Deathanity CD Reviews UPDATED 19 December 2008

[OdinsCourt]

This thread is dedicated to reviews of the new CD Deathanity.

We'll post reviews from internet, magazines, etc. as we find out about them. If you find one we don't have listed, please post it (make sure to include a link to the original too please).

Also, if anybody who has bought the CD wants to write their personal review in here, that would rock too. Can't wait to hear what you all think.

EDIT 15 July 2008:
I'll be updating this post whenever a new review is posted (I'll delimit the edits so folks know what changed).

Also, please note that some of the translations for non-English reviews are a combination of different online translators that I put together and tried to make English out of. So if you know the original language and care to correct the translation, I'd be very grateful.

And we aren't shy. We know not everyone will like the CD (some will hate it), so we'll post ALL reviews and not just the good ones like most bands may tend to do.

I'm going to put the rating from each reviewer (if there is one) with the link in this post as well. I will scale everything to a 10 scale so they are all in the same terms here, but in the actual post, I will leave the original scale by the reviewer. If it wasn't rated, it is noted as such and estimated (a 5 is average, below 5 below average, and above 5 is obviously above average). Then I'll keep a running average - just for fun.
/EDIT 15 July 2008

EDIT 16 January 2010
Current running average as of 16 January 2010, 7.51 out of 10.
/EDIT 16 January 2010

EDIT 16 July 2008
USA Progressive Music: 7.5 out of 10
Hall of Metal Webzine: 8.3 out of 10
Magic Fire Music: 6.5 out of 10
Hard Rock Info: no rating given, estimate a 6.5 out of 10
/EDIT 16 July 2008

EDIT 21 July 2008
Movimenti Prog: 8 out of 10
Sea of Tranquility: 8 out of 10
/EDIT 21 July 2008

EDIT 26 July 2008
Ragazzi: no rating given, estimate a 8.5 out of 10
The Streets Webzine: 8 out of 10
/EDIT 26 July 2008

EDIT 31 July 2008
Obliveon: estimate a 8 out of 10
Speed of Light: 7.5 out of 10
Music Reviews.de Webzine: 4 out of 10
Heavy Hardes: no rating given, estimate a 6.5 out of 10
Power Metal: no rating given, estimate a 8.5 out of 10
Burn Your Ears Webzine: 6.5 out of 10
Rock Times: 9 out of 10
Jerry Lucky: no rating given, estimate a 8.5 out of 10
Metal Glory: 5 out of 10
/EDIT 31 July 2008

EDIT 3 August 2008
Metal Observer: 7 out of 10
/EDIT 3 August 2008

EDIT 4 August 2008
Progressive Area: no rating given, estimate a 8 out of 10
Hard Sounds: 7 out of 10
/EDIT 4 August 2008

EDIT 28 August 2008
Metal Inside: no rating given, estimate a 7 out of 10
Metalchroniques: 7 out of 10
Dream Theater Forums: 8 out of 10
/EDIT 28 August 2008

EDIT 18 November 2008
Metal Express Radio: 7.5 out of 10
Music in Belguim: 8 out of 10
My Revelation: 7.33 out of 10
Croation Metal and Rock: 6 out of 10
Antient Spirit Reviews: 8.5 out of 10
Totentanz Magazine: no rating given, estimate a 8.5 out of 10
Proggies: 6 out of 10
Underground Empire: no rating given, estimate a 7.5 out of 10
Tarkus Magazine: no rating given, estimate a 8 out of 10
Imhotep: 8.33 out of 10
Progressor: 8.33 out of 10
Sea of Tranquility: 7 out of 10
Pure Metal: 8 out of 10
/EDIT 18 November 2008

EDIT 16 January 2010
Prog 4 You: 7.5 out of 10
Rising Forces USA: 5 out of 5
/EDIT 16 January 2010

 

[SkiBumMSP]

Also, if anybody who has bought the CD wants to write their personal review in here, that would rock too. Can't wait to hear what you all think.

Well, guess what has arrived in the mail today?

I am playing it now on my Klipsch/B&K setup. As you know, I've heard this back in December at your Christmas party, and thought it kicked ass. Of course, that was back in December, so memory tends to get a little dodgy, especially if only having heard it that one time.

It seems that you really cleaned up the mix since then. The album does sound really good on my pretty high-end rig.

Not only that, but the complexity and musicianship that I am hearing is just friggan incredible. You guys have really outdone yourself with this one, in my personal opinion. As I get a chance to listen to it more, I'll have to give a bit more in-depth review. But on this first listen, impressive indeed and you guys should really be proud of what you accomplished here. Excellent job!

EDIT - later this month, I'll be going to Indianapolis to the Klipsch headquarters/research facility. Will be interesting to listen to this on a pair of $16,000 Palladium P-39F speakers, most likely hooked to another $20,000+ of high-end audio electronics.

EDIT 2 - Sorry I missed your gig at Monk's Inn! I was planning on making the hike out there last Saturday, but go figure that "real life" had to happen, not to mention that shitty weather that decided to pick that moment to come through the area when I wanted to start heading out that way! Oh well, will see you at the next one!

 

[dpbaden]

Deathanity represents a true progression in the career of the band. Odin's Court latest release is an audio adventure for the listener whether he or she has headphones on or not. The layered vocals, spoken word passages, and incredible musicianship all meld together to make Deathanity a triumph that was worth waiting for. I've seen this band live a bunch of times and they have gotten tighter as a unit over the past couple of years. They have gone from a prog metal band with potential for greatness to a band that the prog metal community have taken notice of over the span of a few short years. This CD proves that with hard work and a lot of passion, there is no limit to how far Odin's Court can go in 2008 and beyond. Congratulations on a job well done! Dean in Hollywood, MD USA.

 

[Kenneth R.]

Man this sounds so good! Psyched!

 

[The Essence of Conviction]

This CD is just absolutely amazing, it has such a powerful message with very powerful music. Being an Evergrey fan, Mammonific is my favorite song but VERY close behind it is Volatilestial. I'm too lazy and tired to write a proper review but just know that this CD is everything a prog metal fan could ever want plus MUCH MUCH more. The vocal harmony on Volatilestial when he says "Natural Harmoooooooony" is probably the best fucking thing I've ever heard. Just buy the CD and stop reading this shit. =]

 

[Snowy Owl]

Guys, you have released one hell of an album. I ordered it last week and it came a few days later. Expect a review on my site very soon!

See you Saturday!

 

[OdinsCourt]

Cherion mini-review from another thread:

Lengthier review to come later (I think).

