Ever sit down to write a review and have a hard time figuring out the right approach? Do you tease the listener? Do you beat them over the head with details? Do you try and walk the fine line between both? I’ll be honest and say I cannot be brief. That’s why I seldom write reviews these days. It’s just not my style. I could not write one of those single paragraph reviews to save my life. However, I know there are those reading this with a ten second attention span and an eight second stopwatch that want to know the following about the new Circus Maximus release, “Isolate:”
How many stars (and a half/quarter/decimeter/fraction) out of 5?
How many lighting bolts out of 3?
How many points out of 100?
How many points out on the traditional 10 point scale?
Does it get an A, B, C, D, E, F, along with a +/-? (wtf is an E?)
How many metal goathorns does Dio throw at it?
How many times am I going to be accused of being a fanboy with no objectivity?
How many times am I going to give a shit?
For those that want that approach….Stop. Just stop for fuck’s sake and let me get it over for you with a brief attempt at a crappy summary:
Circus Maximus play a traditional style of melodic prog-metal that mixes AoR elements throughout. In other words, they combine the softer elements of Symphony X with the harder elements of Journey. They throw in some amazing vocals of the nut-in-a-vice variety, tasteful guitars, solid production, catchy songs, and just enough cheese to go with a nice bottle of Australian Pinot Noir to please the palate. The part I love about the band is that they also toss in just enough wankery to piss off the power cretins, enough basic melodic elements to piss off the prog snobs, and enough gayness to piss off everyone that only knows how to scream, “METALLLLLLLLLLLLLL!” That’s how they set themselves apart from the crowded fields of crappy generic bands in this genre. They are now on the road to headline status in my book. I may as well also mention the obligatory Dream Theater reference so that covers everything. I’d hate to get my reviewer license revoked for leaving that out (Got to keep some street credibility with some on the Portnoy Forum).
To answer the questions from above:
Circus Maximus have returned with their sophomore effort and done something that very few bands have been able to do so quickly in their career. They have defined their sound. When you hear Circus Maximus (assuming you have heard them before), you know within moments that it is Circus Maximus. No doubts. No second guesses. They have done so by placing an emphasis on a forgotten art in prog metal:
Melody.
There are tons of great musicians and bands out there that write tremendous and complex musical interludes that just happen to have vocals. I can count the number of bands that can do that and combine it with a melody that you remember on one hand. Circus Maximus is not only one of the bands from that one hand, but they are the middle finger pointed straight at the Techies, the AoRhomophobes, and the hardcore Ytsejammers that believe that all bands with a keyboard and good hair ripped off Dream Theater (I like to think of them as like the Soup Nazi from Seinfeld…”NO YTSE FOR YOU!).
“Isolate” is 50 minutes of pure aural ecstasy to these ears. The band describes the disc as an unintentional concept disc because “as the songs and the lyrics went along the story just added itself.”
Whatever.
I generally hate concept albums. I hate them because most require a narrator that sucks the suck out of suck. Instead of Darth Vader Jr. from the beginning of “Shout at the Devil,” we get stuck with the Prancing Unicorn Master from the artist formerly known as Rhapsody. I hate them because most of them lose something if you do not listen in the proper song order, context, frame of mind, atmosphere, etc. I don’t want to read and analyze my music. I don’t want to need headphones on a rainy night to enjoy the music. I don’t want to be required to remember what the character said in the 3rd verse of the 4th song right before the bridge in order to understand what is going on in the chorus of the last song on the disc. I simply want to *feel* my music. Anything else I discover is a bonus. Those wanting something more in this review should stop now. I have nothing left for you nor do you probably give a rat’s ass either. Please exit to the “artsy-fartsy” section of the internet and hang out with all the other cool kids.
