The Protomen Compose Epic Opus From Nerdy Premise (Dec. 2010)

Under The Radar

The Protomen

Originally published for the Bismarck State College Mystician back in December, 2010.

Genre: Glam Rock/Experimental/Elecrtonica

For most, video game music has never been seen as an established genre. But many avid gamers enjoy the music composed for their favorite video games. Some even purchase their official soundtracks. This trend has grown into a community of musicians creating elaborate renditions and remixes of their favorite songs. The Tennessee-based act, The Protomen, have taken the trend further, creating an elaborate rock opera based off the classic Nintendo game Megaman.

The Protomen are a concept band that combine Glam Rock, Electronica, Experimental/Progressive and various other genres. The bulk of their material is part of a multi-album rock opera loosely based on the characters and storyline of the Megaman series. The band reinterprets the game's canon, telling a dark dystopian tale with strong George Orwell and Ayn Rand influences.

The group is composed of a large, rotating line-up of friends who met while attending MTSU in Murfreesboro, Tennessee. Many were involved in the local music scene before graduating and moving to Nashville. Little is known about the group as they rarely do interviews out of character. The group performs all their shows as characters from the universe they've constructed, claiming to retell the stories they've "witnessed."

The group follows the basic rock opera formula. The lyrics serve as the lines spoken by either the narrator or characters from the story. All the instrumental interludes indicate an action scene, which is usually described in the linear notes of the album.

The story is a dark representation of Megaman's storyline. Dr. Wily isn't just a blundering mad scientist, repeatedly failing to takeover the world. Has has taken over the world and is now a Stalin like dictator in an Orwellian society. The story plays out with the protagonist Dr. Light building the robot Protoman to attack Wily's stronghold and save mankind. Unfortunately, Protoman becomes mortally wounded and the people watch from a distance as he is killed, refusing to help out of fear.

Dr. Light builds Megaman to fill the void left in his heart, creating him to be his younger "son." Upon learning of his brother's fate, Megaman vows to avenge his death and save mankind. Light protests, "They can't be saved by just one man." Meganman then runs away to assemble the troops and overthrow Wily.
The first album, The Protomen, builds off this backstory and tells the tale of Megaman attempting to free society from Wily's reign. The album's sound is very raw, being recorded using analog instead of digital equipment. The overall sound of the album is a mix of abrasive, uneven hard rock and electronica using synthesizers to emulate NES style chiptunes. The band has described the sound as "the sound of the end of the world."

Their second album, Act II: The Father of Death, was much more refined – meant to reflect the age "before the bomb dropped." The album's storyline acts as a prequel and is divided into two parts. The first tells the backstory of Thomas Light and Albert Wily and the events that led to Wily overthrowing the government. The second half observes the first years of Wily's "utopia" and the rise of Light's first progeny, a young man named Joe (a reference to Sniper Joe).

The album's style is divided between these two halves. The story of Light and Wily is told through Country and Classical Opera, with some Psychobilly thrown in. However, the track "How The World Fell Under Darkness" transitions the two, building off the classical opera motifs of the first half and into an ode to 80s Glam Metal. Reflecting the robotic utopia Wily created, the music mocks the cheesy sci-fi concept albums of the 80s, particularly Styx's "Kilroy Was here."

The band's opera is set to be in three acts. The band has announced their album to be released sometime in 2012. For now, they are on a constant touring regimen.
The group has gained a reputation for its energetic concerts. The band is known for elaborate stage decor, costumes and a variety of theatrical antics reminiscent of 70s Glam Rock acts such as David Bowie and Queen. The band is also known for doing a variety of covers, ranging from 80s acts such as Styx, Kenny Loggins and Journey to unexpected artists like Alabama.

The Protomen, sadly, tend to be seen as a novelty act. Due to this reputation and their philosophy of doing interviews in character, they're only known to a small niche of listeners. But despite how nerdy their premise may be, The Protomen prove how artistic and original video game musicians can be with a little extra effort.

Notable Albums:
The Protomen (2005)
Act II: The Father of Death (2009)


Notable Tracks:
"The Will of One"
"The Stand (Man or Machine)"
"The Good Doctor"
"Keep Quiet"

Hank III's Outlaw Sound Stirs Trouble With Pop-Country Radio (Nov. 2010)

Under The Radar

Hank Williams III

Originally published for the Bismarck State College Mystician back in November, 2010.

Genre: Country/Punk/Metal

Country music has always garnered undeserved scrutiny. Is has been criticized for its association to the sub-cultures of the South and the stereotypes that typically follow. But despite criticism, country music has always been valued for its genuine earthiness. With its roots in traditional American Folk and Bluegrass, it has the power to remind us of a younger America and explore the emotional and cultural struggles of rural life.

But country music has seen a drop in authenticity lately. The 70s and 80s saw a deviation from Tradition Country music, with artists such as Billy Ray Cyrus churning out catchy pop hits like "Achey Breaky Heart." This deviation, known as Pop-Country, soon became the standard with artist like Taylor Swift littering the airwaves. Artists like George Straight try to hold onto traditional values while still appealing to mainstream audiences, but many purists see this trend as "too little, too late." On the other hand, a few new artists are flocking the underground inspired by the grandson of the forefather of outlaw country, Hank Williams III.

