NYS Music 20​13

Category: Album Reviews

  • Album Review: Keller Williams Keys in tribute to The Grateful Dead

    Keller Williams, best know as the one-man jam band, recently released his new album Keys, which focuses on only one instrument and one charity. The album is a collection of Grateful Dead songs with 100% of the proceeds going to The Rex Foundation, a charitable non-profit organization that was started by the Grateful Dead and gives grants to various causes. Keller Williams has a full schedule for this summer, making stops at festivals such as Summer Camp, All Good, Delfest and Equifunk. Keller Williams routinely uses the technique of live-phrase-looping with multiple instruments, which makes for a marvelous and unique show each time.  I was expecting to hear such a performance on the album, however, was left with only a piano.

    KW.Keys_.cover__1I discovered the jam band scene less than three years ago and therefore, my Grateful Dead knowledge is limited. Regardless, I do enjoy their music all the same and had to re-listen to some of the original songs before listening to Keller Williams’ version.  It was a great album to unwind to, with Williams’ soothing mellow voice and gentle finger playing. Keys definitely gives the songs a fresh perspective of the classic hits, but it’s not quite the same. I missed the groovy guitar riffs, pounding keyboards, familiar voices and steady rhythm that I associated with the GD. One of the best parts about listening to Keys is with the only sounds being the piano keys and Williams voice, it made the lyrics stand out so much more. Williams gave each song a new meaning by performing Robert Hunter’s psychedelic lyrics and Jerry Garcia’s melodies with a caring heart and impeccable finger playing.

    Keller’s thoughts on the album bear repeating, to show the personal connection he has with the music: “It’s no secret I have an unhealthy fascination with the Grateful Dead. Whenever I sit down at the piano its seems the only thing that comes out are Jerry ballads.  Even though these songs are not all Jerry ballads, I have sort of made them that way.  The lyrics, although I’ve been singing them most of my adult life, are not 100% perfect….like any other music I play, I’ve taken liberties.  All of the proceeds from the sale of these songs goes to support the Rex Foundation, which was started by the Grateful Dead, in the 80’s….so you can feel good about that! ”

    The album is available through iTunes currently for digital download, remember it’s for charity.

    Key Tracks: Brokedown Palace, Bird Song, Row Jimmy

  • Todd Rundgren releases his 24th solo album “State” and tour dates

    One of the coolest parts of writing is the opportunity to review music by my favorite artists. I’m not a critic unless I’m badgered into it. If I listen to something that I don’t care for, I don’t write about it, simple as that. I don’t want to rain on anyone’s parade, for me it’s all about giving exposure to music I believe is exceptional. But writing about Todd is a pure joy! He’s been one of my favorites since “Hello, It’s Me” hit the airwaves. I’ve had the pleasure of seeing him in concert twice. Once with his band Utopia at the opening of the “Ra!” tour and again two years ago at The Oneonta Theater, which I reviewed on these pages. I’m about to spin State for the first time and share my thoughts on it with you. Here we go!

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    Photo by Sandra Jackson at Sublunar Studios [Visual Design]
    State is a one-man-band project like so many other of Todd Rundgren’s works, ten tracks that reflect industrial and contemporary electronic elements. This is his 24th solo release and it’s touted as a fusion of rock, soul, R&B and electronica.

    Todd sets an immediate electronica tone with a sequencer running to open “Imagination”, then lays down a little “War Pigs” crunch line. I’m not sure if it’s a vocodor or just effects on the vocals, but the echo element emphasizes the topic, or lack thereof. It’s like the devil on one shoulder and an angel on the other, or is it two devils? They push and prod against each other in an almost tug of war right up to the first solo which is quintessential Todd. Exposing an inner battle in song, “I am what I am, that’s all that I am. Same old situation. No imagination. I tell myself.”

