Week 50: Hammers of Misfortune - The Trial and the Grave

The artist: Hammers of Misfortune kick ass! Yes, that's how this post should start off considering the awesomeness of this band that sadly finds itself criminally overlooked. Founded by John Cobbett, former guitarist of Slough Feg and Ludicra, his band provides an excellent mixture of vocals from both genders. The band have also explored in several subgenres of metal. The main focuses have been traditional and progressive metal but there were strong black metal and folk music elements on the debut album named The Bastard. You wouldn't think the same band would also release an album with strong 70s prog rock elements but the signature characters of the band, particularly with the co-operation with male and female vocals (which may I add makes this band quite a gem), define this band in several styles. Out of all the bands featured on Monday Metal Treasures, this is one of the most highly recommended artists.

The album: The August Engine is Hammers of Misfortune's second album and moves away from the black metal elements that were present in The Bastard. This record has a stronger traditional metal feel but the album is still highly progressive and some tracks are even thrashy. The instrumental track The August Engine, Pt. 1 is technical ecstasy by quickly switching back and forth with acoustic guitars and the full driving force of the band and the song makes a sudden end for the following track Rainfall that manages to make an odd transition that actually works. More complex work is shown later on with The August Engine, Pt. 2 where the second half finds itself gradually moving to acoustic movements and back. And to think all of these tracks together make a concept album. I could go on all day about The August Engine but the point is, this album is damn good and should be some of the best 45 minutes you'll hear from heavy metal!

The song: The Trial and the Grave is the final song on The August Engine. Out of all the songs featured on Monday Metal Treasures, the lyrics for this song are quite possibly the ones that stand out the most. Yes, you could say the lyrics actually go above the music here but that's not to say the musicianship is short of excellence. You have some very doomy guitars from Mike Scalzi and John Cobbett who make the best impressions at the start and the finale section. The band tones down to make way for the strong vocals from Janis Tanaka (sorry, no Scalzi here).

The song goes through a long depressive route showing no happiness anywhere in sight. If anything, this shows the visions of a ghost seeing the sad ending of a woman who is sentenced for death and followed by the barristers cutting the body into pieces. It's a horrible thought and if it were sung by a death metal band, they'd take this as a joke and laugh at it but not Hammers of Misfortune who put real emotion to their music. The last verse just shows how sad the ex-life of someone was by explaining how no-one acknowledged the woman and that everyone completely forgot about her. The finale shows some slow movements from the guitarists and while this part may seem to drag, it has a purpose to take its time since if the lyrics were unsettling, why should the music make it easier for you?

Overall, The Trial and the Grave is a very depressive song. You'd have to come up with something a whole lot sadder (and not done in some emo bullshit way) to make this song look like Helloween in comparison. This song is by far one of the saddest songs metal has ever experienced and is a prime example of excellent female vocals in heavy metal and if there's one band that should make their way to the top over the next decade, it's this unique bunch.

Week 38: Fates Warning - Pirates of the Underground

The artist: Fates Warning are one of the early examples of progressive metal, even though the early albums were more traditional/power metal than progressive metal which is what they would turn to later on. The first era is much different to the later works of Fates Warning and even the vocalists show how different they are to each other. Unfortunately, Fates Warning have produced a lot of mediocrity during the Ray Alder era but No Exit is still a fine album. As for the albums when they had John Arch, The Spectre Within and Awaken the Guardian are highly praised and rightfully so. The band as a whole have been quiet for a while now and the guitarist Jim Matheos has recently been workng with John Arch on a new band called Arch / Matheos but honestly, they should just call it Fates Warning.

The album: The Spectre Within is Fates Warning's second album. With only seven tracks, Fates Warning show a lot of potential. From Traveler in Time to the grand finale Epitaph, the songs are nothing short of excellence. To keep it short, John Arch shows a lot of passion with his singing, there are many high quality riffs and solos that show a great variety throughout and there are some magnificent intros, especially The Apparition and today's song feature Pirates of the Underground. Even the simpler intros such as Traveler in Time and Kyrie Eleison have just a clock ticking and bells ringing for the former and a chanting "Kyrie Eleison" for the latter but are still highly effective for the representing songs. From a personal view, this album easily hits the top 20 picks for heavy metal albums and it's a damn shame the John Arch era was a very brief time for Fates Warning.

