Metallica members discuss history at San Fransisco Guitar Center

Singer and rhythm guitarist James Hetfield, lead guitarist Kirk Hammett, and drummer Lars Ulrich talk about their beginnings in music with their interviews as they visited the store.

History of Rock and Roll in 100 Riffs

Guitarist Alex Chadwick with the Chicago Music Exchange adeptly handles 100 popular rock riffs since the 1950's in a 12-minute take. Pretty cool, I say. Click here if you'd like to play along with the tabs.

Connections between music and success

Is Music the Key to Success?

By JOANNE LIPMAN

CONDOLEEZZA RICE trained to be a concert pianist. Alan Greenspan, former chairman of the Federal Reserve, was a professional clarinet and saxophone player. The hedge fund billionaire Bruce Kovner is a pianist who took classes at Juilliard.       

 

Multiple studies link music study to academic achievement. But what is it about serious music training that seems to correlate with outsize success in other fields?

      

The connection isn’t a coincidence. I know because I asked. I put the question to top-flight professionals in industries from tech to finance to media, all of whom had serious (if often little-known) past lives as musicians. Almost all made a connection between their music training and their professional achievements.

      

The phenomenon extends beyond the math-music association. Strikingly, many high achievers told me music opened up the pathways to creative thinking. And their experiences suggest that music training sharpens other qualities: Collaboration. The ability to listen. A way of thinking that weaves together disparate ideas. The power to focus on the present and the future simultaneously.

      

Will your school music program turn your kid into a Paul Allen, the billionaire co-founder of Microsoft (guitar)? Or a Woody Allen (clarinet)? Probably not. These are singular achievers. But the way these and other visionaries I spoke to process music is intriguing. As is the way many of them apply music’s lessons of focus and discipline into new ways of thinking and communicating — even problem solving.

   

Look carefully and you’ll find musicians at the top of almost any industry. Woody Allen performs weekly with a jazz band. The television broadcaster Paula Zahn (cello) and the NBC chief White House correspondent Chuck Todd (French horn) attended college on music scholarships; NBC’s Andrea Mitchell trained to become a professional violinist. Both Microsoft’s Mr. Allen and the venture capitalist Roger McNamee have rock bands. Larry Page, a co-founder of Google, played saxophone in high school. Steven Spielberg is a clarinetist and son of a pianist. The former World Bank president James D. Wolfensohn has played cello at Carnegie Hall.

      

“It’s not a coincidence,” says Mr. Greenspan, who gave up jazz clarinet but still dabbles at the baby grand in his living room. “I can tell you as a statistician, the probability that that is mere chance is extremely small.” The cautious former Fed chief adds, “That’s all that you can judge about the facts. The crucial question is: why does that connection exist?”

      

Paul Allen offers an answer. He says music “reinforces your confidence in the ability to create.” Mr. Allen began playing the violin at age 7 and switched to the guitar as a teenager. Even in the early days of Microsoft, he would pick up his guitar at the end of marathon days of programming. The music was the emotional analog to his day job, with each channeling a different type of creative impulse. In both, he says, “something is pushing you to look beyond what currently exists and express yourself in a new way.”

      

Mr. Todd says there is a connection between years of practice and competition and what he calls the “drive for perfection.” The veteran advertising executive Steve Hayden credits his background as a cellist for his most famous work, the Apple “1984” commercial depicting rebellion against a dictator. “I was thinking of Stravinsky when I came up with that idea,” he says. He adds that his cello performance background helps him work collaboratively: “Ensemble playing trains you, quite literally, to play well with others, to know when to solo and when to follow.”

      

For many of the high achievers I spoke with, music functions as a “hidden language,” as Mr. Wolfensohn calls it, one that enhances the ability to connect disparate or even contradictory ideas. When he ran the World Bank, Mr. Wolfensohn traveled to more than 100 countries, often taking in local performances (and occasionally joining in on a borrowed cello), which helped him understand “the culture of people, as distinct from their balance sheet.”

      

It’s in that context that the much-discussed connection between math and music resonates most. Both are at heart modes of expression. Bruce Kovner, the founder of the hedge fund Caxton Associates and chairman of the board of Juilliard, says he sees similarities between his piano playing and investing strategy; as he says, both “relate to pattern recognition, and some people extend these paradigms across different senses.”

      

Mr. Kovner and the concert pianist Robert Taub both describe a sort of synesthesia — they perceive patterns in a three-dimensional way. Mr. Taub, who gained fame for his Beethoven recordings and has since founded a music software company, MuseAmi, says that when he performs, he can “visualize all of the notes and their interrelationships,” a skill that translates intellectually into making “multiple connections in multiple spheres.”

      

For others I spoke to, their passion for music is more notable than their talent. Woody Allen told me bluntly, “I’m not an accomplished musician. I get total traction from the fact that I’m in movies.”