    Bordering on trip-hop with a twist of Todd mayhem. He said he listened to Skillrex, interesting and a bit alarming! “Serious” feels like a mix of 80’s elements from fuzz-tone funk bass to chorus-like synth flourishes right down to the R&B influenced vocals. A total switch of the gears, just like you’d expect from him, it’s like Was Not Was on steroids. He keeps the sequencer rolling on “In My Mouth”, accompanied by electronic drums and processed vocals. Sounding something like a musical therapy session, perhaps describing words on the tip of his tongue that he can’t release.

    “Ping Me” reflects the modes of communication we use today as much as how we diagnose a interpersonal problem described as a technical problem. The inability to express feelings that has been exasperated through our use of the internet medium. Just send a signal and I’ll know you’ve heard me, but did you really? The electronic funk feel rolls on through “Angry Bird”. It’s like he’s playing the game to describe the ebb and flow, lose a life, gain a trophy, re-charge, start over, pretty much a relationship video game soundtrack. “Smoke” has all of the elements of a New Order collides with Todd’s signature R&B/blue-eyed soul feel. He often plays an under-lying sexual tone expressed through analogy. He remains oblique enough to allow the listener their own definition, truly one of the most difficult of songwriting pieces.

    Untitled

    “Collide-A-Scope” gets heavy on the electronica in a stream of thought lyric. As if he’s spinning the wheel on a kaleidoscope of his emotions, again the analogy-like exposition of feelings through an electronic medium. The real heart trying to be heard, but washed under a tide of programming and lack of ability to communicate. The metronome-like percussion of “Something From Nothing” gives a machine voice to a clock left hanging on a wall in a deserted town. Hanging onto hope, which equates to nothing more than a nail on a wall, expressed as faith, which ends up being nothing. “Party Liquor” is a full-force shot at the whole dj dance-hall scene. Exposing the vacuousness and soulless nature of the genre. It’s remarkable that all of these sounds were created with one guitar and a laptop, but that’s surely the shape of music today. The difference is these things are used by a brilliant musician, not a kid using Garage Band. The lyric suggests how easy it all is when you’re in the right place at the right time. Pure misogyny. The closer, “Sir Reality” reduces the real to the ridiculous in a simplification of what actually is, a Wizard of Oz-like opus of belief. Believe what I tell you is real, not what you actually feel. Pure Todd.

    There is also a 2 CD limited edition of State which features a recent concert on Disc 2. Much like every other Todd album I’ve heard, this one is highly recommended as his constant evolution as a writer and musician are in full force here. Don’t forget, he plays every instrument, sings every vocal, engineers and produces this work. Don’t try this at home, trustafarians.

    Todd will be touring in support of “State” beginning at The Bearsville Theater in Woodstock, NY for an “Official State Visit” on May 5th and 6th.

    Tracklist:
    1. Imagination
    2. Serious
    3. In My Mouth
    4. Ping Me
    5. Angry Bird
    6. Smoke
    7. Collide-A-Scope
    8. Something From Nothing
    9. Party Liquor
    10. Sir Reality

  • Hearing Aide: Eastbound Jesus “Northern Rock”

    Northern Rock is a bold title for an album – Eastbound Jesus define themselves with the release of their third album in as many years.

    Northern Rock not only gives rise to the sextet’s own sound, but perhaps defines something that had previously been elusive – a sub-genre of music pumping out of the northern region of this country.  It’s something a kin to southern rock, but not quite; Northern Rock encompasses a variety of musical elements from rock to alternative country to folk-like story telling lyrics neatly packaged within each strategically placed song for an album that redefines the boundaries of Americana in the north.

    Eastbound Jesus Northern Rock

    Gentle drops of rain and soft plucking in album opener, “Out Yonder,” breaks open into a welcoming harmonization of vocals and the listener is hooked. “54 Miles”, a clap along song, would surely have the masses marching to the beat of their own drummer, in this case, Carl Anderson.  Northerners are often known for their attitudes (albeit misperceived), which forlorn and edgy lead Adam Brockway captures by strumming his acoustic amid the electric instrumentation.  Dave Wright on bass provides the needed counterpoints for a smooth, rounded balance of sound while Dylan Robinson (electric guitar) pushes the limits on “Kate Belle.” Getting down to the nitty gritty, Luke Anderson takes lead vocals on “I Wouldn’t Know”, letting his punchy personality flow into his banjo, crafting character into Northern Rock.  But, the congealing medium throughout the disc is the intrinsic lap steel interjections of Zach Infante.

