Two years ago, I decided to embark on a writing experiment where I did a write up for an album a day, over the course of the 30 days in November. It was a cheat way to participate in NaNoWriMo (National Novel Writing Month). I’m not writing a novel (though I want to), but I do want to push myself to write more often, again. I have let that fall off a fair bit over the last year or so, and want to reignite that. What better way than to try to repeat something I have already done?
Okay, so there are probably better ways. But I didn’t really want an answer, because this is what I am going to do.
Unlike two years ago, I’m not thinking about this too much before hand. Back then, I had compiled a list of the albums I wanted to write about. I thought about doing that, but decided that, in another effort to push myself a little bit, I wanted to have to come up with what I was going to write about the day I was writing. May it lead to worse articles? Less thought? Maybe.
But this is, at least in part, an exercise in pushing myself. So I am trying to find more ways to push myself. Also, I am considering making some brief videos about these albums as well, as video is something I have been wanting to get into. So there will likely be an accompanying video for some of these articles.
I have been listening a lot of Paradise Lost lately. One of the “Peaceville Three”, they were pioneers of the deat/doom subgenre of metal. But that death/doom style didn’t last. Within only a few albums they have really become a much more approachable, but extremely good, gothic metal band. Poised to become huge, suddenly they chose to change again.
Enter Host their 7th album. There are barely any guitars. The cover could just as easily be the cover of a Backstreet Boys album, and the music is closer to Depeche Mode than anything resembling metal. What?
But it’s true. It isn’t necessarily bad music. But coming off the highs that were Draconian Times and Icon, this is music that is almost beyond comprehension. I find it somewhat difficult to go back to, just because it is such and outlier in their catalog. It can be fascinating in its own way, because of that outlier status. But, all these years later, I almost don’t know what to make of it.
The other members of the “Peaceville Three” also underwent significant transformations. Anathema became much more of a progressive, pop/rock (that I desparately love and lament while respecting their decision to call it quits). My Dying Bride had some weird years in their as well (34.788%… Complete anyone?). But while Anathema gradually morphed into something completely different, and My Dying Bride’s daliance was much shorter in nature, Paradise Lost takes the cake for just how different Host is from all their other work.
It is truly wacky to listen to Host and then follow it up with Obsidian, their most recent album. It truly sounds like completely different bands, while the only member of band that has changed is the drummer. I am being reminded lately just how good of a band Paradise Lost is, their middle era notwithstanding. And in that light, I find it fun and fascinating to listen to Host and the other few albums that were released in that era.
When I first fired up this blog I had a couple of ideas about what I wanted to do. Initially I was mostly basing it off other music blogs I frequent. The idea was, thus, to mostly do reviews and such.
It didn’t take long to realize that, while I am a pretty avid consumer of new music, there just isn’t something new coming out on a regular enough basis that I want to consume and write about that it was going to be a productive writing avenue. So I started thinking about other things, and thus my 30 albums in 30 days was born, followed by some other ideas.
Then I got lazy, took over a year off from writing. This time around I decided that I wanted to have some sort of plan to what I write, and so I came up with ideas for specific days. Enter Terrific Tuesday (and a few other ideas such as New Music Monday). On Tuesdays (not promising every Tuesday, mind) it will be a chance to write about something I think is just that, terrific. Maybe an entire album, maybe a song, maybe something else. All that needs to happen is I think it is terrific. Let’s get this party started.
That’s right, we are talking Funeral Doom today. Funeral Doom is freaking terrific. At the same time, I will be the first to admit it absolutely is not for everyone. Funeral Doom takes the slower, heavier elements of Doom and turns them up to 11. No, actually, it turns them up to like 19.
First off, this is slow music. Like really, really slow. It is ponderous, with songs easily in the double digits in terms of length (some even up to 30, 60 or even 80 minutes long for a single song). There is a huge hurdle to overcome in that regard. This isn’t music that works on a casual listen. It demands time, attention, and a significant investment from the listener.
It is also heavy, in the most literal sense of the word. Funeral Doom is akin to having more and more weight added to your back, weighing you down minute after minute. Harsh vocals abound, often addressing equally weighty topics. Again, not for the casual listener. This isn’t feel good music.
But it is cathartic. So, so cathartic.
Some people get that. Others don’t, and that’s okay. But for those of us who appreciate the power of music to take us on mental and emotional journeys, Funeral Doom fits that bill. Sure, it may be like being run through a meat grinder. But coming out the other side, there has been some sort of release. For me it is often a huge release of tension or anxiety I have been holding in. Through the weight of the music, these elements are pressed right out of me.
And the relief that can come in that catharsis is beautiful and often so welcome. And terrific.
New music Monday is upon us. I had been wondering what I wanted to write about for the past few days. Simply because, well, I haven’t found much music in the last week or two that really interested me.
That was, until Friday night.
Went to Black Widow with some friends and family. I thought it was a great movie that really should have been filmed and released a few years earlier (curse you Ike Perlmutter!). It is also dark, especially for a Marvel movie. There are some really sinister undertones throughout the movie, and these are set up from the very beginning, particularly with the opening credits.
We see scenes of young girls being taken and forced into the Widow program by the main antagonist of the film. And if that wasn’t heavy enough, all this is happening to the song “Smells Like Teen Spirit” as performed by Malia J. I had not idea who she was, and still know far less than I would like. It is enough to say that this rendition of this classic song (yes, it is a classic that is around 30 years old now, and I’ll fight anyone who disagrees) is truly haunting.
Minimal in many ways, with some breathy vocals, it still crescendos to some really powerful levels. The song just screams loss to me, and it so fittingly matches what we were seeing on the screen.
I hunted it down on Apple Music and was delighted to find some other covers Malia J has done. All have the same sort of formula, minimalist intro that builds to a powerful crescendo and then fades out with a soft denouement. And all are just fantastic. But “Smells Like Teen Spirit” is the best of the bunch. This song is so entrenched in my youth, I can literally see, hear, and feel where I was the first time I heard it. And hearing like this makes it a completely new song. Check this track out, it is just fantastic.
It was always there. Buried deep within me. There were hints as a youth. Those hints started to become more overt as I aged. It waxed and waned a bit over the years. Yet as I age, it has become stronger, more obvious, and more important to me.
I freaking love heavy music.
Like really, really love it. I do have my limits. There are certain very extreme bands or sub-genres of metal that are still a bit too much for me. But as I have aged, I find myself drawn more and more to heavy music. Genres like death, thrash, black and doom metal just seem to call to me. I siren’s song I cannot resist.
Often, people ask if this music makes me angry. Quite the opposite.
I’m not alone in thinking this either. I am aware of multiple studies in the sociological literature that highlight this fact: heavy and aggressive music helps to regulate emotions, particularly negative emotions. There has even been some suggestion that this leads to better emotional coping skills.
I don’t doubt it. After a particularly rough day at work, it isn’t uncommon for me to find the heaviest, most aggressive music to listen to on the way home. And by the time I get there, much of that pent up negativity has been flushed right out of me.
I liken it to a lightning rod. The anger of the music helps to pull it out of me and siphon it away, to a place that is safe and is much less likely to spill out on those around me. That’s a win in my book.
And so, I find that the angrier the music, the more it just may soothe my soul.
I really don’t know what else to say at this time. Sort of starts to shine light on your own mortality when one of the most influential musicians in your life passes away.
It was reported today that Neil Peart, drummer and lyricist of Rush, passed away from glioblastoma. He had apparently been fighting this for the past 3.5 years or so. That the band managed to keep this quiet says so much about their respect for their friend and brother.
Rush was my first music love. They were the first concert I ever went to (Roll The Bones tour, 1992, Delta Center), the first CD I bought with my own money after getting a CD player (Chronicles), the first band I ever travelled a distance to see (driving from Durham, NC to Charlotte, NC to see them for the R30 tour), and the first band I ever worked to make sure I had all their albums (19 studio albums, 10 live albums and then multiple compilations).
So, yeah, influential.
Even though I found myself not listening nearly as much as I used to, I never stop respecting the hell out of the band, their music, and each individual member. They were one of the most talented bands ever, with each member truly being one of the very best on their respective instruments.
