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Start of Something Beautiful & Glass Arm Shattering are perfect songs if you're in the mood for them... The addition of them together at the end of the album seal the deal and guarantee Deadwing as a better album than In Absentia ;)

 

http://i.imgur.com/z4NpVMz.gif

 

I think we're in the minority on this opinion

 

"Majestic gratitude?" Is that James LaBrie?? LOL!!! FAIL!

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Start of Something Beautiful & Glass Arm Shattering are perfect songs if you're in the mood for them... The addition of them together at the end of the album seal the deal and guarantee Deadwing as a better album than In Absentia ;)

 

http://i.imgur.com/z4NpVMz.gif

 

I think we're in the minority on this opinion

Count me in that minority as well. In retrospective I like Deadwing better than In Absentia...or rather I was floored when I listened to Deadwing again than I was with In Absentia, both albums I haven't listened to after a long time (more than a year actually).

 

I prefer Deadwing to In Absentia.

 

Start of Something Beautiful is a fantastic track.

 

I used to prefer Deadwing to In Absentia. I've changed my mind. It's all about "Blackest Eyes."

Edited by RUSHHEAD666
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The Mars Volta - Amputechture (2006)

14/15 Day of the Baphomets

 

Listened to this song earlier and thought to myself, "I had to have given this a 14/15, considering it for a 15/15". The song is far from accessible, I'd be lying if I said I got it on the first listen, the first verse/chorus chunk being very aggressive. I think what keeps this song from being a 15/15 is the overuse of the 6/4 jam they have, making for a couple 12-13/15 moments, and the bass solo intro is very good, but for me personally, the feel of it isn't the best. A 14/15 bass solo ;)

 

I'd call it a masterpiece, just not perfect -- or, being more objective ( :eyeroll: ) just not perfect for me ;)

 

http://www.youtube.com/watch?v=yulxvV_KXvk

Edited by Mr. Not
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Halo Stereo - Halo Stereo (2006)

11/15 Fractured Fantasy -- atmospheric, synth, female vocals.

12/15 Stairwell -- popular song of theirs, electronic rock. catchy bass/drum verses.

10/15 Thorn in My Side -- something of a typical hard rock tune

12/15 Delicate Machine -- another song heavy with synth and layered vocals

07/15 Sign -- good lyrics, mediocre instrumentation and melody

03/15 <Waves> -- very radio-friendly rock love ballad.

11/15 *Languid Morning* -- synth rock! an anthem of sorts. great guitar solo

13/15 Sea Antler -- jazzy verses, emotional hard-hitting refrain

12/15 Silver Salute -- synth metal? heavy rock! extensive use of drum fills

08/15 When I Found You -- another rock love ballad, but done better than last time.

11/15 Drown in You -- strings, sad love song, strong melodies, song ends with heavy riff / solo section.

 

Their debut album which isn't even recognized as one by most web sources, usually they list "The Invisible War" as their first and last album (their last "abum" was an EP, so that's more understandable to exclude)... One notable thing this band does on at least two occasions is have the music in some way literally interpret the lyrics after the act in a strong, emotional, and effective manner. This is not done through sampling or even an attempt of emulation (actually, that's arguable), but emphasis! For example in the second verse of Delicate Machine, a melody played on the third line (repeated from the first verse) is done with a vocal ensemble of "ooooo"s to follow up the line "My machine's malfunctioning". Could I be looking too deep into this or even wrong? Maybe, but in the next occurrence of this is concrete. This album's effort is enough to prove this band is unique enough to exist and thrive, but it for whatever reason didn't work out for them. This album, with it's three lowest rated songs, shows that they might be trying too much towards getting recognized with the love ballads, but the other 8 tracks show that they're musicians eager to create music.

Their genre is best defined as hard rock, alternative rock, synth rock, and electronica. I'm not going to say the band is genius or one of the best, but I will say that they are my favorite "unknown" band.

