Artist: Nevermore
Label: Century Media
Release Date: 10/17/00
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Title: Dead Heart in a Dead World Artist: Nevermore Label: Century Media Release Date: 10/17/00 |
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Abyss's Review:
Seattle's Nevermore have a career that would make Alan Greenspan blush. Slow, steady, sustainable growth has been a trademark of this band. Their ability to take high pitched vocals and layer them over music thick and heavy enough to keep just about any metalhead happy, has endeared them to fans and critics alike. Each subsequent album achieved a higher level of praise, culminating in last year's Dreaming Neon Black, an album that saw its way onto many a persons top ten list last year.
"Seattle's Nevermore have a career that would make Alan Greenspan blush. Slow, steady, sustainable growth has been a trademark of this band." Of course, the question is, "Can Nevermore continue its ability to keep improving on that which seems perfect?" Well, that's not that an easy question to answer, a fact that becomes more and more evident as I continue to listen to their newest release. Dead Heart in a Dead World is not nearly as ambitious as the previous album, both in scope and concept, but while it's a much more straightforward album, it's still Nevermore through and through. I've always thought that Nevermore had the unique ability to take music that was too heavy for high, clean vocals, and make it work anyway. And from the opening track, "Narcosynthesis" it is obvious they haven't lost anything in that respect. Indeed, just about every characteristic that fans enjoy in Nevermore's music is here, from the brutal melodies to the dynamic segues, Nevermore has crafted what, in many ways, is just what fans are looking for.
And while I wholeheartedly recommend this album, I'm always a lot harder on those I truly love. This disc does have some shortcomings, in my opinion. First off, with few exceptions, the songwriting is of a slightly lower caliber than that of the last album. And while it's still much better than that of most other bands out there, I find it a little depressing that this is the first Nevermore album which I don't think has buried the album that preceded it. I also seem to enjoy the beginning of the album much more than the end, suggesting that this album might not be as complete as their other works.
"It says a lot that the only way to criticize this band is to compare them to themselves." But in all fairness, most of my criticism is nit picking, because this is a great record. And if, in my opinion, it isn't exactly Dreaming Neon Black II, that just proves how amazing that album was. The bottom line is that this album, like its older brother, will make it onto a lot of people's best of 2000 lists, and it definitely deserves to be there. It says a lot that the only way to criticize this band is to compare them to themselves. Even with my petty criticisms, it still rates a perfect score.
Death's Review:
Nevermore's 1999 release, Dreaming Neon Black, was almost universally hailed as one of the best albums of the 1990's. Unfortunately, ex-Forbidden axeman Tim Calvert's Nevermore tenure would last for only that one record, leaving Warrell Dane, Jim Sheppard and Jeff Loomis and Van Williams to soldier on alone once more. The result? Dead Heart in a Dead World, another masterful opus of insanity, complexity, aggression and bitter determination in the form of the most intense and state-of-the-art post-modern thrash available today, from Seattle's finest. You should buy this record now.
"The most intense and state-of-the-art post-modern thrash available today, from Seattle's finest." One of my personal favorite aspects of Dead Heart is its confirmation of this nostalgic fact: the spirit of Sanctuary lives on as we spiral toward 2K1. Yes folks, the high pitched vocals are back! Anyway, more on that later. But first, the most important and dominant aspect of Dead Heart: the guitar sound and the new stripped-down approach to the Nevermore riffing attack. This single-guitar approach has, if anything, streamlined and focused the attack with laser-like precision. Jeff Loomis does a fantastic job, with blistering solo work and complex riffing throughout. While Calvert's presence was at the forefront of Neon Black songs like "Beyond Within," these news riffs are equally as interesting and as darkly catchy ("Narcosynthesis," "The Sound of Silence") as anything we've heard from Nevermore before. And don't think for a second that Loomis doesn't fully take advantage of the wonders of multi-track recording - multiple guitar sounds abound.
As mentioned above, Sanctuary is recalled in the occasional re-emergence of Mr. Dane's higher register. On "We Disintegrate," for example, Dane shatters the glass with the power and anger equal to that heard on Refuge Denied. While it is not resorted to with any sort of frequency, it is a weapon only available to the chosen few disciples of Halford who have been so blessed with the type of ability within the world of metal. Trust me, it send shivers down your spine.
Believe me when I tell you that these tunes are angry, catchy, dark, downtuned and intricate; everything you've come to expect from Nevermore. I've been walking around all week bobbing my head and yelling "How did it come to this? Narcosynthesis!" at random passers-by. Calling this a mix of The Politics of Ecstacy and Dreaming Neon Black is too simplistic. Yes, like Politics, Dead Heart is a darker, heavier record; yet, like Dreaming it is well-produced and feels modern and spacious. But, in the end, Dead Heart is simply the next evolution of the Nevermore sound. And, once again, it is amazing.
"Dead Heart is simply the next evolution of the Nevermore sound. And, once again, it is amazing." I, for one, love the "cover" of "The Sound of Silence." Of course, there is a distinct lack of surface similarity between this and the original (only the guitar melody at the beginning and the lyrics bear any actual resemblance), but the existential spirit of the Simon and Garfunkel original remains. Dane is absolutely spectacular here, and this "cover" (and also their version of "Love Bites" which appears on the Century Media Judas Pries tribute) actually makes me wish Nevermore had gone forward and done a full album of these "inspired-by" masterpieces.
In the end, Dead Heart is another Nevermore classic. More focused, less ambitious, perhaps a reversion to the dark, angry rancor of Politics, and certainly one of the best albums of 2000 (Neon Black was near the top of my list for 1999 as well). Which can only mean one score . . .
Hel's Review:
As a huge Nevermore fan, I looked forward to this album with great excitement. During the first listen I thought to myself, if I were to make up a sub-title for this bad boy, it would be, "Politics of Ecstasy II: The Pigs are Back!!" But please, don't get me wrong, despite the occasional resemblance this is not Politics all over again, it is a very different animal.
And what a wonderful animal it is. Dead Heart in a Dead World is a masterpiece. Warrel's voice is in excellent form, and his ability to convey emotion and depth is awe inspiring. Lyrically, he takes us on another of his politically charged, subliminal journeys, where all of the songs are joined together by an overarching theme that isn't apparent unless you pay extremely close attention. I consider most Nevermore albums to be concept albums in this regard, though most people may not agree, holding "concept albums" to much more stringent, overt, criteria than I.
"Dead Heart in a Dead World is a masterpiece." The music is brilliant and the sound is incredibly full. It's technical and complex, not to mention enthralling and astounding. It is all fantastic, and each and every band member turned in a fabulous performance. Any sensible metalhead would be halfway to their car by now, why the hell aren't you?
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