Neil Howell - The Wasteland Review

Neil Howell – The Wasteland Review: Alternative & Progressive Solo Artist from the United States. On April 14th, 2023, Neil Howell released his latest independent studio album, The Wasteland, taking influence from rock, metal, alternative, classical, folk, and everything in between, that would gratify fans of Devin Townsend, Opeth and Haken fans.

Neil Howell – The Wasteland Review opens and discusses the FIRST SIN: THE STRINGS/KEYS, which comprise various tones, tempos, moods of (complex/technically) multi-chorded riffs/rhythms, and virtuoso solos.

Let’s talk about the SECOND SIN: THE VOCALS, which involves multiple tones, ranges, growls/screams, choruses, and clean singing.

Moving on to the THIRD SIN: THE PERCUSSIONS, which delves into the vast world of various solid drum strikes, fills, and beats.

In our following discussion about the band’s musical work, we will focus on the FOURTH SIN, the overall DISCUSSION of the album. Instantly, the listener presses that play button, one is welcome to the opening piece, WELCOME TO THE DESERT, where one is welcome to an acoustic and the sound of the wind—simultaneously, the western atmosphere captures the feel of the song title -following suit with this (distortion) progressive instrumental and vocal surge.

Following suit with the second piece, THE CRUELLEST MONTH, and the remaining eleven pieces.

THE WASTELAND takes the listener on an umbrella of rock/metal musical journey mash mosh of metal/rock that delivers and provides the listeners’ ears with a beautiful, warm, and epic piece of art… where THE WASTELAND aims far beyond the typical tropes of the genre and incorporates moments of metal, folk, alternative, and everything in between during its hour-long runtime.

Inspired by the T.S. ELIOT poem of the same name, THE WASTELAND explores themes of isolation, powerlessness, and sorrow, but also with an underlying feeling that somehow everything will turn out for the best.

THE WASTELAND provides the listener with epic, beautiful, powerful, transfixing, entertaining, full-life and energetic music and songs from the moment of pressing that play button where the listener will encounter each of the thirteen songs are different in sound, identity, mood (sorrowful, upbeat, catchy) and atmosphere—simultaneously captures and injects the distinct folk sound, seventies progressive rock, eviscerating death metal, acoustic folk and some melancholic doom metal.

Consisting of electric-guitar and drum artistry, work utilises various tones, tempos, moods, soundscapes/atmosphere, aggression/progressive, (complex/technicality) multi-chorded riffs/rhythms, virtuoso solos, different drum strikes/fills and beats, with additional instruments such as piano, acoustic, symphonic/orchestral ad violin strokes are included.

NEIL’s vocal work includes multiple tones, ranges, growls/screams, choruses, and clean singing. At the same time, the twelve-track UPON THE SHORE features a (beautiful-backing) female voice.

One thing is for sure: NEIL HOWELL draws the listener into his musical spectrum -a thinking out of the box music -where each song, the songwriting and music is composed and arranged with perfection – where one will find that each various composition/characteristics are convenient to place at the right moment – which is all provided and delivered by outstanding, compelling, and astonishing devilmanship.

In contrast, the production in sound quality is top-notch in quality perfection.

Once again, as soon as you press that play button, you will get lost in the music. This will not be everyone’s cup of tea or coffee, but for those who love their metal/rock music—music that mashes and moshes and has an experimental flare -this is for you.

It’s an album for the artistically minded but accessible enough for any rock or metal fan.

I wanted to share our thoughts and MEMORABILIA on the FIFTH SIN. Where do I begin? This project has blown me away, and I’m amazed at how different this is. An umbrella fruit of experimental music… THE WASTELAND is compiling, picturesque and a fruit of art.

Simultaneously, the closing piece, THE FISHER KING, needs a mention for its progressive, smoothing, headbanging and epic structure and the fifth piece, WINTER DAWN, with its sombre-simultaneously upbeat/catchy atmosphere.

Let’s discuss the ARTWORK of the SIXTH SIN. The artwork suits the lyrical themes of isolation, powerlessness, and sorrow…

Finally, the review will close with the last sin, the SEVENTH SIN, the DISRELISH. Since there is nothing to disrelish within the musical world of NEIL HOWELL. This concludes the Neil Howell – The Wasteland Review.

The Wasteland Song-listing: