This project/band that drummer/keyboard player/producer/song writer Daniel Flores runs with his missus, singer Angelica Rylin is now releasing album # 6 since the formation back in 2010. Despite their brand of gothic Melodic Rock meets Metal isn’t exactly my first choice of music, the band has some really good releases under their belt. That said, the last couple of albums have seen the band treading water in my opinion. Without being bad per se, those records has been a bit forgettable for me, too bad as the first three were really good efforts. But with the addition of guitarist/song writer/producer Mike Palace (Palace, Kryptonite) my expectations rose – much because Mike’s band Palace’s albums are all solid records.
This album is a concept album that picks up where the album A Gentleman’s Hurricane by Flores’ old prog-metal band Mind’s Eye left off. The Mind’s Eye album was a concept album about a former CIA agent – Adam Evangelista – who’s life had gone south who’s story was told throughout the album via his confessions to a priest, a priest who was a creep that did Adam wrong and had lots to do with him becoming a murderer. This album picks up after Adam had met his daughter Pandora that closed the Mind’s Eye record, a daughter who is now grown up and has taken her father’s route in life, going out on a vengeance spree seeking revenge on everyone who did her dad wrong.
The album opens with the cinematic and dramatic intro “Six Feet Under” which sounds like a movie-score – rain, thunder, car doors – like an Operation Mindcrime light if you will which goes into a semi-acoustic yet bombastic drama before prog-metal riffs and a choir of vocals throws us into “A Ghost Of A Chance”, a heavier and bouncier hard-rocker on a beefy ground with symphonic keyboards on top. This is pomp-rock with AOR spices, catchy melodies and a direct main-melody. Again, it’s quite theatric with a poppy flavour and a gloss that flirts with the 80’s. When it’s clear that Adam dies in the intro and Pandora taking up the fight, maybe this tune should’ve been more aggressive and less uplifting? Be that as it may, it’s pretty good tune.
In “Damnation” we get a groove-laden prog-pop-metal number that holds both edgy and muscular riffing and some kinder, smoother pop-melodies. To break things off, a quick passage of layered voices comes in and there’s also pieces where a slight Dream Theater influences can be spotted. Mostly though, the song holds a steady rhythm and a distinct, catchy refrain that sticks right away. Very Good. “Wheels Of Time” is more of an upbeat, rhythmic pop-rocker with a touch of 80’s AOR, a crunchy guitar and lots of keyboards. There are inserts of pomp-prog here and there as well. As a whole a good song but the chorus promises more than it can keep and never really takes off.
The ballad “Winged” is a held-back, mellow affair with big keyboard arrangements and acoustic guitars. It’s contained in a dreamy soundscape over a floating rhythm and pompous touch. The AOR-smelling vocal-melodies are both slick and a bit glossy but Rylin totally saves the day with her brilliant performance. Again, a nice tune but the chorus isn’t characteristic enough and doesn’t lift the song. The upbeat “Kill Your Darlings” brings a Metal touch to the table with its massive, heavy riffage and ballsy and tough rhythms. On top lies a Melodic Rock laden melody line and a pompous outlook where the chorus rises with some 80’s flirtatious hooks. The goth-like piano also brings another dimension – a stand out tune for sure. Very good.
“Father’s Eyes” is a dramatic and theatrical mid-paced rocker. It comes in mid-pace at first albeit with a juicy rhythm but during the song it alters between the slower tempo and more upbeat grooves. The soundscape is big and the keyboard arrangements are very big pomp-rock vibes. All in all, a catchy track with uplifting melodies and a distinct and direct chorus. Very good. “Rise Above” is a semi-ballad that brings in influences from all over the place – Rock, pomp-prog, AOR gloss, a chorus that’s a throwback to early 90’s power balladry, a metal riff and a slice of symphonic touches. It’s a keyboard based number with a good enough hook and a good enough chorus.
“Trick Of The Devil” starts out with a slow, held-back verse, quite dramatic and theatrical with a Queensrÿche inspired guitar in the intro but goes for a bigger and more bombastic outlook in the hook-laden chorus which also holds a prominent stomp making it more of a direct Melodic Rock piece with a chunky beat, crunchy guitar but also a mountain of keyboards – and it’s catchy. Good one. “Heads Or Tails” is more of a straight ahead rocker, very plain, in-your-face and direct with a heavier rhythm section and a gritty guitar. It’s also quite big on keyboards which rubs shoulder with the crispy guitars and on top lies a mastodon AOR-like refrain that contrasts big to the raunchier vibe of the rest of the tune. Very good one indeed.
“Please Don’t Wait Up” blends musical theatre with early 90’s power balladry in the most saccharine of ways, big on orchestration and dramatic energy. The huge chorus is indeed infectious and had it been released in 1990 it would have been all over the charts. I’m a sucker for a great written power ballad so I give my thumbs up for this one. The album/story ends with “Finding Closure”, an epic 9-minute rhythmic rocker, quite straight forward with a rolling drum-pattern and crunchy guitars. It also contains different moods, it holds prog-laden instrumental parts and pompy moments – it’s equally a rocker and a dramatic movie-score with a really memorable refrain. It’s a good song but it could’ve been shortened with a few minutes for sure.
A concept album like this fits a band like TMOMS like a glove as they have always been dramatic and theatrical musically. Quality wise it’s also a step up from the last couple of albums but that being said it’s a couple a steps away from the first trio of records. The issue I have with the songs is that they feel somewhat predictable – it feels like the band is a bit on repeat and that they have painted themselves into a corner musically. I wouldn’t mind a curve-ball or two. Also, a more aggressive outlook would have fitted some of the more lyrically angry numbers. Still, a good album with a brilliant singer in Rylin on top.
6/10
More The Murder Of My Sweet reviews:
Bye Bye Lullaby
Beth Out Of Hell
Echoes Of The Aftermath
Brave Tin World
Tracklist:
1. Six Feet Under
2. A Ghost Of A Chance
3. Damnation
4. Wheels Of Time
5. Winged
6. Kill Your Darlings
7. Father’s Eyes
8. Rise Above
9. Trick Of The Devil
10. Heads Or Tails
11. Please Don’t Wait Up
12. Finding Closure
CD & Festival reviews 