Sometimes Our Masks Break

[Somehow, this never published.  Remedying that, now.]

If you’ve never suffered with depression and you’re spouting your opinion on how a person feels, I want you to stop.  Just…stop.  You have no idea.  You may think you do, but you don’t.  The only way you can even come close is if you’ve watched someone, closely, someone you love, perhaps, suffer with depression.  Even then, it’s kind of like watching someone with a cast, be it on an arm or leg.  You can sympathize with the person wearing the cast, but unless you’ve broken a bone, you have no idea what all is entailed in having your arm or leg immobilized for a month, with aching, itching, and that weird feeling of huge amounts of pent up energy that sits and almost tingles in futility, or with the doctor visits and pain killers and months of physical therapy, thereafter. Nor can you understand depression.  Not fully.

I don’t talk about my depression, really.  This is mostly because I feel it’s not anyone’s business but, also, because with the stereotypes and stigmas that are still pervasive in our society, most people are ill-equipped to know how to deal with someone who’s depressed.  It’s hard enough interacting and dealing with people, as it is, and this may just be from the depressive perspective since I only have one perspective and that’s it, let alone with people who are armed only with what mass media have told them about depression.  One of the biggest things is understanding and there’s so little of that in the world, today, that it’s naïve to think there would be much in this regard.  People tend to have a limited amount of understanding for something they can’t comprehend, fully.  That’s OK – I understand that.  I’m not criticizing someone who doesn’t understand depression, I’m just asking you keep your opinions to yourself when you tell me, or the rest of the world, how someone who is depressed must be feeling.  There’s no “must be” with no frame of reference.

Most recently, what Robin Williams’ death has brought to the fore is something that I’ve dealt with for most of my life, and it’s not just dealing depression. It’s dealing with someone you love feeling so emotionally injured, so depressed, so alone, so incapable of seeing any other solution in a great, wide world of solutions, as to kill themselves.  There aren’t a lot of people in this world equipped to deal with this, especially when it’s someone close to them, someone beloved.  I’m not an expert, by any stretch.  I’m just a guy, already someone who suffers with depression, who has the added burden of having two people in his life take theirs.

There have been people attacking Robin for his choice.  It’s almost as if they feel this was an easy choice made with no forethought or attention paid to consequence.  It’s almost as if they have no idea what they’re speaking of, at all, when it comes to depression and the suicidal thoughts that haunt individuals every waking moment of every day making it seem almost like a release from a chrysalis of confusion, silent suffering and emotional and physical pain.  Yes, it’s like those ads that have run in the last few years – depression hurts.  Physically.

Part of this, for me, is that this man, Shepard Smith, just suffered a loss, as did the rest of us, of someone he loved growing up and as an adult.  He's angry that Robin has left him in this way.  That's OK -- I get it.  We all feel that way.  The difference is that when you're surrounded by ignorant name calling and vitriol all day, as is the environment I glean from watching 30 seconds of Fox "News," you react not as a reasonable adult, but as a schoolyard bully whose favorite teacher just announced she was leaving.  She's now the worst person ever to walk this earth.   Likewise, Robin suddenly became a "coward."  I'm not apologizing for this Smith person.  I don't know him. I just know people like him.  Schoolyard bullies don't react with compassion towards the person or situation.  They react by lashing out. 

It's easy to fall back to the pervasive thoughts from a less enlightened age (prior to the 1990s, really) where suicide WAS seen as cowardice by so many.  What's hard is to FEEL and understand what a person so completely devoid of hope as to *kill* themselves is feeling, even a sliver.  One thing FoxNews has never been about is sympathizing with "other" and understanding someone else's perspective.  I truly hope that this person never has to face this so-called cowardice in any aspect of his life other than vicariously and detached.  It's not something I would wish on anyone.

The Year in Metal 2014

It’s hard to believe another year has been and, now, gone, and harder, still, to believe the metal that has been offered to us.  Some of it has been excellent, some not as much, and there is still a huge amount I haven’t listened to.  That said, I’ve tried to keep up on the bands I have enjoyed over the years and, really, I haven’t been disappointed, this year.  Let’s hope that is a trend that continues, into the upcoming year.  So, with that, let’s get to some reviews!  Now, these are going to be largely (but not exclusively) chronological, as I am relying on Wikipedia’s “2014 Metal Releases” and the sort in MusicBee (I heartily endorse this program as an iTunes or MediaMonkey replacement, by the way) to guide me through the releases.  Also, bear in mind, as I’ve gotten more into the production aspect of music, I’ve also started listening more closely to those aspects of releases, as well, as that tends to color my perception almost as much as the music does.  So, let’s do this!

Iced Earth – Plagues of Babylon

I started to listen to this band in 1992 with the release of “Night of the Stormrider.”  I haven’t always been down with some of the musical direction, but have always appreciated how hard this band works and how much they pour into their releases which is why I’m critical when they don’t.  If you’re worried this is one of the releases where they don’t pour everything they have into it – don’t!  From the opening drum salvos to the ending cover of “Highwayman,” it’s high energy and the musicianship is spot on with a mix to match.  This is an album that deserves more than a casual spin in your CD player or MP3 playlist rotation. 

Flotsam and Jetsam – No Place for Disgrace 2014

Let’s get one thing straight – this album was badass and regarded as a classic going in, so there was little doubt that re-recording with the current lineup and modern recording technology and methods was going to make this more than just a little EPIC.  I don’t know about the rest of you, but I was suitably impressed.  Not only does the music, itself, still hold up, but the modernized treatment gave a definition that my old tapes from beyond the mists of history lacked.  Eric can still belt it out and the production really did the tracks justice.  Seek this out, even if you think that all you need is the original album.

Van Canto – Dawn of the Brave

So, it was “Badaboom” that intrigued me enough to check out the band’s newest release.  If you’re not familiar with them, the do acapella metal.  More importantly, they do it well.  I enjoyed the heck out of this release.  While there are instruments other than the human voice, there was enough “dugga-da-doom” and massively lush harmonies to carry this album and make it more than just a novelty act.  Check them out, if you haven’t!