With the addition of Neil Peart on their second release, Fly By Night, Rush entered and entire new era. Suddenly the songs were more complex, the lyrics more fantastical, the songwriting leaps and bounds above the (still really solid, but Led Zeppelin derivative) hard rock of their debut release. I don’t feel it is at all out of line to say that, had Neil not joined the band, Rush would have faded to obscurity as yet another 70s rock band that didn’t survive. The fact that they continued to write and perform new music right up until 2012 speaks volumes to their dedication, creativity, and hard work. Add to that the fact that their last album is probably one of their best (top 5 for sure), well, not many veteran bands can match that.
Seeing them live, seeing interviews, it was obvious the respect and love that the members all had for each other. The fact that they lived entirely out of the spotlight, with no scandals or drama, again speaks to their character and dedication to their craft.
I knew Rush had called it quits, but there was always that hope. Now, we simply will relish the wonderful music and legacy they leave behind, as there is no Rush without Neil, Geddy, and Alex together. Neil was a true legend, a true genius, and will be missed for sure.
It’s that time of year again. A time of reflection, contemplation, deep thought. A time for serious introspection, for critical analysis. This is serious business, and sharing this work is vital to the survival of any self-respecting blog.
Yes, I mean year end lists.
But really, it seems to almost be a tradition at this point. People will reflect on the year gone by and make lists about their favorites. In this case, that would be favorite albums. And since I have been so remiss in writing lately, I felt it would be well for me to appropriate the list-making agenda and do so here. So there you have it, Listmania 2019.
Today, I’ll be starting with the honorable mentions. These are 5 albums that, when making a list for my favorites of the year, appeared on the list, but just didn’t quite make the top 10. No order here, just some really, really good albums that were (narrowly in some cases) beaten out by the competition. Each one of these albums is a staggeringly good work of art, and well worth contemplation and repeat listens.
Second to Sun – Legacy
Having previously written about this album, it should come as no surprise this was a top album of the year. Legacy is just so good. Synthesizing black metal aesthetics with death metal sensibilities, and layering on top of that Russian history and folklore makes for a haunting, captivating listen. The music is heavy, progressive at times, and thoroughly engaging. Second to Sun continue to impress with each new release.
Wilderun – Veil of Imagination
I really, really like what Wilderun are doing. This band from Massachusetts been progressive death metal with folk metal/music in a brilliant manner. After all the superlatives thrown at their previous release from 2015, there was a lot riding on where they would go from there. Well, Veil of Imagination proves they had more to give, as it is better in every way. Honestly, the only reason this album is an honorable mention is I just haven’t been able to give it the time it deserves. Every time I listen I think “I really need to listen to this album more/again”, and every time I don’t. I can tell this is a brilliant album, one that would rank much higher had I given it the time it deserves and requires.
Arch/Matheos – Winter Ethereal
I’ve said it before, and I’ll say it again. John Arch is one of, if not the, very best metal vocalists ever. His vocal lines are brilliant, unusual, lovely, haunting and so unique. And Jim Matheos is one of metal’s greatest songwriters. Having these two together will always make me smile. I love Winter Ethereal, and it was probably one of my most anticipated albums of the year, as previous release Sympathetic Resonance is a masterwork of progressive metal. Winter Ethereal doesn’t quite hit the same highs as predecessor, though, and that is the only reason it ends up here in the honorables, rather than up in the top 10.
Sermon – Birth of the Marvellous
This one came out of nowhere. First release from a one person band (with some help), Birth of the Marvellous is a marvelous album of progressive music. Think somewhere between Soen (who also had a brilliant album this year), Porcupine Tree, with hints of Katatonia. If those comparisons don’t pique your interest, check your pulse, you might be dead. But really, this is a progressive masterpiece and another album that, had I spent more time with it, very likely would rank higher on my list. A concept album, an existential journey, a true work of art.
Slow – VI – Dantalion
Look, this album rules. Okay? It just does. I love everything about it. I even love that it is dense, off-putting, super slow. It takes real effort to get into VI – Dantalion, and that is the only reason it didn’t rank higher. There are plenty of times I have thought “Let’s listen to Slow!” Only to say to myself, “Maybe not today, not sure I’m up to it.” Such is the music of Slow. It is unrelenting in its inexorable march to the murkiest depths of despair. But it is also wonderful, brilliant, and the best funeral doom I have heard all year.
