The Drapery Finally Falls on India

Around 2 years ago, metal-thirsty people in India would be complaining about the complete lack of international metal shows in their country. Now, 2 years later India has already played host to big guns like Iron Maiden (who are returning for the 3^rd time this year), Megadeth, Sepultura and Ensiferum and also to numerous lesser known bands like Enslaved, Anterior, Detonation and Sahg. NOW, IIT Chennai has been gracious enough to add another feather to the already birdlike cap by roping in progressive metal goliaths Opeth.

As far as I am concerned, I was facing a dilemma between Iron Maiden and Opeth (due to limited funding from the parents). But I decided to go for Opeth regardless of how I was getting another shot at the ‘Somewhere Back in Time’ tour. Needless to say, it was well worth it. I went with 2 of my friends (and my mom’s Nokia 6300 because the 1112 model does not have a camera) and we stayed at one of my friends’ cousin’s house. But as soon as our chug-chug rolled into Chennai Central station on the 24th of Jan…tragedy!!!! I landed RIGHT on my ankle from losing balance while de-boarding. Sprain!!! I was almost ready to cry. Not because it hurt, but because I might miss the show. But some hot water and crepe bandage and painkiller took care of it so no worries there. We reached IIT the next day and what we noticed first and foremost was the TOTAL lack of ANY signs that a band called Opeth were playing. But that was OK, because good friend Alok Meshram informed us of the location for the autograph session. We got there in the total dictionary definition of ‘nick of time’ as Opeth strode into the auditorium. A long hour and lots of traditional Madrasi vigilance (from the volunteers) later, my turn came. I was TREMBLING because I had with me an incomplete sketch of Mikael Akerfeldt that I wanted signed. First up was guitarist Fredrik Akesson at the table. Drummer Martin Axenrot signed next and then the sketch went to the man himself, vocalist/guitarist Mikael Akerfeldt. The conversation was such:

Mikael: You made this? Yourself ?

Me: Yeah,but its incomplete…

Mikael: Its awesome.

The delight on my face was more than just palpable I’m sure. I then got it signed by bassist Martin Mendez and keyboardist Per Wiberg who I also shook hands with and then went WHOOPING out of there.

We were thirsty by then and that led us to reaching an already huge line for the Open Air Theater 15 minutes later than we could have reached. What resulted was an hour’s wait before the line started moving and the slow progress ensured that I got to just HEAR Demonic Resurrection from outside. FUCK Madrasi vigilance!!!!! Next up were veteran prog-rockers Motherjane from Cochin who came on stage with half their faces painted in Kathakali face paint!!!! Vocalist Suraj went on to explain how that was because they believed every person is half body, half spirit and music brings alive the spirit in you. I really appreciate how these guys have sautéed progressive rock/metal with Carnatic music. They played a longer set than required which led me to speculate whether DR, an extreme metal band had been asked to play a really short set (just 4 songs).

The time period that followed is the most anticipation-charged one at any international band gig, waiting for the headliners. There were cheers at every note played by the guitar techies and every beat from the drum techie. One awesome sight that I beheld when I turned back (I was around 4 rows from the stage) was a huge array of cellphone lights that shone like fireflies against the dark night. One of the reasons why the Chennai crowd is SO much better than the New Delhi one. But more on that later. It was time. The familiar thundering sound at the end of ‘Coil’ (from the new album ‘Watershed’) that signals the start of the epic ‘Heir Apparent’ now got everyone fighting their shivers with raging screams of ‘OPETH! OPETH!’. And slowly, they walked in, taking their respective positions and then as one huge monster played the 1^st chord of the song. It had begun. The crowd already started agitating for the mosh but then decided its better to stand and listen because they’ll get few such opportunities. And the song was played FLAWLESSLY with Akerfeldt dishing out an amazing vocal performance (though the stage sound was a but problematic at first). I took it all in; the doomy chords, the furious double bass and the death growls. After they finished with ‘Heir Apparent’,the band corrected their monitors and then played a song that I was SURE they would play in the middle of their set but drove all over us right then which is the eclectic ‘The Grand Conjuration’. It just sounded so much SPOOKIER and grander in real life, especially the verse riff! And usually vocalists struggle to replicate their studio effort live, but it seemed like a total walk in the park for Mikael Akerfeldt. After they finished, Akerfeldt 1^st interaction with the crowd turned out to be a bid for the people in front to move back and not stifle the ones in the 1^st row!!!! Hahaha!!! Madrasi vigilance snares a big one!!! After which Akerfeldt waved a sheepish ‘hello’ to the crowd and then the band went on to play ‘Godhead’s Lament’ from ‘Still Life’. The entire setlist was OFICIALLY their longest EVER played (more than 2 and a half hours) and was such:

