Customer Reviews

Dead Heart in a Dead World

5 star:		(67)
4 star:		(14)
3 star:		(4)
2 star:		(1)
1 star:		(2)

 

 

For several years now I have found myself increasingly irritated that a band of this quality is barely able to live from its music. If ever there was an injustice in the music world, Nevermore would be top of the list of cases to be reviewed. For over ten years these four musicians (occasionally five with in and out second guitarists) have released some of the best metal around and yet singer Warrel Dane - to name but one - still has to work as a chef to make ends meet. This makes Nevermore's dedication all the more commendable.

Nevermore provides some of the most intense, heavy riffing this side of death metal. It provides beutifully intricate guitar work during lead breaks or more moody moments. Jeff Loomis (guitars) must be the world's most underrated guitarist playing in the world's most underrated band. The rhythm section are a public menace and Warrel's vocals are the most versatile and passionate your likely to hear in the genre. Oh, and the lyrics are to cry for - or is it die for? A Nevermore album has a tendancy to leave the listener an emotional and physical wreck. Dead Heart is no exception. The atmosphere is heavy - often angry, often cynical and occasionally melancholic. Compositions are complex, yet catchy and the numerous melodic moments and slower time changes amongst the whirling tornado of guitars and drums provide desperately needed oxygen to survive the instensity being showcased here.
This album sees Nevermore at the top of its game, which is scary when one considers the impressiveness of all that has preceded from the eponymously titled debut to Politics of Ecstasy to Dreaming Neon Black. On this disc, instead of the usual classic build up into each song, Nevermore tend to go for an 'in your face' approach, generally attacking with a barrage of riffs and kick drums, rattling out like machine guns before taking the song through various, mezmerising twists and turns and mood breaks. Highlights are many. Indeed, it's impossible to single out tracks such is the overall standard on display.
No metal fan can omit Nevermore from his or her collection, especially not this album, without doing a serious injustice to the band members and to the metal movement generally. I'm just wondering when people will wake up and ensure that this band reaps some well overdue rewards for services rendered to music.
If all this sounds like a terrible exaggeration, I challenge you to pick this disc up and tell me I'm off target ...

Just for a little bit of background information, Nevermore were founded in the early 90's in Seattle. They are made up in part of former members of the thrash metal band Sanctuary, and one of the guys even tried out for Megadeth many years ago.

Nevermore's (I want to say) fourth masterpiece, 2000's Dead Heart in a Dead World, is hands down one of the top five albums in my CD collection. Very rarely does metal get better than this. One of the many things I love about this band is that they don't fall in to any particular genre - except for maybe very dark and very evil heavy metal. I've heard them labeled as many things - progressive, thrash, and even power metal - but none of those titles do the music justice. Sure, you have the ultra-melodic (but very wicked) vocals of Warrel Dane, which at times can also be very beautiful, but the distortion of the downtuned riffing coupled with the melodic soloing just discards any misconceptions about what the music is. It's just Nevermore. The closest thing you'll find is Iced Earth - but this band is a bit heavier, maybe a tad more raw. The guitar duties are handled by Jeff Loomis - and man is this guy awesome. He does a very beautiful, thrilling solo on "Believe in Nothing" that everyone simply must hear - but you also have to acknowledge his down-tuned riffing. Usually this is just a gimmicky effect nu-metal bands use to make their music sound heavy and raw - but Loomis spirals and weaves the technique into a work of art. I think their next album uses this a bit more than Dead..., but there's enough of it here (see "Inside Four Walls") to give you a taste of distortion done right.

The songs themselves are very powerful. I don't think there's a weak track on this album, despite the fact that some stand out more than others. These would probably be opener "Narcosynthesis" - a fast, wicked headbanger that features a truly remarkable chorus ("Turn my blood to sand..."). On first listen, my overall favorite was "Inside Four Walls", a very heavy song whose lyrics describe a faulty judicial system that put their friend in jail for drug possession. We also have accessible tracks like "Evolution 169" and "We Disintegrate" - both very heavy and melodic, two adjectives Nevermore are known for combining perfectly. The two more dramatic moments of DHIADW are probably the ballads - "Believe in Nothing", which I believe was chosen as a single and features a killer solo towards the end, and also one of my personal favorites, "The Heart Collector", a very dark melancholic type of song that also contains some memorable moments ("Nevermore to feel the pain/the Heart Collector sang"). Another very impressive moment is the Simon & Garfunkel cover of "The Sound of Silence" - which I believe was covered by another band also (I think it was Atrocity). Nevermore turn this song into a full-blown metalfest, and just hearing Dane scream ("the words of the prophet were written on the subway walls") is enough to hit the repeat button.

