Shadow Work

Though not exactly a paragon of consistency, few would dismiss the contributions that Warrel Dane has made to the metal world since his entry in 1983 with the power metal forerunner outfit Serpent's Knight. Aside from being among the more distinctive vocalists of the 80s to come roaring out of the American west coast, his projects have blazed a sizable number of trails in pushing the art form into its current state of modernity, and any fault in his later accomplishments could be chalked up to bold experimentation gone awry. With that said, his mad scientist approach to progressive metal in the 1990s did produce a number of glorified duds while expanding the darker side of the sub-genre, one of them being the drab trite that was his eponymous solo project's debut outing Praises To The War Machine. With this in view, some questions would naturally surround the 10 years in the making follow up that was finalized in the aftermath of his untimely passing.

There is a temptation to assume a level of greatness in any post-humus offering, especially by a highly noted figure, but Shadow Work is one of those albums that reaches the status of swan song without need of reminding the masses not to speak ill of the dead. Though it has often been compared to the middling yet highly popular 2000 Nevermore offering Dead Heart In A Dead World, the musical reality falls more along the lines of a steroid-injected, exaggerated successor of said band's final offering The Obsidian Conspiracy. Much of this owes to a far higher caliber ensemble of musicians being recruited for the task out of the Brazilian scene, including two guitarists in Johnny Moraes and Thiago Oliveira who emulate the wild, flashy yet computer-like precision style of Jeff Loomis seamlessly; but underlying this high grade instrumental troupe is an artistic vision that is focused, methodical, and balances experimentation with an eye for what works.

The general scheme behind this album has the flavor of a conceptual work, and one that is surprisingly well-crafted given that the album was incomplete at the time of Dane's death. Kicking off on what can be best described as a serene romp into East Asian meets western orchestral texturing dubbed "Ethereal Blessing", a spiritual summit of sorts is established to further accentuate the jarring plunge into sonic perdition that is to follow. In stark contrast to the banal and often stagnant grooving character that typified both this album's predecessor and the disappointing comeback attempt that was Sanctuary's The Year The Sun Died, the musical approach here is highly kinetic, often surpassing the technical wizardry that was peppered over This Godless Endeavor, and the dissonant disquiet and burning rage of "Madame Satan", featuring guest vocal slots from Semblant's two front persons to present a progressive twist on a blackened Gothic template.

Though the aforementioned second song on the album could well be the best thing that Warrel Dane has lent his voice to since Sanctuary folded tent the first time, it is far from alone in this collection in smashing the mold. The chunky crusher and nightmarish ride through dissonant themes "Disconnection System" and the more riff happy and rhythmic puncher "As Fast As The Others" prove to be no slouches in the aggression department, and the latter has a sort of catchy, melancholy charm to it that could almost pass for radio if said medium was actually worth its salt. But the greatest surprise of the bunch is the twisted, mangled reinterpretation of The Cure's "The Hanging Garden", which is all but unrecognizable and could just as easily be mistaken for one of Dane's original works by anyone not familiar with the original song. Actually, barring the somewhat overlong and convoluted closer "Mother Is The World For God" and the coasting semi-ballad "Rain", this album is all but flawless from start to finish.

It's a bittersweet eventuality, seeing Warrel Dane regain his footing just before going to have the questions presented by his agnosticism answered, but this is the sort of album that should have been put together years ago instead of the misguided attempt at merging Sanctuary with Nevermore that occurred back in 2014. It is pretty clear that despite his best work being back in the late 80s when power metal was almost exclusively an American art form, his heart was totally committed to the template that arose after said decade concluded, and this presents it almost totally removed from any commercial distractions or desire to straddle fences. As with even his greatest offerings, the Persian Flaw remains his overly dramatic and occasionally sloppy vocal delivery, but it is far less an issue here than it was in more vocally dominated offerings of yesteryear. Whether one be a Nevermore fan of any stripe or just otherwise seeking after a dark musical experience, this is a must hear affair.