1. Heir Apparent (from ‘Watershed’)
2. The Grand Conjuration (from ‘Ghost Reveries’)
3. Godhead’s Lament (from ‘Still Life’)
4. Wreath (from ‘Deliverance’)
5. Hope Leaves (from ‘Damnation’)
6. The Lotus Eater (from ‘Watershed’)
7. Bleak (from ‘Blackwater Park’)
8. The Night and the Silent Water (from ‘Morningrise’)
9. Deliverance (from ‘Deliverance’)
10. Demon of the Fall (from ‘My Arms, Your Hearse’)

As encore:

11. The Baying of the Hounds (from ‘Ghost Reveries’)
12. The Drapery Falls (from ‘Blackwater Park’)

Throughout the show Akerfeldt kept up a constant banter with the crowd. He is a hilarious man onstage and unlike most metal vocalists who are trying to create a mean and imposing persona, he is quite the joker. Some snippets:

After ‘Godhead’s Lament’:

“We’ve been having quite a good time in India. We saw a few temples, which were quite fascinating. We’ve been eating a lot. Our keyboard player Per Wiberg got bitten by a spider. Mendez had sex with a monkey. What was I doing? I was watching Mendez have sex with the monkey”

After ‘Bleak’:

“ Martin is throwing a tantrum. He says he has a blister on his hand. Mama”

But being the corporate shithole that India is, the sponsors Nokia HAD to play spoiltsport. After ‘Demon of the Fall’, the band went off stage pretending their show was over. Enter stage-invading Nokia compère. The idiot said he could bring Opeth back if the crowd repeated ‘Touch Opeth. Feel Opeth. Play Opeth’. Homo. And then to top it all, he called Akerfeldt onstage to talk about the new Nokia . Here’s what Akerfeldt said:

“Well phones are obviously good but heavy metal is way better. Wait, my wife is calling. Hello? Are you naked? I should play more songs? OK”

After which they played their last 2 songs. It may seem funny now,but go read Akerfeldt’s Myspace blog and read all the abusing he’s done to Nokia India. He clearly HATED all of it.

About the Chennai crowd? Well it was amazing attending a show with them because EVERYONE knew their music (add to that some Bangaloreans and its almost a Wacken-like atmosphere). Unlike the Delhites who use metal shows as an excuse for unrelenting violence. Wannabes. They’ll mosh to anything (even The Superfuzz). So if you’re from Chennai or Bangalore reading this, THANK YOU!!!!

And so I sit here, content with my fill of Opeth, writing this review. If you didn’t go there, you missed possibly the GRANDEST conjuration India has ever seen.

PICTURES

Gates of Winter: Another Step-up with Epic,Progressive music

This is another review I wrote for Encyclopaedia Metallum. Its a band from Canada called Gates of Winter. They play prog-power metal. The album's name is 'Lux Aeterna'. Here goes:

I came across Gates of Winter through a podcast. The song I had heard was 'Winter Flight', a song that, in one word, made me feel 'released'. And that's the kind of feel I got throughout the whole album. Right from the start of the album, one can tell that this band's intention is go STRAIGHT for the listener's mood. Their songwriting is VERY emotion-oriented, something that I find lacking in most progressive metal bands, who are busy showing off their technical prowess and superior education in music.

Gates of Winter may not come across as progressive to someone who's definition of 'progressive' is based on music by bands like Dream Theater and Andromeda. No. Don't expect ridiculously brain-jarring time signatures and beat skips OR virtuosic technique. So what makes them progressive? Well their ability to change rhythms frequently and constantly make the listener feel like he/she is part of the story they are trying to tell. And they CAN tell stories. Case in point: the 'Burning Kingdom' trilogy. The way the 1st part, 'A Dark Affliction' begins, sets the tone running for part 2 and finally closes with the instrumental part 3 that shares its name with the album title, bears testimony to their storytelling prowess.

Another highlight of this album is that there is never a dull moment. This is something that many progressive metal bands have not been able to master. Gates of Winter ensure that their songs do not drag on unnecessarily, clocking at 11-15 minutes JUST for the sake of being called 'progressive'. Hence one never feels that the same riff is being repeated for too long, or that the lead guitarist can stop his 5-minute long wankery already. Also, this band has a VERY solid backing rhythm. None of those 'falsely promising-sounding intro' problems here.

