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PSYCHOTIC WALTZ

Progressive Metal • United States


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Psychotic Waltz biography
Formed in 1986 (originally as "Asian") in El Cajon, California, USA - Disbanded in 1997 - Reunited in 2010

Debut "A Social Grace" is a good mix of WATCHTOWER and more melodic/ harmonic riffs, quite heavy, quite complex and a bit murky. Actually melodies prevail, but dischords seep through here and there. The best picks are the sharp opener "And the Devil Cried", more controlled "Halo of Thorns" and "Another Prophet Song", elegiac "I Remember" and a few darker tracks like a "Spiral Tower".

Their second, "Into the Everflow" is for my opinion their best. Sound of debut is mixed with 70's sympho, 60's psych, funk, alternative, etc. The "plateau" opens with anthemic "Ashes", which sounds really exalted, then continues with quite heady "Out of Mind"."Tiny Streams" is paying an homage to BLACK SABBATH in some way, while "Freakshow" is an appraisal of JANE'S ADDICTION leader Perry Farrell (Lackey was seemingly great fan of Janes at that time), but is extraordinary track, where Lackey show his talents in vocal acrobatics (he gets my vote for the best singer in metal.) PW are also in longer song format contest. "Into the Everflow"and "Butterfly" are both 9+' minute long. Both shift through different atmospheres. "Little People" is interesting song whose lyrics (probably) deal with tv-soapies like Santa Barbara and the like (with which American readers are probably more acknowledged than I am -- I mean that tv-programs boasts of this more than on the ol' continent). It's hard to believe that such crap can inspire such good music.

"Mosquito" sees the band navigate into more alternative/grungy waters (close to sound of Soundgarden circa Superunknown), but the ending result is very good, also more "spacy". Outstanding pieces: simply fantastic "Mosquito", pretty laid-back "Lovestone Blind" and maybe the best PINK FLOYD influenced number of all times, "The Mindsong", to name only few.

With The Bleeding, the band shifted "back to the roots" with more modern production. Album sounds powerful but did not convince me for some reason. Still some good tracks like "Morbid", "Locust" and "Faded".

Days of Birth and Legend offers some unreleased tracks and outtakes of never finished tracks plus a recorded concert from times just before A Social Grace was released. The sound is quite rough, but the effect is excellent. Tracks from A Social Grace sound darker but much much cooler. I'm not sure if the compilation contains the first Aslan demo. In...
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PSYCHOTIC WALTZ discography


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

4.14 | 261 ratings
A Social Grace
1990
4.15 | 242 ratings
Into The Everflow
1992
3.71 | 103 ratings
Mosquito
1994
3.96 | 126 ratings
Bleeding
1996
3.64 | 64 ratings
The God-Shaped Void
2020

PSYCHOTIC WALTZ Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.02 | 14 ratings
Live & Archives
1998

PSYCHOTIC WALTZ Videos (DVD, Blu-ray, VHS etc)

PSYCHOTIC WALTZ Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.04 | 8 ratings
Dark Millenium
1999
4.82 | 17 ratings
A Social Grace / Mosquito
2004
4.78 | 21 ratings
Into The Everflow / Bleeding
2004
4.00 | 1 ratings
The Architects Arise: The First Ten Years
2011

PSYCHOTIC WALTZ Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.67 | 8 ratings
Aslan (Demo)
1986
3.09 | 4 ratings
Psychotic Waltz (Demo)
1988
2.00 | 1 ratings
I Remember
1990

PSYCHOTIC WALTZ Reviews


Showing last 10 reviews only
 The God-Shaped Void by PSYCHOTIC WALTZ album cover Studio Album, 2020
3.64 | 64 ratings

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The God-Shaped Void
Psychotic Waltz Progressive Metal

Review by UMUR
Special Collaborator Honorary Collaborator

3 stars "The God-Shaped Void" is the 5th full-length studio album by US, San Diego based progressive metal act Psychotic Waltz. The album was released through InsideOut Music in February 2020. Psychotic Waltz folded after touring in support of "Bleeding" from 1996, as a consequence of a law suit from an actress who appearing in the promotional video for the track "Faded" who said she was exposed to a light during the shooting of the video which caused partial blindness. Psychotic Waltz reunited in 2010 to play some shows, and slowly the idea to record a new album began. Rumours of the writing and recording of the album have circulated for years, but now "The God-Shaped Void" is finally here.

