I posted the following review on my weblog a day or so ago. I am putting it up here too because there was a lot of talk about Theocracy at ProgPower IV this year, but I haven't seen any reviews here.
*********************
Last Thursday I opened my mailbox and discovered a pleasant surprise: my copy of my friend Matt Smith's new album had arrived.
Matt, one of my college friends, has been working on a power metal project called Theocracy which has existed in one form or another since his junior high days. It's been only in the past year or so, however, that the project has been solely his; by the beginning of 2002 he had constructed his own recording studio and began putting together the debut release for Theocracy, a self-titled work that was finally released in October of this year after many delays, most of them not his fault.
This is my review of the album.
The Artwork and Design:
The album's artwork and design layout is stunning. Cover art is by Mattias Noren, whose artwork has graced the CD covers of some of the best prog and power metal bands out there: Evergrey, Ion Vein, Arena, Derek Sherinian and Andromeda for example. The logo and booklet design are by Deron Blevins, who not only created some excellent layouts inside, but also released the disc on his Metal Ages record label.
The Cover:
The serpent sketch is by our mutual friend, the talented Renee Perro.
Tracklisting:
01. Prelude 1:36
02. Ichthus 4:39
03. The Serpent's Kiss 11:56
04. Mountain 4:48
05. Theocracy 6:00
06. The Healing Hand 11:36
07. Sinner 6:08
08. New Jerusalem 5:10
09. The Victory Dance 5:02
10. Twist of Fate 11:30
Total time: 68:25
The Musicians:
Matt Smith. That's right. All lead and choir vocals, rhythm, lead, acoustic and bass guitars, keyboards and orchestrations, and drum programming were done by Matt. He also wrote all of the music and lyrics...and oh yes, all of the recording, production, engineering and mixing, were done by Matt in his own studio. This in and of itself would be enough to write home about, but trust me, I haven't even started yet.
The Overall Sound:
Power metal with lots of choral vocals, keyboard orchestrations, and majestic harmonies. This is a professional-sounding album from start to finish. There is absolutely NO hint that this was all done by one person in a home-built studio. No crackerbox sound here -- the production is crisp and immaculate, with powerful low ends, crystal clear highs, and mixing that allows every instrument to stand out uniquely. All the songs have a majestic sweep to them that would have you believing this album was recorded in a spacious cathedral or a pricey studio with dozens of microphones and thousands of reworked and layered tracks. Lead vocals are unique and powerful, now a scream reminiscent of John Arch (ex-Fates Warning), now a high floating tenor like Brad Delp (Boston) or Trent Gardner (Magellan), now belting out power like Michael Kiske (Helloween), now emotionally soaring like the mighty Roy Khan (ex-Conception, Kamelot). The choral vocals are beautifully blended, with arrangements that are reminiscent of Symphony X or Blind Guardian or Edguy -- layer upon layer of voices that soar and mingle. Keyboard orchestrations remind me of Miro's work with Kamelot, Andre Matos's arrangements with Angra and sometimes Jens Johannson's backing keyboard work with Stratovarius: textured and providing a dynamic background for the crunch of the guitars that overlay them. Those crunchy guitars are heavy and often interwoven, not quite to the twin-guitar harmonized attack of Queensryche or Iron Maiden, but as powerful and punchy as the sound of, say, Gamma Ray or Iced Earth. Even the drum programming is nicely done, running the gamut from Stratovarius- or Rhapsody-inspired hammering double-bass work, to more fundamental stuff providing your basic sound structure. The solos are possibly the one low point, instrumentally; while Matt is far more competent on guitar than I will ever be, as a lead player he isn't quite in the ballpark of, say, John Petrucci of Dream Theater or Andre Olbrich from Blind Guardian. This isn't a weakness, per se, but it does show itself in solos which are a bit more straightforward in nature than the usual power metal pure wankery -- something that will actually make many people quite happy. Soloing is always just what the tune requires and rarely more; although there is a plenty of instrumental fire here, Matt seldom really cuts loose to show off his talents.
The Subject Matter:
This is the one thing that may turn a few people off. The album has many religious overtones (a cursory glance at the tracklisting should have told you that). Those who want to hear good music regardless will listen with an open mind to the unabashedly Christian lyrics and themes and just enjoy the majestic power of the music.
It is worth noting here that I have been a card-carrying atheist and confirmed skeptic for the past twenty years, and I still loved the disc. Matt isn't out to convert anyone -- the lyrics are never "preachy" or accusatory and finger-pointing -- but neither is he hiding his love and admiration for the God he believes in. He chooses instead to let his music and lyrics speak of his personal beliefs, and they speak very eloquently.
