Mixing It Up

Gothic Metal, Symphonic Metal, Doom and Jazz?

Songs 89-91

Open blender.
Insert:Gothic Metal, Symphonic Metal, Jazz Fusion Metal, Experimental, Doom, Thrash.
Close blender.
Puree.
Serve chilled because its about to get hot in here.

  One of the greatest aspects about Metal as a whole is how extraordinarily pliable and without boundaries it is. At its very core is a basic foundation, one that is not as rigid as one might think considering the 'heaviness' of the music. As much as some fans try to limit its definitions, it seems metal springs back stronger, more fulfilled, more evolved. The variance that exists within this now extremely wide net we refer to as All of Metal is continually expanding, experimenting and even spawning. Generations and Second and Third waves of different genres now exist and  its all getting rather confusing to classify. Some of the border lines are blurred. That is OK because its up to the artist's creativity, their vision and what they feel inside that we listen to. They, as pioneers dont go by the book. A book of definition seems illogical to be applicable in any way to something that is felt within.
 It is a badge of pride, an insignia we as metal fans wear on our sleeve. Its the truth that those outside of our brethren do not view a percentage of the reality because the majority is so underground. Its the unique handshake we share with each other. Its the fact that we know they don't get it. The fact is simple. We were not supposed to be here. This all was supposed to go away. The music was considered suitable only for a trash bin and more and more people thought it was just a recycled circle that would find its' end quickly. Makes me realize more and more how the originators of Heavy Metal were pioneers in that they felt the trueness of the limitless the music.
  My next set of 3 songs are great examples of artists not conforming to textbook definitions. Heavy Metal has experienced a huge growth period of experimentation. A lot of Hybridization. A lot of it doesnt work for me. I feel its more interesting when the fans themselves dont agree on what they are listening to. Its a different thing than a band that just tries to be Thrash and Industrial at once. How about a band like After Forever? Are they Gothic Metal or Progressive? They certainly are Symphonic.. or The Gathering, well question marks abound. Hopefully you will enjoy the examples below of bands I think mix things up, and do it well.

 
Octavia Sperati - Without Air: After (Norway, 2005 Gothic Metal, Doom)
  I recommend listening to this one and the link below back to back. Octavia Sperati only recorded 2 albums when their sultry-voiced lead singer, Silje took upon the vocal role of the iconic band The Gathering. This is from their first release and its a pleasurable experience of deep, dark brooding doomish metal guitar riffs and plow-driving drumwork, all interlaced with etheral and almost haunting piano lines as Silje, equally hauntingly belts out each line. Mixing up the the lines of what is Gothic Metal and what is Doom Metal and what is acceptable for what was then, an all-female band. Placing the atmosphere always at the forefront allows me to classify them as Gothic Metal. Placing heavy effects on an otherwise pure sounding vocal, allowing for heavy drums to pound away as the piano plays on, are all evident moments of a band fully capable of doing things differently.


Octavia Sperati - Below Zero  (Norway, 2005 Gothic Metal, Doom)
  Each time I find a song I love from O.S., it seems to have the following qualities: A driving beat, a great bass line, tons of atmosphere and great melody. Well here is another one that qualifies. The simple jungle-esque drum intro is no indication of how far the band is willing to go to do things differently. Each verse expands upon different ideas, like a progressive band would. Each phrase seems to have a haunting quality like a Gothic band would. There are soft moments, there is a startling vocal melody.
  Makes you wonder why cant every band do this? Why arent even my favorite bands this creative? The answer is they should be, you just need to be willing to find those that are capable of mixing it up.



To-Mera - Blood (London, Progressive Fusion Metal 2008)
 Did I mention something about mixing it up? From London this unit is a full-on progressive Fusion Metal band. There are only a handful of bands which share this approach. The main reason is its so hard to make this sound metal enough and still blow minds.There is a musical lesson in here about each 20 seconds. Stop and Go syncopation, long count time signatures, time changes, modulating melodies. Its a war with the rules of musicality and what is physically possible. This is so far beyond and away from what people who criticized early forms of metal as being benign and doomed to fade away. At 3:30 the song takes an inter-dimensional trip as keyboard and guitars harmonize a huge long passage, and thats the guitar solo. As we discover, there is so much more going on with each listen. You may miss how beautiful her vocals are - the melodic sections after the choruses are spectacular moments.
  Other songs from this band truly mix jazz elements into the arrangements and breakdowns. Very worth checking out.

As I approach song 100 make sure you see my next update: Shining Proud and Flag Waving.