Mr. Allen sees music as a diversion, unconnected to his day job. He likens himself to “a weekend tennis player who comes in once a week to play. I don’t have a particularly good ear at all or a particularly good sense of timing. In comedy, I’ve got a good instinct for rhythm. In music, I don’t, really.”

      

Still, he practices the clarinet at least half an hour every day, because wind players will lose their embouchure (mouth position) if they don’t: “If you want to play at all you have to practice. I have to practice every single day to be as bad as I am.” He performs regularly, even touring internationally with his New Orleans jazz band. “I never thought I would be playing in concert halls of the world to 5,000, 6,000 people,” he says. “I will say, quite unexpectedly, it enriched my life tremendously.”

      

Music provides balance, explains Mr. Wolfensohn, who began cello lessons as an adult. “You aren’t trying to win any races or be the leader of this or the leader of that. You’re enjoying it because of the satisfaction and joy you get out of music, which is totally unrelated to your professional status.”

For Roger McNamee, whose Elevation Partners is perhaps best known for its early investment in Facebook, “music and technology have converged,” he says. He became expert on Facebook by using it to promote his band, Moonalice, and now is focusing on video by live-streaming its concerts. He says musicians and top professionals share “the almost desperate need to dive deep.” This capacity to obsess seems to unite top performers in music and other fields.

      

Ms. Zahn remembers spending up to four hours a day “holed up in cramped practice rooms trying to master a phrase” on her cello. Mr. Todd, now 41, recounted in detail the solo audition at age 17 when he got the second-highest mark rather than the highest mark — though he still was principal horn in Florida’s All-State Orchestra.

      

“I’ve always believed the reason I’ve gotten ahead is by outworking other people,” he says. It’s a skill learned by “playing that solo one more time, working on that one little section one more time,” and it translates into “working on something over and over again, or double-checking or triple-checking.” He adds, “There’s nothing like music to teach you that eventually if you work hard enough, it does get better. You see the results.”

      

That’s an observation worth remembering at a time when music as a serious pursuit — and music education — is in decline in this country.

 

Consider the qualities these high achievers say music has sharpened: collaboration, creativity, discipline and the capacity to reconcile conflicting ideas. All are qualities notably absent from public life. Music may not make you a genius, or rich, or even a better person. But it helps train you to think differently, to process different points of view — and most important, to take pleasure in listening.

Joanne Lipman is a co-author, with Melanie Kupchynsky, of the book “Strings Attached: One Tough Teacher and the Gift of Great Expectations.”

Levin-Minnemann-Rudess Release New Collaborative Album

Can't wait to hear the new release I got in the mail, signed by bassist Tony Levin, keyboardist Jordan Rudess, and drummer and guitarist Marco Minnemann!

Can I be a Rock Therapist?

I came across this first commercial that Alice Cooper did for Fretlight Guitars under the guise of Quitters Anonymous. This one made me laugh hard, and made me wonder, am I the rock therapist, or the adult flute player trying to learn guitar?

The Letter Black - Up and Coming Hard Rock Band

This band "The Letter Black" is relatively new, but have been around for a couple of years. I only became aware of them recently (thanks to Pandora radio). I am really digging them, they have a great hard rock groove and remind of the same vein as Evanescence. They are from Pennsylvania and are borne out from a husband/wife team who led a praise band at their church/youth group. Their second album is due out this fall, and my sister got their first album for me for my birthday and wanted to share their music with you. Check them out! 

James LaBrie's new solo album - Impermanent Resonance

With anticipation, James LaBrie's 5th solo album, "Impermanent Resonance" is releasing soon on August 6th (USA), only about a month and half before his band Dream Theater's self-titled album comes out on September 24th this year. Two tracks have been pre-released, ("Agony" and "Back on the Ground") and it looks like it may be some of his strongest solo work to date!  Also, Lady Obscure has done a detailed review of the album already - check out her thoughts!

Dark Moor - Ars Musica released!

The new release from the Spanish symphonic power metal band Dark Moor has released!  "Ars Musica" is out, and is a promising new album!  Their instrumental "Asturius" is another great display of their classical influences, and they have released a new video for their single "On the Road Again."

Megadeth releases teaser tracks to new album

Megadeth's new album, "Super Collider" is due out June 4th.  So far, they released a teaser of one track, "Don't Turn Your Back," and full tracks of the title track and "Kingmaker."  Listen to their eclectic sounds below and check out their new album once it releases!

Metallica opens SF Giants game with National Anthem

Last night (May 3), James Hetfield and Kirk Hammett of Metallica played the national anthem at AT&T Park before the start of the San Francisco Giants game against the Los Angeles Dodgers. The video is embedded above.

The performance was part of Metallica Night. The guitars played by Hetfield and Hammett – black with the Giants’ logo painted on them – were later signed by the band and auctioned off by the team. The auction raised more than $15,000 for the Giants’ Community Fund and the Bill Graham Memorial Foundation.

In addition to the duo’s rendition, Lars Ulrich threw out the first pitch, and fans who purchased the ticket package for the game received a limited-edition Giants cap featuring Metallica’s logo.

