Transplants - Self-titled

Transplants were a rap/rock supergroup from America who formed in 1999. This debut self-titled album was released in 2002, three years before Haunted Cities.

The opening song, Romper Stomper, is basically an indistinct wall-of-noise topped off by shouty lyrics. However it does an adequate role as an opener that introduces the style of the album. Quick Death is much of the same, in my book.

Thankfully, many of the album's songs feature a strong melodic element, beginning with Tall Cans in the Air. A lot like The Clash's debut album, it's a wonderful combination of smooth-yet-still-punk-rock instrumental melodies and angry vocal spat in your face. Tall Cans in the Air's highlights include a timeless hook, a great singalong chorus and a nice build-up through each of the verses into the chorus.

Profanity in pop music is pretty commonplace these days, but back in 2002, dropping the c-bomb in the lyrics of D.J. D.J. would have been quite a statement. Anyway, it's a very nicely rounded song, contrasting between the bouncy energy of the verses and the understated yet highly infectious chorus. My favourite elements are the highly catchy guitar riff and the simple but inspiring words of the chorus: "We're gonna make it on our own / We don't need anyone / Lord knows we don't need you".

Speaking of hooks, the piano riff in Diamonds & Guns is probably the Transplants greatest hook ever. It's bouncy irreverence perfectly contrasts the grim violence of gang life, which is brilliantly illustrated by the lyrics (exhibit A: "...Is it the one with the suit? The one with the sack [body bag]? The one who hides behind his f**king gun and his badge"). On a personal note, I was introduced to this song (and therefore Transplants in general) through a TV ad for the Garnier Fructis shampoo, of all things. Despite all this praise, I've heard this song countless times, so unfortunately I kind of take it for granted these days. However that shouldn't detract from it being a ripper of a song and it is rightfully their most successful single.

The aforementioned three songs sum up this album for me. It seems like a simple formula: upbeat hiphop rock with shouty lyrics about the harsh gang life, with heavy reliance on a melodic hook. Good hook? Then it's a great song. Bad hook? Then unfortunately it isn't.

Dialling back the vehemence for a moment, Sad But True is a wonderful touching ballad with great subtlety and folk-music influences, especially in the chord progression. Like Bro Hymn by Pennywise, it's a spine-tinglingly good tribute to a deceased friend. We Trusted You is a bit more energetic and vengeful, but otherwise shares many of its positive attributes.

One Seventeen isn't particularly memorable, but the punk-rock style injects some good variety into the middle of the album. On the other hand, DREAM is probably the closest example of a traditional hiphop song... and it comes off like a lame white-boy attempt (especially with the some very cringeworthy lyrics). Returning to more familiar territory, California Babylon's piano riff injects a wonderful lighthearted energy, somehow reminding me of Moby. 

Down in Oakland is a unique and excellent take on the ska style, despite the lacking the usual trait of an off-beat guitar. Bear with me here... sure, there's the obvious toasting ("chk-a-chk-chk") vocals at the start, but it runs deeper than that. Effectively, the guitar is playing the horn line of the chorus, and the subtle Hammond organ in the background is another ska strait. Also, one could argue that the guitar is actually playing off-beats during the verses, albeit at half the tempo of the song... so there!

Favourite songs

Tall Cans in the Air, D.J. D.J., Diamonds & Guns, Sad But True, California Babylon, We Trusted You, Down in Oakland

Therion - The Miskolc Experience

Therion are a Swedish symphonic metal band who formed in 1987. The Miskolc Experience is a live album which was released in 2009, two years after the Gothic Kabbalah studio album.

What a beautiful start to proceedings we have with the strings of Clavicula Nox. After basking in the understated joy for a while, we are then treated to wonderfully haunting vocals. There would be no benefit for trying to squeeze in a rock band here, so I have much respect that Therion sat this one out, in order to let the simplicity of the song shine through.

Back in my school orchestra days, Dvorak- Symphony No. 9 was my favourite piece to play, so the stakes are high for me here. This version works perfectly, with Dvorak's legendary "riff" being seamlessly passed around the orchestra. In fact, perhaps this is how Antonín would have written the song if electric guitars had been around back in 1893...

Next up, Vedi... from Il Trovatore features a headbanging chorus. I find it quite stop-start otherwise, but I'm not familiar with the original. Overture from Rienzi has a similar style to Vedi, and its chugging guitars work a treat as backing for the strings and woodwind. However, the song feels like an abridged summary, with each section not given enough space and time to properly express its emotions. Sadly, another miss for me is the power ballad Notung... from The Ring. The menacing groove works well, but overall it's not my cup of tea.

But when the stars align... and the powers of an orchestra, choir and rock band combine perfectly, the result is the huge scale of Dic Irac from Reqiem. It is glorious. I think the key to the success is that the band's guitars and drums are seen as just four voices out of over seventy, so the band need to put away their egos in order for the art to flourish (the album's liner notes also discuss this concept).

The band's abrupt entry in Der Tag ist Da from Rienzi has all the subtlety of Me First and the Gimme Gimmes! After this, however, the song ebbs and flows wonderfully. On one hand, there's the beautifully sparse sections of drums, bass and choir. On the other, it's the Nightwish-style intensity of a lady opera singer going full noise over a raging band and orchestra, like the world is about to end. Herbei Herbei from Rienzi lacks this variety, but the end-to-end powerful (and semi-chaotic) thrash is also a treat.

Blood of Kingu is slightly letdown by the male vocals, which lack the sense of grandness imparted by the rest of the song. However, the howling female vocal sections are incredibly powerful, making this song a hit in my book. Where the male vocals do work well is Lemuria (which reminds me of Metallica's Garage Inc), where the song is driven by a simple vocal melody, nicely accompanied by the orchestra and choir.

A few of the remaining songs suffer from feeling disjointed: Eternal Return features a wonderfully moody strings intro, but that almost feels like a separate song. Then when the band joins in anger, it's another abrupt jump. Schwartsalbenheim also feels disjointed between sections, although the timeless recipe of an opera lady wailing over a ranging rock band atones for many sins (if this is basically what "symphonic metal" means, then sign me up as a fan). Via Nocturna features wonderful headbanging riff-rock (like Lemuria) but is also disjointed. All of these songs have very good highlights, but unfortunately the piecemeal feeling erodes at achieving a grand sense of scale.

Draconian Trilogy opens with a nice slow-burn tease for the first three minutes without any obvious direction. Then all the pieces fall into place when the female vocals start, and the rest of the song ebbs and flows beautifully. The guitars are quite dominant, but the cameo parts from the orchestra are nice touches. It is all put together with perfect layering.

On the other hand, The Rise of Sodom & Gomorrah is a much simpler beast, with the orchestra carrying the song via a headbanging riff for the ages. The other stuff is a tasty icing on a wonderful cake. Rounding things out, Grand Finale has a great driving energy and wonderful layering.

Favourite songs

Clavicula Nox, Dvorak- Symphony No. 9, Dic Irac from Reqiem, Overture from Rienzi, Der Tag ist Da from Rienzi, Herbei Herbei from Rienzi, Blood of Kingu, Lemuria, Draconian Trilogy, The Rise of Sodom & Gomorrah, Grande Finale

Final thoughts

The concept of a heavy metal band plus an orchestra plus a choir is tantalising, but often falls short in reality. This album delivers in full on that promise and the results are spectacular.