Song of the Week: Grand Alchemist - Down Again

Sorry for the long period of absence, we return today with a song by the symphonic black metal band Grand Alchemist. After the release of their first (and only to date) album, Intervening Coma-Celebration, in 2002, Grand Alchemist have pretty much disappeared. Their official site is down, with the last update made in 2006, there isn't a lot of activity on their myspace page either and all news of progression for a new album seemed to have trickled off. After listening to "Down Again" however, I am absolutely flummoxed by this standstill in their career because they seem in every aspect to be a quality band who really know their stuff.

If "Down Again" is any indication, Grand Alchemist is heavily keyboards driven, but that doesn't mean that the guitars are neglected in any way. Both elements work together very well to form varied melodies that makes the song worth listening to again and again. The opening intro particularly appeals to me for its "Alice in Wonderland" feel. Harsh vocals are nicely pitched, and go pretty ok with the tempo. In fact, as far as I'm concerned, "Down Again" is catchy in the way that only a metal song can be, in its musical intricacies and not simply in its chorus or melodies. The only slight drawback is a typical one, the lyrics are not quite up to par. There is structure, and rhyming, so that the singing is in sync with the song. But the meaning of the song is sketchy at best and apart from the general negativity you're not likely to know what the song is trying to put across.

Overall, "Down Again" is less dark than it is melodic and at some points, melancholic, but remains a fine example of symphonic metal that holds true to the latter term as it does to the former. But the mastery of Grand Alchemist reveling in its chosen genre of symphonic black metal is expressed through the hint of creepy eeriness that presented itself in the beginning and lingered throughout the song. This is undoubtedly metal, and fine metal at that.

The rather interesting thing about their music video is that for a song that might be accused of having too much synths and keyboards in it, there is no 'boardist featured at all. In fact, the keyboards strike up even as the band members are shown to be entering the room and picking up their instruments, as if its a supernatural phenomenon. Maybe there's some sort of implication there hmm..

Song of the Week: Avantasia - Lost in Space

The saga of pop sounding metal continues at zetalambmary! This time with what is positively the lynch pin of Avantasia's latter day career, "Lost in Space". Why is that? Well this catchy melodic song first made its appearance in a single entitled (you guessed it) Lost in Space in 2007 and went on to feature in 2 EPs (Lost in Space (Part 1) and Lost in Space (Part 2)), one compilation album (Lost in Space (Part 1 and 2) yes the creativity with album titles are not lost on us) and just for good measure, was included as the last song in Avantasia's most recent album, The Scarecrow. About half a dozen different versions of it exist, but they don't deviate from each other a great deal, which makes it either a really good song, or Avantasia is simply milking it for as much as it can fetch in aesthetic value.

As a side project of Edguy's frontman Tobias Sammet, this symphonic power metal band was founded in the turn of the new millenium and has since released 3 studio albums, with Toby as the consistent vocalist while numerous guest musicians lend their hand in this endeavour to create "a world beyond human imagination". This is aptly reflected in "Lost in Space", with its lyrics attempting to place a setting for introspection in a out-of-this-world context. And I dunno, there's something about the debonair charm of Toby that allows the suave German to pull it off. Musically though, it resides very comfortably within the pop zone that ensures a guarantee that even if one isn't hooked on the song, they're not likely to dislike it. After all, what's there to dislike? There's a handsome young guy with an interesting voice (am I sounding way too jealous here? XD) singing a totally catchy chorus that at least has more depth in content than most gormless pop songs out there. It exhibits a sense of romance and wanderlust. How many metal songs out there can accomplish that?

Ah but therein lies a cause for repulsion- "Lost in Space" hardly constitutes as rock, to say nothing of metal. There are generic female vocals at the back, largely simple tunes are coming from all instruments that serve as ambiance at best and without Toby's voice driving this song, it could very well serve as a backdrop for taichi or meditation. In any case, "Lost in Space" is not particularly original or amazing, it just sounds.. so difficult to dislike. Just that as a matter of principle, metal fans would utterly resent the fact that Avantasia seems to be selling out to a larger audience and neglecting the core metal community that it first based its very existence on. But I'd say give the guy a break, its his side project, he's doing his time with Edguy. This isn't bad anyway if you're willing to let your prejudices go. I'd pick this over Backstreet Boys any day.

Official MV for "Lost in Space". Watch it, and get a feel of Avantasia's world.