The song: Happy Talk Like a Pirate Day! You were probably expecting Alestorm or Running Wild but it's not just those two bands that have written songs about pirates. Pirates of the Underground starts off with a elaborate intro section. Jim Matheos and Victor Arduini have a lot to offer with their dual guitar display with throwing a few solos around along with some catchy riffs that even have a slight thrash vibe to it. By two minutes in, only then John Arch kicks in with his shrieking vocals. Multilaying for John Arch is used to increase the effectiveness of his vocal performance. After two verse lines, the guitarist duo are back to play yet more solos that show so yet more power and to have roughly five solos in a single track with all of them being highly memorable is quite an achievement. Although the riffs are still something to wow about, the solos are even more impressive and none of the many solos show any signs of weakness. Overall, Pirates of the Underground is a solo-maniac song that only reminds every metal fan why this album gets a lot of praise. Having some speedy riffs as well as a lot of power from John Arch makes this even more of an incredible song!

Week 33: Savatage - The Hourglass

The artist: Savatage have had quite a career with their music. They started off as speed metal with Sirens and The Dungeons Are Calling EP. They didn't become truly established until Hall of the Mountain King. With the siblings Jon and Criss Oliva in the band, they knew where they wanted to go with Savatage and went on releasing several albums until Criss Olivia was unfortunately killed by a drunken driver in 1993. Despite this, Jon went on with the band and released a few more albums before focusing more on Trans-Siberian Orchestra and Jon Olivia's Pain. Savatage has been put on hold ever since and the odds of Jon Olivia putting Savatage back on the road is slim to none. Still, there's a lot to check out from this band and even one of the post-Criss Olivia albums is worth listening to.

The album: The Wake of Magellan is the concept album based on the Maersk Dubai incident and the Irish reporter Veronica Guerin, two real life events. They also incorporate to a story about a spanish sailor who wanted to end his life on his boat in the middle of the Atlantic ocean. His wishes are turned back as soon as he sees a man drowning in the middle of the ocean and saves his life. His morale was how precious every hour of life is and lives on. There are many great tracks in this album such as Turns to Me, the instrumental Underture and the title track. The highlight of the album has to be the album closer The Hourglass which is this week's pick.

The song: The Hourglass is the grand finale for the tale of The Wake of Magellan. This song picks off from where the sailor saves the the drowning man. Their journey back home isn't an easy one since the two head to a storm in the sea and this is what makes The Hourglass a climatic ending to the album, especially with Zak Stevens' vocals. If there's any justification for Zak Stevens, it's this very song. The way his voices are multi-layered at around 5 minutes in puts the situation at the very top and gets the two individuals through the terror on the sea, thus making it a happy and emotional ending. It better make you feel you were at an incredible journey in the sea and saying farewell to the ship once the song ends. Overall, The Hourglass is that one song that makes The Wake of Magellan worth hearing in its entirety for its highly climatic ending. Having Zak Stevens in the band was no mistake!

Week 26: Opeth - Nectar

The artist: Opeth have become a big name in heavy metal over the last decade. Not only are they well established for the mixture of death metal, progressive rock and acoustic elements all in one, they made a breakthrough with Blackwater Park in 2001 which in ten years can already be seen as a classic metal record standing next to Rust in Peace, Paranoid, etc. Mikael Åkerfeldt has also become a big name for heavy metal musicians and with his death metal vocals passing back and fourth with clean singing, Even with a formula they've used since day one, Opeth have managed to make some twists and turns with the raw feel of the first two albums Orchid and Morningrise and the all-acoustic and no-metal Damnation (as well as possibly the upcoming album Heritage). Opeth's success has gone as far as putting them in a high class venue like the Royal Albert Hall which they had to make a live CD+DVD for and I feel proud to have seen that special show for them.

The album: Morningrise is the second Opeth album and still contains the raw sound production which Orchid had. Morningrise is very notable for having every song lasting at least ten minutes long minus the bonus demo track. Some may think these songs are long for the sake of long but this album is rich in quality, although Black Rose Immortal (the longest Opeth song to date) isn't a song for beginners. Songs such as Advent and To Bid You Farewell have become Opeth classics and one has to wonder why Mikael Åkerfeldt opposed this album at a later point. Morningrise may not be the most accessible Opeth album but it's still damn good.

The song: Nectar starts off with an interesting intro. Starting with drums then introducing the bass (which is crystal clear here) and then the guitars. The bass proves to be very useful here and is a prime example of how sound productions should be executed to make the bass audible. The song goes through changes throughout with an acoustic piece around 1:33 in which quickly goes back to the metal. There's another acoustic section six minutes in which contains a strong classical feel. It's an unpredictable move if you've not heard the song before and the acoustic section is a personal favourite for Opeth's acoustic elements. It's a very moving part that is favoured very well with the drums and the bass once again which is a huge plus.