    Eastbound Jesus will be unraveling their disc for the masses at a release party open to the public at Revolution Hall on April 19th.  Northern Rock is an expression of what it’s like to experience the north. A style of catchy rhythms, contextual lyrics (relevant to the day in the life of a small town northerner), and a homogeneous blend of instrumentation, Eastbound Jesus established a foundation for the sound of northern rock music.

    Key Tracks: 54 Miles, North Country Girl, Where the Winter Goes

  • Mandate Of Heaven releases their 10th CD, “Mark Music”

    Syracuse multi-instrumentalist/singer/songwriter Greg Pier and his vehicle, “Mandate of Heaven” have released their latest CD, “Mark Music” and are preparing for several shows in May and June.

    Pier could certainly be considered one of the area’s most prolific writers as MofH reaches double-digit numbered releases. MofH is not only a band, but also the moniker for Pier’s solo performances and recordings. “Mark Music” is the tenth release on Pier’s “Neon Witch” label. Jason “Jocko” Randall engineers and mixes at More Sound with additional tracking done at Neon Witch, Randall and Pier co-produce this release which was recorded between 2009 and 2012. All songs were written by Pier except “Scrapper’s Blues”, written with Ethan Jenks.

    MOH-1-web
    photo by Robyn Stockdale

    The current band features FLASHING ASTONISHER veterans Bob Kane on Drums, who plays on all tracks here besides “High Dragonfly” and Chuck Gwynn who contributes bass on “Bedroom In The Sky”. Bob gave me a great quote while we discussed this review, “What bums me out is that my favorite tune has Greg on drums, “High Dragonfly”. I laid down a track, but I was more Wilco than Crazy Horse, just too many grace notes, so he played it himself. Someday I’ll learn!” Jason “Jocko” Randall on second guitar and six string monster John Hanus plays the slide solos on “Bedroom In The Sky” and “Cruel, Cruel Aristocrats”. All other instruments and all vocals are performed by Pier, much the same as previous MofH releases.

    The CD opens with “Baby Electron”, a straight-up power-pop monster, setting the bar high for the rest of the disc. Super melodic, the ringing harmonic guitar parts swirl around the vocal harmonies ‘til the chorus hits with a crunch and bite! Hopelessness and lack of control, such a romantically pretty place to start and an appropriate lead in to “Bedroom In The Sky”. John Hanus’ dripping slide part supports Pier’s melancholic reading. The guitar parts individually read with a R.E.M. feel, the rhythm, the slide. Gwynn’s bass line is solid and flowing, just the right feel to work with Kane completing the section. “Scrapper’s Blues” is like a postcard from the front porch, written by Yorke and sung by a Matt Bellamy/Bono lovechild. The syncopation in the guitar line with Kane’s drive close at hand pushes the pace in an almost twirling dance. The first listen of “High Dragonfly” illustrates Kane’s previous quote, while the vocal line belies the almost woodsy feel of the tune, Pier’s vocal twists from his heart like the removal of a similar knife-blade. There’s a “dEUS” quality to one guitar line that echoes a “Beefheartish” influence and influences the vocal meter. The minimalist feel allows the words to bite and release, hard. “From The Center” releases the heavy side of Pier, while he allows the melodic vocal duality to layer deep. Kane’s strength reminds me of QOTSA Grohl, along with a vocal intonation that is rhythmically British in a Foo kinda way, again, back to Kane’s quote.

    There’s an edgy, crispy quality to the whole recording, maybe it’s in the compression. It’s a bit haunting and a bit halting, kinda like T-Rex at times vocally and that ain’t bad!

    Note: We just clicked on cdbaby to the “if you like this artist try” section. Hahahaha! Perfect!

