Dream Theater: Distant Memories - Live In London (Inside Out Records) [Simon Black]
With a 1.5:1 ratio of studio to live releases, fans are well-used to these lengthy live opuses. This most recent one is taken from their last tour, which bizarrely was both a n album tour and a celebration of 20th anniversary of the classic Metropolis Pt. 2: Scenes From A Memory album, with the full rendition of this taking an hour and twenty-one minutes of this beast’s run time. And that’s why this is an odd release, as there’s already a triple CD and DVD live release from the live performance of this piece out there (Metropolis 2000: Scenes from New York). Now, I’m purely guessing here, but I am suspect that this wasn’t originally intended in their medium term planning, that The Curse of 2020 has put the mockers on the planned fifteenth studio album and that this is merely a stopgap release. I’m also finding it a hard one to listen to as well, and I speak from the place of a die-hard Dream Theater fan since I first clapped ears on Images And Words back in 1991. Although it’s nice to be given the chance to hear the live renditions of material from Distance Over Time, this release is not without its issues. First off, the mix and sound. Dream Theater have a reputation for having one of the richest and fattest live sounds I have ever heard. Very few bands can recreate that rich studio sound so effortlessly live, but traditionally DT are categorically one of them.
With a 1.5:1 ratio of studio to live releases, fans are well-used to these lengthy live opuses. This most recent one is taken from their last tour, which bizarrely was both a n album tour and a celebration of 20th anniversary of the classic Metropolis Pt. 2: Scenes From A Memory album, with the full rendition of this taking an hour and twenty-one minutes of this beast’s run time. And that’s why this is an odd release, as there’s already a triple CD and DVD live release from the live performance of this piece out there (Metropolis 2000: Scenes from New York). Now, I’m purely guessing here, but I am suspect that this wasn’t originally intended in their medium term planning, that The Curse of 2020 has put the mockers on the planned fifteenth studio album and that this is merely a stopgap release. I’m also finding it a hard one to listen to as well, and I speak from the place of a die-hard Dream Theater fan since I first clapped ears on Images And Words back in 1991. Although it’s nice to be given the chance to hear the live renditions of material from Distance Over Time, this release is not without its issues. First off, the mix and sound. Dream Theater have a reputation for having one of the richest and fattest live sounds I have ever heard. Very few bands can recreate that rich studio sound so effortlessly live, but traditionally DT are categorically one of them.
Now, they deliberately opted for a much flatter studio sound for last year’s Distance Over Time album, and it may be that that’s what they attempted to reproduce here live. Sadly it doesn’t work in their favour, as it strips out the one distinctive feature of their live performances and the end result is somewhat tinny and flat. It’s also not helped by the second challenge I have with this record, which is that James LaBrie is not firing on all cylinders on this particular night in Hammersmith. Now maybe he was having an off night, as I have noted in the past that when he’s not on the game live, he has a tendency to focus on hitting the notes and melody at the expense of the enunciation of the lyrics. From the get go the opener Untethered Angel suffers from this, and it happens a few times throughout. Maybe he was tired, maybe the in-ear acoustics were not great – either way this perhaps was not the best of nights to record. Thirdly and finally from the negative side, we really did not need to hear Scenes From A Memory again in its entirety, particularly as apart from the switch from Mike Portnoy to Mike Mangini on the drum stool since the Scenes From New York release, it’s the same line-up (although we are mercifully saved from Portnoy’s dire off-key backing vocals in this release).
