There is No God But God: "Those Whom the Gods Detest" Review

Album: Those Whom the Gods Detest
Artist: Nile
Genre: “Egyptian” Brutal/Technical Death Metal
Length: 56:39
Release Date: November 3rd, 2009
Label: Nuclear Blast
Producer: Neil Kernon, Erik Rutan



…and so I entered that tomb of blackened pitch, a hollow artifact of a lost age buried deep beneath the sands of time. My hands grip the sarcophagus that hath contain the powers of which I seek. Trembling, gripped by a nameless fear, I slowly lift the obsidian stone, my eyes both disturbed by and beckoned to the unseen horrors within. Slowly, shadow gives way to the light of Ra, and in so doing ushers forth sounds and images beyond this world, horrors once immersed only within the burning pits of the Duat. I draw nearer, draped in terror yet unable to escape my own temptations. The sounds grow louder, and more feverish, until at last the barriers that withheld this ancient power shatter and unleash a sonic scream unlike anything imaginable to mortals, man or beast.

Within this brewing wrath hath reside the might of a thousand sandstorms, the militaristic might of a million pharaohs, the infinite flames of a million demons spawned of Apep himself. Both gods and men, past and future, cower before it as it destroys all who dare stand before it. Louder it grows, more frenzied, and from within I hear a single isolated howl, a demon’s voice that exclaims, “KAFIR!”. I look upon the hands that unearthed this ravenous pestilence and, amidst the chaos, ask myself, “What hast thou done?”

I already knew the answer. I hath unleashed Nile upon the world.

* * *

If you’re a regular to the world of extreme, you’re probably more than familiar with the sublime death metal innovator that is Nile. For those unaware, Nile is a brutal death metal band led by songwriter/vocalist/guitarist/musical genius Karl Sanders, revolving almost entirely around Egyptian and other Mediterranean cultures. To this end, the riffs are written in a number of various Middle Eastern scales, modes and instruments, and feature lyrics inspired by Egyptian mythology and history, or even excerpted directly from ancient texts (or those of famous horror-writer H.P. Lovecraft). It’s a formula that has shaken the death metal world time and time again, establishing Nile as leaders in metal songwriting and atmosphere. Unfortunately, many fans (of which I am one, in case you hadn’t quick picked up on the subtle hints yet) were disappointed in their 2007 release Ithyphallic. Here, much of atmosphere and interesting instrumentation were gone in favor of straightforward thrashing, capped off by terrible production values and an album title that gave way to more than a few penis jokes. I remained convinced, in spite of doubts dwelling deep in the back of my head, that Ithyphallic was the one-time product of a lack of inspiration, and that the inevitable successor would restore the band to their former glory. I was right.

I just didn’t know how right I was.

Those Whom the Gods Detest is an absolutely astounding piece of death metal gold. It’s the product of a trio renewed in their convictions and driven by their passion to create music that is as overwhelming as it is enthralling. And that seems odd, because in a manner of speaking, TWTGD doesn’t strongly alter the classic Nile formula in any way. So what exactly has improved enough for me to name this the best Nile album in years? Well…pretty much everything.

For starters, the production values are the best Nile has ever had. Much hyperbole was made on the toiling of the producers to craft the best Nile sound yet for this album, and there is no doubt that they delivered. Sure, their previous works achieved a dark, muddy sound that matched the music note for note, but something, be it the guitars on Black Seeds of Vengeance or the vocals on In Their Darkened Shrines, always seemed to get buried. TWTGD performs a miracle by retaining that same grittiness as the previous albums while simultaneously making every performer come in clear, crisp, and above all, powerful.

It’s also notable that this is probably the most technically demanding Nile album yet…which is saying an awful lot. Sanders and Dallas Toler-Wade are, as always, demons behind the six-strings; the rapid-fire guitar pickings and haunting harmonics in “Permitting the Noble Dead to Descend to the Underworld” have to be heard to be believed. The duality between their vocals works better than it did on Ithyphallic as well, even if Toler-Wades straightforward bellows receive more of the spotlight than Snader’s otherworldly growls on this venture. If any one member of the trio deserves props for his instrumental performance on this album, however, it’s George Kollias, the drummer. He’s quickly making a name for himself as one of the best drummers in the modern metal world today, and TWTGD is the best proof of that. His spastic drum fills are always entertaining and expertly precise, but he won’t truly blow your mind until you hear him pounding away at the double-bass at up to 300 BPMs (!!!).

Of course, Nile has always been less about the technical aspects of their music (at least compared to other similar bands) and more about that classic atmosphere, the ability of their music to sweep you away thousands of years into the past and transport you into the world of ancient Egypt. Where the previous album managed to fail in that regard for the first time, TWTGD brings it roaring back. It’s not exactly dripping with the shadowy atmosphere and unpredictability of ITDS, but it always incorporates enough unique ideas into each song to make them all distinctive and memorable in that old, “Sanders” way. The indescribable riffs that open “Utterances of the Crawling Dead”, for example, seem to be perfectly emblematic of the howls of spirits from beyond the grave. The title track opens with whispered ritualistic chanting alongside the playing of a sitar-like instrument, luring the listener into a false sense of security…before leaping for the throat in what quickly becomes one of Nile most vicious, most evil “epic” tracks (clocking at around eight-minutes, yet remaining gripping to the very end). Instead of opting for a couple of slower, doom-based riff monsters, the band cleverly inserts some doom sections into several of the faster tracks, with the only “4th Arra of Dagon” serving as the slow, plodding giant of the album. There’s even a non-metal instrumental very much akin to Karl Sander’s solo projects, and it’s probably one of the better ones to appear on a Nile album, featuring a number of unique instruments and creepy, chanting vocals to sell the ambiance.