    “Cruel, Cruel Aristocrats” brings Hanus back in the mix to accentuate the fast pace of Pier’s guitar line. Thematically Pier takes another bite at the expected and entitled, spitting at the standard while embracing the outsider. Check out the video here, it’s very well done.

    “If Twenty” jumps out of the gate heavy, its layered guitar riffs punctuating Greg’s quasi-pastoral, pleading vocals. Kane, once again is so strong, yet thoughtful, right down to the bell ride on his cymbal signaling the crunch along. Pier’s disaffected poetry is wrenching when it reaches its apex, circling and re-examining to the ultimate goal, the ultimately isolated self.

    “Parable” is like a theme that runs in my head everyday. Listen to what the self-proclaimed decide you like and let them pick your enemies while they’re at it. It spits at the standard and what is foisted upon us daily. Almost a updated “Iron Man” hidden in there for familiarity, with the classic percussive break only to bring you back with slowed down big-rock ending.

    “Riverbed” has a cool wilting pedal steel line playing against the semi-San Franciscan guitars, whether they’re para-psychedelic or more semi-symbionic. There’s a root in the Appalachians and a mind in Berkeley, woeful, but trust-fund hopeful. Cue up Yo La Tengo – “Sugarcube” and stress the droning vacuum cleaner sound.

    “Hand The Bottle From The Tree” is classic indie-power pop, it rocks, the vocals soar and the end kills. It times in at 3:08, just like a single that will never get airtime. It’s a pity really. At first listen a few months ago I stated that this release alone was reason for a “Album Of The Year” category in our local SAMMY Awards. Did I mention that this won “Best Modern Rock” album this year? I truly believe this work toasts many Grammy winners, it truly is that good! A taste of The Black Keys, maybe some spice from The Raconteurs, all deftly dialed in by Jocko and Greg.

    The closer, “Song Of The Halfway Point” lays it all on the table for digestion. Influences blended with personal vision, forethought and hindsight mixed with the slightest twang. It’s powerful, it exceeds its environment, it stretches reality beyond the norm if only just in wanting. It’s brilliant. Go buy it right now.

    Find Mandate Of Heaven online at Bandcamp and Facebook.

  • Hearing Aide: Alan Evans Trio travels through space on Merkaba

    Alan Evans, co-founder, writer and producer of Soulive has released his sophomore album, Merkaba, with his group Alan Evans Trio. The album demonstrates a mastery of the classic organ trio driving funk/soul groove. Alan Evans is accompanied by three extremely talented musicians: Beau Sasser (Melvin Sparks) on organ and Danny Mayer (On the Spot Trio) on guitar and special guest Mike Feingold (Jay-Z, Erykah Badu) on banjo, guitar and keyboard.

    Alan Evans is an experienced record engineer, producer, drummer and writer who has dedicated the last 15 years to honing his skills. He met Danny Mayer when On the Spot Trio came to record at Playonbrother Studios in Hatfield, MA and had Alan produce their record. Alan got the idea for the formation of the trio after re-locating from Playonbrother studios to his own home recording studio in South Deerfield, MA. Beau Sasser has played several shows with Alan Evans, exhibited a natural knack for the organ and is known as a guru of the instrument’s rich history.

    Merkaba was produced, recorded and mixed in its entirety by Alan Evans at his home recording studio. The album offers the listener a multitude of different aural pleasures spanning from the quality of the production to the atmospheric chord progressions. Merkaba is a cosmic-themed funk journey through decades of time and space.

    The album kicks off with “Thor”, a bright, up-beat funk groove that gets its foundation from Alan’s syncopated beat. This track has a lot of space, which allows the listener to appreciate the precision with which the instrument tones ring out or bleed into the space. The album slows down to a powerful bluesy soul track, “Life Is Harder To Live.” This track gives off a laid back, slow-grooving summertime vibe that is highlighted by the full-bodied organ tone and crunchy guitar strumming. The album then travels back in time to the ’60s for “They Call Me Velvet.” The organ tone on this one sounds like it’s straight off of a Doors studio album. The coordinated stab and stop approach is evident on this track and it reminds me of The Meters. “Biscuits” has a deep, dark progression and feel that brings out the listener’s funky, wince face. The album comes to a close with the ever-so-slowly moving R&B/soul track, “Givin’ to You.” This track is driven by the sultry and sexy acoustic guitar riff. I think this one serves its purpose as the finisher, sending the listener drifting away with its repeated phrases.

