PROGRESSIVE METAL

For once I won't give you the idea of breaking down the titles one by one, no, the album lasting an hour and ten minutes I swallowed it in one go; no I won't tell you if one or the other piece has that little extra, just that you have a few landmark islands, a few masterpieces that make you take off and go very far, but that each title reinforces the lasting impression of having in the hands, or in the hard drive, a major prog metal album of the year 2023, nothing more. Only one piece of advice, listen to it, listen to it and capsize on this.... opus which ultimately bears its name aptly. It's been a long time since a group took me this far.

For me "The Universal Migrator" and "The Human Equation" are one of the best albums ever made and definitely those that made me fall head over heals in love with Arjen Lucassen's music. Therefore I had truly high expectations when "01011001" came out. However, the first impression wasn't what I had hoped at all. For one, the title sucks utter crap and the cover art is pretentious at best. Fortunately it so happens that this is a diamond in the ruff, for behind the ugly exterior it lays a true treasure.

There are many reasons why I find this album to be a masterpiece. First of all it is performed by the strongest line-up ever to be seen on a metal album, secondly the song material is pure awesomeness and thirdly it has the purest and most wonderful production. When I first examined the line-up I was very pleased to find names like Jonas P Renkse, Jorn Lande, Hansi Kürsch (Blind Guardian), Tom S. Englund (Evergrey) and Daniel Gildenlöv (Pain of Salvation) which are all great singers, but the unquestionably best recruit in my book is my own personal favorite Anneke van Giersbergen (ex- The Gathering) who totally owns this album. What wonderful vocals which incidentally fits perfectly with this futuristic progressive metal soundscape!

In the end, one must however admit that the line- up wouldn't have been something to cheer about if it wasn't for the songs, or should I say conceptual journey, this album has to offer. The red thread shines clearer than ever before and makes Tobias Sammet's attempts to create metal operas seem like something carelessly wrapped together (which they for the record are not). The material is varied but at the same time glued together with perfect execution and if it had contained a few more heavy parts, like on the opener "Age of Shadows", it would have been a full pointer if I've ever seen one.

In the end I would say "01011001" is quite on par with "The Universal Migrator" and "The Human Equation", making it one of the best concept albums in the history of metal!

"Servants of Shadow-New Dawn" is a perfect introduction, a rising sun of sequencer-crazy synthesized rays shining through the power chords, rustling into an ever-growing atmosphere, the temperature rising into a new sunlit universe. It also features a keyboard solo from the afore mentioned Vivien Lalu as he duels with Scott, whipping up quite the Hillage-era Gong frenzy. From that moment on, the journey truly begins with a thrilling vocal from Scott Oliva on "Before the Fall" and its choppy/twirly fretboard flurry that will 'open your eyes'. On the flowing "Siren", bubbly synths introduce Nina Hirten's sophisticated voice, acting the part of a bewitching call from the sea, while Scott agitates the throttle into a colossal vortex of spiraling rhythms and leads, as the tension ebbs and then rises like the tidal waves of a nocturnal ocean.

The instrumental masterwork that is "Vast and Infinite" was the exact moment where I really fell under the spell, a moody bass sea serpent slithering along, egging on the other instruments, bright colliding electric guitar expanses merging with the sleek synthesizer colourations in a seamless delivery that fears no reaper, elevating the grandiloquence to epic heights. Thunderous track. Pablo Zuccala handles the microphone on "Closer to the Edge" (pun intended?), with an intricate delivery on a more conventional metal piece, yet still adorned with a fair number of varietal inflections. On the mystical instrumental "Obelisk", the arrangement deviates once again into sonic realms that underline a keen sense of discovery, a highly cinematic platform with contrast, brightness, and balance, tossing some awe-inspiring shifts and technical prowess. Think 'La Villa Strangiato', from the three Canadians proggers.

"Man Clothed in the Light of the Sun" slows down the frantic pace into a somewhat calmer expanse, still threatening in the background, but definitely moodier and more inquisitive, with the focus clearly on the synthesized melodies. A welcome continuation in the onward trek, heading to the title track, where vocalist April Rach seizes the sonic rains with a clever display, as Scott unleashes a torrent of sizzling notes that scour the mind with echoing conflicts. The epic 9 minute + "No Turning Back" is perhaps the highlight of the night, an unhurried, well-structured aural evolution with a cosmic introduction, and the return of Pablo's exalted voice as the haunting choir raises the hair on the extremities. The angelic mid-section is like a mandarin fantasy, an oasis of sweeping synthesizers conjuring a series of flickering mirages in a mind's eye, Scott's glittering fretboard solos becoming the only possible salvation. The accelerator pedal is pressed back into action, returning to another vocal expression that finishes on an ideal extended note. No turning back indeed.

