Over two years in the making, Madmen
& Sinners is a leap forward for fretless guitar
whiz Tim Donahue, a project that demanded
heart, soul and every drop of his talent.
With six releases under his belt, Donahue decided it was
time to take his music to the next level. After recording
the highly recommended Into The Light (released
in 2000 featuring Kelly Hansen on vocals)
and long before the ever meeting James LaBrie,
Donahue began writing M&S with LaBrie's voice in mind
thinking in terms of a progressive metal album in the vein
of a bombastic Dream Theater. A chance meeting
with a mutual friend of LaBrie's in the summer of 2001, put
Donahue in touch with the singer following a spontaneous listening
session of the initial demo material. Phone calls were made,
LaBrie was suitably intrigued by the offer and Donahue began
writing in earnest with realization of the Madmen album in
sight.
Guitarist and singer met for the first time in July 2002
to discuss Donahue's musical vision and ideas for Madmen &
Sinners. Over the course of their brainstorming sessions Labrie
suggested bringing drummer Mike Mangini (Extreme/Steve
Vai) on board, having worked with the skinbasher on his Mullmuzzler
side project. Recording took place in January 2003, with Mangini
put to tape in Boston, LaBrie's vocals recorded in Barrie,
Ontario. The year that followed saw Donahue holed up in his
home studio playing and recording all the fretless guitar,
bass and synth parts, engineering and mixing the album himself,
all while having to deal with a temperamental computer intent
on eating precious recorded data at random. Donahue prevailed
in the end, coming out of the studio with the best album of
his already impressive career.
The theme of Madmen & Sinners is home to a heavy progressive
feel, scolding riffs, enchanting melodies and soaring vocals
from James LaBrie. The music is further enhanced by Gregorian
Chants which add a gothic slant to the sound.
Opener Million Miles
opens with a frantic pulsating riff doubled by double bass
drum work from Mike Mangini. Just when you think this could
turn into a sludge-fest majestic keyboards orchestrate the
riff adding a nice balance. This in turns leads way for James
LaBrie to soar over the music. The chorus sees a change in
tempo for LaBrie's double tracked vocals. Fans of Dream Theater
will immediately dig this. The track sees a strong breakdown
with key change before heading back into the opening pulsating
rhythm. Tim Donahue then takes flight with a strong melodic
solo that has a hint of Eddie Van Halen flare to it before
adding some quasi dive bombs and slides. The track grows from
here on in, blossoming with more keyboard textures before
changing path again for the outro portion of the track which
is embellished with sound effects. Million Miles
contains a lot of changes in its 7 minute running length but
remarkably never loses focus.
Let Go offers
some time for your sonic senses to readjust as its very soothing
thanks to its organ, delicate acoustic guitar and restraint
vocals from LaBrie. This track is as close as M&S gets
to some of Tim's past works. The subtle blend of acoustic
textures and LaBrie's more soulful vocals combine well.
My Heart Bleeds
possesses an eerie quality to it thanks to a synth line creating
the backdrop for the track. LaBrie's vocals have been phased
and delayed for the verses, the closest thing I could compare
it to is Pink Floyd's 'Welcome To The Machine'. The track
then changes tack and heads into a more straightforward metal
direction for an elegantly simple riff but one that sounds
so good. The song weaves its way to an impressive climax with
with some very tight interplay between drums and guitar. The
track fades out with cathedral choirs.
Feel My Pain
sees the tempo pick up for a heavy fast riff that leads to
real sinewy vocals from LaBrie on the verse - very raw and
aggressive. The riff here reminds me of the intensity more
exemplified by Black Label Society, yet this is far more accessible.
This track features a quite unorthodox structure in so much
as when you think your gonna get a chorus you don't. Its quirky
but interesting at the same time. Donahue's fretless guitar
takes on a quite restraint solo at the start, long sustained
lines which work well over the riffing underneath, before
peeling off some more exciting licks - almost jazz in nature
but firmly with metal in its heart. The track then closes
with another absolute monster of a riff.
Morte Et Dabo (The Gift Of
Death) is a highly atmospheric two minute
piece featuring authentic Gregorian chants (in Latin) but
within a modern harmonic framework. This is coupled with church
bells and eerie poetry to craft a very dark ambience which
leads in to...
Children Of The Flame
sees the dark vein continue, but we herald the return of guitar,
drums and vocals. The track takes a cynical view at those
who believe in judgment day. The track continues the path
of growing and blooming as its goes on. The verse get slightly
more detailed on each pass, with small inflections that pop
out on repeated lessons. We get some more spoken text before
the solo section, culminating with the phrase "Beam me
up Scotty" before the track moves into a very strong
anthem esque part before another riff prepares to move the
dust from your speakers. Over this we get a keyboard solo
which makes a nice addition to the track. Donahue then gives
us more dextrous fretless guitar and were back to another
verse. Possibly one of the most progressive tracks on the
album yet also one of the most accessible!
The End contrasts
nicely with the complex nature of Children Of The Flame. Featuring
a more basic guitar riff and more traditional vocal arrangement.
Essentially the first minute and a half sees LaBrie follow
Donahue's guitar lines. This more simplistic track yields
perhaps Donahue's most passionate guitar solo on the album
- very melodic and vocal in nature.
Wildest Dreams
tells the romantic story of forbidden love and fantasy. Within
is one of James LaBrie's best vocal performances since Dream
Theater's 'Awake' album. The track is enhanced by deft orchestration
and then further built on with more gregorian chants. A highlight.
The tempo and aggression pick up for Master
Of The Mind . Numerous riffs are to be found
here, and this is perhaps the closest the album gets to Dream
Theater. However, its got the Donahue stamp all over it. Fast
unison play between the instruments Almost three minute in
LaBrie enters with another atmospheric vocal delivery telling
the tale of someone wrongly committed to a mental asylum.
The production on this track is sublime, with all manner of
panning effects adding depth, keyboard touches come out from
all angles and its got immense life to the sound.
The 15 minute Madmen &
Sinners title track sees the album come to
an end mixing elements from the previous nine tracks. Again
gregorian chants are used to add an almost technicolor element
to the track. Acoustic guitars are also used and the combination
of these with LaBrie's vocals are again truly breathtaking.
One of my favourite moments of the album occurs at 8:20 into
the track - a beautiful blend of harmony and majestic pomp.
The track continues to meander and grow to a quite abrupt
end.
In essence Madmen & Sinners
has not only put forth an extremely strong case in the progressive
metal stakes, but I can honestly say that there is really
nothing else out there that mixes the elements this album
has. Obviously some artists come to mind when trying to describe
certain parts but there is a very original slant to the material
throughout the album. Owners of Tim's previous albums will
have some idea of what to expect as his trademarks are within
Madmen & Sinner, but this is a huge leap in terms of song
craft, production and sheer quality.
Be sure to pick up this one immediately and give it at least
5 listens for it to start to make sense - its been worth the
wait!