But here's where I currently am with it :

- Currently sitting with Zero Hour's latest as the best progmetal album of the year.
- Tony Kakko sounds incredible on the song he sings on. And it totally fits the song and was an excellent choice.
- The guitar playing is excellent. Their playing can be fast, technical, and still interesting. Something that eludes a lot of players.
- I can't compare it to Redriven by Fate and that's why I've been so slow to write a review. Two completely different albums, which is very commendable. The problem is that I'm such a fan of the instrumental tracks on that album, that it's unfair to compare. I mean you have no idea how it makes me feel everytime I listen to the acoustic versions of Paradise Lost chapter 4 and Utopian Rust. Such amazing songs. No song on this album hits me in that same way. However, Deathanity is more consistent overall.
- I'm glad I can understand what's going on in the lyrics this time. On Redriven by Fate there were tracks that lyrically I just didn't get (hey at least I read the lyrics, most bands don't even entice me to do so). I think that the lyrics are good. But I'm going to have to read them through closer (most bands I wouldnt' give a damn, so that meant hey are at least on the good level, whereas most bands are no the 'suck' level).
- I'm a fan of Matt's voice. No doubt. I think the album is composed in a way that makes it all work. However, I would have liked to have heard more sinister Matt. When Matt goes evil with his voice he's amazing (as he has done live). Maybe they'll experiment with this more on the next album. Some thrashy-prog, or prog-doom or something like that just to show even more how talented this band is.
- I'll freely admit that the album hasn't fully sunk in yet. The album has so much going on, so much compositionally, that its going to take a while till I really completely 'get' it.
- I look forward to the next album

 

[OdinsCourt]

First (real) English review...


USA Progressive Music (7.5 out of 10):

Having been an attendee of ProgPower USA for the last 3 years it was hard not to hear of this band since a couple of the members attend each year. Though I don't think I have ever heard their music until this album arrived.
Odin's Court began in Maryland in 2001 with Matt Brookins. They have released two albums and a DVD, as well as sharing the stage with Kamelot, Symphony X, and Crimson Glory, just to name a few.

The album, Deathanity, begins with a much darker side to the prog world then what I was expecting. There lots of interesting time signatures as well as this "dark mood" that transpires from the music. This "dark mood" is present throughout a good portion of the album, which is something that I am not really familiar with in the Prog genre. Some of the highlights from the album are definitely the two tracks that feature guest appearances "Mammonific" with Tom Englund from Evergrey and "Crownet" with Tony Kakko from Sonata Arctica. Tom shows up in the fifth track and f*cking owns and gives the band a superior guest appearance. The dual vocals are great sounding with the two different tones intermingling. It also didn't come off as just an Odin's Court doing an Evergrey song like how some guest appearances end up being. The robot effect to the vocals was an interesting accent, but maybe could have been done without. "Crownet" features an excellent beginning with a superior guitar line then a quiet proggy break down for a bit, then the bombastic prog/power sound begins to come out with the addition of Tony. The keyboards sound absolutely phenomenal on this particular track.

Other things that I picked up on the album are occasional occurrence of death vocals, which happen in situations you wouldn't expect. I would compare this exact action to what Riverside does in their compositions. The overall back and forth between the quiet artistic prog rock parts to the more aggressive parts will keep any fan of prog involved in the album. Another thing was that there is I believe 3 instrumental tracks on the album so don't expect vocals all the time, but do expect awesome epic music. Finally, a fun little addition that they include is a rendition of "Joy To The World" with "Ode To Joy" that would fit nicely on any Trans-Siberian Orchestra album.

Deathanity could be recommended to fans of Riverside or Evergrey or any other prog-oriented band that incorporates the darker side of the genre into their music. When you pick this up do not expect upbeat European prog metal a la Stratovarius - expect the unexpected.

 

[OdinsCourt]

This is a rough translation using a composite of 3 online translators.


Hall of Metal Webzine (8.3 out of 10), translated from Spanish:

If someone recommend a progressive metal disc to you that just recently came out from a moderator of Dream Theater's forum, you would do well to take that recommendation with skepticism and strangeness
... however you would do badly if in ignorance you think that this is a project of a typical fan of the group that wants to emulate his heroes, because frankly you would miss a good disc.

The aforementioned one in question, Matt Brookins, singer and guitarist, despite not having participated in more metal projects (at least as far as I know), that does not premiere in 2008, but that his group, ODIN'S COURT (a band I did not totally know until now) already carries three albums to its credit.

Deathanity is the latest recording effort by this American group in the progressive metal style, with a very classic and noventero sound with a touch of the smoothest progressive rock. The music of ODIN'S COURT is more oriented to transmit sensations through their melodies than lost between instrumental masturbation, although the musicians are not invalid and in certain occasions are left to carry the most eclectic parts and work in the style they practice.

Despite the influences that can be found upon listening to the disc (Shadow Gallery, the first Vander Plas, or Dream Theater of the Dominici era), they are not too obvious. The sound of the group is quite personal with a lot of quality, and fantastic production for their music, very pleasant to the ear, nothing strident, with guitars and smooth refining where all instruments are in a place where you can distinguish each of them with complete ease. In addition, besides some of the traditional instruments of rock and metal and to give more color to their music, they wisely utilize classical pianos and even saxophone, interspersing them with delicious form.

"Deathanity", without abandoning the label of "metal" in progressive music, is a disc quiet, evocative and full of half-time themes, with a lot of feeling. It is a very heterogeneous album where songs are sprinkled with items such as instrumentals, dressing all of it with small interludes as if narrated in a movie. Fortunately, these short narrations and dialogues, rather than being done heavily, are well made and you get more of the history that the group aims to explain to us.

Giving a review of the best songs on the disc, we start with the spectacular "Volatilestial", an evocative, relaxed half time song, halfway between Vander Plas (especially in the vocals) and Shadow Gallery, full of passages and exquisite melodies. Changes within the theme are very natural, nothing breakthrough, and the tranquil parts graze the neo-prog groups such as Sand, filled with emotion and impressive guitar and saxophone solos. A theme to be left to carry, very comprehensive and very successfully. Is the best of the disc.

"Oceania Toxica", one of the disc's instrumentals, is simply spectacular. More technical, complex, and progressive than much of the album, it is a song to taste and analyze calmly so as to remove all the juice. A luxury for those of us who like progressive metal: changes of rhythm, stops well achieved, riffs something more modern, keyboards a lot like Awake Dream Theater, dreamy pianos, and movie loving voices. One of the star songs on the disc without a doubt.

Another cut to highlight is "Animaulic", another very beautiful half time piece, filled with emotion and melodies of voice and fantastic guitar, those who live triumph. It has a rapid part with one hand alone very heavy (in a section that even reminds of Iron Maiden) scattered with another much smoother part where again the prog rock is more melodic and accessible. A marvel.

Finishing this first review of the most successful songs, "Esoterica", another instrumental theme on the disc, is without a doubt one of the best of the album. It is a prize cut, beautiful melodies, tranquil guitars with the ability to transmit, and spectacular classical pianos grazing soft jazz. The protagonist here is very low and also has a place for their solos, in a terrific performance where one is pleased that the mix is so perfect to taste everything without anything being able to pass over you in silence. Especially noteworthy is the wonderful guitar solo that is pure feeling.