The Aztec god of death "Mictaltecuhtli" governed the underworld, here presented as a skull-fracturing assault on the senses, owl feathers swirling, broken bones, and death-defying leaps into the unknown. Nina returns on "Distant", her superlative vocals spent on long haunting notes within a suavely sung melody and a more accessible, almost gothic structure. A great segue into the final number, the resplendent "Event Horizon", where an electronic arrangement sets up the increasingly fizzy guitar slashes, bubbling into a tornado of shimmering dust, a tranquil disclosure of perception and a truly magnificent culmination.

On the whole, the instrumental parts are all top notch and original, in that its not the same riff repeated ad nauseam, with attention to flow, and intensity, melody and technique. I really enjoyed all the vocalists, as they all differed from the other, a most welcome diversion.

4 brain cyclones

"You've always had complete control, Never thinking twice. You always called the shots, a heart as cold as ice".

When the man recovers part of his conscious, he is completely unaware of everything around him, and doesn't remember what happened. The first sentiment to appear is Fear, telling him "You're alone, no one here is dancing to your tune". Fortunately, his Reason is confident. But Passion is tuned much more to Fear and Agony.

His best friend is there by his side. [Best Friend] "No, I can't seem to accept these strange conditions. No matter what they say, it doesn't feel right". And so is his wife. "[Best Friend] Do you think he'll die? [Wife] I don't think he will".

But the man is alone with his thoughts and feelings, he doesn't here them, and don't even know they exist. Is it possible to face such extreme situation without external psychological support? How to deal with these questioning and pressing internal voice(s)?.

[Agony] "Surrender now, You can't beat death at his ruthless game. Make your bow Hang your head in shame. I am pain. I am real. I'm not a dream. I'm the chain around your neck as you scream".

"[Me] I can't believe this is the end. [Agony] It's written in stone. [Me] Where are my friends? [Agony] You have always been alone!"

The sentiment of Love is very strong. [Love] "You'll find me here whenever they oppose you. I am the strongest of them all No need to fear these feelings that enclose you. I'm here to catch you when you fall [...] You're not alone, I am here dancing to your tune".

How many of us has this confident and robust love to sustain hope on extreme moments? The love for yourself; the love to live.

It's about time I explain that each track is one day of this chronicle; or some events of each day. On fifth day he starts to listen to the voices around, but don't recognize them. However, what they say doesn't make any sense.

On the following days, you, the listener/reader, gets to know more about his story and the story of some of his feelings. Rage is born very early on his life, because of his Dad's pathological competition: making it clear he was better than him, and making him feel embarassed when exposing weakness. School has taught him some knowledge, and also developed his pride to be determined and spiteful. Because other boys mocked and beat him. On these moments Reason wasn't able to make him ponder the contexto and the use of violence.

"[Pride] See that kid, wipe the smile off his face. [Reason] He's just like you, feeling out of place. [Pride] I don't care, let's show him who's boss. [Reason] That's not the way to get your message across".

On the 10th day of this struggle, even though he demonstrates no reaction or change in this clinical status, his best friend and wife keep talking to that inert body. They don't know if something's going on inside him. Medicine, therefore Science, cannot explain why there is no worsening nor improvement. Both remember moments of love, hapiness and overcoming.

Best friend and Pride: Do you recall that day Fearlessly we climbed the highest tower

Wife and Love: Then you became afraid To scared to climb down you stayed up there for hours!

Passion recognizes something here: "Can you see her light, shining through the black. She's reaching out to you; what's holding you back".

Reason also finds an opportunity and direction now: "Can you feel her warmth glowing on your skin?! Don't repress the memories, let them all in..."

When we think or talk about illness or death, it's almost aumtomatic that the first reaction of our imagination is to picture the body in a war against some disease, and/or the aging of the organismo. But the lyrics on this album, at this point, can lead you to another perception about this process. Perhaps there is also, or maybe exclusively, a psychological conflict; after all, "there is nothing physically wrong", according to the doctor. From the "dark crypts of his soul" the foundations of some of his feelings resurface. Emerging from her mother's isolation after her husband's departure, Agony develops roots: "She went through a life of deprivation. She depends on you, her only son."

