THE BUTCHER'S BALLROOM

I really am shocked, 'coz my review is going to be the first written one!

Okay, let's get down to it. First of all, this is not Avant Metal in the form I know it. DIABLO SWING ORCHESTRA is a good and accessible Symphonic Metal band, with female (mostly) and some male screamy/growling vocals (rare), but not your typical "beauty and the beast" metal cliche. Their music is good, with unconventional approach (there are some real tango/boogie/swing/ whatever parts), but always melodic and catchy enough, far from dissonant or too disturbing. NIGHTWISH with fresh brains, I'd say ;) Nothing too much extreme/hard-to-get-into there, like in UnExpect / maudlin of the Well / Ephel Duath / Meshuggah. I doubt someone would have tough times when digging DSO's stuff. This is possibly why I lowered my rating (I was going to give it 4 stars first). Enjoyable, fresh and recommended, but only 3.5 stars for now

Diablo Swing Orchestra is often praised as the next big thing in female led heavy metal. The Butcher´s Ballroom is their debut album, but it´s a very impressive album in terms of musicianship, and in some respect originality. If you like female led heavy metal bands like Nightwish, Stream of Passion, Within Temptation or any of the countless others, Diablo Swing Orchestra is mandatory listening. Diablo Swing Orchestra is a bit different from the rest of those bands though, as they try hard to incorporate progressive ideas into their music.

The music is basically heavy metal with a female operatic singer very much like Nightwish. In fact Annlouise Loegdlund has a very similar voice to Tarja from Nightwish. Like Nightwish there is also sporadic male singing for varitation. Daniel Håkansson isn´t a very impressive singer though. There are many different influences in the music and as a result of that there are many different styles and genres incorporated into Diablo Swing Orchestra´s music. Note the Swing rythm in Balrog Boogie or the spanish latin inspired acoustic guitar parts that occur in several of the songs.

What is most notable in Diablo Swing Orchestra´s sound is the extensive use of cello in their music. This gives the music a folky/ classical quality that sets them apart from many of their peers.

The musicianship is outstanding on The Butcher´s Ballroom and singer Annlouise Loegdlund has to be praised for her beautiful singing. She sound very much like Tarja from Nightwish when she sings her operatic parts, but she also masters more calm singing styles.

The production is very good. Just the way I like a metal production.

This is a very good album, but even though Diablo Swing Orchestra really try to be original there are still way too many metal clichés on The Butcher´s Ballroom to really excite me. I feel like I´ve heard those same rythm guitar riffs a million times before and honestly I cannot understand with this much talent in the band why they can´t be more inventive when it comes to the guitars. This part of their music really bore me and lets face it people this is heavy metal and the backbone of heavy metal is distorted guitar riffs. You can do all sorts of good and progressive things with your heavy metal music but if you haven´t got strong guitar riffs to back it up it soon gets generic. This is what happens with The Butcher´s Ballroom even though all sorts of things are done to make the music exciting. So a good album it is, but it never reaches the excellent mark for me. 3 stars is my conclusion.

Take Apocalyptica, Nightwish, Therion, Goran Bregovic and Metallica. Put them in one tiny room. Open fire on their feet, to make them dance and play. They do. But with your surprise, you notice that they play and dance with joy and style. You thought you were just making a cruel trick, and you ended creating the most original, powerful, bizzarre metal sound. Heavy metal, of course. Heavy sound, carved in stone. A powerful singer able to clean out all the goth-sirens around. A single cello creating riffs and riffs like a madman musician who lost its sanity in an Elend prison. A dark-humorous mood all over the album. A record you can listen laughing all the time. People may think you are crazy, but it's okay.

"When I go to Ikea I always think that Swedish are strange people" an italian journalist used to say. He was referring to Dark Tranquillity, but when you listen to something so unique and yet so superbe like The Butcher's Ballroom you can agree.

I really have fun with these guys, I love them because they are great musicians but they don't play to entertain themselves like most progster do, they don't show off, they don't repeat abused technical difficulties just to prove themselves they're good. They make music. New, fresh as air, brilliant, touching, turning your brain and guts upside down.

And a final serious note. I discovered their music on the web, downloading their album for free, under a Creative Commons license. The art in the 21st century. Standing ovation, and a bow.

4 stars, and prepared for next....