Psychotic Waltz were never a major player on the progressive metal scene and didn“t accomplish much commercial succes in their early- mid 90s heyday, but they had a strong underground following (especially in Europe), which were quite dedicated fans (including myself). Psychotic Waltz stuck out because of their psychadelic tinged take on the progressive metal genre and their relatively original music style, which initially was rooted in US power metal and traditional heavy metal acts like Fates Warning, Queensr’che, and Iron Maiden, but also incorporated the more complex structures and technical playing of artists like Watchtower and Realm. Their love for 70s progressive rock and hard rock/heavy metal was also audible on the albums from their original run.

"The God-Shaped Void" is the sound of Psychotic Waltz, but in a sligthly more mature and formulaic version. Heavy riffs, mid-paced tempos and grooves, harmony leads and blistering solos, and Devon Graves (yeah that“s the one who used to be called Buddy Lackey) distinct sounding voice on top. Atmospheric keyboards are also a big part of the soundscape (and the flute is used on "Pull the String" and "Demystified" ). In other words it“s a natural progression from the sound on "Bleeding (1996)", but featuring a darker and heavier production job, closer to the sound found on "Mosquito (1994)". Using the word formulaic above pertains to the song structures more than the compositional details, as most tracks on "The God-Shaped Void" are built over the tried and true vers/chorus skeleton. Again this is no surprise given the direction the band were heading in before their untimely break-up. So don“t expect this to sound much like the first two albums by Psychotic Waltz.

While all tracks are well written, and don“t take more than a few spins to be able to hum along to, I miss the anarchistic songwriting of the first two albums, and the high pitched ornamented vocal melodies, that characterized those two albums (listen to the incredibly dull vers melody on "Pull the String" and then think back on some of the technically crazy vocal melodies on the old albums. There“s really no competition is there?), but then again I missed those elements on "Mosquito (1994)" and "Bleeding (1996)" too, so I“m probably just one of those annoying old-school fans, who thinks everything was better in the old days...

...well I also miss changes in pace and being surprised by something on "The God-Shaped Void". Don“t get me wrong, this is a quality release on almost every measurable parameter (professional sound production, high level musical performances, solid songwriting: check, check, check) and sometimes the heavy riffs and the epic atmospheres ignite excitement in me (take a listen to the intro or the middle section to "While The Spiders Spin" for some truly epic moments, or listen to the closing track "In the Silence"), but overall it“s all a little too safe and predictable. I“m a little conflicted here, but a 3.5 (70%) rating isn“t all wrong.

(Review originally posted on Metal Music Archives)

 The God-Shaped Void by PSYCHOTIC WALTZ album cover Studio Album, 2020
3.64 | 64 ratings

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The God-Shaped Void
Psychotic Waltz Progressive Metal

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

4 stars While the Brits may have created both progressive rock and heavy metal with King Crimson and Black Sabbath taking rock into two distinct yet completely different directions an amazing 50 years ago, it was the USA where the idea to link these two styles together really took off with bands like Watchtower and Fates Warning taking the complex compositional approaches of KC and dressing them up in the energetic and distorted dressing of the heavier aspects of metal music. Amongst the first wave of the progressive metal scene that rocked the 80s USA in the underground circuit was San Diego's Aslan turned PSYCHOTIC WALTZ which began in 1986 and took the nerdy side of metal off guard with its lauded debut "A Social Grace."

While the US spawned the first examples of prog metal, it was unfortunately not these bands' homeland where they found interest in their innovative styles so bands like PSYCHOTIC WALTZ were virtually ignored at home while making the most waves in the part of the world where both prog and metal began in the first place. Yup, you guessed it, Europe! The band made a name for itself touring overseas which cemented their position as one of the most innovative prog metal bands of the era and went on to release four albums: "A Social Grace" (1990), "Into The Everflow" (1992), "Mosquito" (1994), "Bleeding" (1996). While productive and passionately engaged, the band called it quits after lackluster sales and the final straw came when the band was sued by an actress who claimed her appearance in the making of the video for "Faded" caused her to suffer partial blindness due to the lighting involved.

