Tag: New Album

Hearing Aide: Seplophile ‘Mesonoxian’

Every once and awhile, you come across an album that you just can’t stop hearing about, even years after its release. Lately, that album for me has been Mesonoxian by Buffalo death metal bosses, Seplophile. It first graced my ears in February of 2013, and although I haven’t really listened to it since the summer of that year, I still hear at least one person bring it up at every Buffalo metal show I attend. Mesonoxian seems to have set a new standard for not only other Buffalo locals, but a few touring bands that have come through the area as well.

Back in May of 2013, I played a show with Seplophile and Arsis (Nuclear Blast Records) at Broadway Joes. During Seplophile’s set, I had a conversation with James Malone, Arsis’s frontman. He made a comment about how Seplophile not only made a great impression on him, but how they really stood out in an already very talented Buffalo metal scene. Malone later went on to address the crowd during Arsis’s set, giving Buffalo’s metal scene that traditional horns and hails. Then, at last Friday’s ‘Metal Fights Cancer’ event at Rockin’ Buffalo Saloon, I caught up with a lot of Western New York metal scene veterans who repeatedly brought up Mesonoxian, one show goer in particular still citing it as “the best metal album ever released by a Buffalo band, not of national status.” In short, all the attention this album continues to get today, has made me want to revisit it two years later and pick it apart.

It kicks off with “Exhale All Life”, an ominous piano intro played by guitarist, Matt Backlas. The keys come and go throughout the record, all of which are played by Matt, and perfectly compliment the “simply death” idea at the foundation of Seplophile’s music. “Anomos: Identity Crisis” is an ideal opening track for any death metal album. It pulls you in with quick evil riffing accompanied by vocalist Colin Winkelman’s persistent and consistent low growls, ripping basslines and relentless blast beats. “The Isolationist” provides the same punishing death metal truth as “Anomos” which further carries the band’s ultimate message: “DEATH METAL PREVAILS”, which also appears at the end of the credits on Mesonoxian. Then, finally, we get to “Quarantined”, which has the most melodic section on the record by this point. It has a tremolo outro that uses metal’s signature “sad scale” and paints a dismal picture of growth from decay, or perhaps triumph from misery. A 3 part death metal masterpiece follows this change of pace, called “Philosophiae Naturalis- The Portents of Ash- Shaytan”, made up of tracks 6-8, respectively titled, “Omen of the Adversary”, “Under Shifting Sands”, and “Glassstorms”. “Under Shifting Sands” is a straight forward injection of grind, doom, crunch and melody, and was the first single released by the band for the album. Other songs stood out to me a little more on the track list, but given their diehard death metal demographic, “Under Shifting Sands” is a smart single choice. “Fields of Stone” is the next standalone track and has a devastatingly powerful and emotional outro. It’s very doomy, melodic and extremely well composed. Matt’s keys return here and slow harmonized leads make for a fitting finale to a truly driving song. Afterwards, the boys close the album out the way it begins with “Retribution” and the title track, “Mesonoxian”. These two last songs rip and leave you wanting more. The roller coaster has stopped too soon and you feel like you haven’t gotten your money’s worth. All the more reason to get excited for the forthcoming second album or a live show!

Seplophile will be performing at Broadway Joes in Buffalo on Sunday 4/26 with Buffalo thrash legends, Hellcannon and New York death metal legends, Incantation (Relapse Records, Necropolis Records, Listenable Records). If you want to relive death metal’s glory days through a rejuvenated sound, be at this show. If you haven’t listened to Seplophile yet, do so.

If you’re less into traditional death and more into bands that wave the “deathcore” flag like White Chapel, Suicide Silence or Chelsea Grin, you might be disappointed. But if you fall somewhere in between, you might just find that Seplophile has a little something for everyone craving a little bit of heavy.