After reviewing the most remarkable, many of you may ask that if everything is so wonderful, why I did not score more? The answer is that the disc has some ups and downs. Most of the songs are spectacular (aside from those named, "Obesite" does not lag far behind) and much of the material here is one that invites you to escape away and fully enjoy the music at its highest expression, but there are also more difficult songs to deal with, some that have fallen below the level without being evils fear and other songs that seem a little out of place and reduce the homogeneity of the collective.

For example "Mammonific" (with the special collaboration of Thomas Englund of Evergrey) is too experimental in structures that do not carry to the concept of the disk and also has strange and extravagant
vocal melodies that are a little out of place for my taste. There is also "Cosmosera", which despite being a low point, is a correct theme regarding the majority of material found here, or the prog metal
version of the anthem of "Hymn of the Happiness" by Beethoven ( "Ode to Joy"), not home at all with the overall concept of the disc, at least as I see it.

Were it not for those items that have fall a little below the level, we would be talking about one of the prog metal discs of the year, but anyway, none of these smudges are too important to detract from this great record that I openly recommend to all progressive metal followers.

ODIN'S COURT is a great discovery, of which I will seek to hear their previous two albums to testify if they are as formidable as "Deathanity." If you like metal and progressive rock, this disc does not disappoint you. Word.

Original in Spanish:

Si alguien os recomendara un disco de metal progresivo que acaba de sacar recientemente el que fuera moderador del foro de DREAM THEATER, haríais bien en tomar dicha recomendación con escepticismo y extrañeza...pero haríais mal si lo ignorararais por pensar que es un proyecto del típico fan del grupo que quiere emular a sus héroes, porque os perderíais un disco francamente bueno.

El susodicho en cuestión, Matt Brookins, vocalista y guitarrista, pese a no haber participado en más proyectos metaleros (al menos que yo sepa), no se estrena en este 2008, sino que su grupo, ODIN'S COURT (banda que desconocía totalmente hasta ahora) lleva ya, con éste, tres discos en su haber.

"Deathanity" es el último esfuerzo discográfico de éste grupo americano de metal progresivo a la usanza, con un sonido muy clásico y muy noventero y con toques de rock progresivo del más suave. La música de ODIN'S COURT está más orientada a transmitir sensaciones a través de sus melodías que a perderse entre onanismos instrumentales aunque sus músicos no son mancos y en ciertas ocasiones se dejan llevar por la parte más ecléctica y trabajada del estilo que practican.

Pese a que las influencias se pueden encontrar al oír el disco (SHADOW GALLERY, primeros VANDEN PLAS o los DREAM THEATER de la era Dominici), éstas no son demasiado notorias. El sonido del grupo es bastante personal y de mucha calidad, con una producción fantástica para su música, muy agradable al oído, nada estridente, con guitarras de afinación suave y donde todos los intrumentos están en su sitio pudiéndose distinguir todos y cada uno de ellos con total facilidad. Además, a parte de los instrumentos clásicos del rock y del metal, para darle mas colorido a su música, utilizan de forma muy acertada pianos clásicos e incluso saxos, intercalándolos de forma deliciosa.

Este "Deathanity", sin abandonar su etiqueta de "metal" dentro de su música progresiva, es un disco tranquilo, evocador y lleno de temas a medio tiempo, con mucho feeling. Es un álbum bastante heterogéneo donde se intercalan canciones como tal con temas intrumentales, aderezando todo ello con pequeños interludios narrados a modo de película. Por suerte, estas cortas narraciones y diálogos, en vez de cargar o hacerse pesados, están muy logrados y te meten más en la historia que el grupo nos pretende explicar.

Dando un repaso a los mejores temas del disco, empezamos con la espectacular "Volatilestial", un medio tiempo relajado y evocador, a medio camino entre VANDEN PLAS (sobretodo por la parte vocal) y SHADOW GALLERY, lleno de pasajes y melodías exquisitas. Los cambios dentro del tema son muy naturales, nada rupturistas, y las partes tranquilas rozan el neo-prog de grupos como ARENA, llenas de sentimiento y con impresionantes solos de guitarra y saxo. Un tema para dejarse llevar, muy completo y muy conseguido. De los mejores del disco.

"Oceanica Toxica", uno de los intrumentales del disco, es sencillamente espectacular. Más técnico, complejo y progresivo que gran parte del álbum, es un tema para degustar y analizar con calma para sacarle todo el jugo. Un lujo para los que nos gusta el metal progresivo: cambios de ritmo, parones muy conseguidos, riffs algo más modernos, teclados muy a lo "Awake" de DREAM THEATER, pianos ensoñadores y voces peliculeras. Uno de los temas estrella del disco sin duda.

Otro corte a destacar es "Animaulic", otro medio tiempo muy bello, cargado de sentimiento y con melodías de voz y de guitarra fantásticas, de aquellas que triunfan en directo. Tiene una parte acelerada con solos muy heavies (en una sección que recuerda incluso a IRON MAIDEN) intercalada con otra parte mucho más suave donde de nuevo se roza el prog rock más melódico y accesible. Una maravilla.

Terminando este primer repaso a los temas más logrados, "Esoterica", otro de los temas intrumentales del disco, es sin duda de lo mejor del álbum. Es un corte preciosista, de melodías bellisimas, guitarras tranquilas con mucha capacidad de transmitir y pianos clásicos espectaculares, rozando el soft jazz. El bajo es muy protagonista aquí y también tiene un lugar para sus solos, en una actuación formidable donde uno se alegra que la mezcla sea tan perfecta para poder desgustar todo sin que se te pase nada por alto. Especialmente destacable el maravilloso solo de guitarra que es sentimiento puro.

Después de repaso a lo más destacable, muchos os preguntaréis que si todo es tan maravilloso por qué no le doy más puntuación. La respuesta es que el disco tiene algunos altibajos. La mayoría de las canciones son espectaculares (a parte de las nombradas, "Obesite" tampoco se queda atrás) y gran parte del material que encontramos aquí es de aquel que te invita a evadirte de todo y disfrutar plenamente de la música en su máxima expresión, pero también hay temas más difíciles de hacerse con ellos, algunos que bajan un poco el nivel sin ser malos temas y otros que parecen un poco fuera de lugar y que le restan homogeneidad al conjunto.

Por ejemplo "Mammonific" (con la colaboración especial de Thomas Englund de EVERGREY) tiene estructuras demasiado experimentales que no casan demasiado con el concepto del disco y que además cuenta con extrañas y extravangantes melodias vocales que quedan un poco fuera de lugar para mi gusto. También está "Cosmosera", que pese a ser un tema correcto, baja un poco el nivel con respecto a la mayoría de material que encontramos aquí, o la versión prog metalera del Himno de la Alegría de Beethoven ("Ode to Joy"), que no casa en absoluto con el concepto global del disco, al menos tal y como yo lo veo.