Hook Up With the Decibel of the Ball

I know what you're thinking: A black mass conducted by Hi De Ho Priest Cab Calloway with Minnie the Moocher as sacrificial offering to the Dark Lords. Not so, as this very innovative record manages to confound my expectations that it would turn out to be just another of metal's long winded fart jokes. Quirky and playful yes, but not a gimmick as Diablo Swing Orchestra display sufficient variety and original song writing throughout with which to absolve themselves of the canker of Gothic affectations. God that stuff's everywhere ain't it?: Black lipped shop assistants meeting occult tattooed insurance clerks for croissants over cappuccino in an HR Giger franchised cafe. Cosmetic morbidity is alive and kicking in the airbrushed ghettoes of the 'burbs.

Reviews themselves are hardly the place to debate classification but if this is 'Tech Extreme/Prog-Metal' then Russ Henderson and his Caribbean Boys might just be one of Zeuhl's most neglected groups. I like metal like a tooth loves drills, but have to say that I really enjoy this album thoroughly. It could be said that good song writing transcends all manner of stylistic interpretations and makes the latter practically invisible, to wit the Beatles Yesterday rendered on nose flute would have even the Mbuti People of Zaire tapping their spears appreciatively as they nibbled on the catchy nostrils. Similarly. I don't hear metal when listening to someone equally as accomplished as DSO (like Opeth), but just fabulous song writing and arranging skills.

Had Brian Setzer and Wagner attended a Transylvanian Conservatoire they may well have graduated with varying degrees of Operabilly: splicing together some rockabilly swinging beats with sumptuous diva arias wedded to gut wrenching metallic skulduggery that even Vlad the Impaler would have approved of. Relax, the singing on here makes that schoolgirl wannabe in Evanescence sound like Walter/Wendy Carlos before/after his/her balls dropped.

Was the chef who made the sickly fusion dessert dyslexic? What if the icing had been put beneath the cake by mistake all those years ago? i.e. Return to Forever/Weather Report/Mahavishnu Orchestra is horizontal rock and vertical jazz while Diablo Swing Orchestra is cookin' jazz grooves underneath an unequivocal rock vocabulary. Could this be the reason why so much of what we label jazzrock sounds as stiff as a 90 year old kitten and drier than a sun bathing anchovy? Disclaimer: This product has been thoroughly and rigorously tested and is guaranteed NOODLE FREE. Added to this intriguing juxtaposition are the classically trained tonsils of one Annlouice Loegdlund, whose contribution I think is crucial to the balance of power in this unlikely alliance of styles. If the foregoing were the sum of this band's abilities, things would get very stale very quickly but on the Butcher's Ballroom they display a wide compass of influences and invention. Like myself, these Swedes are suckers for North African scales and tonality which they sprinkle with some Spanish garnish into much of their playing to thrilling effect.The heavy riffing and operatic vocal elements are carefully economised and used sparingly, by use of counterbalancing acoustic guitar, flute, cello, violin, ethnic esoterica and conventional 'throat' singing episodes for textural and dynamic contrast.

If I have any reservations about the Butcher's Ballroom they would probably be restricted to the band's weakness for borderline kitsch in places when DSO stray into rather twee Turkish 'lounge punk' territory (Whatever that is, but you get the general idea)

Those pious iconoclasts in the Church of Shiny Gloom are cordially invited by DSO to go to hell, as contrary to popular belief, they prove you can swing a cat in there.(and Diablo's don't sell croissants)

What's this, yet another female-fronted metal band? But what are they doing in tech/extreme or even on this site?

Actually, Diablo Swing Orchestra honestly deserves to be on PA, no question there. Unlike some of their contemporaries (Nightwish, Within Temptation, Epica, etc etc blah blah blah you know the rest), they actually try to stand out from the competition. And with their debut, The Butcher's Ballroom, they manage to succeed fairly well in that to a degree. This isn't by any means as extreme as unExpect, but there are some odd/unconventional elements to the songs, even though some of them follow the verse/chorus format. The one thing that really sets DSO apart from their peers is the extensive use of cello. It really gives the music a more classical influence to it, and Loegdlund's voice does nothing but add to that. Actually, this album feels more rooted in classical and gothic (not MTV goth, but authentic gothic tradition) music than it does avant-garde. Each song is pretty unique and stand out from the rest fairly well, although the classical/gothic feel never really diminishes any. While it is certainly a strength of the album it is also one of its' primary weaknesses. Even on songs such as Poetic Pitbull Revolutions, which has a really interesting intro with flamenco guitar and a swing feel to it, it still feels incredibly gothic. Some of the other influences on the album never really get their fair share of the spotlight.

