Deathanity CD Reviews UPDATED 19 December 2008

[OdinsCourt]

Imhotep (5 out of 6):

Listen up people: you will NOT enjoy this on a first listen. It may bore you or confound you, but you will not like it. Go on and listen to Dragonforce or Sonata Arctica if you want instantly accessible music without staying power. If you have patience, and are willing to sit back and discover an album’s nuanced, emotional complexities, then you might want to dig up this ultra progressive gem from Maryland. Yes, as an American band, Odin’s Court (up there with Armory), are able to perform at the same level as their often more talented European counterparts.

On "Deathanity", Odin’s Court don’t just play progressive power metal. They take it up a notch. Most of this album is instrumental, and while the vocal range is limited, it comes in rarely. Since the vocals are used so sparingly, they heighten otherwise dull passages, making the limited range a non-issue. The songs here are almost a non-issue too, as they simply flow into one another. They may not be incredibly distinctive, but that’s not the point. "Deathanity" is one cohesive piece; each song simply works as part of that glorious single work. Little parts of this album stand out wonderfully. Instead of remembering a single song as being powerful or energetic, trumpet solos toward the end or the sudden string onslaught in “Oceanica Toxica” are the album’s high points.

Imagine an unholy lovechild between Pagan’s Mind and Pink Floyd. Unlike most babies, it can create sheer power, and beautifully mix it with calm, subdued grace. That baby is named Odin’s Court.

 

[OdinsCourt]

Progressor (5 out of 6):

Prolusion. Based in Maryland, USA, ODIN’S COURT was formed in 2002 and had released two studio albums prior to their latest production; their second album in particular got the band much positive attention. This led to the outfit being signed by the US label Progrock Records, which issued their third album "Deathanity" in 2008.

Analysis. "Deathanity" is a creation that has a lot going for it, to the extent that many into progressive music will regard it as a production highly worthy of investigation. For starters, it's a clear cut concept album, with a focus on environmental issues and humanity's constant abuse of the planet Earth. Most of the songs are interlocking affairs, tied together by means of one composition continuing straight into the next either directly through musical patterns or by the use of cinematic sound segments binding two tracks together. Releases of this kind have a stable following, and as concepts go, this one is probably a tad better than the average, focusing on real issues rather than producing a theme or story set in a realm of fantasy. The musical foundation for this band is to be found within the realm of progressive metal. Loud guitars dominate throughout, staccato, arrhythmic riff patterns and complex guitar-driven moves all being common features also. There's a great deal of variation to the utilization of this instrument; quite often we're served drawn-out power chords too, and another feature repeated throughout this production are electric guitars underscored by acoustic ones. Odin's Court does have an adventurous approach to the art of music, and aren't satisfied with exploring purebred progressive metal. Symphonic elements is another feature you will find in most of the compositions, in the guise of segments with mellow melodic guitars, symphonic-tinged keyboards and piano fleshing out the main melody line, and extensive use of atmospheric guitar soloing. Another facet of this creation are jazz-tinged segments, sometimes mixing influences from that genre with metal and at other times inserting more purist jazzy parts into the compositions. There are many good intentions to this album, and an approach to the art of music that is rather intriguing. However, some elements highly inspire me. First of these are sudden changes in pace and direction. More often than not the compositions have a multitude of these, and personally I really enjoy when there are many dramatic alterations in style within one single composition. The only somewhat negative factor for me are the vocals which somehow aren't quite to my personal liking. Without being able to pinpoint it, there's something about the delivery which grates a bit. This could be due to the mix, though, and I get the impression that too many elements are placed too high in the mix, which makes these songs rather taxing and challenging to listen to in a concentrated manner. These elements are reflections of personal taste though, and are points of view others may feel differently about.

Conclusion. "Deathanity" is an intriguing release in many aspects and should be of interest to people looking for adventurous and challenging progressive metal with eclectic leanings. The band has a somewhat unique approach to their chosen style of music and should be a welcome acquaintance for fans of progressive metal looking for a different approach to this genre.

