Masterplan - Nevermore - The Indecent
Masterplan - Time to be King
AFM
by Miguel Blardony
With Jorn Lande back in the fold, Masterplan now stand poised for a reinvention that’s supposed to reinforce their current fanbase and seduce a new generation of susceptible listeners. To think Jorn comes fresh from those gruelling Avantasia albums and his own solo endeavors. Makes you start to think the man never has time to breath. Anyway, here is Sweden’s answer to Dio (RIP) in his crooning best since, why, the truth is Jorn is a consistent bastard and he never lets his singing go down the wayside.
On its thundering start, “Fiddle of Time” goes a long way in soothing our fears that Masterplan are performing on auto-pilot. It’s a crackling tune that showcases Jorn’s distinctive throatwork and a beautiful guitar solo from Roland Gropaw, who is quite a charming guitarist. Listening to his solos convince you he can be a virtuoso, but he has the proper sense not to over do it, which is always a good sign among shredders. Even the keyboards from Axel Mackenrott don’t go beyond a few orchestral touches and the occasional ambient spice that lends a particular track its cinematic dimension. The best example of this would be “The Dark Road.”
Since it’s helmed by professionals, expect “Time To be King” to unravel with the grace and ease of a carefully executed musical journey. The album runs at an easy pace, where each immensely satisfying cut leaves Jorn and his mates ample room to sweep the listener away. However, those hankering for a more intense aural experience are best served on the usual Gamma Ray, Rhapsody of Fire, and even Avanatasia. Masterplan are mid tempo power metal who eschew the fantasy symphonic crap for top notch songwriting.
The best cuts on this disc are “Lonely Winds of War,” “The Black One,” the dramatic narrative “Blue Europa,” the emotionally tinged closer “Under The Moon,” and the sci fi yarn “Far From The End Of The World.” Excellent on many levels, Masterplan’s newest will capture the heart of anyone inclined to melody and brilliant song craft. Unless of course, you’re an unapologetic shredheads who only crave Nintendo music for your favorite anime…dudes, there’s always Dragonforce.
by Miguel Blardony
With Jorn Lande back in the fold, Masterplan now stand poised for a reinvention that’s supposed to reinforce their current fanbase and seduce a new generation of susceptible listeners. To think Jorn comes fresh from those gruelling Avantasia albums and his own solo endeavors. Makes you start to think the man never has time to breath. Anyway, here is Sweden’s answer to Dio (RIP) in his crooning best since, why, the truth is Jorn is a consistent bastard and he never lets his singing go down the wayside.
On its thundering start, “Fiddle of Time” goes a long way in soothing our fears that Masterplan are performing on auto-pilot. It’s a crackling tune that showcases Jorn’s distinctive throatwork and a beautiful guitar solo from Roland Gropaw, who is quite a charming guitarist. Listening to his solos convince you he can be a virtuoso, but he has the proper sense not to over do it, which is always a good sign among shredders. Even the keyboards from Axel Mackenrott don’t go beyond a few orchestral touches and the occasional ambient spice that lends a particular track its cinematic dimension. The best example of this would be “The Dark Road.”
Since it’s helmed by professionals, expect “Time To be King” to unravel with the grace and ease of a carefully executed musical journey. The album runs at an easy pace, where each immensely satisfying cut leaves Jorn and his mates ample room to sweep the listener away. However, those hankering for a more intense aural experience are best served on the usual Gamma Ray, Rhapsody of Fire, and even Avanatasia. Masterplan are mid tempo power metal who eschew the fantasy symphonic crap for top notch songwriting.
The best cuts on this disc are “Lonely Winds of War,” “The Black One,” the dramatic narrative “Blue Europa,” the emotionally tinged closer “Under The Moon,” and the sci fi yarn “Far From The End Of The World.” Excellent on many levels, Masterplan’s newest will capture the heart of anyone inclined to melody and brilliant song craft. Unless of course, you’re an unapologetic shredheads who only crave Nintendo music for your favorite anime…dudes, there’s always Dragonforce.
Nevermore - The Obsidian Conspiracy
Century Media
by Miguel Blardony
Few albums have been the object of such feverish anticipation as Nevermore’s closely guarded follow up to their masterwork, “This Godless Endeavor.” Now that it’s here, how does it fair next to the other hallowed selections in the band’s storied discography? Pretty damn well, says this writer. From the opening steamroller that’s “The Termination Proclamation” to the darker turns of “The Blue Marble And The New Soul” and “The Day You Built The Wall,” the band—now just four core members—hardly show their age.
As mentioned, “The Termination Proclamation” proves an aggressive start for an album balanced by fast paced jaunts and more contemplative pieces. As Warrel Dane declares in his gravelly baritone “Welcome to this violent station/The termination proclamation” it won’t miss the listener what a fitting overture the song is for the rest of the album. Once “Your Poison Throne” gets underway all grooves and anthemic chants of “Rise-Rise-Rise-Rise” Nevermore are in leaner form, even the riffs from Jeff Loomis are not as chunky as its predecessors and the pace is slower as well. Yet amidst its grooving turns, this is the first occasion for Loomis to shine on the guitar solos department. The man’s skill has transcended the virtuostic and entered the realm of the sublime. Hearing him rip it on “Without Morals,” the title track, and “She Came In Colors” is divine.