Babymetal – Babymetal

OK, so, speaking of “novelty acts,” this is one of the most polarizing bands out there with “true” metal fans rolling their eyes and grumping about it being far too “cute” for metal and the fans of band arguing that it’s just another aspect of the same “metal” genre as everything.  I’m on the fence.  There are times when I dig it, but there are times I’m not in the mood.  Here’s the thing, though – the music is solid – they have a good band backing up the three-headed Hello Kitty monster.  I have to be in the mood, but I can’t say it’s “crap” outright, because it’s not.  It IS however, what happens when J-Pop and Metal collide head-on and metal mostly wins.

Manowar – Kings of Metal MMXIV

Power metal from the progenitors of the sub-genre as you would expect it – over the top, musically and lyrically with heaping cheese.  This album takes me back to 1984 in a lot of ways, but with a production that reminds me is 30 years later.  Gang-vocals, huge-hooks, epic topics – everything the Manowar fan loves and expects.  I, for one, was not disappointed in the least from this release and, really, if you’re looking for a time machine to take you back to the land of loincloths, body oil and power-chords, this is for you!

Wolves Like Us – Black Soul Choir

A band that reminds me of what would happen if Paradise Lost were way more up-beat.  A well-balanced album that gives you thick mixes of what I guess is being referred to as “groove metal,” now.  Very listenable and easy to catch yourself bobbing your head along to.  I enjoyed the album, a lot.  It wasn’t one I was expecting, but was pleasantly surprised.  Check ‘em out, if you haven’t!

Profane Omen – Reset

The follow-up to “Destroy!” boasts a very-widely mixed soundstage from which to deliver relentless, pounding thrash.  Everything you want from them is back – the driving rhythm with excellent backbeat, hooky-yet-suitably-complex riffs, well-matched dual vocal style delivery and well-structured songs.  If you’ve not heard of or heard them, do yourself a favor and check them out.  This release is solid and carries itself well, delivering the goods that reach the bar set by the previous effort – and that was a fairly high bar.

Animals as Leaders – The Joy of Motion

From delightfully airy to thunderously bludgeoning, Tosin Abassi’s trio featuring two 8-string guitars and a drumset delivers some of the most enjoyable prog-yet-proto-thrash you can find and if you were lucky enough to catch them on the road with the band in the next capsule review, then you were treating to an amazing show.  The album itself is mixed exceptionally well, capturing the wide tones being delivered within.  This is an exceptional album and, again, if you happen to be able to catch these folks live, DO IT.  Watching Tosin perform the magic captured on this album live is well worth the price of admission, as is the album, itself.  Do yourself a favor and check it out.

Conquering Dystopia – S/T

If you’re a fan of metal, you know the members that comprised this “supergroup.”  Jeff Loomis and Keith Merrow helm the guitars with Cannibal Corpse’s Alex Webster manning the base and Alex Rudinger of the Faceless providing the face-melting drumming to bring you one of the finest instrumental metal albums to be released in a long time.  Now, I’m an admitted fanboy of both Jeff Loomis and Keith Merrow, and both just flat-out shred on this album.  I’ve heard people mention they wished Keith had actual solos on the album, and to a point I agree, but if you listen to the rhythms being laid down and played by Keith, they are, in themselves, “rhythm solos.”  Watching this band play live, I was ever more impressed with them, if possible.  The bottom line is that this effort lays waste of your eardrums in the best way possible and is definitely on the short-list for album of the year, in my opinion. 

Helstar – This Wicked Nest

Another band I’ve listened to since the mid-80s, I find Helstar to be a band that is either either spot-on or the exact opposite (“spot-off” didn’t sound right…) when it comes to releases.  I didn’t enjoy “The Glory of Chaos” as much as “The King of Hell,” so it was with a little trepidation that I spun “This Wicked Nest.”  So, with a pleasant intro, we get a political statement, and then we get kicked in the teeth. YES!  The vocals seemed mixed a bit far back for my taste, which is what makes this album not one of the best of the year.  Everything else about this album just destroys, in a good way, and I recommend it, highly.  Excellent job, fellas!

Insomnium – Shadows of the Dying Sun

These guys always bring a soundscape that demands attention to not only the overall song, but to the little things.  Very wide mix with a dense carpet of sounds that take you into a very solid album.  Another band I wish had mixed the vocals a little more up-front, with the style of almost ambient death (is that a thing?) first song, I understand it, but let’s call it personal preference.  That said, the album delivers an excellent group of songs and is most definitely worth a listen.  I will also say, that aside from my kibitz about the vocals, this album is mixed really well and really helps draw the listener into a different place while listening, which is what you’re going for, really.  Bottom line?  This is a solid album.  I like it. 

Prong – Ruining Lives

This is a fun, driving album.  Tommy Victor splitting duties with Danzig hasn’t seemed to have diminished the songwriting that has made Prong one of my favorite bands in “Beg To Differ.”  In fact, if anything, it’s made it more focused and while still having the prog elements that we know and love, there’s a drive and heaviness that makes me a very happy man.  The riffing is tight, the vocal delivery spot-on and a rhythm section that carries you to Prong bliss.  And, yes, that’s a thing, and it’s a thing I haven’t felt since “Cleansing.”  So, there.  As far as delivering album of the year, it might be just shy, but for delivering “the goods” and making a Prong fan very happy, this does so in spades.

Christopher Lee – Metal Knight

So, if you took the combined ages of everyone in some of these upstart metal bands, it wouldn’t add up to Christopher Lee’s and, honestly, they wouldn’t deliver such epic metal, even if it’s only on three songs, with extended versions of each, bringing the EP total to 6.  Honestly, I hope I can rock half this hard at his age, but, also, I hope I could capture the epic feeling he captures in these tracks, now.  Now, granted, there’s a lot of hero worship here, and it’s not the best metal album released, this year, but come on – Christopher Lee!