With the ever growing interest in more progressive music however, PSYCHOTIC WALTZ have gone down as prog gods with their forward thinking albums that sounded like no other. While not exactly reaping the fruits of their hard work during the initial run, this bands' albums have become quite popular ever since and eventually reunited in 2010 with its original lineup of Dan Rock (guitars/keyboards), Brian McAlpin (guitars/keyboards), Ward Evans (bass), Norm Leggio (drums), and Devon Graves (vocals/flute/keyboard), originally known to fans as Buddy Lackey. With no new album the band started to tour opening for Nevermore and Symphony X on The Power Of Metal tour. While a new album was planned, nobody expected these guys to take 10 whole years to make it happen but finally on 14 February 2020 here it is!

Sounding as if they were picking up where "Bleeding" left off, PSYCHOTIC WALTZ returns with THE GOD-SHAPED VOID which took seven years to create and actually a miracle that it got created in the first place considering that Buddy Lackey currently lives in Austria and the rest of the band have full-time jobs and families to contend with. Not counting the archival odds and sods 1999 release "Dark Millennium," THE GOD-SHAPED VOID is the fifth installment in the band's canon. Needless to say, this cast of five who are well in their 50s now are not the same band that they were 30 years ago when the debut album was released, however the band jettisoned the Watchtower inspired technical thrash metal riffs before they even broke up for the first time. What GOD-SHAPED VOID delivers is a much darker atmospheric slice of psychedelia tinged progressive metal without the emphasis on rampaging tech wankery.

We were treated to a sampling with the first official video "Devils And Angels" which pretty much was a preview for the entire album's worth of material presented. In this way, GOD-SHAPED VOID has the most in common with the band's last 90s album "Bleeding" so in that regard this one literally picks up where that one left off and although it's a much less aggressive album than their 90s run, still sounds like the next logical step that could've easily been inserted into the turn of the millennium timeline so i would guess that much of the material has been gestating in the heads of the musicians even if they hadn't received the recording process until much later.

While THE GOD-SHAPED VOID will not dazzle you with the flashiness of "A Social Grace" or "Into The Everflow," neither has it gone Leprous on us and abandoned metal altogether. While the tech riffs have been tamed into heavier power chord rampages that are more akin to alternative metal, for the most part this band is still on top of its game only with the focus on the sound textures, atmospheric ambience and lyrical deliveries where Devon Graves hasn't lost any of his vocal fluidity or powerful range. Likewise both guitarists Dan Rock and Brian McAlpin deliver some excellent guitar work on tracks like "Back To Black" which cranks out power stomps as well as soloing. While the chaotic dissonance of the past has been traded in for a more accessible melancholic style that is less frenetic and simmering on progressive light, the tracks are amazingly consistent as the melodies are solid, the hooks are instantly piercing and the production both captures the intricate sounds of the band's heyday but offers a crisp clean modern dimension that allows the nuanced atmospheric components to shine.

It's always a gamble to revive a classic band after so many years have gone by but it's obvious on THE GOD-SHAPED VOID that PSYCHOTIC WALTZ still carries the torch that keeps the passion for their music alive and although the band has matured a bit, this one carries a lot more emotional delivery than the more technically infused early albums. With so many newer metal bands sounding lost in the sea of generic wannabeism or spiraling out into experimental inaccessibilities, it's exciting to find a classic band like PSYCHOTIC WALTZ time traveling into the present to show the whippersnappers how old school metal can be so exciting when done right and everything comes together quite spectacularly on this beautiful comeback album. What makes this album work so well is that PSYCHOTIC WALTZ never did the same album twice and i for one am happy that they didn't just retread their past glories and evolve the music into the new world while adapting it from the last album they left behind. If you loved the early albums, Crimson Glory, early Queensryche or other prog metal bands that focused on the melodic side of thing above all else then THE GOD-SHAPED VOID will not disappoint one bit!

 Aslan (Demo) by PSYCHOTIC WALTZ album cover Singles/EPs/Fan Club/Promo, 1986
3.67 | 8 ratings

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Aslan (Demo)
Psychotic Waltz Progressive Metal

Review by thwok

3 stars I'm familiar with the terrific PSYCHOTIC WALTZ demo, and I've only listened to 1 or 2 of the band's other albums. So my primary reference point isn't the band's other releases. The probable strong influence prog metal pioneers like Queensryche is clear. Buddy Lackey and the band's performing skills are patently obvious. Norm Leggio was already a terrific drummer.