The Songs (Individual Impressions):
[Note that the lyric samples here are not always choruses; they just happen to be the lyrical segments that struck a chord with me]:
01. Prelude (1:36): Majestic, sweeping keyboard arrangements reminiscent of a church organ and full orchestra open the album. Musical themes from this tune reappear in other songs on the disc, but overall it is a peaceful and somehow moving introduction. The peaceful feeling doesn't last long, though...
02. Ichthus (4:39): A pick slide down the frets and a hammering drum beat kicks off this fast-paced track. The chorus structure reminds me strongly of later-era Angra; it wouldn't sound out of place in "Metal Icarus" or several of the tunes from their latest disc. Indeed, during the chorus Matt seems to be almost channeling Edu Falaschi. The remainder of the track is Maidenesque in nature, with a nice harmonized guitar attack. The sound sets the tone for most of the rest of the disc: crunching palm-muted guitars playing tasty riffs over a structured background of orchestral keyboards, with Matt's powerful vocals soaring from musical peak to peak. Layered choral vocals add emotional impact, particularly during the choruses, something that shows up over and over again throughout the disc.
Lines of faith carved in the wall,
a sign of peace abided
Stare into the eyes of death,
clothed in the grace provided
This will live on without me...
03. The Serpent's Kiss (11:56): This is probably my favorite tune from the album. Its intricate and complex musical structures are one reason. The hugely epic feel of the track is another. The extended instrumental middle section, where Matt gets to stretch his soloing skills a bit, is another. The interesting vocal samples during the interlude are yet another. But the unbelievably powerful and emotional vocals in this tune are what really drive it home for me. The huge, forty-person chorus (well, it sounds like it is) is enough to send chills down my spine:
What we have done
What we have seen
What has become of our lives
Corrupted our dreams
What we have lost
And what remains
Paralyzed by the venom that runs through our veins
There's got to be much more to life than this
The world's caress is just the serpent's kiss
The final section, after the instrumental break, is the strongest of all. Suffice it to say that I can't listen to it without being hit like a hammer by the depth and power of Matt's voice as he belts out the final lines:
I stand before you as a child
By this world I've been defiled
Stained and poisoned, burned and beaten,
bruised and wounded, sick and vile
With hands reaching out to You, I run
Realizing what I've done
You take me in your arms, a reunited Father and son...
And all illusion ceases to exist
The world's caress is just the serpent's kiss
And the vocals fade, and the cathedral organ returns to bring the track to a close. I simply cannot express how cool this tune is.
04. Mountain (4:48): The cathedral organ opens this track as well with a very catchy and memorable musical theme that forms the basis of the entire tune. The music is midtempo, with more straightforward structures than "The Serpent's Kiss". The choral vocals are present in force on this tune, particularly during the chorus. Lyrics are some of the more overtly religious on the album, but once again they are not preachy, just full of personal beliefs.
Take me to the places I can't go
Transcending
I'm sick of living in the status quo
New beginning
And when it seems I've given up
On eagles' wings You lift me up again
And this time I know, in the end
...You carried me
These words end the track on a high note (literally and figuratively).
One more thing: the tune is dedicated to Matt's longtime girlfriend, Susan Meyers. It's obvious that there are multiple meanings to this tune besides the overt one.
05. Theocracy (6:00): This is a faster-paced tune that's very reminiscent of Edguy or Stratovarius. Frenetic guitar work and nicely interwoven leads are mixed with cool vocals that pan from left to right, a nice stereo effect. This one has more of a bombastic feel to it, a somehow medieval feel, and the central section (fading to bass, drums and clean-toned guitars, then giving way to lower-pitched vocals) is interesting.
I take my crown and cast it down
Castles burning
Castles burning
Learn to grow, learn to be
A flesh and blood Theocracy
To take the loss and bear the cross
Raise the Kingdom
Raise the Kingdom
Burn away all I've been
To resurrect Theocracy within
Powerful stuff.
06. The Healing Hand (11:36): Some nice stereo effects with multiple guitars intro this tune very gradually. This tune stretches Matt's musicality a bit; there isn't any particularly flashy work throughout the tune, but somehow the entire song is musically woven more complexly than some of the others. The rhythm playing and the underlying keyboards really drive this song, though some good solo work does make its appearance. There are some great rhythmic shifts and time changes, as well as some definite headbanging-inducing rhythms. I found myself doing the Metal Gesture (tm) overhead during much of the tune, extending pinky and index finger, even if it does seem a bit out of place given the subject matter of this one:
Endless power, fueled by faith, restoration in one touch
Miracle, supernaturally disease is crushed
The holy hand becomes the healing hand
This one doesn't really lend itself to multiple interpretations; it is, perhaps, the one track on the disc which kind of smacks you over the head with its message. Which isn't entirely a bad thing.
