This is what I envisioned the guys in Circus Maximus saying after reading all the proclamations of Seventh Wonder taking over the melodic prog crown after their ProgPower USA appearance & last release:
“Fuck those guys and their neat beards.”
Our adopted Norwegians have returned with their new disc, “Nine,” to reclaim the throne. My assumption is that “Nine” is aptly titled for the amount of years it takes the band to put a new disc out.
Bazinga! I kid. I kid. Sort of…
Before I go any further, here is my official disclaimer. Circus Maximus is my favorite “traditional” progressive metal band. I consider them to be good friends as well. Does that make me biased? Absolutely! However, I make no apologies for it. If you have read my “Isolate” review or my past Evergrey reviews, you know exactly what to expect. Enjoy the read for what it is, instead of the prog thesis it isn’t. I’m sure there are numerous progressive metal websites out there just waiting to rip them a new asshole because they are popular and don’t have the initials “D” & “T” in their name (“There can be only one!”
. Those reviews will balance out the poetry that you are now being enthralled with.
So back to the Circus Maximus planning meeting for the new disc:
Glen (bass): “Enough with the fucking vocal, guitar, and keyboard accolades."
Truls (drums): “We own this disc."
The other guys: “Fine, fine. No more bitching. As long as it’s not “Road Salt 3,” it’s cool.”
“Nine” is not an epic “The Second Chapter.” “Nine” is not an introspective “Isolate Again.” “Nine” is an edgy, riff-oriented monster. That’s not to say the classic Circus Maximus sound is gone. It still envelopes you like a warm, summer breeze that makes you feel fine (Seals & Croft reference in a CM review…hell yeah!). Mike’s amazing vocals, the lush guitar tone, and the keys are to die for. However, this time the rhythm department just reaches through your speakers and bitch slaps you. The bass is a booming thunderstorm while the snare reverb and cymbal crash both echo through eternity (ha! …like how I worked that in there?). When was the last time a prog metal disc truly thumped a la Dr. Dre/DMX style? Yes, you just read a beats reference in a progressive metal review. Envy my street cred, bitches!
I say all that without knowing a thing about drumming or bass playing. I say that as a guy that normally thinks if I don’t notice the bass, they are doing their job damn well. I say that as a guy that couldn’t tell you Portnoy’s style from Zonder’s style in a blind audio challenge. However this time, resistance was futile (hey..review a prog disc, you get nerd references..suck it up). I didn’t even bother paying attention to the lyrics until my third spin of the disc. I honestly had to turn the bass down on my EQ so I could focus on the lyrics and blow smoke up Mike’s ass about the vocals.
On to the tunes….
Forging: I’ll be brutally honest and this is nothing against the band as I feel this way towards all prog bands. There should be a rule that says unless the intro track serves as your pre-recorded music that gives you time to get on stage or is a continuation of “Fire Blossom,” then include it with the first real song. Bitch session over. It’s a cool 76 seconds of ominous keyboard tones that create an immediate atmosphere.
Architect of Fortune: Clocking in at 10+ minutes, you would think this would be the kind of epic prog track that CM is known for. It is, but it isn’t. That grand landscape a la “Glory of the Empire” or dark journey of “Mouth of Madness” is not found here. Instead, you have a smorgasbord of musical styles that blend so seamlessly that you do not even realize how diverse the track really is until it is over and you are trying to pinpoint your favorite part. Most prog bands have that jarring transition within a song structure that makes your teeth hurt. Here, it is so natural and smooth that it leaves you asking if you really heard what you just heard. I consider this song to be in three parts. The first two minutes are a bombastic instrumental highlighted by the drums front and center followed by contrasting crunch and soaring keys. It’s not until the instantly recognizable guitar tone hits during the solo that you feel like an old friend that you miss dearly has come back home. The second part is pure vintage Circus Maximus accentuated by Mike’s best vibrato performance yet. It’s enough to even shut the Khan fanboys up for maybe even a second or two. The third major transition is after the majestic chorus. You are led down the corridor with a bouncing riff until those odd (my wife says they sound like something from Coldplay) keys return from the intro to make the emotional impact more intense. The contrast between the whispered vocals and bleeding nylon strings (that’s a proper production!) immediately afterwards is just insanely awesome. Just as you are lulled in, the big sweeping crescendo hits as you are taken to the end of the journey. The extended guitar solo near the end is my absolute favorite on the disc. This is just an amazing song.
