Matt Barlow was the American Heavy Metal band Iced Earth’s singer for six years between 1995 and 2001, he wasn’t the band’s first ever singer but he was arguably their most popular. After he left the band to join the police force following 9/11 Iced Earth recruited Tim ‘Ripper’ Owens for the superb The Glorious Burden album as well as the concept album, Something Wicked Part 1: Framing Armageddon, which was one part of a two album set.
For the second part of this two album set however, rather than stick with Ripper, Iced Earth welcomed back former singer Matt Barlow which feels a little untidy to me, first of all because Ripper was a great vocalist and the albums he sang on weren’t even considered failures (like what had happened with Iron Maiden in a similar situation) and secondly, if you’re going to do a two part story it feels odd to switch singers. Even more untidily, this would then be Matt’s final album with the band as he would leave once again straight afterward. Its almost so untidy as to be off-putting, luckily however, Matt Barlow is a superb talent and a natural fit for the band and everything he touches is top quality.
Regardless; of who is singing, this is an interesting album for the band. It is quite a progressive album for the band, focusing less on classic Thrash Metal and Power Metal sounds like those which made the band famous, and concentrating more on rhythms and textures than ever before. There’s also quite a bit of background percussion every so often. Its also a slower and more mid-paced record than a lot of the band’s previous work. It shows the band exploring a different side of things and is definitely interesting for the long term fan. The 2008 record was produced by the legendary Jim Morris and sounds terrific.
The story about the ‘wicked child’ called Set and his messianic relationship to the Setian race (of Aliens) versus his destructive relationship with human kind makes for interesting listening. If you focus on this side of things you get a little bit extra and if you’re not interested you still have a great Heavy Metal album to listen to.
Highlights include the fun doomy ‘Crucify The King,’ as well as ‘Divide Devour’ which is the albums heaviest hardest track (yet features choral chanting and a catchy Sabaton-esque chorus) and the seven-minute ‘Come What May’ which has flutes, violins and extra percussion to spice things up.
Overall; this is an interesting transition between the Stu Block era of the band and the previous Tim Owens era. Musically it isn’t exactly the album you expect when you say Iced Earth but it is a very interesting addition to their discography and a strong album in its own right and so adds a little something extra to their sound. If you like the band, don’t miss out.
Iced Earth’s seventh full-length studio album; 2004’s The Glorious Burden, saw the US Power Metal band trading in long-time vocalist Matt Barlow for former Judas Priest singer Tim ‘Ripper’ Owens, when Barlow felt the call of duty to serve as a law enforcement officer.
Though my personal favourite singer Iced Earth has ever had (they’ve had five over the years) is probably Matt Barlow because that’s who I heard first (usually how these things go), Tim Owens is a fine replacement with a wide range, a good attitude and some real power in those lungs. He’s clearly a very talented guy and fits the band well, matching the traditional high standard of Iced Earth singers.
The album was released via SPV records and was recorded in the famous Florida studio Morrisound, co-produced by Jim Morris and band–leader Tim Schaffer. Naturally, the album sounds fantastic. Crystal clear, grand, and yet still heavy.
The music itself on The Glorious Burden is fairly in line with what you would expect from Iced Earth, if perhaps focusing a little more on the mid-tempo aspects of their style. Mixing the sounds of Traditional Heavy Metal, early 80s US Prog Metal, USPM and a surprisingly high dose of Bay Area Thrash… Iced Earth have a definite identifiable, proudly Metallic sound and don’t deviate too far from it here. It you like melody, double kicks, guitar solos and a crunchy riffs its all here to be had.
The band do stretch their wings however on the fabulous, slightly progressive, three-part album closer “Gettysburg,” which is full of civil-war era music mixed with the band’s triumphant-sounding Metal music (even going so far as to make Metal versions of melodies from “When Johnny Comes Marching Home,” “The Star Spangled Banner” and “Dixie” and add them into the proceedings). This trilogy of songs is really worth checking out and practically worth the price of the album on their own.
In addition to that however, there are also an album’s worth of brief, well-written, masterfully executed Metal tracks on the disc too. Things like the memorable “Declaration Day,” “Valley Forge” and “Red Baron/Blue Max.” This is yet another consistent, filler-free effort from the band. If you are in the right mood, and give these songs the time to sink in, you can really grow to love this record.