Key Tracks: Quarantined, Fields of Stone, Under Shifting Sands

April 8, 2015
Hearing Aide: Huetensil ‘Black and White’

Huetensil has just released his debut album, Black & White, available on a digital-only format. Huetensil is the alter-ego of tri-cities based Hugh Wygmans, who is also the front man of prog-monsters, Question of Honour. Wygmans is a singer/songwriter/guitarist hoping to expand his listening area beyond the 100 plus radio stations in eight countries he’s been played on in his different stage personas. Very impressive as an artist that handles all ends of his recordings; performing, mixing, editing, producing and mastering this album at Shadow Planet Studios. Wygmans wrote and arranged everything performed by Huetensil (vocals, guitars, bass, programming drums/bass) here besides the co-arrangement of “Let’s Pretend” with David Wygmans and Ken Pitchford. Additional performers credited are Michael Wu: bass guitar on “Nothin’”, David Wygmans: side stick on “Maybe It’s Time” and additional background vocals on “Wake Me Up” by Brent Ochai, Carrie Ochai and Marty Wygmans.

It’s notable that Wygmans really has his character and career presentation together better than most I’ve encountered. A well presented one-sheet, lyric sheets, access to hi-resolution pictures and artwork through his website plus a web address for Huetensil. Having had the opportunity to review the last release from his prog band, I was eager to hear this solo outing as his alter-ego, Huetensil, he’s self-described as a “power-pop musician with a hard edge and an indie singer/songwriter ethic”. It takes a great deal of self-confidence to take a Bowiesque leap like this, the following are my thoughts on its success.

“Want Too Much” is the opener and it’s evident quickly that Huetensil has some vocal gymnastics in store. His range is clear and the layered vocals at the end illustrate the potential of his power-pop proclivity. His emotive delivery is clear, rising above his multi-tiered guitar tracks, accenting the changes, especially verse to chorus. “Last Night” hits the target dead-center, a rave-up rocker illuminating the difference between introspection and introversion, then extraversion. There’s something my ears keep listening for that isn’t there, well, more on that as we go.

“Tonight (The Carbon Wars)” gives Huetensil the chance to riff a bit harder, ripping a nice solo as his topical dexterity expands into another broad field. There’s a sense of Billy Corgan in his raspy delivery overall, but it bites a bit harder into the matter here. Like many great rock songs, the meaning is oblique despite the title, but the chorus speaks of societal ambiguity and it stings! “Executioner’s Song” switches gears a bit, a give and take from slow verse to driving chorus, relenting to an inner truth while forging ahead versus the draw to stay. There’s a growing tense connection between the compositions, it’s evident Huetensil’s thoughts blend, reflect and color each other in tones. Like “Fear & Longing”, a level of desperation from the antagonist while the protagonist searches for something deeper as if nothing is available. The ebb and flow from sweet verse to dramatic chorus is distinct and creates a narrative of sorts between the characters distinguished as melody and hook. There’s something familiar in the verse, but it’s elusive, and that’s very cool. One thing is certain, Huetensil’s dexterity, whether vocally or lyrically is masterful, he switches easily to falsetto, not losing strength or bite. Maybe it’s a Geddy Lee level of influence happening, either way, it’s undeniable.

“Nothin’” jumps a little funky with the wah pedal rhythm, Michael Wu’s bass driving the bottom and the horn blasts. It seems to be a metaphor shaped from an artist’s joy and frustration versus the same in any relationship that truly means something. Yet again, the listener is allowed to read himself into the story line. “Mr. Curry’s Troubles (The Ballad of Edward Snowden) has a XTC/Andy Partridge feel, the vocal read and the acoustic pushing the rhythm. The subject is topical, intriguing and pertinent, something I wish we’d here more of from younger artists. It’s refreshing in it’s candor, like “Tonight (The Carbon Wars)”. Continuing with the acoustic theme, “Simple” has a sweet refrain that enjoys the support of the bass line. Another facet of Huetensil’s gem, a softer side indeed. The “baaa” harmonies at the end are particularly outstanding!