-“You still don’t know who you really are. Wise words gone astray…”
Namaste: So I had to whip out the Japanese dictionary to figure out that the title to the song is actually a respectful greeting the band is using as irony. “Greetings! Let’s blow the world up!” Musically, the song employees a heavy mid-tempo crunch to set the vibe. The vocals at the start are sure to stir the pot. Mike’s voice has been electronically enhanced during the verses as he employs an almost chanting style. It’s a startling affect and I’m not sure if I like it or not to be honest. I will say that it’s a nice risk and it does work within the context of the song. It also makes for another sonic clash as we go from the Mr. Roboto voice to one hell of a catchy chorus. That contrast is further explored in the transition from the riffing to a slower, warm guitar solo back into the hook. What you end up with is a progressive metal song that doesn’t require 5/345s time signatures to be progressive. It also doesn’t have to be weird for the sake of being weird just so you can call it prog either. It just flows. Shut up and enjoy the ride.
-“Show your respect, then create devastation in the name of peace.”
Game of Life: In my best Borat voice, “Sexy time!” Welcome to the song with the biggest hooks on the album. The amped up acoustic intro is just pure velvet before turning into a thumping bass line. It’s with this tune that we get our first real taste of their masterful use of AOResque melodies in the chorus. It’s enough to make Jeff Scott Soto jealous. Mike also teases us once again with short bursts of his stratospheric range that he has used on the previous releases. You will sing the word “time” with him whether you like it or not. I also really dig the down and dirty guitar solo that ends up being a tasteful shredfest before it’s over. I have no idea if this will be pushed as a “single,” but it sure as hell deserves consideration.
-“Then time catches up with you and there is no more to do in the life that was you.”
Reach Within: Is it possible to have a heavy groove, yet come off as soft? Yes indeed. This is the other potential “single” on the disc. The verse feel is that of an acoustic power ballad as Mike reminds you of just how much emotion is a part of CM. However, the chorus changes it up just a tad as a mid-tempo, radio friendly romp. This may be the least progressive of all the songs, but it features something else. There are subtle additions all over the place that add another layer that you may not notice without truly listening. There is a quiet vocal harmony going on in places while the keys add delicate touches sprinkled here and there instead of hammering you in the face. This only serves to intensify the emotions being conveyed. Once again, that guitar solo is just awesome for those of us that enjoy the clean, soaring style that is so rather rare these days. So roll the windows down and crank it..or put the headphones on and close your eyes. Either way, you are going to get something different out of it.
-“Don’t be afraid if it leaves a scar”
I Am: Frontiers Records had to be smiling when they heard the first few seconds of this track. The keys burst through the dam and drown you. Be careful though, as you may want to dismiss this track as some serious AoR cheese based on the first minute alone. However, the band once again changes gear midstream with all sorts of stop & start rhythm changes that you may not notice if you are just listening to the vocals alone. Lasse is the real star here as he shreds the keys throughout the entire song. Otherwise, song remains in the AoR friendly zone on this cut despite the chops galore.
-“A fragile trust…in faith I lust.”
Used: Ok, enough with the girly songs. It’s back to the down and dirty riffing with an actual bit of speed to boot. I’m not a musician, but this may be the most down tuned chord I have heard the band employ. It’s not necessarily Superior style crunch, but more of prog gallop if you will. This pissed off ditty makes for a nice change of pace to be honest. The vocals are a bit edgier as well as the narrator is finally coming to grips with how much time he has wasted. Prog snobs can relax the sphincter now after the last few friendly songs. The quirk is back with time/tempo changes galore. Sometimes you get so sucked in by the songs that you forget just how awesome these musicians truly are.
-“It seemed like all hope was lost so I got used to the pain of being used.”