Overall, this is just a great experience that no metal fan should be without. I hope to get Enemies of Reality soon and if it's half as good as this I'll probably love it.

10/10

Nevermore is a Metal band from Seattle. They became very popular after the release of the album Dead Heart In A Dead World. Although Nevermore is often described as a Power Metal band, labelling the music as Power Metal is far from correct. The music of Nevermore sounds to groovy, heavy and distorted to be compared with Power Metal bands such as Iced Earth. On one hand Dead Heart In A Dead World contains songs that are heavier than anything they have written before. On the other hand there are also plenty of songs that musically sound like ballads. Because the music is so diverse, it is fortunate that the vocals are also very diverse. Vocalist Warel Dane uses clean vocals, but his vocals range from high to low and from melodic to distorted. Jeff Loomis is a excellent guitar player. On the album he plays with a lot of groove, and also likes to play distorted riffs. The seven string guitars and the great production make this album sound heavier than earlier albums.

The songs are more vocal orientated than on previous albums. Fortunately the vocals and vocal-melodies are better than on earlier records. There is still a lot of musical firework. Just listen to the fast and technical melodic solos. These solo's are perfectly incorporated into the songs and therefore improve the songs. One of the standout tracks is "Inside For Walls". It is an up-tempo groovy song with catchy vocals and contains one of the best solos on the album. I also really like the power ballad "Believe In Nothing". The song "The Sound Of Silence" is a fast and furious played cover from Simon & Garfunkel. If you are interested in getting into Nevermore, then check out Dead Heart In A Dead World. It is their best album so far.

.. Narcosynthesis-this is probably the best way to start a cd like this one. 4/5

We Disintegrate-This song didn't grab my attention at first but the guitar riffs will blow you away. 3/5

Inside Four Walls-What a way to describe jail, this is a hard hitting song about jail. And how the government tries to control our lives. 4/5

Evolution 169- Great song, if you want a song to depress you, then this is the song you need. 5/5

The River Dragon Has Come-Probably my least favorite, but still good. 2/5

The Heart Collector-This is the best cut of the album "nevermore to feel the pain, the heart collector sang" with those words and great instrumentation, it makes for my favorite song. 5/5

Engines of Hate-I've heard better but not bad. 3/5

The Sound of Silence-Put this song on and mosh. 5/5

Insignificant-Good song starts slow picks up the pace a little. 4/5

Believe in Nothing-My second favorite song on the album, it is like my life's anthom. 5/5

Dead Heart In A Dead World-Wonderful song that the instruments hit hard but the lyrics suggest otherwise. 5/5

*~I recomend this album for anyone who likes good heavy metal~*

I've been "out of the <METAL> loop" so to speak, partially due to the increasingly boring & uncreative modern-day Metal! So sick of the "Rage-Against-The-Linkin-Korn-Bizkits" & their subsequent stagnant clones am I, that I find myself popping my old Metal/Trash CDs in more & more!

An immediate fan of Sanctuary when first introduced to in 1988, I found "Into The Mirror Black" to be, even back then - an impressive evolution of sound & song writing. A definite step in the "right" direction! But after getting my "ITMB" & "RD" cassettes stolen over a decade ago, I put away the cassette collection for safe keeping. Unfortunately all but forgetting about Sanctuary in the process! That is, until recently! I'm always searching for new and fresh well-written Metal even tough I listen to many other genres. I've been buying many such CDs from Amazon.ca/com and am always referred to & recommended NEVERMORE. So, I read all the "hype", the hundredths of positive reviews & feedback and finally decided to order "Dead Heart..."! WOW! After listening to it repeatedly with a good pair of headphones, I quickly realized what the "hype" was all about! I dislike the term "hype" but all of it was true, thus justified. Here was at last in my CD player, something that really moved me & brought on "goose bumps" (of the good kind), which hadn't happened to me in a very long time! This is, in my opinion, one of the greatest downfalls of today's Metal: It fails on the emotional scale! The greatest payoff from music & what it should truly be about is feelings! No emotional reaction and it's quickly forgotten and tossed aside! Not so with NEVERMORE! As it was with older favourites of mine like Iron Maiden, Metallica, Queensr˙che, Crimson Glory, Forbidden, Believer and `70s acts like Yes, Saga & the like.