 

Rating: B

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Start of Something Beautiful & Glass Arm Shattering are perfect songs if you're in the mood for them... The addition of them together at the end of the album seal the deal and guarantee Deadwing as a better album than In Absentia ;)

 

http://i.imgur.com/z4NpVMz.gif

 

I think we're in the minority on this opinion

 

"Majestic gratitude?" Is that James LaBrie?? LOL!!! FAIL!

Thorin from The Hobbit

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Start of Something Beautiful & Glass Arm Shattering are perfect songs if you're in the mood for them... The addition of them together at the end of the album seal the deal and guarantee Deadwing as a better album than In Absentia ;)

 

http://i.imgur.com/z4NpVMz.gif

 

I think we're in the minority on this opinion

 

"Majestic gratitude?" Is that James LaBrie?? LOL!!! FAIL!

Thorin from The Hobbit

 

Looks more like Petrucci than LaBrie, really.

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The Jelly Jam - The Jelly Jam (2001)

12/15 I Can't Help You -- Fun 9/4 groove throughout the verses... Very energetic song.

10/15 <No Remedy>

[ ]/15 Nature -- A beautiful intro for the next track

14/15 *Nature's Girl* -- More energy chugs along, and a bridge which you'll never (want to) forget once you've heart it

12/15 Feeling -- A positive sad song... I should really classify these songs as something more specific. I guess "inspired" might work, but that wouldn't really explain... It's a song that understands the human condition :D a choir of Ty Tabor makes an appearance.

13/15 Reliving

11/15 The Jelly Jam -- It's a shame that their band title track is a solo to the rhythm of "Reliving". It's not bad, but it's not entirely memorable either.

13/15 I Am the King

[ ]/15 The King's Dance

11/15 Under the Tree

 

Rating: A

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Emerson Lake and Palmer - Brain Salad Surgery (1973)

Jerusalem: 10/15

Toccata: 13/15

Still... You Turn Me On: 11/15

<Benny The Bouncer>: 10/15

Karn Evil 9:

*First Impression*: 15/15

Second Impression: 13/15

Third Impression: 13/15

 

(Average: 12.14)

Overall rating: C (Very Good/Great)

Hmmm... What to say about Brain Salad Surgery? One of prog's most infamous albums, and certainly ELP's most well-known work... It may not be my favorite ELP album, but it's certainly close. It opens with Jerusalem, a performance of a British hymn that I basically like but find somewhat pointless (especially since they didn't really do anything creative with the arrangement). Next up is Toccata, an adaptation of a Ginastera piece which has a firm hold as my second favorite on the album. It may seem overly "weird" and "experimental" at first, and while those do certainly apply to it I find it immensely enjoyable nonetheless. Next up is Lake's sole composition credit on the album, Still... You Turn Me On, a well-constructed ballad somewhat marred by an out-of-place wah-wah guitar in the chorus (not to mention featuring one of the worst lines EVER in "every day a little sadder, a little madder, someone get me a ladder" among otherwise decent lyrics) but which I still like. After this is the amusing Benny The Bouncer, a continuation of the ELP tradition of shorter, more "lightweight" songs such as Jeremy Bender and The Sheriff. I find it the weakest song on the album personally, but it's still enjoyable and the lyrics are a hoot, so it can stay. Besides, Karn Evil 9 is up next, and while it's not my very favorite ELP song (Tarkus, anyone?), it's certainly "up there". Part 1, or the "First Impression", is easily my favorite, with GREAT playing by Emerson and an energetic vocal performance by Lake, featuring the infamous "Welcome back my friends to the show that never ends" going into the second half (which was released as a single for whatever reason). The Second Impression is a multi-part Emerson showcase, and while I don't find it as great as the first I enjoy it nonetheless. It doesn't really get boring (to me at least) in its 8 minutes, as Emerson varies his approach enough to keep it interesting, and it is amusing to hear Emerson's sped up voice saying "Daddy, let's go see the carnival!" about two minutes in. Now, the third impression is a bit of an enigma for me: the music is great, perhaps on par with the first part, but the lyrics are somewhat stupid, as they try to tell a sci-fi story but honestly cause me to cringe every time they start going into a "dialogue" between the humans and the computers. Honestly, those lyrics are probably the only reason that Karn Evil 9 is my second favorite (rather than favorite) ELP track, as Tarkus is musically on par with it but the lyrics never really irritate me. However, despite this, I like the piece, and the whole album is easily my second favorite by the band.

