Mike Shinoda - Post Traumatic EP

I always saw myself as a casual Linkin Park fan. They were one of the first bands I was really into, but also one of those bands I always found myself coming back to. While I respected each member for what they were, Mike Shinoda was always the member I was most interested in. His raps were some of the first raps I memorized, and practiced the flow over and over again. After the events six months ago, I like many, felt sorrow, pain and uncertainty of where the next step was going to take them.

Besides a heartwarming benefit show, the group has been understandably silent until today. Shinoda’s latest ep, Post Traumatic EP, is hard to listen to. With only 3 songs Shinoda finds a way to convey the pain, anger and sadness of losing not only a brother, but also the uncertainty of where to go from here.

These 3 tracks hold so much heart, it’s hard to not love them. But they also hold so much pain that it’s hard to repeat the listen. Each song begins with beautiful singing that is coming directly from Shinoda’s soul. Then followed by some of his hardest flows, that almost bring it back to the Fort Minor Days. This ep is deeply personal, and exactly what LP fans need at this time.

Shinoda proves that even at the lowest of moments, it’s not ok to continue, it’s a must to continue. And that it’s ok to live with your heart on your sleeve, because in the darkest of times, art and specifically music can bring you back.

Neal Morse - Testimony

With such a huge body of work under his belt, I thought that it might be fun to do a Neal Morse related review of the week. As many of our readers may know, I am a huge Neal Morse fan, and he has been a huge part of so many albums, that it seemed fitting to do a review a week, so as not to flood this blog with Neal Morse reviews.

Neal Morse came to the public's eye as the front-man for United States prog giants, Spock's Beard. With the mighty Beard, Neal and the boys released six studio albums, before NM left the band due to religious beliefs, in 2002, shortly after the release of the band's double concept masterpiece, "Snow". The future for Neal became a bit uncertain to fans, as he also left the super-group Transatlantic at the same time. Luckily fans did not have to wait too long, as Neal's first post SB album was released in 2003. And that is the album that I want to talk about this week.

Neal had released two solo albums before this one, both of them more singer/songwriter albums. So when I first heard "Testimony" it took me a little while to really take it all in. There is so much going on in this album. But at the forefront is of course the progressive rock that Neal has not only become known for, but has become one of the greatest prog rock composers in years. The lyrics are deeply personal, and the music is everything that you would expect from Neal. So, pretty much everything but the kitchen sink. He manages to bring together elements of gospel, rock, prog, classical, funk, and almost anything else that you can think... except maybe rap. And for that, we thank you, Neal!

The first disc is the more desperate of the discs. The story tells of Neal's life in California, as he works through feelings of inadequacy, sadness, and confusion for a life that he felt was being wasted. He goes through heart-ache, sorrow, and all feelings in between. But just below the surface, he feels God reaching out for him. There are so many great moments on the first disc, and lyrics that could make even the most hardened music fan get a bit misty eyed.

As disc two starts, the entire vibe has been lifted, as Neal leaves the west coast, for Tennessee. This disc deals with more of his journey to find God, his marriage, and his coming to the realization that he is ready, and willing to allow God into his heart. The lyrics are so heartfelt that it had me pursuing religion a lot closer at the time.

Neal put his everything into this story, and this album. Writing melodies, and hooks that you can't help but sing along with, and smile, as you hear his life go from bad, to a life that any person could be proud to live. And he brought along a cast of amazing musicians along for the ride, including Kerry Livgren (Kansas), and the man behind the skins who has been with him for so many fantastic albums, Mr. Mike Portnoy.

Though this album did take me a while to really get into, once it clicked, it never left my rotation. I still listen to this album several times a year. And it just gets better with each listen. There are nuances, and beauties that can only really reveal themselves upon repeated listens. And while Neal is still releasing fantastic prog albums under his own name, this is the one that really started it all in his post-SB life, and showed him that no matter what he wants to do, he'll have an army of fans ready to support him. Because a man that can write such wonderfully crafted masterpieces deserves to be heard.

