Nevermore
Style: Trad
metal
Dreaming Neon Black (1999) Rating:
9.2/10
"Welcome millennium, the fall of planet hate/Welcome
the end my friend, all the world's a stage/Welcome to the future, the world
is black no turning from the consequence of ignorance/Welcome to the fall"...the
first words of Dreaming Neon Black, an album that transformed many
peoples' perception of metal and, in particular, their perception of the
metal concept album. This is a glorious victory over the conventional barriers
of metal. Not because of extremity (this album could have been made before
death or black metal), but because of its atmosphere, ambition and awesome
power. It was a classic the day it was released.
There's something I should mention before I get
into the review. I very first heard Nevermore on one of those Identity
complitions - 'Poison Godmachine', Identity V - and I barely noticed
it. I forgot about the band instantly, completely unmoved by any aspect
of that song. Then I read a review of Dreaming Neon Black which
seemed to suggest it was some amazing achievement. On re-listening to 'Poison
Godmachine', I was still un-impressed. But, on the strength of many great
reviews, I bought the album and listened intently with anticipation and
slight skepticism. My perception of Nevermore changed completely. There
is an amazing chemistry between all the songs on this album that draws
you into their melancholy, anguished world of loss and alienation. No metal
fan could help but be utterly captivated by the musical and lyrical intensity
and diversity. After a few listens, I managed to grasp its full majesty
- first respect, then worship.
Musically, this is a very traditional album if
you analyse it note for note. None of the riffs are tremendously fast or
technical (have these guys ever heard Megadeth?) but against all
my expectations, it actually makes the album better. It takes the
focus away from individual musicians and virtuosos and puts it back on
to the album as a whole. Dreaming Neon Black is not a collection
of riffs and solos - everything has an intended place and so a balance
is kept. The mixture of acoustic passages and powerful riffs manages to
create contrast, without any shocking changes or surreal tempo disturbances.
I won't spoil the story, except to say that it
focuses on the loss of a loved one to some evil in modern society, although
the excact details are open to interpretation. This is what makes the reality
of the album so amazing. We are given very few specifics, yet drawn completely
into the world of Dreaming Neon Black. Going through every song
individually would be a task too difficult in such a short review, and
picking the highlights is almost as difficult. However, the most haunting
and mesmerising moments on the album are found on 'Beyond Within', 'Dreaming
Neon Black', 'Deconstruction', 'The Lotus Eaters', 'Poison Godmachine'
(I've changed my mind now!) and 'No More Will'. Lyrically, each of these
songs has a distinct mood and purpose, and portrays yet another aspect
of this saddening story, yet there are no clashes between songs, both musically
and lyrically.
This is the point where I shock the reader: Dreaming
Neon Black is undoubtedly better than Operation: Mindcrime.
Where OM was cold, commercial sounding, sometimes cheesy and often
lacking in contrast, DNB is very real and personal, in a sphere
unique from other albums. None of these songs could be radio hits, or survive
on any other album. This is a concept album in which the concept makes
the album work, instead of being an extra flavour to the music. The songs
belong to the concept, and most would be out of place even on Dead
Heart for a Dead World. I feel I can safely say this is a new bible
for heavy metal concept albums, and the new standard for what great trad
albums should be.
Dead Heart in a Dead World (2000)
8.5/10
It's harder than rocket science or trigonometry.
It's harder than making Dreaming Neon Black. In fact, the hardest
thing that any band would have to do would be making a follow-up to DNB.
How do you replicate an album so unique and respected? Well, unlike
Queensryche in 1990 (Empire), Nevermore have made no attempts to
go commercial. If anything, Dead Heart in a Dead World is a nastier,
more aggressive album that cements Nevermore's reputation as one of the
greatest metal bands of modern times.