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Evanescence- Evanescence (Deluxe Edition) (2011)

 

1. What You Want 15/15

2. Made Of Stone 15/15

3. The Change 13/15

4. *My Heart Is Broken* 15/15

5. The Other Side 13/15

6. Erase This 15/15

7. Lost In Paradise 15/15

8. Sick 15/15

9. End Of The Dream 13/15

10. Oceans 13/15

11. Never Go Back 13/15

12. Swimming Home 15/15

13. New Way To Bleed 14/15

14. Say You Will 13/15

15. Disappear 13/15

16. Secret Door 14/15

 

Average Rating: 14 (Rating E)

 

My rating: F

 

I have been hard on this band in earlier reviews. I won't be this time. This is addictive, melodic rock with a band at the peak of their powers. The production is so on point it is breathtaking, and coming from Nick Rasculizappershabingbong, it is very disappointing to think that within the next year we would see the release of one of the worst produced albums in the Rush discography.

 

But back to this album. Origin was an exciting début, Fallen was the epic blockbuster, The Open Door was the attempt to do something more artsistic. But this self-titled effort is the masterpiece. When it comes to female fronted hard rock or metal, this is about as good as it gets! Everything that made Fallen the success that it was is present, with the heavier edge of The Open Door still intact. But this time, the band has the songs to truly match the stunning vocals of Amy Lee, and even better than before: all the songs are great. There is a sense of bombast, a glorious energy to proceedings that indicates that for once, perhaps the first time in the bands history, this is a full band effort, and not just a lead singer and her backing band. Drummer Will Hunt is the real standout, due in no small part to the dominant presence of his efforts in the mix (which makes it all the more sad that Neil Peart would be almost completely lost in the mix a year later in the hands of the same producer).

 

My Heart Is Broken is a barnstorming anthem, a pop classic built around spiralling piano riffs, intense drumming, intoxicating vocals and one of the finest choruses in the bands entire discography (and this is a band that only ever seem to write fine choruses, so this is no small feat by any stretch of the imagination). Sick is a fast paced metallic beast of a song, whilst Lost In Paradise, Swimming Home and Secret Door are ballads to end all Evanescence ballads, all three coming extremely close to topping the immortal classic My Immortal from Fallen.

 

I could go on forever enthusiastically reviewing this album. When it comes to female fronted rock and metal, I normally point music fans away from Evanescence to admire the less mainstream works of Lacuna Coil, Nightwish and The Gathering, because prior to this album, they were never as astonishingly beautiful, or as interesting musically as these other bands. But this album is truly great enough to stand next to any of those bands best efforts (and it certainly surpasses many of them).

 

Evanescence are an easy band to enjoy, but quite often they can be frustratingly restrained. But on this release, it is pretty much impossible to find a fault. In fact, I cannot think of one. Sure, on occasion it does feel that each song bleeds into the next. But when the songs are all as good as these, it is a fault that I find all to easy to forgive. This album is close to being a top ten effort for me.

 

The average rating doesn't fully embrace my wholehearted love for this album. When it comes to this genre of music, only Lacuna Coil and The Gathering have released albums that impress me more than this. I would say this album is as essential as Karmacode, Comalies, Mandylion or if_then_else (the latter two Gathering releases), and it easily ranks alongside the best of Nightwish and Within Temptation.

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May as well...

