Rifugium:

PunkyLunky:

p.s.  you gotta give BB a chance..... I love their vocals. 

 

I already know Breaking Benjamin. I've even seen them live. Unfortunately for me.

Rifugium:

PunkyLunky:

p.s.  you gotta give BB a chance..... I love their vocals. 

 

I already know Breaking Benjamin. I've even seen them live. Unfortunately for me.

they're horrible...i haven't seen em live and i don't want to.

 
...

_{and then Evanescence}

Rifugium:

Yeah, it was them, Three Days Grace, and Seether. So basically I saw the same band three times in a row.

 

...

_{and then Evanescence}

Nooooooo........

I like Seether and BB!

Rifugium:

Yeah, it was them, Three Days Grace, and Seether. So basically I saw the same band three times in a row.

 

...

_{and then Evanescence}

I'm so sorry for you and your ears

REVIEWGIUM: Agalloch, Ayreon, Kaki King

Volume III, issue 1
Band/artist: Kaki King
Album: Dreaming of Revenge
Genre/style: experimental
Release date: 3/11/2008
Rating: 7.5/10

Multi-skilled guitarist Kaki King has returned with a fourth album, a seemingly logical progression from her previous work ...Until We Felt Red. As with the last album, this one is a diversion from her first two albums, which were almost exclusively instrumental and guitar-centered, and focused primarily on her finger-tapping style. Once again, she has assembled this overall mild-mannered album, which does not limit itself to any single genre, but rather dips in and out of various worlds of style, including bits and pieces of non-aggressive rock, folk, ambient jazz, and subtle post-rock, all the while retaining a sensible flow. She also takes on the role of a vocalist more strongly on this album. Much of her vocals here are very outright, as opposed to those on ...Until We Felt Red, where they were more subdued and delicate. With the vocals being more outright, it becomes more apparent that vocals are not exactly Kaki's forte, yet one still must admire her seemingly increased level of confidence in assuming the duty of singing.

The album starts with a short, semi-acoustic/semi-electric instrumental prelude with jazz/funk overtones. Throughout the rest of the album, there are several instrumental interludes, which contribute to the overall flow of the album, and do easily stand alone as individual works, such as the Metheny-invoking songs "Sad American," and "Open Mouth," and the shifty "Montreal." "Life Being What It Is" is the first track to exhibit Kaki's "new" vocals, giving you ample time to decide whether or not you like them. She does however still utilize wordless vocalizations in the background that add to the instrumental section, reminiscent of past songs such as "You Don't Have to Be Afraid." This harmony-rich technique prevails on other songs such as "Saving Days in a Frozen Head," and it is in this technique that Kaki's voice always does seem to succeed. "Pull Me Out Alive" may raise a few eyebrows at first, but it evolves into a catchy pop tune, and an album highlight.

Overall, this is a very good album. It may not have the staying power or even the full appeal of its predecessor, but it remains an indication of Kaki King's skills as a musician and songwriter, and her abilities to diversify and not limit herself.


Volume III, issue 2
Band/artist: Ayreon
Album: 01011001
Genre/style: progressive metal/space opera
Release date: 1/29/2008
Rating: 7/10

Ayreon is not so much a band as it is a complex sci-fi themed project masterminded by Arjen A. Luccassen. This album, as most others before it, features a long list of guest vocalists (18 this time) and musicians, taken from many realms of the rock/metal spectrum, each of whom assume a particular role within the double-album-length concept presented. These roles on 01011001 take a dual shape as Arjen's contrived race of evolutionary superior beings known as "Forever," in a plot that involves a further and more definitive look at their elusive interaction and observations amongst their child race: "Man."

As would be expected, we see several extremely good vocalists--some newcomers and some old friends--who give their all, treating Ayreon not as a side project, but rather as if they were performing for their own respective bands. Perhaps most essentially, this is probably the most important Ayreon album in that it presents a storyline that virtually ties together the previous albums in a meaningful way. Allusions to previous characters and themes pervade the album--which should be obvious to long-time fans--and yet they reveal themselves in ways almost entirely unique to this album.

Song highlights include the opener, "Age of Shadows," which contains a full array of vocal power, most notably an amazing interaction between Katatonia vocalist Jonas Renske, and the ever-stunning, never (never ever) disappointing Anneke van Giersbergen (x-The Gathering). This striking Renske-Anneke combination is later revisited in "Waking Dreams." Other standout tracks include "The Truth Is in Here," which features an amazing yet short-lived performance by Dial vocalist Liselotte Hegt and Arjen Luccassen, whose vocals are consistently good, despite his self-proclaimed sub-par vocal talent. "Beneath the Waves" is another important track, with more great performances by Anneke, Daniel Gildenlow (Pain of Salvation), and others.

Downers include "Connect the Dots" and "Web of Lies" (as fans knowingly nod their heads), two tracks that do contribute to the storyline in a small way, but are largely unimportant and almost embarrassing. They respectively feature lack-luster "first impression" performances by King's X guitarist/co-vocalist Ty Tabor and Epica frontwoman Simone Simons. The remaining tracks are hit-or-miss, ranging from fair to good, often containing some great sections, but not really being overly great songs. As with other Ayreon albums, purist listeners may agree that 01011001 is a bit too long and drawn out, and not exactly easy to listen to all the way through multiple times. Another "con" is that many of the vocal roles seem tacked on, existing just for the sake of having as many vocalists present as possible. Floor Jansen (After Forever) and Tom Englund (Evergrey) make substantial contributions, but despite the various remaining roles, it seems that Jorn Lande (Yngwie, Ark, et al.) could probably have handled all the rest by himself.

