Review: Iced Earth, "Plagues of Babylon"

These days, I approach a new Iced Earth record with both high hopes and a little trepidation.

Once upon a time, Iced Earth was pretty close to what I’d consider the perfect band. They struck that sweet spot for me in their blend of heaviness, speed and melody. Guitarist and founder Jon Schaffer could play with blazing speed and crunch, but vocalist Matt Barlow — and later, Tim Owens — were actually great singers that balanced that out and gave things a bit of a darker vibe.

Then something happened. After two albums with Owens, who many fans for some reason never embraced, he left the band in 2007 in favor of Barlow, who had come back to music after a stint in law enforcement inspired by Sept. 11.

15 Years, 15 Records: 2006 -- Gone country

If I went back for my whole life, 2006 would probably be the only year that a country album would lead my best-of list. For 2006, though, my top two records are country.

If I had to pick the best record for the first decade of this century, it would be tough to not pick Hank III’s Straight to Hell for its impact on me, personally, and on the underground country scene in general.

While Johnny Cash’s American Recordings in 1994 was the album that reintroduced me to country music and opened me up to listening to some of the classic artists of the genre, it was Straight to Hell that led directly to my discovery of artists who are playing a more traditional form of country today.

15 Years, 15 Records: 2004, Iced Earth makes history ... sort of

In the wake of Sept. 11, Iced Earth singer Matt Barlow decided that he wanted to do something for his country and joined the Department of Homeland Security. Jon Schaffer regrouped by picking up former Judas Priest singer Tim Owens, and the pairing turned out to be a potent combination on The Glorious Burden.

It’s a concept record of sorts, featuring songs based on historical events and figures. It’s a topic that Schaffer is passionate about, and it shows in the music. While the first disc of the two-disc set is outstanding, it’s the second disc that really shines. “Gettysburg (1863)” is a 32-minute epic in three parts, telling the story of the Battle of Gettysburg from the American Civil War. It’s bombastic, symphonic and quite possibly the best work of Schaffer’s career.

15 Years, 15 Records: 2001, Jon Oliva takes the helm for Savatage again

The field of candidates for 2001 wasn’t the strongest, but the year did see original singer Jon Oliva return to the helm of Savatage on Poets and Madmen. The album is probably the band’s least publicized and, possibly, least known, which is a shame because it’s a great record.

The record has a loose concept based around the work of journalist Kevin Carter, whose Pulitzer Prize-winning photo from the Sudan was featured on the tray card of the CD, but covered by a black-backed jewel case because of record company financial ills. It wasn’t until I interviewed producer Paul O’Neill just a few years ago and he told me the story that I even discovered the photo was there. Like all Savatage records, this one has great variety from big metal mashers like “I Seek Power” to tender piano-driven ballads like “Back to a Reason” to the more symphonic sounds of “Commissar.”

Disappointments of 2008

So begins my roundup of the best of 2008. By and large the year was one of the best in recent memory. Comebacks were the order with some outstanding records released by Metallica, Motley Crue, Alice Cooper and Extreme. Even Axl Rose (no, I won't call it Guns 'n' Roses) finally got his "Chinese Democracy" record on the shelves.

But there were some disappointments, too. Here are the most notable for me:

Judas Priest, "Nostradamus": This overbearing and pretentious two-disc concept record was absolutely awful. While there are a few really good songs scattered throughout, it's hard to slog through the rest of it to get to them. A lot of people say that the record grew on them with more listens. That didn't happen for me. If anything, I like it less.

Iced Earth, "The Crucible of Man": In complete honesty, my objection to this record has less to do with the music contained on it and more to do with my disappointment at the departure of Tim Owens and the return of Matt Barlow. The record itself has some decent songs, but leaves me a bit cold. It also seems that Barlow is doing his best here to look and sound like Owens. Why not just keep the guy?

Into Eternity, "The Incurable Tragedy": Having loved Into Eternity's last three records, this was one of my most anticipated releases of the year. A very personal concept record, this one is dark and morose. That's not always bad, but it's draining here. The real turn-off, though, are the schizophrenic vocals. One of the most intriguing things about the band in the past were the melodic clean vocals mixed with the death growls. Here, they're all over the place and it makes it difficult to listen.

Up next: 2008's honorable mentions

Review: Into Eternity, "The Incurable Tragedy"

After three progressively more interesting records from Canadian prog/power/death metal outfit Into Eternity, "The Incurable Tragedy" became one of my most anticipated records of the year. Over the years, the group has morphed from a primarily prog band with some death metal leanings into a true amalgamation of styles, getting better with each record. That's why this one is a bit of a letdown.

It's not that "The Incurable Tragedy" is a bad record, it's just that it's not as good as the previous three and doesn't live up to the standard those set.

The biggest problem the record has is in the vocals of Stu Block and guitarist Tim Roth. Early on, Into Eternity used a lot of clean, proggy vocals with blasts of death growls. Over the past two records, they've added more growls and on 2006's "A Scattering of Ashes," Block introduced a Rob Halford-like scream that met with mixed reviews. Here, there's a black metal rasp and a Geddy Lee-type vocal in the mix. It seems the band throws everything they've got at the wall, and it's just too much. The screams are often annoying as Block takes them to almost chipmunk-like levels, and there's no consistency from song to song, or even verse to verse. It turns into a chaotic babble of voices that undermines the excellent musicianship on display.

The second problem is that the album, a concept piece about the loss of his father and two friends to cancer, is very bleak and morose. That's not always a bad thing, but here, it's somewhat draining. The songs also lack the big, undeniable hooks that the band has delivered in the past, perhaps because the subject matter didn't lend itself to that.