If there’s any one track that serves as a representative for Nile as a whole, let alone the album, it is the opener, "Kafir!" (the subject of my little Lovecraftian-esque fiction at the start of this review). Over the course of roughly six minutes, it incorporates both the fast-flying fury and the slow, crushing madness that Nile is known for. Most notably, before the amazing solo and as the song closes, "Kafir!" incorporates beautifully sung Islamic prayer; the theme of song being the nature of Islam itself. Nile’s lyrics have always been deep and insightful, not to mention a learning experience worthy of the Discovery Channel (you know you’re good at song writing when you make a song about a Hittite ritual performed with dog crap seem interesting…no, really), but it’s songs like "Kafir!" that provide a social relevance quite isolated to this album in particular. The title would suggest a clear stand against religion and deities as a whole, and that context is certainly implied, but in a subtle way; rather than outright state their disdain for established faiths, as many more bone-headed death metal bands may attempt, they use the examples of the ancient past to make their case. It’s clever stuff, to be sure, and the inclusion of liner notes explaining the history behind the music will help the people who, unlike Sanders, don’t have encyclopedic knowledge of Egyptian religious reforms...or don't know who the hell Ra or Osiris are.

As far as flaws go, they are fairly self-explanatory to anyone familiar with Nile. As I stated, the overall formula for the music has not changed much, but has only improved from that basis; if you didn’t like the band’s bizarre fusions to begin with, there’s little hope for you here. And of course, brutal death has always proven to be a tough sell outside of the underground, so the tone and subtleties I’ve outlined here may be completely lost on the people who can’t stand the sound of a good growl or double-bass section. That being said, if you have even the remotest interest in death metal and/or Egyptian culture, you should be listening to this album right now. It has far exceeded my expectations, and may one day be listed alongside Amongst the Tombs of Nephran-Ka and ITDS as one of their greatest works, not to mention one of the best death metal albums of 2009. Consider this an unflinching recommendation from somebody who rarely ever gives them.

...Full of Sound and Fury, Signifying Nothing: "Embryonic" Review

Album: Embryonic

Artist: The Flaming Lips

Genre: Alternative / Indie Rock

Length: 70:17

Release Date: October 13^th, 2009

Label: Warner Bros.

Producer: The Flaming Lips, Dave Fridmann, Scott Booker

Double albums are a rare sight in the musical landscape, and with good reason. A certain set of associations and expectations are usually attached to works that get the double album “label”; we expect the long road to the album’s completion to be riddled with variety, spontaneity, and epic might, as to compensate for the many hours they extract from our lives. As far as my knowledge extends, no double album has ever reached these proverbial stars, and in fact they tend to almost always come crashing back into the ground; the band’s attempts to fit this mold are almost always the hurdles that make the album tedious or even unlistenable. To this day I still don’t know the ingredients necessary to craft a truly compelling double album, but at least I know that The Flaming Lips are just as clueless as I am.

…which isn’t to say that they don’t try, of course. Notable attempts have been clearly been made to alter the signature sound of this psychedelic indie rock band into something different for their latest opus, Embryonic. It is perhaps the “busiest” work they’ve performed, not in terms of technicality but in the stacked layers of various samples, keyboard drones, and other sci-fi miscellany compiled within each track. This, compacted together with unorthodox drum and guitar production values, does indeed craft something different; the problem is that it also comes across as over-produced and over-done. Explaining the cacophonous sounds portrayed by such songs as “See the Leaves” and “Watching the Planets” is difficult, and may need to be experienced first-hand. Beauty is in the eye of the beholder, after all, but in my eyes there is really no beauty here. Rather, when all of the various elements in each song collide, they most often react negatively and combust, destroying any chance at attaining the simplicity that might have been.

The complex, multi-layered style of the album almost seems to be compensating for the lack of actual dynamics within; strip away the random beep-boops, bells, and whistles, and you’ll find rather basic indie rock songwriting, with endlessly looped melodies and lyrics. This isn’t inherently a problem, mind you; many bands of this irk do not strive for detailed song-writing, but instead succeed in luring listeners into a sense of tranquility before enveloping them into a haunting, black void of calm. Unfortunately, The Flaming Lips spoil their chances at this form of success, too; even the most stripped-down, beautifully simple songs like “Evil” are poisoned by unnecessary sound bites haphazardly scattered into the mix, and by the end the listener is left with the distressing feeling that nothing was ultimately accomplished. With no chance to get lost in the music, nor much reward for paying close attention, there is little to reap from listening to Embryonic.

This missteps may have been forgivable if the album were a decent length, properly paced so that one could soak in the most memorable moments and have them still pulsing through the brain by the time the album accelerated to its climactic end. Here, my friends, is where the hideous double album demons rear their ugly heads, because the “epic” length utterly destroys this album. Without much in the way of variety or story progression to spice up the album or give it a theatrical punch, it devolves into what is essentially a marathon of tedium…and keep in mind that 70 minutes is actually pretty short for a double album! It begs the question, “Why didn’t they just cut out half the tracks and market it as a standard release?”

Well according to the band itself, the record was created in an attempt to solve their “dilemma” of what to include on each preceding album. They furthermore assert that the album’s creation was in debt older classics like The Beatles whose albums were decidedly “un-focused” and attempted a wide variety of styles.

This, handily, explains most of the issues I’ve pointed out up to now. Essentially, then, there is no over-arching theme or story to the songs at hand, but rather just a jumbled compilation of ideas, smashed together then split into two discs. Such is not the proper way to create an epic; such creations demand structure and coherence, something Embryonic clearly lacks. Even as a “variety sampler” I feel that it fails upright in the face of the band’s ambition. Not only do I not feel a sense of variety and open-endedness running through the album, but I also feel that its inability to strive for and achieve a certain goal dooms it from the beginning. As far as I’m concerned, there’s nothing wrong with being “focused”; it’s what has allowed many a band to become associated with certain emotions or themes. Embryonic, to me, leaves no lasting emotional impression of this sort; it’s as bland as un-buttered bread, and not nearly as delicious.

Enjoy the Show: "Sergeant Pepper's Lonely Hearts Club Band" Review

Album: Sgt. Pepper's Lonely Hearts Club Band
Artist: The Beatles
Genre: Psychedelic Rock / Pop
Length: 39:42
Release Date: Jun 1st, 1967
Label: Parlophone / Capitol
Producer: George Martin



As I readied to start writing reviews again, I was hindered by the thought of what, exactly, should mark my re-entry. What album could I analyze that would conjure images of the epic and the daring, that would brew up the storms of controversy I tend to be well known for? After much pondering and consideration, however, the answer stood before me, intimidating and daunting: I would return to the roots. Not those of my own, mind you, but music itself; to the heart of the beast, the lifeblood that pumps inspiration through the veins of the pop industry. I would travel back in time to the 60s, when the new body of music arose from behind a shroud of marijuana smoke.