In 2017, a little album came out of nowhere and knocked my socks off with its technical approach to power metal. WItherfall dropped Nocturnes and Requiems, a compelling mix of progressive, power and even neoclassical metal, all with a dark, haunting undertone pinning it all together.
Having lost their original drummer to tragedy in 2016, the band released that album posthumously. It was replete with powerful vocals, stunning guitar work, and a melancholic attitude that impressed me. However, for some reason, it didn’t really click with me, and while I found it impressive in many ways, I didn’t find myself coming back to it that often.
However, just one year later, Witherfall dropped A Prelude to Sorrow, follow up to their debut. It would be easy to be worried about a second album coming so quickly after the debut, however, given that Nocturnes and Requiems had actually been finished some time before release, and my fears were assuaged. Some.
And then I listened to A Prelude to Sorrow.
Not much had changed, but for some reason, this album instantly clicked with me. I found myself listening over and over again. The same elements were present, yet something about them this time around spoke to me. Subsequently returning to Nocturnes and Requiems has revealed it to be an album I really love as well.
The dark atmosphere that permeates A Prelude to Sorrow is the key in making it enjoyable for me. It harkens back to the gone, but never forgotten, Nevermore. Sure, there are elements of power metal here, but the standard cheese is exchanged for melancholy and darkness. That instantly improves the album in my estimation.
Lyrically, this isn’t happy go lucky fair. Take these lines from first proper track, “We Are Nothing”:
We are nothing
Our souls are just flickering lights
To be extinguished,
Snuffed out by the cold hands of time.
Or how about these words from “Ode to Despair”?
Sometimes mirrors only show
What we want to see
And we’ll fall into despair
And we’ll get no reprieve
As we descend further down
You see what you want to see
In our ode to despair
And we’ll get no reprieve
In our ode to despair
Time just slips away
Still, these are all things we have felt, and I find the expression of said sentiments to be cathartic. There is something to be said in expressing these thoughts and feelings. Perhaps that is why I find this album somewhat therapeutic to listen to.
And musically, this is an impressive album. The guitars are technical, driving, powerful, while still emoting. The vocals are equally powerful. There are high falsettos, lower register vocals with some grit to them, but always tastefully done, executed with the utmost skill. Really, every member is excellent, with the rhythm section being more than up to the task of carrying the weight of these songs.
The best part for me, I gained an entire new appreciation for Nocturnes and Requiems after really falling in love with A Prelude to Sorrow. Witherfall has proven themselves to be one of the most promising and talented prog/power bands, and I look forward to more from them.
Or, the joys of being a music fan in the modern era.
Truth be told, there just isn’t a better time in the history of the world to be a music fan. Really, we live in a golden age of music.
At least in my opinion.
I know that there are those who would claim that the advent of digital downloads, file sharing (Napster anyone?), and even music streaming services have been a huge detriment to music. And I can see where those people are coming from. Sort of. Yes, I understand that the value of music has significantly diminished in the eyes of the masses. People simply aren’t going to the store to by CDs anymore. Especially not for the prices we used to pay. $18.99 for a disc at Sam Goody, anyone?
And terrestrial radio is becoming less and less important for artists. It certainly still has its place, but nothing like it used to. No one is tuning into ABC, CBS, or NBC at 8:00 pm to catch the newest Madonna or Michael Jackson video (that used to be a thing, I swear!). Fewer and fewer people are buying true stereo systems anymore. Gone are the days of the big speakers with a turntable, dual cassette decks, tuner and 10 band equalizer (but I can still see the one we had growing up).
The music superstar is becoming a thing of the past. There are still huge hits, and artists that can sell out and pack stadiums.
But gone are the days when everyone knew the biggest artists, regardless of your musical preferences. I mean, I tend to be pretty broad in my musical knowledge, but just take a gander at who are winning “awards” these days and you’ll see what I mean. Billie Eilish, Lizzo, Lil Nas X are all winning Apple Music Awards (for whatever that may be worth), and while I recognize the names of all of them, I couldn’t recognize a single song from any one of them if my life depended on it.
So, yes, music has changed. The majority of people get their music through some streaming service, that perhaps they pay for, and in many cases they don’t (whether it is ad supported or they are sharing logins). I get it. It’s different and that box has been opened and can never be closed.
