Archive for the progressive metal Category

Master’s Hammer – “Mantras” review

Posted in album review, avant-garde, black metal, experimental, Master's Hammer, metal reviews, progressive black metal, progressive metal with tags , , , , , , , on April 2, 2010 by GRAMPS Pantheon

When the news of a new Master’s Hammer album broke last year, I was more than a little excited.  Their 1991 classic Ritual had already turned me into a Master’s Hammer fanboy, so the prospect of a new masterpiece had me eagerly looking forward to Mantras.  Being that their catalogue is ripe with innovation and experimentation, it comes as no surprise that Mantras continues in this genre-defying fashion.

“Typograf” starts the album off strongly with explosive energy, a simple yet brutal riff, and atmospheric guitar solos.  The next few songs follow in a similar fashion, including simple (and dare I say, predictable) guitar riffs combined with a dash of guitar or keyboard oddity.  If I had to pick a low point in the album, it would be these few songs.  Moments of glory shine through when they break from their traditional old-era riffs and throw something odd into the mix.

Luckily, beginning with “Bodhi,” Master’s Hammer begins to fully explore these experimental tendencies that were only hinted at in the prior tracks.  The songs are not as heavy, with many arguably not even being metal, let alone black metal.  However, I embrace their heavy usage of diverse keyboard sounds, nearly danceable beats, and odd song structures because it’s simply a joy to listen!  The songs all continue in this fashion, except for a cover of their old song “Jáma Pekel.”  However, even this track isn’t spared from the album’s weirdness due to its incredibly funky keyboard solo near the end.

Mantras has been a very difficult album for me.  When I first heard the samples offered on their website, I was ready for a new classic.  Does this album reach that status?  The stumbling in a few songs early-on does not help its case. However, it contains so many eccentricities and new sounds that my perception of the album is constantly changing. Who knows?  Perhaps the future will be kind to this unique piece of work. -Max

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Blessed Are The Sick

Posted in Cynic, death metal, Meshuggah, progressive metal, technical metal with tags , , , , , , , , , , , , on March 31, 2010 by GRAMPS Pantheon

The goal of Pantheon Magazine is to provide you, the music-listening hordes, with literary nourishment. With this goal in mind this article will discuss two bands who exemplify all things prog and metal…

-Cameron Davis

Meshuggah – “Chaosphere”

Highlights:

“The Mouth Licking What You’ve Bled”

“New Millennium Cyanide Christ”

“Sane”

The Prog:

The bass-heavy, polyrhythmic grooves presented in the album are reminiscent of funk and the guitar solos come straight from jazz.

The Metal:

The album is a testament to the delicate art of “head banging.”

A Mandatory Listen? NO

Chaosphere is an amazing album, but it is by no means a perfect one. Though the rhythms are mind blowing and the vocals are beyond perfection, some songs fall short. The final track “Elastic” includes an eight minute period of pure static which, in my opinion, deters from the general aesthetic of the opus.

Cynic – “Focus”

Highlights:

“Veil of Maya”

“Celestial Voyage”

“I’m But A Wave To…”

The Prog:

An amazing integration of jazz and extreme metal. Also, the vocoder used on the album was light years ahead of its time.

The Metal:

Cynic stands as god in the technical death metal community. Their Focus album is as necessary as Necrophagist’s Epitaph.

A Mandatory Listen? YES

Focus is the perfect album! There is no weak moment in this cosmos-altering masterpiece. I am not kidding, this album is quite possibly one of the finest moments in extreme metal history. Listen to it, own it, and let it reshape your musical reality.

Two Mini-Reviews – Ihsahn “After” and Fear Factory “Mechanize”

Posted in album review, avant-garde, black metal, Fear Factory, Ihsahn, Industrial Metal, metal reviews, progressive black metal, progressive metal with tags , , , , , , , , on March 22, 2010 by GRAMPS Pantheon

Ihsahn – After

Ihsahn, Emperor (R.I.P.) frontman and guitarist extraordinary, completes his magnificent solo album trilogy with his finest opus, After. His previous solo efforts, The Adversary and angL, feel relatively standard. After, with a little help from an eight-string guitar and saxophonist Jørgen Munkeby, feels like a tour de force in comparison. The black metal torrent that is “A Grave Inversed” not only shows Ihsahn’s ability to bend eight-string guitars to his will, but also showcases the fantastic free-form jazz saxophone present through out the album. In “Austere,”  Ihsahn presents some truly refreshing Deep Purple-sounding organ synth that is so deserving of his name. Finally, the vocal chorus in “Heavens Black Sea” brings to mind stoic, tormented angel chanting that literally sends a shiver down my spine. If you’re into all things “Kvlt” or “Tr00,” this album is definitely not for you. If you like bands that break the rules and make their own in the process, I highly recommend you add this masterpiece to your collection. – Cameron Davis


Fear Factory – Mechanize

If you are one of the Fear Factory fans who, like me, was left feeling betrayed by the band’s most recent breakup and reformation; get over it.  It becomes obvious before you even finish the first track on this album that everything has worked out for the best.  On this album, Fear Factory manages to recapture the sheer intensity and brutality of their older works without sacrificing the musicality found on the more recent “Transgression” and “Archetype”.  And, while not particularly innovative, “Mechanize” is easily the closest that Fear Factory has ever come to perfecting their unique brand of Industrial Metal.  -Matt Neri

Between the Buried and Me – “The Great Misdirect” review

Posted in album review, avant-garde, between the buried and me, metal reviews, metalcore, prog reviews, progressive metal, progressive rock with tags , , , , , , , on March 18, 2010 by GRAMPS Pantheon

With their magnum opus, Colors, Between the Buried and Me stretched the already distorted limits of progressive music. This included the insertion of many conflicting musical genres into one continuous album. The Great Misdirect picks up where Colors left off, but takes the sporadic passages and streamlines them into a transcending record. The band’s eclectic style makes the transitions seem very cohesive. The Great Misdirect is a transcendent experience, the majority of the album examining the mind and our own human perception.

Although not extremely technical, “Mirrors” opens the album by creating a preparatory listening experience. The listener is able to relate to their own existence through the calming mood created.  “Obfuscation” relays the overall theme of the album with these lyrics; “As humans we could never be content with knowing all, yet we can’t be content with the fact that our brains will never know.” Throughout the entire album, the band exhibits a knack for creating haunting vibes of mind control (“Disease, Injury, Madness”), questions of existence, and even UFOs (“Fossil Genera- A Feed from Cloud Mountain”).

Musically, the greatest evolution can be heard through Blake Richardson, the drummer. Prior to recording, Blake had been collaborating and working with Dream Theater virtuoso Mike Portnoy. That being said, Blake stays true to the heavy side of BTBAM by pounding out barrages of brutal drumming. Picking up from where he left off in Colors, bassist Dan Briggs plays with an enormous amount of talent and emotion, and should be considered one of the premier young bassists on today’s scene. Tommy Rogers is not the exclusive vocalist on the album. Guitarist Paul Waggoner’s takes the lead on vocals for “Desert of Song,” which is the low point of the album in my opinion. The 18-minute closing epic, “Swim to the Moon,” features Chuck Johnson, light tech and merch coordinator for the band.

Overall, Between the Buried and Me continue to exemplify the progressive label by adapting with each album and constantly reworking their personal goals as musicians. The Great Misdirect is a chilling, magnificent representation of what the band is capable of doing musically and lyrically. Though everyone may not approve of the eclectic shifts present in the latest albums from the band, BTBAM brings something new to the table with each release. One can only hope they continue down the road paved by Colors and The Great Misdirect.Matt Karow