For all my bellyaching about 2015 and its overwhelming amount of new releases, it hasn’t exactly been a lighter load in these first one and a half months of 2016. Dozens upon dozens of new metal albums of all sub genres have come out in this relatively short time span and of course its impossible to listen to them all. I’ve managed a hefty amount though in just these few short weeks and if you read my recent Avantasia Ghostlights review, you’ll know that the year started off rather brilliantly. Seeing as how that was such an “event” album for myself and this blog and I gave it an accordingly lengthy review, I’ll try to shorten things up for all the other albums I was listening to alongside it. Here’s two relatively shorter reviews (but only just) for two major releases in my metalsphere. I’ll have a smaller, rapid-fire reviews series coming out soon looking at Abbath, Borknagar, and a host of others!
So those of you with sharp memories might remember that Austria’s Serenity leaped straight into my heart and atop my 2013 Best Albums of the Year list with their satisfyingly sweet epic, War of Ages. I found it an addictive album in its own right, but it had the added bonus of being my introduction to this wonderful band and their excellent back catalog that had gone under my radar for many years. I found myself comparing them to both Kamelot and Sonata Arctica; the latter because vocalist Georg Neuhauser reminded me so much of Tony Kakko in moments —- but the former because Neuhauser and guitarist Thomas Buchberger were a songwriting team that worked so well together that I was instantly reminded of the Roy Khan / Thomas Youngblood duo. Buchberger even shared a similar approach to guitar playing with Youngblood, preferring lean, sharp riff writing with highly melodic through lines and tastefully written solos. If they leaned a little too close to Kamelot in some spots, it was okay in my opinion, because at least I enjoyed their influences and they were managing to put their unique stamp on their own songwriting.
They had also brought in their spectacular touring singer Clementine Delauney to serve as co-vocalist on War of Ages, and she made the handful of songs she was on her own, with a malleable vocal style capable of being both breathy and ethereal, yet stormy and dark at the same time. The band had made a transition to being a five piece despite original keyboardist/co-songwriter Mario Hirzinger leaving the lineup (he would continue to contribute to the songwriting in a limited fashion), and I was already looking forward to their second album as a dual female/male vocalist band. So rather out of the blue on February 3rd, 2015 while working on a review for this blog, I glanced at The Metal Pigeon Facebook feed to see that independently both Buchberger and Delauney had announced they were leaving the band. It was a sinking moment as a fan, and I hate to see bands making music like Serenity’s suffer huge blows like the loss of a major songwriting partner. And as for Delauney herself, I thought she and the band were a complementary pairing and could dish out at least a few more albums together. Fast forward throughout the year and it seemed like Neuhauser, bassist Fabio D’Amore, and longtime drummer Andreas Schipflinger were determined to forge through these difficulties, playing some support dates for Stratovarius as well as a few festivals, Neuhauser even squeezing in his Phantasma side project (with Delain’s Charlotte Wessels), and in early October surprising us all by announcing their next album Codex Atlanticus had been finished.
Its been a long wait from October til now, and this was perhaps second to Avantasia for my most anticipated album of the first half of 2016. Serenity’s lineup is radically different, going from six members in the War of Ages publicity shots to four, the new guy being guitarist Cris Tian. Some things are similar, the lyrical focus on history for example is still present, except that instead of exploring a different subject with each song as on past albums, the band has decided to change things up in devoting an entire album to one subject, in particular the life of Leonardo DaVinci. The songs on Codex Atlanticus are like entries in his diary throughout his life, arrayed in no particular order, so some songs might be from a younger or older perspective. Its a cool idea, I was instantly reminded of Assassin’s Creed II where Da Vinci was a big part of the story line and you’d actually get to see him walking out and about in Florence. Neuhauser’s day job is as a high school history teacher and he’s pursuing a PhD candidate in history as well, so this stuff is right up his alley. From what I’ve gleaned from various interviews, Neuhauser wrote most of the album with contributions from D’Amore and Tian, along with longtime producer Jan Vacik helping out on the orchestral/symphonic side (for the first time it seems they’re not working with their other longtime producer Oliver Phillips). While Buchberger was as expected a no-show on this album despite hinting that he could contribute to songwriting in the future, ex-keyboardist Mario Hirzinger chipped in with some help on the lyrics.