NEVERMORE succeeds in delivering on every aspect of music and what makes it art: Creative song & lyrical writing! Brilliant technical and complex song structures without compromising melody (which I believe is most important)! Catchy riffs & choruses while avoiding repetition! And last but not least: We have here gifted musicians who not only acknowledge & understand their talents and respective crafts... but ultimately know HOW to bring them forth & WHAT to do once "tapped"! Without the latter, the former could not exist! To dip into the pool and find an idea while failing to bring it to the surface - is to choke on your own creative juices! All the talent in the world means sh*t if you don't know what to do with it! You can be the greatest and most technically sound musician! Schooled to death until outgrowing mentors & teachers! But without imagination, you're simply shooting blanks! Entirely separate things are talent & imagination but without both - art cannot be created!

Warrel Dane's vocals are impressive AND passionate! Trading in the constant high screeches of past, a la Halford & Diamond for the right balance of melody & aggression. The resulting versatility and dynamics move the listener. Refreshingly haunting and eerie vocals compliment the music. Jeff Loomis' technical abilities are immediately apparent but he too, possesses versatility. I don't believe I've EVER heard such an incredibly talented "lead guitarist" who also creates such insane rhythm compositions! His riffs are often just plain nuts! Not only can he hold is own with the likes of Friedman, Larocque, McAlpine, Moore, Pitrelli, Skolnick (excuse the omissions) if not outright blowing them all to bits in the speed department, but his song writing abilities are equally impressive! Unparalleled I believe in the Metal! Every one of the aforementioned "shredders" is uni-dimensional (with exception to Larocque). Generally, technical & schooled shredders make lousy rhythm guitarists. Again, not so with Loomis! Friedman had to be "taught" to play rhythm by Mustane! Testament's songs were mostly written by Peterson and let's not forget Hetfield, without whom old-Metallica would not be! He's one of the best rhythm players ever, in my opinion. Shining on the classics "Justice" & "Puppets". Essentially, it's rare to find such a multi-talented, multi-dimensional Metal guitar player! The comparisons to Korn & Vai because of 7-string Drop-D tuning as another stated are not only unwarranted and uneducated but also outright insulting! NEVERMORE's sound IS proof that Korn's once original down-tuned-slap-happy-open-chording was the limit of 7-string guitar-made Metal! Loomis' playing sounds nothing like Korn and their countless clones! What was made popular by such bands is now (thankfully) being scrapped, reshaped and reassembled into what that "sound" was truly meant to be!

With its dark, moody and melodically rich songs, filled with eerie slow passages & unrelentingly heavy & fast riffs, "Dead Heart, in A Dead World" is anything & everything BUT... Dead! With it comes a sense of hope. Hope for the future of Metal. Confirmation the genre is alive & well! With the help of NEVERMORE and similar bands, I'd say Metal is once again beginning to thrive! Fans of varying types of Metal can & will enjoy NEVERMORE. Especially those sick of what today has to offer. Whether you're into not-so-heavy-but-melodic Metal like Iron Maiden, Crimson Glory, Queensr˙che, Dream Theatre, etc or into very-heavy-sometime-melodic-sometime-not Metal like Opeth, Alchemist, Soilwork, In Flames, Strapping Young Lad, Chimaira, Killswitch Engage, Cradle of Filth, Dimmu Borgir, Children of Bodom, Iced Earth and so on... NEVERMORE's versatility & diversity makes them very approachable no matter what angle you're coming from! Intelligent Metal is difficult NOT to approach.

NEVERMORE: A quartet to rival the best of yesterday, the best of today and hopefully, the best of what tomorrow has to offer!

"Dead Heart... ", my first encounter but not my last! I'll be adding theirs and Sanctuary's two releases to my collection soon. I apologize for the unnecessarily long review! Not since '88 upon hearing Maiden's "Seventh Son... ", "Caught... in Time" and Metallica's "And Justice... ", have I been like this!

Go now, get this CD - reanimate your HEART

After listening to this disc for the last few months, I realized what a crime it is that bands like Iced Earth and Nevermore struggle in this country while bands like Creed and Limp Bizkit reap the rewards of mediocrity. Nevermore should be huge. This CD only reinforces the fact that they are excellent musicians and excellent songwriters. They do the slow and fast with equal aplomb. When one listens to their cover of the Sound of Silence you realize it was meant to be a metal song, just that Simon couldnt't write the necessary riffs. Support this band, buy this disc, crank it up and blow the doors off of the wimps who blast the nu-metal.