The first 3 tracks represent the band better than the 4th. The rare bonus track, "The Fry Tape", is an interesting oddity; it's more Lackey showing off his keyboard prowess than anything else. The band would soon make a big leap in creativity with their next demo. However, check this out, if you're at all interested in the start of this great band.

 A Social Grace by PSYCHOTIC WALTZ album cover Studio Album, 1990
4.14 | 261 ratings

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A Social Grace
Psychotic Waltz Progressive Metal

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

4 stars After a brief period under the moniker Aslan which the band had to jettison because the name was already taken PSYCHOTIC WALTZ released their first demo in 1988 and then took a couple years to craft their full length debut release A SOCIAL GRACE. They released the album independently by coughing up their own dough and started their very own Sub Sonic Records. In Europe they scored a licensing deal with Rising Sun Productions and despite not finding an instant connection with a larger audience still managed to receive heaps of praise from the magazine reviews of the day. Metal Hammer and Rock Hard praised A SOCIAL GRACE as one of the best albums in a long time for its bold originality of combining Watchtower type technical precision and ferocity with U.S. power metal influences bringing early Queensr’che to mind in the melodic vocal deliveries, Iron Maiden gallops and dynamics in their playing style and all coated in progressive thrash touches and one of the biggest surprises, the abnormal for metal Ian Anderson tribute in Buddy Lackey's singing style and occasional addition of flute. As a result of all these styles melded together, A SOCIAL GRACE is one of the most unique sounding progressive metal albums ever to emerge from ANY era much less the year 1990 when it was released. PSYCHOTIC WALTZ nailed it and delivered all the goods on this debut unlike other traditional metal acts treading down similar paths of increasing progressive and inventive elements. First and foremost all the musicians on board here were masters of their retrospective instruments complementing the greater band sound in perfect unison.

The album begins with the fast and furious duo thrash guitar assault of Brian McAlpin and Dan Rock delivering some of the most intense metal riffs that were rooted in keeping the overall sound melodic but they were also masters of syncopated effects that offered technical tricks and trinkets without steering the band's sound into abstract Watchtower territory. Through these superbly constructed tracks all performers shine in every arena. Buddy Lackey was indubitably in the same league with Queensr’che's Geoff Tate and Crimson Glory's Midnight. His vocal range is actually more impressive IMHO as he not only wails in the upper registers but has serious control that can tackle several styles in sequence.

Jeff Lords' virtuosic bass playing skills are noteworthy especially noticeable as the driving force behind the instantly addictive frenzy of "Spiral Tower" which provides a super strong backbone that allows the band to spiral off in various directions around him like a tornado filled with razor blades and nails. Dana Burnell is yet another master of his craft providing some of the most impressive drum abuse skills of the era not only keeping up with the relentless assault of changing rhythms and song structure meanderings but provides creative fills and brilliant orgies of percussion where the snares, toms and cymbals collude to add yet another intoxicating layer of the musical style on board. While the main focus of A SOCIAL GRACE is heavy rockin' metal segments that infuse an instantly melodic hooked that is laced with progressive touches to steer the listener into WTF territory, there are a few surprises that seem like they dropped in from another universe.

The first surprise is the "ballad" of the album "I Remember." This is a melodic little number that takes too many liberties channeling Ian Anderson from 1969. While it's obvious from the very first track that Buddy Lackey's vocal phrasings are right out of the Jethro Tull playbook, they somehow work well as he adapts them to the heavy metal styles on board. This track is where he leaves the realms of "influence" and enters the unfortunate situation of plagiarism. I dare anyone to listen to this song back to back with "We Used To Know" from Jethro Tull's 1969 album "Stand Up" and tell me this isn't the exact same song at least in the main melodic development of the vocals. This little faux pas is the one blemish for me on an otherwise perfect album. It's not that it's not performed impeccably, because the song is quite a beautiful interpretation and if credit was given as a JT song then i'd be cool but unfortunately Lackey claims it as his own. Luckily the Tull interplay remains within the realms of "influence" throughout the rest of the album where it works quite well. Another strange anomaly is the following "Sleeping Dogs" which is a strange electronic swirling of synthesized sounds. I'm not sure if it's meant to be an outro or an intro or just a strange little head scratcher but also reminds me how future bands like Unexpect would incorporate these kinds of things into their sound.