Metallica’s connection to baseball is well known. Their classic ‘Enter Sandman’ has long been used as the entrance music for Mariano Rivera, the Hall of Fame-bound closer for the New York Yankees.

“It’s been great,” Hetfield told the team’s website. “I love the fact that we inspire some next level of performance, because that does it for us, too. We love playing it and it shows.”

Last week, veteran Giants lefty Barry Zito jam with the band at their headquarters in San Mateo, Calif. Watch the video below.

Whatever forces Metallica were able to summon with their music apparently worked. The Giants defeated their biggest rivals, 2-1, on a walk-off home run by Buster Posey, who also drove in the tying run in the sixth inning.

Review: Pain of Salvation and Kingcrow concert

Review of Pain of Salvation North American Tour 

May 1, 2013 

Empire nightclub, Springfield, VA 

I was excited to be able to see such a lineup at this nearby cozy club with the international bill of Sweden’s Pain of Salvation, Italy’s Kingcrow, and the USA’s Imminent Sonic Destruction and support bands Wings Denied and Mendacity. It was an honor that the band that has not been on tour in the US for 9 years chose this little Springfield, VA club to be the start of their short North American tour. However, the night was not without its mishaps like a Comedy of Errors, but many things were out of the control of those involved and were professionally handled, still making for a great night of a concert. Here is a rundown of the evening, starting with the first band of the night, Wings Denied. 

Wings Denied 

 Wings Denied, DC’s own prog/djent band with members made up from American University students, gave a lively and heavy performance to start off the evening. Previously unfamiliar with them, I thought they gave an energetic show with a mix of clean and growly vocals by Luka Kerecin, with the low chugging/djent style of 2 7-string guitars handled by Zach Dresher and Jackson Smith and insane rhythm from the bass by Rob Moore and drums (usually performed by Alec Kossoff but tonight had a last performance by a guest drummer) to give a very impressive introduction to this quintet. They are a friendly group, planning to tour this summer, and were interactive with their fans throughout and after the concert. They have one EP released called “Awake,” as well as a joint release with the North Carolina band As Oceans. Check out their song “Maiden” here: 

Mendacity: 

A progressive melodic death metal band from Miami, Mendacity was the second band to hit the stage. The trio managed to slay the crowd quite well with their two 7-string guitarists Axel Ekendahl and Omar Elesgarray and drummer Jose Flores, with vocals handled at this show by guitarist Axel. They played songs from their recent promo album (with a full album due in late summer 2013). A mixture of gutteral and clean vocals with a straightforward heavy sound kept the crowd going for a good half hour set. Check out their song “Left Behind” below: 

Imminent Sonic Destruction:  

Next up was the Detroit-based quintet, Imminent Sonic Destruction. Their sound is a mixture of progressive metal with touches of scream-like death metal thrown in with multiple vocals and harmonies, and they define their style as “progressive super metal.” They have a heavier sound than many progressive metal bands, which may or may not endear them to potential fans. The quintet performed a live energy set, despite having some initial setbacks with some amp issues (which delayed their start time) and mic issues (no sound in the first song or two), handling them professionally and seeming unfazed as “the show must go on” took effect as they pressed forward as the problems were being fixed. They were interactive with the crowd and their enthusiasm for kicking off this tour was palpable. Tony Piccoli took care of the lead vocals with guitars, along with Scott Thompson assisting on guitar and backing vocals, Bryan Paxton on Bass and backing vocals, Pete Hopersberger on Keyboards and backing vocals, and Pat DeLeon holding down the drums. Much of their setlist came from their recently released album, “Recurring Themes.” Watch their video for their song “Monster” here: 

Also, their recent album “Recurring Themes” was reviewed by Lady Obscure Music Magazine’s own Honey Badger here.

{Interestingly, both guitarists Scott and Tony blogged about this tour, and had some nice things to say about playing at our venue: 

http://imminentsonicdestruction.com/tours/ 

[Tony] 

Tour Blog #3: Pain of Salvation 2013 tour 

Ok, so where was I the last time we spoke? I think we were on our way to meet up with Pain of Salvation. So you need some updating. Here you go. In Springfield, VA, we met up with BK, (tour manager), Jimmy (tour bus driver and vocalist for Demonseed) and Pain of Salvation. Every one of these guys is cooler than the one next to him. Think about that for a minute. 