    A passionate Alan Evans says of Merkaba, “I can’t wait for everyone and anyone to hear this album. This album is all of me. This album is for the loves of my life and there are songs on here that I never thought would see the light of day but the timing was perfect.”

    Key Tracks: Thor, Life is Harder to Live, Givin’ to You

    Alan Evans Trio Website, Facebook, Twitter

  • Album Review: George Kilby Jr. serves up a Six Pack

    George Kilby Jr., a singer-songwriter originally from Alabama, has released the album Six Pack, a collection of songs demonstrating his wide range of bluegrass, folk, blues and classic Americana music. He is accompanied by his long time band members, Neil Thomas (keyboard, accordion), Eric Halvorson (drums) and Arturo Baguer (bass). Kilby Jr. is also joined by Jono Manson on guitar and vocals for “When the People Sang” with Railroad Earth member Tim Carbone on fiddle. Andy Goessling, also of Railroad Earth, joins in on “Sunshine of Your Love.”

    sixpackforGeorge

    George Kilby Jr. credits Pinetop Perkins, the famous blues pianist, for teaching him almost everything he knows about playing the blues. With his influence, Kilby pours soul into his music and has his own rocker attitude of never regretting saying and playing it how it really is. The entire album is laid back and an easy listen. Each song carries lyrics meant to make you stop and think of the past, present and future. Kilby’s album reminded me that music can be used as one of the strongest weapons we have, more often than none; all you can do is sing and play.

    The album kicks off with “When the People Sang” a gentle, country vibe with simple strumming and soaring fiddle. The song is a helpful reminder that the 60’s are still alive and well.  The low, vocal notes Kilby Jr sings during “I Love You in Brooklyn”, a ballad in tribute to New York’s boroughs was sublime, plus it helps that I’m a sucker for love songs. Neil Thomas’ accordion gives the song a vintage charm. “Something I Can’t Find” is what Kilby describes as “bluesy rocker with a trippy side” and it’s easy to see why with all the strong, multiple guitar riffs. Kilby takes a break from his original songs to put a fresh bluegrass spin on Cream’s “Sunshine of Your Love”. He delivers the lyrics with a smooth and slow croon while sharp guitar and banjo picking is added for a great pick me up. I hate to say it but I might love this version better than Cream’s. The final song on the album, “You Never See the Hand Throw the Stone”, a haunting, blues melody from Kilby and a killer harmonica thanks to Phil Wiggins.

    Key Tracks: When The People Sang, Sunshine of Your Love, Something I Can’t Find

  • FORFEITURE Explode onto the Scene with Debut EP

    Forfeiture

    Rating: ****

    With not even 300 “likes” on their Facebook page to date, Forfeiture is stepping out into the Syracuse metal scene with an explosive new EP that promises to attract a lot of positive attention. Their self-titled EP is full of metal riffs, vocal variations, and brutal rhythm, exposing the band to numerous metal/post-hardcore avenues to experiment with. The music is excellently crafted and tightly performed, and the production highlights its brilliance by giving it a nice atmospheric sheen. No two songs on this four-song EP sound the same, and it is as exciting to listen to as you can tell it is for them to play.

    The EP opens up with the incredibly brutal and creepy “Reanimated”, mixing very low and shrieking high screams into one excellent harmony. The vocals match the intensity of the rhythm, which is so fast and brutal that it almost hurts your hands just to listen to. However, it opens up into a melodic chorus and shows some soft moments as well; making it a diverse song that is a good indicator of the variety provided on the rest of the record. The next song, “Brooklyn Rage”, does this even better, as it is like a journey through the different styles of metal, all compiled into one song that is appealing to any type of metal fan. Also, the vocals change a bit from the last song to this, and do so once again in “Salvation Song”. The EP ends with the humorously-titled “How to Succeed in Metal Without Really Trying” which rounds out the collection well, leaving you dying for more.