“Maybe It’s Time” is a political anthem that speaks for the masses. The vocal production is borderline brilliant, the harmony tones and overlaps are pristine while proclaiming, “(Time for a change) Maybe it’s time for a radical change. (Alteration) Something more than a slight alteration. (Tear down the stage) Maybe it’s time to tear down the stage. Replace all the broken pieces. End this conflagration.” It’s has the sweetness and tart of a Rundgren composition, Huetensil’s production and mixing values reach a high here and set a deadly ear-worm! David Wyman’s “side stick” technique lends a metronome feel with a sense of a march, very nice twist. “Wake Me Up” is a desperate call from a comatose man, a remarkable perspective voiced into a dreamy chorus filled with the guest vocalists. In a straight-up power-pop format the rhythm guitar, bass and vocals blend so well. When’s the last time you heard hoosegow rhymed with Moscow and no ciao?

“Let’s Pretend” spits defiant dissonance against a wall of reality, a Black Sabbath-like rhythm guitar mixed with Huetensil’s conflicted anguish. The closer appropriately wraps the political side into a rage filled scream against the government. It smacks of what so many feel while witnessing the war machine at work. I’m hoping it’s a retroactive look at things because it speaks of GWB to me, but that’s my read.

You should take a listen for yourself. Huetensil is energetic, enthusiastic and the level of work put in this work is notable. This kind of production doesn’t happen overnight, shouldn’t be taken lightly and deserves recognition. If I had one wish for Huetensil it would be live drums. While the programming is excellent and the timing is right on, it misses on the feel. Many things can run under the surface, but this isn’t one of them. Well done and well-played Huetensil, well-played!

Key Tracks: Let’s Pretend, Maybe It’s Time, and Nothin

April 7, 2015
Hearing Aide: Ride Medeski, Dietch and Skerik’s DRKWV on debut album, ‘The Purge’

Despite the inner workings of this record, which we will necessarily get into, there is a brilliant simplicity to the DRKWV concept and sound. The entire project seems to follow the name-sake DRKWV vision: the melodies are spooky and menacing, drifting between spacey-drones and melodic tension and the funk lives in the jowls as opposed to the teeth. This guiding thought, paired with the distinct style of each musician, creates a world that exists in shadows, weaving storylines within tracks and as a cohesive album.

As any effective first track should, “DARKWAVE” immediately sets the tone and clears up a few inherent questions. First of all, yes, “DRKWV” is pronounced “DARKWAVE.” Second of all, no, the clean tones of drums, sax and keys are not buried by effects or overproduction and third, yes, this shit is going to get weird. The track starts with spacey-synth drones (that make appearances throughout the album), interrupted by an uptempo drum line that is almost house music-esque. The next layer comes in the form of a hard-hitting, simple, bass line that begins with a tight tone and slowly oozes open to reveal a light-blue slime. Now aware of what you are in for, the tune resolves into opening synth drones and you settle into your chair, ready for the show.

The next song on the album, appropriately titled “Soundtrack” adds more narrative to the story, with a steady back and forth persistence that is almost meditative in nature, guiding the listener deeper underground perhaps with mild sedation. The journey takes place in a dimly lit elevator, burrowing into the cosmos, screeching past glowing rocks and space debris. When we arrive at the bottom, the doors open to a place where there is no light, only luminescence and maybe the occasional fire. Here we are greeted by “Count Chokulos,” the third track, who serves as a sort of concierge for this new world. “Chokulos” takes us through a funky-back and forth where the drums settle and groove nicely along Medeski’s persistent licks, heavy in conversation with Skerik’s minimalist sax notes.

Up next is “Datura,” arguably the most impressive composition and definitely a stand-out tune. “Datura” begins as gritty, arrhythmic ambient freak-out and turns into a distorted uptempo funk rally song, channeling reptilian allies in the fourth dimension. The drums are steady and heartfelt, and the keys dig their claws into our skin. The careening lines interact slowly, with a sort of insistent whale cry, before a blissful resolve (or at least acceptance), coming in the form of a sultry, ambling saxophone solo. The patient sax calms down the drums, until all parts blend together with familiar drones, and Medeski’s flowery piano part gives our brain the comfort it now deserves, as if nesting in a basket of cotton.