Sabaton – Heroes

Completely over the top and, honestly, would you have it any other way?!  This album exemplifies “power metal” and is done with typical German precision.  I found the album very rigid and unyielding and I doubt Sabaton would have it any other way.  A very well produced album that just gets, and keeps, the blood and adrenaline pumping as each song marches on, relentless, forward to the final note.  Again, everything that is “power metal” is “Heroes,” and Sabaton brings it, without question.  Did I mention over the top?  Check ‘em out!

Marty Friedman – Inferno

Taking a break from J-Pop and being a metal god in Japan, Marty delivers an album that is typical Marty – just a bit off-kilter and completely mind-blowing.  Featuring myriad guest stars, the one that Cacophony fans will gravitate towards was his collaboration with Jason Becker.  It doesn’t disappoint.  There are exotic scales, arpeggiated runs, blistering runs and sumptuous acoustic lines.  This is a most excellent offering by a most excellent musician and I heartily recommend picking this one up!

Arch Enemy – War Eternal

Featuring a new singer, the band doesn’t miss a step, with driving rhythms, blistering solos and ferocious vocals.  This is a solid offering and more inspired than the last, bringing a tighter focus and delivery.  There are, also, some catchier tunes that will have you humming and that’s something that’s a little new for AE, but, you know – they are still solid tracks and still demand a good proper headbang.  Overall, I enjoyed this as a proper Arch Enemy release and they did themselves proud.  It’s definitely worth picking up, if you haven’t already!   

Mastadon – Once More ‘Round the Sun

It’s weird. I’d never really listened to these fellas, before, remaining content to think of a Mastadon as an extinct fuzzy elephant-like creature from the mists of history.  Well, then…imagine my joy at picking this disc up!  Thundering rhythms of pacydermal-esque pounding driving suitably progressive riffing with insistent and slightly-Prong-ish vocals.  This album was a really happy surprise and while being in the running for album of the year, already takes the “most colorful and beautiful album cover of the year.”  It’s just really cool that the music contained therein matched the cover.  An excellent offering well worthy of your consideration.

Vintersorg – Naturbål

Another band I hadn’t really checked out prior to this release and one that, because of this album, has garnered further investigation.  Falling under the category of “folk-viking-black metal,” they acquit themselves nicely with actual catchy hooks, excellent harmonies and melodies that bely the “black metal” label.   This is a fairly well-mixed album with good separation of vocals and guitars.  I just wished for more bass and drums more evenly.  That said, it’s an album that will definitely get your horns up and there are enough angstroms for everyone! A very enjoyable album and one I recommend.

Hellyeah – Blood For Blood

This is a very high-energy album, packed with chunky riffing, pounding drumming, modern vocals and a mix to push them all into your face with as much as velocity as you’d expect from a band called “Hellyeah.”  Yet another band I didn’t pay much attention to, prior, I didn’t really have any expectations going in – I simply knew Vinnie Paul was on the skins…  Overall, this is a very XM-Radio friendly album with plenty of driving everything.  I enjoyed it, but the style isn’t my favorite, really, but then again, me and “mainstream metal” haven’t ever really been on the same page.  I’d say pick it up.

Tesla – Simplicity

OK, speaking of “mainstream metal” and being on the same page with my tastes, up until this album I had listened to *two* Tesla songs.  Ever.  So, it was with a bit of trepidation I picked this up.  I’ll go on record, now, I’m not sure I’m on the same page, yet…although this is considered, “hard rock.”  It’s a well-mixed album, though rather treble-heavy for my taste (I think there’s a confusion between “bright” and “treble”), but it suits the band pretty well.  That said, this isn’t really my cup of tea.  At all.  It’s very listenable, don’t get me wrong, but this is too …not metal… for me. If you’re a fan of Tesla, I’m pretty sure you’ll enjoy the album. 

Judas Priest – Redeemer of Souls

Not always immediately in the running for “album of the year” when they release, Judas Priest is, this time around.  “Redeemer of Souls” is exactly what a Priest fan wanted and needed, this time around, with a lot of pummeling drums, crunchy riffing, harmonized soloing and Rob doing what Rob does – iconic vocals ranging from growl to scream.  The one thing I did noticed about this album, right away, is that there are songs that would fit on albums from almost every era of Judas Priest’s long and storied career.  I’m not 100%sold on the mix – there are some tonal inconsistencies across the songs, mainly in guitar tone – but it also feels like everything was done with intent.  This is a very deliberate and focused album and will leave you with a very satisfied feeling.  If it weren’t for a couple of other releases, this year, this would have been the top pick in the “album of year” running. 

Overkill – White Devil Armory

I’ve listened to Overkill since “Taking Over” and, honestly, they sound as intense and focused and “Overkill-y” as they have as they have in a long time.  Blitz sounds as angry and intense and in no way tired as he sometimes sounded on the last offering.  The rhythm section is just full bore and driving forward with no regard of personal safety.  All in all, this is a solid, solid album that just shreds from the first note of “Armory” until the last note of “In the Name.”  They’ve outdone themselves on this album and delivery the thrash metal you have come to know and love from these fellas.  An exceptional album and one well worth picking up.

Ill Niño – Till Death, La Familia

Classified as “nu-metal,” I’ve given them sparing listenings of the years and still find them kind of bland.  This album didn’t do a whole lot to change my mind.  It’s actually a very sonically pleasing album, mixed very well, if on the quiet side (thank you for not participating in the “loudness war!!”).  That said, it’s, to me, a bunch of staccato, alternating rhythms, vocals switching between decent clean and angry shouting and a use of profanity that made me want to mail them a rhyming dictionary and thesaurus.  Seriously, the “F-word” doesn’t make you sound more emphatic…  At any rate, if you’re a fan of “nu-metal,” which I am not, this might do it for you.  As for me, not so much.

Eluveitie – Origins

Infusing folk with metal brings lots of bands, and Eluveitie has always been a standout at meshing the two.  This album is a little different from previous efforts, bringing a bit more aggression to the game this time around.  The album still teems with whistles, accordions, pipes, folk drumming and harmonized vocals and brings with it some excellent music.  It’s an enjoyable album and I recommend it to all fans of folk metal.

