Part VIII-Mägo de Oz

I had no clue that Spain even had a metal scene, but I can't say I'm disappointed after hearing these guys. They have a very classic feel to them, mixed in with some elements of power metal and folk metal. It's a really kicking sound that I'm very familiar with, and really love to hear. Honestly, nothing new or original going on here, but it's definitely a good listen. They've got cool riffs, nice keyboard parts, and some really rockin' vocals. The guy actual sounds more Scandinavian than Spanish in some parts, but the traditional Spanish elements really dominate and add a great atmosphere to it all.

This song is flat out kick ass. It starts off with some ambient/classical kind of riff, then with a powerful high note from the singer, breaks into a breakneck combination of NWOBHM, power metal, and folk metal sound. It speeds right through catchy riffs, excellent vocal melodies, and solid drumming. Honestly, there's not much to explain; it's typical metal, but it's damn good at that. 8/10

Part VII: Paul Oakenfold - bunkka

Alright, so when I saw the name of that song, I was like "What the hell?" So I looked it up on youtube and I was surprised to hear that it was some kind of mellow rap song. Unfortunately, I don't like rap, but I'm trying to be open minded about this whole experience, so let's get a review on it.

The music itself is actually pretty cool. There are a lot of electronics that are being used to compliment some string parts and a cool beat that remains consistent. Lots of effects, even some DJ scratches here and there. The rapping itself isn't that bad, but I personally can't get into it. If you're a rap fan with an appreciation for pop, I think you might find this very much enjoyable. A straight up rap fan might not like it so much though. It's a fun song, really. Can be danced to, has some cool melodies and effects going on there. 6/10

Part VI: Shoe

This is an interesting group of folks. They've got a cool brand of pop rock; pretty mellow, catchy, kind of typical indie sounding stuff. Luckily, I think that's a pretty cool sound, so I've been pretty pleased with them. The vocals get a little annoying, but it's pretty tolerable. Sometimes they sound a bit Blockpartyish, which isn't bad, but it's unoriginal, so it detracts a bit. The guitar is really the best part of their work; it's very mellow, and has a nice relaxed tone that gels nicely with the rest of the band, and in other parts it can be harder and more exciting. The riffs and chords are really cool. This is a cool band that's worth checking out, though I wouldn't expect anyone to label them as their favorite. 7/10

Part V: Miles Davis-Kind of Blue

A classic jazz album by anyone's standards. Miles Davis, the famous trumpet player unveiled this masterpiece album on August 17th, 1959. It has since been cemented in music history as something unforgettable.

The first track, "So What", is a moderate tune to being with, playing through just a few chords with a simple bassline running beneath it. You quick manage to lose yourself in the melodies, especially when the improv kicks it. All in all, this is something that you really search for in a great jazz track. Good drumming, good melodies, and great improv. It almost puts you in a trancelike state.

Following this is Freddie Freeloader, a more blues oriented track that's heavily based on improv. Wild saxophone solos rip through this piece as the piano plays the chords in the back ground, and the drums calmly jam on the cymbals throughout. You can imagine yourself sitting in a bar, way back in the day, listening to this song. Its just got that kind of classic atmosphere to it. The piano is really my favorite instrument on this track; it just sounds so nice--like the middle ground between a honytonk and a standard grand piano.

Proceeding "Freddie Freeloader" is "Blue in Green", which starts off with a soft, emotional series of piano chords, followed in by a muted trumpet that cries out and wails for a bit before calming down into something much softer. The drums are quiet, but still audible. The bass plays deep notes in the background, also not very loud, but still there. It's a very chill song, and easily one of my favorite on the record. It's relaxing on a whole new level--calm, yet musically enjoyable to all of you theory nerds out there. Again, the piano really wins me over on this one. I just love a good jazz pianist, and Bill Evans is definitely a good jazz pianist. He knows exactly when to quiet himself down so that Miles can take over, and exactly when to make his presence known. This is what jazz should fucking sound like! The solos are somewhat haunting, yet so very melodic. It feels like you're walking in a dark alley, again back in the day, just keeping to yourself, thinking about life and where you're going to be heading with yourself. The song ends with a powerful piano section that fades out into the buzz of the speakers. A perfect ending.