Emerson, Lake and Palmer - Emerson, Lake and Palmer

The Barbarian: 11/15

Take A Pebble: 14/15

*Knife Edge*: 14/15

The Three Fates: 10/15

<Tank>: 7/15

Lucky Man: 12/15

 

Overall rating: C (Very Good/Great)

 

Track by track:

 

 

•The Barbarian is a rearranged version of an old Bartok piece, and while I certainly like it quite a bit, I think it pales in comparison to the other tracks on side 1. Still, it works very well, beginning with distorted bass which eventually gives way to bombastic Hammond playing , which dominate the rest of the song (apart from a brief piano interlude in the middle, and a later reprise of the distorted bass intro).

•Take A Pebble starts as a BEAUTIFUL ballad, which then gives way to a 8-minute instrumental interlude mostly dominated by piano (though which features a (relatively) short "clap-along" acoustic break). As you can probably tell from the rating above, I LOVE this song, and to me it's only marred by the quiet but unpleasant dissonant guitar before the acoustic interlude. Apparently the piece was expanded more live, but as it is it easily gets a 14/15...

•BUT, even better is Knife Edge, another classical adaptation featuring (as usual) Keith's Hammond but which also contains a great bass line over which Lake sings the verse melody... But the best part, for me, is the very end of the "Can you still keep your balance" line, where Lake's vocals split into 3 tracks in a disorienting way that PERFECTLY matches the aggressive atmosphere of the song. Chalk this up as another easy 14/15.

•The Three Fates is a 10-minute keyboard solo by Emerson (no kidding), and while it has a few dull moments I honestly enjoy it overall. The three sections all feature different instrumentation, with organ featured in the first part, followed by piano in the second, and finally with the whole band joining in on the third. It does drag a little at the end IMO but overall the impression it leaves is a positive one.

•Tank is finally a low point on the album (and the only thing keeping it from a *D*), which starts with Keith playing lines far less interesting (IMO) than any of his other work on the album (or the next, heh), followed by a DRUM SOLO (ewwww) and finally concluding in a "groove" jam that's pretty interesting but which still can't redeem the track from the doldrums that 99% of drum solos fall into by the first 30 seconds.

•Lucky Man was, incidentally, ELP's first charting single, and it's not hard to see why; the song is almost definitely one of the most accessible the band had ever done, with a simple acoustic arrangement (with Keith joining in at the end, and it just so happens that the song rules. Not as fiercely as the top 2 from the album, but it is a great song nonetheless, with somewhat interesting lyrics (not as much in the lyrics themselves but in the potent contrast between the last two verses and the first two, as well as between the last two and the underlying music, as the "lucky man's" death is underscored with the same "carefree" acoustic playing as the rest of the song). Supposedly Lake wrote this song at 12 years old, and while it shows in the relative simplicity of the song it never really sounds naive in any negative way.

 

 

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The Jelly Jam - The Jelly Jam 2 (2004)

09/15 <Not Today>

11/15 Coming Round

12/15 Empty

[ ]/15 Drop the Gun

13/15 *Allison*

12/15 Maybe

12/15 She Was Alone

13/15 Angel or Devil

11/15 You Don't Need Me Anymore

11/15 Runaway

10/15 War Is...

[ ]/15 Message

 

Rating: 9

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*Emerson, Lake and Palmer - Tarkus*

**Tarkus**: 15/15

•Eruption: 14/15

•Stones Of Years: 15/15

•Iconoclast: 14/15

•*Mass*: 15/15

•Manticore: 14/15

*Battlefield: 15/15

•Aquatarkus: 12/15

Jeremy Bender: 12/15

Bitches Crystal: 13/15

<The Only Way>: 8/15

Infinite Space: 11/15

Time And A Place: 13/15

Are You Ready, Eddy?: 10/15

 

Overall rating: D (Great/Very Good)

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The Mars Volta - Noctourniquet (2012)

11/15 The Whip Hand

12/15 Aegis

12/15 Dyslexicon

14/15 *Empty Vessels Make the Loudest Sound*

10/15 The Malkin Jewel

12/15 Lapochka

11/15 In Absentia

12/15 Imago

11/15 Molochwalker

12/15 Trinkets Pale of Moon

12/15 Vedamalady

10/15 <Noctourniquet>

12/15 Zed and Two Naughts

 

Rating: 9

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The Jelly Jam - Shall We Descend (2011)

13/15 Who's Comin' Now?