All in all, this is a wonderful album. The production though, DOES give away the fact that it is self-released because of the unusual prominence of the bass. No matter, it is still a piece of art. No matter what kind of a bad day one has had, one can be assured that he will feel total bliss for those 49 minutes and 44 seconds that this album runs for. A few of my favourites:

-Winter Flight
-From the Flesh
-Burning Kingdom II- Heavenly Insurgence
-Omega

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Dream Theater: Gods of Prog-Metal? Debatable

I've always noticed how Dream Theater is the 1st name that springs to mind when the term 'Progressive Metal' is mentioned. How everyone marvels at their sheer ingenuity with time signatures and technique. How (surprisingly) many people think that James LaBrie is one of the best vocalists in Rock/Metal ever. I personally, don't really agree.
Granted that each and every instrument player in that band is HIGHLY,extraordinarily talented. I myself am a HUGE admirer of John Myung(bass), John Petrucci(guitar) and Mike Potnoy(drums)(I think Jordan Rudess overdoes the honky-tonk on the keyboard). But THAT very talent is something that works against this band at times. Overall, I feel their music is just TOO calculated (weird time signature-this and beat skip-that). Once you think you've FINALLY figured out the beat pattern of one section of the song,they change the damn pattern to another mind boggler. It just gets too frustrating. I mean,music is something that connects with the soul as much as it does with the mind. I feel the soul connection lacking in bulk in Dream Theater's music. And lets not even START with the solos, those things go ON AND ON!!! Its like: "Yeah OK,you can play.I believe YOU!!!NOW can you stop??". Another aspect that troubles me is the vocals. At times, his voice is soothing, but for the most part of the song he's just WAILING. There's no other description. They are the kind that make you want to say "SHUT UP!!!" more often than not. And I'll never forgive him for pooping all over 'Master of Puppets'.

These were the reasons why I seldom heard Dream Theater and for the most part, Progressive Metal itself. But then there came a time when I thought "They can't ALL sound like DT,can they?" and that was when I treated myself to a HOST of AMAZING bands. Bands that strike the perfect balance between progressive thinking and melodic outlook. Bands that make catchy YET intelligent music. To hear them,click on their names. To all you adamant worshippers of Dream Theater, let me help you free your mind...

1.Opeth :

Well, lets just say that if you're HALF the metal (or even music) fan that you claim to be and you haven't heard Opeth, hiding your face around other metal-heads would be a good idea. For me, Opeth are nothing short of phenomenal. Their unique style combines progressive song structures, unconventional time signatures, switches between aggressive and calm moods and between clean and harsh singing. Yes,their songs are long as well, but at least there are no 4 to 5/4+5 minute long solos and frustrating beat skips involved. Opeth instead,rely on continuous rhythm and scale changes AND of course,the vocal style changes. The latter is the reason why Mikael Akerfeldt counts as one of the best vocalists in metal today,and THE best for me. To sum it up in layman's language, expect soft,haunting melodies laced with fast,aggressive ones,topped with vocals of both dark and light kinds and seasoned with jazz-influenced basslines and occasional death metal-influenced drum patterns. A treat indeed.


2. Symphony X :

Well if Opeth were progressively haunting, these guys are EPIC. With a guitarist who could give more than fair competition to John Petrucci (Michael Romeo) what with his 8-finger tapping style and all, these guys take the 'Progressive' aspect to a whole new level. Expect sweep tapped neo-classical leads, atmospheric keyboard rhythms as well as solos, neo-classical bass shreds, well above average drum playing and semi-aggressive yet clean singing. All nicely packaged within a progressive shell of long,multi-rhythm songs with well-placed beat skips and unconventionally epic time signatures. Unleash the FIRE!!!


3. Amaseffer :

Well if you've visited my blog regularly,you would have noticed my review of Amaseffer's debut album 'Slaves For Life'. If not, well these guys are a VERY new band from Israel whose debut album released in June this year. Their style is basically storytelling oriented. They use traditional instruments along with the regular guitars and drums (AND symphonies as well). Their song-structuring involves continuous rhythm shifts and is regularly punctuated by dialogues in Hebrew,serving as the perfect backdrop for the story of Moses. The vocals on this album have been given by Mattias Levin (most well known with Therion) and are REALLY well delivered. All in all,these guys are going to be under many a watchful,hopeful eye of fans of great music.