Angtoria: God Has a Plan for Us All

Year released: 2006
Label: Listenable Records
Official website: http://www.angtoria.com

Tracks:

1. The Awakening [1:31]

2. I'm Calling [4:57]

3. God Has a Plan for Us All [4:33]

4. Suicide on My Mind [4:15]

5. Deity of Disgust [4:59]

6. The Addiction [3:27]

7. Six Feet Under's Not Deep Enough [3:51]

8. Do You See Me Now? [4:25]

9. Original Sin (The Devil's Waiting in the Wing) [3:38]

10. Hell Hath No Fury Like a Woman Scorned [4:43]

11. Confide in Me (Kylie Minogue cover) [4:14]

12. That's What the Wise Lady Said [4:31]
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I just finished this album last night, and I thought hmm.. this has to be up on Zetalambmary. Angtoria's debut and only album to date, God Has a Plan for Us All, released in 2006. Though if you listened to the songs, you'd realise its not a really nice plan probably. Fronted by Sarah Jezebel Deva (her real name's Sarah Jane Ferridge, you'd think she'd have picked a stage name that's shorter than her real one ain't it..), widely known as the backing vocalist for Cradle of Filth when they're on tour, she first met Chris Rehn in 2001 and along with his brother Tommy, they formed Angtoria.

They're musically impressive. Unlike most of their peers who feature female soprano singers and overall less exuberant music, Angtoria brings out the Metal in symphonic metal. The guitars are very prominent, the keyboards play supporting actor in this gig and the drumming is plenty aggressive. Yet through it all, they don't lose that symphonic and gothic flavour. And Sarah's voice, for someone who is, to quote Shadori's words, somewhat horizontally inclined, is surprisingly alluring in its femininity and yet simultaneously strong and soaring. From ballads like "The Addiction" to more aggressive tracks like "Original Sin", you quickly get struck in the quality of her voice. Overall, both the music and the voice are very well done and they come together to make really wonderful songs, particularly in moments such as the chorus of "Hell Hath No Fury Like a Woman Scorned" where they feel just perfect together and raise you to musical nirvana. Some harsh vocals provided by guests musicians have also been masterfully included.

So, drawbacks? Well you've seen the album cover, it isn't hard to guess what the lyrical theme for the whole album is about. Some songs, like the perversely titled "God Has a Plan for Us All" is so blatantly obvious that you'd almost squirm to hear the words sung out. I dunno 'bout y'all, but I keep wondering how popular an album filled with songs about rape, child sexual abuse and suicide can possibly be, even in the metal community. I know, there are black metal bands that promote even more creepy arcane stuff (anybody know Dissection? Or Soulreaper?) and gory images are prevalent everywhere in metal songs, but this kinda crosses over the line doesn't it. And its not like they do it gently, with a touch of surreality. Its as hard-on in your face as their musical style: largely blunt, with traces of intricacy. For the music, it works, its great. For the lyrics, I'm not so sure.

Dave Pybus (bass), Chris Rehn (guitars), Sarah Jezebel Deva (vocals), Tommy Rehn (guitars), John Henriksson (drums)

Alright no matter what, the quality of the musicianship displayed in this album cannot be denied. Angtoria doesn't just walk a fine line between mainstream listener-friendly and the raw energy and aggression of metal. They walk it with grace and style. As long as you're not opposed to listening to something that's slightly more straining on the ears than rock, no matter whether you're a metalhead or not, you're gonna be awed. Yeah, just don't pay too much attention to the lyrics huh.

Below is the official video for their title track, "God Has a Plan for Us All". Not the ideal song that I would have wanted our readers to try, but apparently its the only video Angtoria made, and I've seen the fan-made ones... Just don't strain yourself trying to hear what she's singing and it'll be fine, the song's still good, trust me.

Verdict: 8.9/10

Kamelot: Ghost Opera

Year released: 2007
Label: SPV/Steamhammer Records
Official website: http://www.kamelot.com

Tracks:

1. Solitaire [1:00]

2. Rule the World [3:41]

3. Ghost Opera [4:06]

4. The Human Stain [4:01]

5. Blücher [4:04]

6. Love You to Death [5:13]

7. Up Through the Ashes [4:59]

8. Mourning Star [4:38]

9. Silence of the Darkness [3:43]

10. Anthem [4:25]

11. EdenEcho [4:13]

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Sorry about the long hiatus once again, I've had a spout of injuries and ailments while Shadori has had to deal with... positive changes to his relationship status (guess I've got the worse karma), so yeah, major adjustments in life. But now I've overcome the mental inertia of not posting anything for the past weeks by talking about one of my absolute favourite bands ever. Not that Kamelot isn't famous enough as one of the most prominent power metal bands around.