I for one would have been much happier with a memento of the previous tour as a live release of Images And Words anniversary with this line up would have been great (it definitely was in the flesh). Alternatively if they really wanted to do the Distance Over Time material live, then perhaps excluding the full Metropolis section would have been more satisfying. In its favour though, they are still one of the most impressive bunch of live performers around. The musicianship remains top notch, and the performance impressive through its two and a half hours of run time. I am making a big deal of the negatives here, but Dream Theater although definitely not for many, are still one of the most incredible bunch of musicians you are ever likely to see live if you have the chance. So, although not their strongest album, not all can be top notch and there’s bound to be the odd lull after twenty-three releases. Did the world need another Dream Theater live album? Probably not, but at least it wasn’t a full performance of The Astonishing. 6/10
Iamthemorning: Counting The Ghosts (Self Released) [Paul Hutchings]
If you read this site on a regular basis you should be familiar with Iamthemorning as we’ve reviewed their last two albums, 2018’s Ocean Sounds and last year’s The Bell. Rather than release another album so quickly, the Russian duo Gleb Kolyadin and Marjana Semkina have recorded four tracks in isolation across the UK, Russia, and Canada. There are two original songs, and two traditional Christmas choir pieces that have been reimagined. As we’ve pointed out before, the music of Iamthemorning doesn’t fit easily into the usual fare we review here at Musipedia. In fact, I’d go so far as to say it’s far outside the comfort zone, but as my fellow writer Paul Scoble noted when reviewing The Bell, stepping out of the comfort zone is good. Various terms have been used to describe Iamthemorning including Chamber rock and Baroque Piano rock. Whatever label you wish to place on the band, the 12 minutes of music that is contained within Counting The Ghosts is simply breathtaking. Starting with the modern piece I Wonder As I Wander which was thought to be collected by John Jacob Niles in 1933 from a young traveling evangelist Annie Morgan, the gentle uplifting tones resonate deeply, with Semkina’s stunning crystal clear voice and some delicate arrangements allowing those of a secular persuasion to enjoy every second.
If you read this site on a regular basis you should be familiar with Iamthemorning as we’ve reviewed their last two albums, 2018’s Ocean Sounds and last year’s The Bell. Rather than release another album so quickly, the Russian duo Gleb Kolyadin and Marjana Semkina have recorded four tracks in isolation across the UK, Russia, and Canada. There are two original songs, and two traditional Christmas choir pieces that have been reimagined. As we’ve pointed out before, the music of Iamthemorning doesn’t fit easily into the usual fare we review here at Musipedia. In fact, I’d go so far as to say it’s far outside the comfort zone, but as my fellow writer Paul Scoble noted when reviewing The Bell, stepping out of the comfort zone is good. Various terms have been used to describe Iamthemorning including Chamber rock and Baroque Piano rock. Whatever label you wish to place on the band, the 12 minutes of music that is contained within Counting The Ghosts is simply breathtaking. Starting with the modern piece I Wonder As I Wander which was thought to be collected by John Jacob Niles in 1933 from a young traveling evangelist Annie Morgan, the gentle uplifting tones resonate deeply, with Semkina’s stunning crystal clear voice and some delicate arrangements allowing those of a secular persuasion to enjoy every second.
Semkina explained, 'This arrangement is based on the one by John Rutter but again adjusted to fit the character of music we make.' The two new compositions follow. Cradle Song was written recently by Semkina, staring as a demo that was recorded spontaneously. Once again, it’s the vocals that grab the attention but the beautiful arrangement with piano and guitars, played by Semkina and sound engineer Vlad Avy ensure that it’s the whole musical experience that is captured. Counting The Ghosts follows. A thought-provoking reflection on a year where so much darkness has clouded the world. The dark feel of the track sums up how so many of us feel. “Nothing feels right” the band comment. That leaves the concluding piece, a dramatic and gorgeous version of the 12th Century hymn Veni Veni Emmanuel, performed in Latin and one that simply sends shivers up and down the spine. [Worth checking out the YouTube video of The King’s Singers if you enjoy this] A journey out of the comfort zone seems appropriate at a time of such confusion, distress, and darkness. Counting The Ghosts will surely bring comfort, even if for a short period of time. 9/10
Sorceress Of Sin: Mirrored Revenge (Self Released) [Simon Black]
It’s rare thing when the UK produces a new Power Metal act, it’s a positive blessing when it’s a bit of a cracker. Sorceress Of Sin definitely fits this category. This debut release is primarily a vehicle for singer Lisa Skinner, whose background in Musical Theatre and Opera means that this lady has an impressive set of vocal chords, which she does not hold back. Opener Vixen Of Virtue positively explodes out of the speakers. And what a vocal performance. Skinner’s tone is long, high and loud in the Priest tradition, but without the need to go as far as screaming – she gets there without having to push it to the max. Musically things aren’t bad either – there’s a very solid rhythm section at work here (Skinner’s husband Paul is the drummer), and some well-delivered (if not overly technical) guitar work from Constantine Kanakis, but that voice definitely predominates in the mix. Multifaceted Survival is a bit less frenetic and more traditional metal pacing, but again the vocal work is what grabs your attention, this time with the added complexity of operatic vocal layering from Skinner, although I can see this being a challenge live without cheating and using a backing tape.
