Variety is the spice of life and bassist and ivory tickler Jonas
Reingold's brainchild thrives on it. Many moods and emotions are given their due time as they swirl through a nice assortment of tunes inspired by many different metal sub-genres. One of the first steps of appreciating
"Universe" (a fitting title since each song is in a completely different 'universe' all of its own), is understanding its uniqueness in terms of sheer musical diversity. There are
AOR ballads, bluesy sentiments of love, crunching anthems of frustration, inspirational epics, Yngwie styled frilly neo-classical edged scorchers and basic pumping rockers.
You would think the resulting product would be a confusing mixture of halfhearted attempts at taking a stab at many fractions of the metal market, but somehow an air of confidence and wisdom of melodic melodies has been threaded through each song, linking them together soundly. However in the scheme of things it fits, and that is all that truly matters.
Jonas
Reingold is the keys/bass player and producer for the band Midnight Sun, as well as played bass on the well recieved Swedish jazz/fusion guitar giant Anatholi Bulkin's "Initiation" release. Post this release, he and Goran teamed up for the jazzy/prog fusion of Karmakanic, which yielded completely different results than this unforgettable late 90s surprise.
"Universe" is
Reingold's debut under his own band name. He has written all the music and the majority of the lyrics, so its mostly his musical preferences that shine on the album. But never count out the undeniable influence and personal stamp that Goran Edman puts on every release he lends his talents to. Edman deserves extra praise (more than usual even) for adjusting with ease to the shifting subject matter and adds an extra touch of class to even the most stylized tune. His voice sounds positively glorious (as it always does), mystical, lush, sincere and inviting.
Guitarist Marcus Jacobsson handles the axe, both acoustic and electric. The list of 'guest musicians' is quite staggering, including the two men behind the actual guitar solos: Chris Palm and Peter Espinoza, as well as those who contributed additional drums and percussion, Hempo Hillden and Theo among others who added strings, extra keys or lent their voice to fortify the backing vocals, which play a vital part in most of the songs found here.
"Universe Part I" is the album opener, nothing more than a bit of a story that attempts in tying the album together with a tidbit of bass to end the track. This kicks us into the first real track,
"Glorified". Neo-classical keys and lightning fast pacing sum up this assaulting tune. The jaw dropping basswork in the middle is a definite attention getter and transcends into a fretburning guitar solo which exchanges for a second solo with an altered tone. Strangely enough, this opener is by far the weakest of the tracks on the album. Not exactly starting out with a bang, but it gets better.
"Overloaded" is a slow climbing epic, transcending up spiral staircase until it breaks out into the light. Enhanced by the golden pipes of Goran Edman, who's voice builds in intensity to deliver the chorus in a sweeping gigantic fashion. He is supported by an assault of background vocals that sound like they are being lead into battle by Goran as well. The effect is breathtaking, especially with the spritzes of electric notes spraying about along with ambient piano pieces. Just as it seems they are working to an earshattering climax, the track fades off in the distance. With all this sound stuffed into one song, it feels almost 'overloaded' but the overall presentation is amazing.
"Highroler" gallops furiously with strong hints of Yngwie peeking through the neo-classical curtains. Confidentally flashy and a splash of arrogance.
"Eye for an Eye" keeps up the same flavor as
"Highroler", but being a more pulse pounding, frantic piece, seen in the heavy rhythm section and guitar bubbling up through the cracks in the floor of sound. The song spasms into thundering middle eastern territory a'la "Gates of Babylon" and its brethen before continuing on its rocking path.
"No More I Love You" singularly puts Goran Edman into the favorite spotlight as a vocalist to be reckoned with. The first time he sings the chorus, sparsely backed with instrumentation, his voice is the lone focal point, he gives each word a special, delicate nuance, forming it in breathless perfection and complete soul-driven emotion. A little impish slant on the word
'wanna' never ceases to bring a smile. Its humble folky acoustic driven beginnings veer off into another direction as the songs solemnly steps up into ballad mode adding some spicey lapping electric, that ascends into a gorgeously crafted solo that causes the heart to melt without fail. Little piercing lead breaks send the song into its second stage with church-like choir expanding the background as the song finishes up with curiously stiff and military drums. Edman's performance makes this a particularly treasured piece.
Retro throwbacks are represented in
"Killer on the Loose". This song would be comfortable on any 1980s metal album. Synthesizers lull beneath the layers, a bright and shiny chorus is an upbeat delight. Can easily detect bits of Rainbow, Y&T, modern day
Danger Danger (think "Grind") and hard edged guitar like Leatherwolf. Lots of strings expand the irresistably hooky
"Carolina". Rhythm guitar lurks along as strings cascade, surrounding. The central point of the song encompasses loud and proud lead vocals, guitar stringing along right behind which winds into the explosive pinnacle. The chorus glows as sing-a-long gold.
"Northern Lights" is another focal piece, this one for its fairy tale loveliness. A delightfully whimsical tune, outlining the tale of the good forest faerie, Isla. Pure magic, as light and delicate as Isla's gossamer wings, it flitters along at a lovely pace, a kiss of Renaissance in its fluttery medieval influenced melodies. Unique chorus consisting of subdued gang vocals with Goran's crystal lead adding a smattering of punctuation throughout. Strings are scattered about like sprinkles of faerie dust. A more modern version of Blackmore's Night, with a hint at Stuart Smith's "Shadows of a Tyburn Tree" shining within, and who could not link it to Rhapsody's "Forest of Unicorns" just for its fanciful nature.
"Sacrifice and Suffering" lays it on thick. Distorted, twisted vocals and thick chunky guitars interchange with more strings, chugging rhythm riffs and crystal vocals. The lyrical story is the suffering for one's art, in this case, music. Its heavy backend, darkened feel, and guitar that whinnies like a frightened horse, illustrates desperation laced with a shadow of fear.
"The words of truth are always paradoxical." This brooding, goth smeared tune comes as a shock after the fancy flight flair of
"Northern Lights". "Can I Take You To Heaven" is a sweet groove laden song, contradicting itself with a splash of European
AOR and an extreme blues twist. Wailing electric with the wah pedal to the metal and thumping bass exchange for slower spots allowing sweet reflection. Thick vocal harmonies repeat the line
"I'll always be there" while Edman takes the lead showcase delivering each line after the chorus of voices repeat it again.
"Universe Part II" picks up where
"Universe Part I" left off, with the same bass run and a voice that speaks one little line and that ends it. The second part of the bookends if you will.
"Universe" is, most importantly, a solid album with very few points that show Jonas slacking off in the writing department (although those ambient bookend tracks seem kind of an indulgent waste of space). Although Im sure alot of the album was pieced together, judging by the list of guest musicians that filled in when needed, none of the songs ever sound forced or have parts that are out of place. It all flows with an easy smoothness, and a tight production courtesy of Jonas
Reingold himself.
The wide range of tunes covered, coupled with the fact that several of them are outstanding gems, make this is a rare pleasure to discover. It seems to have fallen off the edge of the earth, but what a shame it would be for such excellent music on the neo-classical/Yngwie genre to be lost and forgotten. But for those that have heard the album, and truly given it the close listening it deserves, they will understand why its held with such high acclaim, despite its relative obscurity. Unique and diverse, without a doubt, something here can be found for most everyone.
Written by
Alanna Tuesday, April 13, 2010
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