Alright so enough backstory, how does Serenity hold up in this post-Buchberger era? I guess it depends on what you valued more about the band in their previous era, because Neuhauser’s vocals definitely take on a larger presence here, with all of the songs now being structured around his vocal melodies. He was certainly a large presence on older albums as well, but there he was often restricted with Buchberger and Hirzinger’s more progressive metal approach. That’s not a criticism of older albums, because the compromise worked well, but without their influence the songwriting on Codex Atlanticus is less technically inclined, owing more to classic power metal stylings rather than symphonic power metal tropes. That’s going to sound like a silly statement when you’re hearing keyboard orchestration all over this album, but put it this way, this album comes across as more Sonata Arctica rather than Kamelot —- one influence of the band edging out the other. It results in some awesome songs, such as the opener “Follow Me”, with its glory-claw inducing chorus where Neuhauser gets to demonstrate his mastery of vocal phrasing in singing “Here I am, here I stand / Nothing left to say / My destiny will stay with me in sorrow”. I love his choices on another excellent track, “Reason”, where he lands on specific enunciations with extra harmony vocal layers to give the lyrics an added dose of emotion. That kind of attention to detail is what separates power metal vocalists from their peers in other genres of metal, namely, an understanding of all the elements in a vocal track.
On the more purely symphonic front (because they don’t drift away from it completely), there’s “Iniquity” and “Caught In a Myth” where both songs balance an almost swashbuckling/derring-do orchestral bombast with Neuhauser’s sing-song vocal melodies. The latter really caught my attention with a spectacular co-joining of vocals and orchestra in a triumphant punctuation mark at the 5:02 mark (“Just go / Don’t hide…”), one of those sublime once a song moments that will keep me coming back. On the ballad front, because there had better be ballads (hey if you disagree, what are you doing reading a power metal review anyway?!) we’re treated to the rather traditionally Serenity sounding “My Final Chapter” and the charmingly Freddy Mercury-ish “Forgive Me”. Neuhauser loads up both with an array of vocal inflections at well chosen moments that elevate the songs from being merely pleasant to compelling listens (Tony Kakko disease if you will). But Neuhauser’s truly shining moment comes in the Broadway-sounding piano ditty / quasi-ballad “The Perfect Woman”, a gorgeous song about the Mona Lisa of course (who else would the perfect woman be?). I’ve never heard of a song about a painting before, none that I can recall anyway, and I love the ingenuity of the lyrical approach that Neuhauser and Hirzinger take here, that of Da Vinci marveling at his own creation in awe. The vocal melody here carries everything, and its one of Neuhauser’s finest performances, full of genuine enthusiasm and a flexing display of his soaring tenor on certain lines (“There’s no chance for me to stray / day by day”); also of note here is Amanda Somerville’s welcome presence, her role as Neuhauser’s duet partner a call back to the classic “Changing Fate” off Death & Legacy.
Worth noting is that for the first time Serenity utilizes two male lead vocalists this time around, as D’Amore takes the vocal helm solo for a couple of moments, notably on “Sprouts of Terror” and “Spirit In the Flesh”. In an interview, D’Amore said that he had to deliberately try a radically different vocal approach to his normal style in order to provide a sharper contrast to Neuhauser. Its an experiment that has me sitting on the fence, because initially I thought it worked, but over time I’ve found myself growing weary of hearing his voice. I think contrast for contrast’s sake doesn’t make a lot of sense, particularly when there’s nothing happening lyrically that would demand it (ala different characters in Avantasia). I’m not so put off that I can’t listen to those songs anymore, but I’d have rather heard Neuhauser on them all the way through (he is a big selling point for the band after all). Schipflinger turns in the reliable, solid performance that he’s always managed, and more interestingly Tian manages to come through on the guitar front, even knocking out a few solos where I couldn’t tell the difference between him and Buchberger (not sure he’d like that observation but it just means that he fits in well). Overall Codex Atlanticus bodes well for the future of Serenity, and that’s a testament to Neuhauser’s growing strength as a songwriter, one whose confidence in his vocal melody development has allowed him to carry the band on his back when they needed him most… not all vocalists could manage that.
Okay, so everyone knows the backstory on this one. The fifteenth Megadeth album, the new line-up aka mach umpteenth of the band (this time being Mustaine/Ellefson/Loureiro/Adler), and this being a rather pivotal sequel to the deservedly maligned Super Collider. What you probably don’t know due to no fault of your own is that I’m a longtime and rather passionate Megadeth fan. Its a fandom that’s waxed and waned over the years due to a variety of reasons but they were one of my earliest metal obsessions alongside Metallica and Iron Maiden, and seeing a poster of the cover art to Peace Sells on the wall of my cousin’s room in 1986 when I was a wee lad is one of my earliest metal related memories. One of the reasons that might be unknown to you is that I actually have never written about Megadeth on this blog except in passing references, the major reason being that I was too late and uninspired to cover 2011’s Thirteen, and well, just too disappointed to even discuss 2013’s Super Collider. I thought the two albums that preceded those two were merely average to good at best, the last Deth’ album I thought was worth fawning over being 2004’s The System Has Failed. Oh alright Endgame had a few really great moments. See… that’s what I mean about the waxing and waning.