This is my greatest stand. This is my darkest and lightest hour both. This is my review of Sergeant Pepper’s Lonely Hearts Club Band.

But first, allow to quickly establish my position on The Beatles, if I may: contrary to popular belief, I don’t actually hate them. In fact, prior to this review, I knew nothing more of them than what has become public common knowledge. What I do hate, of course, are the fans, the cult birthed in the wake of their reign that sets out to make any accomplishment in music pale before the veil casted by their four gods. To this today I find the prospect of any band being the “one true master” to be absolutely ridiculous. Does it not divert the eyes of humanity away from new accomplishments in favor of those which have already happened? Does it not defy the concept of music being an abstract concept which can satisfy equally in more forms than one? This is what I despised, and yet to prove them wrong I would have to defile their sacred idol, to destroy that which they pray to. I would have to prepare an assault on what many call the greatest album of all time, Sergeant Pepper’s Lonely Hearts Club Band.

So…let’s get started.

In my mind, it’s easier to summarize SPLHCB not by what it is, but what it isn’t. What it isn’t is the greatest album of all time, the sacred, untouchable masterpiece that it so consistently is made out to be. It isn’t flawless, it isn’t seamless, and it isn’t exactly “pure” (in the sense that one might expect the pinnacle of music to be an unmitigated product of the human soul rather than the by-product of substance usage).

And yet (and this is where it gets shocking, I know) I was quick to discover that it also isn’t bad. In fact, it seems to me more accurate to label the album not as the top of the musical pedestal, but the bottom: the foundation upon which nearly everything that followed it built up from. It has goals, and achieves them; it takes risks, and they work. It’s the jack-of-all-trades of the music world, a work that excels at little yet accomplishes much.

Really, on a technical and compositional level, there isn’t much to say about SPLHCB that hasn’t already been said. The sound of The Beatles, love it or hate it, is iconic, and all of the elements that form its compound are present here in full swing. The swooning vocal melodies, the air of psychadelia, the almost “bouncy” (if somewhat dull and unimpressive) drum beats of Ringo Starr…it’s all here. Many of the songs featured here are at the height of fame and public knowledge, particularly “Lucy in the Sky With Diamonds”, and yet I don’t think the album operates solely on a song-by-song basis. It’s the little moments that create SPLHCB, from the almost comedic background noises of the title track to the Indian, tribal vibes of “Within You Without You” to the sweeping orchestral elements of “She’s Leaving Home”. The Beatles pioneered the use of new effects and complex arrangements on this album, and when it shows, it also shines; the bizarre and darkened orchestral moments that are interspersed throughout the otherwise happy and cheery “A Day in the Life” are almost haunting, finishing off the album on a high note by ironically sounding at its lowest. The weakness of the album, in my mind, is that it too often limits its ambition and devolves into simple minded pop (or, in the case of songs like “When I’m Sixty-Four”, the style of musicals…bleh). The aforementioned tracks stand out the most in my mind because they represent that which The Beatles have come to: change, the introduction of new ideas to old formulas. It’s a shame, really, that the pop industry as a whole has come to recognize the more bland entries of SPLHCB as models to follow.

That the album has stood the test of time for so many individuals surprises me, because within minutes I could see the tears in the stitches that hold this album together. For one thing, as a lyrical piece, the whole thing doesn’t hold up. The myriad drug references are cute at best, and everything else ranges from the average to the nonsensical (the words to “Being for the Benefit of Mr. Kite” were adapted almost word-for-word from an old circus poster…no, really). It isn’t exactly a masterpiece of instrumentation either, nor is it trying to be (though I must say the sudden guitar solo towards the end of “Good Morning Good Morning” was as decent as it was surprising). I just find it amusing that it has gone on to inspire thousands upon thousands of untold artists with nothing more than the beating of its own proverbial heart. There isn’t a single thing about the album that gave it such power; The Beatles just wrote a set of songs, and fate worked out the rest. For anyone to try to duplicate what they did would end in failure as assuredly as someone attempting to find two snowflakes that look exactly alike.

Perhaps I am not the one to talk about pointlessness; after all, look what I’m trying to critique here. Chances are, you, the reader, have already heard enough of The Beatles to know whether or not you follow their religion. I write this regardless, however, to dispel the myth that The Beatles are beyond criticism. As a matter of fact, nothing is; there will be no golden album, descending from the heavens, that every single individual on Earth will treat indisputably as the second coming. Flawlessness is a hypothetical concept; for everything else, flaws exist that can be criticized. Critics exist to project their own satisfaction or dissatisfaction upon the world, regardless of popular opinion; even if, in their unified voice, a single decision reigns most powerful, there can one, if only barely audible that chooses another.

I am that one voice. I am here to say that Sergeant Pepper’s Lonely Hearts Club Band is a good album. Not perfect, but good, or rather the essence of good. I can see how it is qualified as the measuring stick with which to weigh pop music, but certainly not all music, and certainly not how it is held with the highest possible regard.

Yet that I am able to respect it at all humbles me. In my travels towards that blackened heart, I discovered more than I anticipated. There are some good songs here, products of a band that worked well together (well, sometimes anyway) with a taste for many flavors of the musical spectrum. In my opinion, it isn’t the greatest in the way that most people say…but it is the greatest at something, and that is more than I ever imagined it would be.

That Which Has Fallen Will Rise Again... (My Comeback Post)

So maybe a few people were somewhat confused when I euthanized my blog without warning sometime last February. Maybe some people are upset that they never got a chance to see it in action. Most likely, you are neither one of these people, since about a grand total of five individuals ever read it to begin with.

Anyway, that's all irrelevant now. A lack of inspiration led to me to shut down the blog before, and a surge of new inspiration (i.e. being bored and wanting to write something) has led me to reinstate it. I’ve got a laptop, I’ve got a pile of mp3s, and I’ve got an endless supply of critical bile to dispense. I have returned.