-Rob

The Open House (A Movie Review)

In this day and age, movies don't necessarily have to find their way to theaters to be seen. With online services such as Amazon, and Hulu, and the great Netflix, new movies are being released with less television advertised fanfare, and more online advertising. It seems like Netflix always has something new on the horizon, to keep their customers happy with their service. Some of the movies are hits, and some of them are misses. "The Open House" is actually both of those things.

Released on January 19th, the movie stars "Dylan Minnette" (Netflix's "13 Reasons Why"), as a teenage boy who saw his father die right in front of his eyes. To make their lives work after the devastating loss of the primary bread winner, the mother and son move to her sister's mansion in the mountains, while she tries to sell the place. After that, there's a lot of that formulaic thriller movie writing that we've all come to accept as standard.

Once a week, the realtor (a really unpleasant woman) holds an open house, for people with interest in buying the home to walk through, and see the place. Unfortunately at some point, someone comes in and doesn't leave. Or does leave? I'm really not clear on that part. Maybe they just got a key? Maybe they are hiding below the floorboards? Maybe they teleport to a hidden dimension, and frolic with unicorns during the day, only to pop back in at night? They never really say. Either way, the mother and son start to notice things going wrong around the house: noises, a malfunctioning water heater, and missing belongings. I know, this is old hat, but at least they tried... I think.

The acting was okay here, they had a decent cast, but some of the characters just sort of fell flat. Of course. There were characters that were seen, and seemed to be important, that just sort of never turned up again. Even one lady that seemed to have a story building around her, that was just never explained. There were a couple of bit parts that just seemed pointless here. But they were all competent actors. You can't blame a flimsy script on the actors.

Dear Writers...

To be honest, I was entertained by this movie. It was a good movie, and I enjoyed it. Right up until the end. I won't spoil much, but I will say this: a lot of movies leave things open for interpretation at the end. They want to make their viewer think. This movie should not have been one of those movies. It did not leave itself open for a sequel, it just ended. Just like that. No explanation. Just ended. For that, I felt as if I wasted my time watching this movie. It was a worse ending than a bad Dean Koontz ending. Unfortunately, I just can't see myself watching this movie again.

-Rob

47 Meters Down (A Movie Review)

Thanks to the wonder that is Netflix, I have been able to sit down and watch more movies that I would have never seen otherwise. To be honest, I haven't even heard of most of the stuff that I have watched, but have been pleasantly surprised by their ability to entertain me. "47 Meters Down" is a movie that was able to hold my interest, and even built up some tense moments for me. And I was surprised to learn that it was considered to be a "box office success".

The plot of the movie is centered around two sisters (Mandy Moore, and Claire Holt) who go on vacation in Mexico, and are soon invited to get inside a giant cage, and be lowered under water to "swim" with sharks. Unfortunately, the winch on the boat breaks, and the two sisters find themselves 47 meters down. Do you see what they did there? So, it's not just a clever title. Under the water, they will have to contend with hungry, agitated sharks, and a rapidly depleting supply of air in their diving tanks.

Though the beginning was a little slow to get started, it wasn't long before you were underwater with the sisters, feeling their tense worry, and wondering if they would be able to make it out of this nightmare alive. The acting was actually pretty good, and really set the mood for a movie that I could actually sit through. The soundtrack was intriguing as well. I enjoyed the mood that the music was able to invoke.

Though I can't really see giving this movie multiple viewings, I may be able to watch it again somewhere down the road. It wasn't quite as good as it could have been, but as I've said, it was entertaining, and I was able to make it through the entire movie. Something that doesn't really happen a whole lot these days. Yes, it was Hollywood cheese, and certainly not for everyone, but if you like a  fast-paced, tense thriller, then this movie may be for you.