Actually, let me do a ranking of how I rate the Megadeth back catalog just so you’ll know where I stand so you’ll be able to gauge the ultimate verdict of this review. No numbers, you all know I don’t do numerical review scores so I won’t bother with them for a discography ranking. I think you’ll get the gist regardless. Anyway this is how I consider the Megadeth catalog, from best to worst:
Rust In Peace: Sitting at the top where it should be, because duh, its one of the greatest metal albums of all tid! Its also on my do not listen to whilst driving list!
Countdown to Extinction: My intro to the band and one of the first metal albums I completely immersed myself in. I’ve never gotten tired of it.
Youthanasia: What?! Over Peace Sells?! Yes, because despite its Max Norman dictated slowed down tempos I still think this contains some of Mustaine’s finest songwriting.
Cryptic Writings: Put down whatever it is you’re about to throw at me, hear me out —- I listened to this thing relentlessly, and thought songs like “Use the Man”, “Trust” and “Secret Place” was the band at their most melodic, hooky best. Its an underrated album and that’s kind of a shame. Go back and listen to it, its better than you remember!
Peace Sells: The best of 80s era Megadeth, though not quite a perfect album. I was never entirely a fan of their production during this era, as I always felt Deth’ needed sonic clarity to do justice to their technical precision.
The System Has Failed: Mustaine’s return from one of the more bizarre rock n’roll injuries in history and his much needed comeback album (because there’s no way the band could’ve ended on The World Needs A Hero). It was the most ferocious they had sounded in years, full of conviction and ear worms a plenty such as “Die Dead Enough”, “Kick the Chair”, and “Of Mice and Men”.
Endgame: I enjoyed Endgame when it came out, particularly the insta-classic “This Day We Fight”, and the album was the angriest sounding Megadeth album in ages. It was thrashy and heavy, but I felt at the time (and still do) that with a few exceptions, there was a noticeable lack of hooks amidst all the aggression. Lead single “Headcrusher” was kind of sprawling, all over the place, and only “The Right to Go Insane” really had something resembling the melodicism that I valued in Megadeth. Of the two Andy Sneap / Megadeth collaborations, this was the best one.
Thirteen: As I was writing this I took a re-listen to this one and yes, I’m reminded that it was a strong album with only a few average songs, it gets this high because of “New World Order” and “Public Enemy No. 1”. Amazing to think this album was nominated for three Grammy awards in consecutive years from 2011-2013 (and won none of course). Conversely, its this low on the list because I had to re-listen to it to remember large chunks of the album, but maybe that’s more due to how little I listened to it upon its release.
Killing Is My Business: Awful production, some okay-ish songs… I was never really sold on it as a spectacular debut however, and I still don’t feel that way in light of the remixed version even though it did clear up a lot of the original production flaws.
United Abominations: Merely mediocre, though I loved “Gears of War” and thought it deserved better than it got (it should’ve had a tremendous push for its video game tie-in but apparently that deal fell through for whatever reason). I didn’t see the point of the Cristina Scabbia duet on the remade “A Tout Le Monde”, aside from a transparent cross-promotional opportunity, it certainly didn’t sound better than the original.
So Far, So Good… So What!: A step down from Peace Sells and the second worst production in Megadeth history, this still had all-time classics (you know the ones), but I was never a fan of “Anarchy In the U.K.” in general, nor “502” which rivaled Exodus’ Impact Is Imminent for boneheaded-ness lyrically speaking. I was hoping the remaster would clear up some of the awful, thin, tinny production job but it only seemed to emphasize its worst elements (leading one to believe those Capitol remasters weren’t done from the analog masters).
Supercollider: Just one of the most inexplicable decisions ever —- on the heels of releasing a flurry of relatively Megadeth-ian sounding albums, Mustaine decided to go back to experimenting with a more… I don’t even know how to describe it. The ridiculous title track for example was awful and baffling —- where in his musical history were the seeds for such a song laid? It wasn’t all bad, “Kingmaker” was a decent song, but everything else was steeped in some sort of classic/mainstream rock marinade that ruined everything.
Risk: I know I know, you think this should be last, but hear me out! This is not the worst Megadeth album, despite its transparent attempt to break into the mainstream /modern rock charts and its highly amusing choice of producer in pop-country miscreant Dan Huff. Strip all that stuff away and consider the album as an isolated collection of songs from Mustaine and Marty Friedman that explored their more pop-driven instincts. It was an experiment that resulted in some truly awful stuff like “Crush ‘Em” and “I’ll Be There”, but also some unique and interesting stuff like “Wanderlust”, “Ecstasy”, “The Doctor Is Calling” and “Time Pt. I/II”.
