Outstanding Pop-Metal with a Fatal Flaw

Take some ABBA and some Ace of Base. Put it through the metal filter. Mix in some electronica. Add a good dose of Heart. What do you get? Amaranthe's debut album. And it works – surprisingly well.

The eponymous debut album from Scandanavian band Amaranthe is an energetic, melodious foray into a distinct musical territory--that of pop-metal.

The music is highly accessible with sing-along melodies, yet is just complex enough to hold interest over repeated listenings.

Far and away the strongest element in music is the voice of Elize Ryd, who is making a big splash in the world of metal. At once soft and powerful, her emotive vocals transform the songs from unremarkable to thoroughly enjoyable. Her harmonies blend flawlessly with those of her counterpart Jake E.

The unfortunate foil to Ryd's voice is the gutteral grunting of Andreas Solveström. In my opinion, his noise tragically detracts from what is otherwise a very solid album. He even figures prominently in the power ballad Amaranthine--a gorgeous piece that's utterly demolished by his intrusion during the bridge.

Without the grunting, this album deserves at least 4.5 out of 5 stars. As it stands, however, it gets only 3.

“Rock opera" doesn't do it justice.

Aina: Days of Rising Doom is so much more than a concept-based supergroup. Its story is sweeping, its orchestration is rich, its instrumentality is impeccable, its vocals are expressive and its composition is totally solid.

While I’m not terribly familiar with many of the bands associated with the illustrious cast of players, I recognize quite a few voices from other projects, such as Ayreon.

As with any project involving many contributors, it's hard to pin the album down to a couple descriptors. The album is rife with riffs that grab hold and don’t let go. The sonic atmosphere ranges from heavy, hard and driving (Flight of Torek, Son of Sorvahr, Rebellion) to ethereal and emotive (Silver Maiden, Rape of Oria, Serendipity), each section an effective complement to the story being told.

The music is quite straightforward. There’s nothing very eclectic about any of these songs. Indeed, Aina can be called progressive rock only in its scope and in its use of orchestra and extended solos. That certainly doesn’t make it any less enjoyable, however, and many of the arrangements are complex enough to keep the mind entertained on subsequent listens.

I’ve found that what most rock operas lack are great lyrics - and Aina is no exception. Tim Rice this is not. The words aren’t doggerel, but they serve little purpose other than to tell the story and give a framework for the music.

For those who enjoy an easy listen, a rocking escape and an emotion-laden performance, Aina delivers. It’s well worth the time spent getting to know it.

Consider this musical lease renewed.

For Dream Theater, there's a lot riding on their first album without Mike Portnoy. The leading up to the release, the questions loomed large: Can they hold to a cohesive vision? Will the production quality be up to snuff? Can Mike Mangini handle the material - let alone offer his own contributions?

When I finally was able to listen to the album for myself, the answer was an enthusiastic "YES" on all accounts! Any worries that the band would follow in the footsteps of the post-Neal Morse Spock's Beard are completely assuaged.

The band certainly has stepped it up in this release, with material that reflects the reality that their careers are riding on its success. The clear creative forces behind the music are John Petrucci and Jordan Rudess, who have a long history together of weaving complex and compelling musical storytelling. Both also offer a strong ear for great production value, which is evident from the very first listen.

Of course, the wild card was Mike Mangini. In this reviewer's opinion, that card turns out to be an ace. He does way more than mimic Mike Portnoy's meticulous and frenetic drumming, bringing a sound that he owns. His chops don't just keep up, but blaze new territory with some of the most original and intricate drumming we've ever heard from Dream Theater.

Every song on the album is strong, with my personal favorite being the anthemic Outcry. All the music is at once accessible and deeply complex, offering something for every level of prog-appreciation.

Dream Theater has turned over a new leaf. Is it because Portnoy left, or just because they had to renew themselves in his absence? Whatever the answer, the result speaks for itself--and bodes well for the future of the band.