Posthumous albums may all be released under similar circumstances, but each one tells a different story. Sometimes you get closure from an elder statesman’s parting bow. Other times you get youthful ambition that is sadly cut short yet ultimately untainted by time. Warrel Dane’s Shadow Work is a particularly strange case; what should’ve been welcomed as his first solo outing in a decade has instead become a tragic exercise of what could have been.

What makes this album such a stinging listen is how much it sounds like Nevermore. In contrast to the accessible goth-tinges of 2008’s Praises to the War Machine, Shadow Work is all-out technical prog metal with an array of intricate guitar work and extreme tempos that stand on equal footing with Dane’s sweeping range. I imagine playing Dead Heart in a Dead World on tour made an impact on him, and it’s even more painful to think that an eventual reunion with Jeff Loomis and co. would’ve likely been inevitable if fate hadn’t gotten its way.

That said, it’d be a disservice to think of these musicians as a mere backing band. Chemistry and technical prowess are matched as the guitars jump between crunchy rhythms and intricate leads, while the drums are arguably more consistently relentless than the bulk of Nevermore’s work. Dane’s vocals also come out well; I can’t deny that he sounds fatigued at times, but his lines express plenty of those atypical phrasings, broad range, and abstract themes that we’ve all come to love.

But with Shadow Work only including eight songs, one being a minute-long intro and another a cover, it’s easy to wonder how cohesive the songwriting and overall track flow will be. Most songs do admittedly sound rather homogenous, opting for the tried-and-true grinding verse/melodic chorus contrasts. Thankfully the more melodic fanfare of “As Fast as the Others” and the more exotic “Rain” allow for some solid variety, but another ballad or more accessible song would’ve balanced things out.

Shadow Work may be the most heartbreaking posthumous album I’ve ever heard. If Warrel Dane hadn’t passed, it would likely be received as an enjoyable though unexceptional offering. It feels more natural than the last Sanctuary album thanks to the more earnest musicianship, but there’s a sense that something even greater was going to happen down the road, even if a Nevermore reunion is likely just a personal pipe dream. I’m not sure how much closure this album will provide, but I’m glad it exists. At the very least, it’s another good addition to the discography of a talented, tormented man.

Highlights:
“Madame Satan”
“Disconnection System”
“As Fast as the Others”
“Rain”

R.I.P. Warrel Dane (March 7th, 1961-December 13th, 2017)

Originally published at http://indymetalvault.com

What a solemn experience it is to hear Warrel Dane's final opus, Shadow Work.

We all know Warrel died suddenly last December while recording the vocal tracks for this record, a haunting and sobering reminder of just how fragile and fleeting this plane can be at times. Morose personal lamenting aside, the last album by Dane has dropped into my heavy-hearted lap, so here are my humble opinions.

Shadow Work encompasses all that Warrel Dane had been dealing with in those last months of his life, and, sadly, only in the span of about 42-minutes and change. This work is especially dark, somewhat more evident in the lyrical content, yet no more than it has been in any given Nevermore record. Warrel has always been an open book for the more astute metal listener, so while that's nothing new there is a definitive kinship to be felt with him during this journey. His last album is a perfect exclamation point to his long and storied career.

The overall feel through the album is a real lack of trepidation; it almost seems as if Warrel realized he has nothing left to hide. I'm not all that sure that Warrel could have made this album 25-years ago, let alone five; it's rife with a general gloom that manifests itself in all of the right areas. The album begins with a short track “Ethereal Blessing” that starts out with a certain Middle Easter flavor, only to quickly shift into a very familiar tone for “Madame Satan.” The Jeff Loomis influence on this aforementioned intro was quite evident, intentional or not, but the haunting vocals of both Dane and a female counterpart make the opener a memorable one. Hearing Warrel drift ever slightly into a near death metal growl over the bridge was a rare treat in itself, showcasing a genuine talent for all things vocal that I always knew he had.

