's more straightforward approach, Aussieland's Cog deliver yet another catchy, refreshing listen. Sharing Space delivers a juxtaposed array of epic (sometimes to the point of excess) numbers as well as some right-to-the-point cuts that help ease the 72:00+ album runtime. The record's ambiance and tone - bolstered in part by the infusion of electronics - paint an exquisite aural landscape, making the album's flow always having a consistent direction. "Bird of Feather" is both haunting and beautiful (as is the depressing "How Long"), "Sharing Space" is Cog's pop-oriented, electronic-driven wonder, and the controversial bookends "No Other Way" and "Problem, Reaction, Solution" showcase the here's-the-Cog-we-know-from-last-album-ness factor (although "Are You Interested?" would be a better choice for an album opener). While there are a couple clunkers - "Swamp" is easily Cog's worst song across their discography, especially with such atrocious lyricism - Sharing Space is a wondrous listen.
A short history and geography lesson: Bavaria is the largest present-day state in Germany, where Pope Benedict XVI, BMW, and Levi Strauss call home. Where there was once massive bloodshed between medieval civilizations, peace reigns, and so does the beer. In 1516, the Duke of Bavaria instituted the Reinheitsgebot purity law, which stated - with pride - that the only three ingredients EVER allowed in beer are water, barley, and hops. In a land of sacred natural surroundings, medieval castles, baroque cathedrals, and small towns, Equilibrium need not travel far to draw influences into their work.
With 'Sagas,' Equilibrium's Nuclear Blast debut, the quintet exemplifies pride in their homeland. All their songs are entirely in German, as are their song titles, which illustrate a purer, poetically-aged, and more romantic version of the language. With lyrical themes revolving around Germanic folklore, the Bavarian landscape, and mythology, the folk/viking/pagan sound has been amazingly bolstered from the already-great 'Turis Fratyr.'
The album comes with three dramatic instrumental tracks. All three are highlights on the record, to be sure, but the album's closer, "Mana," is a 16+ minute juggernaut. Album opener "Prolog auf Erden" is absolutely stellar, sounding like fanfare to a joust. The album is dominated by harsh vocals, beautiful guitar arrangements (e.g. "Blut im Auge," "Ruf in den Wind," and "Verrat" are three prime examples, although the entire album is littered with them). The drumming is exemplary, but the album's greatest highlight is the orchestra and choir, which sounds like all of Bavaria is performing or singing.
All told, 'Sagas' is an absolute stunner. If you're looking for that folk/pagan/viking sound I touched on earlier in this sound-off, or want to seek out bands that sound like genre trailblazers Ensiferum, Finntroll, Turisas, or Eluveitie, you cannot possibly go wrong with Equilibrium's 'Sagas.'
Holographic Universe - Scar Symmetry's third album - validates the assertion that it takes only one band to jumpstart a genre on life support. The band's hybrid melodic death metal sound comes to full fruition on the record, with blistering leads, devastating riffs, and a relentless rhythm section, all wonderfully complemented by Christian Avestam's juxtaposition between harsh and clean vocals. Guitarists Jonas Kjellgren and Per Nilsson are on point throughout the record with some of the best rhythm and lead work in 2008, and bassist Kenneth Seil and drummer Henrik Ohlsson deliver an intense, precise performance. The allure of Holographic Universe is positively intoxicating right from the get-go with "Morphogenesis," "Timewave Zero," and "Quantumleaper" as well as the unique "Ghost Prototype" series. The album's song lengths are longer but rarely drag, further proving the Swedish quintet's versatility and ingenuity. Also worth checking out is the Blade Runner-esque title track and the phenomenal "Prism and Gate" as well as "Artificial Sun Projection." All told, Scar Symmetry prove that there is plenty of innovation and creativity that's been untapped in a relatively stagnant genre as of late.
Although I feel it's dangerous to describe diversity in terms of "a melting pot," Belgium's Oceans of Sadness brew something astonishingly fresh and unique with 2007's 'Mirror Palace.' Although avant-garde and somewhat unconventional at times, the record is easily digestible and accessible for newcomer and long-time listeners to the genre. Beginning with the slow introduction to album opener "Mould," the album quickly boils over with stunningly heavy guitars, keyboards, and aggressive percussion. The harsher vocals leave something to be desired, but interspersed in their concoction are eerie and soothing clean vocal passages. The guitars deliver an undeniably thick crunch, and the thoroughly-metal cover of Alice in Chains' "Them Bones" puts to shame every cover I have ever heard of this song, and I've heard many. Oceans of Sadness provide for a captivating listen: the album is very heavy, melodic, and atmospheric. Fans disappointed that Arcturus have broken up would do well in checking these veteran Belgians out. This record is far from a melting pot of random ingredients: each element, riff, style, and genre is incorporated and executed with obvious purpose and zeal. Check out "Mould," "Mirror Palace," "Intoxicate Me" (its false ending is frightening if you don't expect it!), "Them Bones," and "Sleeping Dogs."