Si no fuera por esos temas que bajan un poco el nivel, estaríamos hablando de uno de los discos de prog metal del año, pero de todas formas, tampoco son borrones demasiado importantes como para desmerecer este gran disco que recomiendo más que abiertamente a todo seguidor de metal progresivo que se precie.

Gran descubrimiento estos ODIN'S COURT de los cuales voy a procurar oír sus dos discos anteriores para atestiguar sin son tan formidables como este "Deathanity". Si os gusta el metal y el rock progresivo, este disco no os defraudará. Palabra.

 

[OdinsCourt]

Like above, but with a rough composite of 3 online translators for French...


Magic Fire Music (13 out of 20), translated from French:

Originating in Maryland, the group Odin's Court offers us a small journey into the world of Progressive Rock through this concept album. Deathanity is the second album from this American group and proves to be a beautiful mark of maturity after a career of only 7-years.

Initially, it is rather difficult to get the voice of Matt Brookins, very hoarse, but once past that, Odin's Court reveals many things. Beautiful complex compositions, sumptuous melancholies and influences, which without being pertinent are really there. Yes and Rush are most identifiable on the compositions. For the heavier passages, personally I think of Threshold. With these powerful riffs accompanied by keyboards, the Americans distance themselves somewhat from the current scene by not offering us a copy of Dream Theater or Porcupine Tree. Indeed, for my part, I see more of a bastard marriage between Shadow Gallery, Spock's Beard era 'Day for Night', and Threshold.

As mentioned earlier, the structure of the pieces is very complex and sometimes proves to be somewhat convoluted. It sometimes seems disconnected, a little too much perhaps. This can be disturbing and gives the impression that this or that passage does not stick with any of the previous ones. One may even believe that it has neither heads nor tails. Fortunately the singer and guitarist Matt Brookins, with has talent as a composer, succeeds in the feat of ingenuity to unite it all. The production is correct; however, the mix done by Matt Brookins is rather strange, and does not put full value in all of the instruments. The narrative parts seem like they could do a little to ruin the whole, giving a taste almost indigestible at times, but we must recognize that they bring some realism to the concept.

The emergence of Tom Englund behind the microphone is a blessing. The high vocal level given by the Swedish one makes me regret that man does not sing on the complete album. The musical style is very different from Evergrey, but that suits things magnificently for the beautiful voice of Tom.

Deathanity still remains to be a good album, which will delight many people in the world that is the very closed sphere of Progressive Rock.

Original in French:

Originaire du Maryland, le groupe Odin's Court nous propose via ce concept album un petit voyage dans l'univers du Rock Progressif. Deathanity est le second album de la formation américaine et prouve dès à présent une belle marque de maturité après seulement 7 ans de carrière.

Au premier abord, il est assez difficile de se faire à la voix de Matt Brookins, très rauque, mais une fois passé cela, Odin's Court laisse dévoiler beaucoup de choses. De belles compositions complexes, de somptueuses mélancolies et des influences, qui sans être pertinentes sont bel et bien là. Yes et Rush sur les compositions les plus softs sont assez identifiable. Pour les passages plus heavy, personnellement c'est à Threshold que je pense. Avec ces riffs puissants accompagnés de claviers, les Américains se démarquent quelque peu de la scène actuelle en ne nous proposant pas une copie de Dream Theater ou de Porcupine Tree. En effet ici, pour ma part, j'y vois plus un mariage bâtard entre Shadow Gallery, Spock's Beard époque 'Day for Night' et Threshold.

Comme dit plus haut, la structure des morceaux est très complexe et s'avère être assez alambiquée. Cela semble parfois décousu, un peu trop même peut-être. Cela dérange et donne le sentiment que tel ou tel passage ne colle pas du tout avec le précédent. On peut même croire que cela n'a ni queue ni tête. Heureusement le chanteur et guitariste Matt Brookins, avec son talent de compositeur, réussit le tour de force d'unir tout cela.
La production est correcte, cependant le mixage signé Matt Brookins est assez étrange et ne met pas vraiment en valeur tous les instruments. Les parties narrées viennent un peu gâcher l'ensemble, donnant un goût presque indigeste par moment, mais il faut reconnaître qu'elles apportent un peu de réalisme au concept.
L'apparition de Tom Englund derrière le micro est une bénédiction. Le haut niveau vocal du suédois fait regretter que l'homme ne chante pas sur l'intégralité de l'album. Un style musical bien différent de Evergrey, mais qui convient magnifiquement au superbe chant de Tom.

Deathanity reste tout de même un bon album, qui ravira pas mal de monde dans la sphère très fermée qu'est le Rock Progressif.

 

[OdinsCourt]

This isn't really a review, but I guess it was supposed to be.


Hard Rock Info (no rating given):

Some kind of melodic/progressive rock and heavy metal. Pretty good sometimes, not so good other times. They would probebly be better if they would concentrate on heavy metal and cut the crap, or at least cut down on it. 'Cus they're not that bad actually.

ODIN'S COURT is a Maryland, USA band formed in 2001. They've recorded several CD's and a DVD through the years, according to the press release. But the same press release's discography only includes "Driven By Fate (2003) and this album, so I'm not sure about how much they've actually released so far.
"Deathanity" is a concept album dealing with the effects mankind's actions are having on the planet, and includes 12 tracks.

 

[OdinsCourt]

I don't want to make a habit of commenting on the reviews, but I do want to point out that the promo CDs did not include the CD booklets. So reviewers haven't had insight into the song titles, which the CD book explains. Carry on!


Movimenti Prog (8 out of 10), graciously translated by Marco Piva from Italian:

Odin’s Court is a Maryland quintet that with this “Deathanity” releases its second record five years after their debut with “Driven By Fate”. In their intense live career, they had a chance to open for diverse bands such as Symphony X, Sonata Arctica (whose vocalist Tony Kakko appears in this album as a guest), Helloween, Devin Townsend, Spock’s Beard and many others.

The band’s line-up is typical of a prog-rock quintet, with a vocalist (Matt Brookins, the founder of the band, here also on guitars), a guitarist (Rick Pierpont), a bass (Craig Jackson), keyboards (Savino Palumbo) and a drummer (John Abella). The influences in their music range from the most famous prog metal bands (Dream Theater, Pain of Salvation) to the protagonists of contemporary prog (Spock’s Beard, Chroma Key), from metal (Iron Maiden, Sonata Arctica) to the ‘70s prog (Yes, ELP), with some hints of bands as Queen or Pink Floyd and more than simple admiration towards such great composers of the past as Beethoven, Bach and Mozart.