13/15 Stay Together

14/15 Halos in Hell

12/15 Same Way Down

15/15 *Barometric Reign*

[ ]/15 March of the Trolls

12/15 Questions

13/15 Shall We Descend

11/15 <Come Alive>

12/15 Ten

 

Rating: D

 

There are two or three noticeable production faults, but that's the only bad thing I can say. The supergroup better utilize their expertise here and set such a different tone than the one they had in the previous two albums, they might as well have called this project something new entirely (this would be the third time if they did so. They released two albums under the name "Platypus" which was the same exact line up only with Derek Sherinan on keyboards)

Edited by Mr. Not
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Gosh diddly darnit :facepalm: http://www.therushfo...20#entry3394517

 

Why would I give that album a B? Another goof up where I was just so happy to be done with details of the review that I just slapped a random number on it so I could move along, I guess :LOL: I give it an 8*...

I can see why that would be a problem :LOL:

 

I typically try to assign an album rating before writing a review for this reason... it usually works well.

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King Crimson - Beat

Neal And Jack And Me: 12/15

*Heartbeat*: 13/15

Sartori in Tangier: 12/15

Waiting Man: 10/15

Neurotica: 11/15

Two Hands: 10/15

The Howler: 7/15

<Requiem>: 5/15

 

Overall rating: 9 (Good)

Erm... front-loading here much Mr. Fripp? Indeed, the first three tracks on here are classics, two of which would end up on Absent Lovers (although the other, the opener Neal And Jack And Me, does borrow a bit much from the last album's title track ('Discipline'))... Here, they're still great, although somewhat lacking in the sort of manic energy that made Discipline so enjoyable.

 

However, from here, we enter a decline. I basically like the next three tracks, but only one of them (the noisy, Thela-style Neurotica, no relation to the later Rush song) manages to hold my attention all the way through. To be fair, Waiting Man would improve MASSIVELY live, suggesting that it is indeed the lack of energy (another big problem with Beat) holding it back. However, the last two are another story altogether. Howler is complex enough that it should be interesting, which makes it all the more remarkable that it isn't, while Requiem is simply six minutes of aimless noise which I really feel no motivation to listen to at the end of the album. The first three tracks are enough to ensure this a high grade, but the last two make sure that it won't go any higher.

Edited by len(songs)
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King Crimson - THRAK (1995)

Vrooom: 11/15

Coda: Marine 475: ""/15

*Dinosaur*: 13/15

Walking On Air: 12/15

B'Boom: 10/15

THRAK: 11/15

Inner Garden I: 10/15

People: 10/15

<Radio I>: []/15

One Time: 11/15

<Radio II>: []/15

Inner Garden II: 10/15

Sex Sleep Eat Drink Dream: 12/15

VROOOM VROOOM: 11/15

Coda: VROOOM VROOOM: ""/15

 

Overall rating: 9 (Good)

Overall a very consistent effort, with the only weak links being the two Radio tracks (honestly if not for them I have no idea what I would put as worst song)... however, only 3 songs on here seem to approach "great" for me, with the ultimate highlight being the "poppy" (but all the better for it) "Dinosaur", while there are way too many tracks which are good but unremarkable (one of them, B'Boom, is actually pretty neat but is ruined (well, sort of) by a drum solo of all things). Stylistically, this album aims for a cross between the 70's and 80's Crimson, meaning that it can be derivative at times but still presents an interesting mix of elements... still, the relative absence of great tracks (as well as the 2 Radio tracks) ensures that this will get at most a 9 (and a 9 it does get, despite originally thinking it was an 8. See how reviewing something can change your perspective on it?)