 Time’s up, bitches! So the show. Springfield was awesome. Seriously. Such a supportive crowd, gave so much energy. That made the show arguably the best one we’ve ever had. If any of you ever wonder if it makes a difference whether or not you yell or scream or jump around, I guarantee you it does. Sometimes people stand there and watch stoically like they’re watching a movie. Being at a show, you’re a part of the moment. Live that moment, contribute. You are feeding the band energy, it’s like red meat and all bands eat it up. Unless they’re vegetarians, in which case it’s like… what? Cucumber slices or some shit? That doesn’t really sound as good. ANYWAY. If you like the band you’re watching, SCREAM, YELL, GO CRAZY. You will witness a better show. I promise. And my word is my bond. Ask anyone. Well… ask Scott Thompson. On second thought, just blindly trust me. 

 http://scott55thompson.thoughts.com/posts/my-diary-from-imminent-sonic-destruction-s-2013-north-american-tour--2 

 [Scott] 

Day 4: The Nation’s Capitol 

We arrived in West Springfield, VA at a club featuring a large concert hall behind a rather cozy looking bar that included what appeared to be a large chemistry set next to the liquor display. We also finally met Pain of Salvation and their tour manager Brian. Another lead character of the tour also surfaced, his name was Jimmy and he was their driver. 

 Prior to the show, I took off to the nearest Starbuck’s to find much needed wi-fi to repair my MIDI software in my laptop for the evening’s performance. The quest for wi-fi would become a never ending saga for the band, especially in Canada. 

This show was the first to feature a very large crowd. But more than that, there again were people who knew our material that we had never met. The response was amazing while we played. It was overwhelming. I got a little emotional and looked back at Pete during the show. We were dumbfounded. Who were these people? They had done their homework and checked us out online no doubt, and they loved what we delivered in person. 

After the show we were able to sit back and finally take in Pain of Salvation. They were amazing. We signed autographs and met fans. We sold a t-shirt to a very drunk guy who cried when he bought it, and then threw all of his money at us. Yep. Overall, an amazing night. This felt great. We are on tour and people know who we are! Have we been wasting our time not leaving our home town more often? 

Onward to Baltimore.} 

 Kingcrow: 

By the time Kingcrow took the stage, the crowd was sufficiently energized to hear their set. Most of the songs they played were from their very new release, “In Crescendo.” Vocalist Diego Marchesi gave a very warm Italian welcome and provided some very melodic vocals that were well-received at the show. Guitarists and backing vocals handled by Ivan Nastasi and Diego Cafolla showed deft fretwork as well as good support for Diego M’s soaring vocals. Diego C’s brother, Thundra Cafolla handled the drums while he was partnered by Francesco D’Errico on bass to keep the solid rhythm going through every song. Cristian Della Polla’s keyboards gave the ethereal and orchestral touches to top off this Italian prog metal sextet. You can follow them on Facebook here.  

Here is a sample of their performance at this concert from footage that I took:


Setlist: The Drowning Line, Right Before, In Crescendo, This Ain’t a Love Song, Fading Out Pt. III, Phlegethon 

Pain of Salvation: 

When Pain of Salvation took the stage, the excitement was palpable. The Swedish band has not toured in America for 9 years, and our show in Springfield, VA was the first on their North American Tour. Their guitarist Ragnar Zolberg was conspicuously missing, and after an opening song or two, Daniel Gildenlöw gave a gracious introduction and then proceeded to share with the crowd the comedy of errors they had encountered just within the last day or two that could have significantly affected the tour. Firstly, about the day before they were leaving Sweden to fly to the US, Ragnar’s wife – who is only 6 months pregnant – went to the hospital and at the time of the concert they were considering having to do an emergency delivery. This was totally unexpected, since they thought they had a good 3 month buffer still, and they continued without him for the tour. Then on top of that, when they landed in Philadelphia, their tour van did not show up to drive them to DC and they had to rent and SUV and drive themselves the 3 or so hours to make it to our venue. However, Daniel stated that they made good use of their time discussing how they were going to handle being lead guitar-less for the tour and how the parts might be covered, while getting a nice scenic tour along the way. Despite the setbacks, they made it to the venue and even with only on guitar still did a fantastic job. They played a fairly long set and the crowd was supportive all the way, with Daniel Karlsson on keys, Léo Margarit on drums, and Gustaf Hielm on bass in addition to Daniel Gildenlöw on lead vocals and guitar. One of the highlights was their *disco* cover of Dio’s Holy Diver, which had the audience cheering. You can follow them on Facebook here. 

 Here is a sample from their performance at this concert from some footage I took:


Setlist: Softly She Cries, Linoleum, Diffidentia, Ashes, 1979, To the Shoreline, Holy Diver, Stress, Disco Queen, Ending Theme, Iter Impius, Spitfall, Falling/The Perfect Element

~View my pictures from the concert here~

Anthrax makes Mars Rover Curiosity wake-up call list

Curiosity Team Reveals Their Mars Wakeup Song Playlist

Every Mars morning, NASA researchers play a song to wake up Miss Curiosity. Today, during their Reddit AMA, they revealed their most recent choices.

