Infinite Entanglement

The first time I heard the song 'Infinite Entanglement' I was highly skeptical. I basically laughed it off. As it often is for me it was the production of the song, and the album, that bothered me. Before I continue I should mention that I hold Maiden's 'The X Factor' in the highest regard and if you dislike the new factor in the band at that time such an opinion would be an impossible one.

The sum of my initial disenchantment: 1. The album sounds hollow. The more thick production on 'Promise and Terror' is a fitting counterpoint to it. 2. The vocals are loud and placed above everything in the mix. This alone leaves it all with the aura of a pre-production demo.

While the first point was relatively easy to get used to, the latter still stands. I understand that Blaze Bayley is the focal point here, but it detracts from the material itself. A weird connection I make is to Darkthrone's 'Panzerfaust'; good album, too loud vocals. The execution is okay though, and a song like 'Eating Lies' from Part II of the saga is more or less flawless vocal-wise.
A voice is just another instrument and you want to hear all of them just fine. Sadly the riffs tend to get buried in the background beneath the vocals. The balance between the instruments is clearly off.

Mr. Bayley performs better on the low-key numbers like 'What Will Come', and the speedier ones, while not bad, are less impressive. He hits the high notes — being a common complaint that he does not — with proficiency, while low register vibrato as in the first words of the eponymous first track appear sketchy now and then. I refer to 'be reconciled' in this paragraph "In 1932 Einstein and Bohr can't be reconciled". Holding a straight note there would've been cleaner. It's not like vibrato is a requirement, so use it tastefully.

About the "common complaint": I think this boils down to listeners not being used to singers with lower register voices. Heavy Metal vocalist usually stay in the high/high-mid register span and he generally does not. So on the whole I think Blaze's "inability" is based on misconceptions. Where another singer would hit a high note he tend to hit it one octave lower. That itself does not make the singing false though. My criticism above is more of a stylistic one rather than implying that he lacks skill.

Comparisons between Maiden singers are fiddle things. Dickinson is the quintessential Maiden vocalist and Di'Anno is well... Di'Anno. Less character than both the aforementioned guy and Blaze. He did a good job on the first Maiden albums, I won't deny that, but when it comes to ambition the dude has leached on the fact for almost forty years (at the time of writing this review). It's cheap that the majority of his releases are albums/videos of Maiden songs. Pitiful.

Blaze on the other hand is a very ambitious person. The 'Infinite Entanglement'-trilogy is a testament to that. Counting live albums Bayley has released more than ten albums to date. The vast majority with original material. Compare this to Di'Anno and Paul pales in comparison.

You might make fun of an awkward lyric like "They will soon try to make me become nothing" from Part II's 'Eating Lies' — a "I need enough syllables here" line — but he's trying trying to tell a story and he doesn't do a bad job of it. (The lyrics interestingly takes the form of a narrative poems at times instead of solely relying on rhymes. He just happens to sing them.)

I can't help but feel that Bayley himself must know that the content matter of the lyrics is bordering on corny, but his penchant for Sci-fi sort of entails that. There are times when he comes off as absolutely clueless though. One example would be this interview where he says "...it was a 1 Megabyte harddrive on my computer at the time which was the biggest you could get." when talking about the 'Silicon Messiah'-era. It might appear as an odd tidbit, but stay with me.

The interviewer — in my prejudiced view a computer-able nerd — nods along with a strained face. To put it in perspective: you could get 1 Gigabyte drives in the early 90's. For the uninitiated: that's 1000 Megabytes (or 1024MB depending on base/convention). I wouldn't have remembered this if it wasn't for how sure, almost smug, Blaze seems to be when he says it. Both embarrassing and funny.

So, he deals with hypothetical technologies and he's a layman who deals in campy Sci-fi subject matters and verbiage. He can't pull off jolly pretentiousness like Blind Guardian can. Instead he seems to dream up something of his own and name-drops Einstein for good measure. Can't say it heightens his Sci-fi credibility, so color me unimpressed.

