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ALTURA

Progressive Metal • United States


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Altura biography
ALTURA is a North Carolina band consisting of Jeremy Osbourne (bass), Franklin Ervin (guitar), Chad Gibson (drums & percussion), Jason Lingle (keyboards & vocals) and Rain Irving (vocals). They played local clubs in the early 90's, gathering a loyal fan base. A 5-song demo recorded in 1995 got the attention of Magna Carta's producer Robert Berry, who brought them together in his California studio and produced their first album in 1996. For some reason, however, the band then vanished from the proverbial prog scene, never to be seen again.

With ALTURA, Prog Metal was given a new face: although their style is very similar to DREAM THEATER, it is less heavy and more melodic - something like a lighter, more mellow version of FATES WARNING but heavier than ENCHANT. There is power to this music, which features lots of technical prowess and heavy outbursts (the vocalist will undoubtedly remind you of James LaBrie of DT). Their only CD, which has a very polished sound for a debut album, alternates between intricate, technical passages and melodic choruses, with heavy riffs and softer, sometimes a bit jazzy or spacey interludes. You'll hear lots of chops but also feeling and intelligence through out.

Fans of DREAM THEATER (circa "Images & Words") as well as SHADOW GALLERY and QUEENSRYCHE buffs will definitely enjoy this music, but so will those of you who normally shy away from typical, heavier Prog Metal stuff.

: : : Lise (HIBOU), CANADA : : :

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Buy ALTURA Music


MercyMercy
Magna Carta 1996
Audio CD$1.98
$0.49 (used)
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ALTURA discography


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ALTURA top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.18 | 14 ratings
Mercy
1996

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ALTURA Reviews


Showing last 10 reviews only
 Mercy by ALTURA album cover Studio Album, 1996
3.18 | 14 ratings

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Mercy
Altura Progressive Metal

Review by Monsterbass74

4 stars A good grab is you want a break from DT.

A great grab if you want to hear good Prog Metal that is not DT.

Why do I like Altura's "Mercy" so much? It's rare enough, nieve enough, and not overly metal. It has more of a hard rock leaning. It has great moments any DT snob can enjoy and not feel threatened by... plus good enough to have a non-DT fan enjoy it for it's prog outbursts and "light but not wimpy-ness" like the band Enchant. "One By One" is great but I think "One Dimension" is the strongest song on the album. Very varied, cohesive, and extremely emotional. "Alternate Lines" gets heavy. "The Continuum" is instrumental. The album as a whole deals with strong emotional themes: growing up. Some deal with the topic of drowning and being lost in who you are. Some deal with fear. Some being stagnant or in "living Limbo". Some about learning and overcoming predetermined limitations. Very heady for a prog metal band.

The singer is much more emotional than you would think. His has some limited range... there is no screaming or shrill wails. Just proper, well sung, in tune/range tenor vocals... unlike Steve Walsh, who's a "belter"... or Brie cheese who's a bit nasal and weak.

The keys are quite good. Busy, active, and some real Hammond in a few parts! Sweet!

The drummer isn't too busy. He does a great job. His kit is quite crisp, live and open.

The bassist is nimble, holds it down, plays a 5 string, and is percussive and audible. Some little slapping in some parts. The tone is very basic and sterile. It could have been tweaked.

There isn't too much to say about the guitar. He's quite good, smooth, and he doesn't shred... thank God.

DT might have defined the genre after Helloween made "Keeper Pt II", when Fates Warning did ANYTHING, and when Queensryche did "Mindcrime"... these to me are the definitive first true Prog Metal lords, but Altura has it's own to offer. One that does not pound your head. One that does not great on you.

I hate the fact that DT must be mentioned when reviewing this album or other prog metal acts. As far as Prog Metal is concerned, I dislike that genre because of DT's status. It ruined the fact that when you enjoy bands they are always in the back of you mind because EVERYONE mentions them and uses them as a ruler, a guide, or as the friggin' gospel.

Thank you, Altura. It's a great listen. 4 solid stars for metal heads 3 for non metal lovers.

Oh... the lead singer, Rain Irving, has a solo project. Look him up.

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 Mercy by ALTURA album cover Studio Album, 1996
3.18 | 14 ratings

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Mercy
Altura Progressive Metal

Review by The T
Special Collaborator Honorary Collaborator

2 stars ALTURA's first and last album doesn't really reach great heights with me (pun intended).

What we have here is another band just like label mates (at that time) and also-extinct LEMUR VOICE: a group whose main influence is, clearly, DREAM THEATER, and which at moments just can't find a sound of their own.