Overall; The Glorious Burden is a strong and interesting album from the veteran band. Iced Earth fans should enjoy it. Tim Owens fans should enjoy it. Fans of a lot of Metal style should like it too (Heck; even if you have a prejudice about Power Metal due to the Keyboards, Goblins & Wizards stereotype, this should give you a new perspective on the possibilities). If you wonder whether this album is for you, take a listen to “Valley Forge” and judge for yourself.
Something Wicked This Way Comes is the fifth full-length studio album by the US Power Metal band Iced Earth. It was released in 1998 through Century Media records and was recorded at Morrisound Studios in Tampa, Florida with legendary producer Jim Morris.
This is a very tight, strong and consistent record which showcases the band at the top of their game, delivering some of the best examples of their craft to date. The first two tracks; the bouncy up-tempo “Burning Times,” and the grandiose mid-paced “Melancholy (Holy Martyr)” are two of my personal favourite Iced Earth songs.
Mixing elements of early Queensryche with Iron Maiden, then injecting a flavor of the Bay Area Thrash stylings of Testament and Forbidden into things here, Iced Earth release a crunchy, tasteful and thoughtful take on Power Metal that still delivers the triumphant atmosphere and enjoyable melody, but with some added ferocity.
There is a lot of emphasis placed on the dynamic and varied vocal stylings of the very talented Matt Barlow, as well as the solid riffing and enjoyable lead guitar work of band leader John Schaffer. If you generally like powerful Metal Front-men with wide ranges, or impressive guitar virtuosos, then there’s plenty to enjoy here.
Its not all about showing-off however. The band are quite skilled at mixing different moods and tempos into single tracks. Iced Earth can make liberal use of both acoustic guitars and full-speed-ahead double kick drums, and make both sound convincing. You may think one song is all about Thrash Speed and heaviness, but suddenly an atmospheric passage will take things in a whole other direction. You may think a song is going to be a ballad, but suddenly a grand Metallic guitar will ring out and signal the band to kick things up a gear. They do this without sacrificing succinct song structures, or compromising the logical flow of the material. It’s skilled, perfectly crafted songwriting in other words.
Highlights include the fierce, menacing “Stand Alone,” as well as the instrumental “1776” and the aforementioned opening duo. There’s also the “Something Wicked Trilogy” of the final three songs, which tell a story that would be continued on two full-blown concept albums later on in the band’s career.
Overall; Something Wicked’ is a very solid and well-written album from a very talented band. I think this is a fine album to start your Iced Earth collection with, and a must-have for any existing fans. I highly recommend it to fans of bands like Hammerfall, Sabbaton, Manowar, Nevermore, Queensryche, Savatage, Testament, Exodus, Forbidden, Iron Maiden, Judas Priest, Saxon etc.
Hello and welcome to the ninth installment of Amateur Batfan, a series of blogposts here at Kincrimsonblog where I try something new. Instead of writing exclusively about music like I usually would, I’m dipping my toes into the field of writing about comics. I’m fairly new to comics. You can read about my history with the comics medium in the first entry of the series.
Long story short, I liked comics-related stuff but found the whole idea of being a comics fan too embarrassing, and some of the comics I did try were lacking-in-depth, so I didn’t like comics themselves until my friend Paul opened my mind, multiple times over the years until I finally allowed myself to enjoy them. I had a sort of snobbery to overcome. Its been overcome now though, and I’ve spent most of the last year buying and reading Batman comics, which I will now blog about for your reading pleasure and commenting-inspiration (seriously, I want to know what you think about these comics).
[First off, why not listen to this while reading this article:
, that’s probably the way to get the most out of the experience.]
At the minute, I’m happily making my way through reading No Man’s Land, and just like last time, since I’m not finished it yet, that won’t be the subject of this week’s entry. I’ve also received Batman: Demon in the mail. It may surprise you to know that its not about Ras Al Ghul like Son Of The Demon and Birth Of The Demon and all those other Demon books… its about that Etrigan The Demon guy, who I only know from one of Kevin Smith’s two Batman books. He rhymes a lot. Is that a permanent character point or just a Smith thing? I’ll find out soon enough…
Anyway; Last time on Amateur Batfan, I covered Hush Returns, which was a bad story featuring the villain Hush. Today, I read an interesting article about how the original Hush book was quite poor (Read it here). The thing is I really like Hush (the character). I like him to the point where I frequently think the sentence “if I was ever in charge of a Batman Comic/Movie/Videogame then I’d make Hush one of the main villains” (Along with Onemotapia and The Architect in case you were wondering).