For those of you who are unawares, Supernova Asylum (http://supernova-asylum.blogspot.com/) was a blog I created about a year ago to serve as an outlet for my inner critic. People requested albums (sometimes) and I tore them to shreds (sometimes). This same system will return, but with some changes. First and foremost is the lack of any specified release dates; experience taught me that, even when doing something I enjoy, I work very poorly under time constraints. Expect to see at least one review per week, but don’t expect to see them on any sort of rigid schedule. I’ll post a status update alerting you to the presence of any new reviews. Simple!

Second, I’ve taken to prepare myself for a “submission drought”, by which I mean a lack of review requests. I’ll usually put requests first and foremost on my review list, but when worse comes to worse I’ll withdraw an album from my little “bank account”. So far, I have compiled these albums to be of interest to either myself or the viewing audience:

As I Lay Dying - An Ocean Between Us
The Beatles - Sgt. Pepper's Lonely Hearts Club Band
The Devin Townsend Project - Addicted*
Faith No More - Angel Dust
The Flaming Lips - Embryonic*
Jay-Z - The Blueprint 3
Oranssi Pazuzu - Muukalainen Puhuu
Megadeth - Endgame
Muse - The Resistance
Nile - Those Whom the Gods Detest*
Pearl Jam - Backspacer
Porcupine Tree - The Incident
Scar Symmetry - Dark Matter Dimensions
Slayer - World Painted Blood*
Wolfmother - Cosmic Egg*

* indicates albums with upcoming release dates

If any of these albums spur your interest, please let me know in the comments section of this note. I’ll gladly review them sooner than normal if interest is present.

Ultimately, though, I must stress that the future of the blog relies mainly on you. Yes, YOU! I am motivated not just by my own cynical ego, but by your devotion to laughing at my cynical ego. If people don’t give me things to review or comment on the reviews I’ve written, there’s no way for me to feel like I’m accomplishing anything. Any kind of creative feedback is welcome, and you can post it either on the blog or my Facebook wall or status.

And with all that verbosity out of the way, I think that covers everything. Once again, my status will tell you when the first batch of reviews has arrived. Farewell for now!

The 1st Annual Stavers Awards Presents: The Top 12 Albums of 2008, Part II

2008 was a great year for music all around, without question. From genre to genre, music fans were greatly rewarded with many pleasant surprises and much fewer bitter disappointments. And while the corrosive, festering plague we call the “mainstream music industry” continues to exist, and even after a diabolical menace known as Soulja Boy (*shiver*) once threatened to destroy the medium as we knew it, 2008 even showed glimpses of change there, most promisingly in the hearts of its people, the consumer. It seems apparent to me that they are becoming more open-minded, beginning to break loose of the restrictive chains the record labels have placed on them. Not just the business, but the art, is now poised to benefit from these gradual changes.

So how exactly does one choose a single album to be named “the greatest” when so many vital competitors exist? It’s a question all reviewers must face when they choose to boil albums down to their cores in lists or awards, and there’s no universal answer. To me, though, the winner deserves to be an album which reminds what music really is, because from time to time it is hard to lose sight of that common perception. Music is the expression of emotion through sound – a fair enough premise – and yet most artists in the medium limit themselves to just one of the infinite emotions we possess. We see love in Fleetwood Mac, depression in Nirvana, hatred in Slayer…but in some, we see these emotions ebb and flow together as naturally as the ocean tides, as they do in the human spirit. For outstanding achievement in ever-difficult task to emulate human nature through flawlessly executed song-writing, The Stavers Awards are proud to name this album to be the #1 Album of 2008:

1. Opeth - Watershed



So…where to begin on this one? I suppose it’s notable to mention for anyone who has never come into contact with the musical enigma that is Opeth that they have been producing almost universally-acclaimed albums since the early 90’s, and have since become nearly synonymous with progressive metal. But while they have never been ones to be restricted by boundaries or to avoid new pathways, Watershed is perhaps the most pivotal moment in their history. In almost completely changing the foundation of their sound which has been but tweaked and altered since its creation with 1998’s My Arms, Your Hearse, Opeth re-emerged from a silent metamorphosis this year to become an altogether better group of song-writers and performers. Is Watershed their greatest album ever made, as the name may imply? Most critics seem to think so, but it may a few years until I am ready to confirm my own beliefs. What’s more relevant as of today is whether or not Watershed better allows the band to more aptly present their formidable blend of brilliant, non-traditional song-writing and unparalleled emotional climaxes to the world, to which the answer is undoubtedly yes.

The changes are perhaps due in part to some critical changes in Opeth’s usually steady line-up. The loss of long-time guitarist Peter Lindgren and drummer Martin Lopez since the release of their last album was a drag, but the new entries bring fresh elements to the table in their stead. The explosive, tri-tone riffs that dominated the group’s more brutal moments are less prominent here, and the guitar in general takes more hints from classic and early prog-rock in regards to distortion and layout; the result is a sound that is thinner but more flexible and varied. The new drummer’s black metal roots more than account for any lost aggression, as the more sophisticated beats probably represent the best drumming the band has ever had. The most important change, no doubt, is that Per Wiberg, the keyboardist they recruited for 2006’s Ghost Reveries, finally feels like a core part of the band when playing in this style. Whereas many Ghost Reveries songs felt like classic Opeth with subtle keyboard sounds in the background, Watershed songs often find themselves driven by Wiberg more than or as much so as his fellow bandmates. This furthers the classic rock vibe, and really lets the band’s obvious Pink Floyd influences shine to a crystal sheen. But let’s not fool ourselves into thinking that Opeth isn’t still prominently directed by vocalist, guitarist, and songwriter Mikael Åkerfeldt. With flawless guitar prowess, an awe-inspiring growl, and probably the best clean baritone vocals I’ve heard, it’s hard to think of a more talented frontman.