From this stylistic melting pot, Odin’s Court derive a thematically and stylistically compact album, a record that is not a proper concept album but a patchwork of songs all based on the same topic – the damage man is making to Earth – and also linked by the fact of bearing – almost all – titles with no real meaning but clearly hinting to very specific aspects. Take as an example “Terracide”, “Volatilestial”, “Mammonific” and “Animaulic”.

In the middle of all this, an instrumental version of the Ode to Joy, IV Movement of Bethooven’s IX symphony, with a in-your-face prog intro and later lead at first by Jackson’s excellent performance on the bass, then by the guitars that sometimes allow themselves tiny, very well placed variations that bring the atmosphere closer to metal. Not good enough to justify the purchase of the album on its own, but sure a memorable track.

A pleasant record, maybe not an absolute masterwork but sure a nice prog-metal album well worth being bought and listened.

Original in Italian:

Gli Odin's Court sono un quintetto dal Maryland che con questo "Deathanity" pubblica il suo secondo lavoro discografico cinque anni dopo il debutto con "Driven by Fate". Nella loro intensa carriera live, hanno avuto modo di aprire i concerti di band diverse quali Symphony X, Sonata Arctica (il cui vocalist Tony Kakko interviene in un pezzo), Helloween, Devin Townsend, Spock's Beard e molti altri.

La line-up della band e' quella tipica di un quintetto prog-rock, con un vocalist (il fondatore della band Matt Brookins, qui impegnato anche alla chitarra), una chitarra (Rick Pierpont), un basso (Craig Jackson), le tastiere (Savino Palumbo) e un batterista (John Abella). Le loro influenze spaziano dalle band piu' note del progressive metal (Dream Theater, Pain of Salvation) agli esponenti di spicco del prog contemporaneo (Spock's Beard, Chroma Key), dal metal (Iron Maiden, Sonata Arctica) al prog classico (Yes, ELP), con tocchi di altre band come i Queen e i Pink Floyd e qualcosa piu' che semplice ammirazione per i grandi compositori del passato quali Beethoven, Bach e Mozart.

Da questo crogiolo di stili, gli Odin's Court ricavano un album tematicamente e stilisticamente compatto, un disco che non e' un concept ma e' un collage di pezzi tutti basati sullo stesso tema – il danno che l'uomo sta facendo alla Terra – e accomunati dal fatto di portare quasi tutti dei titoli che in realta' non significano nulla ma il cui senso e' ben comprensibile. Ne sono esempio "Terracide", "Volatilestial", "Mammonific" e "Animaulic".

In mezzo a tutto questo, una versione solo strumentale dell'Inno alla Gioia, quarto movimento della IX sinfonia di Beethoven, con un attacco smaccatamente prog e poi guidata dapprima da un eccellente Jackson al basso e poi dalle chitarre che si lasciano andare con cognizione di causa a delle lievissime variazioni che rendono il pezzo vicino al metal. Non un momento cosi' bello da valere da solo l'acquisto del disco ma comunque un brano da ricordare.

Un disco piacevole, forse non un capolavoro di livello assoluto ma un bel lavoro prog-metal degno di essere acquistato ed ascoltato.

 

[OdinsCourt]

Sea of Tranquility (4 out of 5):

Odin's Court must be one of the very few progressive acts out of southern Maryland, and the band's energy and creativity will surely be a culture shock to that sleepy part of the country. Their music is progressive rock, with one toe in the metal camp and another in hard rock. Deathanity is intelligent music with constantly developing themes and restless structures, ranging from ballad-soft sections through to power-chord-driven metal and back again, often in the same song. It's nicely layered and reveals occasional hints of the classical, jazz and classic rock genres, with - as the band's own promotional material indicates - an ambience and dynamics borrowed from Dark-Side-era Pink Floyd. Despite the band's short discography, there's a maturity and a self confidence here that will surprise you.

It is a strongly themed album, delivering a message about man's destruction of the earth, and there are spoken voice-overs that advance the theme a la Pain Of Salvation's more recent albums. This is usually a bad idea because after several replays those spoken segments become annoying. Fortunately, they're held well back in the mix on Deathanity so that problem does not arise.

The song titles are also designed to advance the theme - but like the album's title, they're quirky and the often made-up names provide more confusion than clarity. Titles like "Terracide" (obviously Latin for 'earth-murder'), Oceanica toxica (poisoned oceans), Vastificant and Volatilestial. "Manifest Destiny" has become a standard historical term describing the expansion of the United States across the North American continent, but in this context that song seems to refer to man's expansion across the globe, and the consequent environmental destruction. The band's message would be more effectively conveyed if their web site expanded on the music's themes.

"Oceanica toxica" is a pleasing, melodic piece, awash with keys, supported by a strong riff and punctuated by elegant piano. Tom Englund of Evergrey contributes vocals to track 5, "Mammonific". Englund's typically strained delivery has its appeal, but he seems to be stretching to fit the song. Another guest artist is Tony Kakko of Sonata Arctica, who features on "Crownet". His delivery is strong, but overwhelmed by the instrumentation and the piece somehow lacks cohesion.

Track 10 (of 12) is "Ode To Joy", an excellent metallic rendition of Beethoven's 9th symphony (the Chorale), with the very famous ode to joy theme that has been adopted as the European Union's anthem. Imagine a less-ambitious Uli Jon Roth or Yngvie Malmsteen piece, though happily not as over-the-top as those guitarists' efforts. It's short at just under 4 minutes, and particularly enjoyable.

There's wonderful variety from section to section, the instrumentation and the songwriting are clearly the album's strengths, and the bass guitar is dominant on almost all sections of the record, and really comes to the fore on "Cosmosera". The vocals might have selective appeal. For example, "Animaulic" has strong, angry tones in the chorus which are very effective, whereas the multi-part choral sections are delivered in an odd timbre, with pitch control problems.

We understand that Odin's Court puts on an excellent stage show - which probably explains their opening for countless notable prog and metal acts - including Symphony X, Spock's Beard, King's X, Kamelot, Enchant, Circa, Sonata Arctica, Jon Oliva, Zero Hour, Devin Townsend, Enchant and Helloween.

On balance it's a rewarding listen and is recommended.