 

[OdinsCourt]

Sea of Tranquility (3.5 out of 5):

This is the second album by Maryland's Odin's Court and takes on an increasingly common ecological theme in rock music. Twelve tracks on this hour-plus epic take the listener through a wide variety of stylistic changes, demonstrating the band's highly eclectic range of influences from AOR, prog, goth, metal and classical worlds. Their quality as a band is acknowledged by the range of serious players whom they have supported including Symphony X and Spocks Beard.

Opening atmospherically before moving firmly on to prog-metal territory, the confident and cleverly titled first track, "Terracide" is interspersed with background 'overhearing a conversation' style observations about the threat to the world from humanity's growing excesses. This mix of narrative, quieter acoustic parts, ballads, anthems, heavy rock, metal and classical-styled keyboard and guitar orchestration continues throughout the album with similar neologistic titles.

Highlights are the superb bass work, intricate piano interventions and the overall balance between songs and short instrumental breaks and segues. It is a well written and confidently performed work with many guest musicians supporting the core band and deserves to be heard by a wider audience than just the prog-metal world where it undoubtedly has its roots. Matt Brooking carries most of the vocal duties but he is supplemented by harmony vocalists, choral parts and alternate leads in various places which allows his heavier, occasionally a little strained, style to change to reflect the tempo and ethic of each piece.

Toward the end, the album picks up the Ode to Joy theme from Beethoven's ninth symphony, not exactly an unusual piece for rockers to arrange but well done for all that.

Apparently the album artwork (which I haven't seen) illustrates the theme of each track.

 

[OdinsCourt]

Pure Metal (4 out of 5):

A new name to me and I guess many of this site's readers unless you happen to number among the keenest of prog rock afficionados out there. In any case Odin's Court are one of those American bands who are quite hard to pigeon hole, being blessed with a myriad of prog influences with one foot in the prog rock camp and a few toes in waters traveresed by Dream Theater and the likes. Deathanity sees the band, led by Matt Brookins delivering a diverse and quite intriguing album that will find some favour I would hazard a guess from fans of Dream Theater and even bands such as Porcupine Tree and Arena.

The band is very proficient instrumentally speaking without being over the top showy and their talent shines through with considerable ease. Matt Brookin's vocals are soft and melodic but perhaps lacking in a little bit of oomph. To be fair, the songs do not really call for a vocal powerhouse to let rip or anything like that and Matt does a respectable job. Although his somewhat awkward attempts at heavier vocalising is somewhat misguided in my opinion. Better to stick to the smoother and more melodic delivery which sounds much more soulful and fitting. After the opening instrumental, the first song proper, Volatilestial, sets the pace of the album and let's the listener settle down for a relaxing listen. There are many parts to the song with instrumental passages galore. The theme of the album also manifests itself in the lyrics which deal with mankind's actions and their detrimental effect on the planet. Yeah, another eco warrior rock/metal album with a conscience. Plenty of them about these days!

In any case this is a 'music' cd and however honourable the intentions of the band maybe they still need to deliver the goods musically. As the album progresses I find the album's charms beginning to show through. Prog rock can be really tiresome personally speaking with the instrumental passages getting somewhat monotonous however I didn't feel this way with Deathanity although I far prefer the vocal parts where Matt actually sings some great melodies rather than soloing for too long.

The production on this disk is very nice with very clear separation between the instruments, if slightly lacking in crispness on the guitar parts. The bass playing is really superlative and will blow away prog metal fans with amazingly tasty bass lines to wrap your ears round. They never forget to use a good dose of melody when it is called for either. which makes the songs that bit more memorable. The instrumental piece Oceanica Toxica is just wonderful to listen to and a real treasure. Following song Mammonific features an awesme guest vocal spot from Evergrey's Tom Englund and he goes down a storm in this song and makes you think how cool this album would have been with him singing all the way.