The World Needs A Hero: Ah, the nadir of Megadeth! A reactionary album that proves that reactionary albums hardly ever work. Plodding, re-hashed, and uncertain of itself: This was the sound of Mustaine trying to remember how to write actual heavy metal again. It yielded a semi-decent ballad in “Promises” but even that was flawed… if Megadeth was to succeed in ballads as they did with “A Tout Le Monde”, they had to avoid attempting power ballads. Consider this not only the worst Megadeth album, but one of the worst metal albums of all time.
So using the list above as a rubric, where does Dystopia fit in? I’m going to say, with a relatively high degree of confidence, that I’d slot it between Cryptic Writings and Peace Sells. Yep, you read that right, I’m considering Dystopia a top five Megadeth album, and its for good reason too. This is simply the fiercest, angriest, most convincingly Megadeth-y that the band has sounded in over a decade. Were I to remove myself from my nostalgia fed love for Cryptic Writings, I’d imagine I could comfortably slot this right below Youthanasia, its really that excellent. Mustaine in particular comes across as more plugged in and motivated both vocally and lyrically, and I wonder if that’s due to the divisive political climate we’re currently in (would make sense also considering how divided the country was in 2004 during the time of The System Has Failed). Musically the band is reinvigorated by the presence of Kiko Loureiro in particular, the ex-Angra guitarist being the creative partner that Mustaine has long missed since the departure of Friedman (certainly Al Pitrelli never fit the bill, Chris Poland was a recurrent flash in the pan, and Chris Broderick never quite seemed to gel). Loureiro comes in from a power metal background, and though you can argue that he has shredder level talent, he’s had years of experience in matching technical virtuosity with major key melodies, in other words, a Friedman-esque perfect match and foil for Mustaine’s thrashy guitar tendencies.
The album kicks the gate down right from the start, with a trio of some of the band’s best songs to date (and not coincidentally, the album’s first three singles). With “The Threat Is Real”, Megadeth have delivered their best album opener since “Trust”, Mustaine’s snarling, venomous delivery paired with a ridiculously catchy riff/vocal progression. Its sibling song “Dystopia” (tied together through their animated music videos) reminds me so much of Rust In Peace. We get alarming guitar melodies that conjure up a vivid sense of paranoia and fear, and later on the tempo slows down in an almost improvisational mid-song jam session built around funky, twisting rhythm patterns that usher along a frenetic solo —- its the kind of thing I’d imagine Friedman doing back in the day. Loureiro is simply stunning on this track, and he is equally as inspired on “Fatal Illusion”, giving his leads an Eastern-tinged accent. Ellefson and Adler cook up a thunderous rhythm section throughout, always in lockstep, and I’m impressed at how balanced the bass actually is in the mix on such a wildly guitar driven album. Ellefson in particular delivers an awesome groove on “Bullet to the Brain”, a mix of thrash and rhythmic alt-metal that works because of his distinctive bass lines. Adler is a terrific fit for Megadeth, full of fills and creative snare and cymbal usage —- and he gets that one thing that sometimes fails thrash drummers, that the music sounds more energetic when it sounds like the drummer might be slightly outpacing everyone else (it conveys an excitement that can’t be contained).
And I have to give the band kudos for sheer creativity in a gem like “Poisonous Shadows”, a slower, experimental song that demonstrates that they don’t have to step outside of their wheelhouse in order to cook up something different. Instead of playing around with goofy hard rock or pop, here they elect to use atmospheric strings and bring in a female vocalist named Farah Siraj to provide those eerie yet ethereal vocals that float over the top. I like Mustaine’s delivery choice here, going for a more desperate, sinister approach rather than trying to aim for melodic perfection. If he sang it straight the song would’ve sounded disjointed (as odd as that seems), instead his altering of his vocals actually sells the overall nightmare-like effect they were going for. And I quite enjoyed the highly syncopated “The Emperor”, with trademark Mustaine sarcasm in the verses and a hooky chorus. The decision to cover Fear’s “Foreign Policy” is yet another tip-off that Mustaine seemed far more lyrically aware and plugged in this time. Regardless of what you think of his politics, you can’t deny that he might be the best at vocalizing subject matter like this —- its an awesome cover, full of panic, aggression, and rage. And its an awesome album, one that’s kinda kick started my interest in Megadeth all over again (I’ve been on a Deth’ binge for the past few days). I really hope Loureiro sticks around, because he seems to have lit a fire within Mustaine, one that desperately needed to be lit, for everyone’s sake.