Shelton Hank Williams III, referred to by fans as Hank the Third, is the grandson of Country legend Hank Williams and son of Contemporary Country star, Hank Jr. Hank Williams III plays a fusion of Tradition Outlaw Country, Heavy Metal and Punk Rock.

Williams started in the mid 90s as a drummer for several heavy metal and punk bands, including former Pantera vocalist Phil Anselmo's band Super Joint Ritual. Williams eventually signed Curb Records to produce a country record after a judge ordered him to pay off overdue child support. In 1996 Williams produced Three Hanks: Men With Broken Hearts, an album where he spliced material from his grandfather with vocals from himself and his dad to appear as if the three were recording a family album together. Despite its lackluster reviews and somewhat hackneyed premise, the record was a marginal success and inspired Williams to follow in his family's footsteps.

Williams began his career as a country artist but soon found himself at the mercy of Curb Records' strict policies. The first signs of tension showed when Curb refused to produce his This Ain't Country LP and instead made him produce the more pop friendly record Risin' Outlaw, an album which Williams has expressed disdain for. In response, Williams sold T-shirts at his live shows with the words "Fuck Curb" across the front. This became one of the many controversies surrounding his live shows.

Williams' live shows are known for their "Jekyll and Hyde" format, where he plays a Traditional Country set, followed by a Hellbilly (Country and Metal) and Psychobilly (Country and Punk) set and ends with a set from his band Assjack, which combines Metalcore and Psychobilly. Controversy surfaced when Curb refused to produce any of Assjack's material. Contractual agreements also prevented Williams from producing their material with another record company. Williams eventually resorted to selling bootlegs at his live shows.

Williams eventually settled some of his differences with Curb and produced his sophomore record Lovesick, Broke and Driftin'. Despite settling disputes with Curb and discarding his T-shirt campaign, he continued to release Assjack bootlegs at his shows. His third record, Straight To Hell saw more controversy as Curb Records had to negotiate with Wal-Mart to sell an edited version of the record. Straight To Hell became one of the first major label country records to carry a parental advisory label.

Since then, Williams has produced two more records, including one within the last year titled Rebel Within. Williams is already slated to produce another record in 2011. Since Williams' underground success, other artists have followed including the Milwaukee based .357 String Band and the Madison based Goth-Country act, Those Poor Bastards.

Notable Albums:
Lovesick, Broke and Driftin' (2002)
Straight To Hell (2006)
Rebel Within (2010)


Notable Tracks:
"Straight To Hell"
"3 Shades of Black"
"Dick in Dixie"

Dead Can Dance Gives New Ethnic Twist To A Forgotten Genre (Oct. 2010)

Under The Radar

Dead Can Dance

Originally published for the Bismarck State College Mystician back in October, 2010.

Genre: Post-Punk/Goth/Neo-Classical

The punk rock movement of the 70s left its mark on the musical community, creating a widespread of differing influences. Though the nihilistic attitude and DIY ("do-it-yourself") mentality of the the scene remained intact, the artists went on to create a much more experimental and versatile genre: Post-Punk.

Early Post-Punk groups such as Siouxsie & the Banshees and Joy Division stayed closer to the source material but emphasized complexity and melancholy melodies. The 80s, however, witnessed an evolution in the genre that split into different directions. Some artists took the sound and made it catchier and more commercially viable, creating New Wave groups such as Blondie, Talking Heads and Devo. A few groups, such as The Pixies and Sonic Youth, took a more experimental approach, branching off to the point of being nearly unclassifiable. Groups such as Bauhaus and The Cure, however, took the meloncholy tone introduced by early Post-Punk bands to extreme measures, producing either minimalistic material of a macabre nature or synth-heavy melodies of gloom and doom, creating Goth.

It's worth noting that this is the only genre to be officially classified as Goth by music analysists and commentators, despite its use by broad audiences to describe a cadre of musical artists – usually with intended negative connotations. As the genre grew and the niche among 80s culture started to bloom, one band took the style and created something unique: Dead Can Dance.

Dead Can Dance was a Post-Punk/Goth group that originated from Australia. Their first album, a self-titiled record, was already noteworthy for tis more ambient and ethereal sounds as well as their contrasting vocalists, Brendan Perry and Lisa Gerrard. Perry was noted for his distinctively haunting baritone vocals while Gerrard had showcased an expansive range from contralto to mezzo-soprano and experimented with traditional Mediterranean, Middle Eastern and Oriental vocals.

It was the band's later work that made them stand out. They slowly started experimenting with multi-ethnic folk and Neo-Classical. By the time they produced their fifth album, The Serpent's Egg, they were unclassifiable. Dead Can Dance's signature had become a mixture of Dark Etheral and ethnic folk deriving from ancient and traditional styles of various eastern ethnicities, notably the Romani and other ancient Mediterranean cultures. The influences have often been attributed to Gerrard growing up in the Greek-Turkish suburb Prahran, Australia.

Over time, the group put less emphasis on lyrics and more on instruments. Eventually, even the vocals were used more instrumentally where Gerrard often sang in idioglossia: languages Gerrard invented.

By the nineties, the group had become a duo featuring solely Perry and Gerrard. The two became so diverse in their talents they were able to produce their elaborate music without the help of the guests and collaborators who had contributed to the production of their earlier material. Unfortunately, the two drifted apart due to creative differences and split up after producing their final album, Spiritchaser, in 1996. Since their break-up, the group only reunited in 2005 and has shown no intention of reuniting again.