Overall this is an excellent progressive metal album that flows perfectly from beginning to end, crosses all the t's and dots all the i's for a totally satisfying experience. The metal aspects take the best of what the 80s had to offer by mixing melodies with technical prowess while delivering thoughtful lyrics, excellent band interactions and total control of tempo changes, time signature developments and even dynamics pacing. If it weren't for "I Remember" which is too much of a Jethro Tull ripoff despite sounding really well done, i would give this 5 stars, but because this is a prominent peccadillo in my world i can't award it with a perfect rating, however this is a highly recommended album release that will please any adventurous metal heads who like a lot of nice twists and turns in their music without sacrificing the melodic aspects that made 80s metal so pleasing in the first place.

 Psychotic Waltz (Demo) by PSYCHOTIC WALTZ album cover Singles/EPs/Fan Club/Promo, 1988
3.09 | 4 ratings

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Psychotic Waltz (Demo)
Psychotic Waltz Progressive Metal

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

3 stars After the Aslan demo and name change to PSYCHOTIC WALTZ, the band released their first demo under the new moniker, which came from a friend describing some of the music as a type of "PSYCHOTIC WALTZ". As the band was already proficient in their new progressive rock sound from the very start, what we get here are four tracks that are already developed for prime time and the fact is that all four tracks would appear on the band's debut album "A Social Grace" which would grace progressive metal lovers the following year.

The music on this demo showed the band going in a heavier direction with less acoustic guitar passages and hardly any electronic freakout frenzies. As went the heaviness, so did the progressiveness with challenging time sigs, tempos, double tracking and head banging construction. This demo caught the attention of German magazines and ultimately led to the band releasing their independently financed debut album with a licensing deal from the German label Rising Sun Productions.

Unlike the Aslan demo, i find this demo to be a tad underwhelming simply because the production is still of substandard quality and none of these tracks are rare and interesting prototypes of the band. A nice little demo and all but so unimportant it is that even the band found no need to release them as bonus tracks on any of the reissues of their four classic albums however you can find them on the "Live & Archives" compilation.

 Aslan (Demo) by PSYCHOTIC WALTZ album cover Singles/EPs/Fan Club/Promo, 1986
3.67 | 8 ratings

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Aslan (Demo)
Psychotic Waltz Progressive Metal

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

4 stars ASLAN was the first incarnation of Psychotic Waltz which was formed in San Diego, CA, USA in 1986. The name came from a character in the novel "The Lion, The Witch And The Wardrobe" by C.S. Lewis and the band managed to release this one demo under the ASLAN moniker before they discovered that the name was already taken, so they changed it to the most obvious choice Psychotic Waltz of course!

This demo already contains the classic lineup of Buddy Lackey (vocals), Brian McAlpin (guitars), Dan Rock (Guitars), Ward Evens (bass) and Norm Leggio (drums) and the band wasted no time finding their own unique sound in the rather nascent world of progressive metal capturing the spirit of 80s Queensryche, Fates Warning and hints of Iron Maiden but proving without a doubt that they forged their own path into this developing style.

This is spectacular for a demo actually. Buddy Lackey sounds like a pro from the getgo with soaring clean vocals that are as wild and adventurous as a pack of bloodthirsty hyenas on the savannah. The guitar rhythms are highly melodic but complex and provide a haunting atmosphere with adventurous drum patterns instantly showing a highly developed sound that is every bit ready to compete with the big boys of the day. The only real issue here is the production as it is the demo quality one would expect but i have a high tolerance for these things and it is what it is, namely a demo after all. The strong musicianship and songwriting more than make up for this shortcoming.

This demo officially has only three tracks but "The Fry Tape" is a fourth unlisted track. This is a wild and experimental track that unleashes the band's creativity and propensity for strong song writing and atmospheric construction. While it starts out with a pleasant down-tuned acoustic guitar with slight background noises providing an atmospheric construction, the seven minute plus instrumental track displays a fully functional progressive band in action and really gets wild at the end with the sonic equivalent of a fireworks display of electronics. "To Chase The Stars" and "No Glory" would never find a home on the studio albums but "Spiral Tower" would be re-recorded and ended up on the "A Social Grace" debut album.