I've decided a song by song review is appropriate
this time round. Dead Heart... opens with 'Narcosynthesis' a fast,
moody track with a great contrast between the slower parts and the fast
main riff. The chorus is particularly threatening, and whets the listener's
appetite for the album to come. 'We Disintergrate' is less dark, with more
Rob Halford/Udo style vocals, but with a curious outro that leads well
into the more sorrowful and haunting 'Inside Four Walls', which is the
first song to mention the conviction of the singer's friend, who during
the course of the album contemplates suicide. I won't give away too much
of the plot, but this is where we get the first hints of an active storyline.
The riffs on this song are also stronger, and the guitar solo section reminds
me of Individual Thought Patterns-era Death.
'Evolution 169' is the song on which Nevermore really dig in, both lyrically
and musically - that intro/outro riff is amazing! This is more melancholy,
with more interesting use of vocals. It's also the first to directly introduce
suicide. What is most memorable about this track, though, is the outro
which is very dark and chilling. The concept album feel, both musically
and lyrically, begins here.
'The River Dragon Has Come' contains the first
acoustic intro of the album, which is very effective and needed respite
from the ending of 'Evolution 169'. Then, one of the most furious and exciting
songs on the album, with guitars and vocals being at their most thrilling
and energetic. The lyrical focus goes more abstract on this song, yet it
is still interesting. A few Halford/Udo style vocals creep in on this one,
like on 'We Disintergrate', which has been something I've always liked
about Warrel Dane. 'The Heart Collector' is the most musically dynamic
so far, containing lead guitar melodies, acoustic verses, and a more upbeat
sounding chorus, without ever losing sight of the dark themes surrounding
the album. The guitar solo is particularly good, very atmospheric and exciting.
This is yet another brilliant song which compliments and contrasts perfectly
with the other songs, which are all faster and more intense. The outro,
as usual, is just wonderful.
The more upbeat, if still a little melancholy
(as is all Nevermore), mood created by 'The Heart Collector' is destroyed
by the terror of 'Engines of Hate', with frightening lyrics and savage,
machine-like guitar rhythms. However, it reaches its peak when it slows
down and gives an opportunity to get fully absorbed in Nevermore's harrowing
world. Then 'The Sound of Silence'...yes, the same. This is a cover version
of Simon and Garfunkle's original 1960s hit, and while the lyrics are the
same the only remnant of the music is at the beginning with a quiet off-key
rendition of the chorus. The rest is more savage metal, with great atmosphere
at times. Unfortunately, the vocals - as with most cover versios - try
to be deliberately different from the originals, but Warrel Dane does overdo
it a little (like when Dave Mustaine sang 'Anarchy
in the U.K.'). Paul Simon wouldn't approve (which is not such a bad thing).
'Insignificant' is the third in a trio of aggressive, brutally executed
metal songs, but opens with a great acoustic intro, creating an eerie,
unsettling mood. When the guitars come in, I'm quivering with anticipation!
The song delivers; harrowing, emotional and edgy, while still being the
embodiment of a heavy metal song.
'Believe in Nothing' is an upbeat, power metallish
song, necessary after the violent trilogy of metal intensity preceding
it. Bits of this song are even reminiscent of Operation:Mindcrime*,
and while it's good by metal standards, it's probably the only weaker track
on the album - it would sound much better if shoved on an Iced Earth album,
because it would fit in more (this is by no means a reflection on Iced
Earth, who completely rock).
The last track on the album is the title track,
'Dead Heart in a Dead World', which has quite a long, soft intro before
some devastating metal. The chorus is particularly dark. Lyrically, despite
the down-beat and aggressive music, I think this song provides some hope
and optimism, which is a nice way to end an album.
If you want me to reduce this album review into
17 words, that's fine: "get Dreaming Neon Black first, and if you
like it, get Dead Heart in a Dead World". These are both
groundbreaking, innovative and important albums for the metal genre, and
are some of the most essential releases for any metal fan to own, unless
you only dig extreme grindcore, in which case you don't need my site.
*I often think of Queensryche when listening to Nevermore because
I consider Nevermore to be the successors of the concept-album metal throne,
and so constantly I make comparisons, even though few are expressed in
the reviews.
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