Wow. Nevermore is one of the best bands ever. After a few now classic albums as Sanctuary, they reformed as Nevermore and have released several soon-to-be classic albums. While Politics of Ecstacy showcased their progression from more straight-forward power metal into something more epic and powerful, and Dreaming Neon Black saw the band reaching their zenith as an epic, beautiful, deeply textured dark metal band, Dead Heart...shows an interesting step forward(?). The band does not pull out another rock-opera style concept album, but rather a more song-based, groove heavy approach. I don't like the comparisons to Korn and Limp Bizkit just because there are 7 string guitars on this album (does Steve Vai sound like Korn 'cause of 7-stringers?). Nevermore seems to be trying to prove that power metal can retain it's force, power, and melody without sounding like chintzy 80's castoffs (attention all lame, annoying fantasy metal bands). Great stuff, esp. River Dragon and Heart Collector. This doesn't get 5 stars because it's not my favorite Nevermore album (Dreaming...has a special place in my heart), but this is a fantastic and very modern sounding power metal kick in the groin.

If you have read any of the reviews here (or for Nevermore in general) and are not already familiar with Nevermore, then a couple of things may already be apparent: that there's a rabid fan base for this band (completely deserved, by the way), accompanied by the truly baffled question, "Why aren't these guys more famous?" A part of this review, of course, is to make them less obscure, but also to try to explain why.

Part of the reason why you will read here so many people saying it is an injustice that Nevermore are not better known is because they truly are, without exaggeration, one of the most inspired bands working in "metal". I'd like to say, "The most immediate first impression of the music is ...," but the fact of the matter is that it's not just Warrel Dane's vocals, it's not the literally off-the-map and limitlessly inventive riffing of Jeff Loomis (though that's what is most often pointed to, and is certainly the most obvious "holy s**t" aspect of this music), it's not the pummeling intensity of the rhythm section or lyrics that include a line like "Vilipend and amend the sins you condign" ("vilipend" and "condign" are practically archaic words), and not even the gorgeous guitar sounds and total orchestration of the music ... It's the total, 100% commitment of the musicians to the music itself, as a total package, that makes the first and most immediate impression. Although extremely different in mood, sound, and attitude, still these guys are as serious about their music as Pantera ever was (the eight second solo at 1'53" in "Inside Four Walls" alone makes this clear).

"Narcosynthesis," at 5'31", kicks things off with a grinding guitar roll and full-bore band aggression, while Dane's lyrics growl over the top, treated in different ways on two of the lines. These lyrical variations (which Dane uses not just to vary how the vocals sound and are delivered, but also to emphasize in different ways what he's expressing) are matched by guitar variations as well. In the first 30 seconds, there are two different guitar riffs (a conventional metal move), but the second riff, which is just straightforward thrash, also makes slight variations of the line itself. This may seem overly narrow, but it is precisely this tendency to vary delivery, riff, and tone of vocals and lead guitar (it's not as obvious in the bass and drums, but it's there too) that goes a very long way toward making Nevermore's music as compelling as it is, because they almost never let themselves get stuck in a rut. The classical music scholars tell us that an immense amount of music's effectiveness arises from surprising people's expectations; where most bands write music, and then predictably play it, Nevermore (either deliberately or by nature) constantly surprise expectations. Here, it is especially the style contrast between the grinding verse, and the Dimmu Borgiresque "clean-vocals" chorus, but (as always) attention to details as well (how the vocals are overdubbed in the chorus, and the almost too subtle second guitar line accompanying the solo around 4'06").

Normally, I like to review/describe each song, but Nevermore are so packed with ideas that it would balloon this review excessively. "We Disintegrate," at 5'11", is more or less structurally the same as "Narcosynthesis," including the thrash-lush contrast between verse and chorus. The ending however opens up into a rising, gorgeous fog of slightly Eastern guitar, that is blasted apart by ...