Unisonic – Light of Dawn

As a fan of Michael Kiske, I was looking forward to seeing what he and his band could do to wow me.  Well, the orchestral “Venite 2.0” builds to a climax then trails into driving double-bass drums and the power metal we know and love from the former Helloween singer.  The vocals are vintage Kiske and this album, thankfully, doesn’t sound 100% like a Helloween album, but definitely borrows heavily from the sound forged by the German metallers.  This album gives the power metal fan everything they could want.  I enjoyed this disc a lot and have no hesitation recommending it.

Opeth – Pale Communion

Pioneers in the black/gothic metal world, this album is about as far removed from their first few releases as you can get.  Well, maybe not AS FAR, but pretty darned far, as this album feels like what would happen if The Who and King Crimson had a three-way with the Canadian band Paradise Lost (not to be confused with the goth metallers of the same name…).  It’s an interesting, textured, churning, flowing album that has some really neat music.  It’s just not what I was expecting, but then again, that’s kind of their thing, isn’t it?  So, with that, I dig the album, it’s not just not quite the “metal” album I was hoping for.

In Flames – Siren Charms

Speaking of bands not delivering what I was expecting, In Flames seemed to soften up a bit on the previous release, so I was expecting more of the same.  Actually, “Siren Charms” is a pretty heavy album. It’s not quite on par with their earlier releases, but they’ve grown and matured and are providing the listener with a pretty decent variety of music.  Now, there’s a shift where what used to be screamy vocals with occasional clean, we now have mostly clean with the screamy vocals relegated, for the most part, to choruses.  That’s OK.  It works.  I enjoyed this album a bunch and that was after an initial reaction of “what?!” so, it grew on me.  If you haven’t checked it out, do so.

Cannibal Corpse – A Skeletal Domain

So, I’ve never really listened to these fellas because the vocals just weren’t my thing.  After seeing Alex Webster on tour with Conquering Dystopia, I decided to see what was up with his normal band.  This is a monstrous album.  I’ve heard complaints that it’s “boring,” or “same ol’ CC.”  If it’s this intense, in your face and, well, brutal, wouldn’t that be a good thing?  The mix is thick, but not muddled – another reason I usually give death metal a miss – and every musician shines.  The album isn’t for the casual metal fan…if you’re not into death metal, though, this could be a decent album on which to jump in.  The musicianship is spot on and the vocals are suitably death-y.  I actually enjoyed this album a LOT. 

Evergrey – Hymns For the Broken

I like Everygrey a lot and was really looking forward to this release.  I was not disappointed.  A pristine mix gives us the music with clarity, allowing the drums to drive well situated under crisp guitars and punchy bass, all fitting nicely underneath strong, clean vocals.  It’s not earth-shattering inasmuch as it’s very much an Everygrey album, but it is focused, driven and musically excellent, which makes this a very easy album to listen to.  Now, you can pick up on the heightened emotion that went into the recording process, remembering misgivings about even recording another album.  It’s an intensity, and energy, but it enhances rather than detracts from the performances on the album.  I, for one, am very glad this album came about and am looking forward to many more listens in the future.

Sanctuary – The Year The Sun Died

Waiting for this album for a million years may have made it overhyped in my mind, that whole expectation exceeding reality thing.  It didn’t.  My review of this album can be found here: 
http://kon16ov.wordpress.com/2014/10/27/review-sanctuary-the-year-the-sun-died/
So, here’s the bottom line for me — this is an exquisite example of a band “growing up.”  It’s not 1989 Sanctuary, it’s 2014 Sanctuary, and it really works for me.  It’s not “The Nevermore Replacement Project” or “Warrel’s New Solo Project, Part II,” it’s Sanctuary, and from the opening notes of “Arise and Purify” to the tailing fadeout of “The Year the Sun Died,” this album is solid, well-paced, well played and well executed.  It’s also, for me, the album of the year for 2014.  

Exodus – Blood In, Blood Out

So, Dukes is out, Zetro’s back in.  Will it be seamless?  Will it be like Tempo?  Will it melt your face?  Yes.  Yes.  Yes.  Even sporting a couple of notable guest appearances – Kirk Hammett and Chuck Billy – this is a 100% pure Exodus album and is thoroughly enjoyable.  The boys put together 12 tight tracks mixed just shy of the threshold of pain, just like they like it.  This is an excellent album to drown out everything, and I do mean everything, around you and you can lose yourself in some brutal, tightly executed trash metal.  If you haven’t picked this up, I recommend it, highly.

Amaranthe – Massive Addictive

The three-headed vocals are back with a higher-energy, less goth-y offering that, from the first beat drop, soars.  The mix is quite compressed, but not a point where we’re clipping, but everything sounds tight and a little thin, especially on the higher vocals, but part of that is the synth zipping around in the same register.  That said, musically, it’s tight, as well.  It’s an enjoyable disc and there are some catchy hooks contained herein.  My only complaint comes back to the mix which, while feeling dense, also feels thin – I’m missing the bottom end to carry everything home.  Still, a good effort well worthy of giving a spin in the ol’ player.

Einherjer – Av Oss, For Oss

I know I’ve been talking about mixes a lot, but Einherjer is a band where I just kind of forgive and move on.  This album is no different than their previous efforts in that regard – it sounds like it was recorded on a tight budget in a small studio where they were more concerned with getting tight, churning, roiling Norse black metal to the fans without worrying that it sounds a bit like recordings from the early- to mid-90s.  This is a solid album – good musicianship and songwriting giving you exactly what you expect from Einherjer and a little more(SOLOS!  Like, bluesy solos!).  I just wish it had a little more definition all around and a little less reverb on the vocals.  That said, it’s still an album I recommend without hesitation.