While I know Nevermore was behind him in those last years, I can't help but hear a distinct Nevermore influence all over this record. This is especially prevalent in the track, “Disconnection System,” a track that could have easily been slipped into the fray that was Dead Heart in a Dead World or This Godless Endeavor. Again, we have Warrel's attempt at letting us into his mind, however briefly and rife with mixed metaphors, and we are taken quite obediently into the lair of his outlook on the world around him. Lyrically, Dane has always been as honest as a man can be while immersing himself in his inner pain, and that's what made him one of the most important figures in metal history. A track like “As Fast as the Others” takes you on a sojourn into the area of acceptance and lifts me up in many ways as I listen to it. Hearing about the cruelty of children from our youth will certainly hit home for any fan unfortunate enough to suffer bullying or ostracization. Warrel lets you know you're not alone and defines, ever eloquently, the close-mindedness of the protagonists. Once again, Dane lets us know he's hip to what goes on, for most likely he's been there himself. He was, quite literally, one of the down-trodden, down among the dead men, and he found comfort among us.

As with any given record Dane puts out, the introspection and life-lessons are there for the taking. Shadow Work makes no small footprint in its shorter-than-usual offering, and even though these vocals are “unfinished” templates, the feel and resonance is still prevalent throughout. CM and Warrel's band did one hell of a job putting this piece together for the fans to hear what was going on in Warrel's mind those last months. While I was initially cocked about the idea of the vocal tracks being undervalued band aids on finished music, I was happily surprised at just how easily the obviously blueprinted vocals fit right into the mix, losing nothing by way of emotion or fixated styling. In short, the damn thing came together beautifully!

Shadow Work defines, precisely and intricately, what Warrel Dane has been espousing all of these years: the general dissatisfaction of a world so easily maligned and distracted, so disturbingly weak and docile. He was the voice we all heard crooning about the state of the fragile mind, the diseases of conformity and subservience, and we were often less thankful than we should have been. Warrel Dane spoke for all of us, whether you liked him as a writer and performer or somehow found him slightly obtuse or grandiose. The fact remains that Mr. Dane was, and will always be this sickeningly conformed era's Jim Morrison. He took chances, he put himself out there in the most poetic fashion possible, and he eventually succumbed to the same demons that befell the aforementioned Floridian who pushed buttons as a means to an end. He was a genius in both the literal and musical sense; he embodied a spirit so unwilling to acquiesce and forged his own path through the vehicles of Sanctuary and Nevermore that brought most of us to a higher form of consciousness. Dare I say it was comforting to know a man like him was out there, speaking for us? I will never be as comfortable in life again knowing he's gone, and so goddamned early and unnecessarily. It's not grandeur that makes me offer these words for and about him – it's stark, genuine sorrow that a true artist devoid of camp and trite soliloquy has departed this coil.

Thank you, Warrel Dane, for all of the gifts you shared so effortlessly with me and the rest of the metal world. Heavy metal music never had a stronger, more vocal champion than you, and we may all heed your examples. Your intelligence, your pain, your suffering, your wisdom – I took it all in and it has made me a better man than I was before. If nothing else dare be said about you, know well that my life has forever been changed by your words. I fondly recall you and I embracing after a show in Chicago, 2001, and you thanked me for “...making my day with such kind words about my fucked up pain.”

I only hope your pains are free now, man. You've earned it.

(Originally written for www.metalbite.com)

The deaths of musicians usually doesn’t hit me that hard. Warrel Dane’s passing was a different story. I’ve been a huge Nevermore fan for years, and I found his off-beat writing and personality very captivating. This album was in the recording phase when he passed away. Luckily, “Shadow Work” has enough finished material to be released in a 42 minute form.

I was worried that this would sound noticeably unfinished, but that is mostly not the case. Some of the vocal spots are probably missing double-tracking and harmonies. Other than that, “Shadow Work” sounds like a proper record. Let's explore it and how it differs from Warrel's previous solo material.

The "Shadow Work" sound is very inspired by Nevermore albums “Dead Heart in a Dead World” and “This Godless Endeavour”. Warrel’s Brazilian backing band does a great job, easily outshining the more groove metal approach on Warrel’s previous solo album "Praises to the War Machine". It's often fast, technical and complex. Way more so than I was expecting.