Odin's Court is one of those bands that challenges the listener with fantastic instrumental parts and emotional vocals, mixed with thought provoking and relevant subject matter. This is one of those gems of the underground that prog rock/metal fans cannot really afford to miss to be honest. Personally I am not a massive fan of prog or music which requires me to engage too many of my few remaining brain cells, but even I have to admit that odin's Court have delivered a high class product here.

 

[OdinsCourt]

Music an sich, (15 out of 20):

Original in German:

Deathanity an Odin's Court? Wenn man das hört, wird’s sofort dunkel im Hirn. Das Heidentum und der Gehörnte kriechen aus ihren Löchern. Die Zahlen purzeln im Drei-Sechstel-Takt. Und die Ohren machen sich auf eine harte Stunde gefasst.

Aber, weit gefehlt. An diesem Hof ist alles ganz anders. Ob das auch für die Texte gilt, da halte ich mich zurück. Aber das einzige Anti-Christliche, das sich in der Titelliste finden lässt, ist das relativ harmlose „Esoterica“.

Musikalisch geht es recht eigenständig in den Prog-Metal- bis Prog-Rock-Bereich. Dabei fällt natürlich auch mal der Name Dream Theater, aber auch das nur am Rande – z.B. in „Manifest Destiny“. Insgesamt ist Deathanity für diesen Vergleich zu wenig Metal, zu viel Rock. Und wenn Metal geschmiedet wird, dann nicht zwangsläufig in der Tradition der New Yorker.
Der PowerProg von „Animaulic“ wird im Mittelteil z.B. von garagigen Thrash-Riffs zerschreddert. Und immer wieder gibt es Stücke, die weite Rahmen abstecken. „Mammonific“ verbindet harte Gitarren und weiche Pianoläufe, „Oceanica toxica“ metallische Riffs und jazzige Einsprengsel und „Animaulic“ neben den bereits erwähnten Thrash-Riffs ein floydiges Gitarrensolo. Im Extrembeispiel „Cosmosera“ finden sich fast schlagerartiger Pop neben angegrowlten Parts.

Die Schwachpunkte dieses Albums liegen überraschenderweise nicht in einer Inkonsistenz der Stücke, sondern in einigen wenigen eher 08/15-Proggern. Die sind aber so dünn gesät, dass sie genauso wenig am Gesamturteil verderben können, wie das wenig originelle Cover der „Ode an die Freude“.

Es gibt also keinen Grund sich nicht an Odins Hof bitten zu lassen, nicht einmal wenn man Saxophon Loonatic ist. Dieses wenig metallische Instrument findet nämlich mehrfach seinen Weg in den Hofstaat.

 

[OdinsCourt]

Archaic Magazine, no rating given:

Odin’s Court was founded in 2002 in Maryland, The United States of America. After two albums that were met with some good reviews, they return with their third offering “Deathanity”. The album also marks their debut on the great ProgRock Records label, so I was curious to hear what Odin’s Court would bring to the table.

Since Odin’s Court is signed to a Progressive Rock/Metal label, it will not come as a surprise that they play in this style of music. They sound reminiscent of Dream Theater and Rush, but with some more melodic hard rock influences, though they aren’t afraid to play some heavy passages as well. This also fits the lyrical theme of the album very well, as it deals with the influence and results of men’s actions on the environment of our planet. A heavy subject, which the band translates quite well through their music. Not only does Odin’s Court display a wide range of different styles, but with the addition of various sound effects and vocal clips, they create very intense atmosphere. On the album, there are also some guest appearances to be found. Everygrey’s Tom S. Englund appearances on “Mammonific”, while we can find Tony Kakko (Sonata Arctica) on the “Crownet” track. Interesting choices, and they work out quite well with the musical style and it adds up to the variety of the album. The biggest part of the vocals are provided by Matt Brookins. He does a pretty good job but he might have reached out some more, since it now seems like he’s holding back.

In conclusion, it can be said that “Deathanity” is a good and intense album. The twelve tracks on the album are all solid and varied. Add up the two guest appearances and you will not be bored while listening to this album.