07. Sinner (6:08): A quiet keyboard-and-clean guitar intro begins this more subdued track. Matt's voice reminds me very much of Geoff Tate's in the opening verse. The song is much slower in pace and relies mostly upon a strong chorus, having a very standard structure and feel. One nice touch is that after the first chorus there are some nicely played plucked notes that sound much like a harp or harpsichord; whether they're keyboard or guitar or what have you, I know not, but they add a nice feel to the tune.
Help me
Save me
Take this guilt away from me
Hear me
Take me back to where I was (before the fall)
Wash me
Cleanse me
See what has become of me
Trying on my own, I failed
so I now come crawling back to you
I've fallen
08. New Jerusalem (5:10): This tune is much faster-paced and returns to the Edguy-gang style of choral backing vocals during the verses that has obviously been such a large influence on Matt. It's also got a nice epic feel to it; you can see the towers of white marble arising in your mind's eye:
I have seen the New Jerusalem
Glorious, the New Jerusalem
Behold, the world of corruption has passed away
Out of the ashes below me I rise
Into the city of new life, the power, the way
Ascending into paradise.
This tune also has one of the longer and more complex solos on the disc, rivaling only the instrumental section of "The Serpent's Kiss".
09. The Victory Dance (5:02): Another one of my favorite tunes. Very very very cool. This one opens with a very Eastern-feel instrumental break which sets the tone for the rest of the song; the same keyboard patch is used during the solo sections as well and it's really excellent. There is also a very interesting parallel: the first three lines of the chorus sound so much, musically, like Gamma Ray's chorus from their tune "The Heart of the Unicorn", that I have to wonder if Gamma Ray somehow got hold of an advance copy of this disc and used it to rip off that theme for THEIR chorus!
Seven scars turned to ashes
Faces of madness
Melt into victory
Trial by fire, my burden
Burned in refining flames of purity
Seven steps into darkness
Mortal and crownless
Eternal victory
Altar flames rising, burning higher
And straight through the fire
I'm dancing the victory dance
This is also another tune that can be interpreted multiple ways, which may another reason be why I like it so much.
10. Twist of Fate (11:30): This is one of the heaviest songs on the disc with respect to the rhythm guitars, slow and grinding. I again found myself doing the Metal Gesture (tm). Part II features some cool sampled synth stuff that is strongly reminiscent of (of all things) Tangerine Dream. The chorus is very emotionally powerful, something which has happened again and again on the disc. I also particularly like the instrumental section in the middle, where the keyboards take some very nice leads in a song structure, competing with lead guitars, that Alex Staropoli and Luca Turilli of Rhapsody would be proud of. Part III of the tune has some arrangements and choruses that remind me strongly of the in-the-round style of vocals that has been such a prominent part of Savatage's work over the past several years. All these comparisons might suggest that this is a highly derivative tune, but nothing could be further than the truth; Matt just takes these influences and weaves them together into something uniquely his own. The album ends on a triumphant high note as the choruses swing to a close:
Divine orchestration, flawless grand design
Beyond comprehension, beyond mortal minds
Methodically, flawlessly restructuring my life
Supernaturally changing me, surgically precise
Father of glory, the only help I see
Reach down your hand to me
Set me free
Father of mercy, please take this hex from me
For yes I do believe!
Closing Thoughts:
Words fail me when trying to express how much this album has affected me. As some of you know, I have over 800 CDs. This isn't bragging, it's just to point out that it takes a pretty damned impressive offering to rock me off my base like this. This is, quite simply, the album of the year so far for me. It runs the gamut from the depths of despair to the soaring heights of euphoria. It is a triumph in every sense of the word: musically, instrumentally, lyrically, sonically, vocally, emotionally. This album is the culmination of Matt's almost superhuman efforts over the past several years, and it shines. Go out and buy it. Now.
You can acquire the Theocracy disc through Matt's Theocracy website, or through his label Metal Ages Records, or at online vendors such as The Laser's Edge and The End Records. If you like the disc (and you will), please please please drop by Matt's site, post a review, hang out on the message boards, or just send him a quick note to let him know you liked the disc. Music this good needs to be supported.
cheers,
Phil Carter
*********************
Last Thursday I opened my mailbox and discovered a pleasant surprise: my copy of my friend Matt Smith's new album had arrived.