Her playlist so far, according to "EMB" aka Eric Blood, who works in surface systems:

Sol 2: "Good Morning Good Morning" Beatles, Sgt. Peppers Lonely Hearts Club
Sol 3: "Good morning, good morning" from Singing in the Rain.
Sol 5: Wagner "The ride of the valkyries" R10 Victory Song: Theme from "Mission Impossible"
Sol 6: "Got the Time" by Anthrax, and "Echelon" by 30 Seconds to Mars
Sol 7: The Doors - "Break on Through", and George Harrison - "Got My Mind Set on You"
Sol 8: Theme from Star Wars by John Williams
Sol 9: Wake Up Little Susie by Simon and Garfunkel
Sol 10: Frank Sinatra "Come Fly with me"

Dan Spitz, former guitarist for Anthrax, had this to say on his Facebook page about the news:

My Guitar has been played ON MARS !!! LOL … I am now officially an intergalactic recording artist.

Anthrax song wakes up Mars Curiosity Rover today.
Thrash on Mars....
Top That Anyone ? Anyone ? Bueller ?

Song #6

It's all about the image....

Funny commercial....does it remind you of a certain shock rocker....or two?

Alice chats live!

On Monday, July 23rd at 9:30 AM (EST), Alice Cooper logged online for a 45-minute video chat where he answered fans' questions live as they were typed in to him.  Listen for his creative answers below!  (Alice enters the room about 10 minutes in....)

Video streaming by Ustream

Music Review: Vanden Plas - The Seraphic Clockwork (2010)

Here it is, my first music review.  Ever.  :)

There are so many albums from which to choose to begin, and I’m not going to particularly choose in order as far as release date, though as I catch up, I might address recently released albums as they come out in a relatively real-time review.  However, I decided that due to recent discovery, my first album review will be of Vanden Plas’ 2010 album, “The Seraphic Clockwork.”  I may review their other albums here at a later date, but their most recent offering was over the top (in a good way!) and seemed the clear choice to begin with for me.

Vanden Plas is a progressive metal band from Germany.  I only recently discovered them (this year!) thanks to Pandora radio, when one of their songs came on my Dream Theater “channel.”  I wasn’t even watching the station rotate through the like-minded songs since I was doing work while it was on in the background, but one of their songs came on and caught my attention enough that I had to check back onto the station to find out “who the heck is this?”  I realized I’d never heard of them, but decided right away I had to check them out.  I can say that I now own all of their albums after a massive quest to obtain their discography, and though I’m late to the party, I’m so glad I found this lesser known band (at least in America) that should have much more worldwide notoriety. 

Vanden Plas has been playing together since the 1980’s, but released their first album, “The Colour Temple” in 1994.  Interestingly, most of their time playing and composing together is in the realm of musical theater/rock operas, where they have not only played in already created musicals (i.e., Jesus Christ Superstar, Rocky Horror Picture Show, Evita), but also created or arranged their own original rock operas with their local theater in Kaiserslautern (and other southern German theaters) including Ludus Danielis, Christ 0 (based on their 5^th full-length album), Abydos, and currently Blutnacht.  Though elements of Dream Theater-ish styles are reminiscent in their music, I think their camaraderie in the theater experience largely influences their sound, especially as their most recent albums have become more conceptual in nature with the potential for stage performance in mind.  Vocalist Andy Kuntz has performed the lead in many of these plays, and his growth and confidence keeps coming through in each consecutive album.  Keyboardist Günter Werno is usually the musical director for their theater performances, and is a large writing force for the band along with Andy (vocal lines/lyrics) and guitarist Stephan Lill.  Torsten Reichert holds down a solid bass presence while Stephan’s brother Andreas Lill mans the intricate drum duties.  I believe that their notoriety is limited due to their extended theater schedules which don’t allow for lengthy touring, and when they do, they tend to remain in Europe.  They have attended ProgPower in the States before, but this is my presumption why much of America is not aware of this talented group.

“The Seraphic Clockwork” is a concept album with a detailed story delineated in the opening pages of the liner notes.  Essentially, a clockmaker named Tio is tasked to rebuild a clockwork that will launch him backwards through time from 15^th century Rome to 1^st century Jerusalem to complete an important mission.  In this story, history is different than we know it – due to the devil tempting Judas NOT to betray Jesus Christ so that He wouldn’t die in order to bring salvation to mankind, the Bible was written differently where the apostles protected Christ, Judas did not betray Him, and therefore He did not die, and redemption and eternal life never happened.  Tio is given the mission to time travel back to 33 AD to be the real “Judas,” to willingly betray Christ to the authorities so that He will die as God had planned to save mankind after all.  It is kind of a mixture of science fiction and religion, but somehow it seems to work for this album. Each song ties this story together with a very powerful 13-minute culmination in the final song.  Vanden Plas pulls out all the stops musically on this album.  Overall, the album has a melancholic feel with mostly minor-keyed songs.  The beginning songs are more straightforward metal with more standard time signatures, but as the album continues, more complicated arrangements and musical layering appear, reaching its height with the final song.  Here I will review “The Seraphic Clockwork” track by track. 

