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Know what? I think he's cool. For one thing, he's got a decent set of pipes on him, with some serious Geoff Tate worship happening. For another, the band have always had strong emphasis on vocal harmonies, taking the focus away from any one particular singer in favour of the collective voice. So while it's still possible that fans will miss Baker, it's not a crippling factor. Plus, Brian plays guitar as well. Like the band wasn't already versatile enough. 'Ok, but what about the songs?' I hear you ask. What? You didn't say anything? Goddamn voices. Ah yes, the songs. I was interested in how they'd turn out, seeing as how Room V didn't make that much of an impact on me. The fact that it was following Legacy didn't help either. Turns out I've got an 'every other album' relationship with the band, seeing as how I dig the songs here. There's not a single below-average song out of the 7 here, and quite a few damn good ones. High points include the power anthem title track, along with the more rocking Strong and Venom. Both those songs have guest singers helping proceedings, and the one on Venom sounds like he's trying to channel Jon Oliva at times. Good fun!
The band's Queen aspirations break through to the surface once in a while, much to the benefit of the music. The best example is With Honor, which features immaculately arranged three-part harmonies playing counterpoints off each other, though there are other great harmonies all over the album. They do persist in doing the nursery rhyme-ish group singing thing, like the chorus of Gold Dust. Yeah, I know it's a signature element of their sound, but I'm still not sold on it. That stuff was fun when listening to the debut album in all its campy splendor and singing "Saygoobahtodahmohhhhning!" with a smirk that said 'Yeah I know!' But their music's evolved and been refined so much since then, and they're still doing it! It's a pet peeve of mine, I guess. The digipack edition has a total of 4 bonus songs - a demo version of Gold Dust with Carl Cadden James doing the lead vocals, an acapella version of all the harmony vocals on the title track (very useful for those reverse karaoke sessions) and finally two ballads recorded from when Mike Baker was still around. They're a nice touch, and make a fitting closure to that era of the band.
As a wankery-lover, I have to tip my imaginary hat to the virtuosity on the album. Both Brendt Allman and Gary Wehrkamp just outright scorch. Incidentally, it's hard not to gawk at the range of duties that Wehrkamp takes on - guitars, bass, keyboards, vocals and drums?! Are you kidding me?! Truly boss. And I mean endgame boss. In case you're new to the band, I feel it necessary to point out that almost everyone in there multi-tasks like a mofo. Well, it's progmetal so I guess the only time you're supposed to comment on the instruments is if they aren't kickass. Alas, there is one caveat - the production doesn't always do it justice. I doubt it's down to incompetence on anyone's part, it's just that Shadow Gallery have always had a sort of lightweight sound. Result being, they sound much more comfortable on the laidback parts than when they're getting all heavy. When bands like Pain of Salvation (or hell, even Porcupine Tree) get heavy, the atmosphere changes and the oppressiveness permeates the whole sound. I imagine Shadow Gallery would really benefit from some solid bottom-end to their heavy parts to put it on par with their orchestral segments. If this was 10 years ago, I wouldn have given it full marks regardless, but I suppose I've become more anal and cynical since then (it sounds pompous when you say you've become more discerning, even on the off-chance that it's true).
However, this doesn't change the fact that Digital Ghosts has exceeded expectations and gone down very well with me. The band have overcome adversity and come through better than intact. Somebody make a documentary.
Label: Inside Out Music
Year of release: 2009
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