 

[OdinsCourt]

Prog 4 You, 7.5 out of 10:

With a name as heavy as Deathanity, the album’s relatively tame.

While sinister and guttural at times, Odin Court’s much less pressing than Megadeath’s electric riffs. In other words, there is more disparity between its name and weight than what’s profiled in that commercial homicidal maniac.

Closer to Dream Theater’s “Pull Me Under” in terms of depth and decaffeinated with saxophones, bongos and pianos, it’s wakeful enough for morning people. But its temperate levels allow listeners to relax after knocking back one or two of its steeping packets.

Don’t get me wrong; infused with bands like Hourglass, their material is invigorating. However, their formula uses the herbal concentrates of Jadis and Enchant. Due to constant keyboards and bass, it’s not as watered down. Blending their best constituents together, “Esoterica” is quite possibly their most flavorsome brew.

What’s also of great interest is the guests, which includes the vocal talents of Tom Englund (Evergrey) and Tony Kakko (Sonata Arctica). Not as intriguing is the overplayed “Ode to Joy”, which enigmatically comes after a napping pause. While well enacted, didn’t expect Mr. Holland’s Opus to surface there. On the flipside, sound bytes are agreeably integrated everywhere.

Likewise, “Manifest Destiny” uploads us into Tron’s mainframe. Personally, I don’t mind sci-fi reveries. I’m sure many fanatics would concur. In addition, I highly approve of the subtle Pink Floyd references in “Cosmosera” before it gets amped. And it so happens that the last piece, “Vastificant”, is a lullaby with calming effects.

Aside from the avant-garde of “Oceanica Toxica” and other random passages that take us into the bogeyman’s realm, Deathanity’s cultures are no more active than reading a crime drama before bed.

If you’re used to this kind of music, you should have no problem dozing without the nightmares. When all’s said and done, this will be the perfect cup of tea for Progressive Metal fans -- around the time they’re ready to wind down.

7.75/10
Reviewer: Josh Turner

 

[OdinsCourt]

Rising Forces USA, 5 out of 5:

In early 2006, while the foundations for RFUSA were still being poured into the ground, we contacted Odin’s Court and asked the Southern Maryland-based progressive metal band to be our first feature subject. The reasoning was simple - find the best independent heavy metal bands in the country and the world and turn the spotlight on them. With their intricate and challenging song structures, mind-bending musicianship, and tireless work ethic, Odin’s Court has earned many fans in the Mid-Atlantic region and is starting to work their way into the consciousness of progressive metal fans in the United States and the world over.

After the 2006 release of ReDriven By Fate and the live DVD …Court Is Now In Session, Odin’s Court had closed the books on the earliest chapters of their careers. At long last the band had a stable lineup, with guitarist Rick Pierpont, keyboardist Savino Palumbo, and bassist Craig Jackson joining lead vocalist/guitarist/founding member Matt Brookins and drummer John Abella. Eager to push the songwriting skills of himself and his mates to the limit, Brookins and company set out to create an opus which would take Odin’s Court to the next level. The band spent the next year and a half in Brookins’ own D2C Studios in Lexington Park, Maryland forging the makings of a grand concept album which would eventually hit the shelves in early 2008. The album is entitled Deathanity.

Concept albums can either be artistic triumphs or confusing snore fests understood only by the band who wrote the album. Deathanity’s concept is very relevant to the modern age and seems like it has been ripped from the current headlines. Anyone who tunes regularly to the nightly news or even The Weather Channel will be quite familiar with the subject matter presented in the album. I most certainly have my own interpretation of the subject matter at hand, but this is not about the message…it’s about the music. We’re an online heavy metal magazine that reviews music, not a news service or a political blog. If you want political debate, try Fox News or CNN.

Also, the composers of the album do not want people to be turned off by the album’s subject matter. In the liner notes, Brookins states the following: “This album is not meant to be a political statement or to force beliefs onto others, though it will hopefully invoke discussion. Not everyone in Odin’s Court may even agree with the message of the lyrics-whatever that message may be, as it is open to interpretation.” So, agree or disagree with the content…don’t let it distract you from the music. You’ll be missing out if you do!

