After a week of knowing it was on its way into my very hands and putting up with the anticipation, I have finally received Underworld. I don't know if the Japanese version did it, but I got a special (I guess first print) version of it that is in a nicer case that the cover has a strange texture to it, also the Adagio logo is in silver as well.
Anyway, even though it is truly awesome, it kind of surprised me in how different it sounded from Sanctus Ignis. The guitars, for instance, are less "shreddy" than before, but are heavier in a black metal sense. Not as many guitar solos as Sanctus Ignis, but the ones that are there are of course spectacular. I have always thought that Sanctus Ignis had more of a baroque sound over neoclassical, but in Underworld the neoclassical sound WAY outbeats the very little barouque sounds in it. I am a huge fan of barouque sounds and especially like the harpsichord, one of my only gripes on this album is that there is not even a small instant where one is used. I am truly glad for new pianist/keyboardist Kevin Codfert, he is the best addition Adagio could ask for. A truly gifted player with his own talent for writing as well. Heck, you could tell they got a new key player even without knowing just by hearing this album, very key heavy, and skillful playing to boot. I don't know why, but the first time through I didn't feel quite satisfied, I guess my expectations of a LOT of shredding were proved wrong. But, as I listened a second time through it was like hearing it for the first time, without expecting it to have to be a shred fest. That is when I fell in love with the much darker guitar sound as I recalled reading of Stephan's dark times he went through while writing this album (he was thinking about what really awaits us after death and if this life really matters with the enevitable fate of death). Don't get me wrong, there is a decent amount of shredding but it isn't at such a constant pace as in Sanctus Ignis was, I guess most Underword tracks can be somewhat compared with songs like "The Inner Road" and "Seven Lands of Sin". David Readman's vox are a lot more versatile now and he sings in a lower pitch a lot more often than before, of course he still goes high quite a bit in a lot of the choruses.
Overall I think this album is another masterpiece, but some Adagio fans (like me) might need to give it a second spin to truly fall in love with it. I think this is the album that will bring Adagio a lot more fans, and make them better known on the progressive metal scene.
(Anyone else who has listened to Underworld feel free to post your opinions.)
Anyway, even though it is truly awesome, it kind of surprised me in how different it sounded from Sanctus Ignis. The guitars, for instance, are less "shreddy" than before, but are heavier in a black metal sense. Not as many guitar solos as Sanctus Ignis, but the ones that are there are of course spectacular. I have always thought that Sanctus Ignis had more of a baroque sound over neoclassical, but in Underworld the neoclassical sound WAY outbeats the very little barouque sounds in it. I am a huge fan of barouque sounds and especially like the harpsichord, one of my only gripes on this album is that there is not even a small instant where one is used. I am truly glad for new pianist/keyboardist Kevin Codfert, he is the best addition Adagio could ask for. A truly gifted player with his own talent for writing as well. Heck, you could tell they got a new key player even without knowing just by hearing this album, very key heavy, and skillful playing to boot. I don't know why, but the first time through I didn't feel quite satisfied, I guess my expectations of a LOT of shredding were proved wrong. But, as I listened a second time through it was like hearing it for the first time, without expecting it to have to be a shred fest. That is when I fell in love with the much darker guitar sound as I recalled reading of Stephan's dark times he went through while writing this album (he was thinking about what really awaits us after death and if this life really matters with the enevitable fate of death). Don't get me wrong, there is a decent amount of shredding but it isn't at such a constant pace as in Sanctus Ignis was, I guess most Underword tracks can be somewhat compared with songs like "The Inner Road" and "Seven Lands of Sin". David Readman's vox are a lot more versatile now and he sings in a lower pitch a lot more often than before, of course he still goes high quite a bit in a lot of the choruses.
Overall I think this album is another masterpiece, but some Adagio fans (like me) might need to give it a second spin to truly fall in love with it. I think this is the album that will bring Adagio a lot more fans, and make them better known on the progressive metal scene.
(Anyone else who has listened to Underworld feel free to post your opinions.)