This demo was only ever released on cassette but can easily be found on the "Into The Everflow / Bleeding" combo pack that contains the ASLAN demo release as bonus tracks. All i can say is that i am very impressed by this demo. These tracks are more than strong enough to compete with any other progressive metal band even by today's standards. Psychotic Waltz under the moniker of ASLAN hit the ball out of the stadium on their very first recordings and what a great start for one of the best progressive metal bands to exist.

 Bleeding by PSYCHOTIC WALTZ album cover Studio Album, 1996
3.96 | 126 ratings

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Bleeding
Psychotic Waltz Progressive Metal

Review by progbethyname

4 stars "THE LAST CARD UP PSYCHOTIC WALTZ's SLEEVE WOULD INDEED PROVE TO BE AN ACE." --Ula Gehret

Words couldn't be spoken more true about the last defining album in PSYCHOTIC WALTZ's history. An Ace indeed!! Now what transpired in the vision and making of this album was to have the approach of a more modern sound production while still not losing the progressive attitude that clearly defined PSYCHOTIC WALTZ's true character.'

For me, it's the old adage whereby sometimes the 'simple' approach can really make your overall sound, as a band, actually better! In this case I think the more accessible, modern sound that PSYCHOTIC WALTZ put forth with BLEEDING worked out for the better and not for the worse. It's good to change things up and it is clearly shown now to me, that no PSYCHOTIC WALTZ album sounds like the other...not even similar for that matter. Meanwhile, lets be clear here for a moment cause when I say 'simple' I don't mean that the music off BLEEDING is 'dumbed down' in anyway, especially in relation to PW's previous 3 releases. The album, BLEEDING is still as every bit as artful and sophisticated as anything they've ever done. It's well produced, mixed and engineered. For instance, LACKEY's vocal approach is stronger and more mature in connection to the more modernized sound the band carries. Its a fantastic blend, in relation to how the vocals pair so nicely with the music. On the other hand, The guitars by COX (replaced McALPNE due to family issues) and DAN ROCK sound far more fluent and less flashy while still keeping their progressive edge (thank god.) Also the drumming goes without saying, by still being steady as a rock from NORM LEGGIO. As for The bass, by CUTINO is more chunky and it stands out a lot more than previous sound directions by the band. I could barely here the bass on INTO THE EVERFLOW. I just couldn't!!

All in all, the album BLEEDING in my opinion really worked and it was a nice note to end on, in what I think was a brilliant 4 album career.'

The key highlights for me on BLEEDING was the amazing 'chunky' bass line opener in the track FADED, which immediately took me back to the late 80's of how FLEA from the R.H.C.P's would play. Needless to say I loved Flea's work on some RHCP albums and CUTINO reminded me of that. Furthermore, the track MY GRAVE would be an instant hit to my ears and BUDDY LACKEY's flute would remind me of non other than IAN ANDERSON of JETHRO TULL. I wouldn't, however, go as far to say that MY GRAVE was totally inspired by TULL's music. No way in fact. MY GRAVE is yet another unique, quality song produced by mostly LACKEY a.k.a GRAVES himself. MY GRAVE is the quintessential ballad of the BLEEDING album. To continue my plight of passion for this album, SLEEP is a great track where the guitar shines bright with epic soloing from ROCK, which takes you back to the SOCIAL GRACE and INTO THE EVERFLOW experiences where the guitar sound was fast, furious and more technical than space shuttle equipment. Lastly, and how could I ever forget, the massive melodic and majestically driven tracks LOCUST and MORBID. My favourite tracks on the album easily. Both tracks exhibit the strength and quality in LACKEY's voice that you are sure to fall in love with. I love both MORBID and LOCUST equally and they are similar sounding to HAZE ONE from 1994's MOSQUITO, which is another all time favourite for me. Quality music!! And it's cool to note that fans of DREAM THEATER's AWAKE album will find that the opening keyboards by GRAVES on the track MORBID sound so reminiscent to KEVIN MOORE's keys on LIFTING SHADOWS OF A DREAM. I tell you, that didn't hurt me from absolutely loving the MORBID track. Haha.'