Matt, one of my college friends, has been working on a power metal project called Theocracy which has existed in one form or another since his junior high days. It's been only in the past year or so, however, that the project has been solely his; by the beginning of 2002 he had constructed his own recording studio and began putting together the debut release for Theocracy, a self-titled work that was finally released in October of this year after many delays, most of them not his fault.
This is my review of the album.
The Artwork and Design:
The album's artwork and design layout is stunning. Cover art is by Mattias Noren, whose artwork has graced the CD covers of some of the best prog and power metal bands out there: Evergrey, Ion Vein, Arena, Derek Sherinian and Andromeda for example. The logo and booklet design are by Deron Blevins, who not only created some excellent layouts inside, but also released the disc on his Metal Ages record label.
The Cover:
The serpent sketch is by our mutual friend, the talented Renee Perro.
Tracklisting:
01. Prelude 1:36
02. Ichthus 4:39
03. The Serpent's Kiss 11:56
04. Mountain 4:48
05. Theocracy 6:00
06. The Healing Hand 11:36
07. Sinner 6:08
08. New Jerusalem 5:10
09. The Victory Dance 5:02
10. Twist of Fate 11:30
Total time: 68:25
The Musicians:
Matt Smith. That's right. All lead and choir vocals, rhythm, lead, acoustic and bass guitars, keyboards and orchestrations, and drum programming were done by Matt. He also wrote all of the music and lyrics...and oh yes, all of the recording, production, engineering and mixing, were done by Matt in his own studio. This in and of itself would be enough to write home about, but trust me, I haven't even started yet.
The Overall Sound:
Power metal with lots of choral vocals, keyboard orchestrations, and majestic harmonies. This is a professional-sounding album from start to finish. There is absolutely NO hint that this was all done by one person in a home-built studio. No crackerbox sound here -- the production is crisp and immaculate, with powerful low ends, crystal clear highs, and mixing that allows every instrument to stand out uniquely. All the songs have a majestic sweep to them that would have you believing this album was recorded in a spacious cathedral or a pricey studio with dozens of microphones and thousands of reworked and layered tracks. Lead vocals are unique and powerful, now a scream reminiscent of John Arch (ex-Fates Warning), now a high floating tenor like Brad Delp (Boston) or Trent Gardner (Magellan), now belting out power like Michael Kiske (Helloween), now emotionally soaring like the mighty Roy Khan (ex-Conception, Kamelot). The choral vocals are beautifully blended, with arrangements that are reminiscent of Symphony X or Blind Guardian or Edguy -- layer upon layer of voices that soar and mingle. Keyboard orchestrations remind me of Miro's work with Kamelot, Andre Matos's arrangements with Angra and sometimes Jens Johannson's backing keyboard work with Stratovarius: textured and providing a dynamic background for the crunch of the guitars that overlay them. Those crunchy guitars are heavy and often interwoven, not quite to the twin-guitar harmonized attack of Queensryche or Iron Maiden, but as powerful and punchy as the sound of, say, Gamma Ray or Iced Earth. Even the drum programming is nicely done, running the gamut from Stratovarius- or Rhapsody-inspired hammering double-bass work, to more fundamental stuff providing your basic sound structure. The solos are possibly the one low point, instrumentally; while Matt is far more competent on guitar than I will ever be, as a lead player he isn't quite in the ballpark of, say, John Petrucci of Dream Theater or Andre Olbrich from Blind Guardian. This isn't a weakness, per se, but it does show itself in solos which are a bit more straightforward in nature than the usual power metal pure wankery -- something that will actually make many people quite happy. Soloing is always just what the tune requires and rarely more; although there is a plenty of instrumental fire here, Matt seldom really cuts loose to show off his talents.
The Subject Matter:
This is the one thing that may turn a few people off. The album has many religious overtones (a cursory glance at the tracklisting should have told you that). Those who want to hear good music regardless will listen with an open mind to the unabashedly Christian lyrics and themes and just enjoy the majestic power of the music.
It is worth noting here that I have been a card-carrying atheist and confirmed skeptic for the past twenty years, and I still loved the disc. Matt isn't out to convert anyone -- the lyrics are never "preachy" or accusatory and finger-pointing -- but neither is he hiding his love and admiration for the God he believes in. He chooses instead to let his music and lyrics speak of his personal beliefs, and they speak very eloquently.
