As this album unfolds, it becomes pretty evident that there are two versions of this band that are at war with each other. One of them is the Nevermore that everyone is more familiar with, consisting of stagnant chug riffs and lighter atmospheric interludes that attempt to compensate for themselves with frequent and often abrupt change ups.
The other Nevermore is the more traditionally oriented one with elements held over from Sanctuary, and the one that would ultimately disappear after this album.
This duality seems largely due to the musical disconnect between andof which these two songs fell into the former year, while much of the rest of this album popped during the latter. While definitely not a bad album, this clearly suffers from a general lack of consistency, and ultimately fails at maintaining the necessary balance between virtuosity and musicality that made Sanctuary a superior band. There are a couple of exceptional moments on here and a fair share of good ones, but unfortunately the sound tends to straddle the 80s to 90s musical divide with a slight preference to the latter, and it shows in the lackluster songwriting.
Originally submitted to www. What we have here is a solid debut, and this one wastes no time before punching you in the face. Kicking the album off with "What Tomorrow Knows" and "C. Warrel Dane's vocals hit hard, and have a unique style I've yet to hear duplicated, while the guitar-work of Jeff Loomis isn't exactly bringing the band down either.
He has a very progressive style to his playing, with complex riffage throughout, and he spends no time slouching during verses at all, there's always something interesting going on with his playing. However, after the start of this album, they come back a couple steps and slow down for "The Sanity Assassin," which has some very good lyrics describing someone losing their mind as if it's being taken from them by force.
The opening guitar interlude into this song has a great harmony to it with double acoustics, and almost reminds you of something off an Annihilator album. Speaking of that, there's not really a specific genre that this album seems to fit into.
This can work for and against the band at times. On the one hand, the regular changes throughout this album keep the listener on their toes and are quite interesting and impressive considering what they can do in different styles.
On the other, some points in this album are so strong that you find yourself wanting more, and you get something that might feel like a different band altogether not to say it can't still be good.
That brings me to the reason this album falls short of being considered great. To be held in such high regard, an album should be more cohesive as a whole, and this jumps around a bit and tends to lag towards the end. With "Timothy Leary" and "Godmoney" the band just doesn't finish strong enough, and there doesn't seem to be a lot going on in these songs comparatively to the rest of the album.
They're pretty straightforward, and that's where Nevermore loses some points. Nevertheless, this is a solid effort for any band, and a great launching pad into their work in the future. They just hadn't quite found their niche at this point, and I think they looked at this album as an experiment to figure out where to go next more than anything. Nevermore's first.
If you've heard their later material, this one won't blow your mind; rather, it sort of serves as foreshadowing of their future endeavors. However, if this is your first Nevermore album as it was minetheir self-titled makes for an impressive example of how a modern metal band can choose to innovate rather than replicate, a methodology that has allowed Nevermore to stand out from among their peers. Nevermore's modern sound is easily their most notorious turn-off.
The casual listener is undoubtedly quick to write them off as another shameless metalcore clone, primarily due to the thick distortion on the guitars and the mid-paced groove of many of the riffs although Jeff Loomis didn't start playing 7-string guitars until the Dead Heart in a Dead World album. Rest assured, this album is a considerable bit more intricate than that.
The talent of the band members is undeniable. Jeff Loomis is one of the mightiest axemen to hit scene in the last decade and he doesn't hold back here.
His riffing isn't as complex here as it would be in the future, but his guitar solos are inspiring. Every solo is original, melodic, and technically challenging, pretty much what a guitar solo should be. Warrell Dane's vocals are refreshing amidst the horrible screamo-oriented singing of pretty much every other band heralded as the "new gods of heavy metal!!
Van Williams is one hell of a progressive drummer and his playing is an important aspect to Nevermore's innate heaviness. Jim Sheppard doesn't warrant the attention that the other members generally receive, but his playing is tight and essential to the riffing. You'd be hard pressed to find a more talented group, Album), and this is only their debut album.
And the talent does not go to waste in poor songwriting. Each song here is memorable in its own right. Many songs fuse mellower, atmospheric elements to counterpoint the outright heaviness that is generally dominant. Lyrics are intelligent and well-versed, and expertly sung by Dane. There's only a few faster moments, namely those in "C. It's this variation that makes it difficult to assign Nevermore a specific genre.
A lot of the riffs are thrash-influenced, especially on this album, which feels more like Sanctuary than Nevermore. The song structures and lyrics hint at progressive metal foundations, and occasionally there are parts that are reminiscent of power metal. Regardless, I think fans of all these genres should be Album) to appreciate this album. It's far from the glorified, talent-feigning metalcore that retains public admiration Children of Bodom, for instance.
Just a solid, original, modern metal album worthy of respectable praise. Combining the ultra-doomy Album) of Candlemass and Trouble with more traditional heavy metal elements in order to bring forth an uncompromisingly brawny presence, this self-titled debut gave vocalist Warrel Dane life after the ill-fated, but nonetheless, highly influential Seattle metal ensemble Sanctuary. At times, this group can pull off a song that is far more commercial sounding than you might expect from a band with such an overwhelmingly significant sound.