In conclusion, this is another incredible effort from PSYCHOTIC WALTZ and I really appreciate the difference that BLEEDING carries compared to PSYCHOTIC WALTZ's other 3 previous releases. BLEEDING is still a heavy album, but not as much as the other albums A SOCIAL GRACE and INTO THE EVERFLOW, which I prefer a bit more due to heavy complex nature both those albums embody musically and lyrically. 'Thus, BLEEDING goes down as an absolutely well received album and it should get the respect of a lot of progressive metal fans and if I might add, Grunge music fans as well.'

Happy Psychotic listening to all.'

4/5

 A Social Grace by PSYCHOTIC WALTZ album cover Studio Album, 1990
4.14 | 261 ratings

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A Social Grace
Psychotic Waltz Progressive Metal

Review by progbethyname

5 stars A SOCIAL GRACE THAT CERTAINLY IS NOT A SOCIAL DISGRACE. 

Like INTO THE EVERFLOW, A SOCIAL GRACE took me a few listens to fully appreciate and understand the type of progressive metal that PSYCHOTIC WALTZ bring to the fold. I am delighted to say that after countless listens of A SOCIAL GRACE, that this album is a full-on masterpiece complete with everything that I look for in a progressive metal album. 

Furthermore, the guitar work split by McALPINE and ROCK is simply sublime and mesmerizing. The guitar sound on A SOCIAL GRACE has soft-melodic acoustic intros, shredding wizardly and technical note proficiency arrangements that will sure make your head spin, psychotically for that matter. Tracks like the opener .....AND THE DEVIL CRIED, SPIRAL TOWER, ANOTHER PROPHET SONG, A PSYCHOTIC WALTZ and my favourite ONLY IN A DREAM are prime examples of quality song writing, amazing guitar hooks and steady Rhythmical drumming. All in all, A SOCIAL GRACE is a fairly heavy album but LACKEY and company still balance out the album with a  spacey ambient instrumental in SLEEPING DOGS and a couple of rock ballads with I WILL REMEMBER and the self titled band track A PSYCHOTIC WALTZ. Both of these tracks really display the wonderful versatility and musicianship that PSYCHOTIC WALTZ can perform. Certainly, LACKEY's Flute playing on I WILL REMEMBER will always be something to be desired along with his ability to create excellent vocal harmonizations with the style of prog metal he accompanies. There is no doubt in my mind how truly gifted Mr. LACKEY a.k.a DEVON GRAVES is when it comes to his voice and artistry. Actually believe it or not, but LACKEY's vocal performance, as good as it is on this album, is not his best vocal performance in my opinion. To further illustrate this point, when I ventured further into PSYCHOTIC WALTZ's discography I found that LACKEY's voice in relation to the style of music he would be singing to, I found that the more melodically driven albums MOSQUITO and BLEEDING were his major crowning achievements vocally and arguably artistically, especially on BLEEDING. Lastly,  I don't want to take anything away from A SOCIAL GRACE since I do believe that this is, even being their first effort, to be the best effort ever done by the band definitely on a technical level. I even feel that A SOCIAL GRACE has stronger advancements musically than INTO THE EVERFLOW. The guitar and drums sound tighter on A SOCIAL GRACE, which is why this album has really won me over. Also, it's so hard to create a nice cohesive album when you decide to put 13 tracks on the album as listed, but PSYCHOTIC WALTZ really pulled it off.  Everything flows quite nicely. 

In conclusion, This is a brilliant effort and I would recommend A SOCIAL GRACE to anyone interested in Progressive Metal or to understand the pioneering aspects of the genre itself. PSYCHOTIC WALTZ are such a dynamic band fueled by majestic melodies, sinister and glorious concepts, heart pounding guitar solos and drums. You can bet A SOCIAL GRACE is a clear example of that. It also would be a disgrace for anyone not to appreciate this album, since no band in the world sounds like them. They are unique and respected, especially given their mark in prog metal history. It's amazing to note that A SOCIAL GRACE is still very highly relevant in the progressive metal world given how old the album is. I recommend buying this album if you can rather than downloading it. The SOCIAL GRACE album has incredible art work by MIKE CLIFT that will be sure to suck you in and get you all excited to spin this unbelievable disc. Enjoy everyone. 

 Into The Everflow by PSYCHOTIC WALTZ album cover Studio Album, 1992
4.15 | 242 ratings

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Into The Everflow
Psychotic Waltz Progressive Metal

Review by progbethyname

4 stars A PSYCHOTIC WALTZ INDEED!!