The title track fires in with some more aggression, and again the vocals hold their own over the blast beats, and from this point the guitar work starts to demonstrate another level of technical proficiency that had been held back until this point. It stays with us here on in. The Operatic skills come to the fore in the choruses of Aradia, despite the fact that it’s the first overt Speed Metal track on the record, but her ability to seamlessly switch styles and tones without detracting from the songs illustrates the skill this lady has. Again, that vocal skill means that the token Power Ballad Echoes Of Existence becomes one of the high points of the album, held by one of the most haunting and epic vocal deliveries I have heard in years. This is quite a down-tuned sound for a Power Metal outfit, so more from the Traditional Metal school of Power (maybe a touch of early Iron Maiden on a good day) than the cookie-cutter European variety with (although there are touches of early Helloween here too).
It also has a quite Modern Metal sound in the production values, delivered by Haken bassist Tom McLean. What makes it work is that incredible vocal delivery, and a group of instrumentalists who know when to show their wares, and when to step back and let that quite exceptional larynx do its thing. Where it struggles is the shortage of punchy song-writing, as I have struggled to find a stand out song that stands on anything other than vocal delivery. To be honest, time and experience will hopefully bring the rest of the band from the background and perhaps, as longevity is definitely going to need a bit more oomph in the song-writing department, rather than relying on that exceptional voice. Nevertheless, and impressive way to start. 8/10
Arrayan Path: The Marble Gates To Apeiron (Pitch Black Records) [Paul Hutchings]
If you want some epic melodic power metal in your music life, you could do a lot worse than check out the latest release by Arrayan Path, The Marble Gates To Apeiron. Active for nearly 25 years, the Lemesos outfit’s eighth release follows 2018’s epic double album Archegonoi. Kicking off with the fast and furious title track, those unfamiliar with the band should soon glean the classic influences of bands like Helloween whilst there is also an individual spirit and drive that allows the band to stand apart from many of their peers. All the traditional power metal elements are contained in this album, with soaring harmonies, massive melodies that underpin the fluid and high tempo drumming which battles with the shining duel guitar work. Although there is a common theme running through the album, it’s not a formal concept album.
Divided into three parts, the album deals with human nature as it has developed via three parts: The Past, The Present and The Future. With the focus on human nature, the band cover a range of subjects under that umbrella - from the destruction of the planet, to people’s quarrels regarding the pandemic, life, death, religion and mourning as well as a typical dose of mythology, a recurring theme for Arrayan Path. It’s dramatic, overblown and at times ridiculously dramatic. Mask Of Sanity sees vocalist Nicholas Leptos provide a stellar performance. The Cardinal Order, with its religious punishment themes is a little clunky, the longest track on the album with some atmospheric effects but still fits in with the overall feel of an album that is crammed with decent melodic metal songs. It’s never going to threaten my albums of the year, but I enjoyed the slightly over the top, orchestral drama that this album contains. Maybe you will too. 7/10