The One: Clocking in at four minutes, this one competes with “Namaste” as the shortest track on the disc. However, there is a huge difference in the approach on each song. “Namaste” has the adventurous vibe to it. “The One” is just a cut throat rocker complete with a dirty riff. You just bounce along until you hit the big chorus. It also continues the “kiss my ass” vibe of “Used” as well. I like the song, but I find it to be the one with the least amount of plays since I started this journey.
-“How do we choose right from wrong when we don’t know which battles we should end.”
Burn after Reading: So out of the first seven actual songs, only one clocks in at over 5 minutes. It can’t be a real prog album without more long songs, right? No worries. This is an 8+ minute journey over both emotional and musical peaks and valleys. I absolutely love how much up-tempo acoustic guitar we are getting on this disc and in this song in particular. It’s the primary focus alongside Mike’s serene vocal delivery for the first couple of minutes. Just as you catch the rhythm, *bam!* Welcome back to the riff show baby! I was ready to rock out and then I’ll be damned if they didn’t pull back into another soft interlude with the piano taking place of the acoustic guitar. The tempo starts to build again quickly though. Pay attention to the new vocal delivery here. It’s a softer, low drama technique that reminds me of Freddy Mercury’s experimental side. It remains constant in tone & delivery while the music whirls in and out around you. Abruptly, we are then transitioned into a chorus that features monster vocal harmonies. After that, we head back into the prog maelstrom that you are more than familiar with based on their past work. In fact, this may be the heaviest bit of music they have written yet (I could have sworn those were fucking blast beats that I heard?!?). Just as I’m getting into some serious headbangin’ again, the damn song drops me on my ass again back to the softer/melodic side. Stay there? Nah..that’s too easy. Let’s crank it up again as we fade out. I’d like to add that the title of this track is just awesome on so many levels. The lyrics leave you and your emotions alone to question whose fault it really was. Are you angry & ready to fight? Or are you resigned to hopelessness? Or do you simply have no idea which way to turn?
-“I have lost the power to feel. Turned to Stone. My heart blackened.”
Last Goodbye: I have struggled with writing my thoughts about this song. I have written, deleted, re-written, edited, and then deleted again. I appreciate the actual musicianship involved in the music just as much as everyone else. However, what separates good music from great music is one thing: an emotional connection. Great songs make me “feel”. Sometimes, those feelings aren’t easy to face or even endure. This is one of those times for me. Honestly, the majority of the tune feels like one long-ass, sad Bon Jovi song (which is fine with me). I’m not going to go into detail on that aspect except to say that the music & vibe is not what you expect considering the lyrics. However, once the instrumental section starts toward the end, my lip starts to quiver a bit. The simple ballad aspect stops and a soaring, almost spiritual intensity takes over the melody as you feel that climatic moment is imminent. It’s that moment that makes this hard to type. That moment is not going to be something that everyone has experienced so not everyone will feel as strongly about this song as I do. However, if you have ever lost a loved one, you will understand. I was at my dad’s bedside when he passed on from this world after a brutal fight with cancer. Mike sings about saying goodbye in that moment and it brings tears to my eyes though time has passed for me. It’s a different moment for all of us, but the conclusion is the same for everyone. There is no happy ending. It hurts, but life does goes on….
-“When you went away that day, the world came down on me. We’ve been best of friends forever, and now it’s time to let you go. Your spirit carries on as my life goes on alone.”
Other random thoughts:
*The production is immaculate. Even with the rhythm section pounding, everything is separated cleanly. The last production I enjoyed this much was Kingcrow’s “Phlegethon.”
*I do miss the escalating vocal crescendo of past Circus Maximus songs. I want Mike to cut lose for more than a note or two. However, I do understand that the nature of these songs do not call for it. That’s why we have “The First Chapter” to go back to. He is still one of the best regardless.
*I have said it before and I’ll say it again. Mats is in my Top 5 metal guitarists and his tone is my absolute favorite. It warms me from the inside out.
*I may be crazy, but the first five seconds of “Last Goodbye” made me think “Teenage Wasteland.”
*You guys can have Rudess. I’ll take Lasse any day of the week.
*Did I mention that Glen & Truls are just ridiculous this time around? The rhythm section simply rules.