Although not known in the mainstream musical community, their legacy followed a similar path as New Age/Trance legends Tangerine Dream, with their music featured in musical scores of countless film and television projects. Some of the notable uses include "Sanvean" on The West Wing and "The Host of the Seraphim" for Terminator 3, The Mist and Legend of the Guardians: The Owls of Ga'Hoole.

Notable Albums:
The Serpent's Egg (1988)
Into The Labyrinth (1993)
Spiritchaser (1996)


Notable Tracks:
"The Host of the Seraphim"
"Saltarello"
"The Writing On My Father's Hand"
"Sanvean"

Pure Reason Revolution's Electronica Is Anti-Gaga (Sept. 2010)

Under The Radar

Pure Reason Revolution

Originally published for the Bismarck State College Mystician back in September, 2010.

Genre: Experimental/Progressive/Electronica

Pop music has always stirred negative feelings with some. Many have described the genre as shallow, uninventive and unintelligent. Recently, pop music has begun a transformation, albeit in a rather formulaic and trendy way. Many artists such as Rhianna and Keisha have jumped on a bandwagon started by Lady Gaga, experimenting with sounds similar to 90s Europop and Electronica.

Electronica has become something of a buzzword, used to describe a variety of styles, including the generic (but danceable) House, Techno and Industrial genres usually associated with raves. It also has been used to describe Experimental/Ambient and Trance acts such as Tangerine Dream and Enigma. But lately, the synth-oriented melodies and digitalized, bass-heavy drum-beats associated with the term have slowly crept its way into much of the instrumentation used in pop music. On the other end of the musical spectrum, the unknown Progressive Rock group Pure Reason Revolution  has emerged utilizing the same Electronica experimentation that has made these pop acts so popular.

Pure Reason Revolution is a relatively obscure British group, whose origins date back to 1997. Originally known as The Sunset Sound, the band encountered a number of line-up and name changes until they solidified somewhere between 2000 and 2003. The group started out as Progressive/Space Rock with strong Pink Floyd influences. The name of the band's first single, "Bright Ambassadors of Morning," is a line off the Pink Floyd song "Echoes."

After releasing their first full-length album, The Dark Third, the group went on tour with British and Israeli group Blackfield (a side project of Aviv Geffen and Porcupine Tree's Steven Wilson), which caused the group to gain attention in the UK. After their first major tour, they returned to the studio to record their second album and decided to make a major musical departure just as their career began to blossom.

What resulted was Amor Vincit Omnia. Lyrically and structurally, the sound was still very progressive and complex, but the overall sound had vastly changed. The subtle use of synthesizers and mellotrons – which created their signature space rock sound – was traded in for more elaborate synth-lines and bass-heavy rhythms. Their sound became less comparable to Pink Floyd and more so to Daft Punk.

Despite its shocking change in sound, the band garnered much acclaim. Though blasted by prog purists, many critics saw the sound as highly original, charming and slightly ironic given the current trend among pop artists. Unlike the pop scene which has showed similar influences, Amor Vincit Omnia showed a great deal of depth in its lyrics and overall concept.

The album name is believed to be a reference to the Caravaggio panting of the same name. Although the band has never officially confirmed whether or not the album was conceptual, the lyrics and overall structure shows a strong, cohesive conceptual base. Several of the songs bleed into each other and contain recurring melodies and lyrical passages and share a theme reinforced by the album, which is Latin for "love Conquers All."

Though their style tends to be very polarizing, pure Reason revolution's sound needs to be experienced by the musical community. Although the group hasn't attracted as much popularity as it should, the band continues to create music and expand its fan base. The group has been working on their next album "Hammer and Anvil" which is set to release Oct. 18 this year.

Notable Albums:
The Dark Third (2006)
Amor Vincit Omnia (2009)


Notable Tracks:
"The Gloaming"
"Deus Ex Machina"
"Les Malheurs"
"Goshen's Remains"
"The Bright Ambassadors of Morning"

The Best Albums of 2009 (Dec. 2009)

Originally written as personal blog back in Decmeber, 2009.

Well 2009 is coming to a close and I felt it was necessary to make a blog of sorts discussing 2009's music. I'm going to start out by saying 2009 was a GOOD year for music. That is if you know where to look.
Sadly Top 40 and your Mainstream Modern Rock radio stations won't be playing most of the music that rocked the house this year. So I've decided to talk about my favorites that have come out this year.
I'm going to note that this list is not concrete. There was probably a lot of stuffed I've missed, either not getting around to purchasing and/or downloading or haven't given an extensive listen to yet. This is just going over the stuff I've come across this year and have given an extensive listen to. So without further ado, onto the honorable mentions . . .

Claire Tchaikowski - Those Thousand Seas
Genre: Celtic/New Age
This one is so different from everything else I'll be listing but I've listened to it so much lately that I have to mention it.
I'll admit right now that this is a guilty pleasure. Claire Tchaikowski's sound is best described as somber, peaceful and occasionally catchy Celtic Pop.
As you can guess, she isn't for everyone, but if you like ethereal/eclectic music and have room in your heart for something New Age-ey, give her a listen.

