Artist: Poverty's No Crime
Label: Inside Out Music America
Release Date: 11/4/03
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Title: The Chemical Chaos Artist: Poverty's No Crime Label: Inside Out Music America Release Date: 11/4/03 |
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Abyss's Review:
Just a few weeks removed from listening to the first-ever tolerable Dream Theater album, Train of Thought, I feel more than qualified to comment on progressive metal. I mean, I dig technical musicianship, concept albums, and epic songwriting as much as the next guy (unless the next guy happens to be a Dave Matthews fan - then I probably like it even more!), and now that I feel I understand where the genre is coming from, I'll be able to jump on the bandwagon and appreciate everything they throw at me! Well at least these were my thoughts before I heard Poverty's No Crime, then I realized that I still just don't get it.
"Not a single song on this record ever started growing on me." Poverty's No Crime is a 'progressive metal' band from Germany (be afraid, be very afraid) that has been around since 1991, but has had very little exposure in the United States. Of course, the United States metal scene has been gaining momentum steadily in the last few years, so this marks the perfect time for the band to make a push for a higher profile on this side of the Atlantic. And while I'd like to warmly invite them to the New World, in all honesty their latest album just bores me to tears.
Part of the problem is that 'progressive metal' is completely inappropriate as a genre tag -'progressive rock' is much closer to the point. Strong Rush and Yes influences abound, but the band doesn't overtly rip anyone off. In fact, the most interesting thing about the band is the fact that they seem to have their own sound, but at the same time come across as completely predictable. Every aspect of the band falls in line with the stereotypical progressive act: impressive musicianship that lacks heart and hook. Not a single song on this record ever started growing on me.
This is largely due to the fact that this type of music just isn't my thing, I don't deny that at all. However, I'm not totally averse to this stuff, and (I feel) the truly special bands drag me into their world kicking and screaming. This band doesn't even come close to doing that. One word review: Yawn.
Death's Review:
This isn’t bad. Some of the songs are fairly serviceable, the singer is OK, the production is outstanding and the performances and musicianship live up to the high standards one expects from the Inside Out label. Poverty’s No Crime are definitely derivative of the mellower side of Dream Theater (Train of Thought crushes The Chemical Chaos in terms of heaviness), although the songwriting is not as good. They also have some Rush and Yes and Genesis in them too, with maybe a touch of Deep Purple thrown in for good measure. And some Helloween, tru to their German heritage. But mostly Dream Theater.
"These guys are good musicians, and they have performed a decent-sounding record." Like I said, these guys are good musicians, and they have performed a decent-sounding record. The songs are even catchy, I’m just not sure I always like them. But they do tend to stick in your head. For me, that’s what this type of music needs, catchiness to offset the uber-technicality and the need to engage in musical masturbation, and a great singer (for me, often a highly subjective issue). Poverty’s no Crime ultimately fall just a touch short in both departments. But they’ve been around since 1991, they’ve opened for bands like Virgin Steele and Skyclad, and now they are releasing their first album in North America. So if you are a collector within this genre go out and get a copy of the initial pressing that features a slipcase and a bonus track. Get in on the ground floor. The rest of you can take a pass on this one. Get the new Dream Theater instead.
Hel's Review:
I think every prog fan will acknowledge that Dream Theater is the seminal band in this genre. Theirs is the template all others strive to follow, some with more success than others. Poverty’s No Crime is certainly of the Dream Theater school of prog. And on the whole, they are indeed successful in achieving the goals inherent therein.The vocalist is the weakest link in Poverty’s No Crime’s progressive chain. His voice is actually very nice, but being the ultra picky person that I am when it comes to vocals, I can’t help but think that he may not be as well trained as the format they follow demands. There are certain parts of certain songs where I think he sounds flat. Other times, it seems to me like his control is not as strong as it ought to be. Overall, I feel that he does not exhibit the true virtuoso a high caliber vocalist should have, when paired with strongly technical music of this ilk. He certainly has ample talent, but I do think his skills could benefit from a little more polish.
"Each of these musicians has mastery of their instrument, and that shines through in the recording." The remainder of the band is the true driving force and bright center of the album. To call them merely derivative of Dream Theater is certainly not fair, as the songwriting blossoms as the albums progresses, and by the end, you will have heard several songs that deviate from that mold. Each of these musicians has mastery of their instrument, and that shines through in the recording. The songwriting ultimately demonstrates that is one of the strongest aspects of the band, and beyond the predictable Dream Theater-ish sections, glimpses of their true promise can be caught.
My analysis of this band is that they have excellent potential that has not yet been fully realized. In the future I hope to see them lose a bit of their dogmatic prog style and I hope that they continue to mature and grow, beyond even the standards set by this record. I expect this will not be the last we’ll hear of this band, and I look forward to future encounters.
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