"All Blues" opens up with a quick piano riff that leads into a riff by the saxophones, topped by a lead from Miles's muted guitar. It then slows a bit, though the piano part remains consistent. This repeats, then it heads into some nice improv. The instruments really flow nicely in this song. There's just a certain smoothness to it that I can really get into. The piano part sounds complex, yet at the same time it gels really well with the other, simpler parts that the other instruments are playing. Again, I have to commend Bill Evans for knowing when to be loud and when to be silent. Every time he really comes down hard on the keys, it just seems to fit perfectly before fading back into quietness. Oddly enough, I found almost no blues influence in this song at all.

Flamenco Sketches, the final track, starts off slowly with a short duet between the piano and bass. Again, Miles's trumpet kicks in to play a nice melody over the top. The slow, moodiness of the piece persists for some time, the trumpet and piano really dominating with strong leads and atmospheric chords really creating an almost trance-like atmosphere. The drums then kick in, though slow, barely even forming a beat. It has such a relaxing feel to it. Everyone is just taking their time and doing what feels right, trying to find something comfortable without procrastinating, without wasting a beat. The chords change up a bit, turning the song slightly darker without sacrificing and of the dark mood. The saxophone takes control for a bit, giving Miles a rest. All in all it's a very smooth song, very relaxing, really good for getting you in a calm state of mind.

All in all this album is really fantastic. I love the melodies and improvs they go into. Miles's playing is top notch, as is the playing from the rest of the band. I find Bill Evans to be the underdog, as his piano really helps set the mood for this record. I think I may actually like it more than the trumpet. It's just so smooth, and his chord selection is really well made. He knows how to counter dissonance with melody, and when to be loud and when to be soft. Really, you can get someone more ideal than that. It's the essentials of jazz piano, and he really gives them a good spin. This is definitely worth a 10/10.

Part IV-Bedřich Smetana-Die Moldau

A truly extraordinary piece that starts off with a soft flute playing elegantly through a string of even notes, slowly building up in pace, adding in strings and more melody. There is so much emotion, and in many ways it's very haunting, yet so touching at the same time. the strings sound absolutely wonderful, and carry the elegance throughout the piece. I believe this is a fugue, but I could be mistaken. The constant theme with the strings playing those eighth notes would lead me to believe that. Either way, it's very powerful, with very strong melodies and harmonies working throughout. I can imagine it being played as autumn transitions to winter. There's a certain proudness to it, yet a certain darkness. When the horns kick in you really feel your spine shiver--the epicness is brought to another level. It quiets down a bit for a moment, creating some tension before heading into another, very English sounding, melody. Finally, it kicks back up with the strings playing a wild melody, before calming back down and finally fading out. A very epic piece of music with excellent melodies, harmonies, and rhythms throughout its entirety. Calming in some points and yet riveting in others. 10/10.

Part III-Machinae Supremacy

This band impressed me from the get go. I could tell that they were going to be pretty interesting and original. Not many modern bands are willing to start with a slowish keyboard riff and a creepy little guitar part. However, these guys are Swedish, so it's not that surprising (keyboards are quite popular in Europe). These guys make an interesting breed of hard rock; it reminds me of some 80's stuff with the keyboards adding that glossiness, but they have a bit of a punk attitude with their guitar and vocal work. I find the singing a bit annoying, but it's tolerable, and the solid riffs make up for it. They can obviously play their instruments well, which can't be said for many bands out there nowadays, least of all bands with punk influence. I think these guys are pretty cool.

This song right here is pretty cool. It's basically what I just described above: keyboards to start, then breaking into a heavier, guitar driven section. The verses are lead with the keys; the instruments alternate a lot throughout the song. It's fun, catchy, got some heavy parts, a nice guitar solo, and a cool conclusion with the keys fading off into the background. It drives home the typical rock formula almost expertly, though I still think they have some improvements here and there. This gets a 7/10.