This added instrumental complexity is matched by a more metal writing approach from Warrel. In the best spots, like “Disconnection System” and “Rain”, it feels like “Shadow Work” is a Nevermore album. The audio production is great too, having a familiar, clear Andy Sneap-influenced sound.

Vocal melodies and hooks also have a pleasant familiarity. Every song has memorable sections and it’s clear that he hadn’t lost his sense of writing good hooks. Warrel's vocal performance is also very good in itself. The best moments sound just as good as he did on the last Sanctuary album. He might have lost some of his raw power, but the sense of melody and lyricism is undeniably present.

It's very bittersweet that this unfinished album sounds so good and it's hard to know if this is exactly what the songs intended to sound like. That fact aside, I’m still glad “Shadow Work” got released. Warrel was a one of a kind musician, producing quality music even when he wasn't healthy. I wish this wasn't his swansong, but it's certainly a good piece of music and a fine way to commemorate him.

Originally written for deathdoom.com

‘Shadow Work’ is a bittersweet affair. While it is good to have a new album with Warrel Dane’s vocals, he died during the recordings of the album in São Paulo, making this the last time we are treated to new material by Dane, who I consider one of the best metal singers of all time. One thing his fans can rejoice about is the fact that his unexpected farewell album is incredible. It is a dark, twisted record that should please all fans of Nevermore and Sanctuary, save for maybe those who only enjoyed the earliest work of the latter.

Dane’s solo debut ‘Praises To The War Machine’, released ten years ago, sort of felt like “Nevermore light”. While it sounded similar to his main band, it had a simpler, more open sound, with the virtuosic technicality of his main band reduced to a minimum. By contrast, ‘Shadow Work’ is heavy as it gets with some impressive playing by Dane’s Brazilian backing bang. Guitarists Johnny Moraes and Thiago Oliveira must be fans of Jeff Loomis or at least must have studied his work closely. Their heavy riff work and melodic ornamentation certainly would not sound out of place in Nevermore.

Where ‘Shadow Work’ does distinguish itself is its atmosphere. The intense ‘Madame Satan’ and the nearly extreme metal of the intro to ‘The Hanging Garden’ are quite possibly the darkest stuff Dane ever worked on. The guitar work manages to be vicious and atmospheric at the same time, the compositions take a few unexpected turns and Dane’s emotional vocals give this stuff a melodic dignity that many progressive death metal bands can only dream of. ‘Disconnection System’ sounds closest to Nevermore (and even recycles a bit of the lyrics of ‘The Politics Of Ecstacy’) and would therefore be the best track here to sample before diving into the album.

Metal was never Dane’s only ace in the hole though. Much of his increasingly equipped lower register has a strong gothic quality to it, which fits the ethnic sounds of the overture ‘Ethereal Blessing’ perfectly. The closing epic ‘Mother Is The Word For God’ features him snarling, bellowing, begging and whispering into your soul, truly enhancing the constantly shifting moods of the song. The track has echoes of Nevermore’s ‘This Godless Endeavor’, without sounding like a copy. The arena rock vibe of ‘As Fast As The Others’ and the ballad ‘Rain’ are slightly more accessible, but no less gloomy.

It would be tempting to call ‘Shadow Work’ unfinished. It was supposed to be an eighty minute record (instead of slightly over forty) and I’m sure Dane would have polished up a few vocal lines had he lived long enough to do so, but complaining about that would be missing the point entirely. Dane’s band deserves all the praise they can get finishing these recordings as well as they did and the singer’s emotional, dramatic delivery is exactly what makes ‘Shadow Work’ the goosebumps-inducing experience it is. Sure, it’s a little rough around the edges sometimes, but that doesn’t deter from the fact that this is easily the best album with Warrel Dane singing in thirteen years.

Recommended tracks: ‘Madame Satan’, ‘Shadow Work’, ‘Mother Is The Word For God’

Originally written for my Kevy Metal weblog