I would however say that it's part of the man's charm; Batman wouldn't be Batman without the cliches. Blaze is extremely likable. This shines through when he's talking about his stint in Iron Maiden. Basically devoid of negative words and spite, and the sheer passion he shows when talking about his own work gives me a warm fuzzy feeling in my…

...elbows.

On that note, my point: I always thought his more personal numbers are more lucid, they have got a sense of urgency to them. When he's dealing with almost a century of theoretical physics, or when he's trying to make out what a Gigabyte exactly is, he appears clumsier than I think he really is.

Anyway, with this effort and it's latter parts he earns an 'A' for, uhm... Effort, I guess. While there are bland moments on here there's also a bunch of good writing. His first album 'Silicon Messiah' is a decent one, but just like it's immediate follow ups there are too many tropes of the metal that lingered around during the confused period of the early 00's. Dickinson's solo work about the same time suffer from the same disease. I'm glad that this release, as well as the ones after the 'BLAZE' period, is more heavy metal oriented.

The two albums with the Bermudez brothers I'd even argue edges into late-Sodom territory. Bernemann and his melodic guitar antics on the 'M-16' album and their self-titled one are decent examples. Just disregard the vocals. Blaze's '1633' has a tinge of Sodom's 'City of God' in it, and Sodom's 'Cannon Fodder' has a tang of Bayley's 'The Man Who Would Not Die' to it.

So gone are the traces of the arbitrary bogus-genre "Groove Metal" that too often put a stench on 'Silicon Messiah', 'The Tenth Dimension' and 'Blood & Belief'. No hints of industrial Nu-Metal(ish) passages that resulted in ineffectual brooding atmospheres leading to nowhere. Or even worse: leading to something akin to 'Godsmack'. In short: tiresome bullshit.

The session musicians from the band 'Absolva' all do a good job. I should also add that the Youtube phenomenon Thomas Zwijsen (songwriting, guitars) and singer-songwriter Michelle Sciarrotta (songwriting, guitars, narration, vocals, also goes by 'Fall Girl') contributed to the album.

The drumming by Martin McNee and bass playing by Karl Schramm do just enough and not much else. Not bad, not spectacular. Pretty much textbook examples of what the rhythm-section does in the Heavy Metal genre. Schramm pulls off some Harris:ish stuff. Picking power chords and/or strumming them akin to what a guitarist would do. Classic Harris techniques.

Chris Appleton's playing on the other hand is especially noteworthy. Sure, there's a bunch of classy harmonized melodies and solos, but generally I'd say that the guitar-work takes cues from 'The X Factor' both rhythmically and for the leads. There's a bunch of epic parts both albums, but they've got a stripped down quality to them. Maiden did a lot of that in the 90's and I always found it sort of liberating.

An example would be what Maiden does at the eight minute mark on 'Sign of the Cross' or halfway through 'Fortunes of War'. On the latter I think there's a faint second guitar track in the background, but the "upper one" clearly is the one that leads. The trick is also used on songs like 'No Prayer For the Dying', 'The Clansman' and 'Afraid To Shoot Strangers'. Something tells me that Appleton might not be ignorant of the fact.
All of the accompanying instruments also keep this toned down quality with good effect on 'Infinite Entanglement'. You know "less is more", and yada, yada, yada.

The chorus/break on the title track is pretty neat and the contrast it creates with regard to the rest of the song is powerful. Actually an unconventional move in heavy metal, and it pays off. You don't expect it. 'A Thousand Years' and it's initial melody makes me think of Maiden's 'Deja Vu'. The chorus is catchy. 'Solar Wind' is just as catchy and has a sort of climactic flair to it; might be one of the better songs with it's "Eagle! Eagle!" chant.
The album doesn't sound like it's more brutal siblings 'The Man Who Would Not Die' and 'Promise and Terror'. Consider it a new, mostly good, chapter instead. And yet, the vocal mix is it's Achilles' heal. The proverbial sore thumb.