Notable Tracks: Dance Around, Something Blue, In Your Arms

Bat For Lashes - Two Suns
Genre: Indie/Experimental

The only reason this is only a honorable mention and not on the top ten where it probably deserves to be is that I haven't given this enough of a listen to completely appreciate it.
I will say that Natasha Khan's vocals are very haunting and hypnotic and that the concept of the album is quite intriguing. It's concept explores duality (polar opposites, yin and yang and the like) and is pretty experimental instrumentally.

Notable Tracks: Daniel, Siren Song, Pearl's Song

Riverside - Anno Domini High Definition
Genre: Progressive Metal

This is another one that I haven't given a good listen to yet, but I already know that it's not as good as their last record. It's not their fault, though. These guys are a Swedish Progressive Metal band and their last three albums were amazing. The best part was that they were all part of a concept album known as "The Reality Dream Trilogy".
Needless to say, it's really hard to surpass the epic-ness their last three albums had encompassed. I guess my biggest complaints is that their new album is a little short and lacks the cohesion of their last three.
Overall, though, this album still deserves an honorable mention and any fans of Progressive Metal need to check out this album as well as all their older stuff.

Notable Tracks: Hyperactive, Egoist Hedonist

3 - Revisions
Genre: Progressive Metal/Post-Hardcore

God, I love these guys. The only reason they aren't on my top ten is that this isn't a full album so much as a "B-Sides/Unreleased Tracks" collection and it has its hits and misses.
If you don't know who these guys are, picture Coheed and Cambria – minus all their unlikeable traits (i.e. Claudio's vocal and their occasionally emo-esque sound) – fused with the dark ethereal sound of Tool or A Perfect Circle.

Notable Tracks: Anyone Human, Automobile, Halloween

Dethklok - The Dethalbum II

Genre: Melodic Death Metal

Yes, Death Metal's favorite parody/"fake" band (as made famous by the Brendan Small's Metalocalypse) makes the list.
Essentially, the album is the soundtrack for Season 2 - containing most, if not all the songs used throughout the season.
For some reason, lyrically, the album seems to take itself too seriously in comparison to the first album. Maybe it was the because of the overall tone of season 2 or just the music choices made on Brendan Small's part but more blatant "tongue-in-cheek" tracks such as "Fansong," "Murmaider" and "Hatredcopter" were replaced with more "straight-faced" material, with the humor subtly hidden in its parody of the genre.
Musically, the band is still very much Death/Black Metal, but songs like "I Tamper With The Evidence At The Murder Site Of Odin" lyrically lean towards the over-the-top, borderline cheesy style of Power Metal. Overall, the album is still hilarious and as epic as the first one, perfect for the head banger in all of us.

Notable Tracks: Black Fire Upon Us, I Tamper With The Evidence At The Murder Site Of Odin, Bloodline

Assjack - Assjack
Genre: Metalcore/Country-Punk

I'm guessing not many have heard of Hank III. He's the grandson of country legend Hank Williams. He's begun to make a name of himself for reviving TRUE Outlaw Country in the midst of the poppy white trash nonsense that pollutes country radio nowadays, combining traditional country-blues with some punk rock elements. Think of what Flogging Molly does for Irish music; that's what Hank Williams III is in terms of the country music scene.
Now, Hank Williams III is mostly known for his live shows and every show consists of two segments. One segment consists of his country act known as simply Hank Williams III. But then he continues with his Punk/Metal band, Assjack. Up until this year, Hank was unable to release any legitimate records from his band due to contractual limitations with his record company (essentially, his record company was refusing to release his records for a number of reasons). So he's been limited to releasing bootlegs at his shows.
Well, as of 2009, he's no longer restricted from releasing his albums and has released Assjack's first official record, simple titled "Assjack." The album is as insane as you'd expect: loud crushing guitars, intensely insane punk riffs, brutal vocals, and the lyrical stylings of classic outlaw country. This is truly a unique record and definitely worth checking out.

Notable Tracks: Tennessee Driver, Cut Throat, Cocaine the White Devil

The Decemberists - The Hazards Of Love
Genre: Indie Folk/Experimental-Progressive

I just recently got into The Decemberists, with this record being their only one I currently own. But, wow, is it amazing. This really ought to be on my top ten (I just don't have room). The Decemberists have always been more of an Indie/Folk Rock group and that sound still remains, but the experimentation on this record borders on being considered progressive rock.
The record is a rock opera that essentially tells of a love story filled with conflict and tragedy. It focuses on a woman named Margaret, who has fallen in love with a shape-shifting forest dweller named William. The story's arc focuses on a conflict that is brought on by the jealous forest queen (who is also William's mother) and a villainous Rake. The story has a very Shakespearean air to it and is somewhat reminiscent of "A Midsummer Night's Dream" (which is one of my favorite Shakespearean comedies, btw).
The whole album is rather unique, but also nostalgic as it shows some obvious influences from The Beatles. But unlike some other indie rock groups that just exploit their Beatle-esque sound, they continue to develop into something unique by combining a menagerie of genres including Country/Bluegrass and Celtic Folk.

Notable Tracks: The Hazards of Love 1 (The Prettiest Whistles Won't Wrestle the Thistles Undone), Isn't It a Lovely Night, The Wanting Comes in Waves, The Rake's Song

Now onto the main event, The Top Ten Best Albums of 2009

10. Rising Gael - One More DayGenre: Irish Folk/Pop Rock

If you haven't heard of these guys, you're not alone. They are a virtually unknown Irish band that release all their albums independently. The band takes the best aspects of traditional Irish folk and add in some Pop Rock sensibilities, resulting in some really catchy tunes.