The following song, “Scars,” takes note of what we have experienced this far and moves forward with one of the most straightforward grooves of the album. “Scars” is most like a traditional MMW song in terms of funk and bouncing feel-good drums, with a healthy amount of organ wailing and a killer sax to wrap things up. Things don’t stay normal for too long, and the preceding “Hell Bass” comes in flying with some of the best drumming on the album, a sort of spazzy dance beat paired with fat, bassy synth notes. Just when you start to realize your room is a lot warmer than you thought it was, “Hell Bass” dives into an exception noise section; you’re lost in the cave and you have become delusional, thinking you see light but the room starts spinning until you can’t tell up from down.

We regain our bearings at “Gazselloni,” which I have to assume is named after a sneaky six-toed alley cat who struts around town listening to Wu-Tang in Beats by Dre headphones, while smoking a tobacco pipe. This is another great ‘rally’ track and carries a steady canter that is equal parts empowering and contemplative. “Gazselloni” is definitely the grooviest track on the record and moves heavy with a menacing confidence. Each player slides into their pocket, easing back a bit in favor of head-nodding textures. Then, Gazselloni (the cat – but maybe we are the cat at this point?) gets hit by a car at end of song and dies slowly. The final track, “Shmeeans Cuti” is possibly the first glimpse of real light on the whole album, shedding free any pretense with a world-music flavor paired with gospel church organ and big band feeling horn sounds.

DRKWV only has one tour date lined up so far, but with a stand-out freshman album like “The Purge”, it is no doubt fans will want more. The record is also available for purchase via Download, CD or Limited Edition Vinyl through The Royal Potato Family’s online store.

April 2, 2015
Hearing Aide: Umphrey’s McGee ‘The London Session’

Given twelve hours and the world-famous Abbey Road Studio 2 to work with, Umphrey’s McGee cranked out an album. The London Session, which releases on April 7, features ten tracks including some old gems, a few tunes off 2014’s Similar Skin, a Beatles cover and a new favorite. TLS showcases the band’s versatility; each track adds a unique element and, when stacked on top of each other, we get a glimpse into the multi-layered, ever-evolving and unmistakable visage of Umphrey’s McGee.

We have all made memorable achievements in half a day or less, whether it was writing that 20-page final paper, painting the entire upstairs, or completing all the holiday gift shopping. Umphrey’s McGee has one-upped us all.

“Bad Friday” debuted on the last day of 2013 and made the cut for that year’s Hall of Fame album. Its popularity hasn’t waned and its flow has grown smoother each time played live. The London Session opens with its studio debut, a succinctly smooth, groovy jam. The vocals are on-point and riffs show off Umphrey’s funkier side.

Umphrey’s changes gears with “Rocker Part 2,” which also debuted on New Year’s Eve (2007) and has only been previously featured on a Hall of Fame album (2010). This song may exemplify the band as well as any one song on the album. It opens with warm piano parts, features high-energy percussion, and ends with heavy shredding.

The album’s tone shifts quickly again as the next three tracks originated on Similar Skin. Number three is an acoustic, yet fairly straightforward version of “No Diablo.” The acoustic arrangements added to the next tune, “Cut the Cable,” give it a folksier feel than its Similar Skin version and make it one of the most interesting new takes introduced in TLS. The fifth track, “Out of Order,” possesses one of the album’s supreme jams during its final two minutes.

Perfectly situated in the middle of TLS is “Glory.” Listen to it, take a deep breath, and listen again. If you’re having a bad day, listen twice more. You’re wont to find a more aptly titled song. The staple of live UM shows loses none of its triumphant splendor when brought to the studio for the first time.

“Plunger,” which is often a vessel into deep, heavy jams during live performances, comes next. TLS version is relatively tame, but perhaps the song that epitomizes Umphrey’s most on the album. With an upbeat tempo and similar vocal arrangements, “Comma Later” brings us back to the funky feel that “Bad Friday” opens the album with. The final original track on the album, “Eat,” delves once more into UM’s darker side.