Welcome back to the throne, gentlemen. Take a bow and grow your beards.
“Fuck those guys and their neat beards.”
Our adopted Norwegians have returned with their new disc, “Nine,” to reclaim the throne. My assumption is that “Nine” is aptly titled for the amount of years it takes the band to put a new disc out.
Bazinga! I kid. I kid. Sort of…
Before I go any further, here is my official disclaimer. Circus Maximus is my favorite “traditional” progressive metal band. I consider them to be good friends as well. Does that make me biased? Absolutely! However, I make no apologies for it. If you have read my “Isolate” review or my past Evergrey reviews, you know exactly what to expect. Enjoy the read for what it is, instead of the prog thesis it isn’t. I’m sure there are numerous progressive metal websites out there just waiting to rip them a new asshole because they are popular and don’t have the initials “D” & “T” in their name (“There can be only one!”
. Those reviews will balance out the poetry that you are now being enthralled with.So back to the Circus Maximus planning meeting for the new disc:
Glen (bass): “Enough with the fucking vocal, guitar, and keyboard accolades."
Truls (drums): “We own this disc."
The other guys: “Fine, fine. No more bitching. As long as it’s not “Road Salt 3,” it’s cool.”
“Nine” is not an epic “The Second Chapter.” “Nine” is not an introspective “Isolate Again.” “Nine” is an edgy, riff-oriented monster. That’s not to say the classic Circus Maximus sound is gone. It still envelopes you like a warm, summer breeze that makes you feel fine (Seals & Croft reference in a CM review…hell yeah!). Mike’s amazing vocals, the lush guitar tone, and the keys are to die for. However, this time the rhythm department just reaches through your speakers and bitch slaps you. The bass is a booming thunderstorm while the snare reverb and cymbal crash both echo through eternity (ha! …like how I worked that in there?). When was the last time a prog metal disc truly thumped a la Dr. Dre/DMX style? Yes, you just read a beats reference in a progressive metal review. Envy my street cred, bitches!
I say all that without knowing a thing about drumming or bass playing. I say that as a guy that normally thinks if I don’t notice the bass, they are doing their job damn well. I say that as a guy that couldn’t tell you Portnoy’s style from Zonder’s style in a blind audio challenge. However this time, resistance was futile (hey..review a prog disc, you get nerd references..suck it up). I didn’t even bother paying attention to the lyrics until my third spin of the disc. I honestly had to turn the bass down on my EQ so I could focus on the lyrics and blow smoke up Mike’s ass about the vocals.
On to the tunes….
Forging: I’ll be brutally honest and this is nothing against the band as I feel this way towards all prog bands. There should be a rule that says unless the intro track serves as your pre-recorded music that gives you time to get on stage or is a continuation of “Fire Blossom,” then include it with the first real song. Bitch session over. It’s a cool 76 seconds of ominous keyboard tones that create an immediate atmosphere.
Architect of Fortune: Clocking in at 10+ minutes, you would think this would be the kind of epic prog track that CM is known for. It is, but it isn’t. That grand landscape a la “Glory of the Empire” or dark journey of “Mouth of Madness” is not found here. Instead, you have a smorgasbord of musical styles that blend so seamlessly that you do not even realize how diverse the track really is until it is over and you are trying to pinpoint your favorite part. Most prog bands have that jarring transition within a song structure that makes your teeth hurt. Here, it is so natural and smooth that it leaves you asking if you really heard what you just heard. I consider this song to be in three parts. The first two minutes are a bombastic instrumental highlighted by the drums front and center followed by contrasting crunch and soaring keys. It’s not until the instantly recognizable guitar tone hits during the solo that you feel like an old friend that you miss dearly has come back home. The second part is pure vintage Circus Maximus accentuated by Mike’s best vibrato performance yet. It’s enough to even shut the Khan fanboys up for maybe even a second or two. The third major transition is after the majestic chorus. You are led down the corridor with a bouncing riff until those odd (my wife says they sound like something from Coldplay) keys return from the intro to make the emotional impact more intense. The contrast between the whispered vocals and bleeding nylon strings (that’s a proper production!) immediately afterwards is just insanely awesome. Just as you are lulled in, the big sweeping crescendo hits as you are taken to the end of the journey. The extended guitar solo near the end is my absolute favorite on the disc. This is just an amazing song.