Part II-Taproot

The first thing I noticed when listening to this band was that they were Nu Metal. I hate Nu Metal. Besides that, however, they actually weren't half as bad as I thought they would be. There's a lot of old Incubus influence going on there, especially in the vocals. They've got catchy riffs, good beats, though they're nothing short of standard. I like the heaviness, but they really overdo the whole angsty schtick sometimes. All in all, it's not bad by any means, but it's nothing I haven't heard before, and even though the Incubus influence saved them, I have to complain that they went so far as to make the influence that noticeable. I wouldn't check these guys out for anything spectacular, but they're definitely worth a listen every now and then.

The video you see below you is for their song poem. It's a fun little tune that starts off with a clean guitar riff before heading into a typical Nu Metal heavy riff-a-thon. You won't be finding anything groundbreaking, but it's not bad at all. Again, lots of Incubus influence here, though noticeably heavier. I'd say this is a solid 7/10

The Second Movement Part I-Black Clouds and Silver Linings By Dream Theater

Dream Theater's most recent effort, Black Clouds and Silver Linings, is once again something new for fans of progressive rock and metal. However, this time it's not the fact that the legendary band has reached across the musical spectrum to yet again touch upon another style, it's the fact that they've actually decided to stick with one. For nearly twenty years the band kept changing faces, which for many was a plus, and showed how diverse they could be. However, in spite of the fact that we've heard this brand of progressive metal before, most listeners will find a great amount of comfort in the consistency of the music.

There's nothing overly shocking here. We all know that Petrucci and Rudess can rip through their solos with ease; we all know that Mike and Myung provide outstanding, complex rhythms to complement the two melodists. James LaBrie's vocals only grow more and more accustomed to the aggressive style of singing, and yet his softer melodies haven't been ruined at all. The riffs are crushing and devilishly complex--nothing new for the old fans.

The album starts off with the menacingly dark "A Nightmare To Remember", a song about a car crash that john Petrucci experienced when he was just a child. As the title of the album implies, it was a tragedy, but everyone survived in the end. It's slow at first, but wonderfully heavy. Petrucci rips out a beastly riff and rocks with it for a bit with the rest of the band supporting his melody. LaBrie comes in soon after, his vocals gruff, reaching into the territory of Dave Mustaine. The sixteen minute epic changes attitude several times, going back and forth between eerie clean sections and brutal, thick riffs. We've all heard Dream Theater play heavy before, but this song brought in a completely new, evil element.

Next we have "A Rite of Passage", a song about the Freemasons and their possible link to the New World Order. It's fast and thrashy, perhaps the thrashiest song that Dream Theaters ever composed. John Myung's opening bass line sets the dark tone that is carried out through the rest of the song. From there, Petrucci, Portnoy, and Rudess come in, tearing through the next few riffs with devastating efficiency. The song's pace remains constant throughout, providing the listener with a classic sonic assault. Overall it's a very epic track, surprisingly fast for a band like Dream Theater.

"A Rite of Passage" is the proceeded by the album's slowest track, "Wither", a song about the defeat of an artist's block. Unlike most ballads, Dream Theater has decided to keep their downtuned guitars in play, accentuating the contrasting moods with thick, powerful chords. String arrangements play a good supporting role just behind the vocals, eventually taking an absolutely moving lead part near the middle of the song. From there it breaks into a short piano riff, and then into an emotionally charged guitar solo. By the end, you'll be hard pressed to find something more wonderfully composed, and yet so simple and emotional.

Next we have "The Shattered Fortress", the final song in Mike Portnoy's epic Twelve Step Saga. This song focuses on the drummer's former alcoholism problem, and how he managed to overcome it. Opening with a heavy, faded in riff, the song crescendos into a blasting, powerful, emotional ride from hell to heaven. You're brought back to the other four songs several times, with slightly altered lyrics and riffs. We hear soft, gloomy sections, powerful keyboard sections, intense drumming, solid bass playing, and crushing riffs. James Labrie's vocals go back and forth from gruff singing, powerful soprano, and soft, almost spoken parts. Both Petrucci and Rudess take extended solos in this song, carrying it from one section to another before finally coming to the monumental end. With one powerful crash, the saga comes full circle, ending on the very riff that started "The Glass Prison" seven years prior.