Edited by len(songs)
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And just for fun:

<<<King Crimson - THRaKaTTaK (1996)>>>

*Thrak*: 10/15

<Fearless and Highly THRAKked>: 0/15

<Mother Hold The Candle Steady While I Shave The Chicken's Lip>: 0/15

<THRaKaTTaK Part I>: 0/15

<The Slaughter Of The Innocents>: 0/15

<This Night Wounds Time>: 0/15

<THRaKaTTaK Part II>: 0/15

Thrak (Reprise): 10/15

 

Overall rating: 1 (Beyond Horrible)

A collection of suckish improvs from different live versions of the THRAK midsection... so you get to hear the first two minutes of THRAK (performed decently, but not really better than the original) followed by half an hour of AWFUL, AWFUL improvisation... these were six musicians, four of whom had little experience in improv and two of whom who had barely played with the others before, trying (are they even?) to get on the same page with one another but coming up EXTREMELY short. Avoid this at all costs; there's nothing essential about it and a good 90% of it is simply ear-destructive. Easily the worst album I have ever owned.

Edited by len(songs)
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H.I.M.- Greatest Lovesongs Vol. 666 (1998)

 

1. Your Sweet 666 12/15

2. Wicked Game 14/15

3. The Heartless 13/15

4. *Our Diabolikal Rapture* 15/15

5. It's All Tears (Drown In This Love) 12/15

6. When Love And Death Embrace 13/15

7. The Beginning Of The End 11/15

8. Don't Fear The Reaper 13/15

9. For You 11/15

 

Average Rating: 12 (Rating C)

 

A brilliant debut from a very charismatic band, fronted by rock god Ville Valo and boasting a surprisingly solid number of both classic covers and fan favourite originals.

 

I do not regard this as the bands best effort, and it wouldn't be fair to say it even came close. But I do love it, in all its dark, earthy pop metal glory! Both sinister and sensually romantic, HIM push all the right buttons for me.

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H.I.M.- Razorblade Romance (2000)

 

1. I Love You (Prelude To Tragedy) 14/15

2. Poison Girl 14/15

3. Join Me In Death 15/15

4. Right Here In My Arms 14/15

5. Gone With The Sin 15/15

6. Razorblade Kiss 15/15

7. *Bury Me Deep Inside Your Heart* 15/15

8. Heaven Tonight 14/15

9. Death Is In Love With Us 14/15

10. Resurrection 14/15

11. One Last Time 15/15

 

Average Rating: 14 (Rating E)

 

This is insane.

 

I grew up listening to the UK release of this album, which reprised two songs from the debut (yawn), and omitted the frankly too beautiful for words One Last Time. And the entire tracklisting was reshuffled, and to my ears lacked the flow of this original Finnish release.

 

Join Me In Death is a stunning love song. Does it promote suicide? No. Ville Valo has said many a time that the song is a take on the age old Romeo And Juliet theme, and the darkly lush melodies are infectious and irresistable. It is no surprise to learn that this is the biggest selling single ever to come out of Finland.

 

Gone With The Sin is a sombre, folk-tinged ballad that is just perfect, and the Bury Me Deep Inside Your Heart is not only one of the bands most heartrending songs, but vocally it shows off every quirk and dulcet tone in Ville Valo's possession. Stunning.

 

Closer One Last Time took me ten years to finally hear. I bought the album again a few weeks back, and did so without realising I was obtaining the original release. Why this song was deleted from international releases is a travesty. A shimmering, soft rock classic, and could have been a huge hit single if given half the chance. It loses out on being my top pick by a whisker.

 

H.I.M. (also known as His Infernal Majesty) is by far the best surprise I have had in recent months. I abandoned them a few years back, having thought I had "grown out of them".

 

Stupid me. I love them now more than I did 15 years ago!