When I first heard of Hush, I went into reading the original book with a negative eye, expecting to be disappointed, as my friend and Batman-advisor Paul had said that it wasn’t good (and after I read it and asked why, he said “because it treats the reader with absolutely no intelligence”), but I remember at the time really really enjoying Hush (damn its getting confusing having the book title and the villain both be called Hush, isn’t it?) partly due to Jim Lee’s beautiful artwork… (that’s how I want all comics to look, even if he could do with being less sexist. Also, everyone online ever also informs me that all his male characters have the same face and body). It was also partly due to the entertainment value. Its not a strong mystery at all, and the “insert thing into the past” line of story telling is one of my pet peeves (…and its actually doubly unnecessary here, because if Loeb wasn’t so attached to the name Tommy Elliot, he could have used the Bruce’s childhood friend character from Batman Gothic and then he’d just be expanding rather than shoe-horning) but I think the whole ride was pretty fun in a low level blockbuster sort of a way.
I also remember disliking the [Spoiler]Clayface/Jason Todd plot point a lot though. So… I guess you could say that I disliked THE POINT OF THE BOOK. But I enjoyed the ride. I really ought to re-read it and see where I stand; because of Paul (my friend, not Paul Dini), and a coincidental series of other people disliking it, I kind of assumed most people hated it. I was reading a lot of reviews about it today though, and it seems almost universally loved. I guess it’s the Metallica thing. Everyone loves Metallica, but you see a lot of criticism too. Is Lars a bad drummer? I can’t even tell anymore. Linkin Park are the same… if you’re actually in a University Halls Of Residence, you are never more than 10 feet away from at least 15 people who love Linkin Park, but go on Blabbermouth and you’d think they were the most reviled band on the planet.
Given that those two other Hush books aren’t very strong (or maybe Hush is… I’m still not sure), I’m not really certain why I enjoy Hush so much as a villain… but I do. I was even really pleased when he had a brief cameo in Gates Of Gotham, it really put a smile on my face! …Maybe its just because he looks cool. Maybe its just because I hadn’t heard of him before and I then when I saw him at the right time, I bonded to him, like how a zoo animal thinks the puppet that the Zoo Keeper uses to feed it is its mother. Maybe its because he shows up in Arkham City, and that game was great. Who knows? Anyway, this week, I’ve decided to cover a Hush story that isn’t poor. In fact, its one of my favourite Batman books so far. In fact, this story is almost like an apology or justification of the original Hush’s flaws.
As an example of those flaws, I’ve heard the motivation of Hush in the original Hush (confusing aint it?) described as “ludicrously juvenile.” Hush’s motivation is more understandable once he is more deeply characterized here though (heck, even his costume is). As an example of how Dini has retroactively rectified those flaws: While still having to work with what he’s been given (the car crash, wanting his parents inheritance, Wayne Sr. saving his mum plot), Dini manages to add depth and therefor quality by making the reader understand that Hush as a character is a ludicrously juvenile person, and that its not just bad writing. The guy is a total born prick, and he is also tortured emotionally by a belittling and draining upbringing. His parent’s inability to let him grow explains, in part, his ludicrous childishness, which only compounds his born wanker-ness. Its quite a clever workaround.
You know what else? I really hate shoe-horning in a previously unknown childhood best friend into any story (just like I hate a long-lost brother, or a secret lovechild), but when this is the third appearance, and its already established… its kind of dulled, or lessened. Its not a shoehorn anymore, it just “is.” Hush, by this stage, just is Bruce’s childhood best friend and we all know it, and its no-longer an insult on our sensibilities so we can now all just get on with it. Consequently, that particular turd isn’t gathering as many flies in this book. It left me softened up and more ready to just enjoy the story.