"Best of Times", a tribute to Mike Portnoy's now deceased father, is fifth, picking up at a surprisingly slow pace after the quick and heavy predecessor. It opens with a soft piano riff, then adding in a violin, and not long after, a guitar. After they play through one of the themes, they stop, and then the real fun begins. Far of fin the distance you start to hear something--John Petrucci shredding through a riff like an animal. His guitar grows louder, then boom! Welcome to the next part of the song. You're thrown into an exciting bombardment of music, not deviating greatly from the style of Rush--though there are plenty of "metal" elements thrown in. The vocals are strong, ripe with emotion, and the instrumentalists play with technical precision, yet unyielding passion. From this part, it head back into softness again, then kicks back into loud emotion, repeating the main theme again and again until it fades into the final song...

Enter "The Count of Tuscany", the album's nineteen minute epic about a trip to Tuscany gone awry when guitarist John Petrucci meets a count and his cannibalistic brother. It starts with an emotional acoustic riff, followed by a guitar solo that play over the passage. By this time, you know this shit's gonna get epic. A shiver should have run up your spine, and you should be completely immersed in the music. The solo dies out, and the acoustic guitar starts up with another riff. Then the keyboards enter, then the drums, then everything kicks in, and the real fun starts. The mood switches from emotional to adventurous, string parts and complex guitar and drum sections carrying the song, the bass providing excellent support. Oh, but we're not done yet, in fact, we haven't even started. Suddenly, the song changes, turning towards the dark. Heavy guitar and bass parts play in contrast to sinister sounding keyboard parts, all complemented by relentless drumming. Then the story begins and LaBrie starts singing. We're taken on a journey into the life of The Count, into his castle, across his vineyards, exploring every last creepy fact of his life. The verses consist of heavy, thrashing riffs and simple, yet atmospheric keyboard playing. Around the ten minute mark the focus switches back to the instruments. A plethora of complex, oddly timed riffs lead into a slower lead part, which only leads into the spacey, ambient interlude that officially concludes the dark part of the song. For a few minutes the guitar and keyboards are the only instruments playing, laying down ambient textures and chords. You're whisked away into another universe--mystical, yet brooding. An acoustic guitar then picks up, and the mood changes yet again. The pace increases, but not too greatly. The vocals come back, as do the keyboards and eventually the rest of the instruments. We've arrived at the final, and grandest of the silver linings on the album. In the end, it turns out that everything was just a misunderstanding, and there was never any danger. The electric guitar kicks in again, and the song breaks into its final, most epic section of all. Everything builds up until the final vocal part, which then leads into a powerful guitar solo that carries the song until the final riff--a reprise of the adventurous section from before. It ends with a blast, then fades into the sounds of birds chirping on a sunny day.

Overall, this album is a win for any fan of Dream Theater and progressive metal. Every song is consistent, diverse, and yet, not all that new to our ears. It's great to see that Dream Theater can find comfort in their own little niche and play the hell out of it. It may not be their best effort, but it's damn good. Of course, if you're not fond of the band, you'll probably find the same things to complain about as before. Lots of guitar and keyboard wanking, lots of "unnecessarily" complex riffs that never end, vocals that may not suit your fancy, emotionless playing, you know, the typical complaints. Though, I think this album gets a solid 8/10.

Lyrics: http://www.darklyrics.com/lyrics/dreamtheater/blackcloudssilverlinings.html#1

The First Movement

Welcome, ladies and gentlemen, to Treble Clef Reviews. Over the next week or so, I'm going to be listening to CD's from my fellow Creative Writing class mates and giving them a review. Anyone is welcome to give me a song or CD reccomendation (granted, I can't take all of them since I'm on a limited budget and I can't always get out to listen to them). I'll be reviewing a couple of albums that I own as well.

I'm all about listening to as much music as possible, and going into a musical experience without a bias or preconception. I want to find more things that I like and really get a good idea of what's out there. Also, this is a great way to find out what my classmates like, and perhaps understand their personality a little bit better. How do they connect to this music? Why do they enjoy it?

Anyway, let's get started with this!