It's a shame that Blaze Bayley's own overly highlighted voice ends up being the unequivocal flaw. His overarching, and unique, trademark turns some parts to veritable dust. I'm not about to get sentimental, but he obviously put his heart and soul into this behemoth of a project; you just don't do it over a weekend. Not one concept album, but a concept stretch out over three records. A person wouldn't keep on reusing titles with the pathos of fighting back if he didn't feel compelled to 'Fight Back'. To prove himself. Seen from my perspective the irony of it all borders on cruel. He gives his all, runs as fast as he can and in the end trips over his own feet.

Don't get me wrong, the singing itself is good. Where the vocals are situated in the mix is not, and they stand in the way of making an album that could have been. The stars don't align. I can't ignore it. I wish I could. So I'll just keep on watching the night sky.

If I'm lucky we might just look at the same sky the next time around.

Infinite Entanglement: The birth of an epic three-part trilogy which I have heard in its entirety at the time of this review.

This album has elements of thrash and power metal, but it is neither. It is traditional heavy metal done right, and though the themes are dark and introspective, even existential, the delivery is somehow empowering and inspirational. It elevates the spirit; it nourishes the soul; it breaks the neck! If you are looking for something to brood to, or to complement your dark new identity, this is probably not your chunk of metal. If you are throwing soft tomatoes against the wall just to watch them bleed, this might not be the right soundtrack. I take that back. That would rule.

Though the more awkward moments of the nearly flawless trilogy are on this album, so are some of the most engaging and memorable. The first three songs are neck-breakers, with heavy riffage and punchy vocals. "1000 Years" is the highlight of the first half of the album. The 4th song is an acoustic duet. Some regard it not only as a highlight of the album, but of the entire trilogy. It seems misplaced to me, as it breaks the onslaught a little too early. Also this duet is, in my opinion, outshined by "Remember" and especially "18 Days", the truly compelling duets in parts 2 and 3 of the trilogy. Still, it is not a bad track. There are no bad tracks. The highlight of the second half of the album is "Calling You Home", with Blaze's baritone tearing through the guitars, which grow in dramatic complexity with each successive verse.

The strategy of varying the riffs with successive verses (and in the next album, even within the same verse) hits the vocals with a bolt of lightning. Check out how the guitars change between the first and second verse of "Dark Energy 256", and how it electrifies the vocals. Now that is metal. Pure and authentic.

Perhaps the best thing about this album is that it leaves room for improvement. As good as it is, it is going to be outdone by Infinite Entanglement 2: Endure and Survive, and Infinite Entanglement 3: The Redemption of William Black. These albums are comparable to the best of what heavy metal has ever offered, and I know this is a bold statement. Rust in Peace, Peace of Mind, Screaming for Vengeance, Infinite Entanglement. Not necessarily in that order.

Blaze Bayley’s solo material hasn’t gotten the same exposure as the two albums he recorded as the singer of Iron Maiden, but anyone in his small but loyal fanbase can tell you how much stronger it tends to be. His career has been steady despite constant personnel shifts, but his first two efforts, 2000’s Silicon Messiah and 2002’s The Tenth Dimension, tend to be the most revered due in part to their sci-fi lyrical themes. Bayley’s seventh solo album sees him return to past tropes, but reintroduces them as the first installment of what is set to be a three album story arc.

The scope of Blaze’s ambition might be as intimidating as his alma mater releasing a double album last year, but the lyrical theme never feels like too much to handle. The story centers on a man who is given an extended lifespan and sent into space, but the lyrics tend to focus on his feelings of isolation and determination rather than the nitty-gritty details. The story is also given some mystery by the brief spoken segment that bookend songs throughout, but they don’t linger for too long.

