The Benja-man Is Verbose

Much like with the previous record, I don't have any particular preconceptions going into  Mr. Bad Example  or any real sense of its reputation.  I think Zevon was by this point firmly a has-been who'd never be a megastar again, his former cast of millions reduced to longtime friends and collaborators like Waddy Wachtel, who produced and is all over the guitar work.  I think Zevon was also by this point firmly a critical darling who had a devoted cult audience that he probably didn't properly appreciate.  And of all of his albums, our 1991 effort here is firmly one of them. Track One:  "Finishing Touches" This is increasingly becoming the song to which I look forward to coming back whilst exploring the record.  True, I sometimes complain about one-riff songs.  All I can say is that I'll forgive a lot for a really, really good riff.  On that backdrop we have Zevon in articulate bitter mode, with yet another classic opening line ...

As complex and unusual as the music gets, I always come back to the vocals.  Here, I mean (although also in general).  Vocals are what make  The Shadow Cabinet truly unique.  (I assume Erik Ravn is the main vocal force here, my apologies if I misidentify someone else's goofy voice as his.)   [EDIT:  This what happens when a newb tries to listen to something about which little info is at arms' length.  An earlier version of this post just went on like that, crediting Erik for most of the vocals.  Apparently the main man on the vox is actually Nils Patrik Johansson, who joined WH in 2003, also known to people who are not me for his work in the bands Astral Doors, Lion's Share, and, later, Civil War.] You hear musical theater performances from non-metal people - stage actors, but rockers like Meat Loaf too - elsewhere, and you hear metal guys strain their voices trying to hit notes outside of there range elsewhere.  What you don't get...

Prior exposure to this band/record :  Nada.   When I first started blogging about music, the premise was that I'd "react" (think of a text-based and less engaging version of the YouTube semi-professional "reactors")  in some simulation of real time.  That way, my reader * could trace the evolution of my relationship with a work of music.  I've moved away from that to a degree, ** but I do hope that these early-impressions posts do capture an interesting moment in time in which a listener hasn't totally absorbed the music yet.  On this occasion, I'd like to work through, as best as I can remember, my basic reactions to  The Shadow Cabinet . First listen, part I (tracks 1-4, while walking) My big summary statement upon starting the first track was "I was not prepared for this!"  I keep expecting folk-metal to be gentler or more lilting, but clearly Wuthering Heights are aggressively metal first.  The keys, used mostly for bombast, got my ...

Unlike pretty much everything that came before it, which has a bit of a reputation ( Sentimental Hygeine  as the one with R.E.M., the sober record, the revival after a down period, etc.) I didn't have any particular expectations coming in to Transverse City  other than some off-peak Zevon.  We're fully mired in the period that's only for the die-hards, where Zevon just wasn't on the world's radar.  He still made music, though! Track One:  "Transverse City" I'm not much of a fan of a lot of things about the '80s, and although some great music happened there, the decade-specific pieces of the overall audio aesthetic rarely fail to make me cringe. *   To me, "Transverse City," both the song and the record, get off to a bad start with the first sound being synthesizer.  Sure enough, synths soon envelop everything, with the analog instruments struggling to get heard.  That type of sound, which I guess once sounded slick and futuristic (especia...

So here I am once more, in the playground of the broken deadlines.. I kinda like that it worked out that there'd be so long between posts #1 and #2, as though I needed days upon days to absorb the record or something.  To be clear, the entire gap since my last blog entry was not, in fact, spent digesting and thinking about  Temple Of Shadows .  (Lots going on, didn't get to listen to any music of any kind for a whole two weeks at one point.)  However, there's a little truth to the idea that this one needed some extra time to percolate.  I have in my head the unwritten rule that if something is proggy enough, it's going to take me one or two more listens compared to a less proggy record to understand it at exactly the same level.  I instantly identified  Temple Of Shadows  as a possible grower. Now, what exactly is and is not "progressive metal" is not a line in the sand that I'm particularly interested in drawing.  However, of the power ...

Prior exposure to this band/record:  Not much.  It's only after I decided to deliberately explore power metal that I heard any Angra songs.  Based on a few listens, I don't get "Angels Cry" (the song), whereas I kinda dig "Carolina IV."  I'm not sure exactly how I'd heard of Angra before that, but I know I knew the name, because it's hard not to.     To be clear, I have no context for the scene they came from; they're one of only two non-Sepultura Brazilian metal acts I can name off the top of my head. *   I don't even actually remember why I picked  Temple Of Shadows  as my representative Angra record; it seems to be a fan favorite and it probably ranked high in Metal Archives when I was browsing.  Most people doing "intro to power metal" lists seem to favor material from when the band was introducing itself to the world - either  Angels Cry  or  Holy Land .  Well, whatever, this is the one I'm writing abo...

I think in previous entries in this series I've established my basic peccadilloes - I like just enough of a veneer of sophistication to keep me entertained whilst I grab on to a big catchy hook.   Epica  doesn't quite fit that, falling more into the category I summarized in the last post - pleasant swells of music that don't leave much of an impression.  I keep wondering if it's going to grab me, like the afternoon I found myself humming a bit of "Farewell" at work.  I consider it a triumph that I can kinda, sorta, remember how that one goes, although all I remember is the vocal part.  "The Mourning After" makes its way into my head fairly often through sheer repetition, but I don't know if that really counts as catchiness so much as just having heard the main lyric three times as often as in most other songs.  The rest... mostly drawing a blank.  Why aren't the songs - songs that, almost universal...