Female Voices Leave a Mark

Symphonic Metal - Female Fronted Metal

Womens' Voices' Leave a Mark

songs 86-88

   Falling in love with a genre allows you to search out new artists as well as explore back-catalogs to more veteran acts. As Ive discovered new bands, Ive also discovered what made some of the more classic artists so special. At times I feel some of the older-tiered bands from Symphonic Metal not only get over-looked but get passed over. Nightwish, is one of those bands for me which some fans clamor longingly to their classic sound, but do so without allowing for the newer brands to permeate their lists. Reversely, some fans of much more recent bands such as Evanescence, just about refuse to recognize, acknowledge or embrace older bands which were of main influences. I pick on these 2 bands mostly because of their fanbase which seemingly have blinders on their ears, being stagnant in both their fanatic timelines as center-points, and their inability to accept new/old material.
  As Ive discovered so much in my Endless Search, and I approach the milestone of 100 entries, I am including 3 songs here which grew on me and also left an indelible mark on my viewpoint. How simple it would be and yet blatantly obvious to include artists/bands that were cornerstones in the world of Symphonic Metal. I've only chosen though, songs I can approve of, songs I've check-marked, and enjoyed countless of times. Which is why, here at this point in my Timeline that these 3 make sense to me to include. It may be a no-brainer to some. Its not that I didn't encounter these songs much earlier in my search (which has gone back now for me well over a 2/3 year period) its just a plain fact that it took a while for these songs to sink in. I've mentioned before I write this blog as if I am sharing these songs to you, for the first time. In my continued effort to make this listing a true chronicle of my experience, I allow these songs to have their true fair moment, and perhaps raise your awareness to them, or maybe given a chance, fall in love with them equally as I have. They do deserve it, as do you.



The Gathering - Eleanor (Alt-Metal Ambient/Atmospheric, NL 1995)
   Maybe one of the biggest and most influential of the hits off of the epic Mandylion, Eleanor is a timeless classic. Unlike the more straight forward approach songs like Strange Machines or Leaves, it is not as instantly memorable. It is not as dramatic of a statement as those songs, where Anneke's vocals simply stuns the listener with her full power delivery on display. This is alot more subdued, and alot more like what The Gathering would quickly become, with more atmosphere and emphasis on progression, on melody and timing. Back in 1995, that was unheard of, and unfortunately, it is also what mostly kept them under the radar of fans into the more metal side of things. Like me. Even as I began to fall in love with Anneke's angelic vocals (see previous posting: Anneke) this song all but evaded my attention. It came up in links, it came up in discussions, it came up on my Pandora Player. It just kept showing up and I kept on listening. Then it all clicked. I realized its a great piece of music.
   Some of the melodies in the 2 pre-choruses are such the epitome of Female Fronted Metal, that is easy to hear The Gatherings' influences on so many bands that followed. The landmark point though is the epic middle point, starting at 2:55. First, a combination of double-pedal riffs and symphonic, xylophone sounding melody that trade off. Its a section that could point as an early reference of influence. As the passage morphs, there are vocal choirs in the distance, and a stringed break before it all comes back to Anneke's trademark vocals.
   More and more, Anneke and T.G.'s position in the realm of influence on these genres is being fully realized. Its ok to say a band was influential. It takes a larger point of understanding and ideally, a scope of timelines to absorb just how influential. Mandylion was also influential within the bands' own offerings. As they continued to expand upon the doors they opened with Anneke at the mic.


Leave's Eyes - Elegy (Symphonic Metal, Norway 2005)
   So you know Theatre of Tragedy. So you know the beautiful vocalist who left them to embark on her solo career, as did others from that well-known pivotal band. So you know this song from The Vinland Saga. If you do, play it anyhow and listen to what I have to say below. If you said No to any of that before. Allow me to let you in on this obvious fact. Its a great song and it will stick to you like glue, please also click play and follow along.
   This song became a guilty pleasure of mine, I suppose since it does not feel as heavy as say, even the lightest Epica song but I became obsessed nonetheless. The soft and buttery vocals belong to Liv Kristine, formerly of ToT. The main guitar riff sounds like great huge riff that had to be scaled back to allow the soft high tones in the vocals to come through but the melody in the verses is well written, and easily picked up. But even better, is the pre-chorus and the chorus itself. Once you hear her high notes being held in the chorus, you know it took alot of belief, alot of commitment to take those notes up there. Its as if she is telling you she believes completely in the lyric, which gives some room for thought, which allows you to hear and see deeper.The sweeping violins in the moments before the break are a  great touch.
   After her release of The Vinland Saga, Liv has enjoyed a successful career. I cant say much the same for those guys in the boat.And yes, being beautiful and talented never hurts. 


Eyes of Eden - When Gods Fall (Gothic Metal, Germany 2007)
   I would've expected a follow up to this well received debut by now. Realizing that 2007 is quite some time ago is rather eye-opening and I wonder if this band knows that its been so many years ago. Anyhow, I bumped into them in 2009 with the feel that they were a new band from Germany, with great melody, riffs and an equally great vocalist. I quickly added Dancing Fire (see previous posting: 3 Addictive songs from Germany) and basically forgot about this song. It too also grew on me as I continuously kept adding it to my bookmarks, my notes and eventually placing it here, on my list on the way to song 100.
   A great vocal, and clever melody is helped along by a chugging and climbing rhythm. Almost similar in ways, to both vocalists above, being soft, clear and capable of reaching upwards, it is not as clear if the band is continuing on with another vocalist or not, but it would be a shame since she has the ability to deliver the goods.There is a heavy, almost thrashy breakdown before we dive back into the catchy chorus. The thing here is that in 2012, there are many Female Fronted Metal-inspired bands and even Gothic Metal, and alot of them do sound like this, its almost the blueprint actually. No matter what though, its the songs that are actually good that live on.