The London Session concludes with an homage to the band that made Abbey Road famous, a cover of The Beatle’s “I Want You (She’s So Heavy).” A fan-favorite UM cover, the tune is an exclamation point at the end of a brilliantly produced album. Umphrey’s puts its own mark on the song while honoring the original. The first cover to make an UM studio album is the final piece to a diverse and delicious album.

Less than a year after dropping Similar Skin, Umphrey’s McGee have unleashed another fantastic album that highlights UM’s versatility and originality. Whether your prefer their upbeat dance tunes, heavy rockers, folksier ballads, or prefer a cover, The London Session packs it all into ten tight tracks.

Key tracks: Bad Friday, Rocker Part 2, Glory

Bonus key track: I Want You (She’s So Heavy)

March 31, 2015
Hearing Aide: Shana Falana ‘Set Your Lightning Fire Free’

Shana Falana has been making waves all over the United States and Europe officially since 2011, releasing two albums on Bandcamp and a cassette only document of earlier work, is now releasing her debut LP titled Set Your Lightning Fire Free. The album was put together in just a week and was taken with the approach of think of an idea, get it on tape, and move on, which has not hurt the record one bit. Shana usually is one to labor over arrangements and piecing takes together to make the perfect song, but she wanted to try something different for her first album. Joining Shana full-time now is Mike Amari on drums and he helps a great deal in filling the voids between Shana’s beautiful abstract ideas. Their creative force makes for a great pairing of sound that will make you revisit Set Your Lightning Fire Free again and again.

The album gets going with “Gone” and has Shana layering her own vocals on top of one another over dreamy synthesizers that is all chugged along by Mike’s constant beat and is a great opener for a record. Right off the bat you are diving head first into psychedelic pop and that is where you stay for the entirety of the record. In songs “Heavenstay” and “Know UR Mine” the ’80s new wave sound, that has slowly making a comeback, has been turned just a little askew and brought into the 21st century by Shana and Mike. “Go” is a heavy song both lyrically and musically, bringing in some middle-eastern instrumentation alongside a howling Shana. “Anything” sees the duo go for an industrial sound that give an early Nine Inch Nails vibe. “There’s Away” has some of the best instrumentation on the album to go along with Shana’s vocals sending the song continuously farther into the ether of psychedelia through the almost six minutes that it lovingly takes up on the record.

Shana on past tours has used visuals behind her to make the whole show more of an art piece than a concert. The music on Set Your Lightning Fire Free is set up to perfectly go along with these visuals. The pulsating guitar riffs, soaring vocals, and strong drumming on all the new songs that Shana Falana has laid down on the debut record will only be more pleasing in person. Starting with a week run in New York including April 2nd at The Low Beat, April 3 at BSP Kingston, April 4 at Shea Stadium, and April 7 at Bug Jar, the Kingstoners will criss-cross the country through May to support the record. Though it is officially released on April 7th, the band will have copies on tour.

Key Tracks: Gone, Anything, There’s Away

March 30, 2015
Hearing Aide: Groovestick’s Self-Titled Debut Album

One of the Capital District’s loudest kept secrets is the powerhouse funk group known as Groovestick, who recently released their debut album, Groovestick. Lead by bassist Dan Gerken with Justin Henricks on guitar, Kevin Urvalek on drums, Dan Klug on percussion and Hammond organ star Chris Carballeira, these 5 musicians from Way Down, Timbre Coup and Dirty Paris create solid harmonies and high energy progressive funk that force you to groove. The eight track album reaching a little over half an hour is more than enough to convince you to see them live and get down to the funk. The album is available for streaming and a digital copy for $5 via bandcamp.com and was recorded at Telefunken Studios in Hartford, CT.

Groovestick is a quick listen to get the pre-party started for any night of the week. Henricks chillingly shreds classic rock chords as Carballeira adds vintage funky soul on the ivories. The album hits start with the jazzy quick tempo rock of “Horde”, a surge of rock to get the blood racing. “No Time for That” is a modern mo-town with a disco flair and strongly executed catchy lyrics from Dan Gerken and company. “Electric Shoes” is one of their fiercest songs, showcasing stand out solo work as well as mountainous peaks of melody, challenging the listener to break loose. Klug and Urvalek intertwine their controlled rhythm mania throughout the album for a nonstop tight groove. Groovestick is a boogie machine with rebellious soul, making this album of theirs a great soundtrack for the spring ahead.