After her passing, the ghost of this maternal image and tale remains in the shadows of Fear: with her voice crying out "Where were you, son, when I needed you? Is this your thanks for all the warmth I gave you despite my suffering?"

By this moment in my analysis, it seems coherent to say that the story is not continuous, much less linear. Nor is it completely clear at what time, or from what period, the events are being exposed. I appreciate this approach and method. First, because of the challenge it represents, and second, because it forces the reader/listener to pay attention and think about possible connections and meanings to put the pieces of the puzzle together. There is also another possible advantage to this approach: it can leave some questions, statements and narrative lines open. Well, in the last tracks the lyrics fulfill the function of tying up some loose ends. It was the choice of whoever composed the lyrics - I didn't particularly like it.

On the 17th day the track is called "Accident". It's when the wife reveals, after a period of denial in the face of the "hero's" questionings, that there was an exchange of affection with his best friend. And he, in turn, who was jobless and alone, also gave himself to her. The lyrics in these tracks converge to defend, even in the face of this situation, this tension, an optimistic vision of love. Because after a series of outbursts from everyone, the hero returns to life, willing to love his wife. Happy end.

This is truly a fabulous, full-bodied, intense and profound story about the ways to consider the complexity of human being's and relationships. Top-notch. 4.5 of 5 stars.

Not having gotten the mellowness bug fix quite satiated on that album, FRIEDMAN returned two years later with his next excursion into the world of new age ambient flavored music only taken to the next level with several additional musicians and an upgrade in the compositional fortitude. INTRODUCTION came out at the end of 1994 pretty much released simultaneously with Megadeth's "Youthanasia" album and once again featured fellow band member drummer Nick Menza in the percussionist's seat.Along for the ride were pianist / keyboardist Brian BecVar and a few classical musicians including Sachi McHenry on cell, Charlie Bisharat on violin and Nick's father Don Menza playing the Japanese woodwind shakuhachi who himself was a famous saxophonist as a member of the Buddy Rich band as well as playing with Elvin Jones and Louie Bellson. The end results followed in the footsteps of "Scenes" but INTRODUCTION was a completely different type of album with only a quiet, calming placidly shared as the commonality. FRIEDMAN claims most of the music was written during his endless flight schedule and created so he he could listen to it in order to pacify his hatred of flying.

Defying any true categorization, INTRODUCTION came off as some sort of progressive post-classical minimalist new age lullaby album with intricate melodic developments borrowing an idea or two from traditional Japanese folk musical forms as well as incorporating traditional pop techniques of the American 1950s. The album featured eight distinct tracks that added up to 42 minutes of playing and basically revolved around a catchy intricately deigned melodic flow that implemented the creative use of timbres and musical cadences as the primary methodology of spicing everything up with extended compositional build ons to simulate a verse / chorus / bridge style of compositional flow. The music was sparsely decorated with various pairs of instruments showcasing subtle variations in the same recurring melodies that retained the lullaby effect whether the music delivered an atmospheric new age moment, Western classical minimalism or the occasional moments into the world of guitar based rock that featured the bass and drums with an occasional guitar lick erupting into virtuosity.

The piano based opening "Arrival" sets the stage with alternating parts that allow the music to reprise the same melody only set to differing instrumentation and dynamic shifts. The tracks that follow all offer distinct personalities that showcase FRIEDMAN's virtuosity delivered in impressive finger-picking skills that culminated the most complex Italian inspired melodies on "Mama." The creative drop in and drop out effect of the Japanese flute, the violin, cello, piano and rock parts maintained an unpredictable framework within the overall continuity of the melodic process with a few moments of time signature deviations added for the element of surprise. "Bittersweet" began with a detached Japanese flute that slowly ratcheted up the melodic deliveries before with a lugubrious orchestral effect slowly upped the intensity while ultimately culminating in one of the most impressive clean guitar picking solos on the entire album.