I admit I wasn't blown away when I first listened to PSYCHOTIC WALTZ's INTO THE EVERFLOW. For me it was kind of confusing at first, but then after a few more listens I could understand and identify with what direction the band wanted to take and that is to create more of a deeper melody with their overall sound while still keeping and embodying that technical flare with the guitar playing, which they displayed so well off their first album, A SOCIAL GRACE. Certainly, INTO THE EVERFLOW has quite a bit to it both lyrically and musically. For example, BUDDY LACKEY a.k.a DEVON GRAVES is up to his usual tricks by being the rapid, spit fire vocalist that we know and love. A great moment in the album for me lyrically was on the track LITTLE PEOPLE where LACKEY lambasted the sycophantic suck ups of the music industry by characterizing them as small (literally), duplicitous people that are worth no ones time. LITTLE PEOPLE is a vocal laden track that was largely inspired by the band duo to the fact they couldn't get a north American record deal, which sparked a lot of animosity between the band and the music industry. 

Meanwhile, PSYCHOTIC WALTZ would move on and create wonderfully crafted songs like INTO THE EVERFLOW, HANGING ON A STRING and The epic BUTTERFLY. These tracks would help propel the band to massive popularity, especially in EUROPE. Obviously, the garnered success was well deserved because those tracks I listed above are some of the thee most beautiful, technical and well written songs in progressive metal history. Certainly, PSYCHOTIC WALTZ have earned their place to be among the elite in the Prog Metal world. The wizardly guitar playing from both DAN ROCK and BRAIN McALPINE will forever be engraved in my head after listening to album joyfully and repeatedly. 

Thus, what stands out the most in PSYCHOTIC WALTZ's INTO THE EVERFLOW is BUDDY LACKEY's incredible lyrical content and singing performances and the rich epic guitar solos performed by the arpeggio kings McALPINE and DAN ROCK (can't believe that is his real name!) To continue, the drums and percussion by NORM LEGGIO are absolutely solid, but not widely as noticeable like in some other prog metal bands such as FATES WARNING and DREAMTHEATER where drums can really take center stage. As for the bass, WARD EVANS adds a nice steady approach to bass playing that is neither flashy nor filler. The bass lines in INTO THE EVERFLOW and FREAKSHOW are a perfect example of bass playing that inconspicuously floates nicely in the background of the overall sound. 

All in all, I can say that I really enjoyed this album and I can bet that big fans of Progressive Metal will gravitate towards this album nicely. The song writing and guitar playing are huge standouts on INTO THE EVERFLOW and could never be overlooked. My thanks to PSYCHOTIC WALTZ for making me into a psychotic for the amount of times I have played this record. Now it's your turn. 

Crank it!!!

 Into The Everflow by PSYCHOTIC WALTZ album cover Studio Album, 1992
4.15 | 242 ratings

BUY
Into The Everflow
Psychotic Waltz Progressive Metal

Review by Bj-1
Special Collaborator Honorary Collaborator

5 stars After their debut masterpiece PW returned with an even stronger followup with this one. Like 'Social Grace' it's fairly unique but slightly darker this time around, with more atmosphere and subtile cleverness. After a rather symphonic opening with "Ashes" the music soon drifts into a series of psychedelic, heavy, odd-metered but incredibly creative and melodic songs that stand out even today. A tune like "Out of Mind" takes several listens before figuring everything out and it bursts with cool ideas and takes you on a minor rollercoaster ride for 5 minutes, while the staggering title track always grabs my imagination into the eerie and beautiful landscape on the cover and is a fabulous dynamic exercise with some really smooth twin guitar soloing in it's climax. Aside from the highly inventive songwriting I have to give the musicians credit as well, killer licks from everyone involved adding greatly to the music.

Although a fairly early progmetal band, PW remains unique and legendary even today and should definitely have gotten more recognition from fans of this genre instead of blindly praising Riverside, PoS and Dream Theater all day. All their albums are highly recommended, but this one is the absolute best overall, IMO. Highlights include "Out of Mind", "Into the Everflow", "Freakshow" & "Butterfly".

Thanks to ProgLucky for the artist addition. and to Quinino for the last updates

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