Thus like any good concept album, the music takes center stage. The bulk of the songs are the usual fist-pumping, traditional metal fare; songs like “A Thousand Years” and “Human” are upbeat sing-alongs that recall Helloween or Sabaton, while the darker crunch on “Stars Are Burning” sounds vaguely like something King Diamond would do. “What Will Come” also stands out for the smooth flamenco guitar work that was no doubt inspired by the acoustic tours that Blaze has recently undertaken.

However, the album can feel rather off balance at times. In addition to the second half being less memorable than the first, a couple tracks may be a little too reliant on their Maidenisms, with the guitar melody on “Dark Energy 256” in particular sounding derivative of “Futureal.” The production also leans too much in the vocals’ favor at times, resulting in Blaze potentially drowning the band out during the album’s more subtle moments.

While Infinite Entanglement isn’t as godly as Blaze’s more established solo efforts, it does a good job of making sure its ambition doesn’t come at the expense of the songwriting. Much like the seminal Operation: Mindcrime, its overarching ideas are compelling, but the individual songs will work to keep listeners interested. Either way, I have more faith in Blaze Bayley being able to sustain a trilogy than I do in Geoff Tate…

Highlights:
“A Thousand Years”
“Human”
“What Will Come”
“Stars Are Burning”
“Solar Winds”

Originally published at http://indymetalshows.com

The seventh album under his own moniker, Infinite Entanglement is the new concept album by “the man who would not die”. In short, it’s a sci-fi story about the first man to live for a thousand years. Remarkable, not only on this album but also the entire being of Blaze Bayley, is the authenticity. Not a word is doubted here. Before I begin this review - and before I had even heard the album - I’d read a number of reviews giving this album full scores and praise aplenty. It can’t be that good, can it?

Like so many times before in Bayley’s career, his music deals in somewhat existential questions, mainly coming down to, “what makes a man?” Single ‘Human’ from this effort is comparable to ‘Robot’ from 2008’s The Man Who Would Not Die. Not only thematically and in musical build, but in what it comprises and the concept it embodies. And in how it represents Bayley himself, ending the song with the words “I am me”.

The sound on Infinite Entanglement isn’t as massive and deeply dark as on the early solo albums so many praise, but a bit more like what could be heard on predecessor The King Of Metal (2012). This latest effort however, is inspired, dramatic and theatrical; started in full force with three (albeit standard in structure) heavy metal mashers. Though not taken by ‘Human’ at the very first listen, it takes only one or two now, to realise its greatness. However, the fourth track, ‘What Will Come’ makes a real difference.

An acoustic tale featuring Thomas Zwijsen (with whom Bayley oftentimes plays live acoustic sets), gradually building in intensity, and featuring Bayley’s own trademark passionate vocals. The violin (Anne Bakker) added to the instrumental part gives a theatrically haunting feeling, as William Black - whom the story is about - realizes he’s actually alone in space. The ballad itself is also remarkable in that it carries something positive all throughout, which perhaps is also true for the album in its entirety. Gone are the days of darkness heard on Promise And Terror (2010). This is the ballad we’ve been waiting for, when most every other ballad these days are bland and boring.

It’s unfair to demand Bayley to perform like he did on Iron Maiden’s The X Factor (1995), released twenty years ago, and even for the album to feature song writing in the lines of Steve Harris epics. But Bayley has managed to maintain his voice through the years, and though not as powerful, still carries emotion and packs a lethal punch. He’s backed up by choral arrangements on this album, which is a good thing as it complements him well. His main backing band on this album is Absolva, from which guitarist Chris Appleton has added a flavor of his own song writing and some solid guitar riffage and memorable solos, as in the fast ‘Dark Energy 256’, slightly reminiscent of Maiden’s ‘Futureal’. Songs like ‘Stars Are Burning’ and ‘Solar Wind’ (awesomest song titles ever) take musical cues from The Tenth Dimension (2002), merging them with styles from The King Of Metal (2012) for a new and sleek approach, which works.