But really, it’s hard to generalize how these elements work so perfectly when fused together, so we’ll have to breakdown the album by a track-by-track basis. It kicks off with Coil, a relatively short song by Opeth standards (roughly three minutes) that serves as more or less an intro the conceptual story Watershed tells of a grief-stricken royalty and his former lover. It’s a perfect way to segue into the epic masterpiece that awaits, carried not only by Åkerfeldt’s masterful vocals but also those of guest singer Nathalie Lorichs. Yes, the “guest female vocalist” horse has already been beaten into a puddle of smashed organs by now, but not only are the vocals beautifully done, they also make sense in the context of the song (a rarity, for certain). It begins to be apparent as her voice fades and the acoustic guitars carry out their final notes, however, that Coil represents both the eye of the storm. What follows is Heir Apparent, probably amongst the darkest and heaviest Opeth tracks ever written. Åkerfeldt's guttural growls and tortured screams serve as the perfect vehicle for the equally agonizing lyrics, whilst a torrent of dark energy conjured by the guitars and keyboards parlays the experience. There are many twists and turns along its nine-minute running length, but easily the best is when the acoustic breakdown halfway through suddenly explodes into a cavalcade of blastbeats, alternate picking, and insanely deep howls in what is probably the single heaviest Opeth moment. If that doesn’t get your heart racing, nothing will.

As hard as a song like that is to top, the band achieves just that with the next track, The Lotus Eater. Beginning with a graceful hum set to a backing of violins and ending with an eerie sequence of conversations and sound effects that would make Pink Floyd proud, the song is between is probably one of the best showcases of fluid and natural song-writing I’ve seen in my four-to-five year music-listening career. There are more stand-out moments in this one song that many entire albums have, yet the transitions between them never seem unnatural or forced (that’s right, we’re all looking at you, Beck). It’s a roller coaster ride of emotions, the perfect representation of the definition of music presented earlier. I wouldn’t dare spoil all of its magic moments, but one deserves special praise: during the mellow section in the song’s middle third, there comes a point where the increasingly distorted and quickened solo segment gives way to a keyboard rise. When that rise reaches its peak, the song suddenly drops into a keyboard-and-bass solo segment that sounds like a cross between funk and NES-style video game tunes. Yeah, I wasn’t kidding when I said that these guys weren’t afraid of boundaries. The Lotus Eater is my choice for the best song of 2008, bar none, and if you disagree…well, I certainly respect your opinion, but I also hope that you get hurt somehow. Perhaps by an aluminum bat. Held by me.

After that moment of genius passes by, there’s plenty more to be had, but in a different capacity. Ditching the hands-on approach held by the previous two songs, Burden drops the “metal” portion of the album and delves into the band’s mellower, more classical side. Distortion is largely dropped, but the solos and melodies often dart about as swiftly and lightly as fireflies in a way that hybridizes jazz with arena rock. Åkerfeldt’s voice does an even better job of carrying the song here than in most, demonstrating that he works equally well in either element. Perhaps the coolest part of it all, and probably the most unique moment on the album, is saved for the end; Åkerfeldt starts playing an acoustic riff repeatedly that at first sounds beautiful, but as time passes someone begins to gradually detune his guitar while he’s still playing. No, stop. Do not attempt to set up an eye appointment. You likely read that correctly, and it likely caused your head to explode. This segment actually gave me chills the first time I heard it, but don’t take my word for it; listen to it yourself.

Now compared to moments like that, the next song, Porcelain Heart, may seem a tad pedestrian. It takes my vote for the weakest track on the album, but even then the exchange between hard and soft moments makes this one special – not to mention it features a couple of quick tricks, including a sudden and massive drum tempo shift that will undoubtedly catch you off guard the first time you hear it. If anything, Porcelain Heart does well to set up for Watershed’s eleven-minute epic, Hessian Peel (bizarrely, I could only find a link for the second half of the song). This is where the proggiest influences the band can muster are set loose, and it’s also the most jarringly divided song, split between gorgeous tranquility and unstoppable brutality. It even features a rarely used musical tactic: backmasking. Early on, you’ll hear a vocal segment recorded backwards, which when rewinded reads, “Out on the courtyard, Come back tonight. My sweet Satan, I see you”; a subtle nod to the infamous Stairway to Heaven backmasking myth. Rest assured, only The Lotus Eater beats out this track in its sheer song-writing prowess. Finally, Hex Omega exists to wrap up the album’s poetic tale, and does the job nicely. The uplifting riffs in conjunction with the smooth verses make an appropriately grandiose ending for an equally grandiose album.

These seven masterpieces probably would’ve been enough, but nope; the band had to go ahead and spoil us. Along with the special editions of the album come three bonus tracks, two of which are covers. The original track, entitled Derelict Herds (no link for this one, sorry), is a great song in its own right, and was probably left off the album due to its irrelevance to the plot, which is a shame given how well in contrasts both the light and dark sides of the band. The covers, however, reveal a completely new side to them entirely. Bridge of Sighs, originally by English rock guitarist Robin Trower, seems more or less the perfect fit for the new classic-rock influenced style of the band, and Åkerfeldt’s vocals do its sound great justice. The cover of Marie Fredriksson's Den Ständiga Resan, meanwhile, expresses their folk side well, but is more than anything an excellent showcase for Åkerfeldt’s voice, and in his home country’s native tongue, no less. If you aren’t a believer in him by the end of the album proper, this little bonus will change that, guaranteed. Finally, as an added treat, the recently released Burden single comes with even more goodies. The first is Mellotron Heart (no link here either, I tried), a recreation of Porcelain Heart with only the mellotron and mini-Moog synthesizers as instruments. It’s no replacement for the original, but it’s still a fun little bonus. The final B-side is yet another cover, and an unexpected one at that: Would?, by Alice in Chains, the famous grunge group. It’s hard to judge a song of this format to Opeth's core work, as grunge is far less technical and far more linear by nature, but its certainly good for what it is, and a faithful recreation of the original. Consider it a cherry atop what was already a great topping-soaked sundae.

Yeah, I know what you’re thinking by this point: where’s all the hate? Where’s the cynicism and the nit-picking that so dominates the lives of reviewers? And the truth, in all honestly, is that I couldn’t think of a single reason to waste any of my precious critical bile on this album. My sole problem with it – which will mean little to newcomers – is that in streamlining the song dynamics and diversifying the sound, the band may have had to sacrifice some its overwhelming power, the kind that made previous albums like Blackwater Park almost absurdly gripping. But if this album truly is representative of permanent change for the group, and if a future album can combine the past and future Opeth together, then…well, I think I could rest easy declaring it to be the greatest album I would ever hear.

At this point it may simply be an understatement, but Watershed deserves accolades from here to eternity, as well as your undivided attention. Listen to it. Love it. Cherish it. And if you can think of a single greater album that came out in 2008, please tell me…but think hard about it first, or else I may have break out that aluminum bat of mine.