The best part is that they counter all their poppy songs with some amazing folksy instrumentals and interludes. Anyone who likes Flogging Molly and Dropkick Murphy's and wants to expand their tastes to something that's a little more traditional but still catchy ought to give these guys and gals a listen.

Notable Tracks: Stretched Out On Your Grave, Nova Scotia Farewell, Tam Lin, He Moved Through The Fair

9. Neko Case - Middle Cyclone
Genre: Indie/Country

Any dissenter of country needs to give this a listen before they continue in their blasting of a genre that is truly under-appreciated due to the nonsense that pollutes country radio stations nowadays. Neko Case is a singer/songwriter described as "Alternative Country", whatever that means.
What she really is a Country/Folk artist that adds the lyrical notions and style of acoustic guitar-based Indie Rock, whose voice and lyrics add some much needed sophistication to a dying genre.


Notable Tracks: This Tornado Loves You, Never Turn Your Back On Mother Earth, Red Tide

8. Yeah Yeah Yeahs - It's Blitz
Genre: Post-Punk

I have to admit that when I heard that British musicians were reviving New Wave a few years back, I was skeptical. And I remain so. I mean, I like The Killers and Franz Ferdinand as much as the next Indie Rocker, but something was missing and that was the Yeah Yeah Yeahs.
This goes above and beyond "New Wave" and "Indie Rock". This is post-punk revival. And, oh yeah, it's catchy too and just downright fun.
Overall, I would say it's sound both appeals to all the old-school fans of Joy Division and The Pixies while it's danceablely catchy songs will make all you indie rockers happy as well.

Notable Tracks: Heads Will Roll, Dragon Queen, Hysteric, Zero

7. Andrew Bird - Noble Beast
Genre: Folk/Classical

Oh, where do I start? Essentially, mix Indie Rock, Modern Folk and Classical and you get the genius that is Andrew Bird. And let's not stop there. This modern day Bob Dylan has also been known to experiment with jazz and even gypsy music. And did I mention that he's a brilliant lyricist as well?
His newest album, "Noble Beast", dives even deeper into this blackhole of skewing genres, exploring classical music even more than before.




Notable Tracks: Anonanimal, Oh No, The Privateers, Fitz & Dizzyspells

6. Muse - The Resistance
Genre: Experimental-Progressive

I only recently discovered these guys sadly. Unfortunately for the longest time I thought these guys were emo. Not even close. These guys take what Radiohead started and dive deeper into experimental and progressive rock while occasionally jumping back and throwing out something unexpectedly catchy and fun.
The Uprising is so fun and bizarre and unexpectedly complex at times, especially with their closing three track suite "Exogenesis: Symphony" which can only be described as "15 minutes of psychedelic space-rock".


Notable Tracks: Uprising, Resistance, Exogenesis: Symphony

5. Porcupine Tree - The Incident
Genre: Progressive Metal

At this point we've reached this list's core, starting with an amazing album that should have been even better: Porcupine Tree's "The Incident." These guys have been around forever and are one the biggest bands in the UK next to Radiohead, yet are virtually unknown in the states except to Prog Rock fans such as myself.
These guys started out in the mid 80s as a fake/joke band (sort of the Spin Tap of prog rock). But at the start of 90s, singer/guitarist Steve Wilson turned the joke into the real deal, combining Pink Floyd-ish Psychedelic Prog with certain elements of early Electronica and "Krautrock" acts such as Tangerine Dream and Can. But as time went on, they slowly evolved with the coming trends, blending in British Alternative at the end of the 90s and more recently turned towards Heavy Metal. Their last album "Fear of a Blank Planet" was the pinnacle of their new sound, containing 6 tracks of pure conceptual brilliance exploring themes from the Brett Eastin Ellis book "Lunar Park."
So how do you top that? It was kind of difficult, and you can tell. The Incident is a 2 disc album, with their first disc only being one track, albeit 55 minutes long divided into a 14 movement suite. The entire suite explores the concept of witnessing various tragedies from the outsider's point of view and how cold, yet curious people can be when passing by various accidents/tragedies or "Incidents." Overall, a brilliant piece. The second disc is where it's a little disappointing and why it's not higher on this list. I expected even more brilliance continued off the concept of the first disc. Nope. Just four unrelated, short standalone tracks having nothing to do with the initial concept. Overall, however, it is a great album that's still worth a listen.