The first weakness leads into the second, and that is that while many of the songs are distinctly different, the basic sound never changes much throughout, and the second half of the album makes me drift off sometimes. This is not a bad album by any means, and is for the most part enjoyable. If you can appreciate female-fronted metal, you should be able to enjoy this. Some non-metal fans may even enjoy it, given that it isn't terribly heavy. However, a lack of variety and too many clichés means I have a hard time giving this any more than 3 stars. Hopefully their next album sees improvement in the areas I found lacking, because this could become a fairly original band in the metal scene.

'The Butcher's Ballroom' - Diablo Swing Orchestra (8.5/10)

Diablo Swing Orchestra, whether you believe their amusing origin story or not, are a band that suprised alot of people. Safely to say, many of the new metal bands coming out are releasing stuff that while it may be good; it sounds rehashed from prior giants of the metal world. By releasing 'The Butcher's Ballroom,' it's a pleasure to say that DSO breaks this standard and allows their imaginations to transcend boundaries.

While it's undeniable that 'The Butcher's Ballroom' is chock full of great musical ideas, the sound of the band may not appeal to everyone. Essentially, the band takes swing jazz, mixes it with a hefty dose of metal, and adds the touch of operatic vocals. It's alot of influences to take in at one time, but for those that can appreciate the style described will find alot out of this album.

From the opening track (the amusingly titled 'Balrog Boogie') onwards, you get a good idea of what the band is all about, although other genres, including flamenco and even electronic music are explored.

While DSO makes for an original experience like no other, there are definately parts where they let their respect for existing acts well known. 'Porcelain Judas' gives us a synth section that sounds just a bit much like Ayreon, and the male vocals sound as if they were plucked from a Muse tribute band... Still, this is no discredit to the band or its tact.

The operatic vocals don't work for the jazzy style, I don't think; although it definately gives them more of an avant-garde feel. The male vocal parts end up being fairly more enjoyable, although the operatic singer certainly has a set of strong pipes, shown in the Italian classical ballad 'D'Angelo.'

A suprisingly adventurous and fantastic album. Give a listen to the Diablo Swing Orchestra, and hear something you haven't quite heard before.

Crazy well oriented music.

There's no other way to describe this music. While most of the music is getting formulaic, DSO manages to make very original music putting their feet into a very complex and dangerous places. Merging twist, jazz, tap, boogie and even spanish guitars with prog metal was enough, but putting operatic voices on it is maybe too much. But I don't care, I really enjoy the originality and the versatility of the players.

It's complicated to describe, you have to hear it to believe it. The female vocalist sound a little bit different than Tarja and the music will take you to a complete different place than Nightwish and all the bands alike. While the style on each song is different, the vibe of the album is very up lifting. The musicians really projects a pleasant mood and is evident that they are having fun while making great and entertaining music.

Now, if you are not that much into crazy music (some could call "misdirection" to this music) or into operatic voice, maybe it can be annoying. But I really enjoy when the bands make metal interesting and experiment way out of the regular standards of music. This is the best case I have seen in years and deserves a lot attention.

Diablo Swing Orchestra made a great opening with this album, but better things were in the future. For stars because it really is a excellent add to any collection...

Many things I've said on their 2009 release are still true, even here. So find myself impressed there, but here I have to say that I heard this one after their second album. This influenced me for sure somehow. It is less melodic, more classical, less extreme and more pleasant, not so full of drastic changes of pace and course of the song and also vocalists sings differently. And I mean classical a lot, it's one of the key elements here. But still, the main attraction here would be this unique combination and (again, or more like for the first time), done in different ratio than in second case (2009), so this makes them quite unique, yet similar.

4(+), possibly more, due to its more appealing charm (than following album)

Timeless.