Infinite Entanglement is also a bit more melodic than I expected, considering the heavily riff approach on Bayley’s earlier albums. Appleton has several melodic parts here which separates this album from those previous. While there may not be any instant hit songs on this album, no song stands out as bad, per se. It’s a tight and solid effort that has brought the best from Bayley and some awesome performances from the musicians he’s worked with. The man doesn’t really flow with the music like he used to, but his voice is perfect. I’ll be hugely flabbergasted if Infinite Entanglement doesn’t take a place among Bayley’s highest ranked ones in the years to come. It may not take Maiden’s The X Factor (1995) or Silicon Messiah (2000) in a fight, but it will be at the top, I shit you not. It can’t be that good, can it? Yeah, it can.

Standout tracks: A Thousand Years, What Will Come, A Work Of Anger

''Infinite Entanglement'' is the first strike of a conceptual trilogy that goes back to Blaze Bayley's beloved space theme that already dominated his first solo outputs ''Silicon Messiah'' and ''Tenth Dimension''. This album sounds less diversified, emotional and spontaneous than the controversial predecessor ''The King of Metal'' and presents Blaze Bayley's more consistent, intellectual and structured side. His seventh full length solo output in sixteen years comes around with twelve short and consistent tracks that don't feature any unnecessary lengths. The music is deeply rooted in traditional heavy metal but varies from slow-paced ballads with acoustic guitars and violins such as ''What Will Come'' over catchy mid-tempo anthems like ''Human'' to vivid upper mid-tempo tracks in the key of ''Dark Energy 256''.

Obviously, the sympathetic singer will always be compared to his former band Iron Maiden and I must admit that he tries to take advantage of this association since many tracks on this album are closely inspired by the British heavy metal legends. The dominating and galloping bass sound, the melodic twin guitar solos and the tight drumming recall the band on almost every single track. Some parts such as the opening riff of ''Dark Energy 256'' that is a variation of the main riff of ''Futureal'' are simply stated weaker copies of the original classics. At least Blaze Bayley's songwriting is much more to the point, features a slightly progressive atmosphere throughout the entire album and includes some interesting narrative parts and interludes to give the listener a more cinematic experience.

Maybe some fans are expecting Blaze Bayley to sound exactly like he did when he was in Iron Maiden but he has proven on his last solo album and on several guest appearances with bands such as Alexy's Square and Sinnergod that either mid-paced hard rock or a slower gothic rock style suit his emotional yet limited vocals much better nowadays. The less metal and more rock orientated tracks like the energizing ''A Thousand Years', the harmonious ''Stars Are Burning'', the relaxing ''Solar Wind' and the heartwarming ''Calling You Home''' sound much more natural, harmonize well with Blaze Bayley's unique vocals and can be cited as highlights.

The production of this new album is an issue. The drums sound too dry, the guitars lack power and the sound is dominated by the bass guitar and the vocals. Blaze Bayley sounds too often out of tone and nasal and parts of the lyrics are particularly hard to understand during the verses of many tracks. Instead of hiding his flaws with a more homogeneous production, it exposes them constantly. The faster vocal parts in the opening title track ''Infinite Entanglement'' are plain irritating and the constantly struggling vocal efforts in the otherwise relaxing ''What Will Come'' don't fit at all. Blaze Bayley's exaggerated intonations don't fit to the music. One can hear that he put his heart and soul into these songs but they just sound annoying and he should have requested some help from a vocal coach here.

In the end we have a good average heavy metal record but a slightly below average Blaze Bayley album with numerous tracks that offer interesting variations of heavy metal music. The album has a clear guiding line in form of a slightly epic and progressive tone. This is supported by an intellectually appealing lyrical concept, entertaining narrative parts and atmospheric interludes such as ''The Dreams of William Black''. Despite the ambitious approach, the tracks are always to the point and offer a few catchy choruses and harmonious twin guitar solos. On the other side, the production is too thin for such a project, the vocals sound overly theatrical, nasal and loud in both the ballads and the heavier tracks and the album misses a stunning track that truly tries to break new ground.