Speaking of softened up… as a sort of apology to what I’d said last week… I also had another thought when reading through several reviews and Wikipedia articles about all three of the Hush stories I’m talking about which softened me up a little to Hush Returns, which I had criticized for mis-characterizing Hush as a brawler when the original establishes him as a slow-strategist type (a callback to Bane’s wearing Batman down with villain after villain?). This softening-thought was that in Hush (the book) itself, it wasn’t Hush (the villain) who came up with the slow long-game plan, it was The Riddler. I’d forgotten about that by the time I’d read Hush Returns. So Hush wading in himself in Hush Returns isn’t so out of character after all. I can admit when I’m wrong.
Also, because I can’t completely divorce myself from writing about music, I just thought I’d inform you that at the time of writing, I’m currently listening to The Glorious Burden by Iced Earth, featuring Tim Ripper Owens, specifically the epic three-part, 30-minute long “Gettysburg.” If you haven’t heard it but like Heavy Metal in the vein of Judas Priest and Iron Maiden, its an absolute gem. That’s my Heavy Metal recommendation for the day. You can all sleep easily now.
Batman Heart Of Hush:
– Writers: Paul Dini
– Art: Dustin Nguyen
– Colours: Derek Fridolps
– Continuity: Post-Crisis, Pre-Flashpoint
– Timeline Position: Very Late Career, Ties in with Batman R.I.P
– Batman is: Bruce Wayne
– Villains: Hush, Dr Aesop, Scarecrow, The Walrus, The Carpenter, The Joker, Mr. Freeze
– Allies: Alfred Pennyworth, Tim Drake as Robin, Dick Grayson as Nightwing, Barbara Gordon as Oracle, James Gordon (Police) Bullock (Police) Montoya (Police), Catwoman, Zatana,
-Bystanders: Detective Sam Emerson Bradley, Colin, Peyton Riley
– Story: [Spoilers Ahoy:] The story takes place between the events of the books The Black Glove and Batman R.I.P, as the Black Glove Organization’s threat on Batman’s life drives Hush’s egotism into action. Hush is an asshole and he has to be the one to kill Batman. He sets up headquarters in the abandoned hospital that he mentioned in passing in Hush Returns, where now he has kidnapped and drugged-up a number people to use as almost zombie-like helpers. It might be a slight callback to The Cult… seeing as how Hush books love calling back to things. His plan involves attacking the people Batman cares about, including Alfred and Catwoman. The original Hush book saw Batman and Catwoman developing a romance, so after distracting Batman with decoy plans including an innocent little boy being given venom (…a callback to Batman Venom?), he goes as far as to actually surgically remove Catwoman’s heart. It is cryogenically frozen with help from Mr. Freeze to lure Batman into a trap.
There are multiple flashbacks to Hush’s childhood throughout the book, explaining the toxic relationship between him and his domineering mother (who’s bandaged face after the car accident from the previous Hush story adds an extra layer to the whole plastic surgeon and bandage themes from the previous book, rather than letting them be throw-away parts of a Two-Face subplot). Flashbacks also indicate that Hush’s councilor following the accident was Dr. Crane before he fully became Scarecrow. Hush teams up with Scarecrow as an adult, so that Hush has some help in his anti-Batman plan.
Batman infiltrates Hush’s Hospital but is drugged and wakes up strapped to an operating table. Hush uses his plastic surgery skills to make his own face an exact match for Bruce Wayne’s in a move that would have lasting impact outside this book. (Damien Wayne even spends time with Hush to feel like he is spending time with his dad later on in future Batman comics.) Hush, disguised as Bruce Wayne, infiltrates the batcave hoping to kill Alfred, Dick and Tim, and then mascaraed as Bruce to tell the Justice League that Batman is retiring and quit Wayne Enterprises. Batman escapes the hospital as you’d expect and tracks down Hush; there’s a fight between Hush and Batman in the Batcave, assisted by Nightwing and Drake-Robin, and when trying to escape, Hush’s bandages get caught in the rotar-blades of the gyro-copter that he is trying to commandeer, and he crashes into the water. His body isn’t located, meaning he escaped but isn’t an immediate threat.
With Hush out of action temporarily; Batman saves Catwoman and the two start a brief romance. In revenge for what happened to her, Catwoman dedicates her time, resources and favours/debts all to ruining Hush, by siphoning his money away (although graciously using it to compensate the zombified hospital workers) and leaving him a big “fuck you” sort of message. The book ends with an injured Hush receiving the message and hobbling off into the night, broken.