4.Into Eternity :

This particular band from Canada is one of the most enjoyable prog-metal bands I have heard till date. Their music is a combination of modern Death Metal and Progressive Metal styles. Think fast,technical(yet melodic) riffs, mood and time signature swings, the occasional blast beat battery among the regular double bass-dominated drumming style and VERY dexterously played bass. The vocals,as in Opeth, are both clean as well as harsh. But instead of the progressive singing style adopted by Mikael Akerfeldt, Into Eternity's Stu Block uses a very modern rock style of clean singing and guttural death metal vocals. All in all, VERY catchy and very progressive at the same time. DO NOT overlook. I mean it.


5.Evergrey :

Another very talented band is this one from Sweden. Evergrey's music can be described as dark/gothic progressive metal. They regularly use symphonies and clean guitar tones. Their music tends to be very dark and a bit ambient and their lyrics are usually about negativities associated with society e.g kidnapping, extortion, war, abduction etc. But this band also has its fair share of romantic poetry. They tend to not use very unconventional time signatures but their 'progressive' stems from their rhythm changes and choice of note sequences. Highly reccomended.


6.Circus Maximus :

When I heard this band, I was simply SWEPT AWAY. Even more so when I learned that these guys are from Norway (the world's unofficial black metal beehive). Their style comes a bit close to Dream Theater's at times, but they maintain their originality by playing heavier,more aggressive riffs and dabbling less in beat skips. The vocals are a very power metal-reminiscent style but also have a bit of James LaBrie in them (but NOT the irritating wailing thankfully). Their rhythms tend to be epic and laden with lots of palm-muted powerchords. A brilliant band and a MUST HEAR.

Amaseffer: Progressive storytellers

Israel.The land of many stories.The most famous of those being that of Moses and the Ten Commandments.Recently,Israel also found a place on the world metal map thanks to that very innovative Progressive Metal band Orphaned Land. I have hardly heard anything by these guys,but I've heard a lot about them. Then I stumbled upon another Progressive Metal band called Amaseffer.They released their debut album 'Slaves For Life' in May this year. All it took was a snippet hearing on last.fm,and 15 minutes later,the album was on my iPod. To be frank,this album is GRAND. It tells the story of Moses and the Ten Commandments, and is the 1st in a trilogy of albums. What follows now is a review that I wrote for that album on www.metal-archives.com.Try to enjoy:



A Better Concept Album There Will Seldom Be...


I have always been a bit wary of progressive bands, mostly because of their attempts at complexity. Be it with time signatures or technique or just those ridiculously long solos, band just FORGET that their aim should be to make good music and not write a staff notation of a solution to Schrodinger's equation. With Amaseffer's Slaves For Life however, I felt blessed to have stumbled upon such a work of art.

Firstly, I would like to acknowledge this band's sheer songwriting prowess. It was truly unlike anything I had heard before, or even expected from this album. Right from the start, one can tell that the aim of this band was to present a story to the listener through their music, not how the drummer can beat Mike Potnoy at complex time signatures. Their use of folk instruments, the Mid-Eastern tunes and symphonies and of course,their use of sounds from everyday life and the dialogues in Hebrew; all of them made it seem as if it one was watching a movie and not listening to an album. The vocals by Mats Levin of Therion are perfect.Not too whiny, nor too cheesy. Sometimes, they even remind you of Roy Khan's (Kamelot) singing. The lyrics are very to-the-point. Amaseffer have not tried to be excessively poetic by using verses that could mean ANYTHING, which is something I really appreciate. If a story has to be told, the events within it should unfold with ease.

Now, the fact that this band is a progressive metal band, could mean that people will expect a high level of technique. Unfortunately (for such people), that is not the case. But its not a problem either. Their rhythms are pretty simple and straightforward powerchords, notes and chords and their solos are not very fast or technical; but they all add to the overall mood of the album. There's not a single moment where the mood of the song becomes casual due to a rhythm that may be technically sound, but that's all it is. Every song generates its own mood because each song talks about different phases of the Moses story. And all the dialogues and sound effects make sure that even if you're not very knowledgeable about that story (like me),you WILL know what events unfold (even though the dialogues are in Hebrew).

If I was to describe what band these guys sound like, I would say a slower, less technical but exponentially more melodic version of the newer Symphony X. I don’t have a personal favourite song as every song is great and paramount to the album. But yes, I enjoyed ‘The Wooden Staff’ the most for its digitized Hebrew voice in the beginning and that section in the middle where the guitar, bass and xylophone are playing this catchy Mid-Eastern tune.

All in all, this is the best concept album I have heard till date. Once again, I’d like to congratulate the band. To be able to come up with such brilliance on debut itself is nothing short of a world record. In fact, if the band continues to write music like this, and improve, they could easily dethrone even veterans in this genre like Opeth and Symphony X. A brilliant collection of music. Something that every fan of good music should possess.