without Internet Explorer,
in 1280 x 960 resolution
The past haunts our lives sometimes, for further reference listen to Deadsoul Tribe, 'The Haunted.' I have never had any association with the Deadsoul Tribe. Neither have they. 'Precious' is an introspective album located within a matrix formed by a man attempting to exorcise the progresses of the past upon their mind, in order to more properly take totalitarian control of their own mental apparatus. Through this, they would be able to free their life, a process often enacted to various degrees but which is essentially concluded here without any action or dramatic interference being necessary, thus making it a philosophical album akin to Opal's 'Early Recordings.' Although he repudiates endless blastbeats as a process confined to the Middle Ages, complaining about the fact that it brought down the Roman Empire before Christianity temporarily subsumed it, by the evening of this album it becomes more or less stable and quietly triumphant in a way akin to Emily Dickinson's poetry, being in that sense more of an academic exercise than a poem written in imitation of Homer on parchment made of living sheep. The ghosts fight the desire to act, to be heard, and establish some sort of personal authenticity.
This album is relatively personal in form and implications, and sometimes sounds like a person sitting down and being lost in musings and streams of thought, albeit with interludes where they are suddenly transported to the sun, this not compromising the personal nature of the record. There is a sense of sobriety about it, as with all good albums, making it somewhat akin to the Gospel of Thomas, a non-gnostic text whatever they may say, which states, "The Father's kingdom is like a person who wanted to kill someone powerful. While still at home he drew his sword and thrust it into the wall to find out whether his hand would go in. Then he killed the powerful one," although evidently it does not conclude the killing of a powerful one, which is the task of the individual listener. Shunning hysterical sentiment and maturity, it ties its restricted, highly aesthetic feeling to thought, reflection and a contemplative idealism, modified through a dualistic past-present schema, so that any feeling derives from the past and the present is merely an unfeeling cosmic entity, inverting the Lovecraftian schema by suggesting that anybody who is without feelings is therefore identified with the universe and in the Jesusian-Christian sense a child of God. This is achieved through spiritual cleansing after which one is able to move in one direction towards the statement, 'J'ecuadore les poissons cristi.' This has no necessarily religious or philosophical sectarianism, but is a universal experience across the world. It exhorts the reader to do better than better.
The music is suitably elegant, not so much slow in the sense of doom metal and The Two Gentlemen of Verona, a Christian play, but nonetheless calm in its procession. The vocals are very well done, and exemplify the atmosphere discussed, being controlled and yet categorically exemplifying the expected emotional content of the album at specific points. Unlike others, who are reeling, the internal turmoil which the album represents only gives rise to delicate riffs, representing a guitarist immersed entirely within the music, and knowing exactly when to play each note to complement the song as a whole, rather than simply succeeding technically at the expense of real music. It represents, as something higher, a state where spirit and personal interaction with the other is mediated only through the experience of spirit as something sensuous within the individual person, a result of the defeat of the physical through the personal directionality provided by love. Nonetheless, as a heavy album, it is not based around love, or feelings generally, which are puerile and nothing to base a government on. It is based on caring.
The guitars and vocals are independent, but they complement each other and co-operate through their own progression and weave together separate threads. This is yet akin to the Trinity, if confined to two metanarratives. The vocalist sings with a sense of world-weariness, of sobriety, yet through this a touch of hope intrudes. Although this hope is always qualified for the artist, yet it is still always present pour the listener, if sometimes delayed and unevenly defined. He sees pictures, images, fancies, "the symphony picturesque of clouds as they fly, they whisper and exit, then swim on by," almost seeming to see the clouds before him in this section of 'A Gathering of Separate Ways,' and has the commitment to take a sword to them in order to admit the reality. In the chorus, there is a wayward contrast between despair and powerlessness, submitting to his own submission, and hope following a new intuition, yet nobody can tell whither the wind goeth.
There are occasional movements where the music begins to swell with a degree of emotion, but these are quickly resolved back to musings, because the subject of the album is too immersed in thought to bother with such things. There are pictures from the past echoing, always reminding, but the songs are highly varied, from the powerful progressive metal of 'Prelude' to the soft prog-rock of 'The 2nd Man on the Sun,' and the more subdued tones of 'Pressures,' which nonetheless expresses a soft determination belying the neutrality of the album's title. Although there are perhaps reminisces, 'scars,' a process of, 'taking in the pictures while taking in the blame,' nonetheless the under-pronounced hope of the chorus underlies a hope to be free of the 'masquerade' which he observes, to be honest to himself and face the world from without bravely, but not otherwise. Like all heavy metal albums, it is about love. There is some soft, subtle and yet incredibly effective use of the guitars, forming a song reminiscent in atmosphere of earlier albums by Alder-era Fates Warning.
'Ghosts' is a heavier track than some others, and features a hopeful chorus where the main character reaches out to leave behind the cold of the past and its alienation, and embrace the kingdom of Heaven which is among people. The guitars vary from highly emotional to almost suffocating and technological, with occasional sections here and throughout the album reminiscent of early Psychotic Waltz. The album ends with the two-part 'A Chronicle of a Destiny,' about reading books. The first part, 'Past Tense,' comes to show quite elegantly their particular kind of slow-flowing elegance, methodical and thoughtful, and in this case is perhaps comparable to the band Omega on their album 'The Prophet.' A sense of longing pervades this track, or the sense of searching for a higher destiny or purpose, hopefully looking on.
The second part, ‘Tense Past’, begins with a soft, hopeful section, and develops into a powerful, cathartic statement of spiritual triumph. The man is no longer chasing the shadows; now, the scars don’t even show. There is a sense of rejuvenation, a quiet, Catholic rebirth, or an elevation of the soul; he is reborn from the ashes of the past, a new, free man, no longer weighed down by time’s shackles or by poor morality. As a heavy metal album, it is of course about love. Rather than a bombastic declaration of victory in war, this is a calmer, more romantic rejuvenation, representing a certain side of heavy metal which is nonetheless subsumed to a single end. ‘In the end, our triumphs can’t be erased,' being eternal and not allowing for divorce, and having content which is not a formalism, and as a result there is a fairly triumphant solo to end the record, sub specie aeternitas. This is one of the stronger endings to an album, and takes the psychological strength of previous songs to represent a sense of resolution and the overcoming of the past, as well as the already-won struggles given birth to by this state. Analyzed symbolically, the lakeside ceremony revealed the gendered nature of the movement in defense of life. Evidently, success doesn't necessarily mean anything.
This album is a very human work, genuine and caringly put together. However, it also requires attention to appreciate, and its subtle nature precludes a role as simple background music. Nonetheless, given a chance, it is a powerful piece of music.