Recommended First Listens: Coil, Burden, Porcelain Heart, Hex Omega
Stavers’ Top Picks: Heir Apparent, The Lotus Eater, Hessian Peel
Bonus Achievements: What, Album of the Year wasn’t good enough for you?

The 1st Annual Stavers Awards Presents: The Top 12 Albums of 2008

Well, it's taken nearly a month to construct, write, neatly package, and deliver it, but here it finally is: The 1st Annual Stavers Awards, and the Top 12 Albums of 2008! Each entry has earned its place through the exceptional demonstration of songwriting, muscianship, and generally being fun to listen to, but keep in mind that these elements have been judged solely by me, the writer. If the list seems biased in any way, that's because it technically is. So if you disagree with the placement (just know that the race was pretty tight, especially towards the top of the list) or if you think I missed an important contender, then...well, that's what the comments section is for!

So here's how this works: each album will be accompanied by a miniature review containing the reasons for why it was selected, along with three informational subcategories. The first, Reccomended First Listens, lists the songs I believe serve the best for being introduced to the sound of the album (important to getting used to the more extreme stuff on the list). Stavers' Top Picks, meanwhile, are the songs that I have chosen to be the best of the lineup, the elite ones that demonstrate the best that the album has to offer. Finally, there are the Bonus Achievements, tiny awards given for special provisos the album gives us (please, don't take them too seriously). Oh, and you may be wondering, "why twelve, of all numbers?". And I have a perfectly good answer to that....
....
....
....
....so with that all explained, we can start this countdown of awesome! The envelope, please...

12. Jeff Loomis – Zero Order Phase

Why the public has yet to embrace instrumental music has always puzzled me; given the general abhorrence of respectable lyrics in mainstream culture one would think it would make a perfect fit. For those of us who can appreciate a break from the human voice for a little bit, the guitarist from Nevermore made a nice little solo project entitled Zero Order Phase. There’s no real meaning behind the titles of either the songs or the album itself; all the emotion is spurred from the music itself, which is obviously done quite well. One could argue that the entire experience cycles around Loomis’ mastery of sick guitar licks, and that’s essentially an apt ideology. Still, the guitar-work alone is some of the best 2008 had to offer, which makes Zero Order Phase more than eligible for a spot on the list in my book.

Recommended First Listens: Azure Haze, Sacristy, Departure
Stavers’ Top Picks: Jato Unit, Devil Theory, Miles of Machines
Bonus Achievements: Devin Townsend Award for Solo Project Achievement, Yngwie Malmsteen Award for Exceptional Shredding

11. Meshuggah – obZen

Imagine that a rogue supercomputer from the future broke some circuits, engineered unfeasible weapons of mass destruction, and started eliminating human life with all the precision and speed mankind’s technology could muster. That, in a way, is like listening to Meshuggah’s obZen, an album which overwhelms you with its dense, mechanical orchestration of dark energy. It lands low on the list mainly for being just that, not much more than an outright metal attack, yet it remains notable for having done it so well. The drumming on songs like Bleed, for instance, will have your mouth gaping, likely due to the coma induced by the guitarist’s and bassist’s desire to numb your senses with wicked experimental lines. Repetitive, sure, and largely inaccessible, certainly, but never say it’s not without benefit.

Recommended First Listens: Combustion, Electric Red, Lethargica
Stavers’ Top Picks: Bleed, obZen, Pineal Gland Optics
Bonus Achievements: Worst Cover Art for an Actually Good Album Award, David Lombardo Award for Drumming Prowess

10. Jedi Mind Tricks – A History of Violence

Family reunions are generally awkward processes, ones where you stand in the corner hoping to your deity of choice that no one approaches you to inform you that they are a long-lost aunt or uncle with a lifetime of boring stories to make you suffer through. That’s why JMT’s seemingly natural reunion with former hip-hopper Jus Allah on A Histroy of Violence deserves such praise; it manages to reincorporate the old elements that he used to bring into the path JMT has followed in the years since his absence. Those expecting the reunion to have resulted in an older-school release like Violent By Design will scuff their feet in the dirt, but the rest of us will know we’re getting a quality product. Yeah, the vocal patterns are getting a little rusty with repeated used, and the lyrics still border on the nonsensical at times, but the production and beats are as perfect as ever, Vinnie Paz is still on of the most pissed-off rappers in music, and Jus Allah’s return provides some greater variety to the whole mix. Resident hip-hoppers will surely want to check this out.

Recommended First Listens: Deathbed Doctrine, Heavy Artillery, Godflesh
Stavers’ Top Picks: Monolith, Trail of Lies, Butcher Knife Bloodbath, Death Messiah
Bonus Achievements: Angriest Hip-Hop Award, “Family Reunion” Achievement Award, Best Beatz Prize

9. Radiohead – In Rainbows

Paradox, thy name is Radiohead. They have a vast army of loyal followers to put China to shame, yet they still exercise the freedom to expand their music into continuously different territories without losing them. That freedom took us to a strange world on the very first day of 2008 when In Rainbows was released to critical acclaim. However, I cannot in good spirits place this new experimental opus above something along the lines of OK Computer or Kid A. There’s a level of consistency on those albums, an unbreakable thread that sews songs together that made them work flawlessly, and it just seems missing on this release. Not to mention, there’s a certain wide disconnection between how the band’s members described the album and how it personally effected me; “terrifying”, for instance, is a strong word, and I would not have used it to describe the rhythmic hand-clapping and children’s cheering that accompanies the album opener 15 Step. But hey, it’s still Radiohead, and the strangeness and openness they always carry with them from album to album still remain. It’s disappointing in some ways, but In Rainbows deserves a place on the list nonetheless.

Recommended First Listens: Bodysnatchers, Nude, Weird Fishes/Arpeggi, House of Cards
Stavers’ Top Picks: All I Need, Jigsaw Falling Into Place, Videotape
Bonus Achievements: Highest Indie Band Survival Rate, “Black Sheep of This List” Award

8. Mountain Goats – Heretic Pride

Alright, I’ll admit it: this one surprised me. Heretic Pride’s simplicity and seemingly infallible joy belies some pretty interesting folk-rock techniques, even if the linearity of most tracks makes them a little more predictable than usual. The poetic lyrics – and subsequently the strange voice of a one John Darnielle – are really the star here, mixing surreal visual treats with some very affirming life lessons (How to Embrace a Swamp Creature being a good example of both). I’ve heard some critics say that the album covers little ground that the Mountain Goats hadn’t covered before, but for the amateur such as myself, the album is instantly accessible while still being phenomenally well-balanced and varied. It couldn’t bring itself to compete with the more boisterous candidates on the list, but it is easily worth a glance.