“Terracide” seduces you with the groundwork of gentle guitar picking, light bongo percussion, and conversational banter before the storm begins with the grumble of heavy riffs, Abella’s drums, and Palumbo’s keyboard layering turn the calm into madness before the comfort of the light picking returns. Comfort and madness mess with your mind on this opening instrumental and the moods never stop shifting until the track ends…

…and seamlessly segue into “Volatilestial,” where the echo-y chords and drums lead you to a really sweet vocal harmony. The riff is quite accessible and will work its way into your mindscape very easily. Brookins has vastly improved on the vocal front, as his layered multi-tracked harmonies add another dimension to the song. He even throws some death metal style growls in for good measure…wicked! More beauty is added by some luscious female vocals, Palumbo’s piano, and a killer sax solo by Bill Green. The title should give you a clue to the fondness Brookins has for wordplay, as he has invented a whole new lexicon just for this album. Marvelous!

“Manifest Destiny” will be familiar with anyone who owns ...Court is Now In Session, as the song has been road tested and honed before final and full realization right here. Headbanging and moshing are totally possible to the tune of the bulldozer riffing, but the layer of keys adds much melody. The vocal delivery is quite full of angst and anger on this track, which sounds a war cry against the dangers of over development. Evening news-style narration punctuates things before the keyboards of Palumbo and the shredding of Brookins and Pierpont join in on the fun. This song is experimental, yet accessible enough to yield quite a good amount of airplay.

One could believe that when keysman Palumbo penned the instrumental “Oceanica Toxica,” he wanted to create the image of the rolling and crashing ocean in musical form. And how! The waves begin with the gentle lap of piano and guitars against the beach, before the tide gets high, the sea begins to churn, and all of a sudden you are swept out to the deep…gasping for air and trying to keep head above water. The gale-force riffs part to give the listener some relief, but not long after the wind whips the sea of riffs, keys, bass and drums back into a fearsome musical nor’easter. OK…enough nautical terms! This is one chaotic instrumental display!

The fine line between accessibility and experimentation is once again danced upon quite nicely on “Mammonific,” and joining the party on this track is guest vocalist Tom S. Englund from Swedish dark prog metallers Evergrey! A catchy intro is replaced with stop/start/stop chords, while the keys dance and twist in the wind above the passionate plea against greed by the vocalists. Englund’s emotional delivery contrasts with the haunting multi-track harmonies of Brookins. The excellent guitar solo by Pierpont and the fingers of Palumbo on the keys help make everything in the track add up to one hell of a listen.

Another song that was road tested in the months leading up to the recording of the record was “Animaulic,” and the song has truly become a live highlight. After hearing the strength of the album version I have no doubt in my mind that it will continue to be. The harmonies on this song are incredible, especially the dual guitars. Brookins is truly showing how much hard work he has put into his singing in the past few years, and this track really shows just how much versatility his vocal delivery has, from gentleness to anger all on the same song. Even when the pace picks up for some frantic soloing in the middle, the song never fails to lose the atmospheric beauty it has from the beginning. A masterpiece.

The instrumental “Esoterica” was first released as a bonus track on Driven By Fate back in 2003, and it has since become a favorite live jam of the group…almost like their own Ytse Jam, a track which really gives the phenomenal musicians that make up Odin’s Court a chance to stretch their legs and show what they can do. Finally, guitarist Pierpont, keyboardist Palumbo and bassist Jackson can put their stamp on this great instrumental, and they do not hesitate to add their own mark alongside Brookins’ fleet-fingered attack and Abella’s precise stick work. More banter appears on the track, and it is very haunting, especially if it catches you unaware!