I would love to go into detail about the actual musicianship involved in the disc. I cannot because I wouldn’t know what the hell I was talking about. I’m not a musician. I don’t know scales. I don’t know technique. I don’t know what is what. I can tell you that I appreciate the rhythm section because they don’t stand out unless they intend to. That may be a sad commentary on my listening ability with bass and drums, but it’s the truth.. The keys alternate between providing lush atmosphere and injecting a bit of complexity with the intertwining guitar work. As for the guitar, Mats is one of the most under-rated players on the scene. He employs an old school feel that focuses on soaring leads and melody enhancement as opposed to Malmsteenism. Tasteful and classy are the best words for me to describe his playing. Those that have heard “The First Chapter” know where I am coming from although you truly cannot understand just how much he has taken it to another level until you hear this disc.
I guess I need to mention the vocals as well. Michael Eriksen has joined the new elite as far as I’m concerned. I now feel comfortable mentioning him in he same sentence as Allen, Khan, Luppi, and Lande. His range is ungodly as he is able to drop down to the lower emotional pits and then soar to octaves that reminds me of Tate back when he had hair on his nutsack. One of the key elements of the Circus Maximus sound is when Michael employs his building crescendo technique by using all three of his primary styles (low and slow ala Khan, mid-paced ala Luppi, and highs ala Tate/Midnight to build towards a tempo/intensity climax. Every time he switches gears and takes it to another level, the music matches him. That gives it the “Oh Shit!.Here it Comes!” anticipation that gives me chill bumps. No other vocalist or band employs this technique like Circus Maximus. They define their sound with it. Now if he would only drop the Udo wardrobe on stage.
Oh yeah, about the songs…
“A Darkened Mind” is the perfect opener for this disc. I mean *flawless.* It’s starts out with a bit of the signature CM style before a drastic change in direction hits you in the face. Darkness simply envelopes the sound as Michael’s brooding gives you a taste of what is to follow. If that wasn’t enough, the keys & drums kick in and begin building the tension ala the opening riffs of Queensyrche’s “Anarchy-X.” What follows is an up-tempo piece with just enough crunch to keep everyone satisfied. The solo section is where you realize the band has taken it to the next level. The new keyboardist (Lasse )( is given a chance to make an impact before Mats does his thing. His “thing” is a work of art and he is quickly becoming one of my favorite guitarists as you feel the emotion in every chord he hits.
“I don’t know where to find myself, though I can feel it anyway
I won’t forget all the things that you promised me
My darkened mind will never set me free.”
“Abyss” follows and is the heaviest track on the disc. Prog-metal fans can finally relax the sphincter as the band rips it apart in tempo and time changes. Mats even choses to shred a bit here and there. The chorus is 100% what you want out of Circus Maximus though. You will find yourself singing right along with chill bumps.
“I stand on the edge of the abyss and I am waiting to fall
There is no way out this time
All that I loved, I loved alone.”
“Wither” is up next and is one of my favorite tracks on the disc. It’s starts out a bit crunchy and then mellows down into one of those building climaxes/tempo pieces that I mentioned previously. I can just feel my fist clenching right when Michael takes it up a notch in the vocal department halfway in. The AoR vibe throughout the song does not take away from my enjoyment. In fact, that is what takes this band to the next level. They can combine multiple crossover styles without alienating each individual fanbase.
“Now as the night it slowly fades
I can not reveal my pain, because of greed
My wrists will bleed for one last struggle
In pain …”
“Sane No More” is a four minute instrumental that has perfect placement in the song order. I am reminded of the Ron White line when I hear this song, “Diamonds…that ought to shut her up.” That’s exactly the way I feel about people that bitch about CM being nothing more than an AoR cheesefest with some copycat Dream Theater elements. If you can pull of these chops, then I’ll hand you the megaphone and get out of the way.
Of course as soon as I say that, “Arrival of Love” brings onthe exact opposite reaction. This is pure melodic AoR baby! Roll the window down, tap your fingers, and smile. It’s simple happiness and fits the concept perfectly. You may as well enjoy the summit before you take the plunge.
“Finally the time has come to
Give eternal love, and to
Stay alive together is our destiny
No more sorrow, no more pain
And your presence keep me sane
In the night I’ll hold you tight
Until the end.”
