Images of Eden is a progressive metal band that has been around for quite a long time but has released a surprisingly small number of albums thus far. Their previous album, Rebuilding the Ruins, was released in 2011 and was one of the first albums to have lyrics that I could relate to on a level that impacted my faith. This is a band that has solid instrumentation, powerful vocals, masterful song structuring all tied together by easy-to-relate-to lyrics. These traits are carried over into the band’s fourth album, Soulrise, to create what could be a possible contender for my album of the year.
Continue reading ““I HAVE OPENED THE GATES FOR YOU, MY SON, AND I HAVE PREPARED A PLACE FOR YOU…” // IMAGES OF EDEN’S SOULRISE”
This is something that has been weighing on my mind and heart for quite some time but I just couldn’t find the right words to express it until now. I like Christian Contemporary Music (CCM)/worship music, but let’s be honest, there is a deep-seated issue with the genre and the common perspective of worship that really should be addressed. In this post, I will try to address what I, personally, believe to be the issue.
Continue reading “TO WORSHIP TEAMS AND CCM ARTISTS EVERYWHERE”
Erase Me is Underoath’s first album since their 2010 release, Ø (Disambiguation), and the first with the ‘classic’ lineup that the band is most known for (including original drummer Aaron Gillespie) since their 2008 release, Lost in the Sound of Separation. With the band’s comeback came new sounds and a new lyrical approach that walks away from the strictly Christian approach and into the realm of doubt, life and battling addictions. This sound change polarized the band’s fanbase, with some loving it and others hating it. But where do I stand?
Continue reading ““God, erase me! I don’t deserve the life You give!” // Underoath’s Erase Me”
It has been two years (feels like more) since I posted my review of Phinehas’ third album, Till the End, which marked the first time I wrote/posted a full review of an album. I absolutely loved Till the End, it was an amazing album, but it did depart from the band’s traditional side in favor of a heavier, darker feel. The darkness and heaviness was extremely well-done and enjoyable but I did find that I missed many of those “wow” moments with the beautiful, catchy melodies and guitar shredding. In the band’s fourth album, Dark Flag, all of that makes a triumphant return showcasing Phinehas’ most refined, hard-hitting sound to date.
Continue reading “[LEGACY] “Running away isn’t the same as being free…” // Phinehas’ Dark Flag”
It has been five long years since Les Friction
released their debut, self-titled album. The band — consisting of former E.S. Posthumus composer Helmut Vonlichten, joined by long-time colleague Nihl Finch and the enigmatic vocalist only known as “Paint” — forged their own path with spacey orchestral progressive rock in a way that had never been done before. Expectations were high for that album, as fans of the late, great E.S. Posthumus flocked to this new band hoping to have a continuation of what E.S. Posthumus did. While the roots are undeniably present in Les Friction’s sound, this band has one of the most unique sounds in modern music, even over the work of E.S. Posthumus. Even Brian May of Queen remarked, “Nobody, but nobody
, out there, is doing stuff like Les Friction is doing. Nobody dares!” The silence of waiting these past five years has felt like being lost in space, just hoping that you’d receive another transmission from home. That transmission is almost here, and it was truly worth the wait.
Continue reading “[LEGACY] “Tell the world I survived…” // Les Friction’s Dark Matter”