 

[OdinsCourt]

Ragazzi (no rating given), graciously translated from German by Tim Brookins:

In 2001 a band was established in Maryland, USA. The first album came onto the market in 2003: "Driven By Fate." Now, after five years, "Deathanity" follows it, the band also having released several CD's and a DVD in the last year. Odin's Court plays symphonic progressive rock with eclectic influences. Not only did they style all the prog-variety of the jazzy sort, but they even embedded traces of the arduously complex compositions of jazz, jazz-rock, and even death/power/prog metal in "Deathanity." Moreover the band takes their penchant for classical music seriously, in that they include Beethoven's "Ode To Joy" (track 10) and his "Joy, Lovely Light Divine" (track 9). It includes symphony with massive effect. Odin's Court prefers energetic, frenzied song structures, in which they strain much, and which have an agitated and disquieting sound. Especially in parts, which are characterized by metallic dint, it is a bit stressful, and even the subdued sections still retain this quavery, tense ambiance. Much of it is played aggressively, and the highly intricate instrumental roles are fanciful, but always just for a moment, before the excitement fades away into symphony or a guitar or a saxophone solo. I'm especially fond of the solos. Guitarist Rick Pierpont and the saxophonist (who's not listed on the insert) do some hard rocking that's creatively and powerfully energetic.

The imaginative songs are, technically speaking, played beautifully, but many fine details do not always seem balanced in terms of arrangement; and in the general excitement and bustle something is lost. The final piece, "Cosmosera"--bewilderingly frenzied with its mix of death metal, symphonic rock, and pleasant mainstream--is the low point of the disc, though at the end the song becomes pleasant bluesy-rock, as does the following track "Vastificant."

It seems Odin's Court has incorporated all styles. They can perform lively songs. But not every one of their compositions will blow your hair wild, and some commonplace concepts have found an entrance into their styles. The white metal dosage roils the spirit, but, on the other hand, there is in this album much momentum and freight, which is positive.

The constant phantasmagoria of style makes for an interesting mix, but sometimes it derails the band with its high-speed experimentation. Fortunately it redeems itself again. In the end, that somewhat-ghastly-and-inapproachable-looking "Deathanity" is decidedly successful.

Original in German:

Im Jahr 2001 hat sich die in Maryland, USA, ansässige Band gegründet. 2003 kam das erste Album auf den Markt: "Driven By Fate". Fünf Jahre später nun folgt "Deathanity", nachdem Odin's Court in den letzten Jahren einige CDs und eine DVD veröffentlicht haben.

Odin's Court spielen symphonischen Progressive Rock mit eklektischer Einflussbreite, nicht nur alle Progspielarten von poppiger bis zu schwer komplexer Komposition werden gespielt, Jazz, Jazzrock, ebenso Death-, Power- und Prog Metal haben ihre Spuren in "Deathanity" eingegraben, zudem nimmt die Band ihr Faible für klassische Musik insofern ernst, als sie im 10. Track "Ode to Joy" Beethovens "Freude, schöner Götterfunken" aus der 9. Sinfonie mit mäßigem Eindruck covert. Odin's Court mögen aufgeregte, hektische Songstrukturen, in denen viel passiert und die eine nervöse und unruhige Stimmung haben. Gerade in den Parts, die von metallischem Einschlag geprägt sind, wird es geradezu stressig, selbst die beruhigenden Passagen behalten noch diese bebende, gespannte Atmosphäre. Vieles ist aggressiv gespielt, instrumentale Parts sind hier und dort extrem komplex ausgefallen, immer nur für einige Sekunden, sodann ebbt die Aufregung ins Symphonische ab oder präsentiert ein Gitarren- oder Saxophonsolo. Besonders die Soli haben es mir angetan. Gitarrist Rick Pierpont und der auf dem Presseblatt nicht gelistete Saxophonist spielen phantasie- und druckvoll, dynamisch und hart rockend.

Die ideenreichen Songs sind handwerklich schön gespielt, haben viele kleine feine Details, die nicht immer ausgewogen arrangiert scheinen und in der allgemeinen Aufregung und Hektik etwas untergehen. Das vorletzte Stück, "Cosmosera", verwirrend hektisch, mit seinem Mix aus Death Metal, Symphonic Rock und leichtgängigem Pop ist der Tiefpunkt der Platte, zum Ende jedoch wird der Song, wie auch das folgende "Vastificant", angenehm jazzrockig.

Odin's Court haben alle Stile drauf, scheint es. Sie können Songs lebendig machen. Nicht jede ihrer Kompositionen ist mitreißend, einige allzu oft gehörte Ideen haben Eingang in ihren Stil gefunden. Der metallische Anteil weiß schon mal zu nerven, andererseits gibt es hier viel Dynamik und Druck, was den Songs gut steht.

Die Mixtur aus stets wechselnden Stilmethoden ist interessant, manchmal aber entgleist die Band bei ihren Hochgeschwindigkeitsexperimenten. Zum Glück kriegen sie sich wieder ein. Überwiegend ist das manchmal etwas kalt und unnahbar wirkende "Deathanity" wohl und überzeugend gelungen.

 

[OdinsCourt]

The Streets Webzine (8 out of 10), translated from Norwegian:

Odin's Court is a new acquaintance to me, and it is not easy to put this band in any particular genre. The starting point is prog metal / rock, but here is not many limits, which means that it is extremely exciting and varied music with a long life that is served here. The band comes from Maryland in Usa, and began work on the 'Deathanity' as early as 2004. The album is a concept album, and it all has to do with what implications for human actions can our planet. A different view of this issue appears in the varied use of instruments, texts, sound effects and vocals. ?Selveste? Tom S Englund from Evergrey and Tony Kakko from Sonata Artic is ?gjestevokalister?. The music is by the Band's own statements inspired by everything from Pink Floyd, Rush, Metallica and Yes, to newer bands like Porcupine Tree, Dream Theater and Tool. The band is made up into extremely talented musicians, and they will perform a delightful mix of the different styles that can be easily ?annbefales? to everyone with heart prog, at times, the entire simply genius!

Original in Norwegian:

Odin's Court er ett nytt bekjentskap for meg, og det er ikke lett å plassere dette bandet i noen spesiell sjanger. Utgangspunktet er prog metall/rock, men her finnes ikke mange grenser, noe som gjør at det er særdeles spennende og variert musikk med lang levetid som serveres her. Bandet kommer fra Maryland i Usa, og begynte arbeidet med 'Deathanity' allerede i 2004. Albumet er ett konsept album, og det hele dreier seg om hvilke innvirkninger menneskets handlinger får for planeten vår. Forskjellige syn på dette kommer frem i variert bruk av instrumenter, tekster, lyd effekter og vokal. Selveste Tom S Englund fra Evergrey og Tony Kakko fra Sonata Artica er gjestevokalister. Musikken er etter bandets eget utsagn inspirert av alt ifra Pink Floyd, Rush, Metallica og Yes, til nyere band som Porcupine Tree, Dream Theater og Tool. Bandet består ellers i uhyre dyktige musikere, og de fremfører en herlig blanding av de forskjellige stilartene som lett kan annbefales til alle med hjerte for prog, til tider er det hele rett og slett genialt!