Compared to its predecessor however, “The Obsidian Conspiracy” is not as—shall we say—thick as “This Godless Endeavor” or “Enemies of Reality.” For starters, the band have a different producer working the knobs this time, and the songs themselves, though still complex beyond most band’s abilities—try “And The Maiden Spoke” or “She Came In Colors”—sound like familiar territory. In fact, Nevermore diehards are well catered for throughout the album, be it with a fresh batch of ingenious lyrics (“The Blue Marble And The New Soul” is particularly moving, so better have the kleenex at hand) or songs whose complex turns have long been the quartet’s forte. Let’s not forget the musicianship as well, beyond Loomis and the ever impressive Dane, the rhythm section from the Van Williams-Jim Sheppard duo (bass and drums respectively) are flawless.
By all appearances everything is right as rain on this album, it is, and the best part happens at the end, during the title track. Don’t miss it.
http://www.myspace.com/nevermorefans
by Miguel Blardony
Few albums have been the object of such feverish anticipation as Nevermore’s closely guarded follow up to their masterwork, “This Godless Endeavor.” Now that it’s here, how does it fair next to the other hallowed selections in the band’s storied discography? Pretty damn well, says this writer. From the opening steamroller that’s “The Termination Proclamation” to the darker turns of “The Blue Marble And The New Soul” and “The Day You Built The Wall,” the band—now just four core members—hardly show their age.
As mentioned, “The Termination Proclamation” proves an aggressive start for an album balanced by fast paced jaunts and more contemplative pieces. As Warrel Dane declares in his gravelly baritone “Welcome to this violent station/The termination proclamation” it won’t miss the listener what a fitting overture the song is for the rest of the album. Once “Your Poison Throne” gets underway all grooves and anthemic chants of “Rise-Rise-Rise-Rise” Nevermore are in leaner form, even the riffs from Jeff Loomis are not as chunky as its predecessors and the pace is slower as well. Yet amidst its grooving turns, this is the first occasion for Loomis to shine on the guitar solos department. The man’s skill has transcended the virtuostic and entered the realm of the sublime. Hearing him rip it on “Without Morals,” the title track, and “She Came In Colors” is divine.
Compared to its predecessor however, “The Obsidian Conspiracy” is not as—shall we say—thick as “This Godless Endeavor” or “Enemies of Reality.” For starters, the band have a different producer working the knobs this time, and the songs themselves, though still complex beyond most band’s abilities—try “And The Maiden Spoke” or “She Came In Colors”—sound like familiar territory. In fact, Nevermore diehards are well catered for throughout the album, be it with a fresh batch of ingenious lyrics (“The Blue Marble And The New Soul” is particularly moving, so better have the kleenex at hand) or songs whose complex turns have long been the quartet’s forte. Let’s not forget the musicianship as well, beyond Loomis and the ever impressive Dane, the rhythm section from the Van Williams-Jim Sheppard duo (bass and drums respectively) are flawless.
By all appearances everything is right as rain on this album, it is, and the best part happens at the end, during the title track. Don’t miss it.
http://www.myspace.com/nevermorefans
The Indecent - 25 Steps
HaHaHa
By Jeffrey Easton
The Indecent have reinvented the wheel in a digitally dominated market by releasing a 45 of their new single, 25 Steps. Now, where as it is cool to release a 45 these days, please have the product to back up a special release. 25 Steps, to say the least, boring. There is no “action” to the song, just a plodding riff and a slurred chorus. Like Joan Jett trying to sing at a party after having a shot or 12. I like to be moved when I listen to music and if not it might as well be background noise. Now, there is a side 2 and it has a cover of the Hawkwind classic Silver Machine. Now, with Silver Machine I see this band’s strengths, not doing their own material. This cover is a good cover, sounds like Blondie singing with the Ramones doing spaced out rock. My message to the band is the talent is there, you just need to harvest it and not release something like 25 Steps again. The idea is to jump out from the scene, not blend in.
http://www.myspace.com/theindecent
Buy 25 Steps!
By Jeffrey Easton
The Indecent have reinvented the wheel in a digitally dominated market by releasing a 45 of their new single, 25 Steps. Now, where as it is cool to release a 45 these days, please have the product to back up a special release. 25 Steps, to say the least, boring. There is no “action” to the song, just a plodding riff and a slurred chorus. Like Joan Jett trying to sing at a party after having a shot or 12. I like to be moved when I listen to music and if not it might as well be background noise. Now, there is a side 2 and it has a cover of the Hawkwind classic Silver Machine. Now, with Silver Machine I see this band’s strengths, not doing their own material. This cover is a good cover, sounds like Blondie singing with the Ramones doing spaced out rock. My message to the band is the talent is there, you just need to harvest it and not release something like 25 Steps again. The idea is to jump out from the scene, not blend in.
http://www.myspace.com/theindecent
Buy 25 Steps!