Devin Townsend – Z²

Ziltoid’s back and Devin brings the story to life with amazingly dense, yet crisp and clear, mixes making sure you don’t miss a thud from the drum, arpeggiation on the guitar or snide remark from our undercaffienated alien overlord.  This is a fun album with some amazing musicianship.  It might not be everyone’s cup of tea, seeing as it’s Devin and he’s not always on the same wavelength with the rest of us.  That said, it’s impossible to deny the talent, skill and perseverance that went into crafting this album.  It flat out rocks in places and in others just lures you in with the lush soundscapes.  The humorous interjections help carry along the plot and keep the mood light while the music tells the story.  It’s a great album and I recommend checking it out, as well as its predecessor.  Do it!  Ziltoit commands it!   

OK…So, here’s the thing – I’m running out of steam and running out of time for “The Year in Metal” to still be kind of relevant, so I’m going to give you a quick hit list of excellent metal that you should check out. 

• Scythia – “…of Conquest” (VERY fun)
• Rodorigo y Gabriela – “9 Dead Alive” (Not strictly metal, but DAMN)
• Dark Forest – “The Awakening” (Solid power metal)
• Sister Sin – “Black Lotus” (Good straight-forward hard rockin’…rock!)
• Falconer – “Black Moon Rising” (Putting the “power” in Power Metal)
• Miles to Perdition – “Blasphemous Rhapsody”  (technical death metal; decent mix)
• Horsehunter – “Caged in Flesh” (doom metal el grande)
• Halcyon Way – “Conquer” (Excellent musicianship)
• Hatriot – “Dawn of the New Centurion” (Not as focused as the first, but still a blistering album)
• Allegaeon – “Elements of the Infinite” (excellent technical album)
• Kontrust – “Explositive” (Weird and unashamed, but the musicianship to back it up)
• Veritus Maximus – “Glaube un Wille” (fun and German…reminds me of Boese Onkelz)
• Triosphere – “The Heart of the Matter” (excellent release)
• Cripper – “Hyena” (Hard driving metal)
• Meshuggah – “The Ophidian Trek” (Thunderous tech-prog metal)
• Ten Masked Men – “Revenge of the Ten Masked Men” (Just damned fun!)
• Temple of Dagon – “Rituals of the Deep” (decent material, needs to be remixed and remastered…seriously)
• Pentakill – “Smite and Ignite” (straightforward metal, mostly…good stuff)
• Lothloeryen – “Some Ways Back and More” (Tolkein-metal…not bad)
• Primordial – “Where Greater Men Have Fallen” (fantastic album hampered by overcompression)
• CHON – “Woohoo!” (Just wonderful musicianship and whimsical and check them out!)

That’s 2014 in Metal according to Phil. I know there were more releases out there and by some fairly mainstream bands, but mainstream has never been my thing, and I’m not made of money…  It was a very good year.  I’m excited to see what 2015 brings but in the meantime, I’ve been left with a lot of REALLY solid releases.  Hopefully, this will have some bands you’ve not heard of and you’ll check them out, just as I did, this year. 

Caught in a Mosh

Anthrax’s seminal hit rings true, these days, as I – and metal musicians, it would seem – have noticed that what was once a pit of frivolity and “good, friendly, violent fun,” as Exodus phrased it, has become a land of bullies and thugs.  The most recent artist to speak about it is Slipknot’s Chris Fehn, who puts it, rightly, when he says,

“I think, especially in America, moshing has turned into a form of bullying. The big guy stands in the middle and just trucks any small kid that comes near him. They don’t mosh properly anymore. It sucks because that’s not what it’s about. Those guys need to be kicked out."

He’s right, you know.  It’s changed.  The pit, that is, has become some kind of supercharged gladiator ring rather than a place to bounce off of people and have a good time.  It's an interesting dynamic, these days.  "In my day" (to sound 80 years old), which is to say back in the late 80s early 90s, pits were a bunch of folks skipping around in circles -- rapidly.  You may catch an elbow in the mush, occasionally, but you kept skipping and laughing it off because you knew there was no "intent to injure" or anything other than just a good "mosh." 

At the most recent concerts I've attended, it's some jackball who weighs 300 pounds lining up on one side of the pit and just going bowling across the middle and plowing into a bunch of folks on the other side who weren't expecting it.   Add in a bunch of other Neanderthal-acting folks who are just throwing elbows, over-head fist swings and feet with no intent, it would seem, to do anything BUT injure, and that's the state of things, it seems.  It sounds stupid as hell to say, but there's no decorum, anymore, in a pit. 

A notable exception, and a “pit” I could get on board with, occurred at the Týr show where it was a large group of people, arms locked at the shoulders, in a circle, facing inward, simply head-banging in rhythm.  Very interesting to watch and allowed the people right up at the front to enjoy the show without fear of being obliterated from behind by some ill-mannered moron.  That show was epic.  We also got to witness a “wall off death” executed perfectly, but in a way where, if you didn’t want to be part of it, you weren’t included in the mayhem irrespective of your opinion.

I've NEVER had to throw a good solid check in a pit, before, but I got to a point where I was just trying to keep the people who were on the outside from getting run over by the folks on the inside who don't respect the boundary of the pit.   It used to be you would see someone get accidentally (or even intentionally) knocked down, you'd help them up and keep the pit moving.  Now, it just looks like the goal is to knock everyone down and be the last one standing. 

I don't know when this change occurred, but it is going to kill the concert experience for the fan who would LOVE to get close and SEE the musicians up close, but doesn't want to get wrecked by someone who, in my opinion, doesn't respect the musician or the music, let alone the other fans.  I spent half of the Conquering Dystopia show squaring off behind some kid who looked to be maybe 13, was obviously attending his first show, and was not only star-struck by being right up there with Jeff and Keith, but also rightly terrified by the morons who were just plowing into him.  It’s funny, though, because I gave Keith a “BAD KEITH!!” when he did the finger circle indicating, “mosh it up!” but not because I don’t want these bands to have a pit, but because I knew the people in this particular pit were not equipped, mentally, to do a pit “right.”  I tried to make it so this kid could watch the show looking forward, at the musicians, and not behind him, bracing for impact.  No one wants this kid, or anyone else, to think poorly of the band, the venue, or the whole magical LIVE experience because some folks can’t conduct themselves in and orderly, respectfully violent manner.  If the pit had contained itself to its circle and had limited itself to ping-ponging, skipping, hopping, rhythmic “slam-dancing,” it wouldn’t be an issue.  As it stands, when a show comes to town with band I enjoy, I have to ask myself if it’s worth the effort.  Maybe it's just getting old and having back issues, and knee issues and thinking, "Strange...I'm actually here to see the band I paid money to see..."