– Tone: I really enjoy this book. It tries to balance the supposedly roller-coaster ride feel of the original with having an actual plot. It brings in extra characters but doesn’t drown you in them. The original suffered from being a mystery that wasn’t mysterious enough… here, with no intention of being a mystery, it can’t fail on that regard and so is free just to be pure entertainment, at which it most certainly succeeds. The tone is a mixture of dark at times and yet there’s that comic-book feel to it too. Its not all grim horror, but its not all aliens and magic and long-lost twins either. Its good. Its a good comic book. Its what comic books fans talk about when they talk about comic books even if non-fans think of the B.S. (Like how non-Metal fans think its all noise and screaming and satanism… and no quality musicianship or intelligent songwriting).
– Art: In my opinion, Nguyen’s art isn’t as good as Jim Lee’s. Its good though. Very good. It really reminds me of Gates Of Gotham actually, its kind of stylized in a way that feels like the comics-equivalent of cell-shaded videogame graphics. It reminds me of Zelda Windwaker for some reason. Its not just as stylized as Broken City though, which I include as another random reference point.
Just because Jim Lee’s is prettier though, this is by no means an ugly book… its very good looking indeed (and in fact, better than Lee on the non-sexist drawings and varied character models side of things). I like how this book looks a heck of a lot.
– My Thoughts: If this book is a flop, and I was to imagine what everyone was to criticize this book for I’d guess just comparisons to other stories, or the fact that Hush is in it at all and they didn’t like the original. I mean, sure it borrows ideas from Face Off, and even Batman The Cult, but it does them well. I also have already explained how this improves immensely on the Hush story, so I’d say this is a good book to read if you disliked Hush. Its like “Ok… but do it properly this time.”
I guess the whole Aristotle thing, and all the Heart metaphors may come across as a bit cheesy to some, but I feel the right balance has been struck. I think it works well. Its not like in the Scarface videogame where they take the one off line from the film about Ice-Cream and then decide that in the game, Tony should mention Ice-Cream every five-minutes.
I don’t think it was a flop though.
Also, compared to Hush Returns… it actually ends. It wasn’t abandoned halfway through. It doesn’t massively misread the characters (Joker isn’t pining for a lost wife here).
There’s something that’s difficult to articulate… and that’s the fact that, its just good. It just is! It’s a very good book. I advise you to read it and find out why. Its well written. It flows well. Its entertaining. There’s nothing that makes you think “well, that was really annoying.” Overall; I really enjoy this book and I’d like to spread the word. So consider the word spread. Heart Of Hush is a good Batman book and you should totally check it out. (That’s my Batman recommendation for the day… what else needs recommending?)
Its day 34 of my third Get (Into) What You Paid For challenge. I’ve been adhering to the challenge and haven’t broken the challenge yet. To be honest it hasn’t been too challenging. Challenge, Challenge, Challenge. So; Christmas has came and went, and the kind people in my life have provided me with a brilliant collection of very-well-thought-out gifts, which has definitely taken the urge to buy myself stuff away for a while.
I’ve been given numerous biographies on bands I like (including Sabbath, Megadeth, Slipknot, Jethro Tull); Power Metal albums from Iced Earth and Gamma Ray; Prog Metal albums from Porcupine Tree, Pain Of Salvation and Tesseract; Thrash from Testament. Even a bit of Grunge in the form of the new Pearl Jam album. My listening habits from the last year are all very well served by this.
I’ve been given a massive load of comics from my friend Magnum, and I’ve been given the new Batman videogame. My gaming and reading habits from last year are all pretty well served by this too.
Pretty much, I’ve just had a massive influx of things I like and so that quells the urge to buy more things I like.
Another reason I’ve been doing OK with not buying things is that I’m completely and drastically broke. Its easier to exert some restraint when there’s more reason to do so. Maybe I’m fianlly an adult, now that I can confidently say I’d rather be able to pay my rent than buy myself something entertaining. I’ve got so bloody much stuff already anyway that its becoming easier to shrug off the itch to get more, I’m beginning to learn some perspective and tone down my overspending.