    Forfeiture‘s diversity is their key aspect. One minute they could be getting into a heavy breakdown, the next they could be playing melodic grooves. Their guitar work is fantastic, and their riffs are unmistakably metal. However, they also dabble in the realms of rock and postcore a little, and their rhythm section never misses a beat. It’s important to have a drummer that can play anything you throw at him, and with all the different styles worked in, their drummer certainly keeps it together and has room to show off a bit. Their vocals are also very distinct, and never really have any soft moments. Although, with all the variations in vocal style, they occasionally seem to get lost in it, and some vocal performances are stronger than others. This sounds harsher than it is; it’s the only aspect that could use a little improvement, and not much at all. As a band, they sound balanced, structured, creative, and overall excellent at what they do. The very professional-sounding production of the EP showcases their talents and makes the whole record come together as one work.

    Forfeiture should be very proud of themselves; they have put together an impressive debut that will easily get you hooked. This is exactly the kind of first impression you want to make on potential fans and listeners, and they have certainly made one out of me. Do they have some growing to do? Yes, but who doesn’t at this stage? Most bands around here would kill to have their first EP sound this good, both musically and in production. They are as groovy as they are powerful, and show endless creative possibilities for their future. Recording such a vast style in such a short EP was a good idea, because it gives them room to expand and explore, not being held to the expectations of any one particular style. The only expectation you should have for Forfeiture is that they be good.

    Go “like” Forfeiture here and download their debut, self-titled EP for FREE:

    https://www.facebook.com/forfeitureband

  • Album Review: NERO DI MARTE

    Nero di Marte is an experimental metal band based in Bologna, Italy. Formerly known under the name “Murder Therapy” since 2007, the band released their debut album Symmetry of Delirium in 2009 and the EP Molochian in 2011.

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    Michael: Forgive me, Father, for I have sinned.  This is my first confessional in the Church of Metal.

    Father Ozzy: What is it?

    Michael: I was assigned the task of reviewing Nero Di Marte’s self titled, debut CD.  Well, technically it’s their third CD, but they changed their name from Murder Therapy recently, and this is the first CD under their new name.

    Father Ozzy: Stop bloody wanking and get on with it.

    Michael: Uh, right. Anyway, I got the CD, and I listened to it.

    Father Ozzy: Are you asking me? How am I supposed to bloody know you listened to it?

    Michael: I mean, I listened to it, but…(pause)

    Father Ozzy: Yes?

    Michael: Well, you see. It’s…(pause)

    Father Ozzy: Will you come on with it, already!

    Michael: Father. I didn’t like it….(pause)

    Father Ozzy: Where’s the sin in that?

    Michael: I only listened to it once.  I couldn’t stand to listen to it anymore.

    Nero Di Marte is a quartet out of Italy.  They have a world release out of Prosthetic Records in a few days (March 18th in the United Kingdom, March 19th in the United States and March 22nd in Eurpoe), and I don’t want to pick it up anymore.  It scares me.

    Father Ozzy: You’re talking to the Prince of bloody Darkness, how is this CD scary?

    Michael: I know the band likes to experiment with their sound, but everything was off. The guitars drowned the vocals. The guitars were out of synch with everything. And, don’t get me wrong, I’m a fan of drums, but the drums overpowered everything.  Not only that, the cadence was off at times. It sounded like the guitars were playing to a different song than the drums! It was bedlam!

    Father Ozzy: (pause)

    Michael: Father?

    Father Ozzy: What else can you say?

    Michael: Lead singer, Sean Worrell is a howler monkey?

    Father Ozzy: Stop with the bloody howler monkey thing! It’s metal!

    Michael: You didn’t do it!