1.  “Frequency”

This track starts off with a strong beginning with dissonant chords and double bass driving the background, in this particular case very reminiscent of Dream Theater’s “In the Presence of Enemies, Pt. 1 – Prelude/Resurrection.”  However, it resolves to an energetic melodic theme with a driving 4/4 but loosens to a rhythmic cut time feel in the chorus with strong harmonies.  At about 3:15, the solid riffing gives way to a piano and string interlude with flute, showing some of the musical softer side of the band that complements their strong metal roots as the dissonance re-enters about 3:45 and then segues into keyboard and guitar solos with a supersonic conclusion around 5:10.  This song introduces the album with the part of the story where Tio reflects on the death surrounding him with the plague, and the start of setting into motion his destiny. 

Rating:  9/10

Favorite Lyrics:

“On the day when the sun disappears

Then I see the lights

In a city of angels

And we’re watching this downfalling star

It reflects in a river of tears

On the day when the sun disappears”

2.  “Holes in the Sky”

This song is featured in the band’s first music video.  It is more commercially appealing from a musical standpoint, and could easily be heard on radioplay.  It starts with a rhythmic clock ticking and an small orchestral beginning, which soon gives way to Stephan’s power chord riffing and Günter’s keyboard reflection of the song’s melody. Andy’s vocals come in with a relaxed introduction to the verse, which builds about halfway through, a pattern also reflected in the other verses.  The soloing is comfortable and moderate, and gives way to some nice layering at 3:53, and there is an effective grand pause at 4:02 with only the clock ticking in the background before another powerful re-entry with the chorus.  Another hallmark of this song is the strong harmonies of the vocals, which I believe is one of the band’s musical strengths and appeals.  This is a generally less complicated, more straightforward song by the band.  This is also the shortest song on the album at *only* 5:26.  This song reflects the clockwork that Tio builds to time travel via “holes in the sky.”    

Rating 9/10

Favorite Lyrics:

“I stay between the hours

And fill them with sand

My destiny’s time dust

Is stolen soil from Promised Land"

3.  “Scar of an Angel”

This song starts softly, with only a piano and acoustic guitar intro that continues into the first verse.  Strings gently add into the verse and following.  One of the only complaints I have on this whole album is at this point in the track, the guitar abruptly begins the next portion of the song, which in my opinion was much too sudden.  It seemed that the lovely intro line with the light beginning just got steamrolled before it finished.  Now, I am not one to disagree with striking musical contrasts; on the contrary, Vanden Plas has shown to be a master at the combining of the soft and gentle juxtaposed with the heavy and chugging.  However, this particular instance, I think could have been finessed a bit better. This song also features a guest female vocalist to reflect the part of Mia.  There is an effect in her voice to perhaps make it seem more ethereal, but it seems to flatten her voice in comparisons to Andy’s and the instruments, so it seems slightly distracting to my ear.  At 4:06 there is some nice progressive interplay with keyboards and guitar, and at 5:22, there is a pleasant bridge melody that improves the song overall from there until the end.  Andy’s voice is strong, and in this song in particular, he shows his vocal prowess by holding lengthy phrases apparently effortlessly in one breath.  In the storyline, this song related the appearance of Mia Ambrylight, who motivates Tio to continue and to complete the clockwork machine as he briefly protects her from the Death from whom she is trying to escape.  This is probably my least favorite song on the album, but that still isn’t saying much.  J

Rating 8/10

Favorite Lyrics:

“And then I speak a shallow prayer

We are going nowhere

Heal me – Save me

…..

Heal the world – Save me now

You’re the awaited sign

Heal the world – One last chance

For saving you – Ambrylight”

4.  “Sound of Blood”

This song is a nice mixture of some progressive metal with syncopated rhythms and a bit of gothicness sprinkled throughout with the Latin choir in the background of the chorus.  The song starts of strongly, but it does take a little time at 3:09 for a soft acoustic guitar interlude with piano joining, with a solid polyrhythmic drum foundation, and it builds as electric guitar and bass add a moving countermelody until it reaches the strong riffing again that it started with as the instrumental carries on for a good two and a half minutes until the single strong bass re-introduction to the vocals again at 5:42. 

Rating:  9.5/10

Favorite Lyrics:

“Who are you sweet miricadium

Get off possessed premonition

Excise the thing

Like a nail out of my wound

Unsaintly inoculation

……

There’s a reflection in my iris

Christus – Sanctus – Me vocat  (Christ – Holy – I call)

That helps me to hear the sound of blood

Scriptum – Divinum – Illuminat  (Written – Divine – Illuminates)

Tears are the noeses of water

God’s distillation of the flood”

5.  “The Final Murder”