The plunge comes in the form of “Zero.” This is gut-wrenching. The agony and despair that Michael demands you feel is amazing, This haunting ballad is the song that most bands try to write once in their entire career. The harmonies during the chorus followed by the guitar solo just hurt you to the core:
“I try to make you remember…belief is all you need
And show you I’ll be around forever
I try to make you remember me
I try to open your mind.”
The character’s descent continues with the twelve minute epic, “Mouth of Madness.” The lyrics fit the title all too well as I’m still trying to figure it out. The first part is a dark acoustic affair before giving way to a slower, darker melodic vibe. This isn’t “Glory to the Empire” where you are ready to fight the world, but a song where you can feel the world fighting you. Hell, there is a bit of sludgy doom thrown in to further weigh you down. Somewhere along the way the band transitions effortlessly into a beautiful epic in the Symphony X tradition.
“Advanced technology ploughed their path
Intelligent entities who only knew wrath
A stab in the back, a Judas kiss
In ignorance they obey.”
“From Childhood’s Hour” starts the journey home. It is a beautiful ballad that has commercial hit written all over it. However, that beauty lies in the macabre lyrics that contrast with the lush melodies. After the hectic nature of the previous song, this is a welcome return to warmth with another beautiful chorus. I really see the AoR crowd embracing this one.
“Or is his life a stagnant tide?
Into a self made Hell he was thrown”
“Ultimate Sacrifice” finishes the disc in spectacular fashion. The best comparison I can make is that is really sounds like an extension of “Glory to the Empire” from the first disc. It’s proggy, epic, and it sounds like CIRCUS MAXIMUS.
“In the dark comes the rain with agony and pain
Now I could not see the hands before me
I will never surrender
I’m a survivor and this is my destiny.”
I can feel “Isolate.” I can feel it because the music and vocals match the concept perfectly before I even attempt to interpret the lyrics. I could easily follow the character’s path to insanity even if the lyrics were in Norwegian. I know and understand what the character is feeling based on delivery and tone alone. I’m not going to explain that nor defend it. I don’t expect you to understand that or agree with me either. However, after you hear the disc you will know exactly what I meant. That’s the sign of an album that will stand the test of time in my universe.
How many stars (and a half/quarter/decimeter/fraction) out of 5?
How many lighting bolts out of 3?
How many points out of 100?
How many points out on the traditional 10 point scale?
Does it get an A, B, C, D, E, F, along with a +/-? (wtf is an E?)
How many metal goathorns does Dio throw at it?
How many times am I going to be accused of being a fanboy with no objectivity?
How many times am I going to give a shit?
For those that want that approach….Stop. Just stop for fuck’s sake and let me get it over for you with a brief attempt at a crappy summary:
Circus Maximus play a traditional style of melodic prog-metal that mixes AoR elements throughout. In other words, they combine the softer elements of Symphony X with the harder elements of Journey. They throw in some amazing vocals of the nut-in-a-vice variety, tasteful guitars, solid production, catchy songs, and just enough cheese to go with a nice bottle of Australian Pinot Noir to please the palate. The part I love about the band is that they also toss in just enough wankery to piss off the power cretins, enough basic melodic elements to piss off the prog snobs, and enough gayness to piss off everyone that only knows how to scream, “METALLLLLLLLLLLLLL!” That’s how they set themselves apart from the crowded fields of crappy generic bands in this genre. They are now on the road to headline status in my book. I may as well also mention the obligatory Dream Theater reference so that covers everything. I’d hate to get my reviewer license revoked for leaving that out (Got to keep some street credibility with some on the Portnoy Forum).
To answer the questions from above:
- 4.5
- 3 (Who ever heard of half of a lighting bolt?)
- 95 on Tuesdays, Thursdays, and Saturdays (those are Jimmy Buffett days). 97 on the others.
- 9
- A
- Both
- Every time someone disagrees with me.
- Zero
Circus Maximus have returned with their sophomore effort and done something that very few bands have been able to do so quickly in their career. They have defined their sound. When you hear Circus Maximus (assuming you have heard them before), you know within moments that it is Circus Maximus. No doubts. No second guesses. They have done so by placing an emphasis on a forgotten art in prog metal:
Melody.