All of the tracks on DSO's debut are compelling in some way or another. The music is a melting pot of genres with rock/metal as its foundation. Every songs have the elements of guitar, bass, drums as any other rock ensemble, but the diversity between the tracks are unheard of. Where the first track is influenced by big band/Chicago blues style, the second introduces violins and a much more orchestral sound. That is before the third track ambush you with its mariachi guitars and salsa rhythms. And thusly the album progresses, seemingly without any boundaries and limits to the band's originality. Every song has the previously mentioned rock elements in the background, accompanied by the lead vocal which is of the female operatic kind. Many metal bands have tried to incorporate female operatic vocals before though. But no one has done it like DSO. When all the melodies as climactically composed and still hummable as the case is with this album, there is not much to complain about. The production is good, every instrument come out nicely in the mix. Many songs introduce some new elements such as hammond, classical guitar, trumpet or violin, but they all are mixed tastefully in line with the rest of the production. The same goes for the vocals. Even though the female vocal is dominating, the male vocalist does a great job when he appears. Still, the star of this ensemble have to be the female singer. She brings an already clichéd style of singing within metal to new levels. It is nothing less than astounding. Favorite tracks are Balrog Boogie, Poetic Pitbull Revolutions and Porcelain Judas. But all tracks are great. The melodies have great replay value, and the album is a long lasting pleasure-bringer for those metal fans that curse the un-innovative outpour of metal bands these days. If you value terms as innovation and originality when it comes to your music preferances, DSO would be a sure thing. Call it avantgarde, call it postmodern, call it genre- breaking. This is probably the best thing to come around this side of the millennium. This band appear out of the blue with a fresh, new and invigorating take on the metal genre (they are not too heavy though) that points out a new direction within its field. And that is a rare thing. If one should try to compare them to any other band, (which I regard as an impossible task) the closest bands would maybe be Dog Fashion Disco or Subterranean Masquerade. Being that all these bands mixes genres in a highly eclectic manner. DSO is still unlike anything that I have ever heard before. In the most positive way imaginable.

Wow! Operetta with some metal arrangements! Show business is extremely inventive nowadays!

Debut album of this pop-swing-Latin-operetta Swedish band is catchy one! Songs are melodic and very simple,straight forward. But to make it attractive to as much auditory as possible, there are plenty of kitsch elements collected from very different musical directions.

Operatic female vocals over pop songs with some heavier guitars to attract some teen-rebels (did it work?) are quite impressive, but all that we heard on Therion albums. And to be honest, even Tarja Turunen sounded better (when she still tried to save very average Finnish symphonic pop-metal band Nightwish from total disaster). Plenty of acoustic guitar and Latin tunes sound almost fanny, Los Lobos and Tito & Tarantula from Tarantino movies soundtracks are far more authentic.

Swing in combination with teens hairy metal - lets name it avant-metal? OK, but for me it sounds more like nowadays clever rock'n'roll circus. Attraction for people who hates opera,real metal, real jazz, real avant, any real music. But who likes catchy melodies, accessible music and all kitsch in one package.

Must to note though - for such listener this album is well done! It's not cheap kitsch, it's the professional one. And it works - I am not really the one who will like this album, but I must agree this new Army Of Lovers (another Swedish band of similar musical direction) version is more attractive and possibly even will be more popular. One day.

Catchy metal music for metal haters. My rating is 2+,rounded to 3 - for new kitsch (anti)music concept.

I ask myself why "The Butcher's Ballroom" is on the top of my most-listened albums. Well, for me, there are many reasons. Since almost October 2008 I've been listening to this album and still can go on with it.

The prominent reason is the prevailing melancholic and dark atmosphere that starts jokingly/violently with "Balrog Boogie" and ends beautifully with "Pink Noise Waltz". Throughout the album I couldn't stop listening. The lyrics, wow, I just cannot believe how they mean to me. They mostly speak of love, failure, seclusion, corruption, bitterness of life and mysterious relationships which usually end in dark corners accompanied with lasting effects in our lives.

Musically, composed and arranged in the best fashion, the album is full of black and bittersweet melodies. Vocal lines are almost extraordinary. Guitar sounds cannot be better than what we hear in the album. At times, Contrabass and modern sounds and effects are two opposing forces that produce a united energy in the album- one takes you to the baroque era and the other brings you back to the 21st century. Diablo Swing Orchestra is really swinging (with Metal, Rock, Jazz, Baroque, Opera, and Folk) and that in one of the bloodiest of places: in a butcher's ballroom. Indeed, words cannot describe this true artistic masterpiece and do justice.

I think this album produces a psychological effect. If you feel lonely, you need to listen to it. If you feel exhausted, you need to listen to it. And 50 minutes is not a tiring journey at all for relieving your anxiety and depression.