On this track specifically, Dane succeeds with his dueling vocal styles as the singer Nevermore - Milla Kara - Another Sky (CDr between strength-laden operatic sounds and snickering, evil sneers with an ominous presence. It is here that you will uncover some of the most crucial metal hymns of the mid-nineties, on an album that wears quite well with time and remains a deeply engaging, crucial metal experience.
The very first Nevermore album came as something of a surprise when it first appeared in At the time, straight metal was considered outdated and old.
In that environment, this album came as a breath of fresh air and was a valuable addition to the musical spectrum. His voice fits perfectly in this band which has a special sort of sometimes intricate riffing, a suitable mix of tempos in their repertoire and quality song-writing to top it all off.
Unfortunately it does. From here on the album holds up well, without having the absolute highs reached on the first half but still oozing of confidence and well-constructed tunes. This album is well representative of what Nevermore is about, solid metal with great vocals.
It seems that this Nevermore debut is completely forgotten by many of their fans, because it doesn't sound much like their later albums and is sort of viewed as a black sheep. I can also see why Nevermore was sometimes referred to as power metal, because this album has a few strong falsettos there and there.
But the label 'power metal' in regards to Nevermore is not correct. Neither is 'thrash metal' too. They're simply "modern" band in every sense of the word. The songs like 'Sea Of Possibilities' and 'Godmoney' tend to have catchy groove in them and well executed midpaced riffs, as do slightly slower songs like 'Garden Of Grey' with nice female back-up vocals that add a lot to the song and 'Timothy Leary' with much slower groovy riffage that's done effectively. And most of all, these songs don't tend to drag and move along at an efficient pace.
The solos are good too. Not overtly technical, but memorable enough for most part. In addition, there are also boring songs like 'What Tomorrow Knows', which is a pedestrian groove-filled song that doesn't go anywhere and boring ballad 'The Hurting Words'. Although the other ballad 'The Sanity Assassin' is decent, though it tends to drag quite a bit in the middle.
By this point 5 years after the release of 'Into The Mirror Black' by Sanctuary and formation of Nevermore, we can see that Warrel Dane's voice have gradually gotten worse. He no longer possesses the fantastic range and delivery he had on 'Refuge Denied'. Instead his vocal performance can be described best as an inconsistent off-key warbling.
In other words, he tries damn too hard to sound like an emotional and tortured man, but comes off sounding pretty dang weak. For instance, the song C. Chrome Black Future shows really well how inconsistent and weak his vocal performance is.
There are falsettos which are done very well, but there Album) also normal clean vocals, which often fluctuate between passable singing and just plain whining.
Case and point - the final chorus, where Warrel sings in a great falsetto "Another life is wayyysstteeeeeeddddd And that's pretty much a paradigm for the whole album in terms of vocal performance. If the album had a better singer like Russ Anderson, then it could vastly improve in quality and actually become listenable. Otherwise, it's simply avoidable. Overview - Strong shades of Sanctuary are shown on this, Nevermore's first release, and they still plant themselves firmly in the category of power metal.
This does have a thicker sound than Sanctuary though and it makes the songs pack a Nevermore - Milla Kara - Another Sky (CDr more of a punch. Not as ripping and thrashing as Nevermore will become at times in the future, but a nice plodding metal ride. The exception to this rule may be Sea Of Possibilities which points in a direction yet to come. This album comes off as considerably 'heavier' than Into The Mirror Black and the band benefits from this.
Warrel is also becoming more comfortable with his style and really lets the emotion flow from his sweet and sour, almost tortured voice. Garden Of Gray is an early Nevermore staple and features a great bass chug feel with an incredibly catchy chorus.
The Nevermore ballad is also born here with The Sanity Assassin showing the band's capability in that arena. The Bad News - I find it hard to say a bad word about Nevermore.
All I can say here is that there is more intensity and ripping axe work yet to come. This is probably a little more 'simple' than some of their later works, but enjoyable none the less.
This is what got the beast unleashed, thats right Nevermore was spawned from the ashes of Sanctuary Warrels and Jims band. This is a very underated album indeed and is often never mentioned or forgot about completely by their own die hard fans. Note: When you embed the widget in your site, it will match your site's styles CSS. This is just a preview! Cannot annotate a non-flat selection.
Make sure your selection starts and ends within the same node. All News Daily Roundup. Album Reviews Song Reviews. Song Lyrics. Song Lyrics Artists - U U. Lyrics U. Album Nevermore Lyrics. Album: U. Review: RIFF-it. RIFF-it good. Add Comment. Get the embed code U. Album Lyrics 1. By the Light of Day 2.
In the Dead of Night 3. In the Dead of the Night 4. Mental Medication 5. Nevermore 6. Presto Vivace and Reprise 7.
A Letter To Myself, Camba Cusa - Bolivia Manta Rencontre Ñanda Mañachi - Churay Churay (Vinyl, LP, Album), Down The Alley - Luella Miller - Complete 1926-27 Recordings (Vinyl, LP), Jumbo Jumbo (Club Mix) - The Caramel Club - Jumbo Jumbo (Vinyl), Forge - Sheebo - Forge EP (File, MP3), Backing Track - Various - Guitar Techniques May 1999 (CD), Who Am I - Damon & Naomi - The Wondrous World Of Damon & Naomi (Vinyl, LP, Album), Splattered Cadavers - Various - Tribute To Repulsion (CD)