-Rob

Icefish - Human Hardware

I saw this album on Google-Play, as a suggestion to play based on The Sons of Apollo. And I'm glad I did. This is some fantastic prog-metal here. Very Dream Theater like, but not quite in the same vein as all of the prog-metal bands that seemed to emerge in the mid to late 90's. This band has a sand a bit unlike anything I've really heard.

For this review, I thought I'd do a bit of a "first listen" impression. Knowing nothing about this band going in, I'm going to take a listen, and let you know what I think. So below are the notes that I took while listening to the songs.

The album kicks off with a tune called "Paralyzed", that has a really cool guitar and keyboard part that leads into a bit of a more subdued prog-metal tune. I rather enjoy the way that the band turned something that could be a bit ballad like into something a bit heaiver, that still feels like a prog-metal ballad. The vocal melodies are just fantastic here. I love this guy's tone. And the keys, always a highlight for me, sound really cool here, with the crunch guitars. I love the guitar/keyboard solo here. It reminds me of so many prog moments, but still manages to feel fresh somehow. The brief outro was particularly impressive, and leaves me wishing it would have been a bit longer.

"It Begins" starts off as a much heavier track, but still a bit subdued over many prog-metal tunes. I love the guitar/keyboard interplay in the intro, with the keyboard shining through the guitar riffs. The vocals are really good here as well, I really enjoy this guy's voice. It's a bit familiar, but sounds just different enough to set him apart from the crowd. The chorus is really cool on this tune, and for some reason I really like the drums here. Once again, I think that the keyboards steal the show here. They make me question if they're quite right in parts of the song, not the notes, but the sound. But I think that's what sets them apart here. Once again, we get a really Petrucci-esque guitar solo, but that can never be a bad thing.

"Human Hardware" comes in with drums and keys, and is a really cool prog-rocker, with some great vocals, and amazing instrumentation. The music feels like there's some kind of urgency in it, and creates a really cool vibe. It's a bit of a heavier tune, with a keyboard solo that sounds like it could have been home on Dream Theater's "Images & Words" album.

"5 Years" is a totally different sort of prog-metal tune, right from the get go. The groove they create in the intro carries the song quite beautifully, with some crunchy guitars, and quite keyboard part playing in the background. I love how this band makes you think they're going right for the jugular, yet still seem to manage something close to melodic beauty. There are two guitar solos here. The first one is another very Petrucci-esque solo, like something from "Images & Words". The solo immediately following the first is a total metal solo, and unlike anything I've ever heard from Petrucci.

"Revolution" starts with such a cool vibe. It has an almost apocalyptic feeling. The music just seems to strike an end of the world vibe. When coupled with the lyrics, it's easy to see how one could get this feeling. For the most part, the keys seem a bit more subdued on a lot of this tune, but when they come through, they are phenomenal. The guitars here are full of crunch, and just chug along. The drums are pretty powerful here as well. The high hats are keeping a nice rhythm going, as the vocalist just breezes through this one. He is quickly becoming one of the best singers I've heard in a while. Once the keyboard solo hits, I'm ready for a great one, and as usual, I am not let down!

"Solitude" is another one that's a bit slower, but with all of the crunch of the previous tunes. The guitar is the real powerhouse on this one, though the keys are quite impressive as usual. I especially love what they're doing during the verses. Some very cool stuff going on, just a little bit behind the scenes. Some great vocal melodies on this track, as is the norm on this album. I love the breakdown here. The vocals are just beautiful, with the keys and guitar supporting them. The guitar solo here is just fantastic. I think it would please even the most seasoned Petrucci fans. I think this tune may be a vocal high point on this album, for me. I just love the way he mixes with the instruments.

"Your Eyes" is all prog-metal. It starts off heavy very heavy. The keyboards and guitar work very well together, pulling the song forward with some very cool effects on the vocals in places. Some really cool keyboard work on these verses. I just love the playing here. This guy is one fantastic keyboardist, and still my favorite instrument on this album. The vocals are phenomenal here as well. The drums sound pretty amazing as well, holding the song up on their amazing rhtyhms. There's a bit of an instrumental breakdown section with vocals, that was a really cool vibe, before it picks up again with some really cool keyboard work, that really shines here. This one is another fantastic addition to this already amazing set of songs.