There are tons of great musicians and bands out there that write tremendous and complex musical interludes that just happen to have vocals. I can count the number of bands that can do that and combine it with a melody that you remember on one hand. Circus Maximus is not only one of the bands from that one hand, but they are the middle finger pointed straight at the Techies, the AoRhomophobes, and the hardcore Ytsejammers that believe that all bands with a keyboard and good hair ripped off Dream Theater (I like to think of them as like the Soup Nazi from Seinfeld…”NO YTSE FOR YOU!).
“Isolate” is 50 minutes of pure aural ecstasy to these ears. The band describes the disc as an unintentional concept disc because “as the songs and the lyrics went along the story just added itself.”
Whatever.
I generally hate concept albums. I hate them because most require a narrator that sucks the suck out of suck. Instead of Darth Vader Jr. from the beginning of “Shout at the Devil,” we get stuck with the Prancing Unicorn Master from the artist formerly known as Rhapsody. I hate them because most of them lose something if you do not listen in the proper song order, context, frame of mind, atmosphere, etc. I don’t want to read and analyze my music. I don’t want to need headphones on a rainy night to enjoy the music. I don’t want to be required to remember what the character said in the 3rd verse of the 4th song right before the bridge in order to understand what is going on in the chorus of the last song on the disc. I simply want to *feel* my music. Anything else I discover is a bonus. Those wanting something more in this review should stop now. I have nothing left for you nor do you probably give a rat’s ass either. Please exit to the “artsy-fartsy” section of the internet and hang out with all the other cool kids.
I would love to go into detail about the actual musicianship involved in the disc. I cannot because I wouldn’t know what the hell I was talking about. I’m not a musician. I don’t know scales. I don’t know technique. I don’t know what is what. I can tell you that I appreciate the rhythm section because they don’t stand out unless they intend to. That may be a sad commentary on my listening ability with bass and drums, but it’s the truth.. The keys alternate between providing lush atmosphere and injecting a bit of complexity with the intertwining guitar work. As for the guitar, Mats is one of the most under-rated players on the scene. He employs an old school feel that focuses on soaring leads and melody enhancement as opposed to Malmsteenism. Tasteful and classy are the best words for me to describe his playing. Those that have heard “The First Chapter” know where I am coming from although you truly cannot understand just how much he has taken it to another level until you hear this disc.
I guess I need to mention the vocals as well. Michael Eriksen has joined the new elite as far as I’m concerned. I now feel comfortable mentioning him in he same sentence as Allen, Khan, Luppi, and Lande. His range is ungodly as he is able to drop down to the lower emotional pits and then soar to octaves that reminds me of Tate back when he had hair on his nutsack. One of the key elements of the Circus Maximus sound is when Michael employs his building crescendo technique by using all three of his primary styles (low and slow ala Khan, mid-paced ala Luppi, and highs ala Tate/Midnight to build towards a tempo/intensity climax. Every time he switches gears and takes it to another level, the music matches him. That gives it the “Oh Shit!.Here it Comes!” anticipation that gives me chill bumps. No other vocalist or band employs this technique like Circus Maximus. They define their sound with it. Now if he would only drop the Udo wardrobe on stage.
Oh yeah, about the songs…
“A Darkened Mind” is the perfect opener for this disc. I mean *flawless.* It’s starts out with a bit of the signature CM style before a drastic change in direction hits you in the face. Darkness simply envelopes the sound as Michael’s brooding gives you a taste of what is to follow. If that wasn’t enough, the keys & drums kick in and begin building the tension ala the opening riffs of Queensyrche’s “Anarchy-X.” What follows is an up-tempo piece with just enough crunch to keep everyone satisfied. The solo section is where you realize the band has taken it to the next level. The new keyboardist (Lasse )( is given a chance to make an impact before Mats does his thing. His “thing” is a work of art and he is quickly becoming one of my favorite guitarists as you feel the emotion in every chord he hits.