Why Taylor Swift is Right and Why She is Wrong, But Why I Agree With Her

So, while not a whole lot of hoo-hah has been made about this, Taylor Swift made a move a few Thursdays ago that made a lot of people scratch their heads, a lot of people lash out at her and quite a few simply shrug and not care in a different way than they didn’t care before.  I went through all three stages, but also had another stage – I started to agree with her, in principle.  I don’t really agree with how she’s gone about it, but, let’s look at this, shall we…

Taylor has had Spotify – the cpu hogging music streaming app that supports about every platform out there – remove her entire back catalog from their rotation.  That’s a big deal because it’s a lot like calling every radio station in *the world* and telling them not to play your music, anymore.  Her quote on why, “And I'm not willing to contribute my life's work to an experiment that I don't feel fairly compensates the writers, producers, artists, and creators of this music. And I just don't agree with perpetuating the perception that music has no value and should be free.”

My first take on this is that she was NOT a child of the early 80s.  My first copy of Metallica’s “Master of Puppets” was a copy of a copy of a copy of a copy that a friend handed me saying, “You HAVE to listen to this band, man!”  So, I got arguably Metallica’s best album for free, right?  Wrong-o!  What I got was a tape that had to be turned up to the full extent of the tape deck in order to get volume that was audible with, literally, no fidelity…and a burning desire for more Metallica!  That week, I purchased what are now kind of collector’s items but were all I could afford at the time, the “Whiplash – Remix EP” and “Creeping Death” picture disc with the original “Garage Days Revisited” on the b-side.  So, yeah, *records.*  At any rate – this “free” MoP tape of horrifying fidelity spawned a purchase rate that, over the past three decades has made Metallica, from just me, close to $500, give or take, in albums sales, concert tickets, and t-shirt sales.

I use this as an example because what Spotify is trying to do is be a sort of half-crazed fan that allows you to try new music based on what you say you like – like the guy with the crappy tape saying “You have to try this!” only through things like “Phil, 9 Suggestions For You” emails that tend to include bands I would never seek out on my own.  So, with that in mind, I find it hard to fathom why anyone wouldn’t want “free publicity,” except that’s the rub, isn’t it?  It’s a pittance these artists are paid every time a song of theirs is played on Spotify.  I had a brief discussion with an artist about this and the sad truth is that an artist gets between $0.001 and $0.005 and said artist must also work through a third-party aggregator which then siphons off profits from this paltry number.  For example, if you have a song that people LOVE and play 1,000 times, today, you will make between $1 and $5.  If you’re working with an aggregator that takes the minimum I’ve seen, you’re looking at 9% or $0.09 taken from what you make for this song off of Spotify, therefore, only leaving you with $0.91 of your own, and that’s if the company takes only the minimum I’ve seen – it could be as much as 30%, which would leave you with $0.70.

So, while this information might be dated, it’s OK for our purposes and that’s because, for what it’s worth, Taylor isn’t having any and I kind of agree.  I don’t like Spotify, really, and have sort of a contrarian relationship with it.  So, when I get a suggested band, my usual first though is, “won’t be listening to them, thanks.”  I know…bad Phil.  Still, if you’re an artist who has paid a LOT of money to record an album and are looking to recoup costs, services like Spotify are not really the way to go, I would think, especially in a world where initial sales are big indicators as to whether your record company will decide to deal with you for a next album.

Some of this is probably also coming on the heels of the U2 hit/miss release of their new album for free to the world via iTunes – whether you wanted it or not.  Personally, I was irritated on two levels by this.  The first is that it’s exceedingly presumptuous.  Music is a personal thing.  Me, I don’t like people screwing with my music collection or putting something in there that I’m not able to remove.  As a side note, I found it sad that Apple had to create a tutorial on how to remove U2 from your iTunes collection…  Secondly, I find it devaluing what U2 did, musically.  I haven’t listened to the album, so I can’t say whether it’s the best album in decades or drek, but what I can say is that it’s like telling the rest of the world one of two things: 1) “We’re so bloody rich, we don’t need the money, so have this album,” or 2) “We’re not sure this is going to sell, so, here, take it and please see us on tour where we actually make money.”

So, my takeaway is this – Taylor Swift was saying to the world, I value my music more than $0.001 to $0.005 a play and I have enough faith in my music that if my fans really want it, they will buy it.  I am OK with that.  I’m also OK with bucking the idea of the half-crazed tape trader that is Spotify.  Honestly, as someone who grew up on metal, it’s never been about the radio airplay, but always about the word of mouth.  Now, Taylor doesn’t have to worry about airplay; you almost can’t take a trip down the FM dial, let alone XM/Sirius spectrum, without tripping over one of her songs, but that exposure is worth more than a penny, here, or a dollar, there.  The hard truth is that it’s about building enough of a fanbase to come out to a concert which is, really, what ends up paying the bills.  I guess what I’m trying to say is that while there’s something to the “any exposure is good exposure” mentality of Spotify, there’s also the idea that your music that you’ve poured your heart and soul into is worth more than what Spotify has valued it.  That’s on Spotify.  That’s on the consumerist mentality.

After pondering on this awhile – and starting off kind of disagreeing with her – I actually have to side with Taylor on this.  The sad part of it is, if an artist who you know makes more than $1 to $5 a day on songs is getting uppity about the artists getting what they deserve via these services, you know that there are hundreds if not thousands of other artists out there who, while needing the pittance they’re getting from Spotify, wish they could do the exact same thing.