Next up we have a song called "Lost". It comes in very atmospheric, with keys, and some echo on the vocals. It's a really cool effect, that really sets up the mood for this tune. Before the guitars come in, it really conjures up something that would feel at home on any Ayreon album. Once the full band come in, while the keys still give off a sort of Ayreon meets Dream Theater vibe, this song is all Icefish. I absolutely love this tune. It's not crunching along, just sort of plodding, as the rhythm section really shines through, with the guitars and keyboards following their lead. As always, the vocals are fantastic. And as the song progresses, I can definitely hear an Ayreon influence. Something that I did not really pick out of the rest of the album. Maybe I'll notice more upon my second listen. The tune never really picks up, making it one of the slower tracks on the album, but I really enjoy it. I wouldn't call it a "breather", as it's still pretty heavy, but it's definitely slower.

The album closes with "The Pieces". And this one is a fantastic prog rocker from the very beginning. Very cool intro, with lots of guitar and keyboards. After a slight pause, the band comes back, and the vocals kick in. Some really amazing vocal melodies on this one, that fit the instrumentation beautifully. Once again, I absoulutely love the keyboards here. They really elevate this song into the upper echelon. And the vocals on the chorus are some of the best melodies that I've ever heard. Beautifully done! Upon first listen, this is probably my favorite song on the album, and would please any die-hard Dream Theater fan. And the keyboard and guitar solos are just phenomenal. What a great way to close this album.

After listening, I did a bit of research on this band, and found that the master behind the guitar is none other tahn Marco Sfogli, who has played with James LaBrie, and Jordan Rudess in the past. Behind the drum kit, sits none other than drumming legend Virgil Donati, who has played with another DT alum, Mr. Derek Sherinian, as well as Erik Norlander, so this guy is no stranger to amazing keyboard playing. And speaking of keyboard playing, though I've never heard of him, Alex Argento has an album under his belt that I can't wait to check out. And on the bass guitar, and vocals, Andrea Casali, who was (is?) in a band called Astra, that I am looking forward to checking out as well.

My first listen to this album was very favorable. It has everything that I look for in a good prog-metal album; fantastically written and performed music, beautifully sang vocals, and the sound is just perfect. Very nicely mixed. The instruments all come through, loud and clear, with the vocals taking front and center when needed. I love this album, and would definitely recommend it to fans of prog, or just plain good music.

-Rob

All Media Reviews

All Media Reviews is a review blog that I started long ago with a former member at the Mike Portnoy forum. I ran into some issues that prevented me from contributing after a few months, but the blog is still going strong. Stop by, and check it out!

https://allmediareviews.blogspot.com/

Sons of Apollo - Psychotic Symphony

It had been a while since drummer Mike Portnoy had started a brand new band that would satisfy the thirst of his prog loving fan base. And I know that I was personally waiting for a new prog-metal project from one of the fore-fathers of progressive metal. Enter "Sons of Apollo. And most surprisingly, enter ex-Dream Theater keysman, Derek Sherinian. Mike and Derek had done an instrumental project a few years previously, but I was excited to hear that they pulled Billy Sheehan back in, and recruited Ron "Bumblefoot" Thal, and Jeff Scott Soto to round out the line-up, for one of the most anticipated super groups in recent memory. And their debut album is a melodic, progressive rock masterpiece, that is sure to be a favorite of mine for years to come.

"God of the Sun" is a true prog rocker. With instrumental insanity, and keyboard lines that only Derek Sherinian could write, this is one hell of a way to start a prog-metal album. The vocals (courtesy of Mr. Jeff Scott Soto) are phenomenal, the guitars are just killer (thanks to the axe-legend, Bumblefoot, and bass player extrodinaire, Billy Sheehan), and Portnoy further reasserts himself as one of the greatest drummers to ever sit behind the kit. This tune is very Dream Theater like, but heavier, and a very different bass feel. Weirdly enough, it's more "Train of Thought" era DT, and less "Falling Into Infinity" era. At just over eleven minutes, this is definitely a great way to start the album.