Notable Tracks: Time Flies, The Blind House, The Incident

4. The Protomen - Act II: The Father Of Death
Genre: Experimental-Progressive/Glam Metal/Nintendocore

Alright, just to warn you all: what will follow is a very long explanation of who these guys are. The Protomen are a concept band who essentially write Rock Operas based on Megaman. Yes, a Megaman Rock Opera. And I'm not talking just some campy chiptune, electronica tribute or some elaborate symphonic remix tribute – a la Overclocked Remix (ocremix.org).
These guys combine 80s Glam Metal and Experimental/Progressive and perform a rather dark interpretation of the Megaman story. Dr. Wily isn't just some blundering mad scientist who repeatedly tries to takeover the world and fails. He is a Stalin like dictator who has succeeded in taking over the world and has created an Orwellian dystopia.
Here's a relapse of the intro to the first album (Without The Spoilers): Dr. Light had been hiding out in the slums of the Wily's central city building the man/machine Protoman who would lead the people in overthrowing Wily's regime. Unfortunately, Protoman is wounded in battle. As Protoman struggles to stay alive, his army of rebels abandons him and watches as he is torn apart by Wily's robots. Dr. Light then forsake the people and returned home and built another robotic man to fill the void left in his left heart after the death of his "son." Years later, Megaman has come of age and hears the truth behind the story of his "brother." He swears to avenge Protoman's death and to free the people of Wily's society.
Yeah, so the story is pretty epic but it doesn't stop there. The new album explores the backstory of Dr. Light and Dr. Wily and how the world came to be. The new album lacks many of the campy game references the first album had but it's story is so engrossing that it should still entertain classic Megaman and Nintendo fans.
The band also continues to experiment, mixing genres such as country and punk while also referencing and glorifying the cheesiness of prog-ish glam rock bands such as Styx and ELO and the cheesy sci-fi concept albums they've produced. Even the album cover looks like something out of a cheesy 80s sci-fi flick. Anyone who is a fan of classic Nintendo needs to check out this album and the preceding one, simply titled "The Protomen."

Notable Tracks: The Good Doctor, The Hounds, The State Vs.Thomas Light, Breaking Out, Keep Quiet

And now we've reached the big three. I have to say that I had to make a difficult decision on which of the following deserves the number one slot, but without further ado . . .

3. Between The Buried and Me - The Great Misdirect
Genre: Metalcore/Melodic Death Metal/Experimental-Progressive

These guys are insane. Since they started, they broke down the barriers of what defines Metalcore, and with each album continued to combined more and more genres to the point where they were impossible to classify. This album continues that trend, combining their unique brand of Progressive Death Metal and Metalcore with genres such as Post-Rock, Country and even Vaudeville (that's right, Vaudeville). This album is just so utterly bizarre and epic it's funny. There are times you'll be banging your head intensely and suddenly find yourself smiling and grinning, possibly even laughing. Even greater is how fluid it is. The album is only 6 tracks, but you'd never notice. This album is so enveloping that once the album is over, you would never guess a whole hour just passed you by.

Notable Tracks: Obfuscation, Fossil Genera – A Feed from Cloud Mountain, Desert of Song

2. Dream Theater - Black Clouds & Silver Linings
Genre: Progressive Metal

It's been a long time since Dream Theater was able to impress me this much. I've always thought of Dream Theater as a guilty pleasure. Their progressiveness and complexity borders on the nerdy and their fascination with long guitar solos borders on the type of wankery that's usually associated with pretentious "Guitar Instrumentalists" such as Joe Satriani, Steve Vai, and Yngwie Malmsteen.
However, this album is just too good to diss as a "guilty pleasure". This is probably their best work since their masterpiece and my personal favorite "Metropolis 2: Scenes From A Memory."
It's just so balanced and so personal. It's also one of their heaviest albums to date, sometimes bordering on Gothic Symphonic Metal.
This is a very personal album, with several tracks touching on the experiences of guitarist John Pretrucci while the track "The Shattered Fortress" completes the Twelve Step Suite, a suite that explores drummer Mike Portnoy's struggles with alcoholism.
Overall, this 6 track symphonic masterpiece is a must need for any prog metal fan. And to make things better, the special edition includes an extra disc full of covers of great artists such as Queen, Iron Maiden, King Crimson and Rainbow.

Notable Tracks: A Nightmare To Remember, The Shattered Fortress, The Count Of Tuscany

1. Dredg - The Pariah, The Parrot, The Delusion
Genre: Progressive Metal

This was a difficult decision, but given how long I was anticipating this album before it finally came out, it was quite obvious to me that this would be my number one album of 2009.
Dredg is certainly a unique, one of a kind band. Starting out as a Deftones-esque Alternative Metal band in the early 90s, they slowly starting mixing in elements of progressive metal and post-rock until they transformed into what can only be described as a unique mix of Alternative Metal, Progressive Metal and Post-Rock/Shoegazer. Think Tool meets Sigur Ros, with small amounts of The Mars Volta added in. The pinnacle of their brilliance is their 2001 album "El Cielo," a concept album that originally was just based on Salvador Dalí's painting "Dream Caused by the Flight of a Bumblebee around a Pomegranate One Second Before Awakening" but eventually took the concept even further, exploring the themes behind the painting, particularly Sleep Paralysis.
It was difficult to top this masterpiece but they tried with "Catch Without Arms." It was a slightly disappointing album, with song structures simplified, disregarding complexity in exchange for catchiness.
Afterwards, they started on another album, one that would take four years to make, "The Pariah, the Parrot, the Delusion".
Needless to say, they succeeded where CWA failed, and then some. They combined the complexity of "El Cielo" and the catchiness and emotion of "Catch Without Arms" to create something truly unique. And it was utterly breathtaking and rather poignant. The album is once again conceptual, exploring the themes of the essay "A Letter to the Six Billionth Citizen" by Salman Rushdie, exploring religion and evolution, science and politics, death and acceptance, and the emotional implications all these topics have on the human mind. Overall, this album is something unique which should be experienced by anyone who appreciates music in its many unique forms and is my all-time favorite album of 2009.