This track starts the increasingly lengthier offerings on the album, clocking in at 9:54.  It begins immediately with acoustic guitar and vocals, with a melancholy feeling creeping into to fabric of the music as a more regular occurrence, especially with the ominous sense starting around 1:00.  The martial drumming starting around 1:35 continues to set the tone even as progressive rhythms take its place soon afterwards (it recurs again in the song at 3:09 and 8:16). The strong beat of the song gives way at about 4:31 for a singular guitar bridge with string and flute background, giving a brief melancholic break before the vocals and driving beats resume.  It has an intriguing ending that fades into a string quartet along with a cathedral bell ringing into the background and into the next song as it begins.  In the storyline, this track relates the part where Tio is led to the Hall of Sanctimony in the church of Sante Croce di Gerusalemme with the ancient, buried manuscripts that had been long hidden, where he discovers the real truth of the Christian story, that Jesus *was* betrayed by Judas, died on the cross, and resurrected to bring eternal life to mankind. There, Tio realizes he has to go back in time to change the events so that this would be sure to happen as planned. This is a song that builds as it unfolds, adding strong rhythms and harmonies, easily pulling the listener in along for the ride.  I believe this song continuing through the second half of the album does a superb job of allowing the listener to become lost in the music and the story.  Tracks 1-3 are a great introduction; Track 4 is a turning point; Tracks 5-8 are the punching gloves that grab your attention and really pull you into the brilliance of the album. 

Rating:  10/10

Favorite Lyrics:

“When Samiel muted the voice of God on earth

He stole with an “ungiven kiss” the infinity of days

Tell me what is on the way

A forgotten savior

…….

Hear now savior – demons find their way

Hear now savior – they sing just for you

And I know in a few thousand sins

This, your kingdom falls

We’re awaiting the end of the world

Waiting for it – waiting for it

And waiting for you, waiting for you

Tell me what is on the way

To the final murder”

6.  “Quicksilver”

The melancholic mood continues into the beginning of this song as the cathedral bell continues to toll and the piano solemnly introduces this song with a hauntingly beautiful melody, assisted by occasional strings and flute that embellish the downhearted tone communicated by this song.  The vocals by Andy are strong as ever in the song, and show his range from the soft beginning and second verse, to his strong build through the latter part of the verses, bridges, and the chorus.  The choral background in the middle of the song add gothic qualities to the song, right before a change of style at the 5:17 mark with dramatic drop to piano and acoustic guitar and the titular whispers of “Seraphic Clockwork” before it builds again into a power chord channel with frequent time changes.  The chorus again reprises before the abruptly quiet ending with the strings and piano that had introduced the song.  This song continues to relate the part of the story after Tio discovers the lost manuscripts and realizes his part where he needs to travel back in time through the Clockwork to be the Judas to betray Christ.

Rating:  10/10

Favorite Lyrics:

“Climb into the time – searching heaven

I hear the revelation cry

Searching Jesus – finding neverland

…..

Fireflies shine so faint and fragile

Neonizing a town with their nonlight

These sacred poetics

Are darkminded auguries

Let the circle of Tanakh

Revolve the old quixotic gear

…..

And soldiers gamble for a garment

They want to crucify His son

Inside of a manual “The Judas Revelation”

I read a prophecy that my yesterday will come”

7.  “Rush of Silence”

The third longest song on the album, clocking in at 9:23, is another tour de force on the album.  It has a strong intro that backs off briefly for the verse to begin, but then both instrumentals and vocals build strongly into the powerful chorus with a catchy (but not kitschy) melody.  The song continues with strength until in typical Vanden Plas fashion it drops to a soft interlude at about 4:40 with only piano with countermelodies, strings, and light strumming acoustic guitar.  At 5:04 a tender violin solo carries the melody through the rest of the interlude that slowly builds with the re-entry layering of instruments (multiple strings, flute, drums, bass, guitar) when the keyboards and guitar again push the power of the song at around 5:59 and Stephan’s guitar solo at 7:15 leading into the reprise of the chorus that continues strongly until the light piano outro with strings at 8:50.  This song essentially relates the struggle that Tio goes through with the mission he knows he must complete, but appears to be ambivalent about doing it, perhaps even hoping it would be someone else chosen to do so.

Rating:  9.5/10

Favorite Lyrics:

“Turbid idols we adore

All distempers draw one scene

With a cross upon the hill

What a beautiful nightmare

Then I hear the rush of silence

And I know that I must save the world tonight

I fall into the rush of silence

Where are you

Let me save you now

Before you have to die”

8.  “On My Way to Jerusalem”