"Inside Four Walls," at 4'39", starts with the usual teaser riff, but then drops into one of those things that makes you immediately realize, "This is not the metal I'm accustomed to hearing." It's still basically thrash, but the accents and rhythm are brilliantly broken up. Notice the snare accents that hit between guitar chords (but not all the time; at 42 seconds the expected snare hit doesn't happen ... expectations); notice the "piano" sound (it may be guitar harmonics) floating behind the line "inside four walls" (around 46 seconds) and how it adds creepiness to the lyrics; notice the throw-away riff (at 1'11") that exists only to get back to the verse; the frantic solo at 1'52 and key change that skitters away before you know it's over, but also the extra viciousness of the thrash underneath it. Pointing out these details isn't merely gratuitous either; they're apparent enough when listening. And this is only half of the song, and doesn't even include the handsome "official" guitar solo.

"Evolution 169," at 5'51", takes a canny break from the straight thrash, opening with a slow, down-sludging line that betrays Nevermore's Seattle origins. Once again, the song seems built like "Narcosynthesis," with an especially melodic chorus to contrast the rhythmically sharper verse (notice the bell-like acoustic guitar that goes with it). Expecting a guitar solo, Loomis starts with doubled, bent harmonics, but then abruptly lurches away into another album moment that will grab you by the ears; four powerful notes swap off with crazy runs and arpeggios covering the whole neck of the guitar, but far too briefly before a triplet rumble gives way to the bent harmonics again, and the chorus returns (maybe not as smoothly as one could hope). The main riff rumbles out to the end of the song (note Dane's weird guttural "don't set your mind ... to one side," occasionally screaming or whispering the last ... surprised expectations.)

"The River Dragon Has Come," at 5'05", starts with that metal-obligatory, a soulful acoustic bit, but spatters its brains in only 28 seconds with another throw-away saw-like teaser. The riff that follows, though simple and powerful enough, is brilliant tweaked before opening into yet another musical idea with Dane in full multiple echo chorus behind it. This more or less repeats, full of surprises, until Loomis launches into the "official solo" (there are always minor solos peppering each song before the official one)--it starts off blindingly, if plainly enough, with some conventional finger-riffing, but then sails out of itself into this really delicious-sounding set of arpeggiated runs up and down the neck while the rhythm section pummels away.

"The Heart Collector," at 5'55", is one of the most sadly beautiful songs (and one of the all-time great metal ballads) Nevermore has ever done. Starting with a big, booming version of the chorus, the verse is first delivered acoustically (of course), with the chorus returning, sounding like there are about 90 layers of perfectly heaped up power-melody. Meanwhile, while a perfect power ballad that employs the acoustic/electric contrast with heart-stopping effectiveness and has a completely worthy orchestra of guitar solo, the lyrics introduce the "heart collector," someone who seems half clown, half something Bowie might have thought of in his early days. And then, even though there's nothing left to prove, at 4'22", the chorus returns, but drops down one fret (for the "big finish" it's usually up one fret), which not only is surprising, but the new key it is in makes the song sound even more lush; it's the "sang" here that sounds like Bowie to me. But, the song is not over. A minor acoustic guitar thing, under cut by chord accents suggested a down-beat outro, before it opens into an almost ominous final theme.

"Engines of Hate," at 4'42", dispels the grandeur of the last song with a pounding opening chord-bash, but then gives way to sheer speed. This is another "too many ideas to describe" song, featuring a solo bursting with arpeggios and even a sneaky, slower but not quite introspective mood.

"The Sound of Silence," 5'13", opens with enough of a reference to Simon & Garfunkel's song of the same name that you know what to expect, but it's only the lyrics that are the same. Immediately, the most vicious heap of guitar aggression on the disc pummels around--not the sound of silence at all, and then a signature Loomis death-chug, sounding gorgeous and visceral and wicked ... But not even this is the main verse riff yet, which enters, metallically dissonant, with Dane delivering Simon's words and pulling out the alienation in them with spine-tingling effect. I'm not going to try to describe this masterpiece of reinterpretation. Utterly. Phenomenal. Buy this CD.

There's yet more good music on this disc, but this review is long enough already. Ultimately, if I tend to listen to Nevermore's "Politics of Ecstasy" or "Dreaming Neon Black" more often, "Narcosynthesis," "The Heart Collector" and "The Sound of Silence" will always bring me back. Dane, certainly, is as 100% here as anywhere else, and I wouldn't want to not have this disc in my Nevermore collection.