Open Letter to Guitar Center

Here's the problem -- I'm one of the minority: the left-handed guitarist.  I'm also not rich, not famous and not the best guitarist out there.  However, I do have money occasionally, and I sometimes get to feed the beast that is G.A.S. (Guitar Acquisition Syndrome).  My biggest problem is the in-store selection. 

When I go in, I have pretty good ideas about what I want.  My choices, at least in my area (Dayton/Cinci Ohio), are exceedingly limited -- an Ibanez Gi0 and Fender Tele.  I will say that for my last birthday, I hit all the local shops and threw down less my wife thought I would to get a Schecter Omen-6 Extreme Diamond Series rather than some of the lefties we had found at other stores.  The point being, I did NOT spend the money at Guitar Center, even though that was the second stop on the trip.  I've bought there before, but not this time.  Part of that was I already HAVE one of the two models available in-store and wouldn't buy it again without serious persuasion – like someone would have to pay ME.

I guess that comes to my next point -- the in-store selection being dreadful is kind of be expected: we lefties are quite the minority.  That said, would it kill you to have more than 2 models in store?!  Even back in 1992 when I was looking for (and ultimately purchased) a new guitar at a LOCAL (to Norfolk, VA) shop, I had a choice from, basically, one lefty model per manufacturer, meaning I tested a lefty Fender Strat, Les Paul Custom, BC Rich Warlock, Jackson Stealth and PRS of some expensive persuasion, among probably 5 others.  I walked out of there with the Stealth EX, but the point is that I had a choice.  I, and other lefties out there, don't get that opportunity, in-store.  Even *one* other model would be nice, but since you don't know which type of player you're going to get in there, predicting that a Schecter model or Jackson or Gretsch will the one someone's looking for, I know that makes it hard.

Just for the record, the quality on the Ibanez Gi0 is dreadfully cheap.  The bridge is the stuff of nightmares and the hardware is...suspect and cheap.  Just so you know.  I bought one when I had my other guitar torn apart replacing pickups but still needed to record.  Not a mistake I would make again.  If you're really looking at a cheap (in price and not necessarily quality) guitar to feature, ESP has a number of inexpensive choices, as does Dean, Schecter and Epiphone.  This is something you already know, since they're available online.  I know there's the notion of inventory and keeping them on hand, taking up the space that one of the other righty guitars could use.  But here's the thing -- when I walked in and saw my choices, I turned around, left and took my money elsewhere.  I'm not buying a guitar unplayed and if there's no selection in-store, then I'm going somewhere that will have one.

At any rate, this was brought on by the email sent out highlighting lefty models and got me thinking about how it's well fine and good to have them online, but, again, I'm not buying without playing an instrument (buying a second instrument of the same make and model notwithstanding) and when I walk into a store and get the "poor guy" sympathetic apologies from the sales staff because there are only two guitars of limited appeal available in store, it just feels a little disingenuous. If I, in the future, should find myself able to walk in with two grand to spend on a lefty and my choices are a $229 Ibanez drekster and a $400 Fender/Squire Tele, I'm taking my $2K elsewhere, just like I did with my $500.

Thank you for your time.

Testament and Greg

Greg Christian has been “airing dirty laundry,” of late about how financially inequitable the situation was while he was in Testament and how that led to his decision to quit the band.  It got me thinking.

I *LIKE* Greg.  He's a neat guy, has helped pen some of my favorite songs, and it does sound like he not only got railroaded, a bit, but screwed, overall.  That said, when I see things like "it may be time to see what my attorney thinks," I twitch, because that should have been done *first.*  You bring in the attorney to look over your ***contract***, that legally binding document that will stipulate royalties, per-show pay or salary, in this case (was this to mitigate uncertainty, going with a "guarantee" pay rather than "per-show?"), and if the contract isn't up to snuff -- *don't sign it* and negotiate until you get one that's to your liking.  Otherwise, legally, you're, as it's been coined -- over a barrel.  Now, going back over unpaid royalties might be an option, but, again, if there was no breach of contract because there was no contract, it will be an uphill battle and, usually, doesn't end in the person getting royalties, just a loss of friendship(s) and a lot of bitterness.

I guess my other problem that is raised, here, is this -- he talks about getting a paltry amount per show.  He's got a W-2.  This says, to me, a few things, including "employment at will" and "agreed upon wage."  Basically, if they had played *2* shows, that would be have fabulous, right? $19K or so per show.  Instead, having a set salary of $38K and touring the world, doing a billion shows, yeah, it's going to break down to "not very much" per show.  That's the problem with salary -- it's averaged across the year's worth of dates and not, as has been mentioned, a four week stretch of *4* shows, which, yeah, makes it REALLY hard to live on $1.25/show ( exaggeration... ). 

I guess my take on this revolves around what a bizarre beast the music business is.
When one talks about things like Chuck and Eric "throwing down $3K" for first class tickets and having more money per show and this and that and the other thing, it comes down to several factors that aren't addressed, not the least of which are what kinds of contracts Chuck and Eric negotiated, to begin with.

1) During Greg's absence from the band, how many albums were released (2 new, "Demonic" and "The Gathering" along with "First Strike" where Greg gets "composer" credits), tours toured (boatloads) and income banked that put Eric and Chuck in the situations they're now in? I mean, an 8- or so year gap in Testament-based income is nothing to sneeze at, and certainly factors in, especially when combined with


2) New revenue streams -- with Chuck, Eric, Alex and Gene having other income to subsidize Testament's overall income, it would certainly make it easier to spend more money than someone who doesn't have these revenues, not to mention


3) Royalties...If Greg doesn't have a contract in place stating, *explicitly*, what his cut of each *song,* let alone albums are, that's a big no-no.  It all comes down to what you've signed as to what you get in this department -- nothing is guaranteed; nothing.  If these weren't done when Legacy became Testament and he became part of that monster, then it *really* needed to be done when he re-joined, since I'm not sure what legal weirdness happens when you quit a band and what carries over beyond hopefully pre-negotiated and contracted royalties.  If he's saying he's not getting royalties, I'm wagering no contract was signed stipulating this.  If there was, then, yeah, it's time to bring in a lawyer. 


