Register Forgot login?

© 2002-2019
Encyclopaedia Metallum

Best viewed
without Internet Explorer,
in 1280 x 960 resolution
or higher.

Privacy Policy

You Know Who You Are, You Jerkoff! - 90%

Twisted_Psychology, November 9th, 2011

Originally published at http://suite101.com

Formed in the late 1980s by brothers Bill and Rich Berends, Mastermind has gathered a moderately sized fanbase within the prog rock and metal communities thanks to their technical prowess and songwriting skills. That and having Stratovarius keyboardist Jens Johansson as a frequently contributing guest certainly doesn't hurt either...

Insomnia is the band's seventh studio album as well as their first to come out since 2000's Angels of the Apocalypse. It is also the band's first album to feature lead singer Tracy McShane though she had prevously contributed to the Broken EP in 2005.

While previous albums were often driven by complex song structures and incredibly long track durations, Insomnia strips the sound down to its (mostly) essential elements and is easily their most accessible and straightforward album to date.

In terms of sound, you could describe this as what Dream Theater would sound like if they decided to recruit the lead singer of Evanescence and bring in even more alternative and classic rock influences.

While this change in direction may alienate some of the band's purely prog fans, it should also work to bring in even more listeners and it never feels like the band is attempting to "sell out" thanks to its still-adventurous writing and interesting genre flirtations.

And for what it's worth, the band still shows off their technical talents in several spots with the guitar and keyboard performances standing out the most. The drums and bass are also pretty solid despite the latter duties being handled by the latest line of short-lived session players.

But as somewhat expected, the vocals of Tracy McShane are what define this new sound and give its greatest strengths. While the band's previous singer was noted for her more operatic sound, the new vocalist brings in a gritty attitude that has shades of Janis Joplin in her delivery. The backing vocals are also quite smooth and provide some great touches on tracks such as One More Night and Broken.

As previously mentioned, the songwriting allows for the band to experiment with various genres without making the actual album feel disjointed. Just about every song on here feels like it could be a successful single with tracks such as Meltdown, Break Me Down, and Broken standing out in this regard.

In addition, there are a couple ballads thrown into the mix as the piano-led No Answer provides a somberly heartfelt touch and Last Cigarette is a lengthy closer with a hook that reminds me of Journey's Open Arms for some reason...

A few other tracks worth noting include Night Flier, an instrumental that effectively shows the band's technical talents, and Piggy World, a catchy rocker that is made memorable by its almost power metal chorus and profanity-laced vocals.

Speaking of profanity, the lyrics on this album have also changed greatly in comparison to the more mystical fantasy themes that appeared on past efforts. Piggy World best shows these changes as it provides a telling of the 9 to 5 lifestyle that may be a little too truthful for top 40 radio...

Of course, none of the other songs really match its aggression and mostly stick to themes related to relationships and loss. I don't think there are too many mind-blowing phrases to be found, but they fit the music well and help things run smoothly.

While the changes that have taken place on this album make it somewhat hard to label Mastermind as a prog metal band, their latest album is a particularly great work that should appeal to just about any kind of music fan.

The accessible songwriting should be enough to entice more mainstream listeners and the darker elements should help them stay favorable in the eyes of the more underground music communities. Highly recommended as another highly entertaining album to come out in 2010, even if it should've come out a few years before!

Current Highlights:
Break Me Down, One More Night, Meltdown, Piggy World, and Broken

No sleep for this pretty lady. - 79%

hells_unicorn, January 2nd, 2011

Some of the bands under the Lion Music umbrella really stretch the meaning of the term Progressive Metal, and Mastermind are probably among the more blatant examples of this. While this band has been around for quite a while, this is essentially a brand new incarnation that does just about everything that it can to differentiate itself from just about every other band out there. They are fronted by a vocalist that sounds like a composite of several different pop/rock singers from decades past, of which the first one that enters my mind is Deborah Harry, and they hit just about every style of music that can be fathomed.

“Insomnia” lives up to its name, in the sense that the one writing the songs here was probably up at all hours for months coming up with the way to get all of these differing ideas to fit together into a single album. There’s folksy acoustic ballads, depressive gothic sounding rock, traditional heavy metal, punk rock, and 70s-80s progressive rock ala Rush smattered all over this thing, often separated by the particular song that is in play. All of it is performed quite well, as if the album were a VA compilation of 10 different bands. Perhaps the biggest flaw in this is that the audience for all of these differing styles might go for the other stuff accompanying their preferred genre.

In terms of standout songs, every song tends to stand alone in terms of its quality and distinctiveness, but from my own tastes, there are a few that go more in the direction I look for. “Desire” does a fairly decent job at merging an old school NWOBHM riff with a somewhat easy going mixture of lighter rock themes. “Meltdown” really goes off well with a low end, pounding guitar groove and a trudging beat that is well in line with heavier progressive metal bands. “Piggy World” meshes an 80s glam sounding riff with a total punk oriented set of lyrics and vocalizations, almost like a perfect nod to the occasional flirtations with mainstream accessibility by The Plasmatics. And for the Rush fanatic in me, there is a brilliant instrumental technical display in “Night Flier” that shares some commonalities with “YYZ”.

Although perhaps not the most genre consistent album I’ve encountered, this is a solid piece of work and will probably have a strong level of appeal to the rank and file of progressive rock circles. It’s not quite as indulgent in technical showmanship as Dream Theater or any other bands drawn from their take on this style, but I can see it having an appeal to their audience on a level of overall musical adventurism. But one thing is for certain, this band definitely had originality at the forefront when they went about putting this thing together.

Later submitted to (www.metal-observer.com) on January 6, 2010.