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H.I.M.- Deep Shadows And Brilliant Highlights (2001)

 

1. Salt In Our Wounds 15/15

2. Heartache Every Moment 15/15

3. Lose You Tonight 15/15

4. In Joy And Sorrow 15/15

5. Pretending 15/15

6. *Close To The Flame* 15/15

7. Please Don't Let It Go 15/15

8. Beautiful 14/15

9. Don't Close You Heart 15/15

10. Love You Like I Do 15/15

 

Average Rating: 14 (Rating E)

 

THIS ALBUM IS SO CLOSE TO PERFECT!

 

Only problem is simple: there is a heavier, faster, very uplifting version of Beautiful, which was released as a B-Side. It is one of my favourite songs of all time, and the slower, quirkier ballad arrangement on this album, which in itself is a classic, just doesn't come close.

 

This is an absolutely beautiful album, lacking the harder edge of the albums surrounding its release, but overall not so soft it sounds like a sell-out. This is just so gorgeous, an essential for any true rock romantic.

 

I know it seems I have gone really crazy with the 15/15's with this band, but trust me, it doesn't last. After the next album, H.I.M. never again move me quite like they do with albums such as this.

Edited by Segue Myles
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H.I.M.- Love Metal (2003)

 

1. Buried Alive By Love 15/15

2. The Funeral Of Hearts 15/15

3. Beyond Redemption 15/15

4. *Sweet Pandemonium* 15/15

5. Soul On Fire 15/15

6. The Sacrament 15/15

7. This Fortress Of Tears 15/15

8. Circle Of Fear 15/15

9. Endless Dark 15/15

10. The Path 15/15

 

Average Rating: 15 (Rating 10)

 

This is perfect. A stone cold classic, a masterful, delightful, moving, exciting, addictive, compulsive, metallic, heartfelt and explosive hard rock album that just gets better with age. Almost, but not quite, topples the mighty Karmacode from Lacuna Coil from the number one spot.

 

This album just envelops me in the blacks, reds and dark blues of the emotions, with hard-hitting, riff heavy anthems such as the hit single Buried Alive By Love sitting seamlessly alongside the blissful and melancholy Funeral Of Hearts, proving rage and harmony can make exciting bedfellows.

 

The smoky, breathy Sweet Pandemonium leans very close to the blues rock of early The Doors albums, whilst songs such as This Fortress Of Tears and Endless Dark sound like no other band in the universe, only H.I.M.

 

I adore everything about this album, including the now iconic cover art. H.I.M. peaked splendidly with Love Metal, and on my list of favourite albums, this has finally returned to the number two spot, which was also its home ten years ago!

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What the heck, I've made the compulsory 3 listens...

 

*Gentle Giant - Octopus (1972)*

The Advent Of Panurge: 14/15

Raconteur Troubadour: 13/15

Cry For Everyone: 13/15

Knots: 11/15 //Honestly, it REALLY shouldn't work as well as it does... but I enjoy it enough that an 11 seems justified

<The Boys In The Band>: 11/15

A Dog's Life: 12/15

Think Of Me With Kindness: 12/15

*River*: 14/15

 

Adjusted average: 12.5 (D) (The average of the mean and the median)

Overall rating: D (Great/Very Good)

Edited by len(songs)
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By the way I came up with a sort of rubric for what averages tend to "point to"... this shouldn't be the overall rating for an album but I think it will be interesting to see how they coincide (or fail to)

 

Really, this can serve as an indication of the "other aspects" of the album, beyond song quality... for example

 

Using the adjusted average, this is approximately what I came up with:

 

14.5+ = 10

14-14.5 = F

13-14 = E

12.5-13 = D

12-12.5 = C

11.5-12 = B

11-11.5 = A

10.5-11 = 9

10-10.5 = 8

9-10 = 7

8-9 = 6

7-8 = 5

6-7 = 4

4.5-6 = 3

3-4.5 = 2

<3 = 1

Edited by len(songs)
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