"Be" on the other hand begins as one of the most placid tracks of the lot only to make a complete shift into the world of rock with the most dynamic electric guitar workouts on the album. "Escapism" on the other hand nurtures a brilliant compositional flow only to feature an extended improv in rancho relaxo mode only with clever guitar licks offering soul piercing note bends and FRIEDMAN's obvious deeper connection to the very essence of melody itself. As the album progresses each and every track only offers an utterly instant ear worm with Japanese inspired melodic hooks with MARTY's most tasteful of guitar bends that sound like their narrating a greater tale behind the scenes. The album culminates in the rather distinct sounding "Siberia" which offers guitar tones and drumming techniques not heard throughout the album. The album delivered all the compositions in surprisingly good taste while maintaining a basic new age placidity without really falling into that world whatsoever. This is the kind of intricately designed mellow music that Buckethead has been striving for for decades and never even come close to the sheer genius of the compositional fortitude laid out on these eight outstandingly beautiful tracks.

Fearing that he was alienating his fanbase completely at this stage, FRIEDMAN would never release these kinds of mellow albums again with future albums returning to the heavy metal basis for shredding and general songwriting. While this album may sound like an absolutely disastrous proposal it is pulled off with so much class it brings tears to my eyes when i experience it. The tasteful use of melodies and how they are forged into a unique compositional wholeness evokes the world of the classical musical geniuses of yore and FRIEDMAN after proving his top dog status as one of the top neoclassical and thrash metal masters of all time displayed how his talents went well beyond such confines of heavy music. This is an album i always think i'm going to outgrow after many years but every time i put it on i'm really just blown away like a was the first time i heard it. If i had only one complaint about the entire album it would be the lazy drumming techniques on the rock oriented sequences but even then they don't distract from the overall goal. This is an all-instrumental affair with only the beautiful track "Luna" offering an uncredited female voice narrating some poetic prose in the Japanese language thus showcasing FRIEDMAN's fascination with the Japanese culture almost a decade before he would permanently relocate there. Pure genius this one!

"Digital Noise Alliance" is the fourth La Torre fronted Queensrÿche studio album after he replaced Geoff Tate in 2012, and it further cements the musical direction which Queensrÿche returned to after they fired Tate. The last couple of Tate-fronted Queensrÿche studio albums weren´t well received and many fans felt that the band were going through the motions...and in retrospect that´s probably exactly what was happening, and change was needed and ultimately happened. The 2013 eponymously titled "Queensrÿche" album introduced a more power/heavy metal oriented style, where it was obvious that the band were searching for a sound closer to their late 80s/early 90s heyday, and with the new energy and strong vocals of La Torre they arguably succeeded in giving the fans what they had been craving for a number of years. Melodic and catchy power/heavy metal with an occasional commercial edge, but still not mainstream in a pop/rock fashion.

Since then they´ve continued down that same path and with a couple of more good quality studio albums under their belt with La Torre fronting them, it´s no surprise that "Digital Noise Alliance" is more of the same high quality melodic power/heavy metal which Queensrÿche have been exponents for in the last decade. La Torre is still an expressive and skilled singer with a voice which sounds like a combination of Geoff Tate and Bruce Dickinson (which are definitely not the worst singers to be compared to), and the band are as well playing as ever (lineup changes or not). This is sharp, melodic, catchy, hard rocking, and clear sounding power/heavy metal, which is packed in a detailed and polished sounding production, which suits the material well.

It´s maybe a bit too nice sometimes and I´d love to hear this incarnation of Queensrÿche really let loose and cut some of the polished production values and atmosphere enhancing keyboards. When they are most raw and heavy metal oriented (like the verse section of "Sicdeth" or the heavy riffs and rhythms on "Behind the Walls") they sound incredible. On the other hand they are still masters of producing beautiful harmonies (both with guitars and vocals) and it´s a big part of their sound, so it wouldn´t be Queensrÿche without the melodies and the polish.

Upon conclusion "Digital Noise Alliance" is another good quality power/heavy metal release from Queensrÿche. There are no surprises here and if you enjoyed the last couple of albums this one will be right down your alley too, and that´s maybe the only complaint I have with latter day Queensrÿche. Their will to experiment and try out new things are pretty much gone and although they arguably produce high quality music, they´ve locked into a groove now and their albums sound a lot alike. A 3.5 star (70%) rating is deserved.

(Originally posted on Metal Music Archives).