Notable Tracks: The Pariah, Gathering Stones, Information, Mourning This Morning

Well, there you have it: my favorite albums of 2009. Like I said before, 2009 was a good year for music. Also remember, this list it just my opinion and is not written in stone. There was a lot of stuff I missed this year. If you want, please tell me your favorite albums of 2009 and don't be afraid to comment on my choices. Please, however, be open to different kinds of music and if you have a moment, to take a listen to some of the the artists and albums I have mentioned.

Why Are Sappy Farewells Always So Sappy? (May 2008)

Originally published for the Bismarck State College Mystician back in May, 2008.

These final days of school have me becoming increasingly frustrated. It's not because of finals or catching up on makeup work, but because I can't get "Here's to the Night" by Eve 6 out of my head. Oh well, it's better than Vitamin C's "Graduation."

I never understood the need for cheesy musical sentiment over this subject of "fond farewells" until now. As the last weeks come to pass I have finally awoken from the daze of studying and realize, "Oh, my god, I'm going to graduate."
For three years I have dedicated myself to this school and many of its extra-curriculars - perhaps too many as my grades would. I have come to learn to love this school for all it has given me, despite my early frustration of BSC being my "back-up" school. And despite my bitterness and unfair referral to this place as "burger-flipping college" have come to respect this institution and would be willing to defend its honor from critics.

As school comes to an end, so does a legacy. I have begun to acknowledge the achievements and experiences I have accumulated here, particularly from the Mystician. This year was a long time in coming as I finally reached editor status. And after it all this time and work, I find that I must start all over again in a whole new university.

I suppose it's for the best. It's best not to get too comfortable in one place. Life is about change and progression. Staying in one place too long stunts growth and life becomes dull. I'm about ready for a change. However, the idea of change is pretty crazy.

I'm going to be heading to Moorhead next year, and it feels insane leaving this city and school. Going from living at home to living on my own in a a strange new city seems scary.

It may seem corny, but I am becoming really sentimental over this place. There are so many great teachers and friends here that it's really hard to leave. Now comes the really cheesy part where I tell everyone to cherish their memories and such. All clichés aside, people don't realize how emotional one can get when they're about ready to leave somewhere and begin saying their goodbyes.

It's only natural for us to cling to the familiar as long as we can. As long as it doesn't become a hindrance in our progress, there's nothing wrong with being sentimental. But we can't always cling to the past. Eventually, we need to learn to let go and let life lead us forward.

I, too, must be ready to make these changes and become prepared to endure the upcoming trials. So I say my farewells and ask that everyone wish me the best of luck - I'm probably going to need it. For those who are also heading to new places this coming year, I wish you luck as well. Just remember these words, "As we go on, we remember, all the times we've spent together." Damn it, now I have Vitamin C stuck in my head.

Even In Tragedy, Some Of Us Can Still Find Strength (April 2008)

Originally published for the Bismarck State College Mystician back in April, 2008.

As time passes, we sometimes forget those important moments that have helped define us. But everyone should take time to think how their lives have changed and, more importantly, those events that have made them the way they are today. For me, it's always difficult to look back because so much of my past was filled with anger and sadness.

Growing up was quite difficult for me as I was a victim of constant bullying, which led to my attempted suicide. I suffered from severe autistic spectrum disorder as a child. As a result, I was that awkward kid in the corner everyone thought was weird. Unlike most who kept to themselves, however, I was starved for attention and I constantly put myself out there. I was incredibly socially inept so I made myself an easy target for just about everyone to harass. I didn't have many friends and the few friendships I had always managed to end badly. However, the one friend I did keep ended up being one of my closest and best of friends for many years and continues today.

I eventually started to make suicide threats around school. Most didn't listen or care. The few that did pay attention would tell me things like, "Why don't you? We don't care."

I was eventually hospitalized after my parents confronted me about the "alleged" threats, unaware that I had talked myself out of an attempt that night. I had spent an hour earlier hovering over a knife I had snuck into the house, imaging how I would carry out the deed. After an hour or so I finally broke down. My parents finally barged in to confront me and though I managed to hide the knife they saw the suicide note I had left on my desk.

After a week in the hospital and a month at a partial care facility, I returned to school. The harassment continued. Several of them went as far as to say that "I should have just killed myself."

The experiences definitely had a lasting effect on me. My days in middle school were definitely the darkest, as I had a reputation of being an "angry kid" in which I would constantly get into fights. In high school, I went through a "gothic" phase, spending a lot of my time writing dark, suicide-related poetry. However, during my senior year I came to some eye-opening conclusions. I reconciled many things with myself and with my creator.

I actually consider myself lucky. I suffered a great deal and survived. I know that there are many others who have not survived similar ordeals and my sympathies go to those people and their families. However, this wasn't just a personal victory. I couldn't have survived if it weren't for my family. I owe them everything for helping through those darker times.

I look at that period now as a great test of character and strength. I probably have seen some of the worst characteristics of humanity; however, I am not cynical from it. I am a big believer in living life to the fullest and appreciating mankind for better or for worse. And despite my run-ins with the darker side of human nature, I feel like that has helped me appreciate its better traits. While people are capable of hate, fear and the mob mentality that follows, I also see how people are capable of courage and strength. There is power within people, a power that extends beyond anything that can be physically depicted. Whether you want to call it willpower or the hand of God, something exists in us that allows us to rise up against hardships. I have seen and heard of individuals who have had it far worse than I and have survived, and I honor those people.