Key Tracks: Not Time for That, Electric Shoes, Shark Bait

Check out Groovestick when they come to The Hollow in Albany with Lucid on April 3, The Monopole in Plattsburgh on April 24 and The Rustic Barn in Troy on April 25.

March 28, 2015
Hearing Aide: Papership ‘No No Radio’

Papership is a five piece trash-pop musical entity based out of Syracuse and No No Radio is their third release and first official EP. Papership consists of: Mark Romano (vocals/guitars), Joel Reissig (drums/vocals), Charlie Bell – (synths/keys), Alan Smead (bass) and Shawn Sullivan (guitar).

This disc jumps out of box fast, Sullivan’s distorted rhythm is soon accompanied by Romano’s belted vocals, Bell’s Attractionsesque keys plus the thunder of Reissig’s drums and Smead’s bass on “There’s Yer Blues.” Romano’s voice has a early ’80s punk snarl and Sullivan’s leads bend upward heightening the tension there. Straight-up trash-pop emotion. Bell opens “Pleased” with a psychedelic goth line into a intro right out of a Ozzy nightmare. It quickly turns into another up-tempo sprinter that spits at the ideal of the title. You can almost smell the pic-guards wearing off when they bridge to the ending. The title track has that familiar formula and stretches it to fit the distain. Bell’s keys really drive the song along, swirling through the biting guitar lines, Romano’s howl and the over-the-top rhythm section, Reissig/Bell just brutalize the bottom-end. The true pop hooks explode in “Graduation Day,” I almost expected to hear Elvis Costello’s voice chime in, but this rave-up doesn’t need a vocal line, it’s practically perfect as it stands. “Car” closes the disc with a burst of exposition and defiance, Romano still dynamic at the top of his range and just beyond. The way the band pushes and pulls is also beyond the edge of its self-imposed genre. They’re tight and loose at the same time, right on the edge, then a little bit over, just like rock should be. They are an absolute must see live!

Key tracks: They’re all key tracks!

Papership are currently working on their follow-up LP to No No Radio for an anticipated release in Fall of 2015.

Learn more and listen Facebook, Bandcamp, Reverbnation

March 23, 2015
Hearing Aide: Professional Victims ‘Fathom The Cosmos’

Professional Victims are an alternative rock duo based in Syracuse have released their third EP, this one is a five song offering titled “Fathom The Cosmos”. Ashley Cox and Shawn Sullivan recruited Jeff Moleski (Smashing Pumpkins, Local H) at Moletrax East and the recording is what they describe as ‘D.I.Y. alternative, exploring the space between synth pop and alt rock riffs’. Having reviewed their stunning last release “Motivational Speakers” I was excited when they sent along this new EP. It’s with high expectations that I give it a spin and share my thoughts.

“Human” sets the initial tone for this release, a dreamy, layered vocal set on what seems to be a strict power-pop keys/guitar line. Dig a little deeper and it has some teeth despite its oooh refrains.

“Gimme Space” switches gears dramatically as an expose of swirling emotions matched by Sullivan’s ripping guitar solos. The keyboard and vocal effects twist the lyric audibly sending the listener on the roller coaster of the mixed emotions portrayed. “Run” cranks up the volume further exploring the human condition, the questioning of self and the self-entitled need for escape. The mix is monstrous and the balance of the guitar tracks from acoustic to melodic, then searing, all blending to the next verse, brilliant stuff. The vocal play is next to perfect, especially the rave-up ending.

PV stretch their eighties power-pop muscle on “Strangest Thing” Cox’s vocal rising and falling with Sullivan’s guitar line driving her along. She’s convincing, but not contrived, it’s a very fine line she dances on deftly, confidently, without need of a net. “Pirate Flag” reminds me of a favorite song I haven’t heard before, reminiscent, familiar, yet carrying the excitement of something fresh and new. The melody line and hook grab your ears, propelling one finger toward the repeat button well before the end. A fitting closer that leaves you wanting for more, more sweet vocals, more biting guitar, more ear candy, which this surely is.