-“You still don’t know who you really are. Wise words gone astray…”
Namaste: So I had to whip out the Japanese dictionary to figure out that the title to the song is actually a respectful greeting the band is using as irony. “Greetings! Let’s blow the world up!” Musically, the song employees a heavy mid-tempo crunch to set the vibe. The vocals at the start are sure to stir the pot. Mike’s voice has been electronically enhanced during the verses as he employs an almost chanting style. It’s a startling affect and I’m not sure if I like it or not to be honest. I will say that it’s a nice risk and it does work within the context of the song. It also makes for another sonic clash as we go from the Mr. Roboto voice to one hell of a catchy chorus. That contrast is further explored in the transition from the riffing to a slower, warm guitar solo back into the hook. What you end up with is a progressive metal song that doesn’t require 5/345s time signatures to be progressive. It also doesn’t have to be weird for the sake of being weird just so you can call it prog either. It just flows. Shut up and enjoy the ride.
-“Show your respect, then create devastation in the name of peace.”
Game of Life: In my best Borat voice, “Sexy time!” Welcome to the song with the biggest hooks on the album. The amped up acoustic intro is just pure velvet before turning into a thumping bass line. It’s with this tune that we get our first real taste of their masterful use of AOResque melodies in the chorus. It’s enough to make Jeff Scott Soto jealous. Mike also teases us once again with short bursts of his stratospheric range that he has used on the previous releases. You will sing the word “time” with him whether you like it or not. I also really dig the down and dirty guitar solo that ends up being a tasteful shredfest before it’s over. I have no idea if this will be pushed as a “single,” but it sure as hell deserves consideration.
-“Then time catches up with you and there is no more to do in the life that was you.”
Reach Within: Is it possible to have a heavy groove, yet come off as soft? Yes indeed. This is the other potential “single” on the disc. The verse feel is that of an acoustic power ballad as Mike reminds you of just how much emotion is a part of CM. However, the chorus changes it up just a tad as a mid-tempo, radio friendly romp. This may be the least progressive of all the songs, but it features something else. There are subtle additions all over the place that add another layer that you may not notice without truly listening. There is a quiet vocal harmony going on in places while the keys add delicate touches sprinkled here and there instead of hammering you in the face. This only serves to intensify the emotions being conveyed. Once again, that guitar solo is just awesome for those of us that enjoy the clean, soaring style that is so rather rare these days. So roll the windows down and crank it..or put the headphones on and close your eyes. Either way, you are going to get something different out of it.
-“Don’t be afraid if it leaves a scar”
I Am: Frontiers Records had to be smiling when they heard the first few seconds of this track. The keys burst through the dam and drown you. Be careful though, as you may want to dismiss this track as some serious AoR cheese based on the first minute alone. However, the band once again changes gear midstream with all sorts of stop & start rhythm changes that you may not notice if you are just listening to the vocals alone. Lasse is the real star here as he shreds the keys throughout the entire song. Otherwise, song remains in the AoR friendly zone on this cut despite the chops galore.
-“A fragile trust…in faith I lust.”
Used: Ok, enough with the girly songs. It’s back to the down and dirty riffing with an actual bit of speed to boot. I’m not a musician, but this may be the most down tuned chord I have heard the band employ. It’s not necessarily Superior style crunch, but more of prog gallop if you will. This pissed off ditty makes for a nice change of pace to be honest. The vocals are a bit edgier as well as the narrator is finally coming to grips with how much time he has wasted. Prog snobs can relax the sphincter now after the last few friendly songs. The quirk is back with time/tempo changes galore. Sometimes you get so sucked in by the songs that you forget just how awesome these musicians truly are.
-“It seemed like all hope was lost so I got used to the pain of being used.”
