1. SONATA HYPNOTICA (1.22)
A brief heavily classical solo guitar piece opens the album with strong Bach type
pedal points and good melody. The guitar sound is heavy Strat and very good indeed.
2. DEVIL'S PLAYGROUND (6.13)
A heavy fast paced rocker with nice neo-classical touches mixed with a bluesy main
riff that appears during the chorus. Vocalist Brian Troch vocals are not the
expected for this type of music and to these ears seem to mix Dave Mustaine with the lower
ranges of Rob Halford. The lyrics are not the strongest I have ever heard and the
chorus while catchy enough isn't rocket science - "Cry out, dry out, Living on the
Devil's Playground". After the second verse and chorus we get to an
extended instrumental section which sees numerous neo-classical passages and all are very
good indeed. I cannot fault the music at all on this track but the lyrics do lessen
its impact.
3. YOU TURN MY WORLD AROUND (7.37)
On first listen this is the track that really caught my attention and further listens
reveal it to be the highlight. In fact this is one of the best songs I have heard in
a few months. 'You Turn My World Around' is a perfect marriage of melody, musicianship and
structure. Starting off with a pounding rhythm over which keyboards are then laced
conjures up images of Symphony X or Dream Theater, before Joe turns the thing around with
more classical progressions. This is followed by the quite divine verse which sees
meaningful chord progressions and a mesmerizing vocal performance mix to euphoria.
The chorus is quite superb - "You turn my world around and make me see nothing is
fatal. Nothing is worth the pain it brings, You turn my world around" and
you somehow feel the pain, emotion and anguish is Troch's vocal. The solo is a
complete masterpiece, building from smooth legato passages to manic sweep picked arpeggios
to diminished runs, this solo has everything, sure Malmsteen has always been doing this
stuff but this sounds more fired up that he has of late. The track fades out with
the chorus being repeated and the highlight of the album closes leaving you wondering when
you will hear a track as good as this next.
4. HOLD ON TO YOUR DREAMS (6.24)
The track starts with delicate nylon classical guitar that brings to mind a mix of
Megadeth's 'A Tout Le Monde' and YJM's 'Dreaming', although the melody is quite
different. The verse sees electric guitar kick in but the tempo is still restraint
allowing Troch's vocals to come to the fore again - "Well the storm always comes
without warning, but nothing oh no one feels the pain, something lost is something gained
I know it well by name". The chorus is pretty majestic with the
vocals soaring while the chords rise. The track then takes an almost Sabbath type
direction with a dark riff over which Stump blows out some manic runs before calming down
again for another verse. The solo is another extremely Baroque classical piece which
yet again mixes manic runs with melodic phrases, Stump also shows that he has an extremely
strong emotion that makes the sustained notes sing and bloom. Another great track.
5. SPEED KILLS (5.21)
A super fast track that is apparent from the title. The lyrics are about driving
too fast and leaving trouble behind, I thought these kind of lyrics died in the 80's,
apparently not which is a shame. Troch is doing a pretty good Mustaine impersonation
that fits well over the charged music but does little to salvage the banal lyrics.
Luckily there is another lengthy guitar solo that throws off the effects of the lyrics and
Stump is really going for it here - Yngwie on Mach 10, yet classical melodies are still
there. In fact the latter part of the solo is like a version of 'Highway Star' for
the new millennium - good stuff. Unfortunately the rather weak verse and chorus ruin
all the good work leaving a final bitter taste.
6. ENCHANTED SLEEP [1.54]
A enjoyable acoustic solo piece that showcases Stump's skills, delicate and mystical.
7. ALL THINGS MUST END [6.13]
A very good riff opens the track even if it is quite close to 'I Am A Viking', just
when a cry of 'rip off' is about to ring out the track changes into a heavy metallic
crunch before settling down for the verse - "All things must have a beginning, all
things must have an end, why does it have to be so ugly, can you say, why can't we just
depart as friends?". The lyrics are obviously about a broken relationship
and Troch does a good job at expressing the characters point of view. The chorus is
good and well executed with its intelligent vocal melody while the instrumentation keeps
everything ticking along nicely. A classical melody opens the solo section which
Stump proceeds the multi-track before a very restraint solo using a delay pedal to great
effect, the solo evolves into a superb piece of neo-classical soloing with lots of
original ideas. The track rides out with a repetition of the chorus before the
monster crunch comes slamming back in, great track.
8. TAKE YOUR LIFE [7.41]
Starting out relatively mid paced the tempo soon creeps up for a good later day
Megadeth sounding metal riff. The lyrics tell the tale of a crime and the aftermath
of it. The lyrics see original vocal melodies being used and the sound is very
good. Stump throws down perhaps his most ordinary solo on the album but some good
riffs see the track revolve back to the chorus - "Hey get on your knees and pray
for your life, Why I told you, you would die, better take your life". Stump
redeems himself with a great melodic outro solo that works very well over the strong
rhythm underneath leaving an overall good impression.
9. CHANGE [5.25]
Another heavy neo-classical influenced track which is home to a very different and
quite captivating verse, very difficult to describe but the closest I can get is a
rhythmic bounce. The lyrics are about getting away to a change of scenery by any
means. The solo starts sounding quite close to Yngwie's 'Liar' or 'Seventh Sign'
with its classical motif before heading back into more Stump known areas. A good
effort and ultimately a good track especially with the different vocal approach.
10. HELL AND BACK [8.58]
A riff that is like a mix of 'Rust In Peace' era Megadeth and '...And Justice For All'
era Metallica gets the track going and its another success. This then progresses
into what is verging on progressive metal mixing with long sustained chords - "Take
a ride on the dark side, to the land of altar men, see a side of yourself that you
wouldn't want anyone to see". Overall the general feel is one of darkness
and this is backed up by Troch's haunting vocal delivery which mixes well with the
backing. The solo sections commence with a dark almost Iommi like running line
before breaking down to a 'Perpetual' sounding part over which Stump does sound very
Yngwie-ish with pedal point licks and swept arpeggios, although it is quite derivative it
still gets you hooked. The intro riff comes crashing back in for the chorus to take
up from where it left off - "If I could only save, save my life tonight. For
I have lost my way, I have been running on the wrong track, look at me I've been to hell
and back". The end of the track sees an almost gothic Egyptian vibe coming
through allowing Stump to throw flurries of exotic scales on top and this is
awesome! A very effective track.
11. TAPPING TOCCATA [2.45]
Another instrumental piece to close the album, very J.S.Bach inspired [parts of
'Toccata and Fugue In D Minor' are present] and the title would suggest that it is
performed by two handed tapping on the fretboard, which it sounds like except for a few
arpeggios and power chords. I don't know why but the sound of classical pieces
performed on the electric guitar have always struck a nerve with me and this is no
exception - stunning and a fine way to close the album. |