"Tyranny" is a concept album release in two acts, which are subdivided into shorter tracks. Each act features 7 sub tracks. The plot of the concept is a conspiracy story involving a love story and covered up government weapons sales. Several times throughout the album I´m reminded of Queensrÿche´s "Operation: Mindcrime" (May 1988) album. Not only the conspiracy concept story, but many of the musical elements also point towards mid- to late 80s Queensrÿche. Hell...although not completely alike, lead vocalist Mike Baker even has a voice and a singing style which sometimes almost mimick Geoff Tate. Dream Theater is an influence too, but that influence is mostly heard when Shadow Gallery let go and play some technical instrumental parts, which they actually don´t do very often. They predominantly have a more vers/chorus oriented songwriting approach. Savatage is the last influence I´ll mention, and that´s because Shadow Gallery often take their music in a Broadway/theatrial direction, and sometimes "Tyranny" can almost be labelled a rock/metal opera.

With the influences out of the way, which should give you a good idea of what Shadow Gallery sound like on "Tyranny", let´s talk about the quality of the material featured on the fourteen tracks, 73:53 minutes long album. Shadow Gallery may wear their influences on their sleeves, but they are a brilliant band. You´ll hear many high level musical performances on this album. Blistering lead guitar work, the strong and well performed vocals by Baker, a tight playing rhythm section, and keyboards/piano which suit the music. Personally I would have chosen some more tasteful and less plastique sounding keyboards, but that comes down to personal taste.

The songwriting is strong and memorable and if you can look past (or maybe even enjoy) the saccarine ballad "Broken" and the awful honey dripping male/female duo ballad "Spoken Words", "Tyranny" is quite the brilliant release. They´ve taken the great elements of "Carved In Stone" and have built on them, ultimately creating a more complete release. A 4 star (80%) rating is deserved.

(Originally posted on Metal Music Archives).

Using the concepts of love, fear and their connections with the past and the future as leitmotifs, the Poles develop clean and unsaturated atmospheres, with several points of intersection with respect to Steven Wilson's Porcupine Tree, such as the melancholic 'Lost (Why Should I Be Frightened By a Hat? )", which from Michal Lapaj's initial Hammond adds nuances up to Piotr Grudzinski's brief and heartfelt solo, the restful and naked "Afloat" with the almost invisible Hammond and Duda's arpeggiated acoustic guitars, combined with some more accessible pieces such as the expeditious "#Addicted" and the new wave airs of "Discard your Fear".

In an album that rarely pushes the accelerator, the highlights come from the longer tracks: the excellent instrumentation of the plaintive 'Saturate Me' with a good guitar riff by Grudzinski and Lapaj's keyboard curtain, and the nostalgic 'Towards The Blue Horizon' with its incisive arpeggiated beginning, Duda's confessional sobs and an intensity that goes back and forth between acoustic developments and dramatic mental landscapes. One of the album's best.

The final section rounds out the overall concept, with the hopeful, unplugged 'Time Travellers' and the uplifting 'Found (The Unexpected Flaw Of Searching)', a clear counterpoint and optimistic reference to the opening 'Lost (Why Should I Be Frightened By A Hat?)'.

Although it misses a greater participation of the riffs and solos of the excellent guitarist that was Grudzinski, relegated to the benefit of more glacial and less harsh melodies, 'Love, Fear, and the Time Machine' comes out ahead because of the solvency shown by the band in the exploration of new paths.

3.5/4 stars.

Disregarding my above disparaging of the current year, Voidkind is a legitimately good album. Dvne's sludge metal roots have gone in a more atmospheric, post-metal-type direction. Normally, I'd be a bit wary about that?unless it's preceding the word "punk," the prefix "post-" is often an indicator there's a higher risk I'll be a bit bored?but the songwriting is smart, and the playing is crushing and dynamic.

The album kicks off with "Summa Blasphemia", and it's got an immediately-engaging rolling rhythm. There's something slightly askew about the meter, and I really like the band's guitar tones. As the song builds to its climax, there are some subtle but powerfully effective atmospheric touches that add to the drama and impact.

"Eleonora" has a jangly, tense arpeggiated opening. The vocals here are more delicate and match the nervous feel of the unconventional guitar line. Dvne does a great job of building the intensity of this piece across its nine-minute runtime.Things quiet down around the song's midpoint, and there's a lovely, jazzy little bass groove that keeps this cut moving. 