“I don’t know where to find myself, though I can feel it anyway
I won’t forget all the things that you promised me
My darkened mind will never set me free.”
“Abyss” follows and is the heaviest track on the disc. Prog-metal fans can finally relax the sphincter as the band rips it apart in tempo and time changes. Mats even choses to shred a bit here and there. The chorus is 100% what you want out of Circus Maximus though. You will find yourself singing right along with chill bumps.
“I stand on the edge of the abyss and I am waiting to fall
There is no way out this time
All that I loved, I loved alone.”
“Wither” is up next and is one of my favorite tracks on the disc. It’s starts out a bit crunchy and then mellows down into one of those building climaxes/tempo pieces that I mentioned previously. I can just feel my fist clenching right when Michael takes it up a notch in the vocal department halfway in. The AoR vibe throughout the song does not take away from my enjoyment. In fact, that is what takes this band to the next level. They can combine multiple crossover styles without alienating each individual fanbase.
“Now as the night it slowly fades
I can not reveal my pain, because of greed
My wrists will bleed for one last struggle
In pain …”
“Sane No More” is a four minute instrumental that has perfect placement in the song order. I am reminded of the Ron White line when I hear this song, “Diamonds…that ought to shut her up.” That’s exactly the way I feel about people that bitch about CM being nothing more than an AoR cheesefest with some copycat Dream Theater elements. If you can pull of these chops, then I’ll hand you the megaphone and get out of the way.
Of course as soon as I say that, “Arrival of Love” brings onthe exact opposite reaction. This is pure melodic AoR baby! Roll the window down, tap your fingers, and smile. It’s simple happiness and fits the concept perfectly. You may as well enjoy the summit before you take the plunge.
“Finally the time has come to
Give eternal love, and to
Stay alive together is our destiny
No more sorrow, no more pain
And your presence keep me sane
In the night I’ll hold you tight
Until the end.”
The plunge comes in the form of “Zero.” This is gut-wrenching. The agony and despair that Michael demands you feel is amazing, This haunting ballad is the song that most bands try to write once in their entire career. The harmonies during the chorus followed by the guitar solo just hurt you to the core:
“I try to make you remember…belief is all you need
And show you I’ll be around forever
I try to make you remember me
I try to open your mind.”
The character’s descent continues with the twelve minute epic, “Mouth of Madness.” The lyrics fit the title all too well as I’m still trying to figure it out. The first part is a dark acoustic affair before giving way to a slower, darker melodic vibe. This isn’t “Glory to the Empire” where you are ready to fight the world, but a song where you can feel the world fighting you. Hell, there is a bit of sludgy doom thrown in to further weigh you down. Somewhere along the way the band transitions effortlessly into a beautiful epic in the Symphony X tradition.
“Advanced technology ploughed their path
Intelligent entities who only knew wrath
A stab in the back, a Judas kiss
In ignorance they obey.”
“From Childhood’s Hour” starts the journey home. It is a beautiful ballad that has commercial hit written all over it. However, that beauty lies in the macabre lyrics that contrast with the lush melodies. After the hectic nature of the previous song, this is a welcome return to warmth with another beautiful chorus. I really see the AoR crowd embracing this one.
“Or is his life a stagnant tide?
Into a self made Hell he was thrown”
“Ultimate Sacrifice” finishes the disc in spectacular fashion. The best comparison I can make is that is really sounds like an extension of “Glory to the Empire” from the first disc. It’s proggy, epic, and it sounds like CIRCUS MAXIMUS.
“In the dark comes the rain with agony and pain
Now I could not see the hands before me
I will never surrender
I’m a survivor and this is my destiny.”
I can feel “Isolate.” I can feel it because the music and vocals match the concept perfectly before I even attempt to interpret the lyrics. I could easily follow the character’s path to insanity even if the lyrics were in Norwegian. I know and understand what the character is feeling based on delivery and tone alone. I’m not going to explain that nor defend it. I don’t expect you to understand that or agree with me either. However, after you hear the disc you will know exactly what I meant. That’s the sign of an album that will stand the test of time in my universe.