Recommended First Listens: So Desperate, How to Embrace a Swamp Creature, Tianchi Lake
Stavers’ Top Picks: Sax Rohmer #1, San Bernardino, Heretic Pride, Lovecraft in Brooklyn
Bonus Achievements: Most Joyous, Creepiest Lyrics

7. Arsis – We Are the Nightmare

Combining melody and technicality has been a task that few in the music biz seem to undertake…or care about. Arsis (from Virginia, who knew?) have instead taken it upon themselves to accomplish that goal thrice in succession, with the latest victory being entitled We Are the Nightmare. In doing so, the formula does prove to be somewhat repetitive as you move from start to finish, but the mighty riffs and excellent drumwork reciprocate your patience with some truly commendable songwriting. If perhaps the lyrics seem overwrought by comparison, then it takes little to ignore them while you bask in the glory of the album’s melo-tech hybridization. It’s essentially the musical equivalent of having a perfectly-engineered power drill accurately flossed through your ear canals…although that does make it sound bad, so try to imagine that statement through the perspective of a masochist, yes?

Recommended First Listens: We Are the Nightmare, Sightless Wisdom…and if you don’t like those, then there’s no hope for the rest of the album.
Stavers’ Top Picks: Overthrown, Progressive Entrapment, A Feast for the Liar’s Tongue, Failure’s Conquest
Bonus Achievements: Most Technical, Best Attack Tool for Metal Elitists

6. Equilibrium – Sagas

Oh gee, I’ve never seen this before. A symphonic folk metal band with blackened elements that fuses guitar with violin and pan flutes melodies, singing lyrics about old Nordic stories exclusively in German? How utterly predictable.

Ok, so in all seriousness, it's really the sheer uniqueness that makes this one stand out. Everything about the musicianship is really spot-on (except for maybe the screechy black-metal vocals), but all of the folkandish touches make the songs complete. Most of them sound European in nature, fittingly enough, but traces of Latin and even Australian aboriginal culture make an appearance along the way as well. The result is an album that is truly epic; the word may get thrown around a lot these days, but it really does seem designed for the sheer girth of this album’s sound. If you can handle some extreme vocals and don’t have a problem flipping through a Germanic dictionary to understand lyrics, then this record was made for you.

Recommended First Listens: Prolog Auf Erden, Blut im Auge, Heimwärts
Stavers’ Top Picks: Unbesiegt, Snüffel, Mana
Bonus Achievements: Most Likely to Be Used in a World of Warcraft Montage Video, Most German

5. Scar Symmetry – Holographic Universe

There are some people out in this world (I like to call them “elitists”) who have already gone ahead and declared the entire genre of melodic death metal “dead”. The frequency with which Holographic Universe has appeared on many end-of-the-year lists such as this one seems to have shut them up pretty well, I daresay. This is because Scar Symmetry has put out nothing but high-quality of the melodeath genre up to now, and Holographic Universe is simply their most polished effort yet. The entire guitar-keyboard partnership that drives the album works tremendously well, but its really the vocals of Christian Älvestam tha push it over the top. It’s a shame that his unwillingness to cooperate with the rest of the band resulted in his eviction from the group shortly after the album was made, because his powerful death grunts and soaring singing voice are so well done here. Plus, the album takes its sci-fi theme very seriously, as the song titles and great lyrics reflect. Some of the riffs are occasionally quite samey, but that hardly derides the entire experience. Get this, if only to prove those Gothenburg-hating heathens wrong.

Recommended First Listens: Morphogenesis, Timewave Zero, Ghost Prototype I – Measurement of Thought
Stavers’ Top Picks: Artificial Sun Projection, Trapezoid, Holographic Universe, Ghost Prototype II – Deus Ex Machina
Bonus Achievements: Best Use of a Theme/Concept, Creed Award For Having a Band-Threatening Vocalist

4. In Flames – A Sense of Purpose

I could probably write entire analytical tomes about these legendary Swedes if possible, but I’ll have to cut to the chase (relatively) in the name of brevity. A Sense of Purpose brewed up quite a storm as far back as late 2007, under the watchful eye of fanboys and musical cynics alike. More than likely it was because it followed Come Clarity from 2006, an album that returned the band to its metal roots after half a decade of questionable experimentation that tore their fanbase in two more violently than perhaps any other band in metal history. So, we all wondered, would the next release take the band even further back towards their humble beginnings? Was the guitar-driven sound of Come Clarity a one-time deal? Could In Flames surprise us with a masterpiece that made their classic The Jester Race sound like Miley Cyrus? The answer, as it turned out, was “no” on all counts.

Instead, A Sense of Purpose was an apt blend of everything In Flames had done thus far, freshened up and injected with cautious but successful experiments up the wazoo. In losing the rushed pace and outright aggression of Come Clarity, it regained the warmth, addicting melodies that defined the band. Yet it didn’t all make itself apparent immediately and instead unraveled with multiple listens. The strange new approach has led some to call it the worst album in the entire In Flames catalogue, while others consider it the best. The most reasoned of In Flames fans such as myself reside somewhere in the middle, for there are certainly flaws to pick at; the lyrics, namely, have taken a rather unprecedented dive in quality in some songs, demonstrating that band vocalist Anders Friden may have finally plumbed the wells of “social cruelty lyrics” completely dry after a decade or so. Apart from that, the band sounds better than it has since Clayman, with Jesper Stromblad’s guitar riffs flowing like wine once again, not to mention the best drumming the band has ever seen.