So, for those pining for the old days of music when you either had to listen to the radio, buy it on vinyl, cassette or CD (or go through the hassle of recording it off the radio or from someone else, because piracy has always been a thing), I will say just this:
“Ok boomer.”
Seriously, times have changed, technology is amazing, and find a way to embrace this new era of music.
The internet has allowed for an amazing disintermediation of music. It allows direct connections between artists and fans in a way never before seen. In some cases, it has actually allowed us to go back, in essence, to the patronage model of music. Yes, there are bands I support on Patreon, paying them a certain fee monthly to help support them. In exchange, they share videos, do Q&As, share insights into their touring, songwriting, and other practices. We get a direct look behind the curtain and get to be part of the creative endeavor.
Some do it better than others, but those who realize that this direct connection is really going to be what matters, seem to really be more successful. It doesn’t take much. I purchase a fair bit of physical media directly from bands. Maybe merch, maybe the occasional CD, and most often some vinyl. And frequently there is a little slip of paper in the package. A handwritten “Thank You” for supporting the band. And you know what? I keep those. I appreciate them, and I am now that much more invested in the band, and will be right there next time there is something I can do to support them.
Of course, I’m in a weird minority here. Few people are quite as hardcore when it comes to music as I am. But there are enough of us crazies out there to make it worth it. And the artists who embrace this direct connection are cultivating long lasting relationships with their fans in a way never before possible. I mean, look at that postcard I received today. A simple gesture from someone in the band Witherfall, to send me a Christmas/Holiday postcard because I have supported them buy purchasing some of their merchandise in the past.
Because of that simple, human gesture, I’m now that much more of a fan.
And that is how it can be. It enhances the listening experience, because we have that personal connection with the artist. It makes a difference, and makes me that much more excited to be a music fan in this day and age.
I find this time of year sort of fascinating, at least when it comes to music. Let me just start off by saying that people have very, very strong feelings about Christmas music. Very strong.
And really, it goes both ways. Strong positive feelings, and strong negative feelings.
It is interesting, working in the OR, to see the differences in opinions. See, we pretty much always listen to music while operating. It is just part of the background sound of the OR. There are lots of sounds, anesthesia machines with their myriad noises, suction devices, lasers, warming blankets, etc.
And music. It is one of those things that, unless someone is very new to the OR, if music isn’t playing (with some circumstances being exceptions), we all just sort of feel like something is off.
So, there are those who love Christmas music and can hardly wait until it is deemed appropriate timing to start playing it. Much to the chagrin of many. You see, generally speaking, the surgeon gets to pick the music. So if the OR staff aren’t on board, it can be a difficult day full of listening to music you may not like. Just ask those who have to work with me and put up with my music. I get it.
But Christmas music is a different beast all together. Any genre of music can have Christmas songs. Sure, there are more than a few metal Christmas albums. And country, and pop, and classical, and maybe even rap and hip hop? I’m guessing, because I don’t really know there. Yet Christmas music has that ability to transcend genres. That is one of the things that can make it so good. Or so, so bad.
I love classic Christmas music. I mean, we are talking the classic carols here. I love choral versions of those classics. Or instrumental. Doesn’t matter the genre either. If it is a tastefully done version of one of the classic Christmas songs, I actually really will enjoy it.
Sadly, those songs get butchered time and time again by artists trying to do something new with it. I have heard versions of “Silent Night” that never fail to bring tears to my eyes. And I have heard versions that have me wanting to stab my eardrums to never have to hear them again.
And don’t get me started on poppy Christmas tunes. All of these more “modern” Christmas songs can just go jump in a lake, thank you very much. No, I don’t care that you saw mommy kissing Santa Clause. Or that it’s cold outside (that song creeps me out big time). Take your chestnuts and shove them where the sun don’t shine! And your two front teeth and hippopotamus were cute. When you were 4. Now? Grow up.
So there it is, the grinch in me. I don’t play Christmas music in the OR. There needs to be an oasis from the terrible, terrible festive tunes out there. I’d like to think that is part of my calling in life. To provide that shelter from the crap storm that is the vast majority of “popular” Christmas music.
After all, someone needs to fight the madness. Might as well be me.
Middle Aged Metalhead 