 

[OdinsCourt]

Obliveon (8 out of 10):

Original in German:

Nun ja, die Auswirkungen des Menschen auf die Umwelt hat bereits einige Bands beschäftigt und dürfte sicherlich auch schon in dem einen oder anderen musikalischen Konzept Eingang gefunden haben. Die in Maryland, USA, beheimatete Band Odin's Court hat sich da aber nicht schrecken lassen und dieses stets präsente Thema für ihr Album „Deathanity" aufgegriffen und in zwölf Tracks verarbeitet. Auch uns werden die damit im Zusammenhang stehenden Diskussionen stets verdeutlicht, sei es durch den Klimagipfel, Erderwärmung, Emissionswerte, CO2-Ausstoss, das Wachstum der Schwellenländer und – da die Jungs ja aus diesem Land kommen – die Wandlung der Großmacht USA zum Vorreiter in Sachen Klima- und Umweltschutz, worauf man aber wohl noch länger warten darf, denn durch die Starrsinnigkeit des Herrn Bush hat die USA bis heute nicht das Kyoto-Protokoll unterschrieben. So beschämend diese Tatsache für ein Land ist, dass sich einerseits gerne als Weltpolizist aufspielt, andererseits aber verschwenderisch und unverantwortlich mit den natürlichen Ressourcen umgeht, so beruhigend ist es doch zu wissen, dass es den Amerikanern nicht einfach so am Arsch vorbeigeht und klare Statements und auch Protest unter anderem auch durch Bands zum Ausdruck kommt. „Deathanity" ist nach dem 2003 erschienen „Driven By Fate" erst das zweite Album der Amis, wobei sie in der Vergangenheit bereits mit einigen bekannten Bands wie Symphony X, Spock's Beard, Kamelot, Circle II Circle oder Enchant, um nur einige Vertreter des Genres zu nennen, auf der Bühnen standen. Der Titel des Albums, der sinngemäß dafür steht, dass wir trotz unseres Verstandes alles andere als vernünftig handeln, wie auch die meisten Tracknamen sind Wortkreationen, die jeweils ein bestimmtes Thema überschreiben, was entsprechend musikalisch umgesetzt und zum Ausdruck gebracht. Dabei arbeiten Odin's Court vorrangig Instrumental, wodurch sie eine gewisse Eindringlichkeit zum Ausdruck bringen. Die Songs sind trotz ihrer teilweisen Komplexität im Fluss, die Dynamik allgegenwärtig und der Gesang eher untergeordnet. Das Quintett hat dabei, um die Stimmungen Vielschichtig und Variabel darzustellen, auf einige Gastmusiker zurückgreifen können. Am Gesang seien dabei Tom Englund (Evergrey) und Tony Kakko (Sonata Arctica) sowie am Saxophone Bill Green erwähnt. „Deathanity" hat thematisch angepasst einige raue Facetten, Platz für balladeske Töne wären hier Fehl am Platz gewesen. Die Stimmungen werden durch einige Sprachsamples auf den Punkt gebracht, es bedurfte für die konzeptionelle Umsetzung keiner großen Worte, sondern vielfach reichen der Songtitel, die Instrumentierung und hier und da eine Sampleeinspielung, um das Thema auf den Punkt zu bringen. Trotz des konzeptionellen Gerüsts wirkt „Deathanity" flüssig und frisch, man verheddert sich nicht im Thema, sondern der Fokus liegt bei den musizierenden Protagonisten, die sich innerhalb des Gerüsts zu verwirklichen wissen. Ein facettenreiches Album, das man Fans des Genres definitiv ans Herz legen kann.

 

[OdinsCourt]

Speed of Light (7.5 out of 10):

Original in Slovak:

Toto už veru nie je metal. Píšu že aj je, ale žiaľ... Je to skôr rock ako metal. Keďže ale starší ODIN'S COURT som recenzoval pred pár rokmi, popíšem aj nový (ale je to kľudná muzika, väčšinou veľmi ďaleko od progresívneho heavy metalu). ODIN'S COURT hrajú progresívny rock, a trochu aj hard rock či metal. Metal počujem ale žiaľ tak v maximálne troch skladbách a to ešte v takej podobe, ako ho hrali DREAM THEATER okolo roku 1997. Čiže nič moc tvrdé. Väčšinou to sú vyhrávočky, niekedy v protismere, väčšinou ale normálne a v pomerne pokľudnom tempe. Novinka ODIN'S COURT je najmä pre fandov progresívneho rocku, v ideálnom prípade toho amerického a nie starodávneho. Kapela sa nikam neponáhľa, mnohé skladby sú jemné a pomerne pomalé. Vymykajú sa dve songy, jedna nie moc hudobne, druhá aj tak: deviata „Obesite" a osmička „Crownet". Devina má v sebe jazzík. V ôsmej skladbe spieva Tony Kakko zo SONATA ARCTICA. Netuším, kde sa vzal v ODIN'S COURT, ale je tam! Pieseň je mimochodom rockový slaďák (progresívny). Čiže nie rádiový, hitový, ale trochu košatejší, zložitejší. Pieseň začína ako metalovka, ale potom sa skľudní. Zvláštna vec. Inak na CD sa dosť kecá (akoby nejaké komentáre z rádia či čo), čo je jeho nevýhodou. Taktiež úvody/konce skladieb sú občas pridlhé. Hudba ako taká je veľmi dobrá, všetci vedia hrať aj spievať, nie je o čom. Progres to je schodný, krkolomné songy máme 2 až 3, väčšinou to ale má melódie a netrhá to uši. Záporom CD je ešte to, že občas fakt zívam. Moc dlhé to je, akoby hrali na dobrú noc niekedy. Inak to je v žánri výborné. Z hľadiska metalu nie, lebo to je 70% rock. Divný názov dosky, knižka je biologického charakteru (rastliny, zvieratá, vysvetlenie pojmov z biológie, ekológie). Ešte čo tam máme: „Ode to joy" je „Óda na radosť" (klasika) v rock/metalovej verzii, vydarená. Progrockeri a fandovia SPOCK'S BEARD môžete „Deathanity" skúsiť. Nie je zlé, ale ani pecka. Málo metalu tam je, metalistom odporúčam radšej THRESHOLD.

 

[OdinsCourt]

Music Reviews.de Webzine (6 out of 15):

Original in German:

Labeltypisch schmoren hier wieder ein paar Künstler im eigenen Saft und bekommen ihren Schädel nicht aus dem eigenen Hintern: ODIN'S COURT sind von jedem Heidenmetaller für ihren Namen zu beneiden, spielen aber Progmetal ganz genregetreu, der den Begriff "progressiv" pervertiert hat. Die Band fiedelt derart uninspiriert im Rahmen ihrer Stilistik "erlaubter" Kreativitätsdimensionen, dass es beinahe zum Abgewöhnen ist.