The One: Clocking in at four minutes, this one competes with “Namaste” as the shortest track on the disc. However, there is a huge difference in the approach on each song. “Namaste” has the adventurous vibe to it. “The One” is just a cut throat rocker complete with a dirty riff. You just bounce along until you hit the big chorus. It also continues the “kiss my ass” vibe of “Used” as well. I like the song, but I find it to be the one with the least amount of plays since I started this journey.
-“How do we choose right from wrong when we don’t know which battles we should end.”
Burn after Reading: So out of the first seven actual songs, only one clocks in at over 5 minutes. It can’t be a real prog album without more long songs, right? No worries. This is an 8+ minute journey over both emotional and musical peaks and valleys. I absolutely love how much up-tempo acoustic guitar we are getting on this disc and in this song in particular. It’s the primary focus alongside Mike’s serene vocal delivery for the first couple of minutes. Just as you catch the rhythm, *bam!* Welcome back to the riff show baby! I was ready to rock out and then I’ll be damned if they didn’t pull back into another soft interlude with the piano taking place of the acoustic guitar. The tempo starts to build again quickly though. Pay attention to the new vocal delivery here. It’s a softer, low drama technique that reminds me of Freddy Mercury’s experimental side. It remains constant in tone & delivery while the music whirls in and out around you. Abruptly, we are then transitioned into a chorus that features monster vocal harmonies. After that, we head back into the prog maelstrom that you are more than familiar with based on their past work. In fact, this may be the heaviest bit of music they have written yet (I could have sworn those were fucking blast beats that I heard?!?). Just as I’m getting into some serious headbangin’ again, the damn song drops me on my ass again back to the softer/melodic side. Stay there? Nah..that’s too easy. Let’s crank it up again as we fade out. I’d like to add that the title of this track is just awesome on so many levels. The lyrics leave you and your emotions alone to question whose fault it really was. Are you angry & ready to fight? Or are you resigned to hopelessness? Or do you simply have no idea which way to turn?
-“I have lost the power to feel. Turned to Stone. My heart blackened.”
Last Goodbye: I have struggled with writing my thoughts about this song. I have written, deleted, re-written, edited, and then deleted again. I appreciate the actual musicianship involved in the music just as much as everyone else. However, what separates good music from great music is one thing: an emotional connection. Great songs make me “feel”. Sometimes, those feelings aren’t easy to face or even endure. This is one of those times for me. Honestly, the majority of the tune feels like one long-ass, sad Bon Jovi song (which is fine with me). I’m not going to go into detail on that aspect except to say that the music & vibe is not what you expect considering the lyrics. However, once the instrumental section starts toward the end, my lip starts to quiver a bit. The simple ballad aspect stops and a soaring, almost spiritual intensity takes over the melody as you feel that climatic moment is imminent. It’s that moment that makes this hard to type. That moment is not going to be something that everyone has experienced so not everyone will feel as strongly about this song as I do. However, if you have ever lost a loved one, you will understand. I was at my dad’s bedside when he passed on from this world after a brutal fight with cancer. Mike sings about saying goodbye in that moment and it brings tears to my eyes though time has passed for me. It’s a different moment for all of us, but the conclusion is the same for everyone. There is no happy ending. It hurts, but life does goes on….
-“When you went away that day, the world came down on me. We’ve been best of friends forever, and now it’s time to let you go. Your spirit carries on as my life goes on alone.”
Other random thoughts:
*The production is immaculate. Even with the rhythm section pounding, everything is separated cleanly. The last production I enjoyed this much was Kingcrow’s “Phlegethon.”
*I do miss the escalating vocal crescendo of past Circus Maximus songs. I want Mike to cut lose for more than a note or two. However, I do understand that the nature of these songs do not call for it. That’s why we have “The First Chapter” to go back to. He is still one of the best regardless.
*I have said it before and I’ll say it again. Mats is in my Top 5 metal guitarists and his tone is my absolute favorite. It warms me from the inside out.
*I may be crazy, but the first five seconds of “Last Goodbye” made me think “Teenage Wasteland.”
*You guys can have Rudess. I’ll take Lasse any day of the week.
*Did I mention that Glen & Truls are just ridiculous this time around? The rhythm section simply rules.
Welcome back to the throne, gentlemen. Take a bow and grow your beards.