There's so much to say about the musical structure in Nectar and the lyrics are just the icing on the cake. The song is a bout a huge negligence of love that is never spoken out to the significant other. Overall, Nectar is an excellent song from Opeth with great appreciation for the bass as well as showing some of the best acoustic pieces from the band. This song is one of many reasons why it's a close second to Blackwater Park.

Week 24: Strapping Young Lad - Aftermath

The artist: Strapping Young Lad was Devin Townsend's heavier project. Devin Townsend's solo project has a diverse sound but SYL were more focused on their musical style. It's hard to define the band with a single metal subgenre but it's easy to describe them as "Heavy as a really heavy thing." SYL originally started off as a solo project by Devin Townsend as a response to all the bullshit in the music industry. Anger is a common theme in their music and those who don't like the nature of angst may get turned off by this but see it from a different perspective and see how the use of anger energizes music, especially Strapping Young Lad's works. The rage went on for five albums and disbanded a year after the release of The New Black due to Devin wanting to focus on his solo project only. Unfortunately, the return of Strapping Young Lad isn't likely for the time being but for now, let's look back on the great music Devin & co. played.

The album: SYL was a wind of change to the musical style of the band. The industrial elements heavily declined on this release as well as implementing stronger death and thrash metal influences. Devin Townsend's vocal range was more developed as well. In addition to the musical changes, the self-titled album feels more coherent than its predecessors and stands out as the most consistent release SYL had to offer. This album features eleven tracks that were written to kick some ass really hard! The sound ranges from high tempo tracks such as Relentless and Dirt Pride and slightly more complex structures with Bring on the Young, Aftermath and Force Fed. It's hard to make an album that sounds more pissed and enraged than this masterpiece.

The song: Aftermath starts off with some relentless drumming and makes it a really cool intro for the song. It also helps with the chugging riffs you hear around 40 seconds in and this has to be one of the finest examples of chugging riffs in heavy metal. It's very technical, heavy as a really heavy thing and very memorable. Even if chugging riffs aren't your thing, this song has at least a good riff of that kind. The drums are also insane but rhythmatic (wait, that isn't a word?). Unfortunately, not much can be said about the bass considering the sound production drowns the bass. The lyrics talk about war and using it in the name of religion as well as reflecting on recent wars at the time. For a song that's 6 1/2 minutes long, the lyrics are rather minimal. That's not a bad thing, though since the main focus on the album overall is the relentless instruments. Overall, Aftermath is one of the best songs as well as one of the most chaotic from Strapping Young Lad's self-titled album with technical chugging riffs, Devin's angrier tone and incredible drumming from Gene Hoglan.

Week 21: Symphony X - The Communion and the Oracle

The artist: Symphony X are a key band in progressive metal who also mix power, symphonic and even neoclassical metal elements to their music keeping their versatility. The band is well known for having Michael Romeo and Russell Allen in the band who are the two that define the Symphony X style, despite Allen not being in the band until the second album. With Allen on board, Symphony X have released great albums such as The Divine Wings of Tragedy, V: The New Mythology Suite and The Odyssey. In the recent years the band take more time on the albums with Paradise Lost taking 5 years to come out after The Odyssey and the upcoming album Iconoclast coming out four years after Paradise Lost. It's better to take your time than to rush out a release.

The album: V: The New Mythology Suite is the concept album released in 2000 covering several subjects such as Atlantis, Egyptian mythology and astrology. The album contains many great tracks such as Evolution (The Grand Design) to kick off things right after the prelude, the instrumental On the Breath of Poseidon and the fantastic 12 minute closer Rediscovery (Part II): The New Mythology to make a climatic ending for The New Mythology Suite. There's actually a strange coincidence Symphony X had with Spock Beard who too made their fifth album in 2000 named V. Both bands have stated these events as complete coincidences, even though Spock Beard ended up making an eighth album in 2005 with "oct" in the title just like Dream Theater with Octavarium.

The song: Communion and the Oracle starts off with an acoustic intro which is shortly followed by some excellent keyboard performance which stands as a true highlight throughout the song. Russell Allen on vocals doesn't start until a minute in and this song provides some of the lightest and softest vocal performances from him but for a ballad it works like a charm. Communion and the Oracle fits in the astrology side of the album with the topic of unbalance between day and night. The solo part is only the beginning of the end of the song and the orchestral elements become much stronger together with the last verse that put Allen at the very best for his singing talent. Overall, Communion and the Oracle is a brilliant song in V: The New Mythology Suite that shouldn't be underestimated at all. This is where the band shows some great work with acoustic guitars, keyboards and vocal performance.