Namedropping-technisch werden mit Tool und Deam Theater schwerste Geschütze aufgefahren, die angesichts des Resultats nur zum Lachen sind. Allenfalls als schwachen Abglanz kann man die Resultate von ODIN'S COURT beim Versuch bezeichnen, rhythmisch am Puls der Zeit zu tanzen oder melodische Großtaten wie in der Frühphase von Portnoy und Co. zu begehen. Auch Saxophonblähen hilft ihnen nicht, ebenso wenig die konturlosen Vocals und der Einsatz einer weiblichen Stimme in manchen Momenten. Die an die New Yorker Kings gemahnenden Sample-Einsätze von szenischer Qualität nerven bereits zu Beginn und wollen bis zum Ende nicht abflauen. So krampfhaft ODIN'S COURT ihre Songtitel zusammenbauen, ist auch ihre Musik konstruiert. Ausschussware aus der Abteilung der genannten Bands sowie älterer Progrock-Vertreter. "Crownet" bietet ein wenig Oceanica Toxika" folkige, und die Ode an die Freude ist natürlich auch kaum kaputtzukriegen. Wenn dann in "Cosmosera" richtige Extremmetall-Schreie die Harmonie zerfetzen, steht das bezeichnend für die emotionale Talentfreiheit der Musiker: Die Brüche etwa in "Manifest Destiny" machen ihrem Namen alle Ehre und wirken null schlüssig. Auch die besonders im Mittelteil des Albums auftauchenden Stakkatorhythmen sowie regelrecht schiefe Melodien zeugen von einer Herangehensweise, bei der die Artisten eher alles anwenden wollen, was sie einmal aufgeschnappt haben, statt der Musik zu geben, was sie braucht - selbst bei einem krampfhaften Konzept sollte Natürlichkeit bewahrt werden. Musik ist nicht bloß Kalkül, auch wenn sie strikt durchgestylt sein soll.

FAZIT: ODIN'S COURT sind letztlich ein knapp unterdurchschnittlicher Vertreter der nichtigen Progmetal- bis -Rock-Masse, der gnadenlos untergehen wird und nur bereits Bekehrte (?) begeistert, die den Namen des Labels für uneingeschränkt bare Münze nehmen. Klassischer, marktüberflutender Fehlgriff an den künstlerischen Zapfhähnen dieser Welt, Mr. Shawn Gordon…

 

[OdinsCourt]

Heavy Hardes (no rating given):

Original in German:

Deathanity ist das dritte Album der amerikanischen Progressive Rocker Odin's Court. Darauf gibt's genau das, was die Stilbezeichnung hergibt: Rock-Musik der progressiven Art. Odin's Court basteln sehr dynamische Songs, die immer wieder durch abwechselnde laute und leise, oder heftige und sanfte Passagen auffallen. Dass die Songs dabei manchmal ausufern und nicht gerade leicht zu konsumieren sind, dürfte klar sein. Leicht machen es Odin's Court auf keinen Fall, was aber in meinem Falle erschwerend hinzukommt, ist die Tatsache, dass mich die Songs, obwohl sehr stimmungsvoll und ansprechend in Szene gesetzt, null ansprechen. Kaum ein Riff will länger im Gedächtnis bleiben und kaum eine Melodie will mich so richtig berühren. Alles schön und gut, aber nicht zwingend. Vielleicht fehlt mir aber auch ein wenig der Sinn für diese Art Musik, Fans von Bands wie Pink Floyd, Rush, Porcupine Tree oder Dream Theater werden hier sicherlich mehr rausziehen können.

 

[OdinsCourt]

Power Metal (no rating given):

Original in German:

Auch wenn der Bandname eher traditionellen und der Titel dieses Albums gar todesbleihältigen Metal verheißen, zelebrieren die Amis von ODIN'S COURT getreu ihrem Label progressiven Rock, und das auf sehr abwechslungsreiche Art.

Das aus Maryland stammende Quintett hat auf seinem dritten Longplayer Anleihen so unterschiedlicher Acts in petto, dass ein Aufzählen dieser fast einem Auszug aus einem Lexikon für Rockmusik gleichkommt. Ich persönlich kann hier neben alteingesessenen Formationen des Genres wie RUSH, YES und PINK FLOYD sehr wohl auch die schwermetallische Prog-Abteilung wie DREAM THEATER oder SYMPHONY X heraushören, zudem aber auch die angesagte Variante von derlei Klängen und werfe deshalb auch die Namen TOOL, DEVIN TOWNSEND oder PORCUPINE TREE in den Ring, um die Klänge von ODIN'S COURT abdecken zu können.

Aber auch das ist noch nicht alles. Diese Amis lassen zudem auch symphonischen Rock und Metal erklingen und deshalb dürfen auch Formationen wie KANSAS, BOSTON oder KAMELOT durchaus als Referenzen genannt werden. ODIN'S COURT gehen immerzu sehr dynamisch zu Werke, wissen heftigere Passagen durch fließende Übergänge perfekt mit melancholischen und gefühlvollen Elementen zu kombinieren und haben zudem mit Matt Brookins einen sehr ungewöhnlich klingenden Frontmann in ihren Reihen. Neben seinem akzentuierten und prägenden Gitarrenspiel verschafft Matt der Band als Sänger der Band eine ganz eigene Note.

Mitunter klingt der Kerl nämlich dermaßen dreckig, dass man fast meinen könnte, er wäre in einer deftig aufrockenden Formation viel besser aufgehoben. Speziell deshalb ist es durchaus überlegenswert, ob man ODIN'S COURT nicht gleich als "Prog-Rotzer" durchgehen lassen könnte, jedenfalls wäre diese Bezeichnung ob der Gesangsdarbietung mitunter durchaus angebracht. Neben den rockenden Passagen wissen die Jungs aber auch mit sehr relaxten, ungemein intensiven und gen Art- und Jazz-Rock der Vergangenheit angelehnten Passagen zu überzeugen, spielen und improvisieren zu klassischen Themen ('Ode To Joy') und zudem bekommt die Band nebst Zuhörerschaft im Verlauf der Spielzeit sogar des Öfteren einen "geblasen".

Keine Bange, der Porn-Grind-infizierte Rezensent will euch hier keineswegs Schweinereien aus dem Leben der Band mitteilen, ein Gastmusiker namens Bill Green sorgt mit seinem Saxophon für dieses Gebläse und lockert die Songs dadurch zusätzlich auf. Weitere Gastbeiträge, unter anderem von den Herren Tom Englund und Tony Kakko am Mikro, runden das Werk ab und sorgen für ein rundum gelungenes Erscheinungsbild von "Deathanity".

Auch wenn es nicht ganz einfach ist, den Jungs auf ihrer musikalischen Reise zu folgen, sei der Prog-Fraktion der Name ODIN'S COURT wärmstens empfohlen.

Anspieltipps: Manifest Destiny, Animaulic, Obesite