One surprise is the short melancholy piano ballad "The Incurable Tragedy I (September 21, 2006)." Lyrically, it has its challenges, being very straightforward and not very artistic, but it's a very strong piece that I found a real connection with due to recent circumstances in my personal life. It's an emotionally draining piece of music for me personally, but may not have the same effect on others. The other two installments of the title track have a similar effect, if not quite as much impact, though the Kirk Hammett-like lead work on "The Incurable Tragedy III (December 15, 2007)" is definitely a welcome element.

Not surprisingly, the album fares well with the rage and anger aspects of the storyline, as songs like "Diagnosis Terminal" and "A Black Light Ending," one of the stronger pieces on the record, bash away at the listener, unleashing pent up frustrations.

Musically, "The Incurable Tragedy" is as solid as the band has ever been. Roth and Justin Bender shred like crazy, and the rhythm section is tight. But someone really needs to rein in and tone down the vocals since the chaos in them undermines some otherwise solid songs.

Get "The Incurable Tragedy."

Review: Into Eternity, "Buried in Oblivion"

Into Eternity first wowed me with their 2002 release "Dead or Dreaming." Its high-powered blend of progressive and extreme metal was surprising and refreshing.

The Canadian quintet returns with a much more ambitious offering for their official Century Media debut. "Dead or Dreaming" was all about the hooks, focusing on the progressive side and melodies that stick with the listener. There's nothing on this album that I'll hum for weeks like "Absolution of the Soul" from the last record, but the songs here are much more complex and engaging.

The focus on "Buried In Oblivion" is fully on the heavier side of the band, even veering a bit into the black metal realm on songs like the outstanding "Dimensional Aperture" and "Beginning of the End."

The band also embraces its Canadian roots. "Point of Uncertainty" sounds so much like Canadian thrash legends Annihilator that I had to check the liner notes to make sure Jeff Waters hadn't joined.

For those who prefer the progressive side of the band, there's a treat in the companion pieces "Buried in Oblivion" and "Black Sea of Agony." The first is a soft song with some nice orchestrations which leads perfectly into the second song, which would have been right at home on "Dead or Dreaming." There's some very nice vocal play on this album between Chris Krall and Tim Roth with interesting swaps and harmonies. The clean vocals sound at times like Geddy Lee and at others like a young Geoff Tate and the death vocals run the gamut from shrieks to rumbling growls.

With this album, Into Eternity shows that it has more to offer than a few catchy hooks. They're definitely a band to watch.

Get "Buried in Oblivion."

Interview: Tim Roth of Into Eternity

In the more extreme subgenres of metal, fans can be fiery and fickle. Bands that stray from the norm walk a fine line between adulation and anathema. The line has been widened recently by Canada's Into Eternity.

The hybrid band takes elements of the progressive rock of Rush, Dream Theater and Fates Warning, and blends them with the snarling, brutal sound of death metal. It's a mix that band members weren't sure would fly, but they knew it was what they wanted to do.

"When we originally did it, we weren't signed or anything, so we didn't have anything to lose," said vocalist Tim Roth. "We were doing it because that's what we wanted to hear in a band. That's just always how we were going to do it, no matter what."

So far, Into Eternity has been lucky. Their latest album "Dead or Dreaming," which was released in the U.S. last year, has created quite a buzz in the metal community for its marriage of soaring three-part harmonies and ethereal keys with fire-breathing growls and even the occasional blastbeat from drummer Jim Austin.

"People either like it or they don't," Roth said. "But the people who really dig it, they seem to be really hardcore into it, so that's pretty cool."

Into Eternity began with Roth, Austin and bassist Scott Krall in Regina, Saskatchewan, Canada. The area didn't have a lot of opportunities for rock and metal musicians, so the band's task was difficult from the start.

"No bands ever came through our town - it just never happened," Roth said. "We weren't influenced like if we were living in L.A. and saw wicked metal bands everyday, but I guess that kind of worked for us."

Instead of working their way up through a club scene, Into Eternity self-financed their debut album and bombarded record labels and rock radio stations with it. Roth says there was a lot of interest, but no one was willing to offer a contract. Eventually, they signed with DVS Records in Holland to produce "Dead or Dreaming" and spent time building a fan base in Europe. When they returned home to Canada, Century Media signed them to a five album deal and released "Dead or Dreaming" in the United States.

This week, Into Eternity made the 40-hour drive to New Orleans to kick off their first ever U.S. tour, which will stop in 24 states over the next two months.

"I can't wait," says Roth. "I want to leave today. Just over the Internet, we've gotten e-mails from people in all of these states who like the album."

Roth expects the tour to be a bit more successful than the band's first U.S. date, the Milwaukee Metalfest this summer. Into Eternity drew a bad slot on that show, playing at the same time as thrash metal titans Exodus. Roth says there was no competition - even he wanted to see Exodus. Still there was a silver lining in the small crowd.

"There weren't a lot of people there," Roth says with a laugh. "We were playing next to Exodus, and I was so mad because Exodus was a band that I grew up on. But the people that were there, they dug it for sure."

Following the Valentine's Day opener in New Orleans, Into Eternity will criss-cross the country through March, then play dates across Canada on their way back to their hometown. There won't be a break after that. They're set to go back in the studio in April to record a new album, and possibly their first music video. The album should hit shelves in the summer, and then it's back on the road.

"As long as you're in the public eye, I think it's a good thing," Roth says. "You can only do so much over the Internet. We don't have videos and we're not on a ton of radio, so you've got to tour to build that fan base. We plan to tour as much as possible."