Taking this financial situation into account, and the fact that I didn’t blog as frequently on the subject this December as I had in the previous two GIWYPF challenge months, I’ve decided to extend this one into a two-month epic. That’s right. I’ll try not to buy any books, comic books, DVDs, Blu Rays, Band T–Shirts, Books, Music or Videogames for another month, making it a stretch from December 1st to February 1st. I don’t think I’ve ever went that long without buying something of this nature since turning 18.
But if I was going to break the challenge, what would I break it on?
Riverside’s debut, Haken’s whole discography, the two Psychotic Waltz reissues, some of the more famous Fates Warning albums, and DreamTheater’s Awake all spring to mind. As does Mudhoney’s Superfuzz Bigmuff and Angra’s Angel’s Cry.
I’d also like to get the two most recent Batman collections, the Death Of The Family main story and side-stories books. Everything I’ve read from Snyder so far has been good and I’d like to be a bit more “In The Loop” with things, if it wasn’t so costly.
Oh. And there’s one new Arctic Monkeys B-side that’s came out during the challenge. I like to always buy those B-Sides pretty much as soon as they are released, this is the longest I’ve gone without getting an Arctic Monkey’s B-Side since the release of their second album.
To be honest though, I don’t think there’s much risk of me breaking the challenge. Having a massive exam schedule that requires serious, dedicated revision for, having no money, and having been given those excellent Christmas gifts should keep me busy and thinking straight.
So; today, having done my revision for the day, I’ll take a little break and do a quick little series of mini-reviews/thoughts of what I’ve been listening to lately. As you might imagine, most of it will be the gifts I got for Christmas that I’ve described above. Here goes:
I got a copy of Tesseract’s new album Altered State for Christmas. I went and saw them live about a month ago and was completely blown away by them. They were supporting Karnivool who I’d imagine were less big than them, but who weren’t. They had an annoying loud fan who wouldn’t stop screaming for songs they didn’t play (“Dead Man”) and making a clown’s horn noise. I wish that fan had kept their big mouth shut, but the concert was awesome. Tesseract’s guitarist is very tall… Anyway; This album completely lives up to my expectations. Its absolutely fantastic. Such incredible musicianship and utterly spellbinding vocals. I can foresee this band becoming huge, if there’s any justice. Also, there’s a Saxaphone solo. Always a plus for a Floyd/Tull/Crimson fan!
I think I’m going to be dedicating a heck of a lot of listening time to this record in the near future.
Keeping with the Prog theme, Porcupine Tree’s Deadwing. I’ve been craving Deadwing for quite a while now. Ever since I got into the band, Deadwing has been my number one, most-wanted album of theirs, although I’ve managed to get everything around it first.
Interestingly, on just one listen, I was able to tell instantly that is their best record. I’ve had about five or six listens now and am still firmly of that opinion. The title track and ‘Arriving Somewhere But Not Here’ are absolute gold, and ‘Lazerus’ is a haunting, magical ghost-ballad. If this had the three best songs of Fear Of A Blank Planet on it too, it would be one of the best albums of all time.
I think I might make some sort of Porcupine Tree best-of, with ‘Sound Of Musack’ ‘Drawing The Line’ ‘Normal’ and then the majority of Blank Planet and Deadwing on it.
What else have I listened to? I recently talked extensively about listening to Pain Of Salvation’s The Perfect Element album so I won’t go into too much detail about it again here. Anyway, I listened to it again while I was weightlifting and although I had understandably reduced-concentration on it, I really am impressed by this album. If you like any sort of Prog Metal you should really pick up a copy. Its only about £3 on Amazon.
Tesseract, Porcupine Tree and Pain Of Salvation are three very different bands, and they all scratch very different parts of my brain, but any way you look at it, Prog Metal is pretty well served by that trio of absolutely phenomenal records. What about Power Metal then?
I also got given Horror Show and The Glorious Burden by Iced Earth for Christmas. I’ve listened to them both quite a few times now. I like Iced Earth, they play 40% Judas Priest, 40% Testament and 10% Warning era Queensryche. Pretty well suited to me then. Both albums are great, as was Something Wicked, which I got given for my previous Birthday. The three of them together feel like one big album. There’s sort of a continum between the three of them. Its hard to explain.
On The Glorious Burden, there’s a nifty bit where the lead guitars play the rhythm of “Johnny We Hardly Knew You.”