The Songs (Individual Impressions):
[Note that the lyric samples here are not always choruses; they just happen to be the lyrical segments that struck a chord with me]:
01. Prelude (1:36): Majestic, sweeping keyboard arrangements reminiscent of a church organ and full orchestra open the album. Musical themes from this tune reappear in other songs on the disc, but overall it is a peaceful and somehow moving introduction. The peaceful feeling doesn't last long, though...
02. Ichthus (4:39): A pick slide down the frets and a hammering drum beat kicks off this fast-paced track. The chorus structure reminds me strongly of later-era Angra; it wouldn't sound out of place in "Metal Icarus" or several of the tunes from their latest disc. Indeed, during the chorus Matt seems to be almost channeling Edu Falaschi. The remainder of the track is Maidenesque in nature, with a nice harmonized guitar attack. The sound sets the tone for most of the rest of the disc: crunching palm-muted guitars playing tasty riffs over a structured background of orchestral keyboards, with Matt's powerful vocals soaring from musical peak to peak. Layered choral vocals add emotional impact, particularly during the choruses, something that shows up over and over again throughout the disc.
Lines of faith carved in the wall,
a sign of peace abided
Stare into the eyes of death,
clothed in the grace provided
This will live on without me...
03. The Serpent's Kiss (11:56): This is probably my favorite tune from the album. Its intricate and complex musical structures are one reason. The hugely epic feel of the track is another. The extended instrumental middle section, where Matt gets to stretch his soloing skills a bit, is another. The interesting vocal samples during the interlude are yet another. But the unbelievably powerful and emotional vocals in this tune are what really drive it home for me. The huge, forty-person chorus (well, it sounds like it is) is enough to send chills down my spine:
What we have done
What we have seen
What has become of our lives
Corrupted our dreams
What we have lost
And what remains
Paralyzed by the venom that runs through our veins
There's got to be much more to life than this
The world's caress is just the serpent's kiss
The final section, after the instrumental break, is the strongest of all. Suffice it to say that I can't listen to it without being hit like a hammer by the depth and power of Matt's voice as he belts out the final lines:
I stand before you as a child
By this world I've been defiled
Stained and poisoned, burned and beaten,
bruised and wounded, sick and vile
With hands reaching out to You, I run
Realizing what I've done
You take me in your arms, a reunited Father and son...
And all illusion ceases to exist
The world's caress is just the serpent's kiss
And the vocals fade, and the cathedral organ returns to bring the track to a close. I simply cannot express how cool this tune is.
04. Mountain (4:48): The cathedral organ opens this track as well with a very catchy and memorable musical theme that forms the basis of the entire tune. The music is midtempo, with more straightforward structures than "The Serpent's Kiss". The choral vocals are present in force on this tune, particularly during the chorus. Lyrics are some of the more overtly religious on the album, but once again they are not preachy, just full of personal beliefs.
Take me to the places I can't go
Transcending
I'm sick of living in the status quo
New beginning
And when it seems I've given up
On eagles' wings You lift me up again
And this time I know, in the end
...You carried me
These words end the track on a high note (literally and figuratively).
One more thing: the tune is dedicated to Matt's longtime girlfriend, Susan Meyers. It's obvious that there are multiple meanings to this tune besides the overt one.
05. Theocracy (6:00): This is a faster-paced tune that's very reminiscent of Edguy or Stratovarius. Frenetic guitar work and nicely interwoven leads are mixed with cool vocals that pan from left to right, a nice stereo effect. This one has more of a bombastic feel to it, a somehow medieval feel, and the central section (fading to bass, drums and clean-toned guitars, then giving way to lower-pitched vocals) is interesting.
I take my crown and cast it down
Castles burning
Castles burning
Learn to grow, learn to be
A flesh and blood Theocracy
To take the loss and bear the cross
Raise the Kingdom
Raise the Kingdom
Burn away all I've been
To resurrect Theocracy within
Powerful stuff.
06. The Healing Hand (11:36): Some nice stereo effects with multiple guitars intro this tune very gradually. This tune stretches Matt's musicality a bit; there isn't any particularly flashy work throughout the tune, but somehow the entire song is musically woven more complexly than some of the others. The rhythm playing and the underlying keyboards really drive this song, though some good solo work does make its appearance. There are some great rhythmic shifts and time changes, as well as some definite headbanging-inducing rhythms. I found myself doing the Metal Gesture (tm) overhead during much of the tune, extending pinky and index finger, even if it does seem a bit out of place given the subject matter of this one:
Endless power, fueled by faith, restoration in one touch
Miracle, supernaturally disease is crushed
The holy hand becomes the healing hand
This one doesn't really lend itself to multiple interpretations; it is, perhaps, the one track on the disc which kind of smacks you over the head with its message. Which isn't entirely a bad thing.
