{"id":10689,"date":"2023-12-30T14:47:07","date_gmt":"2023-12-30T19:47:07","guid":{"rendered":"https:\/\/heavensmetalmagazine.com\/?p=10689"},"modified":"2023-12-30T22:58:55","modified_gmt":"2023-12-31T03:58:55","slug":"afterwinter-paramnesia","status":"publish","type":"post","link":"https:\/\/heavensmetalmagazine.com\/index.php\/2023\/12\/30\/afterwinter-paramnesia\/","title":{"rendered":"AFTERWINTER: Paramnesia"},"content":{"rendered":"\n
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After BioGenesis<\/strong><\/h2>\n\n\n\n

Paramnesia<\/em> represents the debut release from experienced newcomers (ex-BioGenesis members) AfterWinter. This epic conceptual work, spanning over 100 minutes, answers the question: what have the ex-members of BioGenesis been up to over the past few years after their departure from the band?<\/p>\n\n\n\n

Constructively, Chaz Bond went on to create Rise of the Phoenix<\/a><\/em> (2021) before putting the band on (permanent?) hiatus. But what have all those talented musicians who appeared on A Decadence Divine<\/em> (2017) and Black Widow<\/a><\/em> (2018) been working on?<\/p>\n\n\n\n

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Conceptual Metal<\/strong><\/h2>\n\n\n\n

Consequently, within the answer to that question, fans of deep storytelling through metal music and rock will find much to enjoy. While Queensryche\u2019s classic Operation: Mindcrime<\/em> paved the way for progressive metallers to go cinematic and epic, Paramnesia <\/em>will appeal to those who have similarly found inspiration and intrigue from the likes of Shadow Gallery\u2019s Tyranny\/Room V<\/em> sequence, Spock\u2019s Beard\u2019s Snow<\/em>, and more Christian-centered epics like The Scream of the Guillotine<\/em> and the recently revamped Camelot in Smithereens<\/a><\/em> by Deliverance. In fact, in some ways, Paramnesia <\/em>finds the most in common with the latter, at least in terms of the lyrical content. However, musically, this has the most in common with Dream Theater\u2019s epic Scenes from a Memory<\/em>.<\/p>\n\n\n\n

To avoid regurgitating what Roxx Records summarizes so succinctly about the concept\/story, I will refer you to the Paramnesia<\/em> label release page HERE<\/a><\/strong>. Suffice it to say, the band addresses difficult issues within the faith, particularly how to deal with mental illness and its impact within the church body, but they do so in a respectful and impactful manner, all the while within the context of great storytelling (some interesting surprises\/twists).<\/p>\n\n\n\n

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AfterWinter<\/strong><\/h2>\n\n\n\n

However, for those not familiar with the AfterWinter line-up, there have been some modifications from the roles in BioGenesis. Most significantly, Majennica Nealeigh (who previously played drums) takes on the lead\/front vocal role and is accompanied by Jerry Grazioso (vocals). Luke Nealeigh (songwriter\/guitarist\/producer) is accompanied by James Riggs (guitars), Dan Nealeigh (bass), Sam Nealeigh (keys) and Eli Closson (drums). This recipe of players adds up to a mix of talent uninhibited in exhibiting their musical creativity and muscle.<\/p>\n\n\n\n

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[Note: These divisions (\u201cActs\u201d) represent journalistic license on the part of this author and don\u2019t necessarily reflect the intent of the band. However, from a critique standpoint, 100 minutes of music is hard to digest as one entire piece and therefore I \u201cpropose\u201d the following segmentation which is based on my observations of how the story flows and where \u201cintermissions\u201d might be applied if this opus was put to the big stage.]<\/strong><\/p>\n\n\n\n

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Paramnesia<\/em><\/h2>\n\n\n\n

Act I<\/strong><\/h3>\n\n\n\n

Scene 1<\/h4>\n\n\n\n

Impressively, right from the first piano note of Paramnesia<\/em> it\u2019s apparent that tremendous care was placed in the construction and intricacy of these songs. The opening \u201cSleeping Torment<\/strong>\u201d provides a brief introduction to the story, most of the narrative contained within the expansive 20-page booklet. The music quickly transitions from dreamy to intense with the complex \u201cLeft for Dead<\/strong>.\u201d Dream Theater comes to ear as we are introduced to Majennica\u2019s vocal lead (Detective Riley Stone), her compelling alto blending nicely with the frenzy of crunchy guitars, keys, bass leads and percussive drumming driving the AfterWinter machine.<\/p>\n\n\n\n

Moving deeper into the story, \u201cLosing Myself<\/strong>\u201d introduces the voice of Jerry Grazioso (brother Thomas Stone) as the duo of both spoken word and singing between the siblings further delineates not only the crux of the tale but also reveals more of the AfterWinter signature sound.<\/p>\n\n\n\n

The keyboards once again open the epic \u201cConnections<\/strong>\u201d with majestic grandeur as Riley continues to \u201cinvestigate\u201d the murder scenes and victims. In true prog metal fashion, this song features a plethora of virtuosic solos within a sea of tempo and time changes. As a point of observation, many of the songs on Paramnesia<\/em> are quite lengthy, and while some of them could benefit from some editing, for the most part, the flow both within and between the tracks is seamless.<\/p>\n\n\n\n

Subsequently, \u201cTime Runs Shorts<\/strong>\u201d continues with this more \u201cnarrative\u201d vocal approach as Riley continues to unravel the clues presented to her. <\/p>\n\n\n\n

Scene 2<\/h4>\n\n\n\n

Unfortunately, the investigation comes to a halt in a grocery store where Thomas is mistakenly identified by another shopper as a \u201cprotestor\u201d from a recent gay marriage celebration. The confrontation unfortunately triggers in Thomas a mental break\/seizure causing the siblings to flee the scene. Fans of \u201cmusic only\u201d narrative might find this break tedious, but I think the band handles it well \u2013 the \u201cinterlude\u201d of sorts serving to stimulate further questions into the actions of certain \u201cChristian activist\u201d movements.<\/p>\n\n\n\n

Furthermore, the event proves to be an important stimulus to Riley taking \u201cA Glimpse in the Mirror<\/strong>.\u201d During Thomas\u2019s recovery he provides insight into the nature of his mental illness:<\/p>\n\n\n\n

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\u201cI hear the voices \u2026 Mystery stealing memory\/perplexity from complexity\/Only everybody sees me acting like an animal\u201d<\/strong><\/em><\/p>\n\n\n\n

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Subsequently, the song wonderfully transforms from Thomas\u2019s post-ictal vulnerability into a nightmare revelation for Riley through a series of musical expressions \u2013 halting rhythmic syncopation, the acoustic guitar lead reverie of the childhood sibling bond of brother and sister replete with flamenco solo, and finally the ominous riffing leading up to Riley\u2019s frantic dream state. An amazingly well-written song, it serves in a way as a two-part finale to Act I of the play as Riley, through her brother\u2019s crisis, comes to the frightening realization that she may be the murderer in her own investigation!<\/p>\n\n\n\n

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