I'm not really sure what everyone's beef with this album is. Tracks like "The Crop and the Pest" are incredibly stunning and thoroughly engaging listens and tracks like "Smoke and Mirrors" and "Saturnus" are instrumentally and vocally sound. The rhythm section is rock-solid and more than adequate, and the guitars are competent; together with the vocals, The Receiving End of Sirens' core sound lays down an outstanding foundation for the listener to be absorbed into. Lyrically, the imagery is stellar - take for instance the aforementioned "The Crop and the Pest," which sports amazingly powerful lines such as "I saw my shining shield and armor rust; I felt my posture bow and fall to dust / But all the vigils, and the stakes I claimed couldn't take the sting from out my shame / Couldn't take the color from the stain that I became" and "I'm the fervor of the fever you can't sweat / I'm the garments stuck to your skin, drenched and dripping wet / . . . I know what won't ever sink will slowly swim to the bottom." It's discouraging to see mostly-negative reviews of this album - I encourage listeners new and old to re-listen to the aforementioned tracks (two are available at the band's mySpace currently). The Earth Sings... is a beautiful, captivating record.
Incredibly diverse but never once relenting, A Wilhelm Scream deliver an aggressive, insanely-technical assault with 'Career Suicide,' an album that is anything but its name. Masterfully combining elements of punk and metal along with a slew of tempo changes and a bolstered rhythm section (courtesy of new bassist Brian Robinson and mainstay drummer Nick Angelini), tracks such as "Jaws 3, People 0," "5 to 9," and closer "We Built This City..." not only accentuate AWS's intensity and fortitude, they highlight some of the band's best instrumentation. Vocally, the band maintains a sing-along (or shout-along) quality; lyrically, Nuno Pereira is as acerbic and incendiary as ever. Some people have written that this is their weakest album to date, but career suicide? Not a chance. Without reservation, give this record a spin - do check out "5 to 9," "Die While We're Young," "Jaws 3, People 0," and "We Built This City..." to get you started.
Unsigned (for now), Ontario's Gates of Winter deliver an auspicious, stellar debut with Lux Aeterna. Best described as progressive metal with symphonic influences meets power metal (think Arcturus meets Kamelot or Symphony X meets Autumn Tears), the quartet - averaging 23 years of age - can pack an epic sound into nine tracks. Musically, the album is driven by Steve Furgiuele (an absolute madman on his six-string bass) and Brian Holmes (an amazing keyboardist who also arranges the synthesized orchestral accompaniments), and the album has a wonderfully-executed diversity of somber elegy and celestial-sounding atmosphere. Vocalist Lee Maines, who also serves as the rhythm guitarist, has some difficult-to-listen-to harsh vocals, but his command over his clean and whispered vocals is masterful; meanwhile, lead guitarist Bryan Belleau can be melodic or completely shred to an impeccable degree.
Lux Aeterna's highlight is in the mini-epic "Burning Kingdom," which is divided into three parts. The trilogy, which sees Maines take on multiple roles (something he does consistently well throughout the album - see "The Wildwood Pariah") starts off on an aggressive note with a female guest vocalist, segueing into the spectacular middle third, which leads into an all-instrumental final third. While the album suffers a bit of an identity crisis - it doesn't really know what it's supposed to be (be it symphonic, progressive, power, or a combination of the aforementioned), exactly - but metal fans waiting for the new Opeth, Children of Bodom, or In Flames record this year (alternatively, fans looking to add to their Kamelot/Symphony X/Dark Tranquillity/Arcturus/etc. discographies) would do well in checking out this 2008 debut. Recommended: the "Burning Kingdom" mini-epic, "Gates of Winter" and "Winter Flight" (awesome instrumentals), and "The Wildwood Pariah."
While Chevelle won't win any awards for innovation, their 2007 offering Vena Sera - the band's fourth, first with new bassist and brother-in-law Dean Bernardini in tow - is the band's best effort to date by a longshot. Tracks like "I Get It," "Saferwaters," and "Saturdays" represent the best of the bunch, while "Brainiac," "Paint the Seconds," and "Straight Jacket Fashion" are other great notables on the record. Frontman Pete Loeffler is a tour de force vocally; his upper and lower registers are interspersed masterfully throughout the album, and his unique lyricism and style - not rhyming, predominantly using metaphor and simile, etc. - is an album highlight. Drummer Sam Loeffler provides assured, steady drumming and, together with Bernardini, creates a strong rhythm section. While Vena Sera has a clunker of a middle section ("The Fad," "Humanoid") and a poor opener in "Antisaint," the rest of the album is fantastic, and will very likely go down as one of the best rock albums of 2007.