Initial impressions suggested that this was going to be all fun and musical games, some sort of a swing or boogie metal - a rare approach but not unheard of (ska punk bands have been doing similar stuff for years). Well prepare to be surprised. To be sure, there is lot of fun here. But these Swedes (I never cease to be amazed by the sheer musical talent in this country. Free time on socialist welfare is good for you :) apparently view themselves as art makers as well. Basically what they do is all sorts of traditional music - from the U.S., Spain, Latin America, Russia, the East etc - with heavy guitars and a metal-like intensity on the more traditional instruments. This force-of-nature approach applies also to the highly operatic female vocal.

A side note - out of their 3 albums, the first one is the most catchy and accessible.

In the world of experimental and avant-garde metal, one can hardly know what to expect and more often than not, a band digs deep into the recesses of experimentation only to conjure up some type of music that is dense and complex and requires some serious investment of time and energy in order to find a footing in the newly created sonic universe that they have constructed. And then there's bands like Sweden's DIABLO SWING ORCHESTRA that not only catches your attention from the very first seconds of first contact but manages to suck you in and enjoy the music from the get go and when all has been played and you have a chance to reflect upon the crazy combo effect of the music at hand, you will ask yourself "It's such a logical combination of things, why hasn't someone thought of this before?" DSO is one of those blender bands that takes everything including the kitchen sink approach, alloys all kinds of disparate musical styles and throws them into a salad bowl and then tosses all the components around until they form a whole new form of musical expression.

While this music is primarily based on a healthy supply of metal guitar riffing married with the jump blues and swing revival scene that was all the rage in the 1990s and graced with the female classical soprano diva vocals of AnnLouice Lögdlun belting out operatic enunciations like there's no tomorrow, the music also incorporates all sorts of other styles including Flamenco guitar, Middle Eastern, spaghetti western, surf rock as well as good old-fashioned rock 'n' roll. THE BUTCHER'S BALLROOM is the full-length debut album but technically isn't the band's debut release since a four track EP titled "Borderline Hymns" came out in 2003, a full three years before this album. However, BALLROOM contains all four tracks from that debut EP thus rendering it completely irrelevant and a mere footnote in history. They haven't even been re-recorded or anything so in effect this one could very well be considered the debut.

THE BUTCHER'S BALLROOM is divided up into two Acts which are supposed to represent some sort of story line but i honestly have no friggin' clue as to what these two divided themes are all about. They probably have some reference to the band's tongue-in-cheek approach to creating a completely faux mythology regarding their timeline which purportedly begins with their ancestral history that goes all the way back to 16th century Sweden. The current band is supposed to be the ancestors of past band members who created diabolical music that was strictly forbidden by the Lutheran church. The tale becomes more elaborate as the members of this secret musical organization had to go into hiding for centuries up until the right time would allow the inheritor's of this secular music to expose their musical world to the public. Well, wait no longer, DOS is here to stay!

While all these styles sound like a possible road to disaster and very likely could have been if DOS weren't so skilled in how they pull all these disparate styles off. Daniel Håkansson is the sole songwriter on this one and clearly has the knack of knowing just how much of the different ingredients to add to this musical salad and just like a fine cuisine knows when too much lettuce and too many tomatoes can throw off the balance of the whole. It's fairly uncanny in how accessible the music is upon first listen but has ways of letting you dig deeper into the song constructs once the initial WOW factor has waned. In addition to the aforementioned styles that dominate THE BUTCHER'S BALLROOM, the listener will also be floored with all sorts of other instruments that aren't supposed to work here but somehow do. A didgeridoo can be heard accompanying surf rock and jazzy opera singing. Flamenco dances side by side with electronica and cellos happily accompany heavy distorted metal riffs.

The trick to enjoy DIABLO SWING ORCHESTRA's conglomerating mass of styles is to not become too enthralled in any one particular genre style. While often fitting into the vague descriptive category of avant-garde metal, this is definitely no headbanger's paradise as metal is not the dominate force on this one but more of an accompanying sound effect to wrap itself around the dominating gypsy swing, classical and jazzy undertones that swing from one musical thread to another. This is simply wild and crazy stuff and the only band that comes to mind with their ability to mix and meld so many styles and still create a very melodic and musical experience is the Japanese band Sigh. THE BUTCHER'S BALLROOM truly was like no other album or band that came before. DOS truly found a total unique identity from their inception and nothing else has even come close to copying it and with a lineup that includes not only guitars, bass, drums and keys but ample extras such as lute, flute, cello, double bass, violin as well as a few ethnic touches here and there, you know you're in for a wild ride unlike another other. Love it!