With 8 studio albums and 3 live albums under their name, Kamelot has been around for quite some time and with few line-up changes, save for the significant change in vocalist early on to their current charismatic opera-trained frontman, Roy Khan, and the more recent inclusion of Oliver Palotai as a full-time keyboardist, has been very consistent in their aesthetic brilliance. This is in spite of the fact that they have never particularly limited themselves within any genre and have developed their signature sound to be somewhere vaguely between power, symphonic and progressive metal.

This American band (albeit with a Norwegian singer and a German keyboardist) has gone down a markedly different path than its previous works, however, with Ghost Opera sounding exactly like its name suggests: more eerie and dark but also more symphonic, ultimately being less thought-provoking and discarding Kamelot's more energetic and powerful elements. As Kamelot's first album featuring a full-time 'boardist, it accentuates Oliver Palotai's talented keyboarding very much but perhaps at the expense of Thomas Youngblood's guitar prowess. While he continues to craft catchy riffs and intricate solos like at the start of "Rule the World" and in the middle of "The Human Stain", the only real guitar-driven song is "Silence of the Darkness" and otherwise, Youngblood just spends much of his time chugging along with Glen Barry's bass. There's nothing really wrong about this, just a difference in style, depending how each individual listener likes it.

Lyrically, Ghost Opera is a far cry from its immediate predecessors Epica (2003) and The Black Halo (2005), which were 2 parts of an epic philosophical concept story which not only managed to sound incredibly poetic but also intriguing enough for you to actually linger and ponder over what is being sung. The lyrics of this album, while still exceptionally beautiful, seems more personal and emotionally driven, which makes it more forgettable I guess. But it doesn't really matter all that much when we look at who's singing these words. I always tell people, anyone who doesn't appreciate Roy Khan's voice has seriously got to be tone-deaf. His soulful voice and dramatic singing, like he's carefully unfolding the next line to every story, is one of the main strengths of Kamelot and the largest motivation for getting this album. Listen to "Love You to Death" and you'll see just how profound the depth of emotion can go into his singing. Or "Anthem", which, in the absence of any rhythm instrument at all, is really just all about his voice.

From left to right: Thomas Youngblood (guitars), Oliver Palotai (keyboards), Roy Sætre "Khan" Khantatat (vocals), Casey Grillo (drums) and Glen Barry (bass)

Really, this is a great album- maybe not as awesome as Kamelot's older stuff, but then if I had to review The Black Halo, I'd probably give it 11 out of 10 (taking into account that I'm biasedly a worshipper of Kamelot XD). Its hauntingly beautiful, and after a few listens, it'll grow on you. This isn't powerful, energetic metal, but it is surreal art.

Below is the official music video for "The Human Stain", which is personally my favourite song from the album, and one of my all-time faves for all Kamelot songs.

Verdict: 9.2/10

Song of the Week: Haggard - Awaking the Centuries

"Something I like more than indie rock is symphonic metal."

Sorry 'bout doing the song of the week so late in the week, just kinda ran outta brain juice these coupla days and had no idea what to put up. Then somebody said what's quoted above last night and it got me thinking.. Symphonic metal, hey why not?

And there are all sorts of symphonic metal, you get the symphonic black metal guys like Dimmu Borgir, symphonic power metal players like Kamelot and even some symphonic death-ish styles from Skyfire. But if you ask me, Haggard is as symphonic as symphonic can get. I mean geez they don't use an orchestra, they pretty much are an orchestra. Do you see how many members they've got? From violins to the flute to the french horn and yet with the perfunctory guitars and bass, you can't help wondering how the hell do they write and coordinate their music.

"Awaking the Centuries" is the title track off their second album, Awaking the Centuries, released in 2000. Songwriter, vocalist and guitarist of the band, Asis Nasseri, has since gone on to feature in two more albums, Eppur Si Muove and Tales of Ethiria, with a constantly changing line-up of musicians. Ironically, Nasseri is also usually the weakest link in Haggard's performances. His harsh vocals are weak, listen to "Awaking the Centuries" and you'll get what I mean. The soprano singers in contrast are so much better that sometimes you wonder why is Nasseri even bothering to do harsh vocals. They don't really fit into the whole classical and medieval music feel anyway.

But ultimately, with its impressive neo-classical elements, the song is awesome. Its totally melodious throughout the whole 9 minutes, the folk-ish moments and the orchestral feel somehow just goes in tandem with the drums and the bass and all. I dunno why, but it just works. I guess it must be the mastery of the music writing, I sure haven't heard anything like this before Haggard. But maybe it just me, the keyboards here are perfectly beautiful, and I've got a thing with 'boardists remember? =D

Yeah I know, Nasseri's not your typical cool, looker of a rocker kinda frontman, but this live performance of the song shows you how good Haggard is. You can skip to about 1:15 in the video if you don't feel like listening to him talk so much at the beginning.