Just like their Dutch former label mates, ALTURA has no strong character. The music is not really exciting or interesting, and even though they display a good amount of playing skills in their instruments, it feels as if the band members weren't doing it with a lot of passion. The music lacks punch, lacks energy, lacks blood.

Of course, as every DT-student has to, ALTURA creates some difficult songs with sudden tempo changes, instrumental sections of long duration and solos and musical figures that prove that the musicians here are not new to their respective instruments. The problem here is not only the lack of originality (there are other bands that, while not entirely original, make more entertaining music), but the weak songwriting. With music that is not really unique, we should at least expect good melodies and choruses that make us want to sing aloud. Sadly, that's not the case, as most of the tracks in "Mercy" are difficult to remember, not so much for their complexity but for the absence of spirit, of a driving force that would turn run-of-the-mill progressive-metal songs into prog-metal anthems. There are bands that have achieved this without being overly original. ALTURA didn't.

The music, as said before, has strong resemblances with the art of DREAM THEATER but we can also hear other influences in the mix, mostly FATES WARNING, especially in the playing of Chad Gibson, drummer, whose style is similar to that of Zonder, and in the vocals of Rain Irving, which at times remind us of the powerful voice of Ray Alder. The rest of the musicians are accomplished but forgettable. The solos are great, yes, but just from a technical point of view. I can't seem to remember one that made me grip my heart like many other solos, even very simple, easy ones, do.

The recording doesn't really help. On its early days, Magna Carta was home to some good bands who had to suffer atrocious recordings (SHADOW GALLERY, MAGELLAN). Here we have a not-so-great band that has to endure a mediocre production: not terrible, but it lacks the spark, the fire to make the already weak music stand out.

All in all, a decent but entirely forgettable progressive metal album. There are great bands that play in DT's style. ALTURA, at least on this album, weren't great. It seems they had "Mercy" on us and ceased to exist afterwards.

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 Mercy by ALTURA album cover Studio Album, 1996
3.18 | 14 ratings

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Mercy
Altura Progressive Metal

Review by Cesar Inca
Special Collaborator Honorary Collaborator

4 stars Oh, how great was and still is the influence of DT on many new bands that came out during the mid and late 90s! Altura was one of those bands, with the plus of managing to handle that influence creatively and with some clear signs of originality: such a pity that it was so ephemeral. In a time when the Magna Carta label was very prolific, Altura delivered "Mercy", an astonishing album full of muscle, craft and genuine emotion. The repertoire comprised here is no less than attractive, many times reaching the exquisite. As true as it is that there's lots of metallic force in their performances, it is the clever interplaying and the solid use of textures that makes this album particularly distinct. There's also plenty of complex rhythm patterns and mood and tempo shifts, all of them performed with unbelievable precision and compelling energy. Regarding this particular point, a special mention goes to Gibson's immaculate drumming (clearly inspired on Peart and Zonder); a very special mention goes also to Lingle's superb solos and orchestrations on keyboards, which make him the main focus of the instrumental section. The presence of guitar is less predominant than on your regular metal recording, but again, it is Ervin's choice to remain a bit subdued and focus more profusely on riffs and harmonies in company with bassist Osborne. Meanwhile, Irving's vocal range and style help to build an air of emotional drive when conveying the meaningful lyrics, mostly focused on introspective items. The well constructed melodic lines that lie on the base of all songs helps the band to avoid mere frontal pyrotechnics: the musicians' abilities are displayed for the benefit of the songs themselves. The namesake track kicks off the album with the sound of an electric storm counterpointed by shattered glass, then the music begins with full splendour and passionate fire. The same fire is perpetuated in the next two songs, which are among my favourites of the whole record. The ballad 'Horizons Fade' brings the listener a gentle breeze of melancholy, something like a mixture of Journey's melodic vibration and classic Genesis' eerie romanticism. The 2+ minute long instrumental 'Continuum' displays a sonic collage of diverse musical ideas performed with fluid ease and cleverly administered excitement. The closing 10-plus minute track 'Alone' shows Altura at their most epic, bringing back the melancholy of 'Horizons Fade' while refurbishing with prog pomposity. Once you get to know and enjoy this CD, you can only regret that this was a one-shot recording: the listener's only consolation, as an old Spanish adage states, is that "a stone gives you less than that" (meaning: none would have been even worse). The bottom line is: this is a great album that should not be overlooked, let alone left forgotten.

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