I look at my life and look at it as a way to give others hope. To those who have suffered like I have, I want you to know that there is hope and there are people out there who care about you even when it may not feel like it.

Under The Radar: Opeth (April 2008)

Originally published for the Bismarck State College Mystician back in April, 2008

Genre: Melodic Death Metal/Progressive Metal/Swedish Folk

No underground music style has the reputation that Death Metal has - Swedish Death Metal, no less. It's seen by most as one of the most brutal and over-the-top form of metal out there. The genre has also earned the misconception of being incredibly easy - just bang on a loud, distorted guitar while screaming and growling in a microphone (which is not the case). But before anyone decides to shun all Swedish metal, they should take a gander at the progressive metal act Opeth.

With an unexpected twist of musical progression, Opeth pulls in the heaviest of metal heads with their brutal vocals, heavy but intricate guitar usage then brings the listeners to tears as their songs segue into soothing Swedish folk and jazz. Lead singer Mikael Åkerfeldt is capable of some of the deepest growls and howls and yet is able to sing some of the softest, clean vocals.

The bands has experimented by combining the old tradition of Swedish folk with the new tradition of black metal. Many of their songs follow a complex structure, combining multiple movements that jump from loud, guitar opuses to light, acoustic folk as heard in tracks such as "Ghost of Perdition." While shorter, simpler pieced like "Benighted" can be heard from time to time, most of their work ranges from seven to twelve minutes long.

The band started in 1990. They got their name from the Wilbur Smith book "The Sunbird," in which Opeth is the name of a town on the moon. Initially, they were a straight-forward black/death metal band. Witch each album, the band's work has become more diverse. The band has had many line-up changes, but Åkerfeldt has remained the driving member behind the band.

Their seventh album, Damnation, saw a drastic change as their work followed a more progressive rock style and contained only clean vocals. The album was their biggest commercial success*. However, the the band's most recent album, Ghost Reveries, returned to using death metal vocals - however, saw more clean vocal usage in their heavier tracks such as "Harlequin Forest."

While still relatively unknown in the mainstream metal sects, the band has garnered a major following across the globe as well as praise among rock critics for their diverse style. The band is going strong despite a few line-up changes after their last album. A new album has been announced to appear sometime around May this year and promises to be another great piece of metal majesty.

Notable Albums:
Ghost Reveries (2005)
Damnation (2003)
Still Life (1999)


Notable Tracks:
"In My Time of Need"
"Harlequin Forest"
"Ghost of Perdition"
"Benighted"

My Open-Mindedness Shall Come With No Disclaimer (March 2008)

Originally published for the Bismarck State College Mystician back in March, 2008.

I've now decided to wear a bulletproof body armor from now on. It's a thought I had after my criminology professor mentioned that back in the day over half the class, himself included, would have been shot for a horrendous crime most of us have confessed to: not attending church.

I don't attend church. Minus the major holiday masses and occasional invitation to attend a friend's church, it is not something I've made a priority to do. I could easily scapegoat it, claiming that I always "accidentally" sleep in, but the truth runs a little deeper. For several years now, I've been experiencing a crisis of faith.

In high school, I was very rebellious and silently renounced religion. I started questioning my faith in regard to my troubling childhood. All through elementary and middle school I suffered from severe depression, partly due to to clinical reasons but mostly due to bullying from other students. A lot of harassment and schoolyard fights led to my attempted suicide. It was a dark time that I barely survived.

So when high school came along and things started to balance out a little more, I questioned, "Why did God allow me to through such hardships?" It took a long time to figure it out. But more questions soon arose.

A very influential time came after graduation when my friends encouraged me to attend what could only be described as "bible camp." A large chunk of my friends attended the youth group "Young Life" and they encouraged me to renew my faith by attending their summer camp. It was very helpful, but not in the way they intended.

The camp was in the beautiful mountains of Colorado and I found myself more connected to God in the middle of the lush forests rather than in the confining cabins, singing adult contemporary Christian music and taking part in prayer circles. This set forth a new path in my faith, one that is not without confusing twists and turns.

I developed an open attitude towards various ideas and beliefs. I found myself undergoing a treacherous spiritual journey involving a lot of self-questioning. I found that the most enduring spiritual path can be found in just living. The things seen in everyday life, if one allows themselves to see them, can be very influential and help achieve a better understanding of life.

To describe my faith would be very complex. Simply, I have found faith not only in Christian ideals, but Buddhist, Taoist and Hindu as well. I found myself feeling that life in too grand and complex to have a higher power that can simply be summarized in one faith. I believe in the possibility that all faiths have different interpretations that are not entirely right or wrong.

At this point in my life, I am at a crossroads. My many experiences have shown me the best and worst of people. This has led me to be more understanding and empathetic of people of various faiths and backgrounds. The one thing I have yet to understand, however, are those who use religion as a tool for discrimination and closed-mindedness.

I try to rise above it. Everyone has their own beliefs and wish to respect them all. I just wish people could be more open-minded. I grow frustrated with those people who believe that most of the world is probably going to hell. There's got to more to faith than that, right?