Sonata Arctica’s incomparable vocalist Tony Kakko appears on “Crownet”, and he adds his superb vocal stylings to a track which is bizarre, beautiful, scary, strange…well, choose your own adjective for this one! It’s quite an adventure in song writing and song listening! From jazzy leads, shred, out and out heavy riffs, death growls, intricate bass licks, awesome vocal harmonies, solos from another world…even a hysterical cackle, this song will excite, astound or just plain terrify you. It may even confuse the hell out of you! If this track were a person it would be committed to the loony bin. Madness and music never sounded so good! You may love it, or you may hate it, but I love it! Fortune favors the brave and this is one bold, fresh piece of songwriting!

After the madness of the previous song, you need some refreshment. “Obesite” offers a welcome period of musical rest and relaxation. Let the smooth sax solo soothe your brow. Lose yourself in the tasteful and beautiful vocal harmonies, the soloing of sax and guitar. As a matter of fact, just lose yourself in the song, as it is quite the excellent ballad. A perfect song to ease your mind after a long days work.

I know I made the Schroeder from Peanuts joke the last time I talked about the Odin’s Court rendition of “Ode To Joy” aka Beethoven’s 9th symphony, 4th movement. Well, I have to make it again! Did everyone’s favorite pint-sized piano player slip the OC boys some sheet music when no one was looking? Well, I am glad he did as I think the Odin’s Court rendition of this classical masterpiece is brilliant. John Abella’s drumming really shines through on this track as it is a very challenging arrangement for drums, but the veteran skin basher handles it with no difficulty or drama. Classical heavy metal thunder!

A musical journey through space is created in your mind with the echo soaked guitars, vocals, and Hammond organ that begin “Cosmosera”. As you bathe in the Pink Floyd-esque beginning, don’t get too comfortable as you get blasted awake with a savage yet melodic riff and more of Brookins’ angry growls. Once again, Odin’s Court finds a way to balance the beautiful with the chaotic. If chaos is this beautiful, maybe I want a bit more in my life. Aw, hell, I’ll just play this song instead! It will save much stress, and maybe even cure some stress! Life is hard enough as it is.

“Vastificant” brings the album to a close. Fast acoustic picking and Hammond organ unite with the drums and bass, the eerie voices return, and the sax of Bill Green comes back to play again. A fitting denouement to the album…and I’m spent!

Deathanity is a rare find among concept albums. Not only is it brilliantly performed musically, the lyrical content is also top notch. Whether you agree or disagree with the message is moot. Instead of creating a far-fetched fictional story about King Dimetrius stopping the evil black magician from destroying the kingdom of Forest Dwarves (which is fun but grows old after a while), Odin’s Court took subjects ripped from today’s headlines and set them to a phenomenal musical backdrop which somehow still succeeds to take you away to another place and time where you can escape from the trauma and drama of the daily papers. It’s an album which is relevant to the modern age, but at the same time, it is also a musical vacation from it! How did they manage to pull that off?


I don’t know how they pulled it off, and I don’t care! All I care about is that Deathanity is a brilliant album by a brilliant progressive metal band that looks like it will finally get the recognition it deserves. It’s about damn time too!

Review written by: Matt B.
Date: October 9, 2009
Rating: 5 stars out of 5

 

[OdinsCourt]

Prog Archives, 3 out of 5:

I have had some real struggles to try and write this review, and have scrapped it a few times, but it's time to give it another shot. There is some incredible music on this prog metal album, with the guys showing that they can lock horns and provide shredding complex melodies as good as anything you may find on Poverty's No Crime or Presto Ballet for example. There are some spoken word passages in places, the music darts and drives into different stylistic areas with complex changing time signatures, counter melodies etc?But?(it was fairly obvious that there was a "but" coming) it just isn't all that it could be which is a great shame. It's just that it doesn't all work all of the time. Take Matt Brookins vocals for example, there are many times when the vocal style and delivery is absolutely perfect for the accompaniment, but there are other times when it jars.

Overall this is not as much a killer album, but one that promises what could be if there was a producer strong enough to keep everyone focussed and to cut out the elements that detract. That being said, it is still worth investigating if you like your prog good and heavy you may just come way disappointed.