On Heritage and A Dramatic Turn of Events (Opeth and Dream Theater)

Last weekend I picked up both the new Opeth and Dream Theater albums. Both are pretty exciting albums to me as they both marked big changes for each band. Opeth, with Heritage, move away from their famous sound into different waters. Dream Theater, with A Dramatic Turn of Events, have had one of their biggest line up changes ever with drummer and founding member Portnoy leaving the band.

Firstly, on to Heritage. I'm yet to look at the overall fan reaction in any depth, but I'm willing to predict a pretty big split in opinions. As I said before, this is a change for Opeth. The death metal growling has gone, but with a singer as good as Akerfeldt, it seems ridiculous to not like this. Musically, I'd hesitate to class most of this as metal. In fact, a lot of it comes across as more jazzy than metal.

Opeth have done a similar change of sound before. While Damnation wasn't quite to the same scale as Heritage, it definitely was a softer, growl free outing without the heavy riffs of most metal. Then, after that, they were back to classic Opeth with Ghost Reveries and Watershed. What's to say this won't be the same?

But still, for those Opeth fans that adore albums such as Blackwater Park, Ghost Reveries and Watershed for their heaviness, they're likely to be disappointed here. For those who like Opeth for their musical complexity, this album is surely a treat. Personally, I wouldn't mind if this was a glimpse of Opeth's future.

Dream Theater's A Dramatic Turn of Events is still, musically, very much Dream Theater, despite the departure of one of the main song writers. They've still managed to hold onto their signature sound. But, how does it compare?

Well, it's both different and familiar at the same time. While their last albums seemed to be focusing more on the heavier metal side of their music, this one seems to go back to their roots a little with more of a progressive feel. A Dramatic Turn of Events seems to have more in common with Images and Words and Scenes From a Memory than it does with Systematic Chaos and Black Clouds & Silver Linings.

With that said, this album is still a long shot from their classic sounds, but it's a step in the right direction. Keyboards once again have more of a focus, and the album is better for it. LaBrie seems to be putting his vocal abilities to wider use than on previous albums as well. Oh, and you can hear the bass.

A common complaint I've read from Dream Theater fans over the band's more recent albums is how they don't sound like their older ones. With this album returning somewhat to their roots, I'm hoping to see this complaint less. From what I've come to expect from Dream Theater fans, they'll find something to complain about. I don't think I've ever seen a fan base so split on opinion as Dream Theater's.

Both these bands have released exceptional albums, that much is clear. However, I wouldn't call either of them accessible from the initial listen. They're the kind of songs that grow on you. They're not the kind of songs you can just play and enjoy as background music. To really appreciate what these bands have accomplished you need to sit down and listen, really listen, to what they have achieved.

Meredead by Leaves' Eyes - A Review

Leaves' Eyes, for those not in the know, are a symphonic metal band with members hailing from both Norway and Germany. Meredead, released earlier this year, is their fourth full length album and sees them testing new waters.

Meredead is the evolution of Leaves' Eyes' sound, and is a much stronger release than 2009's Njord. It flawlessly combines the traditional elements of symphonic metal with folk, using instruments such as bagpipes, cellos and fiddles. Also present in many of the tracks are choirs and a number of guest singers to back up the always amazing vocals of Liv Kristine.

It seems fair to say, however, that this album might not be for the more traditional metal fans. Quite often the metal will take a bit of a back seat to the folk side of the music. If metal is the only thing you can stand to have going into your ears, you may be disappointed. If, however, you just like good music then there's plenty here to enjoy.

The album includes a number of traditional Norwegian songs, as well as songs performed in Old English. Alexander Krull's growling vocals, a frequent presence on earlier releases, are this time reduced to just one track. Not that the CD needs them. Given the musical style and the feel of most of the songs, growling vocals would have been very out of place.

To France, a cover of the Mike Oldfield song, is the first single from the CD. Being a cover, it's probably one of the more accessible tracks for those new to the band. Give it a listen below!

Other stand out tracks include the intro Spirits' Masquerade, which leads you into the album with a steady drum beating and powerful choirs.
Ètain starts off slowly, but develops into one of the more powerful tracks on the album. Velvet Heart presents itself as the most typical example of the symphonic genre on this album, and good also be a good starting point for people.

Meredead, the title track, is a bombastic ride full of big choirs and folk music. Sigrlinn is the heaviest and longest track on the album, and definitely memorable. The song Tell-Tale Eyes, a slower, folk ballad, closes out the CD nicely.

I find it hard to fault this CD for anything. Leaves' Eyes have outdone themselves with this album. Quite simply, it's their best album yet and, so far, my pick for album of the year. If this is a glimpse of Leaves' Eyes to come, then it's an exciting time to be a fan of this band.

10/10