Interestingly as well; The Glorious Burden has Tim Paper Owens on it instead of Matt Barlow, who at the time had left the band to join the US Police force in the wake of 9/11. He’s a perfect replacement for Barlow. Both are brilliant at high screams, both sing with manly authority and both do a fine impression of Forbidden’s Russ Anderson. I don’t know if its actually the guitarist doing those bits. Could be. They’re so similar across the two records. I’ve also got given their live Blu-Ray for Christmas, so I’ll have a look when I get a chance to watch it, and see if I can crack this mystery. Is Schaeffer the phantom Russ Anderson impersonator? Or do both Barlow and Ripper both have that one particular style really well honed?
This record makes me want to try out the two Ripper-Era Priest albums that I avoided. Tim is certainly an incredibly talented guy. Replacing Halford can’t have been easy. Just look Blaze Bailey. The fans really didn’t go for him even though he’s very talented. Also – Maaaaaaaan hunt. Maaaan, Hunt. Manhuntmanhuntmanhuntmanhunt.
In addition to the serious, Thrashy, USPM… I’ve been listening to the fun, bright, melodic German Power Metal of Gama Ray. I’ve been hammering their 2007 album Land Of The Free II recently; its met with mixed reviews, but I really like it. Its such a fun, energetic, and pleasant record. The guitar solos are magnificent. Kai is one of my favourite guitarists of all time. I read a lot of people complaining about stealing that bass-bit from Maiden’s Rhime Of The Ancient Mariner. Gama Ray frequently steal bits from Priest. They’ve even stole bits from Deep Purple. Its just something you have to deal with. Its still a good song. I don’t know, maybe I should be harsher, but, I just can’t help but love everything Gamma Ray do. Its difficult to listen to Gamma Ray and not just be put into a good mood. I’d absolutely love to see them live. I wish I’d been a fan when they did that tour with Helloween recently. That must’ve been brilliant to behold.
Also, after having listened to Tesseract, I had another listen to Periphery. Periphery’s album is such a shapeshifter. Every time I’ve heard it I’ve listened to it in a completely different way. Sometimes I hear it as a radio-friendly Metalcore record, sometimes I hear it as a crushing desne Messugah-influenced affair, and sometimes I hear it as a rapid-fire, all-over-the-place, highly technical, Protest The Hero style modern prog mish mash.
That’s happened to me before, with Machine Head’s Burn My Eyes. I’ve heard it in completely different ways at different times. Makes you wonder what your ears and brain are up to.
Its also interesting just how different it is to Tesseract’s album. Its like the difference between Anthrax’s Spreading The Disease and Megadeth’s Peace Sells But Who’s Buying. Both are defining albums of Thrash, but both sound vastly different. Same goes here. Animals As Leaders’ Weightless album is as vastly different as those two are from eachother yet again. Perhaps that’s throwing Slayer’s Hell Awaits into the second albums by Thrash bands analogy. If all those Djent bands are Thrash, then what does that make Messugah? Judas Priest?
Oh. Y’know what. I can add three more things onto the “to-do-list” / risk-of-me-buying-these pile. Skyharbour, Monuments and Circle’s new albums.
Anyway, there are some seriously brilliant songs on this record. I particularly love ‘Erised’ and the single, ‘Scarlet.’ The whole album is fantastic though; the musicianship and vocals are incredible. There are parts that are so heavy, parts that are floaty electronic dreams and a lot of memorable clean choruses. Periphery – Love that shit.
I forgot just how good Tool’s Undertow album is. I usually think of the subsequent three albums when I think of Tool. There are some seriously fun, memorable, enjoyable riffs on this album. Some damn catchy vocal parts, some interesting lyrics, and it’s a lot more succinct and serious than I remember. I guess having gotten into all the Tool-influenced bands recently also helped. And the grunge; there’s a slight bit of grunge about Undertow that I may previously have been put-off by.
Speaking of being put-off; I think the thing about the carrots made me forget about all the completely awesome songs on the record. Tool usually have one or two little comedy moments or unusual additions, so I don’t know why that particular one took over. Well, at least I know better now. Songs like ‘Intolerance’ and ‘Bottom’ are absolute gems. I can see this working its way into a much more regular rotation from now on.
Ok; that’s enough for one installment. I’m going to have to keep it up all the way through January. Let’s hope I stick with the whole financial-discipline thing a while longer, ey?