07. Sinner (6:08): A quiet keyboard-and-clean guitar intro begins this more subdued track. Matt's voice reminds me very much of Geoff Tate's in the opening verse. The song is much slower in pace and relies mostly upon a strong chorus, having a very standard structure and feel. One nice touch is that after the first chorus there are some nicely played plucked notes that sound much like a harp or harpsichord; whether they're keyboard or guitar or what have you, I know not, but they add a nice feel to the tune.
Help me
Save me
Take this guilt away from me
Hear me
Take me back to where I was (before the fall)
Wash me
Cleanse me
See what has become of me
Trying on my own, I failed
so I now come crawling back to you
I've fallen
08. New Jerusalem (5:10): This tune is much faster-paced and returns to the Edguy-gang style of choral backing vocals during the verses that has obviously been such a large influence on Matt. It's also got a nice epic feel to it; you can see the towers of white marble arising in your mind's eye:
I have seen the New Jerusalem
Glorious, the New Jerusalem
Behold, the world of corruption has passed away
Out of the ashes below me I rise
Into the city of new life, the power, the way
Ascending into paradise.
This tune also has one of the longer and more complex solos on the disc, rivaling only the instrumental section of "The Serpent's Kiss".
09. The Victory Dance (5:02): Another one of my favorite tunes. Very very very cool. This one opens with a very Eastern-feel instrumental break which sets the tone for the rest of the song; the same keyboard patch is used during the solo sections as well and it's really excellent. There is also a very interesting parallel: the first three lines of the chorus sound so much, musically, like Gamma Ray's chorus from their tune "The Heart of the Unicorn", that I have to wonder if Gamma Ray somehow got hold of an advance copy of this disc and used it to rip off that theme for THEIR chorus!
Seven scars turned to ashes
Faces of madness
Melt into victory
Trial by fire, my burden
Burned in refining flames of purity
Seven steps into darkness
Mortal and crownless
Eternal victory
Altar flames rising, burning higher
And straight through the fire
I'm dancing the victory dance
This is also another tune that can be interpreted multiple ways, which may another reason be why I like it so much.
10. Twist of Fate (11:30): This is one of the heaviest songs on the disc with respect to the rhythm guitars, slow and grinding. I again found myself doing the Metal Gesture (tm). Part II features some cool sampled synth stuff that is strongly reminiscent of (of all things) Tangerine Dream. The chorus is very emotionally powerful, something which has happened again and again on the disc. I also particularly like the instrumental section in the middle, where the keyboards take some very nice leads in a song structure, competing with lead guitars, that Alex Staropoli and Luca Turilli of Rhapsody would be proud of. Part III of the tune has some arrangements and choruses that remind me strongly of the in-the-round style of vocals that has been such a prominent part of Savatage's work over the past several years. All these comparisons might suggest that this is a highly derivative tune, but nothing could be further than the truth; Matt just takes these influences and weaves them together into something uniquely his own. The album ends on a triumphant high note as the choruses swing to a close:
Divine orchestration, flawless grand design
Beyond comprehension, beyond mortal minds
Methodically, flawlessly restructuring my life
Supernaturally changing me, surgically precise
Father of glory, the only help I see
Reach down your hand to me
Set me free
Father of mercy, please take this hex from me
For yes I do believe!
Closing Thoughts:
Words fail me when trying to express how much this album has affected me. As some of you know, I have over 800 CDs. This isn't bragging, it's just to point out that it takes a pretty damned impressive offering to rock me off my base like this. This is, quite simply, the album of the year so far for me. It runs the gamut from the depths of despair to the soaring heights of euphoria. It is a triumph in every sense of the word: musically, instrumentally, lyrically, sonically, vocally, emotionally. This album is the culmination of Matt's almost superhuman efforts over the past several years, and it shines. Go out and buy it. Now.
You can acquire the Theocracy disc through Matt's Theocracy website, or through his label Metal Ages Records, or at online vendors such as The Laser's Edge and The End Records. If you like the disc (and you will), please please please drop by Matt's site, post a review, hang out on the message boards, or just send him a quick note to let him know you liked the disc. Music this good needs to be supported.
cheers,
Phil Carter