Their newest EP surely shows the tremendous growth in this musical partnership, combined with Jeff Moleski’s brilliant engineering, they’re a force to be reckoned with. It goes to show what musicianship, heart and drive can produce on a local level, it surely deserves wider recognition. The dual spent 2014 playing showcase shows throughout NY state and is currently working on their next ep. Follow them on social media at facebook , twitter and on their website.

Key Tracks: Human, Gimme Space, Strangest Thing

March 19, 2015
Hearing Aide: Nightwish ‘Endless Forms Most Beautiful’

Since 1996, Tuomas Holopainen and his band, Nightwish, have collectively been an authority in the European symphonic metal game. Hailing from Kitee, Finland, Nightwish have already toured the globe many times over, released seven full length albums, one EP, a few DVDs and several singles. Their most recent accomplishment, Endless Forms Most Beautiful, is their eighth full length studio effort and will be released in the United States on March 31,2015.

The album introduces Floor Jansen (After Forever) on vocals and brings back Troy Donockley (formerly a session musician for tours) on pipes, flutes and whistles. Kai Hahto (Wintersun) has also stepped in as a fill-in drummer on this record, as Jukka Nevalainen was forced to temporarily step aside due to chronic insomnia.

Now, as far as this album is concerned, Nightwish fans may be forced to ask themselves a tough question- Which era of Nightwish is better? Those of you who long to be reunited with original vocalist, Tarja Turunen, along with the simpler song structures that were without the help of the London Symphony Orchestra, might be disappointed. Endless Forms Most Beautiful (a title hailing the naturalist, Charles Darwin), is a huge, busy, dark, heavy, ridiculously powerful symphonic metal album. In fact, the only song that disappointed me was the first single, “Elan” not that it’s even that bad a tune. But any fan of Nightwish knows that this band is notorious for choosing simple, “safe” songs to be their singles.

Here’s my take, from start to finish, track by track:

The opening track, “Shudder Before the Beautiful”, introduces a fast tempo, melodic heaviness right from the beginning. Instantly, Floor’s vocals fit perfectly with the overall sound of the new lineup. Certain notes and techniques reminiscent of Tarja take hold, but Floor also brings some unique qualities to the table, which only add to the intricate but very catchy riffing. There’s a back and forth guitar and synth solo section in this song that might remind the listener of how Children of Bodom might approach a part like that.

“Weak Fantasy”, gravitates towards the big booming movie soundtrack end of the Nightwish spectrum. It’s powerful, captivating and introduces a soaring vocal dynamic between Floor and bassist, Marco Hietala (Tarot). The two produce melodies that gel so well, it’s hard to imagine the band without either of them at times.

“Elan”, the current single, is a small and safe song with very few surprises. It’s catchy and has a solid balance between the six members. However, most fans might agree that if every Nightwish song went in this direction, they might be a pretty easy band to write off.

“Yours Is An Empty Hope”, is the loudest, fastest song so far. It’s also the epitome of symphonic metal. Huge choirs give you goosebumps throughout the track and are accompanied by a series of well-timed explosions.

“Our Decades In the Sun” settles things down quite a bit. It’s mostly piano and vocals, until Emppu finally appears on guitar much later in the track. It had me thinking, “Sleeping Sun” the entire time.

“My Walden” is very happy and folky. Troy Donockley shines on this track. There are some pop rock elements as well, which completely contradict the first five tracks, however they don’t take away from the band’s overall sound. If you liked “Last of the Wilds” or even an earlier upbeat instrumental like “Moondance”, you’ll be fine with this song.

“Endless Forms Most Beautiful” is once again, very simple and safe for being the title track. It’s a good song and probably a great choice to keep the crowd motivated for the live show, but nothing really extraordinary happens here. I wouldn’t call it filler, but I also wouldn’t call it a statement. I felt it was too bland to be impressive, but too sophisticated to be written off. It’s a Nightwish song.