My first statement about this song is that it simply is a musical masterpiece, in my opinion.  The lengthiest song on the album, just shy of 13 minutes (12:51), Vanden Plas pulls out all the stops on this song musically, covering a wide range of dynamics, instrumental combinations and styles, and time and tempo changes.  It begins with a music box-like keyboard melody with a gentle vocal entering courtesy of Andy.  The minor, melancholy tuning of the song is very effective in communicating the emotion of the lyrics, even though there are some more light moments within the song.  One of these places is at 1:50, where the increasing power of the song seems to drop to reveal what I call a “lounge music” verse…I don’t mean this in a derogatory way, but it’s what I think of with the style of Andy’s smooth vocalizing, Andreas’ easy beat, and Günter’s piano line in the background.  It is a surprising change in the song, but it still appears to work effectively.  But then Andy’s harmonies kick in and at 2:22 start another strong verse with more of a minor feel, and then returning to the lounge-style again from 3:10-3:39.  Again they return to the powerful verse harmonies from 2:22, and leaving the “lounge style” far behind as they press ahead to give more musical styles through the rest of the track.  The beat kicks up a notch at 4:08 and leads into a more chugging riff-style about 30 seconds later.  Then, the listener is surprised again by a sudden change at 5:01 with what I call the “medieval segue,” which features a medieval or renaissance melody with a period flute and harpsichord sound, while Torsten’s bass counters with a tapping melody that somehow complements it despite its modern sound.  This may be a musical allusion to Tio’s traveling back in time from the 15^th to the 1^st centuries.   This slowly morphs with the entry of keyboards, drums, and then guitar as it carries this melody forward to a new vocal bridge with some time changes.  At 6:30, this brings a dissonant “wind chime” section with acoustic guitar and then an amalgamation of vocalizations from male and female voices, leading into a major keyed section at 7:24 with piano and acoustic guitar, which again builds musically.  A lighter section with multiple time changes interjects again at 8:18, then a return of the vocals with some strong double-bass kicking patterns forging ahead into the multi-harmonized chorus and continues to pick up speed.  At 10:22, the music-box melody returns from the song’s intro and again Andy’s gentle vocals capture the emotion of the unfolding story in the lyrics.  This for me encapsulates the heart of the song, the culmination of the storyline that Andy poignantly captures in the lyrics until the end.  This song does not seem 13 minutes when I hear it.  It seems to fly by, and then it is suddenly finished…and then beckons me to listen again.

Rating:  11/10  [is that possible?  :)]

Favorite Lyrics:

“Hey you, are You waiting for the end

The Sanhedrin says You will die here today

But why me, why’s not anybody else

Finding the way out of time to Jerusalem

….

All kinds of details falling right out of the sky

‘Not Unimmortal’ if Your father let You die

God’s time levitation found a way

To make You a savior today

…..

Now You walk Your way all alone

To carry the sins of the world

I came to dethrone and to betray You

So they crucify You for another life

A better day to free the world

(God’s time levitator found a way)

To heal all kinds of things

(To make you a savior today)

And take all souls on board

(Me – the parallel Judas will burn)

You die to save us all”

9.  “Eleyson”  (Bonus Track)

This song is a bonus, and is a live audio recording of a solo Andy did in his lead as the prophet Daniel in their reinvention of the medieval (12^th century) play called “Ludus Danielis,” performed entirely in Latin.  Most of the play is done with a company of singers, with several soloists throughout by the lead characters.  This is the “soliloquy” that Daniel sings as he has just been thrown into the lion’s den.  Vanden Plas’ modernizing this play into a rock opera – while maintaining the original melodies from the period instruments and the Latin lyrics – is nothing short of amazing in my book.  Here you can see Andy’s vocal and emotive range as well – and his singing in Latin!  This also gives you a good idea of what the band does in between recording albums.  :)

Rating:  9.5/10

Favorite Lyrics:

“Hujus rei non sum reus (I am not guilty of this crime)

Miserere mei Deus (Have mercy upon me, O God)

Mitte Deus huc patronum (O God, send a guardian)

Qui refrenet vim leonum (to hold back the lions in their strength)

Eleyson Deus (Have mercy, O God) x3

Hujus rei non sum reus (I am not guilty of this crime)

Miserere mei Deus (Have mercy upon me, O God)

De profundis clamavi ad te Domine (From the deep I called you God)

A profundis clamavi (From the deep I called)

Eleyson Deus (Have mercy, O God) x6”

Here is a video of the song in live performance: 

Overall Album Rating:  9.5/10

There is word that this album may also appear on the stage sometime in the near future…this is one performance that I would do everything within my means to attend if at all possible.  This would be a very powerful story to be brought to the modern stage, and I can’t wait to see how it will be presented in a live format.  If it is anything like Vanden Plas’ previous original or arranged theater works, it will be sure to be fantastic both visually and sonically.  There are a lot of albums made in the world by a plethora of groups, bands, artists, ensembles, etc. and I listen to quite a few (though I still barely scratch the surface).  I had high expectations when I finally got this album in the mail, but I think it far exceeded even what I presumed.  I have listened to both religious and secular groups, and I definitely have come across albums that really grabbed my attention and made me take notice, both musically and lyrically.  But I was surprised that this album struck me so much on a spiritual level that I didn’t expect – especially from a band that does not identify itself as Christian or otherwise – so that I had to take notice.  The musical passion of the band, the lack of confinement of a particular genre label or category, the latent and manifest content of the lyrics, and even perhaps the spiritual beliefs of its members seem to be the variables that came together with this particular themed album to rise above even their previous offerings.  I think ‘Christ 0,” their previous album, started this idea in its concept, and blossomed even further in “The Seraphic Clockwork.”  My only hope is they are able to continue in this vein and somehow outdo themselves in subsequent albums – though I think that would be a tall order!  My thanks to the band for creating such a poignant album that managed to awaken me audially as well as spiritually. Vielen Dank und gute Arbeit!