 As a blueprint the songs above seem to have left their mark on a huge majority of bands out today, which I see as a good thing.

Next Update: Mixing it up... Doom, Gloom, Melodic Death and all that Jazz....
  

3 Classic Symphonic Metal Gems

3 Classic Symphonic Metal Gems 

After Forever, Epica & Therion

Songs 83-85

   These 3 bands have made quite an impact in the genre of Symphonic Metal and also on me and my desire to search out more great music. It would be quite simple to pick one of these 3 bands and basically go through all of their catalogs and point out great music. I really dont wish for that to be the theme or format of my blog. I am still continuing in the footsteps of my bookmarks, which at this point are well dated and provide a great timeline and one (or more) fantastic playlists.
  As a fan that is first beginning to learn a bands' discography, the discovery mode is a very exciting time. I wish I had a found, during this period of time a blog such as mine, one that pointed out great moments and gift wrapped song after song to discover. As I was learning more about these 3 bands and their great history and certainly their influence on bands to later follow, I was beginning to see what really still sets them apart from the rest of the pack, and it was quite evident early in their catalogs. Let me introduce to you, three classic and pivotal moments from 3 very classic bands. Three more gems I added to my Endless Search and on my way to Song 100. 
   [Note: Yes I do know that bands like Nightwish, Within Temptation and The Gathering predate Epica and After Forever, I say this now because the same people who point this out to me are the same ones who dont know Therion predates even those bands. /end]


After Forever - Leaden Legacy (NL, 2000 Symphonic Metal)
  From their debut disc Prisoner of Desire. This is actually part I of a story Arc "The embrace that smothers" by Mark Jansen, who would later add parts to this story arc in Epica (after he left After Forever). After a slow build up with a phantom-esque melody, Floor begins to show off her ridiculous range and ability just as the first staccato chorus kicks in. This balance between a classical sound, symphony instruments, true operatic lines and musicians who can truly write metal songs working together as a formula was beginning to take shape here. Done so differently than as Nightwish had, even taking some of the ambiance and intent of Therion, songs like this on their debut in 2000 really was quite a feat for it to be so accessible.
  After Forever makes my listings here often, I recommend to follow the links on the side for more great moments.  



Epica - Menace of Vanity (NL 2007, Symphonic Metal)
   Right at the start, Epica shows what it means to mix operatic bombast and very fast, power-metal inspired riffs. The staccato double bass melody is still classically inspired yet does it in a heavy-metal mentality. The amount of key changes and transpositions would be enough to give you the idea that this band is quite serious in its intent. You get the powerful mix of grunt vocals and operatic choir all the way through the song as it works its way through a variety of fast, rapid-fire phrasings.
  Not till the 3:00 mark do you get a stoppage, albeit briefly, only to build back again. The main riff although repeated often, is unique enough, even in this wide landscape of symphonic metal - to keep you humming and headbanging along. In a way, this is a great example of why I refer to Epica as "the most accessible" band in the genre. Follow more links to great songs by Epica on the side panel. Also worthy of note, is this straight-forward approach reminds me of other classics from Therion, speaking of which....



Therion - Sons of the Staves of Time (SWE, 2007 Symphonic Metal)
   I do go through periods where I just simply click every song I have from Therion and sit back and enjoy. There is something I find that separates them from the pack. Taking this song as an example of a classic Therion song may get me in trouble, as its on the Gothic Kabbalah disc. I almost truly cringe when anybody not named Eldritch uses the term "Gothic" when applied to well, just about anything. I feel there might be some of that backlash also applied to Therion in this time period for that namesake albulm. But words have double meanings and labels are only sown in. Ignoring what/who/is this Gothic conversation, I am placing this song here, as it sits among my bookmarks approaching song 100. This is a special time frame for me as I was burying myself deeper into catalogs and weeding out weaker songs from my playlists.
  So as I started out, Therion is one of those few bands I feel have something special, which is the ability to take you off into a journey, one that is separate, almost by itself, even when listening to a group of songs that are similar by other bands. Every song basically stands out, even though they were much further ahead of all the other bands I listen to.
  To me this is one of their more overlooked songs, a simple format of powerful verses and a choir-like chorus broken apart by a quiet breakdown of operatic vocals before we get to the solo, which is quite epic all on its own. At some point, you can start to notice all the pieces and how deliberate they are and well how they go together.From the drum fills, the chromatic chord changes in the scale, its all executed perfectly. Therion has always been a band of great musicians and vocalists, which this song is a perfect example of, which makes it a classic.
  Read my synopsis on Therion (previous posting: Getting Into Mega-Therion)

Next Update: Female Voices Make Their Mark