4) We don't know what the other members got paid.  It *could* have been the same, though I really doubt this, but, again, with more in the bank, it's a lot easier to make do with $500/show than someone relying on the $500/show to feed, house and transport him to the next show...

There's also
5) How much does it cost to ship gear?  Yeah, I know $100K sounds like a lot for a show.  And, really, compared to local bands jumping over the moon for $100/show at a bar, it is.  Now, I know when I fly, I have to pay $50+ for each additional piece of luggage and I have to check my guitar...singular...in a flight case...$50, and praying nothing impales it.  I can't imagine what flying a stage full of gear would cost, even at a "economy shipping rate."  I guess I could look it up, but between that, whatever is on the rider, new strings, sticks, cords, etc., per show...somehow I think it could add up quicker than one would care to think, considering also insuring all of the gear, maybe on a per-flight basis, in addition to whatever a 3-month-tour-worth-of-clothes suitcase armada looks like (they're guys...1? ;) ) and what extra baggage costs those are (though, the band members have to pay for this, it sounds like...).  You also have to pay your


6) Your management, your promoters and your crew -- sound guys, roadies, strange hangers-on that you think might be part of the entourage, but can't quite remember, but they look "metal" -- "Wanna go to Tokyo?"  Then there's gas for the buses or whatever transports your gear from the airport to the venue.  It all has to come from somewhere, and odds are good, you're paying for this from the revenues from the previous night's gig.

I could be wrong, but it really sounds like it comes down to not walking in with a lawyer at the get-go to negotiate a proper, satisfactory contract.

Music Critique 101– Subjectivity

So, I listen to a lot of different styles of music.  It’s not a contest and I’m not trying to win the “Oh, yeah, we’ll I’m more diverse than YOU are” contest, because it’s pretty much a “who cares wins” argument.  Most of the time, no one cares.  My point, however, is that I have a different perspective on music than the person sitting next to me, just as that person has a different perspective from the person sitting next to them.  What it brings to the fore is the point: subjectivity.

In this vein, I figure an example is required.  Three weekends ago, I saw Conquering Dystopia in concert.  Last weekend, I saw Hotel California play live.  They were both excellent shows, though for me, for different reasons.  The Conquering Dystopia show, pits and all, was about seeing the absolutely amazing tandem of four of the top musicians in the heavy metal genre in what can be described as an all-out shred fest.  The Hotel California show, for me, was about spending time with my wife, seeing a band that falls within the Venn diagram of music we both enjoy.  Now, for me, being with my wife was more important, but that didn’t take away from enjoyment of the music and it was a good show – high energy when it needed to be and also, when appropriate, suitably subdued and contemplative.  It was also a simpler show, which led to the following observation:

“I think Conquering Dystopia played more notes in their first song or so than this whole show.” 

Well, that was dumb of me.  Because while it felt like a “hmmm…interesting” moment, to me, it could be – and was – perceived as a bit of music snobbery, implying that because the music wasn’t as complex or up to the quite lofty standards of Conquering Dystopia, that it wasn’t good.  It’s not how I meant it, but I will readily admit that’s how it comes across.  This is where the subjectivity and, further, expectations come in.

I don’t care, really, that Hotel California didn’t put on a show rife with riffs jamming hundreds of notes per minute, per instrument, into my brain.  That is not their style and I wouldn’t expect it.  I’m not going to defend my statement any further, as it was a pretty boneheaded and insensitive thing to say.  Specifically, it made it sounds like there was judgment as to which was a better experience and, to get back to my original thought, it means different things to different people.  To me, Hotel California did exactly what I expected them to do – put on an excellent show that made a lot of people, including me, happy.  Part of my happiness came from the music, but part of it also came from my watching my wife enjoying and being touched by the music. 

Honestly, the first half of the HC set, I was kind of lost, as I’m not a huge Eagles fan, though I do enjoy the music of theirs with which I am familiar.  That said, I got to watch my wife enjoy it and was introduced to music I wasn’t familiar with and, ultimately, got to take in musicians having fun playing music they love.  That’s pretty much what it’s all about for me.

I mentioned the Venn diagram and mentioned music that my wife and I both enjoy.  It’s not as inclusive as you would think as I listen to a lot of things she does not.  Interestingly, though, when we got married, we duplicated two CDs – neither of which you would expect from someone who listens to Conquering Dystopia – Jewel’s “Pieces of You” and Sarah McLachlan’s “Solace” albums.  Here’s the point to that – I would never in a million years take my wife to a metal show…she doesn’t enjoy the music, I’m not taking her anywhere near a pit, and it just wouldn’t be a fun experience for her.  By that same token, I enjoy going to see bands I wouldn’t seek out if it weren’t for her.  I also don’t go in with the same expectation as I do with a metal show.  If I’m going to see Arch Enemy, it’s not because I’m there to feel the white space between notes wrap around me in a soundscape woven from sounds and memories I’ve associated with the music since I was 10. It’s because I want my face melted off by shredding guitars, bludgeoning double-bass drums and volume set to “bleed” in an all out set of aggression and technical sonic devastation.  When I see a band such as Hotel California, my expectations are quite reversed. 

It’s also hard to extract the metalhead for those times when I am not in a “metal” environment.  When heads were bobbing at the Hotel California show during songs like “Hotel California” or “Dirty Laundry,” I thought, “hmm…it’s not even heavy…” After about a second or two, I tacked on, “…but there IS emotional connection and subsequent outlet of this emotion.”  What people get out of music is as individual and unique as the music out there.  Far be it from me, however, to judge any one else’s appreciation or enjoyment of music and, especially, inadvertently minimize that enjoyment by the implications of the statement that I will now, attempt to rephrase in a way that isn’t boneheaded:

“These guys rock and it was a much different experience from the last show, and that’s cool.”

For the record, I recommend seeing both of these bands live, if you have a chance.  They both put on excellent – though very different – shows.  You won’t be disappointed in either case and you might just gain an appreciation for what goes into each performance, as I did.