“Edema Ruh” is a very hoppy song with a solid clash of symphonic and folk elements. Marco and Floor split this song evenly in the vocal department and there’s a real feeling of youthful revelry here.

“Alpenglow” might be your biggest disappointment on this album, but only because it’s the second filler track of sorts and you’re itching to get through it, because you know the bone crushing, monumental conclusion is coming.

“The Eyes of Sharbat Gula” is an intro for the last track, or at least that’s the impression that I got. It’s primarily an instrumental, aside from a youthful choir singing quietly in the background.

“The Greatest Show On Earth” is 24 minutes long. No, I’m not kidding. There’s a calm atmosphere slowly building up to full on vocals, guitars and drums for the first few minutes, but once the first climax is reached, they keep on coming. Each time a new mountain is climbed, the terrain changes completely, allowing for a new ascent up a whole new structure of musicianship. Fans of longer epic Nightwish tracks like “Ghost Love Score” or “The Poet and the Pendulum” will appreciate this. At one point, Richard Dawkins comes in as narrator and fills your head with thoughts of the beginning of the end of the world, just before a massive explosion slams into your ear drums. This explosion paves the way for the heaviest, most cinematic sounding piece of metal music I have ever heard. The way the six elements of this band come together with the orchestra in this section is uncanny and Tuomas’s composing skills really shine here.

I suppose I’d recommend this album to any fan of metal, just because of the musicianship and layering present on it. Nightwish purists will most likely be disappointed, but my advice to them is to forget that it’s Nightwish for a little while and hear some interesting stuff. At the very least, it’ll make you want to watch a Peter Jackson Tolkien film.

In other great local news, Nightwish will be performing at Buffalo NY’s Town Ballroom on April 16, 2015.

Key tracks: Shudder Before the Beautiful, Yours Is An Empty Hope, The Greatest Show On Earth

March 12, 2015
Hearing Aide: Ensiferum ‘One Man Army’

This is Pagan folk metal from Finland at its best. Many people condemn the genre and many of its greatest bands as Renaissance festival nerds with cool guitars and war paint. But Ensiferum raises the bar ever so slightly with every release, making them pioneers of sorts in the folk metal game. One Man Army is a perfect example of the band’s unique approach to their genre.

Ensiferum (The Sword Bearer) never hold back when it comes to their powerful chorus driven war songs with their 1,000 year old feel, but fully embrace their heavy nature as well. Since they are a metal band at their core, they have to represent. The opening track, “March of War” is beautifully composed with an array of old-world string instruments, “Burden of the Fallen” could come straight out of the “Lord of the Rings” or “Hobbit” films, and the closing track “Neito Pohjolan” naturally has its Finnish roots, but can at times be easily mistaken for an American country/western tune. The whole album is full of their usual bells and whistles, choirs singing backup harmonies reminiscent of blockbuster soundtracks like “Braveheart” and plenty of references to the very heart of the band’s name and their love of their heritage; clashing swords and bloody battlefields. Fans of this genre won’t be disappointed, but those weary on folk metal may not appreciate 11 straight tracks with said formula.

“Axe of Judgment” forces the listener into an all-out war zone. “Cry For the Earthbound” and “Warrior Without A War” transport you back to ancient bloodstained ruins, despite Earthbound’s borderline poppy female vocals in the bridge. “Two of Spades” is an upbeat Celtic dance party, which instantly had me thinking of Bilbo Baggins’s 111^th birthday party in “The Fellowship of the Ring”. And, wouldn’t you know it? Ensiferum decide to throw you a curveball and end the album with a cover of the theme from Rawhide.

So, once again, any avid listener of folk metal can’t hate this album. Metal purists will either hate it, be bored with it, or both (presumably), and those who simply dabble in folk metal might grow tired of Ensiferum’s consistent battle anthem formula. But all in all, I think this is a great opportunity for those open to taking the “folk metal challenge”, to open their hearts and minds to this wonderfully fun genre! Cheers!

Key tracks: One Man Army, Cry For the Earthbound, Burden of the Fallen

March 11, 2015