"Coming Home" was my first taste of the album, and I loved it from the first notes. Opening with a killer keyboard run from Sherinian, before the full band jumps in, and delivers a much more concise prog tune. I also really enjoy MP's vocal contributions to this track. He is sounding better and better with each vocal he does. This was a great choice for fans to get an early taste of this amazing album.

"Signs of the Time" was another early taste from the album. This is a really cool tune, with my favorite vocal melodies from the album. The music is a bit more melodic at times, and pretty blistering at other times. It's not as over the top prog as "God of the Sun", but is very good at showing what type of band Sons of Apollo are. And the keyboard solo from Sherinian is a definite highlight from this already amazing album. And we're only on track three!

"Labyrinth" starts out as a very cool sort of symphonic metal tune, with some beautiful vocals from Soto, with guitars entering very tastefully as the intro progresses. Once again, in my opinion, Sherinian steals the show. His parts on this tune are so mastefully inserted, and are 100% Derek. This song is such a prog-rock masterpiece: multiple time changes, instrumental sections, beautifully delivered orchestration, phenomenal vocals, and more tasty guitar/keyboard licks than you can shake a stick at. This 9+ minute song is another highlight for me.

"Alive" is quite a beautiful breather, after the bombast prog-shredding of "Labyrinth". This song is a a very nicely written power ballad, with some of the best vocals delivered on the album. As expected, it is definitely a prog song, as Derek has his stamp all over this one, but it doesn't overpower the beauty in the ballad. The music, and the vocals work together quite beautifully to make this melodic masterpiece a radio hit... if this were a perfect world. Sadly, it is not a perfect world, so I'm happy to know that we prog-metal fans have a nice kept secret here.

"Lost In Oblivion" goes for the jugular, right from the start. With the slower intro of the previous couple of tunes, I think that it was about time that we were treated with some shredding to get a track started. There is some really cool interplay between the instruments here, with a bass line that only Billy Sheehan could write. The vocals meld perfectly with the music, as we are treated to a prog-metal song that is sure to please even the snobbiest of prog-metal fans. Once again, the vocal melodies on the chorus, and the keyboard shredding are highlights for me.

"Figaro's Whore" is the first insrumental track on the album, and though it is technically just a brief intro to the following track, "Divine Addiction", it's still a great addition to the album. "Figaro's Whore" is more or less a shred piece that showcases Derek Sherinian's phenomenal playing, before launching into a song about about sex addiction. "Divine Addiction" has a very Deep Purple vibe, with the organ kicking the track off, and being the centerpiece instrument of this song. Though there is an amazing guitar solo here, the organ is just a powerhouse on this one. It's a heavish tune, with strings playing tastefully along with the other instruments.

The final track of the album, "Opus Maximus" is a ten and a half minute instrumental piece. This is a song that Dream Theater may have written, if they had Sherinian in the band during their "Train of Thought" era. Though I guess bass wise, Sheehan and Myung could not be more different, not that that could ever be a bad thing. This song has crunch at times, melodic beauty at others, and is just the perfect progressive-metal instrumental, and a fantastic way to close the album, with all musicians getting their time to shine.

With such amazing musicianship in this band, I would be hard pressed to pick a favorite track from this fantastic album. It has everything that I want in a good prog-metal album: diversity, musicianship, great songs, and a high re-listen rate. If I had to pick a favorite album for 2017, it would without a doubt by "Psychotic Symphony". From what I've heard, this is only the beginning for this band. And I hope that is the case, because Portnoy and Sherinian are definitely kindred musical spirits, as it's clear that they, along with Sheehan, Bumblefoot, and Soto work very well together.