Most definitely their best work since Sing Loud, Sing Proud, Celtic punk legends Dropkick Murphys fail to disappoint with The Meanest of Times. The production on this album is absolutely outstanding, and the wide array of instruments the band incorporates into their sound can distinctly be heard throughout. "(F)lannigan's Ball" epitomizes this assertion, with stellar bagpipes, rapid-fire guitars, and a variety of truly excellent vocals (Ronnie Drew and Spider Spacey contribute to the track). Fans of Dropkick Murphys aren't going to hear anything that diverges from their typical style: the music is as in-your-face as ever, and their lyrics run the gamut of motions and topics, from their social commentary on their native Boston to the prototypical anthem for a rowdy bar-room brawl, but fans and newcomers alike will not be disappointed by any stretch of the imagination. As frontman Al Barr said regarding the album, "It's about coming up in the world and the way it shapes you. It's about not taking your family and friends for granted and living in the moment." A great message for a fantastic album. Also check out "I'll Begin Again," "God Willing," "Johnny, I Hardly Knew Ya," and "Shattered."
An insanely-catchy album tilted more towards the pop-rock spectrum, Jimmy Eat World's Chase This Light also sports enough throwback material to appease fans. Opener "Big Casino" should rightfully be remembered as one of their best tracks ever, perhaps surpassing Bleed American's "The Middle" and Futures' "Pain" in terms of radio airplay. The track's atmosphere and lyrics are memorable on a number of levels, from frontman Jim Adkins' lines of "Well, there's lots of smart ideas in books I never read / When the girls come talk to me, I wish to hell I had" and the noteworthy "There's still some living left when your prime comes and goes." The guitars deliver a thick crunch and the track's accelerated tempo start the album on a masterful note. However, the band's evolution into the pop-rock fray is the main aspect to take away from this album, yielding great results. Take for instance the charismatic "Let It Happen," "Electable (Give It Up)" and its resonating "Oh-oh" back-up vocals, the assured "Here It Goes," and the title track, which features one of the best vocal performances on the album. While not as dark as Futures and maybe not as vibrant as Bleed American, Chase This Light is nevertheless a bouncy, festive listen that will undoubtedly please listeners.
A perfect complement to 2003's Everything Goes Numb, Somewhere in the Between is one hell of a record. Everything you'd expect to find on a Streetlight Manifesto album, from frontman Tomas Kalnoky's anthemic lyrical essays and lightning-fast chord progressions, to a tight rhythm section, to a sensational brass and woodwind section (that far and away trumps the work heard on the group's debut), is all here. From the first minute of opener "We Will Fall Together," listeners become instantly aware of how killer the quartet of Mike Brown (alto and baritone sax), Jim Conti (alto and tenor sax), Mike Soprano (trombone), and Matt Stewart (trumpet) are on this album. Further, Kalnoky returns true to form with his legendary dissertations-for-lyrics style of writing, and his witty lyricism and palpable charisma provide for an enthralling listen. Another final strength of this album lies within its accessibility: Streetlight are typically known as a good introductory band to [third-wave] ska, and a first-time listener or a lifelong Streetlight fan could pick this up and get more than just something out of this record. All told, expect a huge debate amongst fans as to which album is better... that is, until they release a third album of original material.
Arguably the best punk release of 2007. Allusions to elements from An American Paradox and Exile In Oblivion are definitely heard, yet Strung Out accentuate their trademark sound to a model of consistency. Vocalist Jason Cruz delivers a near-flawless performance, guitarists Jake Kiley and Rob Ramos showcase their eye for technicality and melody with their wide variety of crushing riffs, soaring leads, and knack for harmony, and drummer Jordan Burns and bassist Chris Aikens are, as expected, superb as the quintet's rhythm section. Burns, in particular, shines with his precision and expression on the kit. Blackhawks Over Los Angeles is a culturally and socially-aware album that sees Cruz tackle an array of topics, from near-apocalyptic imagery in California ("Blackhawks Over Los Angeles," and, on a national level, "A War Called Home") to a prisoner trying to reach the outside world to no avail ("I sold my voice to pay for my security / Now I write my sentence on its walls / I'm calling, is anybody else out there? / Is anybody tuning in?, as heard in "Calling") to downright determination and perseverance in the face of adversity ("All the Nations," one of the many album highlights, and "Mission Statement"). Sure, this album may not break any new ground in the genre, but its cohesion, catchiness, and consistency make this album one of the best releases of 2007, if not the best punk release of the year.