Diablo Swing Orchestra's basic schtick was pretty well codified on this debut album: take some lukewarm metal, apply influences from prog and swing, ladle on some operatic vocals and serve with melodrama. It's fun and all, but I find it wears thin over the course of an entire album taking this general approach. The Orchestra is clearly a technically gifted crew, though, and individual songs are enjoyable in small doses, but it feels like a mash-up too far - like if they did opera-swing, or metal opera, or swing metal, it'd work better than this attempt at operatic swing metal.

The album was made freely available via Creative Commons, though, so no harm in checking it out to see if it's more to your taste than mine.

When listening to this album with the term 'swing metal' being the only information I had about them, I expected an entire album full of some lighthearted, jazzy fun. What I got instead was a much more varied, eclectic album taking inspiration from symphonic metal bands such as Nightwish, and then applying a massive variety of genre influences such as swing and flamenco, complete with a great juxtaposition between operatic female vocals and much more standard, albeit expressive male vocals, which adds even more character to the band. Despite the very distinct, quite unique sound they have, I also do find a lot of it to be extremely fun and accessible, with everything having a very pleasant, or at least palatable sound to it.

Balrog Boogie is a track that was exactly as I expected from this band, a really groovy bassline that then explodes into a fun, jazzy melody. I find the song to be a more operatic, slightly less energetic take on Devin Townsend's Bad Devil in many respects, and the influence is incredibly clear. Heroines is a much calmer song with a tango style, with a great build up as more metal elements are introduced, before they all fade away into a really nice cello solo. The next song, Poetic Pitbull Revolution, is my favourite on the album, with a really fun salsa style, with some incredibly entertaining trumpets and my favourite moment on the album, the guitar solo at around the minute mark. The song has a particular intensity to it that I just love, and it definitely separates itself from a lot of other songs due to having this, constantly dipping and rising in intensity. Rag Doll Physics marks another high point with by adding a layer of melancholy through the almost isolated feel of the chorus adding some more depth.

The album continues along the line of making all around enjoyable songs that try out their own styles, with particular mention going to Infralove, both for it's incredible transition and its slight electronic intro, which sounds marvellous, and Pink Noise Waltz for the extremely enjoyable guitar. One issue I do have is that I do find the second half of the album to become less interesting due to the somewhat similar sound a lot of the songs have, even if they go into wildly different styles. I feel like this has something to do with the extremely dramatic nature of everything, with the vocals being the clearest sign of it, making it grow somewhat tiring by the end, although it's not enough to have me dislike the album in any way.

Overall, this is a highly enjoyable, interesting album that shows a lot of potential, despite its mild shortcomings. I definitely appreciate how the variation of styles isn't just a gimmick, but the music complements it quite well. I found this album to overall be highly enjoyable and definitely feel compelled to check out their later albums to see what they end up doing with this, especially if they end up going into more territory explored on songs like Gunpowder Chant and Porcelain Judas, both of which have a particular exotic tinge to them that I'd love listening to more of.

Best songs: Balrog Boogie, Poetic Pitbull Revolution, Rag Doll Physics, Infralove

Weakest songs: Velvet Embracer

Verdict: Anyone who wants something fun and different to listen to, I'd recommend this to you, as nothing about it is particularly challenging, yet still offers a very compelling listen full of interesting concepts.

Edit: Despite how fun the album is, I really don't find much push to relisten to it that much. It's actually exactly what I expected from this kind of band, with a gothic sound with nice overtones of a lot of entertaining genres, but never really goes far and beyond to me.

it's a very very amazing miscelaneous of Heavy, Prog, Cabaret, Opera, etc. One more tipical creativitiy in swedish heavy metal circle, like Pain of Salvation, Therion and Opeth. I love different sounds, and it needs some courage!!!!!!!! When I listened "Balrog Boogie", for the first time, I thought: Yeah! Maybe this is a new way to be followed! A real good surprise in this first work. Even years later, there's no other band making some type of sound, they're still unique. One night, I opened a wine and sat on a sofa. I was alone at home. Nothing like increase the sound, drink a wine, listening a good album. Yeah! This album was Sing-Along Songs for the Damned & Delirious Heavy, melodic, well conducted, excelent musicians, creative...outstanding!