Things explode into high gear immediately on "Reaching for Telos". The vocals are a little post-hardcore-y for my taste, but the underlying composition is clever and satisfying. I'm also a big fan of the quieter moments; this band does a great job at weaving together guitar lines in a way that feels purposeful. "Reliquary" keeps the high-octane momentum of the previous cut going, and it features more smartly-tangled riffs and licks. Bits of doom metal crop up here, and that sort of variation is appreciated. Atmospheric sludge is a genre that can become samey to my ears quickly.

"Path of Dust" is a 90-second breather of quiet guitar that serves as an introduction to "Sarmatæ", where distortion blasts back to the forefront. There's a vaguely-Middle Eastern vibe to the guitar parts, which I like a lot. It builds to an especially strong apex, with guitar and bass anxiously jumping around each other. "Path of Ether" is another 90-second interlude. It functions as a necessary breather, but it probably didn't need to be 90 seconds.

Another impactful riff gets things going on "Abode of the Perfect Soul", and it's around here that I was finally able to articulate why I often struggle to really enjoy bands like Dvne. In isolation, these songs are all good, but I usually listen to whole albums at once. There is something of a limited sound palette, and song after song after song of this can lead to things bleeding together. None of the songs on Voidkind are bad. They're just kinda similar. And this is one of the more distinctive songs on the album. There's a ton of dynamism, varied riffs, and vocals in different styles. It's probably my favorite on the record.

"Plērōma" slowly fades in, and it's not my favorite cut. Something about the vocals?especially in the chorus?rubs me the wrong way. This cut is a bit major-key for my taste, and it doesn't really suit the band's style too well. The bridge, though, is strong, with more subtle and creepy atmospherics.

Voidkind ends with the ten-minute "Cobalt Sun Necropolis". After a slow, ringing solo guitar intro, the verse has a determined, marching feel to it, with an emphasis on the melodic, multilayered vocal performance. As with elsewhere on the album, there's a good, natural build in this song.

Dvne's newest album is pretty good. I don't think it's sonically varied enough to justify its hourlong runtime, but aside from "Plērōma", there are no obvious songs to cut. If you're looking for some sludgy, post-ish prog metal that blends pummeling distortion and lighter melody, this is a strong choice.

Review originally posted here: theeliteextremophile.com/2024/04/29/album-review-dvne-voidkind/

The sound of this album does not diverge too much from what the band did in the beginning of the decade with 'Rise Radiant', their pandemic album, whereas a stronger djent influence was becoming more prevalent, focusing a lot on technique and resulting in a more compressed and massive sounds, in comparison to their cleaner and more "stripped" dynamics from before (2015-17). It has to be mentioned that the vocals are as good as always, Jim Grey is undoubtedly a very powerful vocalist who is able to elevate the compositions and bring them a very eerie, majestic and emotive edge. Sam Vallen displays his signature guitar sounds serving the band just perfectly, while the rhythm section is mostly entirely delightful and well-done.

It is the compositional aspect of the tracks on 'Charcoal Grace', however, that seems to have been overshadowed by the more technical approach, as the two tracks bookmarking the album (and clocking in at ten and twelve minutes respectively) get slightly diluted over the course of their playtime, as if there was not a clear direction or a clear vision of where these songs should arrive. Surely they are packed with graceful riffs, intense hooks, and gorgeous vocal melodied, but they seem to be less focused than previous longer compositions done by C-Horse, who had cemented themselves as masters of suspenseful heavy progressive music, always leading you to a very powerful climax through the band members' manifold creative ways, as they had perfectly achieved that with 'In Contact'. This aspect of their music seems to be mostly missing here.

It is recaptured mainly and seemingly in the shorter tracks like 'Golem' or 'The Stormchaser', two highlight tracks. The title track, dissected into four pieces, as ambitious and powerful it may seem, fails to leave a lasting impression of a strong, oriented epic song, perhaps missing a very recognizable and memorable underlying thread or theme, perhaps being occasionally overplayed. While it has its highlights, whether it be the beautifully intricate introduction to 'Prey', or the acoustic tranquility of 'Vigil', or even the chorus build-up of 'Give Me Hell', it is too fragmented, which could also be why it was presented as four tracks rather than a continuous long piece.

In essence, 'Charcoal Grace' is a good and strong album, nicely ornamented, but mostly lacking the punch and focus that the band's usually got, and it will probably go on to be one of the more polarizing releases by Caligula's Horse.