When I was first getting into metal, this was one of my first 'real metal' CDs I ever bought (i.e. not poppy nu-metal like Korn, Skinlab and ilk.) As such, my review might be a bit biased in favor of Nevermore, but nonetheless, this album rules. I'd argue that either this (or maybe Dreaming Neon Black) is Nevermore's musical apex thus far. And since Nevermore is one of my favorite bands, that this is one of the best metal CDs ever made. And it is with good reason that I say this.

With so many bands vying for attention, there's a lot of unoriginality in music. It's rare for bands to draw from so many influences that their music defies logical classification. Yet Nevermore does just that (Iced Earth is also one of the few to do so.) They brilliantly combine the best of progressive metal, power metal, traditional metal, gothic metal as well as other subgenres. Dead Heart in a Dead World (a.k.a. DHDW) is not only the result of Nevermore 's unique style, but their varied songs as well.

This is the best feature of DHDW. Each song has its own combination of levity, seriousness, darkness, mellowness, heaviness, etc. For instance, the songs 'Evolution 169,' 'Inside Four Walls,' and 'Sound of Silence' all have some degree of levity in their lyrics (if only because one has lyrics from a Simon and Garfunkle song), yet 'Inside Four Walls' also has a degree of political seriousness about it that neither of the other two has.

Likewise, 'Dead Heart in a Dead World,' 'The Heart Collector,' and 'Believe in Nothing' all have a degree of darkness in them, yet 'Dead Heart in a Dead World' has a musical heaviness in it that neither of the other two (which are more ballad-esque) have.

It is hard to overstate the uniqueness of each song. Some songs will make you smile, some will make you think, and others will make you despair. And there is never any point where one has to skip tracks because every song is excellent. All of this while Nevermore performs interestingly original music that, while not always the most technical in metal, is so beautiful that it doesn't even matter.

Unfortunately, Nevermore's followup albums aren't as good because they lack the emotional variance that DHDW has. They are increasingly misanthropic, and while there are traces of that on this album, it is not overdone as it is on the followups. That's not to say they are bad because they're still very good, but it lacks the depth that DHDW and Dreaming Neon Black have.

If you have any appreciation of metal music, you will buy this CD. Then you'll buy Dreaming Neon Black.

I heard this was the best showing of Nevermore, so on a whim I picked it up to give it a try. I'm glad I did. Keep in mind this isn't Power metal, it's not Death metal, it's not all Progressive metal, and I wouldn't call it plain Heavy metal to the likes of Pantera and such. It's not even really the In Flames type Melodic death metal. This is sort of in its own catagory which I'd like to call Technical metal. After a couple of listens straight through I can say every track on this disc is above average, even though a couple feel semi-mediocre.
This album combines the complex guitar riff arrangements of Arch Enemy along with the technicality of bands like Fear Factory and Soilwork. Although unlike these bands, Nevermore decided to incorporate plenty of acoustic passages as well, which I highly appreciate. The lead vocalist's has an awesome heavy metal voice, it's clean and highly melodic yet at the same time morbid and painful (in a good way), with a continuous David Bowie-ish flare. No track is too long or too short, all ranging from about 4 and a half to 6 and a half minutes, which keeps things moving along very well, never becoming dull or draggy. The basic guitar riffs behind each song are fast and brutal, yet not the hardest to play at times, but no matter, because the dark and futuristicly technical atmosphere created with keyboards and the vocals more then make up for it. The guitar solo interludes and riffs mentioned made me think of Arch Enemy's stuff from their newest album. Overall, the songs had great driving guitar rhythem accompanied by great bass guitar and drums which overall powered up the record very much.
The reason I gave this 4 stars instead of 5 is because of a few semi-mediocre tracks within that I mentioned earlier (namly tracks 3,6, and 10). Even though this is true in my opinion, nothing on this CD is worth hitting the skip button for, because even though these tracks aren't as good as the others, specific parts within them are very good, so it's hard to rule them all out. Also, the production on the rhythm guitars and bass feel a little too loud and overdone, because in some songs they tend to drown out the vocalist and lead guitar melodics, which in turn make the good parts harder to hear. Another reason I gave this 4 out of 5 is because even though I did very well enjoy this album, there really wasn't anything in it that "Wow'd" me. Nothing all too spectacular as a whole, it was just missing that extra "zing" I guess.
Even so, I most definitely recommend purchasing this album. I only bought it because I was looking for something that wasn't Power or Death metal which is what I usually buy, and wanted something more atmospheric and dark. Go pick it up, it's no Opeth, but it's still very much worth your money.