    Father Ozzy: Don’t you think I’m challenged enough with my speech?

    Michael: What’s my penance, Father?

    Father Ozzy: Listen to the CD again. Ask people not to take your judgments into mind, but let them decide for themselves the quality of this work.

    For more information, please go to www.nerodimarte.com

  • Album Review – The Vanderbuilts ‘What We Forget’

    Every second of  The Vanderbuilts What We Forget is worth remembering. The Syracuse based baroque-rock band captures the warm, encompassing sound of early Velvet Underground and pairs it with the conceptual intricacy of The Acorn’s Glory Hope Mountain.

    the vanderbuiltsFrom the haunting intro “Sometime After 43” to the closer “Had A Hat”, it becomes evident that this album fits the description of an all-killer-no-filler, falling perfectly in line with their leading single, “I Wish I Was A Saber Toothed Tiger”. Entrancingly sincere songs like “Near and Far” suck the air out of the room when played. The album is produced by the Grammy Award Winning mixer and engineer Jay Newland, channeling a rather organic sound that pleads for the return of nature, capturing a vivid, live sound as a result.

    The Vanderbuilts are Sam Kogon, Dave Riddell, Max Newland, Aya Yamamoto and Grennan Milliken. What We Forget is engineered, mixed and produced by Jay Newland and features Finnegan Shanahan on Violin; string arrangements by Aya Yamamoto and Finnegan Shanahan.

    Key Tracks: I Wish I Was A Saber Toothed Tiger, Near and Far, Gypsy, Moscow

    The Vanderbuilts Website Twitter Facebook Youtube

  • Album Review: Chariots of the Gods – Tides of War

    Touting themselves as “straight up, balls to the wall, in your face Heavy Metal”, Chariots of the Gods have been spreading their melodic death-thrash across Canada since 2008. Though they’ve been around for five years – they have an EP (Reverence – 2010) and cameos on a few compilations to show for it – Tides of War marks their first, full length studio effort, and it doesn’t show.

    chariots of the godsFrom the rip, Tides of War gleams of a polished effort from this Ottawa quintet, thanks in part to producer, Glen Robinson, an acclaimed music veteran whose long list of work includes the names of Queensryche, AC/DC, David Bowie, GWAR and more.

    The band describes itself as showing only nuances of metalcore, but frontman Renaud Jobin certainly rings true to that genre (I call it being a howler monkey, but I can’t pan his efforts only because it doesn’t agree with my own personal tastes). His singing fits in well with the music. These nuances, as they say, really comes out on the CD’s third track, “Blind Assassin”. Guitarists Mathieu St-Amour and Dimitri Gervais each play with such precision and at lightning speed on this track, and throughout their entire work, to work in concert with Rich O’Neil’s rapid drum work is enough reason to pick up this CD.

    But, what impresses me most from Tides of War, and what I think really shows the personality and drive behind this band, lies within “Revillusion (1905)”, “Snow Falls on the White River (1914)”, and “Severing the Bloodline (1917)”. As it stands alone, “Snow Falls” doesn’t sound like it belongs on this CD. Its slow, melodic acoustic guitar is joined by piano play that slows down the overall pace. But, in fact, it accompanies the introduction to “Revillision” nicely. It’s a brief, minute-and-a-half transition that indeed fits. You can see Chariots of the Gods are not interested in serving up the cliché, and that they push to stretch out beyond being just another metalcore band. Tides of War does not have the theatrics of Queensryche’s metal operetta Operation Mindcrime, but the subtleties are present enough to sense Robinson’s influence here as well.

    If this is your first time hearing of Chariots of the Gods, I guarantee this will not be the last. The howling of lyrics that goes with metalcore may not appeal to me, personally, but these guys have a whole lot going for them. Their debut installment screams of an ambition and a discipline that exceeds their peers. Their sound is polished and can appeal to the masses. Tides of War showcases a wide breadth of talent, a talent that will take this band wherever it is they choose to go.

    For more information, visit www.chariotsofthegods.net