Arjen's strength lies in his creation and progression of a well-developed and successful musical manifestation of a science fiction epic that contains a mixture of actual modern-day scientific ideas and theories, intermingled with an original story that is varied enough to appear different from album to album and yet come together in such a way that is ultimately revealed on this album. His major flaw lies in the lack of universal appeal in his music. Ayreon is definitely not for everyone, and typically people who hear Ayreon either love it or hate it, giving rise to a strictly limited fanbase, regardless of what guest vocalists appear on the albums. As for the DVD, if you like the Human Equation DVD, you should like this one for the same reasons, and if you are a fan, it is definitely worth getting. Simone's comment alone bumps the rating up at least half a point. (When you hear it, you'll know which comment I mean.) It's safe to say this is one of Arjen's most ambitious albums, but certainly not his best.

Side note: My rating of 7/10 seems a bit high, all things considered. But I am giving extra credit for the development of the main Ayreon storyline.


Volume III, issue 3
Band/artist: Agalloch
Album: The White [EP]
Genre/style: Folk metal/ambient
Release date: 3/11/2008
Rating: 8/10

The White is a collection of songs recorded between 2004 and 2007, and it embodies pretty much everything expected from Agalloch by now. Music made of wind, vocals made of frost, lyrics etched in stone and weathered for centuries within a lost cave amid a dark northern forest. There are really no surprises here, but that's not to say it's not worth listening to by a long stretch.

The first half of the album is almost completely instrumental, the first true vocals being heard just past the middle of the fourth of seven songs. "The Isle of Summer" starts things off with a simple duet between an organic acoustic guitar and a conservative electric guitar. "Birch Black" continues in the same vein, adding some electronics and ambient effects. "Hollow Stone" continues further, shedding the guitar and enhancing the ambient, with indistinct echoing voices to be heard in the background. "Pantheist" sounds like the direct descendant of a lost medieval organum piece, its haunting chant piercing the flesh, striking the bone, and shocking the nerves. Such a simple mantra, nonetheless the kind you wish would last forever. "Birch White" involves a trio of strict acoustic guitar rhythms, spoken word, and an accordion, with some natural ambiance. The acoustic, wintry themes pass into "Sowilo Rune," which contains more spoken word as opposed to singing, yet this time in the form of a whisper riding on the chill shadows of the night. The all-to-short journey comes to an end with the sullen piano-centric dirge, "Summerisle Reprise."

As with previous Agalloch EPs, this one was made in limited quantities, and with presales in effect, it pretty much went out of print before it was even for sale. So you may have a hard time finding this release in a physical form, but it's worth seeking out. This is probably the most important non-full-length release by Agalloch since Of Stone, Wind, and Pillor, though it just barely enough to keep your taste buds salivated until the next album materializes.

Agalloch is the shit, I've listened to "Ashes Against The Grain" alot the last couple of weeks. Often enough that the song "Falling Snow" is ranked 12th on my DJ's --Most frequently listened to-- list.
I've just started listening to "The Mantle" which is supposed to be their magnum opus, but I'm taking it slow with this one regardless of that fact, because my expectations are high.

Haven't heard much of Kaki King, a good friend of mine is somewhat of a fan but I've only listened to the song "Playing With Pink Noise" which I find .....for lack of a better word "gimmicky". She's got major skills to play like she does, but as with alot of other guitarists......there's alot of playing and very little music.
But that's just based on the one song, I'll borrow one of my friend's cd's in the near future.

Ayreon is getting alot more media coverage than ever before, which really surprised me (Dutch people don't listen to Dutch alternative music, except for a few gothic bands). Even our local cd shack has posters and a display full of copies. That being said I've never listened to them, not going to either.

PS:

I've been listening to Burst's "Origo" and I'm really struggling to get through this one. The "singer" is in terminal roar mode (which sounds really retarded during the slow parts) and sometimes even out of synch with the guitars. Some of the songs (like Slave Emotion) sound really pasted together and I can't help but wonder wheter or not they just jotted down some riffs and put them together.
The song "It Comes Into View" enters the realm of pretentiousness, with them aiming for creation of a certain ambience......what I heard was stock and boring.

"Sever", "The Immateria" and "Flight's End" are the listenable songs, with some nice dynamics and great riffage. "Flight's End" even has some nice female backing vocals at the cost of the lead-"singer" (which is a good thing)
 

_The Mantle_ is great, but I think AAtG is even better. See also, my AAtG review (it's on Amazon somewhere).

"Playing with Pink Noise" was on Kaki King's second album. As I allude to in this review, after that album she decided to move on from purely instrumental music (mainly showboating her tapping style), to more diverse music. See also, my _Until We Felt Red_ review (it's on Amazon too).
 

Rifugium:

Yeah, it was them, Three Days Grace, and Seether. So basically I saw the same band three times in a row.

 

...

_{and then Evanescence}

gawd! must've been a traumatic experiance.

Rifugium:

Yeah, it was them, Three Days Grace, and Seether. So basically I saw the same band three times in a row.

 

...

_{and then Evanescence}

LOL soooo true!

Oh and I was gonna say to...I will admit that I do like ONE song from 3 Days Grace..I felt horrible for liking it..but it kind of grew on me. :)

And Rif...The Pot is deff NOT the best Tool song.... but worst one ever?????

I love Tool

Stantrell:

Oh and I was gonna say to...I will admit that I do like ONE song from 3 Days Grace..I felt horrible for liking it..but it kind of grew on me. :)

 

 

And Rif...The Pot is deff NOT the best Tool song.... but worst one ever?????

 

I love Tool

Sludge:

Stantrell:

Oh and I was gonna say to...I will admit that I do like ONE song from 3 Days Grace..I felt horrible for liking it..but it kind of grew on me. :)

 

 

And Rif...The Pot is deff NOT the best Tool song.... but worst one ever?????

 

I love Tool

the pot is great. not their best but still damn good.