Album review: Dream the Electric Sleep – Heretics

An interesting article today – rather a few moons ago (due to my incredible knack for time mismanagement), a band who are apparently actually quite well-known and well-regarded in the metalsphere actually e-mailed me asking for a review of their sophomore album. Let me just say that I was pleasantly surprised to receive this e-mail and that I’ll be happy to do any further reviews by request like this – time permitting, of course. I have been very preoccupied with various projects and commitments lately, which I will be sure to post about in the near future.

Vocals and Guitars: Matt Page
Bass: Chris Tackett
Drums: Joey Waters


I also listened to their earlier work, “Lost and Gone Forever”. They’re a progressive band, for sure – they’re a group with points to make and stories to tell, and they do so through the medium of thought-provoking, lovingly and elaborately constructed music. There’s a great deal of emotion on display at every turn, every chord carrying the appropriate weight to it, major or minor (and these two opposites are utilised excellently in the compositions themselves), and singer Matt Page’s voice complimenting the music brilliantly. If you’d like to take a look at a review for that you can find one here – a seemingly well-received release – it was named Album of the Year 2011 by this blogger!

The band has published a guide to today’s album, their second release, on their website. To summate its artistic purpose, it draws inspiration from the ideals of women over the ages who have sought to improve the world, in spite of adversities or social stigmas. This is cemented by the album’s cover artwork:

History buffs will notice that all these women are signficant – Virginia Woolf, Faith Wilding, Emily Dickinson, Faith Ringgold, Dame Ethel Mary Smith, Helga Birgitta, Susan B. Anthony, Sojourner Truth, and Christine de Pisan.

The album, having 11 songs, but boasting a running time of 73 minutes – is divided into five segments, which make up two songs each, apart from the final segment which makes up three. “Heresies”, “Introductions”, “The Yellow Wallpaper”, “Cornered”, and “Waiting”. The lyrical themes across the tracks, backed by the instrumentation, seem to start off jolly and upbeat, but soon progress into despondency and despair, before becoming strong and empowering again by the time the album is over.

It’s an album that doesn’t pull any punches, and is a pretty epic journey of heart and mind. Let’s venture forth then.

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