Undoubtedly the best aspects of ASoP lie in the increased variety it brings to the table after Come Clarity’s blurred line-up. The setlist ranges from short-and-sweet metal anthems (The Mirror’s Truth), spastic thrashers (Sober and Irrelevant, March to the Shore), and even largely keyboard-driven moments (Alias). Some parts even indulge in the Swedish-folk acoustic guitar interludes that sound plucked straight from the band’s debut Lunar Strain. But no one could prepare for In Flames’ most risky experiments, and indeed one of their most beautiful songs ever; The Chosen Pessimist, an eight-minute-long epic of the progressive rock mold that demonstrates just how far Friden’s clean vocals have come, evoking sounds and emotions more like those of Radiohead than At the Gates. Plus, those of you willing to search for the Japanese edition or shell out extra for the accompanying EP will find three absolutely awesome bonus tracks as well, and the luckiest will obtain one of the rare box sets that comes will a frickin’ pinball labyrinth game. Awesome.

Granted, In Flames will always have their detractors, but that’s to be expected from a group brave enough to flip their established sound upside-down over the course of just a few albums. Besides, you have to love a band that pokes fun at itself; one of the banners that advertised the album prior to its release stated “In Flames don’t follow trends…they create them!” And you know what? That’s absolutely right. They may have a long way to go to win back the hearts of those they scorned, but this new album proves that even after 14 years of twists and turns, In Flames are still not obsolete, and instead march forward with “a sense of purpose” of their very own.

Recommended First Listens: The Mirror’s Truth, Disconnected, Condemned, Drenched in Fear
Stavers’ Top Picks: Sleepless Again, Alias, I’m the Highway, The Chosen Pessimist, March to the Shore
Bonus Achievements: Most Undeserved Hatred, Best Cover Art, Most Addicting, Jesper Stromblad Award for Having Jesper Stromblad

3. Gojira – The Way of All Flesh

There isn’t much to say about The Way of All Flesh that wasn’t covered in my previously written review, but I must reinforce the notion I made earlier about this album being a “grower”. On further examination over the past few months, the differences between this and 2005’s From Mars to Sirius expand ever further; the newer release is less organic (the production has been kicked up quite a dozen notches), yet eliminates the monotony and adds innumerable new angles to the songwriting. The vocals are fuller and more powerful, the drum-work god-like, and the innovations clever. When you get right down to it, TWoAF may be the apex of the path these Frenchies have strode since their first album, which makes it all the more interesting to see where future years will take them.

There’s another reason I have had yet to touch upon that takes TWoAF to the near-peak of the list, too: it once again proves that Gojira produces music for a discernable reason. That doesn’t sound impressive when phrased so bluntly, but think of all the tired, bloated rock stars or corporate-controlled prissy pop princesses who cough up new records for sheer profit or to imitate a semblance of activity. In short, Gojira aren’t in the music business for the money, but for the music, for the power that the musical medium provides in spreading the word of noble causes and spiritual beliefs. And that’s especially notable when their enviro-friendly nature contrasts so heavily against the back-drop of their hellraising sound in a way that is both ironic and distinctive. For these reasons and more, you will never find another band like Gojira, nor another album like The Way of All Flesh. Brilliant, in all possible respects.

Recommended First Listens: Oroborus, A Sight to Behold, The Silver Cord, Vacuity
Stavers’ Top Picks: Toxic Garbage Island, Adoration for None, The Art of Dying, The Way of All Flesh
Bonus Achievements: Best Lyrics, Most Likely to Rupture An Organ Through Sheer Ferocity, Best Death Metal Album to Be Made in Fran…on second thought, gimme that last one back. It’s practically a freebie.

2. Cynic – Traced in Air

Some of you may have wondered, perhaps in the black depths of a subconscious dream, what genius sounds like. Or perhaps that was just me. In any case, Cynic would be a perfectly acceptable answer to that. Their 1993 debut Focus was the first, and for a while only, proof of that, combining technical death metal with jazz fusion and progressive elements to form an instant underground classic many still regard as one of the greatest releases of all time (myself among them). In just one year thereafter the band split, however, and all of their work on the follow-up was seemingly lost. Then the impossible happened; the band reformed in 2007, and all the material that was once thought lost to time has resurfaced 15 years later. There are few albums I could consider to be worth waiting more than a decade for (you hear that, Chinese Democracy?), but I can assure you that Traced in Air is one of them.

The most important thing to know going into Traced in Air if you are familiar with Focus is that it has little resemblance to its forbearer. Undoubtedly that has left some feeling scorned, but there is no reason to fret. TiA is a nearly perfect album in its own regard, because it explores territory left unexplored not just by themselves, but by the musical community at large. Vocalist Paul Masvidal’s robotic vocoder-backed vocals return much improved, forming glorious melodies that layer perfectly on top of one another, and amongst the technical beating of Sean Reinert’s drums and the guitar’s cyclical, melodic loops. Largely less aggressive and fast-paced than Focus, it instead ensnares you in a steady, flowing river of sound, one that’s willing to burst in rapids or gently caress the shores as it deems appropriate. And if that sounds more than a little trippy, its probably because the space-age sound of Traced in Air is one of the most difficult albums I’ve ever had to explain in words. My sole complaint, and it is a minor one at best, is that at a meager 35 minutes or so, TiA ends far too soon. Nonetheless, the once-in-a-lifetime experience of closer song Nunc Stans helps ease that wound, and the general quality of the album already has me in peak anticipation of what Cynic will possibly create next to continue their legacy.

If you need any more endorsement of Traced in Air than I can provide, of course, I think Paul Masvidal does a better job than I ever could:

“We've been on an amazing journey discovering this new music and soon it will be yours. Expect the unexpected. The album is an intensely concentrated mosaic of internal and external energies, from the deepest peace to the purest aggression. There's an acquired taste that comes with a record of this density, but once your ears wrap themselves around the language at work, everything falls into place and suddenly you'll feel a sudden urge to sing, scream or maybe even cry. The album has a beginning, middle and end. The story will reveal itself after numerous listens and then you may not want to let go…”

So very true. Buy this album right away.

Recommended First Listens: Nunc Fluens, The Space For This, The Unknown Guest
Stavers’ Top Picks: Evolutionary Sleeper, Integral Birth, King of Those Who Know, Nunc Stans
Bonus Achievements: Longest Delay, Highest Payoff, Best Use of Vocoder a.k.a. Only Good Use of Vocoder, Midget Award for Being Too Short

Surprise! The #1 album gets a full review next time!